Welcome to the Prospect2ve aka B13 documentation. This is the second of four CDs released in the 13 series. It, and the Prospect1ve, aka A13, CD make up the Triskaidekaphobia, Volume 1 double Jewell case package.

Many people have helped in this release, some willingly, others knowingly and a few neither willingly nor knowingly. A hearty thank you to those below:

Music for the entire series: Don, Cherie, Grant, Sharon K and Tanya

Logo and Art: Deborah Kaplan

Additional Material for B13: Grant, Jane

Heavy use was made of the Aussie database which you can find and enjoy at www.israelidances.com

This documentation is being released in stages to the web site associated with these CDs, www.thediskcoordinator.com, where you will also find video listings to most of these dances. Additionally, the web site is being modified to allow users to locate teaching videos and music videos.

	Music	Translation	T	Choreographer	year	Music	Time
1	Shema Israel	Hear O'Israel	C	Shmulik Gov Ari	2005		2:28:06
		In looking at both the A13 and B13 documentation, while not the most prolific, the choreographer of Shema Israel, Shmulik Gov Ari, is well represented. He is the choreographer of many repertoire dances of the various groups covered including Kol Niderai and Boker. It is not unusual to talk with dancers in this area who relate attending sessions run by well known choreographers in other parts of the world, especially in trips to Israel. It is rare to hear such a discussion in terms of local venues. However, with Gov Ari, we have an exception. Although it is impossible to document this to an absolute certainty, apparently Shmulik was a resident of the greater Philadelphia area during the early to mid 90’s and ran dance sessions in Cherry Hill, center city and Bala Cynwyd. Apparently many of his dances that we now take for granted had initial choreography that he first tried out on our local dancers during that time period in the locations mentioned above. However, this one which was choreographed in 2006, has no local ties.
2	Israelit	Female Israeli	C	Gadi Bitton	2008	composer:Tomer Hadadi;;singer:Ilanit	2:40:31
3	Ki Leolam Chasdo	For his charity never ends	C	Avner Naim	2008	Singer:Tzion Golan	3:04:42
4	Lachazor Habaita	Returning Home	C	Gadi Bitton	2009	Composer and lyrist:Keren Peles; Singer:Boaz Ma'uda	2:30:58
		Lachazor Habaita was introduced by Gadi Bitton at either Montreal or Toronto in 2009. Most of the groups in the Phila area have made this part of their repertoire including Germantown. We asked Grant, the Germantown session leader, for his thoughts on this dance Q. I believe you introduced this at Germantown (correct me if wrong)– Jani[Rosen] was scheduled and couldn’t make it. It had been introduced in Toronto previously. What had you heard about it that made you want to teach it. Q. Now, the choreography is by Gadi Bitton. How would you describe the steps per the dance and how does this compare to Gadi’s other dances taught at Germantown? Q. The Germantown session is beginner to intermediate. What are the pitfalls in teaching this dance to beginners and intermediates given that it seems hard? Q. What is the feedback you have gotten from the dancers as to this dance. Q. You introduce many dances – some from you, some from Jani and some from Don’s yearly seminars. Some of these dancers disappear from your repertoire. Do you think this dance is a keeper? Five years from now will we be dancing it? Honestly, I can't recall exactly the back story for teaching Lachazor Habayta.  I think it was Jani that brought it to my attention, and what grabbed me most, I think was the music, the beautiful sweeping melody.This dance, in my opinion, is unlike many other dances in that it doesn't really have distinct repetitive parts.  Most of the steps create one long continuous arc, that itself repeats.  I think that our dancers enjoy this dance mainly because of its beautiful melody.  As for its longevity, I think it may not survive long term.  The dances with staying power tend to have steps and sequences that are more intuitive than this one. But....time will tell!
5	Yemei HaTom	Day Of Innocense	C	Mali Lipson and Moshe	2006	Composer:Tzuria Lahav;;Singer:Rita	2:04:08
6	Shomreni El	Preserve me, God	C	Dudu Barzilay	2009	Composer:Adi Le'on;;Singer:Eyal Golan	2:37:49
		Jane Tardell recently became the session leader for the class in Staten Island. Jane has been dancing for many years, but being a leader of a session is new for her. She was nice enough to answer the following questions about teaching Shomreni El and her experience as a new session leader during an Email exchange. Q. Being in Staten Island, we’re sure you have a different perspective on certain dances than 90 miles down south. The Philly dancers first saw Shomreni El in 2009 at Hora Aviv and it was taught by Mimi Cogan. No doubt you saw it at another camp, possibly taught by the choreographer, Dudu Barzilay I learned the dance from the choreographer Dudu at Rikud Boston 2009. It was the "hit" of the camp and the one everyone kept requesting to be played over and over.  Q .Do you think from a instructor standpoint, as you prepare to show this to others, that it matters who originally shows you a dance? I am answering this both as an instructor and as a dancer.  It doesn't matter who originally shows me a  dance, and although I have an excellent teacher that I dance with 3-4 times a week, I always try to watch a video of the choreographer doing his/her own dance.  I like to see their style, their body and arm movements, the little nuances that make the dance uniquely theirs. Q. You have indicated that your class is beginner/intermediate. This is not that easy of a dance although by no means is it advanced. Why did you choose this dance to teach?  I taught this dance later in the evening and only to the more advanced dancers.  I chose this dance based on the following criteria that I use whenever I pick a dance to teach: 1)  I personally like the dance and the music and know that I will not get tired of dancing it week after week. 2) I think that the dance has staying power and will be around for many years to come.  3) I know the dance well enough to be able to speak the steps during the teach and to call the steps in advance during the dance.  This is a new skill that I am still learning. Q. For any type of class, beginner to intermediate – timing is always an issue as far as Israeli dance is concerned. There are several timing situations with Shomreni El – in the second part as you reverse spin into the center and the entire tag (or third part) of 8 steps. How do handle the discussion of timing of steps with your class? This is a tough one for me since I am not a trained dance teacher.  I honestly don't know how to handle or teach timing.  I often tell my fellow dancers to just "listen to the music and it will tell you what to do."  With me timing is an instinct, either you hear it and feel it or you don't.  Can it really be taught?  I know people who have been dancing 20-30-40 years and are still off the beat.  Q. The disk coordinator follows his alter ego in trying to type (or set metrics to) dances. We are of the opinion that this is not a typical Dudu Barzilay dance, if such a thing can exist, as there is no sweeping motions in any of the parts such as you would find in Meohav Ad Hashamayim, for instance. Are you of the same opinion? Would a typical Dudu dance such as Meohav be appropriate for your class? Funny that you should mention Meohav Ad Hashamayim since I just taught it to my class and they loved it.  Guess that I did teach some timing with this dance since I found myself calling out "one--one,two" over and over to get them to feel the rhythm.  Q. Speaking of your class and teaching. You took this over recently. It seems as if a lot of Israeli dancers think that they could easily lead a group. Even more so, probably at little or no expense. With your new experience, we doubt if you feel that way although we could be wrong. For the one or two dancers who will even read this and would like to create and run their own class, could you give them some inside pointers in doing this? Although I have been dancing for many years I never thought that I could lead a group. In fact I often said that I would never teach because I didn't want to turn something that I love into a job.  I very reluctantly took over "temporarily" just to help out until the group found a new permanent leader but it looks like I'm it.  It helps that we already have a place to dance with no rental fee.  It helps that I already have a collection of hundreds of CDs and DVDs.  It helps that I attend 4-5 dance camps a year. It helps that I have a very good job and can afford to spend thousands of dollars a year on my hobby.  And it helps that I am obsessive/compulsive and seriously addicted to Israeli dancing.
7	Ahya aka Ahaya		C	Gadi Bitton	2000	Composer:Avihu Medina;;Singer:Ofri Salem	2:30:38
8	Kama Ahava Yesh Be'einayich	How much love is in your eyes	C	Israel Shiker	2009	Lyricist:Yosi Gispan;Singer:Uri Fineman	3:45:71
9	Od Yavo Shalom (salaam)	Peace be with us	C	Shmulik Gov Ari	1998	Composer:Moshe Ben Ari;Lyracist:Moshe Ben Ari; Singer:Lahakat Sheva	2:37:07
10	[16] Malu Lana'ar	The boy turned 16	P	Michel Cohen	2010	Composer:Kobi Oshrat;Lyracist:Eli Mohar;Singer:Gabi Shoshan	2:06:20
11	Ein Ani	I'm Not	C	Meir Shem Tov	2002	Composer:Amit Carmeli;;Singer:Shotei Hanevu'a	3:17:61
12	Dudu	Dudu	C	Bonny Piha & Yoram Sasson	2003	Singer:Tarkan Tevetoglu	2:40:42
13	Shir Al Etz	Song of a tree	C				3:18:36
14	Al Gvul Hayam Haacharon	At the edge of the ocean	C	Victor Gabay	1996	Composer:Nachum Hayman;;Singer:David D'or	2:39:09
15	Artzi	My Land	C	Tuvia Tishler	1996	Composer and singer:Rami Kleinstein	3:10:51
16	Et Hageshem	The rain	C	Eli Ronen	1983	Composer:Shmuel Imberman;;Singer:Shlomo Artzi	2:01:36
17	Givah Achat	One Hill	C	Rafi Ziv	2009	Composer:Shlomo Artzi;;Singer:hagivatron	3:44:35
18	Shai	Gift	C	Tuvia Tishler	1996	composer:Levi Shaar	2:03:15
19	Perach Ba'Aviv	Flower in the Spring	P	Ohad Atia	2005	composition, lrics and singing by Sagiv Cohen	2:36:74
20	Nachon She'at Kan	It's true you are here	P	Nourit Grinfeld(Greenfeld) & Marco Ben Shimon	2009	all by Daniel Solomon	3:05:73
21	Rina	First name	P	Tuvia Tishler	1993	composed:Issak Doniveski	2:42:10
22	Kol Yom Nolad Shetachzeri	Each day is made for your return	P	Gadi Bitton	2006	Composer:Amir Dadon;Lyrics:Ophir Simchi;Singer:Yoav Itzchak	3:14:22
23	Tefani Li K[']tzat Makom	Make a little room for me	P	Victor Gabay	2000	Composer and singer:Yoav Itzchak	2:48:45
24	Tagidi Lo	Tell Him	P	Gadi Bitton	2005	Composed, lyrics and singing by Ohad Chitman	2:16:55
25	Le'ada	For Ada	P	Roni Simon Tov	1986	Composer:Moshe Wilenski	3:08:21
26	Eretz Bereshit	A biblical land	P	Avi Perez	2009	Composer:Shmuel Elbaz;Lyricist:Yosi Gispan;Singer:Ilan Nuri	3:16:36
27	Nagni Gitara	Playing the guitar	P	Israel Shiker	2009	composer&lyrics:Yoni Ro'eh;singer:Avi Sinuani	2:34:08
28	Chesed Matok	A sweet kindness	P	Ze'ev Benedict	2009	Composer:Shmuel Elbaz;;Singer:limor Tovim	2:46:25
29	The Prisoner Theme				1967	Composed: Ron Grainer	1:06:60

Note to the kicker to the prospect2ve, B13, CD

We left the discussion of the A13 kicker at the point where the 1 hour Danger man/Secret Agent was about to be produced. It was a hit in both the US and especially in the UK. This success is at a time when the Bond movies are rolling along and there are many Bond movie imitations on the Big and Little screen. The aforementioned Man From Uncle ran on NBC in the United States from 1964 through 1968.

In the era of the spy and the supposed spy life style, Secret Agent was very different. Patrick McGoohan, at the helm of John Drake, in essence, elevated this character  as has been observed by many sources including this writer who remembers being a fan of this show. To some degree, this representation of character more closely followed Ian Fleming’s interpretation of Bond with a notable exception which we’ll let you think about assuming you have read the A13 and G11 kicker documentations.

For McGoohan, as with Sean Connery, success opened up many opportunities in TV and movies as he became one of England’s most popular actors at a time when that country was still generally filming in black and white. However, by the mid 60’s, much of the country had color sets and many shows flipped over to color production as did Secret Agent/Danger Man in ’67. Two episodes for that season were supposedly filmed when McGoohan dropped his bomb shell.

What is it with actors in successful enterprises? They all like the fame, no doubt the fortune, but this comes with the need to act in something else. They are not content to a final interpretation of a character and, unfortunately, successful TV shows or movies create this type of situation. No, there is need for new characters to build on.

Israeli dancers to some degree understand this. A minority would be content to keep dancing the same dances forever but there is a majority who want newer, different, more innovative dances to be studied, memorized, danced to , enjoyed, reinterpreted before the eventual and inevitable fading of enthusiasm for the old as newer dances get so applied.

So, similar to Sean Connery as James Bond, not to mention various dancers over the years, McGoohan tells his producers, that’s it, He’s quitting. Apparently his contract is written so that at any time he can walk and walk he does after the first 2 episodes of the new season never to come back as John Drake.

What would you do if you were Lew Grade, the executive producer (the head honcho) of the network producing and airing this series. Your star has walked and It’s apparent that he will never return to this role that he has defined to the nth degree. No-one is irreplaceable, but the closest anyone has ever gotten is Patrick McGoohan’s status at that time.

Lew Grade responds in the following manner - perhaps you would also – by querying his most prominent actor with a sort of, ‘Well, what do you want to do? Whatever you want, let’s do it!’ The resolution of this answer creates what many consider the most unique and most frustrating TV Show ever presented. It is a show that defines, enhances and destroys this actor’s career given that the actor has taken complete control of the project. It is in a nutshell: James Bond meets Kafka!

In a long about way, this brings us to the kicker of this B13 disk. We are, of course, referencing the Prisoner TV series. If you’ve never watched the series, before reading further, listen to this music. What do you hear? What do you feel? Most listeners would say that the percussion denotes movement, marching, perhaps the need for escape. The strings denote anger and forcefulness as they are played. You now have the gist of the Prisoner TV series. The high moral standing John Drake, who is never officially named, has had enough. Someone in his secret organization has done something his morality cannot tolerate. He is resigning!

However, this is not the situation where you resign, take a few weeks off and find another job. No, this is an organization which follows you home, drugs you into a coma while in your apartment and from which you wake up in an exact duplica of your residence within “the village”, a place of no escape where the question, asked a million times a day and in as many ways, is “why did you resign?”

We will not discuss the underlying morality of this program. If you’ve never seen the show, it’s available on DVD. We will limit our statements to the fact that few shows, if any, have had such recognizable visual accoutrements. From the romance architecture of the outdoor scenes of the village (Portmerion in Wales, famous in its own regard), the caricatured dress/design, the pennyfarthings and similar vehicles, the décor of the interiors, names if numerics are your thing and, of course, rover – the final defense of the village - It all comes out of the mind and genius of one man, Patrick McGoohan, No. 6, who is the lead actor, lead writer, often director of the show. And, the frustrating ending, episodes  16 and 17, in essence destroys his acting career in England and he is somewhat forced to relocate to California – on his own accord and not drugged to be sure  -  always pursued by the question, also possibly asked a million times a day, what’s the ending of the last episode mean?

We can’t give an answer either. Luckily, we are interested in the music. There are two themes in play with the Prisoner, one at the beginning of the hour as the show would start and one at the end to which you are listening. The beginning theme is much too long for these CDs and is rendered in two parts: before the drugging and then after. On the Internet (and Youtube) you can find this if you like. The ending theme is the one played here and is much shorter and in one piece.

The composer is Ron Grainer and his first attempt at a theme, which you can also hear on the net, was very low level and subdued. Mc Goohan, who was in charge of everything including the selection of music, wanted something more dramatic, loud and explosive and Grainer just took his original interpretation, doubled the speed and increased the volume fourfold. This is what you are hearing.

We hope you enjoy the music. If a prisoner fan, we’re sure this brings back memories and if not, perhaps this is something you might want to research although probably not to this degree.

This CD, part of the 13 series, is distributed free of charge to the Israeli and International folk dance sessions covered by www.thediskcoordinator.com. There are absolutely no rights reserved.

Fact Checking on the Trisk I package.

Transliteration from a different type of language is always a problem. Hebrew and Arabic are part of the Semite family of languages while English is part of the Indo European family so there is no consistency in moving from one to the other. To that end, song titles have been checked against the aforementioned Aussie data base and the English transliteration on that site has been used. Nevertheless, we asked Barbara Jaffe, an avid Israeli dancer who lives in the Washington, DC area to proof read and review this documentation and here is her comments:

A13

Z'mon Layla – (I would spell it) Zman Layla (nighttime)- but of course transliterating Hebrew is subjective – but I pronounce it with a long ‘a’

Pnei Malach – (aka Yaldati) [Ed Note: We are using the Aussie database designation of Pnay Malach]

Rei'ach Valzeva – Rai’ach v'Tzeva (tzeva for color—e.g. smell and color) - Avi Perez (or Peretz) I believe

Yoni Carr is the sister of Israel Yakovee. (Ed Note, This has been corrected)

 B13

Artzi - Tuvia Tusler (It’s Tuvia Tishler) [Ed note:This has been corrected]

El ha geshem – isn’t it et ha geshem [Ed Note:This has been corrected]

Nachon she at kon – I would say kan – long a – for “here” –(It’s true that you are here) – my CD from David Dassa’s 2009 pre-Thanksgiving marathon also says Kan

It is Mali Lipson and not mali Lipton (Ed Note: This has been corrected)

Additional Notes on the 13 series in General.

These two CDs, A13 and B13, make up Triskaidekaphobia Vol 1. Two other CDs, C13 and D13, scheduled to be released in Oct’10 as part of Triskaidekaphobia, Vol II will have their own documentation.

The author of this, who plans to soon commit himself to some institution for even contemplating this project, never expected this release to get to this level. It begins innocently enough as the result of attempts to back up music for the Germantown and Wilmington groups. In sorting through the music at that point made available to him, and with the realization that the Memorial Day camp, Hora Aviv, may have come to an end, it seemed that a 3 CD set of Israeli dance music was possible. Initial efforts proved a 4 CD set would be the most practical way to showcase the music we dance to and in the end this is the ultimate purpose of these CDs.

With the original 3 CD idea, the only thing this author could come up with concerning interrelated kickers of music was music themes of the Danger man, Secret Agent and Prisoner TV shows. He will readily admit to being a fan both of these shows and their music. Perhaps, also, publicity of Patrick McGoohan’s death last year was retained subliminally to abet this idea.

To start this project, we asked Deborah Kaplan, professional calligrapher and teacher, to create a 13 series logo, which is on the CDs and displayed above on the left. This logo has been color coded for all the components

This author did not expect and was extremely surprised to run into direct influences pertaining to his favorite author, Ian Fleming, the subject of the G11 kicker. Once that occurred, it was off to the races as far as research was concerned and the individual involved still can’t believe the time wasted researching what you have been reading as far as kicker documentation. He also apologizes to subjecting you, the reader, to all this. Of course, perhaps this was pre-ordained. If you do add the Prisoner, No 6 to everybody’s favorite secret agent, 007, you will wind up at 13 but it was certainly unexpected.

Normally at this point in the documentation, we tell you that this is the end of the 13 series (although Volume II will debut in October), and we’ll return with the 14 series sometime in the future. We think you will understand, though, that this will not be for a while. But, this project does allow us to fulfill a fantasy all Prisoner TV show fans will appreciate and understand. It allows us to say:

Be seeing You