KAN11 — 2022 -
20261104 005000 UTC
711 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.

[00:00:33] So first of all, I do it for the grandchildren, and now also for
[00:00:36] the great-grandchildren. In the last two weeks, I had two new great-grandchildren born,
[00:00:39] so I need to
[00:00:41] somehow
[00:00:44] I made the initial
[00:00:47] things, and I keep
[00:00:50] them for the grandchildren,
[00:00:53] for the great-grandchildren. What does it give you when you see the children
[00:00:56] playing with your toys? Ah, it's...
[00:01:08] They love to come and play with the things. A large part of them already each one already has some
[00:01:11] gallery at home
[00:01:14] in the dirt.
[00:01:20] Hey, how are you, Alma? Yes, so where are we from
[00:01:24] Kibbutz Haim? Do you feel like you're in the cradle
[00:01:28] of Zionism? Yes, really. The survivors of
[00:01:32] the of the valley. Is there a dining room
[00:01:35] in the kibbutz? Yes. We came to the right
[00:01:39] place. But it's not working. Go
[00:01:42] to Sema. Hello. Good
[00:01:46] morning. I'm Ezra, 95 years
[00:01:48] old from Kibbutz Haim, the oldest
[00:01:52] and most senior.
[00:01:54] And I am engaged in toy
[00:01:58] production. What's the patent is that you can
[00:02:02] lift it, ah, lift
[00:02:06] and lower it. There's always a patent, I try, because
[00:02:09] otherwise, just moving things, so I
[00:02:13] try, yes, to have something. You work every day,
[00:02:16] from 8:30 until one. In the evening, I also
[00:02:20] plan. For work, it's health, not sitting
[00:02:23] at home and watching TV all
[00:02:26] the time. We established this factory in '80.
[00:02:30] About 50 people worked here,
[00:02:34] the older friends have of course
[00:02:37] passed away. Wait, so you stayed here alone, essentially? Yes,
[00:02:40] yes, after they closed the factory, I started
[00:02:44] producing toys, which they call "youthful grace",
[00:02:47] and they leave me in the workshop
[00:02:51] where I work. So this is a saw that remained from the closed factory?
[00:02:55] Yes, so you've been working on this saw for 50 years? Yes,
[00:02:59] I need to replace the saw. It
[00:03:03] works alone without a few
[00:03:05] years you're in the kibbutz or I'm in the kibbutz
[00:03:09] since '43.
[00:03:12] I came from Iraq, from Baghdad. You're
[00:03:14] from Baghdad? Yes, even before the establishment of the state, of course, and I've
[00:03:18] been here since that year. How has the kibbutz
[00:03:21] changed, or what has changed? It has changed
[00:03:24] a lot. Once it was a society,
[00:03:28] today it's a kibbutz.
[00:04:00] Wow, wow, perfectly fine, great,
[00:04:03] with pleasure, let's see, if you know how to operate
[00:04:07] it, wow, what's it like to be 95 years old, do you have any
[00:04:11] tips? No, it's a matter of luck, I
[00:04:13] think.
[00:04:22] I didn't understand what protest was until I felt it on my own flesh, that I need to shout
[00:04:26] something, someone needs to pay a price, ready for it. it with love,
[00:04:47] protest is a cry, when we come to accompany this cry
[00:04:51] with sounds, what sounds will we choose, screaming sounds, that can
[00:04:55] also be in music, danceable, caressing, maybe a little
[00:04:59] sweet. Now
[00:05:00] the check:
[00:05:05] It was clear that this was a protest song. Smart,
[00:05:08] incisive, painful, a wound that you... can
[00:05:12] forget it and you must talk about it and wrongs shouldn't
[00:05:15] happen. I want to emphasize, I want to spit
[00:05:19] and be angry through music. They knock on the fence and say, "Listen to our
[00:05:22] rhythm." A protest song is like a song that is commonly called
[00:05:26] a love song. Its purpose is to enter people's minds. How can one not sing
[00:05:29] about war in this land and sing peace songs? The
[00:05:33] people who sing this are the same people who could have actually made peace. It's important to me to convey the message
[00:05:37] of a protest diary that was very successful with its
[00:05:39] protest.
[00:05:47] The broadest and most fundamental protest in Israeli music is social
[00:05:51] protest. Its roots began in the 1950s and to
[00:05:54] this day it plucks, plays, bites and kicks us
[00:05:57] in the head.
[00:06:06] Always eight children, this is not
[00:06:09] a joke, the country needs many nice children.
[00:06:29] I'm sorry, every life that I can say this to my father is
[00:06:33] a wound that you cannot forget and you must talk
[00:06:37] about it and you must represent it and you must
[00:06:40] warn against it and injustices. They should not happen.
[00:06:43] The government is sitting here on a barrel of explosives.
[00:06:47] The first spark that arrives will ignite the whole
[00:06:50] bonfire.
[00:06:53] "Kriza" is a documentary play. I think
[00:06:56] that Yehoshua Sobol did one of the most important works in my opinion. In the two
[00:07:00] songs "Kever Todra" and "Children is joy." This means that when he was
[00:07:04] in Or Akiva, he came to a
[00:07:08] Moroccan woman and said to her: "Tell me, how can you have so many children?
[00:07:12] You don't have any money." So she tells him: "Children, it's
[00:07:15] joy." And from here he took it and made
[00:07:18] a song. I think that this is a song of truth.
[00:07:22] Children, it's a blessing.
[00:07:25] Look, I knew it was a protest song,
[00:07:29] but it's also a bit sarcastic, that is, you're a bit,
[00:07:33] and then you have to embody a kind of joy
[00:07:35] and sadness, which is mixed into each other. Between me and
[00:07:39] Sobol there was an issue, he didn't like it, he says "from a word." Most people
[00:07:43] take it literally, so I told him, "Listen, one day I
[00:07:47] was driving, a taxi driver, I'm sitting with him, he looks at me and says, 'Shlomo, did you
[00:07:50] pass there?'" I told him, "Yes." He tells me, "You know, for
[00:07:53] years I didn't have children, I used to hear 'children
[00:07:57] are joy,' I used to cry, 'I don't have children, I don't have...'
[00:08:01] Now I have children, children are joy." I'm going to tell
[00:08:04] him that it's a protest, I'll tell him that it's not, I didn't
[00:08:08] mean
[00:08:19] this is like Moroccan, but it's also a bit
[00:08:22] Indian. I wanted explicitly to create
[00:08:26] a meeting between West and East, meaning intentionally
[00:08:29] at first, that we would sit, we would play, and find a
[00:08:32] unified language. That was the intention of natural selection. This
[00:08:36] is the whole idea. God
[00:08:40] is great.
[00:09:05] It doesn't matter what the sages say, it doesn't matter what's written in the newspaper, what day of spring will bring what tidings.
[00:09:09] Signs of a storm gather like flies on the sea.
[00:09:13] Like a sharpened knife, they cut through me. There's
[00:09:16] no rest. The night
[00:09:19] falls, covering everything
[00:09:22] in sleep.
[00:09:26] I don't see what the
[00:09:29] morning
[00:09:30] will bring.
[00:09:39] The Moroccan community is a joyous community.
[00:09:42] It's really part of it, militant, Wadi Salib,
[00:09:46] Black Panthers. Your father burned the work permits
[00:09:49] in series, so many people think there was no musical
[00:09:52] protest in this, but that's completely wrong. One of the first
[00:09:56] Israeli protest songs was actually Joe Amar. I
[00:10:00] think the greatest protest song in Israel is "I went to the labor
[00:10:03] exchange."
[00:10:07] He asked me where I was from. I told
[00:10:10] him, "Morocco."
[00:10:13] He told me, "Get out." He told me, "Get
[00:10:17] out."
[00:10:19] This is a person who is supposed to deal with parties, to make happy
[00:10:22] and beautiful songs, and to make money.
[00:10:43] Come in, please. Come
[00:10:47] in, please. One of the most important paid in this song, I went to the labor
[00:10:51] office, this is in Moroccan at all, what is this?
[00:11:25] like them, the rich brothers,
[00:11:29] Sephardim with intention,
[00:11:32] and don't forget their borders
[00:11:35] of Sibona. They are in Savyon
[00:11:38] and Bilu,
[00:11:40] against thefts, Sephardim of
[00:11:43] borders, treasures
[00:11:45] and to the camp. Another significant artist in my opinion in this field
[00:11:49] is Shach Mezu, one of the most united
[00:11:53] and audacious. This is a political cassette that circulates
[00:11:57] in the development towns, people don't know about it at all in the center.
[00:12:01] It's super political, it's super protest-oriented, it talks to the nation.
[00:12:04] People walked around with these cassettes of Shach in their cars.
[00:12:08] People think that Israeli protest music
[00:12:11] is peace songs, not war
[00:12:15] and that kind of thing. To sing peace
[00:12:18] songs, who sings this? These are the same people who could have actually made
[00:12:22] peace. Like, what are you singing about this? It came from people
[00:12:26] who saw themselves as the superior
[00:12:29] culture, while we were the inferior culture.
[00:12:33] Here are people wrapped in newspaper
[00:12:35] content.
[00:12:40] Living in a can of
[00:12:42] preserves in our kitchen. We are a protest that talks about
[00:12:46] center and periphery, that's our topic. Let's be good to each other, let's
[00:12:49] listen to each other, to make our world better. So all this
[00:12:53] issue of poverty and that. The social issue is in our
[00:12:56] songs. The newspaper always reports on life, but there are people who are really
[00:13:00] truly wrapped in newspaper now, like they're sleeping on the floor in newspaper.
[00:13:04] newspaper.
[00:13:10] This is a medley that started with the band "Sfatayim," he used a
[00:13:12] rhythm that was very
[00:13:14] complex.
[00:13:19] The genes of
[00:13:20] Ruacha.
[00:13:55] to compromise precisely with the accompaniment of
[00:13:56] this,
[00:14:02] it's not clear that this is a Moroccan rhythm, and then, here are people
[00:14:05] wrapped in the
[00:14:07] newspaper,
[00:14:16] Most of the work in processing is to make it palatable,
[00:14:19] to get on the radio and succeed in conveying this message, with these
[00:14:23] strange rhythms, with the Moroccan and
[00:14:26] barbaric elements and all the things that are inside. This is very hard work, it's work of
[00:14:29] comparison, Dr. Jekyll and Mr. Hyde of protest
[00:14:33] music, two such friends, the message and the dancing
[00:14:36] butt, they come together, the message touches the heart and mind
[00:14:40] and the dancing butt makes the person jump, and you can't, when you do this, you can't
[00:14:44] not listen.
[00:14:58] We shelved the album in those days, because the radio didn't play "Inside
[00:15:01] the Rhythm," all this Africa that comes in, it says,
[00:15:05] "Here it comes to us too," we
[00:15:08] knock on the... what's called, knock on the fence and say, "Listen to our
[00:15:12] rhythm."
[00:15:18] Is it the skin, that come
[00:15:21] from Ethiopia, bring with them.
[00:15:25] A wonderful and ancient tradition.
[00:15:29] The working sons, after the hardships
[00:15:32] of the journey, slowly discover
[00:15:36] the value. In his
[00:15:44] playing, and we brought the more influential side of Cure
[00:15:48] and all those with
[00:15:49] the hair.
[00:15:54] That, I in their eyes, I saw some
[00:15:58] light,
[00:16:00] who knows, if Abraham
[00:16:04] wasn't black.
[00:16:09] Slowly it enters a trance, it somehow sinks
[00:16:13] into consciousness, and it perhaps moves the body more.
[00:16:16] You were angry people, we were stressed people, mostly,
[00:16:19] it seems to me, we all felt that yes, there's an obligation here to say
[00:16:23] something. We drew from musicians who did indeed combine
[00:16:27] social commentary and music, like Dylan. I don't know if politicians will decide
[00:16:30] not to go to war or not, but I think there are many
[00:16:34] people who can identify with these things, you feel.
[00:16:38] That the protest of "black
[00:16:39] work,"
[00:16:42] is intertwined today within the protest for and against
[00:16:45] the expulsion of refugees,
[00:16:47] infiltrators,
[00:16:50] Yes, yes, we just made a performance, which is a version for our times.
[00:17:09] Discovering slowly the distant
[00:17:12] land, they dreamed for years of
[00:17:15] a home, and now this is the reality,
[00:17:19] it also happens at home, the exile
[00:17:23] continues.
[00:17:32] Mommy, mommy, open your
[00:17:35] legs, a miserable sitting.
[00:17:48] This touches all the chafing of our existence, the rock opera. Also in the
[00:17:52] social and neighborhood world, and in the world of peace and Jews and Arabs, all this
[00:17:56] surrounding. Yes, indeed, this was quite the beginning of what was
[00:17:59] actually a structured performance in front of
[00:18:02] an audience, and it suddenly became some cult. Suddenly it became like
[00:18:05] a cinematic show. Such that people, before Ari says
[00:18:09] the sentence, they already say what he will say, without any publicity
[00:18:12] and even without any poster, suddenly the world was full. Everything
[00:18:16] stems from the texts, what Metaphora
[00:18:20] said. He truly was ahead of his time. How do you accompany
[00:18:24] a text like "Mama, Mama, open your legs?"
[00:18:27] Eights, 80 specifies many
[00:18:30] highs.
[00:18:34] Eights as protest,
[00:18:37] yes? Monotonous music, monotonous, a house
[00:18:40] that is distinguished with such a factory,
[00:18:43] listen,
[00:18:47] just
[00:18:47] a moment,
[00:18:51] before you pull down
[00:18:55] your pants,
[00:19:00] Ishmael
[00:19:02] and Isaac were
[00:19:06] brothers.
[00:19:37] It matters to other people, and people can identify with it, identify with the fact that things are happening
[00:19:41] here that are not for sale among them, but we want to change that. I think
[00:19:44] the first time we encountered this was at the great protest
[00:19:47] in 2011, when we saw people with signs with our
[00:19:51] songs or playing our songs in declarations. I don't think
[00:19:54] that Woodstock's music got the Americans out of Vietnam, I
[00:19:58] think it reflected a public mood,
[00:20:01] and that mood is what got the Americans
[00:20:04] out of Vietnam. That is, we reflect something that people.
[00:20:43] Two years before we made the album "Time to Wake Up," we had a meeting and said what
[00:20:47] would happen in Israel in the future. It would be a combination of
[00:20:51] and Western together, but it wouldn't be Eastern, it would be Arab, and there is
[00:20:55] one box of Arab music, like another band
[00:20:58] playing.
[00:21:05] Arabs, Arabs, Arab Arab, at the end of every Hebrew sentence hides
[00:21:09] an Arab with a hookah, we made sure the Arab was
[00:21:13] an Arab, that he wouldn't be Western, believes
[00:21:15] in weapons,
[00:22:50] what
[00:22:50] a country.
[00:22:55] There are many songs that remain in the name of other people, you know what I
[00:22:58] mean? Of course, there are cases where with all
[00:23:02] my publicity, sometimes even they make schemes. So if it's
[00:23:05] not me, it's someone else entirely. What can I do? You know what I mean? Their mouths?
[00:23:09] Yes, I try anyway to express the anger of
[00:23:11] others.
[00:23:17] There's no way to live there.
[00:23:20] A protest song on one side of anger, on the other side a happy song that you can
[00:23:24] dance to, that's also the point. It's hard for me, you
[00:23:27] are far from me. It should be a great song, what
[00:23:30] a ballad that tears hearts and makes you dance. And the most beautiful thing was when I
[00:23:34] sang this song at Binyanei Ha'uma, at all sorts of
[00:23:37] big shows like that. All the Knesset members sit in the first
[00:23:40] row. So
[00:23:42] what? Today we
[00:23:46] went up, the courtyards are gone.
[00:23:51] Yoni brought the idea of "What a Country," and when he threw it out, I threw out a word and he a word
[00:23:55] and he a word, but it came from some kind of distress, it
[00:23:58] didn't just happen like that, you understand? And then they told me,
[00:24:02] "Listen, the melody is a bomb, but the lyrics are not good."
[00:24:05] "Why?" he tells me, "It's dangerous, you can fall." I told
[00:24:08] him, "Where? No one knows me. Where can I fall?" Yoni did not agree
[00:24:12] under any circumstances to change a single word in the song. Every day the song becomes
[00:24:16] even more relevant, unfortunately. Protest music in general is not
[00:24:20] a thing, it's not a simple matter, because music's purpose,
[00:24:23] in my opinion, is to take us to a beautiful world,
[00:24:26] and protest music doesn't always fit
[00:24:29] with what I expect from music. I
[00:24:32] remember that one day Shalom told me, "I have a funny song to play for you,"
[00:24:36] a small children's organ, a toy from back then, for those who remember
[00:24:40] it. The
[00:24:43] people sit for hours waiting
[00:24:46] for the Messiah to come. Shalom suddenly started listening to the guitar. But
[00:24:51] to feed the guitar's sound to the first sampler in Israel, which looked,
[00:24:54] I'm not exaggerating, like a refrigerator. From it came
[00:24:57] a cable that connected to a drum machine that operated the
[00:25:00] The
[00:25:02] manipulation we did made the guitar start playing
[00:25:06] four musical bars
[00:25:08] early.
[00:25:12] And we looked at each other and said, "We earned
[00:25:15] an opening."
[00:25:39] sitting for hours waiting
[00:25:42] for the Messiah to come. Why did he say it's a funny song?
[00:25:45] If you rewind it and especially with the rhythm that Shalom wanted
[00:25:49] to take it. Like a trip to Jaffa a bit, it could be
[00:25:52] 1, 2, 3. Sitting for hours waiting
[00:25:56] for the Messiah to come. So he broke it, and that's what
[00:25:59] brought the frenetic energy to this song. Something, yes, suddenly
[00:26:03] the song acquired some emotional stance, as
[00:26:07] it eventually turned out. There's no doubt that it happened
[00:26:09] to Shalom.
[00:26:12] Yes, he counts the money
[00:26:15] he doesn't have,
[00:26:19] and the Messiah doesn't
[00:26:20] come,
[00:26:25] the Messiah doesn't even
[00:26:27] call.
[00:26:32] You can hear the beatings in the song, you can hear
[00:26:36] the violins there. Without the violins, it could be that they were
[00:26:40] finished and complete songs.
[00:26:43] On the other hand, at Shalom's concerts, especially the big ones in those
[00:26:46] years, tens of thousands of people jump to the sounds
[00:26:50] of this song. The Messiah jumped, and people
[00:26:53] dance crazily. I say, "Wait, do they understand what
[00:26:55] the song is about?"
[00:27:01] In parallel, social protest began to give way to another protest,
[00:27:05] political protest. This was somewhere around the 60s, it was
[00:27:09] the Woodstock era, the flower children began to emerge, also
[00:27:12] in our regions, and we started talking about political protest with many,
[00:27:16] many piercing songs that contain
[00:27:19] a lot.
[00:27:26] Like you were flower children like that. You could say
[00:27:29] yes, in the song for peace essentially this.
[00:27:33] These are ideas we brought. I was in the orchestra.
[00:27:48] This is a protest song, a song that talks about looking anew. First
[00:27:52] of all, credit must be given to the creators, especially to
[00:27:55] Ruthi, who bought the text, which is a very inspiring text, in those
[00:27:58] days, especially by the fact that she sang it in the army, and that.
[00:28:32] There was a clear, lucid statement here,
[00:28:36] and I'm proud that I was part of it. So actually the orchestra,
[00:28:38] the orchestra, Oliarchik, Penningshtein
[00:28:42] and I for many years,
[00:28:45] a small country evading
[00:28:49] trouble, you won't find the address, it's
[00:28:53] kept in a box. All these songs were
[00:28:56] very serious, you know, even in "I Gave You My Life" there was some
[00:28:59] kind of politics, one says two.
[00:29:12] We said things, sometimes under the guise of humor,
[00:29:15] and sometimes very simply. When Meir Ariel
[00:29:19] recorded "Jerusalem of Iron," it was clearly
[00:29:21] a protest. I was the one who recorded it, you know,
[00:29:25] what does that mean? "Jerusalem
[00:29:28] of Gold," "Jerusalem of Gold" was the war anthem of that time.
[00:29:46] of iron and it suddenly became
[00:29:50] clear that there is a side, there is a second side to the
[00:29:53] moon. The regiment stormed forward, blood
[00:29:57] and smoke everywhere,
[00:30:00] and "Oh mother after."
[00:30:20] It's not all victory, it's great pain, it's war, it's
[00:30:23] lead, it's blood, it's iron. The evening ended, I told
[00:30:27] the young man, "What's your name? Come, come, stay." And then I remembered that he was
[00:30:30] once at the Singer's Club with Shalom. Hanoch, I broadcast it the next day,
[00:30:34] I immediately received a phone call from Naomi, "You're stabbing a knife in my heart. I
[00:30:38] won't, they won't broadcast only 'Jerusalem of Iron' now, they'll forget
[00:30:41] 'Jerusalem of Gold.' Don't do it again." So I didn't do it
[00:30:45] again, but then I knew it was a protest song,
[00:30:49] it was clear that it was a protest song. Sharp, wise,
[00:30:52] incisive, painful. What is it that you caught it
[00:30:55] in time? Luckily I understood that it was a
[00:30:58] song for you. You are masters,
[00:31:04] please just bread and entertainment.
[00:31:07] Bread
[00:31:08] and entertainment.
[00:31:12] How good and how pleasant. And I
[00:31:15] knew him, but we didn't collaborate. We talked a bit, sat down, drank
[00:31:19] coffee, cigarette after cigarette, talking about
[00:31:22] the situation, about the Lebanon War. I told him,
[00:31:25] "Listen, I feel like vomiting, I feel like spitting
[00:31:28] from anger." He tells me, "I like that." From the coffee shop, we went to Yehuda
[00:31:32] Talit, he tells him, "Listen, you want to be angry
[00:31:35] and vomit and spit, I'm in." From song,
[00:31:39] a story in the land of "Hava
[00:31:41] ve'i," land of "Hava'i."
[00:32:20] And this song falls into a very big public debate, whether to stay
[00:32:24] in Lebanon or not, and I seize the moment and take
[00:32:27] a side,
[00:32:31] the time has come to return from
[00:32:34] the mountains, from foreign fields. Today
[00:32:38] fades and there is no task. I remember reaching
[00:32:41] a show in the north, I remember white fists. On
[00:32:45] the, they didn't like it. I also ran a campaign in parallel
[00:32:49] at Bank Leumi and I was also in Eurovision and all that. How can
[00:32:52] I participate
[00:32:55] in demonstrations against
[00:32:57] what's called.
[00:33:04] In the 80s we entered Lebanon and suffered an
[00:33:07] Intifada. This nurtured
[00:33:10] on the tree of protest, many new songs that were
[00:33:13] for the most part.
[00:33:39] Don't tell me about a girl who lost
[00:33:43] her eye.
[00:33:55] The history of this song is the honor of writing for Lennon. I didn't
[00:33:59] understand what she was writing about, I didn't care what she was writing about,
[00:34:03] and I didn't examine whether I identified with it, until someone at a show
[00:34:06] said, "You should be ashamed!" "What
[00:34:09] are you?"
[00:34:11] And I said, "What do you want? I composed a song for Nurit." I didn't
[00:34:15] delve into it here, because a Jew who doesn't know what's happening here, I wasn't
[00:34:19] really explained who the Arabs were. I found myself
[00:34:22] in an APC at 17 and a half. I didn't understand who the
[00:34:25] enemy was, I didn't know if I hated him, loved him. I saw people
[00:34:29] getting killed, unfortunately, at "Shlomo Hagalil." If I got confused
[00:34:32] in my head, I'd go again. You understand, suddenly
[00:34:35] Nurit, and everything's intuition, melodies, after us
[00:34:39] the flood, not a flood, I don't know what she's
[00:34:40] talking about.
[00:34:44] after
[00:36:01] forbidden
[00:36:02] fruits
[00:36:09] of the second album where I wrote about the war
[00:36:12] in Lebanon and I was in the war in Lebanon.
[00:36:15] I was hit there and then the album came out and they told me you can't
[00:36:19] sing about war in this country and I said how can I but this is what I
[00:36:22] am going through it's war like now there was war and it's hard and so
[00:36:26] and how?
[00:36:29] And then I said, "So you can talk about this with humor." And then I understood
[00:36:33] that with humor I can say what I want
[00:36:37] and not one by one. I'm a rapper and I have something to say. I didn't come
[00:36:40] to music from the place of music. I came to music from the place of
[00:36:44] the message and I understood that when I
[00:36:46] combine these things together and there's
[00:36:49] a hook, I understood the meaning of the hook. Essentially, my
[00:36:53] message reaches more people because people are caught by the music and then...
[00:37:05] to turn what I am into the mainstream. I'm proud of what I am, so
[00:37:09] let there be a Star of David on the wall that said "Together we will survive, divided we will
[00:37:12] fall." When I was living day to day,
[00:37:16] I discovered that I had an enemy that I didn't understand what
[00:37:19] harm I had done to him, but he really hates me. The media. They called
[00:37:23] me an extreme right-winger, they said I should be ostracized
[00:37:26] from society. I remember a picture of me standing like this with all the guys behind me and it said
[00:37:30] "The Jewish Underground" and this is what kept me going day to day because
[00:37:33] the hardest sentence there is that the country is swaying like a cigarette in Arafat's
[00:37:37] mouth. This is a sweet sentence and I decided that I
[00:37:41] am going to fight this enemy and I am going to play
[00:37:44] with them.
[00:37:48] I made the song "Divide and Conquer," I made its sound very poppy,
[00:37:52] so that if you don't hear the "Divide and Conquer" part, how can it succeed? But
[00:37:56] I called it "Divide and Conquer." Like the slogan of fascism, "Battle
[00:37:59] Front," lying on the ground, TV showing only nonsense, listening
[00:38:03] and getting offended, politicians still fighting between right and left, divide
[00:38:06] and conquer, hey, and together we will survive, divided we will fall, and that's it.
[00:38:09] And naturally, in those periods, 2002 there were non-stop attacks
[00:38:13] and terror, that's what people were screaming about, that's what people wanted
[00:38:17] to hear, that's what people wanted to say, and you couldn't hear
[00:38:21] it anywhere in Israeli
[00:38:22] music.
[00:38:27] This
[00:38:35] is no longer a band,
[00:38:37] a young band with a fast rhythm, but rather
[00:38:40] more mature and sharp in terms of
[00:38:43] lyrics. We played "Milk"
[00:38:47] now. We gathered the friends and decided to do
[00:38:51] a comeback tour of "Tislam" in the summer of '90. We recorded two new songs, "The
[00:38:55] Face of the State" and "You've Got Me." "The Face of the State"
[00:38:58] really started in a rehearsal that Yossi actually brought
[00:39:02] to the rehearsal, a
[00:39:03] riff like that.
[00:39:08] Three
[00:39:09] days.
[00:39:12] There's something here and we started jamming around this
[00:39:15] riff.
[00:39:18] Can't stop, and I wrote the lyrics
[00:39:21] in a kind of one-take, a stream of consciousness
[00:39:24] like that, and in one day a song. It was already there and we didn't
[00:39:28] have time to think about what it meant at all that the song was complete and we were
[00:39:32] happy.
[00:39:35] Who loved, so what if on the way he lied
[00:39:39] and stole?
[00:39:42] In the window in the corner, his face
[00:39:45] is...
[00:39:52] Now the song came out, I don't know if you know, it was played
[00:39:55] and it was taken seriously.
[00:39:59] Who would have thought that this song would become so
[00:40:02] consistently relevant? It's simply unbelievable. It's always relevant
[00:40:06] and always more serious. On one hand, it's a pop
[00:40:10] song that sounds good and cool like that. It's slick,
[00:40:13] it's slippery, it's not, it goes through quickly, it hits you in the face, it
[00:40:17] penetrates
[00:40:17] deep.
[00:40:27] We want change, we want change,
[00:40:30] we want change. We are two-faced.
[00:40:33] מזוי,
[00:40:38] Now,
[00:40:43] we,
[00:40:48] for me, spring touches in a very, very
[00:40:50] extreme way, more extreme than I had heard until then.
[00:40:54] This moment when he's in distress, he's off-key.
[00:41:21] He educates us that there are no forbidden and permissible
[00:41:24] things to say that are not necessarily comfortable.
[00:41:28] But I like to work with creators, and that's perhaps how the compound
[00:41:32] of "I who
[00:41:34] loves sharp creators, but I love beautiful
[00:41:37] things" was created.
[00:41:42] Voices of war
[00:41:45] and hatred of others that grows
[00:41:49] every day.
[00:41:53] Uri Or, Uri
[00:41:55] Or, "Beloved
[00:41:58] Homeland." He came with this song
[00:42:02] and this line he wrote he didn't write "Beloved
[00:42:05] Homeland" he wrote "Dark
[00:42:07] Homeland." And then we had
[00:42:10] issues and the record company also said maybe we can
[00:42:13] and then
[00:42:16] Aviv connected to it because he came from love he changed it
[00:42:20] to "Beloved" and that proves to me that it's from
[00:42:23] caring you say things it's stronger it
[00:42:27] hurts
[00:42:30] the pain as he writes "Heyma היא היא"
[00:42:33] internally it's not what you
[00:42:37] do, but it hurts.' What is it
[00:42:40] that I haven't felt it on my flesh that I need to shout something, my mouth
[00:42:44] is sealed always for
[00:42:46] your safety, but you hand me over
[00:42:50] to a stranger
[00:42:54] I am your brother you
[00:42:57] are an enemy you hate me
[00:43:01] but I love and until today we were educated that protest
[00:43:04] songs are political songs from a certain side
[00:43:08] Today protest songs should be'.
[00:44:15] I don't understand what I'm seeing. A lack of understanding of what's really happening? This
[00:44:18] is truly a combination of
[00:44:20] the perception. This truth needs
[00:44:23] to come out.
[00:44:29] One of them simply cocks the weapon and opens fire into our
[00:44:33] stomachs.
[00:44:36] They are the head, they are guilty. There are many guilty parties in October 7.
[00:44:40] I don't think the Supreme Court is one
[00:44:41] of them.
[00:44:44] I haven't seen such a thing, I haven't heard such
[00:44:47] stories.
[00:44:53] I very much hope that the Israeli public knows to believe
[00:44:57] the truth and will not follow the lies.
[00:45:00] Real time, soon,
[00:45:04] on Kan 11 and Kan
[00:45:06] Box.
[00:45:11] Looking back, we grew up in a completely crazy
[00:45:13] situation, there isn't a day that they don't shoot at you, everyone from age
[00:45:17] 16 got a weapon, beatings,
[00:45:19] casualties.
[00:45:23] What are you willing to do to not give up on friendship? I am willing
[00:45:26] even to die.
[00:45:29] That's how I lived, that only if there is war there is
[00:45:31] meaning.
[00:45:34] I lost my childhood at
[00:45:36] that age.
[00:45:38] Our children are growing up. National mission The biggest mission of a person
[00:45:42] in this world is for his children to be happy. Would you
[00:45:46] raise your children there? Children of Hebron, Saturday
[00:45:50] night after a meeting on Kan 11 and Kan
[00:45:54] Box.
[00:46:02] There's an economic protest, a gender protest, a protest of
[00:46:05] individualism, a protest about not protesting, and all these
[00:46:09] protests have expression.
[00:46:23] You are a family of chocolate makers, do you like chocolate? No, that's why
[00:46:27] I wrote don't call me darling, it gives me a rash, it makes me sick of chocolate, because until age
[00:46:31] eight I ate all the amount a person can, so
[00:46:34] the first moment that people opened
[00:46:38] their ears to the true voice of Corona.
[00:46:42] That's not a true voice, that's the result of thought. When you make the first
[00:46:46] record, you look for who you are, it's right to say who is
[00:46:49] hiding behind the person, and every time I released a DJ like this to the world. A song for singing
[00:46:53] came out like this and the morning train, all sorts of things in jazz
[00:46:56] I did, and nothing caught on, and I understood
[00:47:00] that I wasn't in the right place, but darling, when I made it, it was
[00:47:04] I felt that it was my color, it was the
[00:47:07] song of protest, yes. As a woman
[00:47:09] I want to say that don't call
[00:47:13] me darling that it's like don't tell me what to do.
[00:47:17] There was that thing where they always tell you diminishing, diminishing
[00:47:20] and I wanted to go against it. Did it feel political? It
[00:47:24] was so personal, not really naive, but it was my
[00:47:27] cry.
[00:47:30] I knew I wanted to be angry through music, that I wanted
[00:47:34] to express my rage, my anger
[00:47:37] and my rebellion against this absurdity that my
[00:47:40] songs are not
[00:47:41] played.
[00:47:51] And then I went to the piano, it was. After a call I made to an important editor
[00:47:54] at Galei Zahal, I asked him, why don't you play the new songs? Grunich,
[00:47:58] you write too complex, too
[00:48:00] complicated.
[00:48:03] The people want simple songs, I said, but you need to educate. You, I hung up
[00:48:07] the phone, went to the piano, everyone wants, simple
[00:48:11] songs, songs in two
[00:48:13] chords. And he actually became a hit, you
[00:48:17] see, the absurdities of
[00:48:18] life.
[00:48:22] You chose an uplifting rhythm, when I stick out my tongue I usually
[00:48:26] do it like a funny demon, not like that.
[00:48:30] The humor here is the humor of a transformer, Disney did
[00:48:33] you la la la la la, but the problem, exactly, everyone
[00:48:37] wants simple
[00:48:38] songs. So take it, so
[00:48:42] take it, everyone wants simple
[00:48:46] songs. Expressing protest in songs, it's
[00:48:49] effective, you change the world, look.
[00:48:54] We know that words have power.
[00:48:57] So yes, I know you know,
[00:49:00] I earned well this month, not bad, and yet
[00:49:04] they came to execute, in my
[00:49:08] apartment, there was a moment, I witnessed
[00:49:12] a situation where people allow themselves
[00:49:15] to strip or dress honor
[00:49:18] according to how many stripes a person
[00:49:21] has. One of the ways that
[00:49:25] I have when I get upset is that I go to understand
[00:49:29] it, I take a camera and start
[00:49:32] with a zoom to follow the words, but someone stepped
[00:49:36] on me and I couldn't
[00:49:38] get up, there are
[00:49:40] millions like me
[00:49:44] wandering the streets.
[00:49:47] There are people like me, I wrote a few verses and I
[00:49:51] remember I played it for my dear husband, and he told
[00:49:54] me: I think you can write a few more verses. Do you remember
[00:49:58] Susan, the girl from the bank, she gave me
[00:50:01] a lot of love, it took her a while to grasp
[00:50:04] the matter, to change her attitude towards me, she
[00:50:08] understood that I had no cash and stripped my
[00:50:12] dignity from me. Bank fees are, this song came to
[00:50:15] them when they, I'll tell you something, step on a
[00:50:19] person. In all the songs that I see that have them.
[00:50:31] I know it's very dangerous, because it could be that at the moment I see someone doing such and such and not such and such,
[00:50:35] at that moment they are looking at me that I also did
[00:50:38] the same thing, maybe on a micro level,
[00:50:41] maybe to a different extent, maybe at a different time, and they let me
[00:50:45] judge myself, but they show me another person, today it's
[00:50:48] me.
[00:50:52] Tomorrow it's you without
[00:50:55] money. It seems to me that your
[00:50:59] generation is a generation whose parents promised them
[00:51:03] a lot, pumped them up with hope and with if
[00:51:06] you try you will succeed and in the end you all crashed and burned,
[00:51:10] right? The 30-year-old has a high
[00:51:14] debt, still hasn't eaten enough to be full, looking for some meaning,
[00:51:18] I don't know, just a phrase that might be nice to tattoo on
[00:51:21] the arm.
[00:52:05] time, what I hold onto is
[00:52:09] the disconnect I see between people and
[00:52:11] themselves, and that it causes so
[00:52:15] much pain and suffering everywhere
[00:52:18] I look. This is part of my goals, and music, and it also comes
[00:52:22] as I get older, it's to connect
[00:52:25] a person to himself, because I was also disconnected for many years. What
[00:52:29] is music? It's a communication tool. We communicate with it
[00:52:32] and talk and change emotions, it's like a drug. You hear a song, you become
[00:52:36] happy, you become sad, you become this, it has a lot of weight. I was six
[00:52:39] when Sadat came to Israel, seven when they signed the agreements.
[00:52:43] Eight is the number of Uri Malmilian who is, without a doubt, my childhood
[00:52:46] hero. Nine times I was too close to an attack, at least for
[00:52:50] now. 10, the most Israeli answer
[00:52:53] to the question, how are you? When we released the number song a million
[00:52:57] years ago, we performed it for the first time in a famous club in Tel
[00:53:00] Aviv, and he came to my house and said
[00:53:01] to me:
[00:53:05] What do we need songs for when it's the main headline in the newspaper? I told him: No way! It's not like
[00:53:09] a newspaper article. He asked me why? I told him because it's in rhymes. You rhyme
[00:53:13] reality. It doesn't matter if it's personal reality or social
[00:53:17] reality. Psychology is like that, in order to change
[00:53:20] things you first describe them. And then
[00:53:23] when it's sung, there's a part that's sung that you didn't notice, hey,
[00:53:27] now I understand why it's like that, it's like that, so sometimes
[00:53:30] the problem... will be solved over time. And
[00:53:35] even though I've seen many smart people who say they don't think music changes the world, I think
[00:53:38] it does, that if there's one thing in the world that changes, it's music,
[00:53:42] it's an art that penetrates the deepest into the soul. I wonder why
[00:53:45] it takes
[00:53:48] so long
[00:53:50] for the real protest to reach its peak, how long, if at all, it will take
[00:53:54] for something to change.
[00:53:57] Wow, a song, look what it does. Wow, wow, wow, wow, wow.
[00:54:01] You're saying all these people with the suffering of everything each person goes through.
[00:54:05] You're waiting for a song, every time they told me wow, how do you write such
[00:54:08] lyrics? I told them, but such deeds are done, it doesn't bother
[00:54:12] me, so think that I wrote in the newspaper that something happened, I just know
[00:54:16] that... articles are not remembered
[00:54:18] forever, they don't have the power of
[00:54:21] the melody.
[00:54:27] I have no other country,
[00:54:31] even if you die, come.
[00:56:05] Ah, not
[00:56:07] to remind
[00:56:10] her, and I will sing here
[00:56:14] in her headphones, until
[00:56:18] she opens her
[00:56:22] eyes with,