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Out of so much fanaticism no one escapes anymore: the "Jews" danced with the omicron without fear - Walla! culture


The Jews went up to perform and perform their second album in full in front of a hall full of the new Zappa in Tel Aviv. It turned out that time refused to touch them, and their music remained exactly as it was

Out of fanaticism no one escapes anymore: the "Jews" danced with the omicron without fear

The Jews went up to perform and perform their second album in full in front of a hall full of the new Zappa in Tel Aviv, when hundreds of Israelis forgot the limits of the Omicron and came to connect with the nineties boy who is inside each of them. Time refused to touch them, and their music remained just as it was

Living Room Fellow


Monday, 17 January 2022, 00:00

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Managed to refine perfectly what they were for their fans. The Jews at the concert (Photo: Matias Filo)

In 1999, the Jewish band won the title of "Band of the Year" by Gali Tzahal. More than twenty years have passed, but for a generation that experienced the nineties, it is still an inconceivable sentence. "Or, alternatively," Israel and the PLO have signed a peace agreement. " Sentences that really were. We heard them in our ears, but over the years they still sound like a hallucination. In real time, no sane person would bet on the Jews winning the title of band of the year from one of the radio stations that completely ignored its existence for years.

It happened shortly after the band's second album hit stores, it's also the moment when the Jews turned from an underground band into a legitimate candidate for the biggest band in Israel.

History will always remember "Separate Reality," the Jews' debut album, as their masterpiece.

In a 26-year perspective (fuck, how did that happen?) History is not wrong.

But in real time, it was the Jews 'second album, simply called "The Jews" - like the Beatles' white album, like Metallica's black album - that managed to perfectly refine what they were for their fans at the time.

The band's winning the band title of the year was another nail in the coffin of the established music dictatorship of old Israel.

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Felt and sounded like it used to.

The Jews at the concert (Photo: Matias Filo)

The blatant disregard of radio stations, alongside the rise of the internet as an unrestrained force, driven by voices on the ground, turned the band's sense of belonging into an energy unlike anything that had existed before in the local rock scene.

The lyrics, for those who bothered to listen, became more blunt.

Ones that are unlikely to be broadcast on the radio during the day, if at all.

Not that it changed anyone.

In high schools across Israel, students sat and memorized these words as if they were the words of a living God.

It has been almost 30 years since Cupid shot his arrows at two soldiers in the GDNA Command, and their shared love for music and their audience is still mesmerizing. Which is within each of them.

The holy wrath was still there.

It's hard to believe that these people giving head on stage have a high school kid, like most people in the audience were when they first saw them.

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Time did not touch them.

The Jews at the concert (Photo: Matias Filo)

As part of the Goldstar SoundSystem Festival, which sanctifies the performance of entire albums, the band went up and performed their second full album.

It felt like it used to, and even looked like it used to.

Something about the minimalist lighting of the stage, which was like that back in the 1990s, made them look just like back then.

Such magic.

Tom Peterover hit the guitar like a boy in love, while Orit Shahaf looked like she was left with a "bomb" from the band's original incarnation.

Time refused to touch them, and their music remained just as it was.

Dirty, untrainable and sends the soul (and ears) angry arrows in precise doses.

The magic faded for a moment when the band invited Arkady Duchin to the stage.

Suddenly everything felt very real.

Together they performed "Need You" and "Everything's Been Said" from Natasha's first album.

It was a harmless addition of two great songs, but it didn't seem to be really needed, certainly in reverberations quite faithful to the original.

Duchin also joined the band in performing the cover of "With You in the World" by Meir Banai.

It was an exciting moment, probably if one remembers the joint work of Duchin and Banai, but the execution was simply not good enough.

The band compensated the audience with a tremendous sequel to a performance in a sequence of "Jackie," "Take Me (Who Told You)," "Looking for an Answer," and "One More Closet."

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Orit Shahaf, The Jews in Performance (Photo: Matias Filo)

Music is an uncontrollable nostalgic force. A certain sound at a certain moment can throw the simple person into the thickest of his most hidden personal memories. Thus, the short distortion that precedes the opening riff of "Sami Free", the song that opens the second album of the Jewish band, throws me back to the "Piccadilly" store in Dizengoff Square in Tel Aviv. There I held this album for the first time, with the most provocative picture ever to bear a Hebrew caption. A cute dog pees on a rotten corpse pulled from the sea. Obviously I bought, of course I was addicted.

It was interesting to look at the people who took themselves out of the house in the middle of a global epidemic, knowing full well that there would be at least a few asymptomatic people in the hall who could infect them with the virus. It moves on a scale between madness and stupidity, between irresponsibility and loyalty. Music is still a balance that keeps us afloat, on such stormy days that it is so easy to drown in a sea of ​​endless hysteria. Everyone who came to the show took a risk, but knew he was doing the right thing. For the sake of the artists he loves, for the sake of his psyche that needs except distortion to get through this period.

Some will say it is a mistake to congregate at this time (even though it is legal and permissible), and some will say that a medal should be given to anyone who continues to propel the wheels of the economy, and certainly helps to give some oxygen to the local cultural world.

I mostly looked at the guy standing next to me, with a mask on his face and a dome on his head, who took advantage of the fact that his mouth was hidden by a piece of cloth, to sing with a shout all the words of "The Age of God."

From the transparent ceiling of the new zappa the moon could be seen.

Whoever raised his head could imagine a butterfly flying towards him.

What a thing it is music.

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Source: walla

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