![](https://i0.wp.com/www.haza.co.il/images/gallery/general/pictures/Ofra-At-1986-3.jpg)
Ofra Haza, from http://www.haza.co.il
I’ve spent this evening listening to Ofra Haza’s “Chai” on repeat, at least two-dozen times now, and I wish to declare her my second “Eurovision crush”. Here she is performing “Chai” at the 1983 contest, where she represented Israel to come second:
“Chai, chai, chai – Ken, ani od chai!”
(Alive, alive, alive – Yes, I’m still alive!)
I learnt of Haza a few years ago through indulging my inner sociopath – playing Grand Theft Auto: Liberty City Stories – her anthemic “Im Nin’alu” is part of the game’s soundtrack. At the time, despite my burgeoning Philosemitism and eventual love of all things Israeli, I didn’t know that Haza was born in Israel, Jewish and a Eurovision contestant to boot. Could there be three greater things? I’ve since discovered that the lyrics to “Im Nin’alu” are based on a Hebrew poem written in the 17th century:
Im nin’alu daltei n’divim daltei marom lo nin’alu
Even if the gates of the rich are closed, the gates of heaven will never be closed.
– Rabbi Shalom Shabazi
How much better would the Occupy movement have been if that was the mantra?
The song, originally released in 1984, was eventually remixed and tweaked and ended up in the Top 10 of various European countries, peaking at no. 1 in West Germany in 1988. The original version was released on the album Yemenite Songs, also known as Fifty Gates of Wisdom – without listening it puts Fifty Shades of Grey in the shade, doesn’t it?
A brief look-up of Ofra Haza reveals heaps of good things – including this interesting snippet from Haza’s official website: in 1986, Margaret Thatcher was a guest of the Israeli parliament and met Haza, who gave Thatcher a brief lesson in Yemenite dancing. Apparently Thatcher was given two of Haza’s albums and wrote to her afterwards, “I listen to your albums with great pleasure.” How awesome is that? For all the bashing you hear of Thatcher and her policies, to think the PM could have been singing and dancing (like me as I write this) around Downing Street to an Ofra Haza song is a wonderful thought. Don’t ruin it for me by saying it was just a PA or the tea-lady forging Mrs T’s signature.
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Ofra Haza and Margaret Thatcher, from http://www.haza.co.il
And as for the “Eurovision crush” title – well, I’ve been watching the Eurovision Song Contest since I was about 13 or 14, when here in Australia we get a delayed telecast of the proceedings with commentary from our own Des Mangan; if you think Terry Wogan was an ace commentator, then you’ve never heard Des do it. Unfortunately, I can’t find any footage of Des and Eurovision through the usual channels (read: YouTube), but to give you an idea, here’s one of Des’s intros from one of SBS’s Saturday night “cult films”. See what I mean?
My favourite Eurovision year has been 2010, when Lena Meyer-Landrut won for Germany with “Satellite” – one of the best pop songs made since 1998, in fact, it could have sat easily on the charts back then, with its flirty lyrics and easy to learn chorus – and I was able to pick first, second and third of the contest, which has made me want to bet on the competition every year since.
I like Eurovision for the blatant theatrics and camp so obvious it’s more a farce. I’ve also wanted to do the drinking game for it too – a shot of whatever you fancy whenever a “reveal” occurs, or a song changes key, languages or has some form of “special effects”; an easy and fun way to get hammered, basically drink whenever anything happens – but have always missed out due to having no funds when the contest is on. I shan’t do a Withnail and slug down vanilla essence, the closest I’ve got to proper booze.
And here’s another of my favourite Eurovision entries: in 2007, Israel was represented by a mob called Teapacks with the song “Push the Button” (the complete opposite from the Sugababes same-titled tune), a rock meets hip-hop/dub-step of English, French and Hebrew (they even rap in it). Apparently “controversial” because it featured references to Iran and nuclear war (the eponymous pushing of the button to launch missiles) – controversial to whom? Don’t tell me that even the Eurovision Song Contest isn’t safe from anti-Semitism? If a British entry – atrocious as they are – made references to bombs and mass-destruction (Why not get Faithless next year?), would it be considered “controversial”? Would it be seen as a dig against a fascist regime, the likes of which haven’t made such a presence in Eurovision since Spain’s General Franco ordered the namby-pamby “La La La” to trump Cliff Richard’s equally naff “Congratulations” in 1968; or would it simply be listened to as another song in the same treacle-laden vein as John Lennon’s “Happy Xmas (War is Over)”?
The defence rests, m’lud.
Related articles
- Sounds Israeli: Ofra Haza (jewishpress.com)