Music is weird. It’s one of the few things that can take a song everyone has heard a thousand times—a song almost bogged down by its own status as a "classic"—and make it feel like it was written yesterday specifically for a single moment in time. When we talk about Israel Somewhere Over the Rainbow, we aren't just talking about a cover. We are talking about Israel "Iz" Kamakawiwoʻole, a man who, with nothing but a ukulele and a voice that sounded like silk and sea salt, managed to redefine a piece of American cinematic history from a small recording studio in Honolulu at 3:00 AM.
He was huge. Physically, yes, but his presence was something else entirely. People often forget that the medley of "Somewhere Over the Rainbow/What a Wonderful World" wasn't some over-produced studio project. It was a one-take wonder. Honestly, that’s where the magic lives. You can hear the raw, unpolished sincerity in his breath. It doesn't sound like a guy trying to win a Grammy; it sounds like a guy sharing a secret with you.
The 3:00 AM Phone Call That Changed Everything
Milan Bertosa was about to close up his studio. It was late. He was tired. Then the phone rang. It was a client, a guy named Robbie Beaumont, who practically begged him to let a local musician come in for a quick recording session. Bertosa almost said no.
"I've got this guy, Israel, he really needs to record this," Beaumont insisted.
A few minutes later, a massive man—nearly 500 pounds at the time—arrived at the studio. Bertosa had to find a chair that could actually hold him. There was no sheet music. No rehearsal. Israel just sat down, tuned his tiny tenor ukulele, and told Bertosa to hit record.
What happened next is basically the stuff of legend. Israel mashed up Judy Garland’s 1939 "Wizard of Oz" hit with Louis Armstrong’s "What a Wonderful World." He messed up the lyrics. If you listen closely, he sings "way up high" in the wrong places and swaps phrases. But nobody cared. The vibe was so thick you could cut it with a knife. He finished the song, thanked the engineer, and left.
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Bertosa knew. He knew he had just captured something that wasn't just "good," but something that felt spiritual.
Why Israel's Version Eclipsed the Original for a New Generation
Let’s be real: "Somewhere Over the Rainbow" is a hard song to touch. Judy Garland’s version is steeped in the longing of the Great Depression. It's theatrical. It’s iconic. But Israel Somewhere Over the Rainbow stripped away the orchestra and the Hollywood polish. He replaced the violins with four nylon strings and a rhythmic, almost heartbeat-like strumming pattern.
It's about Hawaii, not Kansas
For Israel, the song wasn't about a farm in the Midwest. It was about the sovereignty of his people and the beauty of his islands. As a staunch advocate for Hawaiian independence, Iz used his music to bridge the gap between traditional Hawaiian culture and the modern world. When he sings about the "land that I heard of once in a lullaby," many locals feel he’s talking about a pre-colonial Hawaii, a paradise lost but still dreamed of.
The simplicity is the hook
Most pop music today is compressed to death. It’s loud. It’s perfect. Iz’s recording is the opposite. It’s quiet. You can hear his intake of breath. You can hear the slight squeak of his fingers on the strings. This vulnerability is why the track has been used in everything from 50 First Dates and ER to Meet Joe Black. Whenever a director needs a scene to feel "bittersweet," they reach for this track. It’s the ultimate "cry button" for audiences.
The Tragic Reality Behind the Voice
It’s impossible to talk about this song without talking about the man's health. Israel suffered from severe morbid obesity throughout his life. At his peak, he weighed over 750 pounds. This wasn't just a lifestyle detail; it was a constant struggle that defined his daily existence and, ultimately, his early death.
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When he recorded "Facing Future" (the album that features the medley), he was already facing significant respiratory issues. Maybe that’s why his voice has that airy, ethereal quality. He wasn't pushing. He couldn't. He had to float.
He died in 1997 at the age of 38.
The day of his funeral, the Hawaiian state flag flew at half-staff. He was only the third person in Hawaiian history to be accorded this honor—and the only non-politician. His casket, carved from Koa wood, laid in state at the Capitol Building in Honolulu. Over 10,000 people showed up. The footage of his ashes being scattered into the Pacific at Mākaha Beach is often paired with the song on YouTube. If you haven't seen it, grab a tissue. The sight of thousands of people paddling out on surfboards and outrigger canoes to honor "The Gentle Giant" is a testament to what he meant to the Pacific.
Debunking the Myths: What People Get Wrong
There are a lot of weird rumors about this recording. Let’s clear a few up.
- Myth: It was a huge hit instantly. Actually, no. The album Facing Future was released in 1993, but the song didn't become a global phenomenon until years later, largely driven by its use in commercials and movies in the late 90s and early 2000s.
- Myth: He wrote the "What a Wonderful World" mashup on the spot. While the recording was a "one-take" deal, Iz had been playing with this medley in live performances around the islands for a while. He knew the flow; he just hadn't put it on tape.
- Myth: He used a toy ukulele. People often think it sounds "tiny" because it’s a toy. Nope. He used high-quality instruments, often favoring a Martin tenor uke. It just looked tiny because he was such a large man.
The Technical Brilliance of the Strum
If you’re a musician, you’ve probably tried to play this. It’s basically C, G, Am, F. Simple, right? But the "Iz Strum" is notoriously difficult to replicate with the same soul. It’s a swung rhythm, a constant up-down-up-down that mimics the sound of the ocean. He doesn't emphasize the downbeat like a rock song. He keeps it light.
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Most people play it too fast. They rush it. Iz took his time. He let the silence between the strums breathe.
In a world that is increasingly loud and chaotic, Israel Somewhere Over the Rainbow offers a three-minute escape into a place that feels safe. It’s not just a song; it’s a frequency.
Actionable Steps for Musicians and Fans
If you want to truly appreciate the legacy of Israel Kamakawiwoʻole beyond just a single viral hit, there are a few things you should actually do.
- Listen to the full album "Facing Future". Don't just stick to the medley. Listen to "Hawaiʻi '78." It’s a haunting, political song that shows a much deeper, more complex side of Iz than the "ukulele guy" persona most tourists see.
- Learn the "Iz Strum" properly. If you play the uke, don't just strum 1-2-3-4. Practice the "down-up-chuck" technique to get that percussive, island feel. There are great tutorials by Hawaiian kumu (teachers) on YouTube that respect the cultural roots of the style.
- Support the Hawaiian Music Hall of Fame. The islands' musical history is rich and often overlooked. Check out their archives to see how Iz fits into a lineage of artists like Gabby Pahinui and the Sons of Hawaii.
- Watch the "Mountain Apple Company" documentary clips. They own the original footage and have shared some incredible behind-the-scenes stories about the recording session and Iz's life.
Israel Kamakawiwoʻole didn't just sing a song. He captured a feeling of hope that feels remarkably fragile and incredibly strong at the same time. Whether you’re listening to it on a beach or stuck in traffic in a cold city, that voice has a way of making the world feel a little bit more okay.