Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking. Treat it as a searchable index of what was broadcast, not a quotation record.
00:00:33So first of all, I do it for the grandchildren, and now also for
00:00:36the great-grandchildren. In the last two weeks, I had two new great-grandchildren born,
00:00:39so I need to
00:00:41somehow
00:00:44I made the initial
00:00:47things, and I keep
00:00:50them for the grandchildren,
00:00:53for the great-grandchildren. What does it give you when you see the children
00:00:56playing with your toys? Ah, it's...
00:01:08They love to come and play with the things. A large part of them already each one already has some
00:01:11gallery at home
00:01:14in the dirt.
00:01:20Hey, how are you, Alma? Yes, so where are we from
00:01:24Kibbutz Haim? Do you feel like you're in the cradle
00:01:28of Zionism? Yes, really. The survivors of
00:01:32the of the valley. Is there a dining room
00:01:35in the kibbutz? Yes. We came to the right
00:01:39place. But it's not working. Go
00:01:42to Sema. Hello. Good
00:01:46morning. I'm Ezra, 95 years
00:01:48old from Kibbutz Haim, the oldest
00:01:52and most senior.
00:01:54And I am engaged in toy
00:01:58production. What's the patent is that you can
00:02:02lift it, ah, lift
00:02:06and lower it. There's always a patent, I try, because
00:02:09otherwise, just moving things, so I
00:02:13try, yes, to have something. You work every day,
00:02:16from 8:30 until one. In the evening, I also
00:02:20plan. For work, it's health, not sitting
00:02:23at home and watching TV all
00:02:26the time. We established this factory in '80.
00:02:30About 50 people worked here,
00:02:34the older friends have of course
00:02:37passed away. Wait, so you stayed here alone, essentially? Yes,
00:02:40yes, after they closed the factory, I started
00:02:44producing toys, which they call "youthful grace",
00:02:47and they leave me in the workshop
00:02:51where I work. So this is a saw that remained from the closed factory?
00:02:55Yes, so you've been working on this saw for 50 years? Yes,
00:02:59I need to replace the saw. It
00:03:03works alone without a few
00:03:05years you're in the kibbutz or I'm in the kibbutz
00:03:09since '43.
00:03:12I came from Iraq, from Baghdad. You're
00:03:14from Baghdad? Yes, even before the establishment of the state, of course, and I've
00:03:18been here since that year. How has the kibbutz
00:03:21changed, or what has changed? It has changed
00:03:24a lot. Once it was a society,
00:03:28today it's a kibbutz.
00:04:00Wow, wow, perfectly fine, great,
00:04:03with pleasure, let's see, if you know how to operate
00:04:07it, wow, what's it like to be 95 years old, do you have any
00:04:11tips? No, it's a matter of luck, I
00:04:13think.
00:04:22I didn't understand what protest was until I felt it on my own flesh, that I need to shout
00:04:26something, someone needs to pay a price, ready for it. it with love,
00:04:47protest is a cry, when we come to accompany this cry
00:04:51with sounds, what sounds will we choose, screaming sounds, that can
00:04:55also be in music, danceable, caressing, maybe a little
00:04:59sweet. Now
00:05:00the check:
00:05:05It was clear that this was a protest song. Smart,
00:05:08incisive, painful, a wound that you... can
00:05:12forget it and you must talk about it and wrongs shouldn't
00:05:15happen. I want to emphasize, I want to spit
00:05:19and be angry through music. They knock on the fence and say, "Listen to our
00:05:22rhythm." A protest song is like a song that is commonly called
00:05:26a love song. Its purpose is to enter people's minds. How can one not sing
00:05:29about war in this land and sing peace songs? The
00:05:33people who sing this are the same people who could have actually made peace. It's important to me to convey the message
00:05:37of a protest diary that was very successful with its
00:05:39protest.
00:05:47The broadest and most fundamental protest in Israeli music is social
00:05:51protest. Its roots began in the 1950s and to
00:05:54this day it plucks, plays, bites and kicks us
00:05:57in the head.
00:06:06Always eight children, this is not
00:06:09a joke, the country needs many nice children.
00:06:29I'm sorry, every life that I can say this to my father is
00:06:33a wound that you cannot forget and you must talk
00:06:37about it and you must represent it and you must
00:06:40warn against it and injustices. They should not happen.
00:06:43The government is sitting here on a barrel of explosives.
00:06:47The first spark that arrives will ignite the whole
00:06:50bonfire.
00:06:53"Kriza" is a documentary play. I think
00:06:56that Yehoshua Sobol did one of the most important works in my opinion. In the two
00:07:00songs "Kever Todra" and "Children is joy." This means that when he was
00:07:04in Or Akiva, he came to a
00:07:08Moroccan woman and said to her: "Tell me, how can you have so many children?
00:07:12You don't have any money." So she tells him: "Children, it's
00:07:15joy." And from here he took it and made
00:07:18a song. I think that this is a song of truth.
00:07:22Children, it's a blessing.
00:07:25Look, I knew it was a protest song,
00:07:29but it's also a bit sarcastic, that is, you're a bit,
00:07:33and then you have to embody a kind of joy
00:07:35and sadness, which is mixed into each other. Between me and
00:07:39Sobol there was an issue, he didn't like it, he says "from a word." Most people
00:07:43take it literally, so I told him, "Listen, one day I
00:07:47was driving, a taxi driver, I'm sitting with him, he looks at me and says, 'Shlomo, did you
00:07:50pass there?'" I told him, "Yes." He tells me, "You know, for
00:07:53years I didn't have children, I used to hear 'children
00:07:57are joy,' I used to cry, 'I don't have children, I don't have...'
00:08:01Now I have children, children are joy." I'm going to tell
00:08:04him that it's a protest, I'll tell him that it's not, I didn't
00:08:08mean
00:08:19this is like Moroccan, but it's also a bit
00:08:22Indian. I wanted explicitly to create
00:08:26a meeting between West and East, meaning intentionally
00:08:29at first, that we would sit, we would play, and find a
00:08:32unified language. That was the intention of natural selection. This
00:08:36is the whole idea. God
00:08:40is great.
00:09:05It 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.
00:09:09Signs of a storm gather like flies on the sea.
00:09:13Like a sharpened knife, they cut through me. There's
00:09:16no rest. The night
00:09:19falls, covering everything
00:09:22in sleep.
00:09:26I don't see what the
00:09:29morning
00:09:30will bring.
00:09:39The Moroccan community is a joyous community.
00:09:42It's really part of it, militant, Wadi Salib,
00:09:46Black Panthers. Your father burned the work permits
00:09:49in series, so many people think there was no musical
00:09:52protest in this, but that's completely wrong. One of the first
00:09:56Israeli protest songs was actually Joe Amar. I
00:10:00think the greatest protest song in Israel is "I went to the labor
00:10:03exchange."
00:10:07He asked me where I was from. I told
00:10:10him, "Morocco."
00:10:13He told me, "Get out." He told me, "Get
00:10:17out."
00:10:19This is a person who is supposed to deal with parties, to make happy
00:10:22and beautiful songs, and to make money.
00:10:43Come in, please. Come
00:10:47in, please. One of the most important paid in this song, I went to the labor
00:10:51office, this is in Moroccan at all, what is this?
00:11:25like them, the rich brothers,
00:11:29Sephardim with intention,
00:11:32and don't forget their borders
00:11:35of Sibona. They are in Savyon
00:11:38and Bilu,
00:11:40against thefts, Sephardim of
00:11:43borders, treasures
00:11:45and to the camp. Another significant artist in my opinion in this field
00:11:49is Shach Mezu, one of the most united
00:11:53and audacious. This is a political cassette that circulates
00:11:57in the development towns, people don't know about it at all in the center.
00:12:01It's super political, it's super protest-oriented, it talks to the nation.
00:12:04People walked around with these cassettes of Shach in their cars.
00:12:08People think that Israeli protest music
00:12:11is peace songs, not war
00:12:15and that kind of thing. To sing peace
00:12:18songs, who sings this? These are the same people who could have actually made
00:12:22peace. Like, what are you singing about this? It came from people
00:12:26who saw themselves as the superior
00:12:29culture, while we were the inferior culture.
00:12:33Here are people wrapped in newspaper
00:12:35content.
00:12:40Living in a can of
00:12:42preserves in our kitchen. We are a protest that talks about
00:12:46center and periphery, that's our topic. Let's be good to each other, let's
00:12:49listen to each other, to make our world better. So all this
00:12:53issue of poverty and that. The social issue is in our
00:12:56songs. The newspaper always reports on life, but there are people who are really
00:13:00truly wrapped in newspaper now, like they're sleeping on the floor in newspaper.
00:13:04newspaper.
00:13:10This is a medley that started with the band "Sfatayim," he used a
00:13:12rhythm that was very
00:13:14complex.
00:13:19The genes of
00:13:20Ruacha.
00:13:55to compromise precisely with the accompaniment of
00:13:56this,
00:14:02it's not clear that this is a Moroccan rhythm, and then, here are people
00:14:05wrapped in the
00:14:07newspaper,
00:14:16Most of the work in processing is to make it palatable,
00:14:19to get on the radio and succeed in conveying this message, with these
00:14:23strange rhythms, with the Moroccan and
00:14:26barbaric elements and all the things that are inside. This is very hard work, it's work of
00:14:29comparison, Dr. Jekyll and Mr. Hyde of protest
00:14:33music, two such friends, the message and the dancing
00:14:36butt, they come together, the message touches the heart and mind
00:14:40and the dancing butt makes the person jump, and you can't, when you do this, you can't
00:14:44not listen.
00:14:58We shelved the album in those days, because the radio didn't play "Inside
00:15:01the Rhythm," all this Africa that comes in, it says,
00:15:05"Here it comes to us too," we
00:15:08knock on the... what's called, knock on the fence and say, "Listen to our
00:15:12rhythm."
00:15:18Is it the skin, that come
00:15:21from Ethiopia, bring with them.
00:15:25A wonderful and ancient tradition.
00:15:29The working sons, after the hardships
00:15:32of the journey, slowly discover
00:15:36the value. In his
00:15:44playing, and we brought the more influential side of Cure
00:15:48and all those with
00:15:49the hair.
00:15:54That, I in their eyes, I saw some
00:15:58light,
00:16:00who knows, if Abraham
00:16:04wasn't black.
00:16:09Slowly it enters a trance, it somehow sinks
00:16:13into consciousness, and it perhaps moves the body more.
00:16:16You were angry people, we were stressed people, mostly,
00:16:19it seems to me, we all felt that yes, there's an obligation here to say
00:16:23something. We drew from musicians who did indeed combine
00:16:27social commentary and music, like Dylan. I don't know if politicians will decide
00:16:30not to go to war or not, but I think there are many
00:16:34people who can identify with these things, you feel.
00:16:38That the protest of "black
00:16:39work,"
00:16:42is intertwined today within the protest for and against
00:16:45the expulsion of refugees,
00:16:47infiltrators,
00:16:50Yes, yes, we just made a performance, which is a version for our times.
00:17:09Discovering slowly the distant
00:17:12land, they dreamed for years of
00:17:15a home, and now this is the reality,
00:17:19it also happens at home, the exile
00:17:23continues.
00:17:32Mommy, mommy, open your
00:17:35legs, a miserable sitting.
00:17:48This touches all the chafing of our existence, the rock opera. Also in the
00:17:52social and neighborhood world, and in the world of peace and Jews and Arabs, all this
00:17:56surrounding. Yes, indeed, this was quite the beginning of what was
00:17:59actually a structured performance in front of
00:18:02an audience, and it suddenly became some cult. Suddenly it became like
00:18:05a cinematic show. Such that people, before Ari says
00:18:09the sentence, they already say what he will say, without any publicity
00:18:12and even without any poster, suddenly the world was full. Everything
00:18:16stems from the texts, what Metaphora
00:18:20said. He truly was ahead of his time. How do you accompany
00:18:24a text like "Mama, Mama, open your legs?"
00:18:27Eights, 80 specifies many
00:18:30highs.
00:18:34Eights as protest,
00:18:37yes? Monotonous music, monotonous, a house
00:18:40that is distinguished with such a factory,
00:18:43listen,
00:18:47just
00:18:47a moment,
00:18:51before you pull down
00:18:55your pants,
00:19:00Ishmael
00:19:02and Isaac were
00:19:06brothers.
00:19:37It matters to other people, and people can identify with it, identify with the fact that things are happening
00:19:41here that are not for sale among them, but we want to change that. I think
00:19:44the first time we encountered this was at the great protest
00:19:47in 2011, when we saw people with signs with our
00:19:51songs or playing our songs in declarations. I don't think
00:19:54that Woodstock's music got the Americans out of Vietnam, I
00:19:58think it reflected a public mood,
00:20:01and that mood is what got the Americans
00:20:04out of Vietnam. That is, we reflect something that people.
00:20:43Two years before we made the album "Time to Wake Up," we had a meeting and said what
00:20:47would happen in Israel in the future. It would be a combination of
00:20:51and Western together, but it wouldn't be Eastern, it would be Arab, and there is
00:20:55one box of Arab music, like another band
00:20:58playing.
00:21:05Arabs, Arabs, Arab Arab, at the end of every Hebrew sentence hides
00:21:09an Arab with a hookah, we made sure the Arab was
00:21:13an Arab, that he wouldn't be Western, believes
00:21:15in weapons,
00:22:50what
00:22:50a country.
00:22:55There are many songs that remain in the name of other people, you know what I
00:22:58mean? Of course, there are cases where with all
00:23:02my publicity, sometimes even they make schemes. So if it's
00:23:05not me, it's someone else entirely. What can I do? You know what I mean? Their mouths?
00:23:09Yes, I try anyway to express the anger of
00:23:11others.
00:23:17There's no way to live there.
00:23:20A protest song on one side of anger, on the other side a happy song that you can
00:23:24dance to, that's also the point. It's hard for me, you
00:23:27are far from me. It should be a great song, what
00:23:30a ballad that tears hearts and makes you dance. And the most beautiful thing was when I
00:23:34sang this song at Binyanei Ha'uma, at all sorts of
00:23:37big shows like that. All the Knesset members sit in the first
00:23:40row. So
00:23:42what? Today we
00:23:46went up, the courtyards are gone.
00:23:51Yoni brought the idea of "What a Country," and when he threw it out, I threw out a word and he a word
00:23:55and he a word, but it came from some kind of distress, it
00:23:58didn'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
00:24:08him, "Where? No one knows me. Where can I fall?" Yoni did not agree
00:24:12under any circumstances to change a single word in the song. Every day the song becomes
00:24:16even more relevant, unfortunately. Protest music in general is not
00:24:20a thing, it's not a simple matter, because music's purpose,
00:24:23in my opinion, is to take us to a beautiful world,
00:24:26and protest music doesn't always fit
00:24:29with what I expect from music. I
00:24:32remember that one day Shalom told me, "I have a funny song to play for you,"
00:24:36a small children's organ, a toy from back then, for those who remember
00:24:40it. The
00:24:43people sit for hours waiting
00:24:46for the Messiah to come. Shalom suddenly started listening to the guitar. But
00:24:51to feed the guitar's sound to the first sampler in Israel, which looked,
00:24:54I'm not exaggerating, like a refrigerator. From it came
00:24:57a cable that connected to a drum machine that operated the
00:25:00The
00:25:02manipulation we did made the guitar start playing
00:25:06four musical bars
00:25:08early.
00:25:12And we looked at each other and said, "We earned
00:25:15an opening."
00:25:39sitting for hours waiting
00:25:42for the Messiah to come. Why did he say it's a funny song?
00:25:45If you rewind it and especially with the rhythm that Shalom wanted
00:25:49to take it. Like a trip to Jaffa a bit, it could be
00:25:521, 2, 3. Sitting for hours waiting
00:25:56for the Messiah to come. So he broke it, and that's what
00:25:59brought the frenetic energy to this song. Something, yes, suddenly
00:26:03the song acquired some emotional stance, as
00:26:07it eventually turned out. There's no doubt that it happened
00:26:09to Shalom.
00:26:12Yes, he counts the money
00:26:15he doesn't have,
00:26:19and the Messiah doesn't
00:26:20come,
00:26:25the Messiah doesn't even
00:26:27call.
00:26:32You can hear the beatings in the song, you can hear
00:26:36the violins there. Without the violins, it could be that they were
00:26:40finished and complete songs.
00:26:43On the other hand, at Shalom's concerts, especially the big ones in those
00:26:46years, tens of thousands of people jump to the sounds
00:26:50of this song. The Messiah jumped, and people
00:26:53dance crazily. I say, "Wait, do they understand what
00:26:55the song is about?"
00:27:01In parallel, social protest began to give way to another protest,
00:27:05political protest. This was somewhere around the 60s, it was
00:27:09the Woodstock era, the flower children began to emerge, also
00:27:12in our regions, and we started talking about political protest with many,
00:27:16many piercing songs that contain
00:27:19a lot.
00:27:26Like you were flower children like that. You could say
00:27:29yes, in the song for peace essentially this.
00:27:33These are ideas we brought. I was in the orchestra.
00:27:48This is a protest song, a song that talks about looking anew. First
00:27:52of all, credit must be given to the creators, especially to
00:27:55Ruthi, who bought the text, which is a very inspiring text, in those
00:27:58days, especially by the fact that she sang it in the army, and that.
00:28:32There was a clear, lucid statement here,
00:28:36and I'm proud that I was part of it. So actually the orchestra,
00:28:38the orchestra, Oliarchik, Penningshtein
00:28:42and I for many years,
00:28:45a small country evading
00:28:49trouble, you won't find the address, it's
00:28:53kept in a box. All these songs were
00:28:56very serious, you know, even in "I Gave You My Life" there was some
00:28:59kind of politics, one says two.
00:29:12We said things, sometimes under the guise of humor,
00:29:15and sometimes very simply. When Meir Ariel
00:29:19recorded "Jerusalem of Iron," it was clearly
00:29:21a protest. I was the one who recorded it, you know,
00:29:25what does that mean? "Jerusalem
00:29:28of Gold," "Jerusalem of Gold" was the war anthem of that time.
00:29:46of iron and it suddenly became
00:29:50clear that there is a side, there is a second side to the
00:29:53moon. The regiment stormed forward, blood
00:29:57and smoke everywhere,
00:30:00and "Oh mother after."
00:30:20It's not all victory, it's great pain, it's war, it's
00:30:23lead, it's blood, it's iron. The evening ended, I told
00:30:27the young man, "What's your name? Come, come, stay." And then I remembered that he was
00:30:30once at the Singer's Club with Shalom. Hanoch, I broadcast it the next day,
00:30:34I immediately received a phone call from Naomi, "You're stabbing a knife in my heart. I
00:30:38won'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
00:30:45again, but then I knew it was a protest song,
00:30:49it was clear that it was a protest song. Sharp, wise,
00:30:52incisive, painful. What is it that you caught it
00:30:55in time? Luckily I understood that it was a
00:30:58song for you. You are masters,
00:31:04please just bread and entertainment.
00:31:07Bread
00:31:08and entertainment.
00:31:12How good and how pleasant. And I
00:31:15knew him, but we didn't collaborate. We talked a bit, sat down, drank
00:31:19coffee, cigarette after cigarette, talking about
00:31:22the situation, about the Lebanon War. I told him,
00:31:25"Listen, I feel like vomiting, I feel like spitting
00:31:28from anger." He tells me, "I like that." From the coffee shop, we went to Yehuda
00:31:32Talit, he tells him, "Listen, you want to be angry
00:31:35and vomit and spit, I'm in." From song,
00:31:39a story in the land of "Hava
00:31:41ve'i," land of "Hava'i."
00:32:20And this song falls into a very big public debate, whether to stay
00:32:24in Lebanon or not, and I seize the moment and take
00:32:27a side,
00:32:31the time has come to return from
00:32:34the mountains, from foreign fields. Today
00:32:38fades and there is no task. I remember reaching
00:32:41a show in the north, I remember white fists. On
00:32:45the, they didn't like it. I also ran a campaign in parallel
00:32:49at Bank Leumi and I was also in Eurovision and all that. How can
00:32:52I participate
00:32:55in demonstrations against
00:32:57what's called.
00:33:04In the 80s we entered Lebanon and suffered an
00:33:07Intifada. This nurtured
00:33:10on the tree of protest, many new songs that were
00:33:13for the most part.
00:33:39Don't tell me about a girl who lost
00:33:43her eye.
00:33:55The history of this song is the honor of writing for Lennon. I didn't
00:33:59understand what she was writing about, I didn't care what she was writing about,
00:34:03and I didn't examine whether I identified with it, until someone at a show
00:34:06said, "You should be ashamed!" "What
00:34:09are you?"
00:34:11And I said, "What do you want? I composed a song for Nurit." I didn't
00:34:15delve into it here, because a Jew who doesn't know what's happening here, I wasn't
00:34:19really explained who the Arabs were. I found myself
00:34:22in an APC at 17 and a half. I didn't understand who the
00:34:25enemy was, I didn't know if I hated him, loved him. I saw people
00:34:29getting killed, unfortunately, at "Shlomo Hagalil." If I got confused
00:34:32in my head, I'd go again. You understand, suddenly
00:34:35Nurit, and everything's intuition, melodies, after us
00:34:39the flood, not a flood, I don't know what she's
00:34:40talking about.
00:34:44after
00:36:01forbidden
00:36:02fruits
00:36:09of the second album where I wrote about the war
00:36:12in Lebanon and I was in the war in Lebanon.
00:36:15I was hit there and then the album came out and they told me you can't
00:36:19sing about war in this country and I said how can I but this is what I
00:36:22am going through it's war like now there was war and it's hard and so
00:36:26and how?
00:36:29And then I said, "So you can talk about this with humor." And then I understood
00:36:33that with humor I can say what I want
00:36:37and not one by one. I'm a rapper and I have something to say. I didn't come
00:36:40to music from the place of music. I came to music from the place of
00:36:44the message and I understood that when I
00:36:46combine these things together and there's
00:36:49a hook, I understood the meaning of the hook. Essentially, my
00:36:53message reaches more people because people are caught by the music and then...
00:37:05to turn what I am into the mainstream. I'm proud of what I am, so
00:37:09let there be a Star of David on the wall that said "Together we will survive, divided we will
00:37:12fall." When I was living day to day,
00:37:16I discovered that I had an enemy that I didn't understand what
00:37:19harm I had done to him, but he really hates me. The media. They called
00:37:23me an extreme right-winger, they said I should be ostracized
00:37:26from 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
00:37:33the hardest sentence there is that the country is swaying like a cigarette in Arafat's
00:37:37mouth. This is a sweet sentence and I decided that I
00:37:41am going to fight this enemy and I am going to play
00:37:44with them.
00:37:48I made the song "Divide and Conquer," I made its sound very poppy,
00:37:52so that if you don't hear the "Divide and Conquer" part, how can it succeed? But
00:37:56I called it "Divide and Conquer." Like the slogan of fascism, "Battle
00:37:59Front," lying on the ground, TV showing only nonsense, listening
00:38:03and getting offended, politicians still fighting between right and left, divide
00:38:06and conquer, hey, and together we will survive, divided we will fall, and that's it.
00:38:09And naturally, in those periods, 2002 there were non-stop attacks
00:38:13and terror, that's what people were screaming about, that's what people wanted
00:38:17to hear, that's what people wanted to say, and you couldn't hear
00:38:21it anywhere in Israeli
00:38:22music.
00:38:27This
00:38:35is no longer a band,
00:38:37a young band with a fast rhythm, but rather
00:38:40more mature and sharp in terms of
00:38:43lyrics. We played "Milk"
00:38:47now. We gathered the friends and decided to do
00:38:51a comeback tour of "Tislam" in the summer of '90. We recorded two new songs, "The
00:38:55Face of the State" and "You've Got Me." "The Face of the State"
00:38:58really started in a rehearsal that Yossi actually brought
00:39:02to the rehearsal, a
00:39:03riff like that.
00:39:08Three
00:39:09days.
00:39:12There's something here and we started jamming around this
00:39:15riff.
00:39:18Can't stop, and I wrote the lyrics
00:39:21in a kind of one-take, a stream of consciousness
00:39:24like that, and in one day a song. It was already there and we didn't
00:39:28have time to think about what it meant at all that the song was complete and we were
00:39:32happy.
00:39:35Who loved, so what if on the way he lied
00:39:39and stole?
00:39:42In the window in the corner, his face
00:39:45is...
00:39:52Now the song came out, I don't know if you know, it was played
00:39:55and it was taken seriously.
00:39:59Who would have thought that this song would become so
00:40:02consistently relevant? It's simply unbelievable. It's always relevant
00:40:06and always more serious. On one hand, it's a pop
00:40:10song that sounds good and cool like that. It's slick,
00:40:13it's slippery, it's not, it goes through quickly, it hits you in the face, it
00:40:17penetrates
00:40:17deep.
00:40:27We want change, we want change,
00:40:30we want change. We are two-faced.
00:40:33מזוי,
00:40:38Now,
00:40:43we,
00:40:48for me, spring touches in a very, very
00:40:50extreme way, more extreme than I had heard until then.
00:40:54This moment when he's in distress, he's off-key.
00:41:21He educates us that there are no forbidden and permissible
00:41:24things to say that are not necessarily comfortable.
00:41:28But I like to work with creators, and that's perhaps how the compound
00:41:32of "I who
00:41:34loves sharp creators, but I love beautiful
00:41:37things" was created.
00:41:42Voices of war
00:41:45and hatred of others that grows
00:41:49every day.
00:41:53Uri Or, Uri
00:41:55Or, "Beloved
00:41:58Homeland." He came with this song
00:42:02and this line he wrote he didn't write "Beloved
00:42:05Homeland" he wrote "Dark
00:42:07Homeland." And then we had
00:42:10issues and the record company also said maybe we can
00:42:13and then
00:42:16Aviv connected to it because he came from love he changed it
00:42:20to "Beloved" and that proves to me that it's from
00:42:23caring you say things it's stronger it
00:42:27hurts
00:42:30the pain as he writes "Heyma היא היא"
00:42:33internally it's not what you
00:42:37do, but it hurts.' What is it
00:42:40that I haven't felt it on my flesh that I need to shout something, my mouth
00:42:44is sealed always for
00:42:46your safety, but you hand me over
00:42:50to a stranger
00:42:54I am your brother you
00:42:57are an enemy you hate me
00:43:01but I love and until today we were educated that protest
00:43:04songs are political songs from a certain side
00:43:08Today protest songs should be'.
00:44:15I don't understand what I'm seeing. A lack of understanding of what's really happening? This
00:44:18is truly a combination of
00:44:20the perception. This truth needs
00:44:23to come out.
00:44:29One of them simply cocks the weapon and opens fire into our
00:44:33stomachs.
00:44:36They are the head, they are guilty. There are many guilty parties in October 7.
00:44:40I don't think the Supreme Court is one
00:44:41of them.
00:44:44I haven't seen such a thing, I haven't heard such
00:44:47stories.
00:44:53I very much hope that the Israeli public knows to believe
00:44:57the truth and will not follow the lies.
00:45:00Real time, soon,
00:45:04on Kan 11 and Kan
00:45:06Box.
00:45:11Looking back, we grew up in a completely crazy
00:45:13situation, there isn't a day that they don't shoot at you, everyone from age
00:45:1716 got a weapon, beatings,
00:45:19casualties.
00:45:23What are you willing to do to not give up on friendship? I am willing
00:45:26even to die.
00:45:29That's how I lived, that only if there is war there is
00:45:31meaning.
00:45:34I lost my childhood at
00:45:36that age.
00:45:38Our children are growing up. National mission The biggest mission of a person
00:45:42in this world is for his children to be happy. Would you
00:45:46raise your children there? Children of Hebron, Saturday
00:45:50night after a meeting on Kan 11 and Kan
00:45:54Box.
00:46:02There's an economic protest, a gender protest, a protest of
00:46:05individualism, a protest about not protesting, and all these
00:46:09protests have expression.
00:46:23You are a family of chocolate makers, do you like chocolate? No, that's why
00:46:27I wrote don't call me darling, it gives me a rash, it makes me sick of chocolate, because until age
00:46:31eight I ate all the amount a person can, so
00:46:34the first moment that people opened
00:46:38their ears to the true voice of Corona.
00:46:42That's not a true voice, that's the result of thought. When you make the first
00:46:46record, you look for who you are, it's right to say who is
00:46:49hiding behind the person, and every time I released a DJ like this to the world. A song for singing
00:46:53came out like this and the morning train, all sorts of things in jazz
00:46:56I did, and nothing caught on, and I understood
00:47:00that I wasn't in the right place, but darling, when I made it, it was
00:47:04I felt that it was my color, it was the
00:47:07song of protest, yes. As a woman
00:47:09I want to say that don't call
00:47:13me darling that it's like don't tell me what to do.
00:47:17There was that thing where they always tell you diminishing, diminishing
00:47:20and I wanted to go against it. Did it feel political? It
00:47:24was so personal, not really naive, but it was my
00:47:27cry.
00:47:30I knew I wanted to be angry through music, that I wanted
00:47:34to express my rage, my anger
00:47:37and my rebellion against this absurdity that my
00:47:40songs are not
00:47:41played.
00:47:51And then I went to the piano, it was. After a call I made to an important editor
00:47:54at Galei Zahal, I asked him, why don't you play the new songs? Grunich,
00:47:58you write too complex, too
00:48:00complicated.
00:48:03The people want simple songs, I said, but you need to educate. You, I hung up
00:48:07the phone, went to the piano, everyone wants, simple
00:48:11songs, songs in two
00:48:13chords. And he actually became a hit, you
00:48:17see, the absurdities of
00:48:18life.
00:48:22You chose an uplifting rhythm, when I stick out my tongue I usually
00:48:26do it like a funny demon, not like that.
00:48:30The humor here is the humor of a transformer, Disney did
00:48:33you la la la la la, but the problem, exactly, everyone
00:48:37wants simple
00:48:38songs. So take it, so
00:48:42take it, everyone wants simple
00:48:46songs. Expressing protest in songs, it's
00:48:49effective, you change the world, look.
00:48:54We know that words have power.
00:48:57So yes, I know you know,
00:49:00I earned well this month, not bad, and yet
00:49:04they came to execute, in my
00:49:08apartment, there was a moment, I witnessed
00:49:12a situation where people allow themselves
00:49:15to strip or dress honor
00:49:18according to how many stripes a person
00:49:21has. One of the ways that
00:49:25I have when I get upset is that I go to understand
00:49:29it, I take a camera and start
00:49:32with a zoom to follow the words, but someone stepped
00:49:36on me and I couldn't
00:49:38get up, there are
00:49:40millions like me
00:49:44wandering the streets.
00:49:47There are people like me, I wrote a few verses and I
00:49:51remember I played it for my dear husband, and he told
00:49:54me: I think you can write a few more verses. Do you remember
00:49:58Susan, the girl from the bank, she gave me
00:50:01a lot of love, it took her a while to grasp
00:50:04the matter, to change her attitude towards me, she
00:50:08understood that I had no cash and stripped my
00:50:12dignity from me. Bank fees are, this song came to
00:50:15them when they, I'll tell you something, step on a
00:50:19person. In all the songs that I see that have them.
00:50:31I 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,
00:50:35at that moment they are looking at me that I also did
00:50:38the same thing, maybe on a micro level,
00:50:41maybe to a different extent, maybe at a different time, and they let me
00:50:45judge myself, but they show me another person, today it's
00:50:48me.
00:50:52Tomorrow it's you without
00:50:55money. It seems to me that your
00:50:59generation is a generation whose parents promised them
00:51:03a lot, pumped them up with hope and with if
00:51:06you try you will succeed and in the end you all crashed and burned,
00:51:10right? The 30-year-old has a high
00:51:14debt, still hasn't eaten enough to be full, looking for some meaning,
00:51:18I don't know, just a phrase that might be nice to tattoo on
00:51:21the arm.
00:52:05time, what I hold onto is
00:52:09the disconnect I see between people and
00:52:11themselves, and that it causes so
00:52:15much pain and suffering everywhere
00:52:18I look. This is part of my goals, and music, and it also comes
00:52:22as I get older, it's to connect
00:52:25a person to himself, because I was also disconnected for many years. What
00:52:29is music? It's a communication tool. We communicate with it
00:52:32and talk and change emotions, it's like a drug. You hear a song, you become
00:52:36happy, you become sad, you become this, it has a lot of weight. I was six
00:52:39when Sadat came to Israel, seven when they signed the agreements.
00:52:43Eight is the number of Uri Malmilian who is, without a doubt, my childhood
00:52:46hero. Nine times I was too close to an attack, at least for
00:52:50now. 10, the most Israeli answer
00:52:53to the question, how are you? When we released the number song a million
00:52:57years ago, we performed it for the first time in a famous club in Tel
00:53:00Aviv, and he came to my house and said
00:53:01to me:
00:53:05What do we need songs for when it's the main headline in the newspaper? I told him: No way! It's not like
00:53:09a newspaper article. He asked me why? I told him because it's in rhymes. You rhyme
00:53:13reality. It doesn't matter if it's personal reality or social
00:53:17reality. Psychology is like that, in order to change
00:53:20things you first describe them. And then
00:53:23when it's sung, there's a part that's sung that you didn't notice, hey,
00:53:27now I understand why it's like that, it's like that, so sometimes
00:53:30the problem... will be solved over time. And
00:53:35even though I've seen many smart people who say they don't think music changes the world, I think
00:53:38it does, that if there's one thing in the world that changes, it's music,
00:53:42it's an art that penetrates the deepest into the soul. I wonder why
00:53:45it takes
00:53:48so long
00:53:50for the real protest to reach its peak, how long, if at all, it will take
00:53:54for something to change.
00:53:57Wow, a song, look what it does. Wow, wow, wow, wow, wow.
00:54:01You're saying all these people with the suffering of everything each person goes through.
00:54:05You're waiting for a song, every time they told me wow, how do you write such
00:54:08lyrics? I told them, but such deeds are done, it doesn't bother
00:54:12me, so think that I wrote in the newspaper that something happened, I just know
00:54:16that... articles are not remembered
00:54:18forever, they don't have the power of
00:54:21the melody.
00:54:27I have no other country,
00:54:31even if you die, come.
00:56:05Ah, not
00:56:07to remind
00:56:10her, and I will sing here
00:56:14in her headphones, until
00:56:18she opens her
00:56:22eyes with,