KAN11 — - 3.
20260808 103500 UTC
490 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
Data courtesy of The GDELT Project (https://www.gdeltproject.org/), from the Internet Archive TV News Archive.
Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:00] In the heart of this secular stronghold of alternative
[00:00:03] stand-up with us, and as if, and I also feel unrelated, I
[00:00:07] grew up in the settlement of Zuri Gal, I came as if I felt
[00:00:11] completely out of place. I think it's something that connected us, my nephew
[00:00:14] Bents. Educationally, she plays
[00:00:17] a corrupt and morally depraved manager, yes, which is
[00:00:21] a character you like in principle or what a fun celebration.
[00:00:24] Yes, is it a coincidence that most of these characters of yours are on
[00:00:27] the maniacal spectrum? Look, first of all, not
[00:00:30] all of them, but I have a lot of
[00:00:33] aggression, I have,
[00:00:35] I have, for years, I say that
[00:00:39] in my childhood I felt that I had no place
[00:00:41] to express, let's say, parts that are not so
[00:00:45] attractive to a parent, like tantrums or yelling
[00:00:49] that I'm bored or I don't want to eat this food or I want a Barbie or
[00:00:53] it wasn't there, so that created some kind of lack
[00:00:56] that today, just let me vent, just let me...
[00:01:01] put on a hat, put on a wig, connect me so that I can release
[00:01:04] this demon a little, this fuel of I'm
[00:01:08] a loser, I was blocked. Now
[00:01:11] you made this series out of it, now you're not a loser, right, now
[00:01:15] you're very successful, right, maybe you won't have
[00:01:19] fuel. There's no such thing, there's no such thing. First
[00:01:23] of all, it's fuel for life. After I ate Kobi, I can run
[00:01:26] with it forever. Go home and sit in the garden. Or on the roof
[00:01:30] or I don't know where you write or think, where you write or think in bed
[00:01:34] and get into bed, in bed and try
[00:01:37] to take some start of writing
[00:01:40] fun of what happened to you here yes from where will you start looking
[00:01:43] from the truth, meaning that you are very Ashkenazi
[00:01:46] okay, not denying, not denying
[00:01:50] okay
[00:01:52] and I oh yes
[00:01:56] and I it's a bit like my lady Anava, you understand, like that.
[00:02:14] Well done, I really love this series
[00:02:17] and and wonderful, beautiful Gotit
[00:04:20] We lived in a very extreme
[00:04:22] time.
[00:04:25] Nobody left the house, everyone stayed in their homes, a terrorist
[00:04:29] attack.
[00:05:12] There is our truth, to revolt against public injustices and pursue
[00:05:15] peace. At first, nobody gave
[00:05:18] a damn.
[00:05:21] Subliminal, Hadag Nachash, they are two writers of this thing
[00:05:25] called Israeli hip hop. They invented a new Israeli hip hop. They managed
[00:05:28] to figure out how to make hip hop, and still
[00:05:31] make it Israeli. This is the moment the scene was born, officially,
[00:05:35] it taught me what happens to us as a community, what
[00:05:38] happens when we connect?
[00:05:47] Zarzis is a small and charming town, located not
[00:05:51] far from the eastern coast of
[00:05:53] Tunisia.
[00:05:55] An ancient legend tells that the entire island is nothing but
[00:05:59] a chunk of land that broke off the land of
[00:06:01] Israel. According to the wise men of the community, the island
[00:06:05] was nicknamed Djerba a corridor
[00:06:07] to Jerusalem.
[00:06:09] My father, Hamos Twito, came to Israel. At the age of six,
[00:06:13] on the ship "Independence,"
[00:06:15] they arrived in Israel with nothing and kissed the sand, and from the moment they
[00:06:19] landed here with nothing, they sent them
[00:06:21] to Ma'abarot.
[00:06:24] My father worked from morning till night, my
[00:06:27] mother was a homemaker, and when
[00:06:30] I was born, my father came to the hill opposite
[00:06:34] Tzahal, what is now Shikun Dan, and said,
[00:06:37] "The pilots live here. My son will grow up with the pilots' sons, maybe
[00:06:41] he'll become a pilot."
[00:06:48] No, it didn't happen,
[00:07:03] I grew up in a kind of school where if you came with a small Star of David,
[00:07:06] even if you put it inside your shirt, they would call it "gourmet" and they would
[00:07:10] tell you that you are a hooligan and that was it. You are going to set up with
[00:07:13] gourmet? We live in North Tel Aviv, it's a place that
[00:07:17] is very different from the values I grew up with at home.
[00:07:21] At my house, they spoke Persian and Arabic and listened to
[00:07:23] Mizrahi music. I was for everyone either a
[00:07:27] religious person or an Arab, they couldn't stand me
[00:07:31] at all. And I was like
[00:07:32] an outcast.
[00:07:35] The music that was dominant was Israeli music, Israeli
[00:07:38] rock. That God created darkness.
[00:08:12] And I admire her, indeed, in the United States, they seemed to me like something
[00:08:15] good, it's also a sacred year in hip hop,
[00:08:19] '92, '93, wow, it's everything, it's Jay-Z, it's Biggie, it's
[00:08:22] Nas, it's Wu-Tang, Snoop Dogg, Dr. Dre, everything happened
[00:08:26] that same year, an album came out, and I wore that
[00:08:29] album out, I became the band, speaking
[00:08:33] their language, dressing like them, I suddenly lived them, I suddenly
[00:08:37] had a channel for something that spoke
[00:08:39] to me.
[00:08:45] The realization that this is what I had to do hit me
[00:08:48] when I heard Biggie's album. Biggie made me
[00:08:51] understand that, like, wow, this is something I'm going to do my whole life. This
[00:08:55] is the tool, this is my tool. When Biggie came,
[00:08:58] one came who was all that gangster shit
[00:09:01] himself, but he has a sensitive soul
[00:09:04] inside him, he has some depth, some something
[00:09:08] that... makes me feel
[00:09:11] "foesby."
[00:09:42] I didn't believe it was possible to do it in Hebrew until friends from the US
[00:09:46] told me, "You came from the Holy Land, do rap in Hebrew." I told
[00:09:49] them, "It's not cool." "No, you
[00:09:53] have to." So I made them put on a beat and the
[00:09:57] studio fell silent.
[00:10:00] They say, "You understand what you did? You're doing rap
[00:10:03] in the holy tongue. You're doing something of ours from here. You're doing it
[00:10:07] in a 2000-year-old language on the other side of the world. It's
[00:10:10] crazy."
[00:10:16] I remember a phrase from which, for me, it was the phrase
[00:10:19] that gave birth to Hebrew hip-hop:
[00:10:23] "Words flowed in your head like good."
[00:10:27] A phrase, suddenly I wrote something that I said, "This
[00:10:31] is a phrase that is only ours, there is no translation for it
[00:10:34] in English."
[00:10:39] Suddenly I really remember that visually,
[00:10:42] it seemed to me as if I had put my foot in a barren
[00:10:46] desert that no human foot had ever
[00:10:48] trodden.
[00:10:55] So it was like the world opened up to me, wait, why don't I put these things into my text, why
[00:10:59] don't I put in our jokes, why not the slang, why not the language my father
[00:11:03] speaks to me at home, what am I writing? Like this is now some Shakespeare in some
[00:11:06] book, no, wait to speak like I
[00:11:09] speak, I started to think, wait, what else do we have,
[00:11:13] wait, maybe I'll start with a verse in "kosk"
[00:11:16] There is no "kosk" in English,
[00:11:19] from that second I started writing and I wrote
[00:11:22] verses for 20 years ahead.
[00:11:32] I was a very angry child, I was also a violent
[00:11:35] child, and I grew up in a house
[00:11:39] where police and enforcement officers came
[00:11:41] non-stop.
[00:11:44] My father used to buy what gift for his birthday, he bought me a boombox, a crazy
[00:11:48] system like that, it lasted exactly
[00:11:52] four days until they seized it.
[00:11:55] I felt like a lonely child, I felt like a poor child, I was really looking
[00:11:59] for myself, and what's funny is that amidst all
[00:12:02] this, hip hop
[00:12:03] came in.
[00:12:06] Suddenly I started listening to rap, it has lyrics, they're talking
[00:12:10] to me, I started connecting to this thing, they were incredibly
[00:12:14] anti-establishment, and that drove me crazy, and you start
[00:12:18] looking for clubs that play hip hop, bam,
[00:12:21] how do you find something like that?
[00:12:25] I discovered a club called Shabong. Suddenly
[00:12:28] I saw a strange kid, in pink jeans, a big black
[00:12:32] shirt like that, blonde
[00:12:34] braids, I'm begging to get in, they're not
[00:12:38] letting me in, outside I see another kid begging
[00:12:42] to get in, four and a half minutes later we both realize
[00:12:45] that we are both Tel Avivians with awards, dressed the same
[00:12:48] thing,
[00:12:51] we were drawn to each other like magnets, I don't know how to explain it, hugging.
[00:12:55] Best friends, I looked at him, and we immediately
[00:12:58] understood that we were the same kind of thing, without us knowing, we became
[00:13:02] the light
[00:13:03] and the shadow.
[00:13:06] Are you ready?
[00:13:30] And then he became my very best friend and really with me and we have like
[00:13:34] scenes with a comb in front of a mirror singing
[00:13:37] and he like hypes me up and that's where it all started and suddenly
[00:13:40] I found myself on stages with him, I didn't have a reference, for me
[00:13:44] there were things, there was "Hello guys, what's up, I brought
[00:13:48] you a song, something" and "Boys, faggots It's mind-blowing, it's mind-blowing,
[00:13:51] it's mind-blowing.
[00:13:54] It's cool. But it's not supposed to sound like that, the rap I
[00:13:57] listen to is aggressive. I felt that I needed to fight
[00:14:01] all the nonsense and all the jokes and all the rebellious
[00:14:05] youth. I wanted them to listen to the words, and I came to sing about serious
[00:14:08] things. Wait, I came to sing about our essence, about our
[00:14:11] identity, we are here because we have no
[00:14:14] other country.
[00:14:17] They raised, they raised the Zionist flag high.
[00:14:20] This Zionism will win. It's a joke to even
[00:14:23] call this a peace process. Return to
[00:14:26] the old ways, we will work together for the future of our country,
[00:14:30] together for the future of our people, together for the future of
[00:14:33] our state, they
[00:14:35] are afraid, they
[00:14:38] are afraid.
[00:14:41] Songs we made, brothers from a company also today,
[00:14:44] and I think everyone knows
[00:14:47] him.
[00:14:50] Yes,
[00:15:45] It wasn't out of some ideology to unite the people of
[00:15:48] Israel, it was to vent what makes me
[00:15:51] cry. As a teenager,
[00:15:54] you experience these things at the extreme
[00:15:57] base. Friends who exploded on buses,
[00:16:01] bodies flying in the air, and we
[00:16:03] saw them.
[00:16:08] We wanted to scream.
[00:16:21] I got on bus line 480 from Jerusalem to Tel Aviv.
[00:16:25] Let's say by the time everyone was already sleeping
[00:16:28] on the bus, and I heard the engine hum.
[00:16:32] I hear.
[00:16:38] struggling like that on the ascents
[00:16:40] and "peace, salaam, peace" got stuck in my head.
[00:16:43] Peace,
[00:16:49] peace, salaam, peace, salaam, peace,
[00:16:52] salaam.
[00:16:56] At the end of the ride, I already had the song
[00:16:58] in my head.
[00:17:00] Jerusalem, we found a loving
[00:17:04] heart. We came to...
[00:17:14] And I grew up in a neighborhood in Jerusalem called Shmuel
[00:17:16] HaNavi. Sometimes I think about the building
[00:17:20] I grew up in. In that building there were
[00:17:23] haredim, new immigrants,
[00:17:28] secular people, Panthers, and also
[00:17:31] Palestinians, and something from that
[00:17:34] cultural environment, embedded not only in me, but in everyone who grew up there then.
[00:17:39] My parents are immigrants from the United States, they arrived here in the 60s, they
[00:17:43] were hippies, there was a Jewish connection, liberal
[00:17:46] Judaism, something that didn't really take root in Israel,
[00:17:49] unfortunately.
[00:17:52] And I used to go to synagogues on Shabbat, I remember people
[00:17:56] singing in the synagogue and being very
[00:17:57] moved.
[00:18:06] And then you understand.
[00:18:37] After that,
[00:18:40] and when I thought about how I think one should live life in the everyday Israeli
[00:18:43] reality, and what values
[00:18:47] guide me, I had a lot of material for songs, and what's also
[00:18:51] nice, no one wrote about
[00:18:52] it.
[00:18:55] I recorded this "shalom salaam peace" in a studio here on Agrippas Street,
[00:18:59] a studio belonging to a ba'al teshuva. I was the first time he heard
[00:19:02] rap.
[00:19:05] And I distributed these singles in record stores.
[00:19:09] And Dudu Shavud
[00:19:11] was in one of the stores,
[00:19:16] I remember him picking up the disk in the store,
[00:19:19] only I don't know if I had already heard the song or not heard the song. I told him
[00:19:23] "Play it, come on, play it, play it, what do you care play it, play it, play it." He
[00:19:27] walked "Oh, here's punk and here's
[00:19:30] a statement." I see his face change and he's like,
[00:19:33] "What's that?" I approached Sha'anan,
[00:19:37] I said: "This song really moved me, and, I have
[00:19:40] a band, we really love hip hop, we really love punk, we also want
[00:19:44] to say something." So I invited him to jam
[00:19:47] with us.
[00:19:52] So it was Friday, we met at the Yellow Submarine
[00:19:55] at noon, we started playing, jamming,
[00:19:59] I remember he arrived and was a bit strange but interesting,
[00:20:02] and he called himself Hadag Nahash, he was such a crazy
[00:20:06] character.
[00:20:19] What a calm morning jam, three chords, I'm not in my league, that's what I felt, these are crazy
[00:20:23] musicians, and I,
[00:20:26] this idiot with the sheet of paper,
[00:20:30] and then Sha'anan actually started reviewing it, writing about
[00:20:33] it, and Sha'anan also wrote differently, he wasn't, he didn't
[00:20:36] write about. A place of "I and I and I and I" but wrote more
[00:20:40] socially, it was a separation like that, everyone suddenly
[00:20:43] found their role and slowly it was like, wow, it's
[00:20:47] working, you're cool, and that's it. This is the band to
[00:22:51] We lived in a very extreme time, in a very
[00:22:55] extreme place. Listen, people had nothing to eat,
[00:22:58] there was fear to even leave the house, there was a film of fear, there was
[00:23:02] a recession here, and on the other hand, brother, there are constant terror attacks, we didn't have a drop
[00:23:05] of air to breathe, brother, we felt suffocated,
[00:23:07] we drowned.
[00:23:10] I felt from the beginning of my journey that I had a mission in music, and I
[00:23:14] think that these songs have power, we have a meaning that is much more important
[00:23:18] than music.
[00:23:20] We wanted to convey the message, our pain, we had something to say, we are
[00:23:24] drowning here, someone
[00:23:25] listen.
[00:23:31] I was in a mood of,
[00:23:35] either this is going to be huge or I'm going to die trying. Listen, it's
[00:23:38] from above how it came to us, with the sampling
[00:23:41] of the violins, with the piercing message, and with Momi
[00:23:45] doing R&B that hasn't been heard yet in Israel, let's
[00:23:48] grab the audience. In the end,
[00:23:51] they will go in there because of the chorus but will stay there because of
[00:24:50] Tel Aviv, which wanted to be New York, suddenly had a right-wing text. There was
[00:24:53] power in it, it felt new.
[00:26:02] Please welcome Hadag Nahash. What do you call what you
[00:26:06] do? Do you call names? It's Israeli punk hip hop
[00:26:09] in Hebrew. The songs are about the difficulty of living in the country,
[00:26:12] the individual versus the establishment and things like that. We want
[00:26:16] to bring some groove here
[00:26:16] to the country.
[00:26:23] We knew this wouldn't come easily. We knew we had to work
[00:26:27] hard. We started performing and received the love of
[00:26:30] the audience. It felt like we were almost there.
[00:26:36] We tried going to record companies, they told us all sorts of irrelevant things, it's too
[00:26:40] critical, it's too political, they won't play it on the radio,
[00:26:44] hip hop won't succeed in Israel, rap won't succeed in Israel, you say, it
[00:26:47] can't be that they're so enthusiastic and there's no
[00:26:50] place for it.
[00:26:55] I remember we courted Yossi, we said wow, if Yossi
[00:26:59] produces us, wow how amazing, what a great producer.
[00:27:02] In Israel, who knows how to work with a band, there was only
[00:27:06] one.
[00:27:13] I start to hear about Hadag Nahash again and again, Hadag Nahash, Hadag
[00:27:16] Nahash, and they organized a show at the Barby, I said, "Come on, I'm
[00:27:20] going to see them." I walk in, I see Kobi
[00:27:23] Oz.
[00:27:29] Who here feels that they love their bank? For them it's a difficult
[00:27:33] feeling, they just take your money, there's no reason, it can
[00:27:36] be zero, not three shekels, not nine shekels,
[00:27:39] zero shekels for debit and credit. If it doesn't
[00:27:43] go my way, it's the highway.
[00:27:45] Okay, I'm aware of this and I blame myself for it.
[00:27:49] To say I want zero, I want zero, they don't give easily.
[00:27:52] Competition in banks starts
[00:27:55] now.
[00:27:58] Hey sisters, there's no plot, blue and white vacation.
[00:30:02] Today, on every station, you can hear Mizrahi
[00:30:05] Arabic and hip hop. I opened a label called Levantine,
[00:30:08] I looked for people who would say something new
[00:30:12] and would manage to say it cool. And we both stood pretty close to
[00:30:16] each other and saw the same thing.
[00:30:19] I see them and I'm not
[00:30:21] impressed. I see Sha'anan coming up with long
[00:30:25] hair like this, up to here, what kind of hip is that with long
[00:30:28] hair? Hadag Nahash were more or less.
[00:30:32] Everything I dreamed of in a band. He identifies Hadag Nahash
[00:30:35] and I, I'm like really not, they weren't a stereotype of
[00:30:39] hip hoppers, they were the thing itself, they were
[00:30:42] punk, and about this there was an opinionated person who said
[00:30:46] his things. Kobi Oz was like, "I have a label
[00:30:48] and... Let's meet." The audience needed
[00:30:51] to understand that they were more than hip hop. I remember him telling
[00:30:55] us, "We have an amazing team, we
[00:30:58] just need to score
[00:31:48] remember him going and bringing
[00:31:49] Mazi Cohen.
[00:31:53] He spoke to me in English. me for a sandwich
[00:31:57] in a cafeteria in space. So we thought about "I
[00:32:01] don't give up," "I don't," which is the most
[00:32:04] amazing thing in the world.
[00:32:08] And I thought that Mazi Cohen symbolized something rooted
[00:32:11] and Israeli, and through Mazi Cohen's voice.
[00:32:48] A group of people who sat down and split the atom on a
[00:32:52] musical level. I remember all of us heard the song on the radio for the first
[00:32:55] time and there was the chart, forget about the chart, there's no way it's getting in,
[00:32:59] highest entry of the week, Hadag Nahash,
[00:33:02] "I Don't Give Up." It was such an illuminating moment.
[00:33:06] It's hard to describe that feeling, everything started happening, everything started
[00:33:09] moving, and Kobi Oz,
[00:33:12] bless his heart, opened the door for us. This
[00:33:24] is not some ghetto
[00:33:29] thing with black people and white police, it's something new
[00:33:32] Israeli.
[00:33:36] We called ourselves Takt and we had a street team, this street team
[00:33:40] was built like an army, we created an audience,
[00:33:43] brother, that if we perform anywhere, serious fans come who want to hear
[00:33:47] us and know the songs by heart.
[00:34:12] We wanted to eat.
[00:34:15] The stage in the name of what we do.
[00:34:19] Thank you very much. By the way, the comment, I don't know if you noticed,
[00:34:23] but we as a society, we've been eating
[00:34:25] shit for a long time. We don't deserve to eat shit. It's time
[00:34:29] for it to stop,
[00:34:30] s-h-i-g-a.
[00:34:37] Our alliance is dedicated today to hip hop. Hip hop, hip hop. Hop, rap. There is now
[00:34:41] a whole culture and a whole fashion of rap. Israeli rappers
[00:34:45] are now in a very strong surge. This dialogue takes place between very
[00:34:48] diverse and very different groups in Israeli society, and everyone chose to talk to
[00:34:52] each other through music.
[00:34:55] When it starts to happen, it's something.
[00:34:59] You become part of people's lives suddenly. You see
[00:35:02] that spark in their eyes. You see the enthusiasm. You understand that it's not
[00:35:06] just anything.
[00:35:11] It feels like a mountain about to erupt. You feel everything shaking.
[00:35:15] You say, "Wait, an earthquake? This is not the event here, something very
[00:35:19] big is about to happen."
[00:35:25] Nobody knew where it would go, you know. Nobody knew, but what
[00:35:28] we discovered was that people were interested in seeing this thing
[00:35:32] and a movement was created. Come on, I'll say this word that I love but I'll
[00:35:35] stop. Stop with me. The claim of Israeli
[00:35:38] hip hop.
[00:36:15] It was really a cultural home and all the rap kids were there. We felt
[00:36:19] like strange outsiders, but something about the madness made us feel
[00:36:23] at home. Many people who dressed like you, looked like you and talked about verses.
[00:36:26] Bring stickers. Bring, that's what Boika, bring Boika. If
[00:36:30] you wanted to progress somewhere, to become someone, something
[00:36:33] somehow you had to sit there in the store, he
[00:36:36] built a studio and he was recording music. It starts with clothes
[00:36:40] and then with music. I was quite young, suddenly I became
[00:36:43] a big shot. He helped me greatly to cross
[00:36:46] the street.
[00:37:23] From 1992- 1993 I was a military diver.
[00:37:29] The more the army surprised me more and more, I said,
[00:37:32] "Okay, I like parties, I don't like
[00:37:34] the army." Let's go, let's open the G
[00:37:38] Sport.
[00:37:45] The G Sport scene was a friendly gathering between people
[00:37:49] who love rap, who live all over Israel, from Eilat to
[00:37:52] Rosh Pina. I walk in, I'll never forget it, after
[00:37:55] the pictures of the Fugees and The Score. And everything
[00:37:59] was hip hop, like the whole place, and I'm standing there, shocked, with my friends,
[00:38:02] and it's like, what's this? Everyone's a rapper here, everyone's
[00:38:06] cool
[00:38:07] too.
[00:38:10] We were also ICQ friends and we used to meet at G Sport
[00:38:14] and of course in freestyle circles with an open
[00:38:17] microphone, all the young rappers who waited all night just for this
[00:38:20] moment, going up with their very unprepared songs
[00:38:24] and performing them for the first time in front of a live audience. Suddenly, wow,
[00:38:28] there's a lot of Israeli
[00:38:29] hip hop.
[00:38:33] Hello and good
[00:38:35] evening,
[00:38:41] yes, Uri and Magic from Hadar,
[00:38:43] opening, we are
[00:38:45] bombed.
[00:38:48] We wanted to make a stage for ourselves, and then we said,
[00:38:51] "Okay, there are all sorts of hip hop nights, but people go up
[00:38:55] and do it in English and that's not interesting. Let's do it in Hebrew,
[00:38:58] with an emphasis on an Israeli hip hop night." And then we said
[00:39:02] at the end, "Okay, what should we call it?" "Hashguzim." Hashguzim night,
[00:39:05] Hashguzim, Hashguzim nights, Hashguzim gatherings,
[00:39:08] Hashguzim, Hashguzim night, Hashguzim, Hashguzim, Hashguzim,
[00:39:12] Hashguzim nights. We said, "Okay, of course, Hashguzim,"
[00:39:15] and the title "Israeli Hip Hop Hizugim."
[00:39:19] And that's how "Hashguzim" became a good night.
[00:39:23] Hashguzim,
[00:39:25] good night, how fun, so many.
[00:39:59] It's a dream for so many people who didn't find
[00:40:02] themselves and suddenly they have this, they have this outlet,
[00:40:05] a whole evening where all the rappers come, each one brings all his
[00:40:09] friends, they go up on stage one after another and perform their songs.
[00:40:13] There's a community
[00:40:15] and there's a culture that didn't exist until now. We're part of a group, we're part
[00:40:19] of a tribe, and we held onto each other.
[00:40:22] Okay, before we start, I want to wish
[00:40:25] you all the best from the bottom of my heart.
[00:40:31] You see the guys from Takt and you see the guys from Tamar and Dam, and you see
[00:40:34] the guys from Hadag, how different we are and how different our reality was, somehow
[00:40:38] this love, this home, this mother united
[00:40:40] all of us.
[00:40:49] We reached a boiling point, the culture war
[00:40:52] in full swing. The right is organizing with the slogan "the strong will defeat
[00:40:55] the settlers."
[00:41:27] Together, I want to see Ashkenazim, Sephardim,
[00:41:30] Ethiopians, all one people, everyone who wants to be one people, I
[00:41:33] die. Listen, at that
[00:41:36] time, every success of someone was a celebration of all
[00:41:40] of us, of the whole scene, even though there were
[00:41:43] circles, there were it was still under one united
[00:41:47] tribe, Israeli possession, although we didn't always
[00:41:50] see eye to eye, we understood that it was important
[00:41:53] that we move in the same direction together, we loved
[00:41:56] hip hop, brother, hip hop connected us, today I would tell you that it's a utopia, there's
[00:42:00] a mythological picture like that of the entire hip hop generation, with
[00:42:04] Shabak, Subliminal,
[00:42:06] Hadag, we were all Together, we were all.
[00:42:10] To make this dream happen, hip-hop in Hebrew
[00:42:12] happen.
[00:42:18] I don't believe what
[00:42:21] beauty.
[00:42:23] You guys are in Eilat for the first time? Everyone.
[00:42:26] Everyone. Amazing. That was
[00:42:29] a dish, a dish. A hot
[00:42:32] dish.
[00:44:20] to present
[00:44:22] to the world a crew
[00:44:25] of
[00:44:26] rappers.
[00:44:32] A showcase of Israeli rap and reggae.
[00:44:36] An identity card. This is the story. I think
[00:44:40] it was the first time, let's say, the first time that they really
[00:44:43] gathered all the rappers
[00:44:46] who were in that generation of the founders
[00:44:48] of hip-hop.
[00:44:54] And something happened there that hadn't happened before and hasn't happened since. All sorts of poles met
[00:44:58] there. Sabbalim met
[00:45:01] and HaTzel with Nini and Kuami
[00:45:04] and Kotig'. And HaDag Nachash, what
[00:45:07] water. How do you do that?
[00:47:35] I think it did a good job, it did a good service to Israeli hip-hop. Here it
[00:47:39] is, a moment that we are talking about 20 years later, and
[00:47:42] not everything was so lovely when
[00:47:46] we did it, but
[00:47:49] still the desire to be together and do something together. It overcame
[00:47:53] everything, which I think since
[00:47:55] then, it has already less overcome everything, everyone went their own
[00:47:59] way.
[00:48:01] Look, it was, you see it
[00:48:03] as the beginning of something, it was perhaps the swan song,
[00:48:07] too. After that, it also
[00:48:10] falls apart.
[00:48:15] The separation barrier is a fait accompli,
[00:48:18] 115 kilometers of fences
[00:48:20] and obstacles.
[00:48:52] Who, who, who, who, I didn't hear, without a badge, without
[00:48:56] porters, without anyone, whoever entered us, they wanted to.