Independence Day Parade: Voting has opened for Israel’s 75th song

by time news

The 75th Independence Parade

The great Independence Day parade – starts. The song of evil? the flower in my garden? I have no other country? Maybe a panther? – You choose! Voting began today (Tuesday): 1,100 of the most important, formative, moving and good Israeli songs since the establishment of the state are up for the audience’s choice on the “Kaan” website and the “Israel Today” website. The 75 most loved songs will be played in a special broadcast marathon on Kan Gimel and Kan Digital on Independence Day (April 26) and at the end the “75th song” will be chosen.

The list of songs to choose from was compiled by twenty editors and editors of Kan’s music stations, cultural figures, journalists, and members of the local music industry, and it is based on past charts of the Gaither network of radio stations in Israel. Songs were added to it that became properties of the Iron Sheep over the years, but were not represented in the hymn charts and on the established radio stations. This is how a diverse and rich list was compiled that presents the broadest range of Israeli musical creations.

The list is divided according to the different decades, and each voter is asked to choose the ten (10) most significant songs for him. Voting will close on 16.4.23 and four of the voters will win a pampering couple’s vacation. The audience’s vote will form the main selection, and next to it will be weighted (20%) the selection of Kaan Gimel editors, the culture section of Israel Hayom and cultural figures and public opinion leaders.

On Israel’s 75th Independence Day (April 26, 2023), Gimel will be held here, an 8-hour broadcast starting at 10:00 that will be broadcast live from Magen Saker in Jerusalem! During the broadcast, the 75 songs chosen by the audience will be played – and at the peak moment, around 18:00, the 75th song will be played. The transmitter will be presented by “Kan” people alongside favorite artists who will be guests and perform the songs that make up the Israeli soundtrack.

Interesting trivia about the list:

The oldest song that marches: The Cheesetron – The Evils, released in October 1948

Newest song: Noa Kirel – Pantera, released in August 2022

Artists who appeared in (almost) every decade: Shlomo Artzi (21 songs between the years 2000-70) and Eric Einstein (33 songs as part of the group or alone between the sixties and the nineties) and they are also the ones with the most nominated songs. Then comes a representation of Gidi Gov (including Beehive, Gazuz and Doda), Yohorm Gaon (including the Yarkon Bridge Trio), Yehudit Ravitz, Idan Reichel’s project (including the solo), Eyal Golan, Gali Atari, Jordana Arzi, Rita, Yehuda Polikar ( including Benzin), Mashina, Chava Alberstein, Sharit Hadad and Bari Sakharoff (including Portissharoff) – all with more than ten songs on the chart.

In the list of songs are presented many songs and artists who did not receive any media attention at the time their songs were released, but won the sympathy of the audience and in the test of time – they deserve to be part of the list. Prominent among them are songs by Zohar Argov, Margol, Yishai Levy, Chaim Moshe, Ahova Ozeri, and Rami Fortis. Also, this is the only parade that has a reference to musical phenomena that were on the margins of Israeli music in real time, such as religious-faith music, such as songs by Avraham Fried and Mordechai Ben David, cassette music or the so-called “songs of depression”, which gained great popularity in the field, for example – Avi Bitter, Ofer Levy, Tamir Gal and Moshe Cohen. Also songs that were ahead of their time such as “Stupid hummus” by Nigel Hadmore who is considered the pioneer of Israeli hip hop.

In addition to this, the parade included songs that had not been performed before, such as: “The woman I’m with” by David Baroza or “I’m coming back home” by Doron Mazar because the songs were translated and/or not composed by an Israeli composer. In the selection process, emphasis was placed on the representation of women versus men and we have to remember that we are looking at a broad view of 75 years of music, when only in recent years the gaps are finally starting to narrow.

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