A13 Documentation

Welcome to the Prospect1ve aka A13 documentation. This is the first of four CDs released in the 13 series. It, and the Prospect2ve; aka B13, 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 A13: Cherie, Naomi, Sharon K

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	At Sheli Ani Shelach	You're mine, I'm Yours	P	Dudu Barzilay	2008	Composed by Yossi Ben David, sung by Eyal Golan	1:58:03
2	Yesh Bi Ahava	I have loved	P	Avi Peretz	2006	Composer and singer:Regev Hod	2:30:51
3	Zman Laila	Night Time	P	Avi Perez	1996	Composer:Avshalom Tsovra;; Singer:Haim Moshe	2:51:03
4	Esperanza	Hope (Spanish)	P	Rafi Ziv	2007	Composer:Eli Moshe; Singer;Mishpachat Aleyev	2�10:73
5	Lo Ozev Et Ha'ir	In the city	P	Yoram Sasson	2003	Shlomo Artzi	1:56:45
6	Saloniki (Al Hachof Be Saloniki) aka Thessaloniki	Saloniki	P	Naftaly Kadosh	2005	Vocal by Shar El	3:07:51
7	Rak Elokim		C	Erez Tabul	2009	Haim Israel	2:36:58
		Below, at the end of this documentation is a discussion of the sounds of this song. Two titles, Rak Elohim and Rak Ata are the same when listened to except for a few notes. Can technology help you determine this. Possibly not, but look for the discussion below.
8	Harakdan Ha'automati	Automatic Dancer	C	Rachel Waitzman	2003		3:16:58
		We hope you don�t mind a little fair play entering these pages, but if you scan though the list of choreographers for the A13 CD, this and the next selection, are the only female names. It wasn�t always that way, we have been told, but males certainly dominate Israeli dance choreography, today. So, to even out the score, on a dance that is a staple at Cherry Hill and played somewhat at Don�s sessions, let�s tell you what we have found out about Rachel Weitzman through that portal of all discovery: Google. In two words, Not much! The Aussie database has her listed for 5 additional dances. The only one this area might recognize is Belibi which may have been briefly taught at one time. If we ever get any more info, we�ll let you know.
9	Pitchi Lo Et Libech	Open your heart to him	P	Yoni Carr	2003	composer:Ze'ev Nehama & Tamir Kalinsyc of Ethnix;;Ethnix	2:35:43
		The other female choreographer on this CD is Yoni Carr who is the choreographer of this partner dance. As opposed to the discussion above, there is plenty of information about Yoni on Google and you can contact her and trade Emails as the author of this documentation has proved. Per her Email we can report. Yes, she is a female. (previous versions of this documentation had this in error) She choreographed the above dance and it was among the top ten partner dances in 2005 at Gadi Bitton�s dance contest in Israel. She is the sister of the choreographer, Israel Yakovee. She runs classes in Southern California on Thursdays and Sundays. She has her own web site at www.israelidancing.com �We�d like to thank Yoni for her good humor �in answering our Email to confirm some of this information. As far as the Trisk I� package is concerned (A13 and B13), Mali Lipson, Nourit Grinfeld, Rachel Waitzman and Yoni make up the female contingent of choreographers. Thanks to our fact checkers for bringing this (that Yoni is a female choreographer) and other errors to our attention.
10	Shir Hashirim Sheli	My song of songs	C	Gadi Bitton	2009	Comp/Sing:Omri Glikman	2:29:74
11	Yafyufa[h]	Pretty Girl	C	Dudu Barzilay and Edo Israeli	2009	Composer;Adi L'eon;; Singer:Eyal Golan	2:09:28
		We asked Cherie Maharam, the leader of the Pittsburgh session a few questions about this dance which Pittsburgh has added to its repertoire. Q. How did you become familiar with Yafyufa? Was it through a camp? Same way I hear about most dances: noticed the name on a list of dances taught (can't remember which camp). Looked it up in the Aussie DB and noticed that it was sung by Eyal Golan. We already do several dances to songs he sings (Chalomot, Metziu't Acheret, Shomreini El). His songs are always catchy. I saw that the choreographers Dudu and Edo: we already did many of Dudu's dances, and several of Edo's. Also, I liked that it was not really slow (we have so many slow dances!) or too fast (our dancers would whine and drop out). Q. Would you consider this a difficult dance to teach? With your class, what was the hard parts for the class to master? Medium level. Only two parts, not a lot of stuff facing outside -- so it was relatively unintimidating. The people in the group love the 2 stamps in the 2nd part. Everyone always stamps at just the right time, even people who don't know the dance well. Q. To be fair, with about 6 to 7 thousand dances in the Israeli dance library, one has to wonder about the longevity of any new dance introduced. Do you think 5 years from now the Pittsburgh session will have this as a staple? Good question. we only learn between about 20 dances each year, so we retain more than the average group (because we have fewer dances to forget!) I think it's possible we'll still be doing it in a few years.
12	Tishmeru Al Atzmechem	Take care of yourself	C	Dudu Barzilay	2008	Composer:adi le'on;lyrics:Arlet Sfadia;singer:Haim Moshe	2:26:09
13	Pney Malach	Angel Face	C	Moshe Eskayo	1995	Composer:Stalios Potiadis;lyrics:Ilan Goldhirsh; singer:Yoav itzchak	2:50:18
		We asked Sharon Kleban, the leader of the Wilmington session, several questions pertaining and related to this dance. Below are the questions and below that are her answers. Q. When Don plays Pnay Malach at his Thursday session, you seem to be in the lead. What do you like about this song and dance? Q. On the web site I have tried to indicate the appeal of Israeli dance music. To me, the genre has a very strong Arab or middle eastern beat. Do you get the same feeling when listening to this specific music? I know the Wilmington group likes Salamati, Al Salsalim and Tzel Midbar, all of which sound Middle Eastern. To your way of thinking, are we correct in assuming this is one of the appeals of Israeli dance? Q. You�ve taught this dance at Wilmington, I believe. How did the students pick up the steps? What do you consider as the hard parts of this dance to teach? Q.The dance is choreographed by Moshe Eskayo. Do you like most of his dances? It is said that he brings a Yemenite influence to his choreography. Where do we see that in this dance�s choreography? Pnei Malach (Ed Note: The Aussie database indicates the spelling as Pnay Malach) is one of my favorite dances created by one of my favorite choreographers Moshe Eskayo. As I understand it, the song was originally Greek and was translated and re-recorded in Hebrew. To me, it is the perfect blend of Middle Eastern and western sounds. The steps and dance rhythm I would describe as very Middle Eastern. There are slow-quick-quick combinations interspersed with slow-slow-quick-quick-quick-pauses. I love the "break" section where the music changes to the chorus and the dance steps burst into running and turning jumps. The hardest part for me to learn was the slow-moving transition where the beat is almost completely even, like a walking pace. It feels so different from the rest of the dance that although the steps are much simpler they were harder for me to remember. I think that was the hardest part to teach to the Arden dancers too. We haven't done the dance that much, and I really need to teach it again. I like the dance songs with a more Middle Eastern or Mizrachi sound. The western style music sounds like pop music I could hear on any radio station here, but if the dances are really fun then I end up liking the music no matter what it sounds like. Shmuot by Dudu Barzilai for example; love the dance but cringe at the music, especially the opening bars. I think the tension that comes from a minor key played joyously, Eastern drumming and string-picking and (mostly) Hebrew lyrics create a slightly exotic sound and when you add a dance I am hooked. I think the Arden group prefers the Mizrachi sound too, maybe because I play so many of these or maybe because it sounds ethnic and that's what Jewish and international folk dancers look for
14	Maoryan		C	Dudu Barzilay	2008	Composer:Adi Le'on	1:59:49
15	Metukim	Sweets	C	Svi Levy & Dudu Barzilay	1998	Comp/Sing:Shlomi Shabat	2:44:30
		While this dance dates back a while, it was introduced last year at Naomi�s session in Cherry Hill. Like all the music on this CD (or at least that was the attempt), it has a fast and lively beat with very interesting steps � steps you would associate with a dance choreographed by Dudu. One dancer has remarked about how people come and go in these sessions and for a while they are regulars and then you never see them again. They are in essence forgotten, especially in this type of dancing where the need to memorize new steps overrides the memory of older dance steps and the individuals who did them well. The author would like to rectify this, even on a small, insignificant and fleeting scale, right here. Don�t know his last name. Don�t know where he went except back to Israel with his wife. But, whenever watching or doing this dance, he remembers Donny who used to be a regular at the Sunday Night Klein session and did this dance especially well.
16	Al Salsalim		C	Yaron Malihi	1998	Comp/Singer:Shlomi Shabat	3:21:67
17	Tikvateinu	Our Hope	C	Kobi Michaeli	2002	This is a greek dance Singer:Esta	3:06:65
18	Hachayim Ha'acherim	The other life	C	Avi Perez	1995	Composer:Yoni Ro'eh;; Singer:Leah Lupitin	2:30:02
19	Kshe'hatal Notzetz	When the dew is glistening (Shining)	C	Israel Shiker	1993	Composer:Meir Goldberg;; Singer:Uri Fineman	2:47:31
20	Kachol	Blue	C	Shmulik Gov Ari	2004	composer:Uri Miyls	2:31:31
21	Simanim Shel Ohavim	Signs of Lovers	P	Ohad Atia	2010		1:50:23
22	Rei'ach Valzeva	Scent and color	C	Avi Perez	1993	Composer:Doron Mazar;; Singer:Doran Mazor	2:13:06
23	Trapatoni (aka Bachof Shel Trapatoni)	(on the beach of) Trapatoni	C	Meir Shem Tov	2003	Lyricist:Shlomi Shabat; Singer:Shlomi Shabat	2:23:57
24	Yaacov	Jacob	C	Gadi Bitton	2009	Composer:Geri Valodovski;; singer:Laladin Ben	2:35:06
25	Meohav Ad Hashamayim	In Love up to the clouds	C	DuDu Barzilay	2010	Singer:Yoav Itzchak	2:46:57
		Pertaining to this dance, we asked Naomi, the leader of the Cherry Hill session, the following questions: Q. We believe your class was the first in this area to study Meohav* Ad Hashamayim. How did you become aware of this dance?* First I had just heard of it--I'm not sure how--then a regular Cherry Hill dancer saw it at a session in California and said that she liked it, so I took a closer look at it and decided it would be a good dance to introduce to the group. Q. We have Dudu Barzilay as the choreographer. It would seem that Dudu is one of your favorites as far as dances taught. Is this correct? What do you consider in his choreography as most attractive? I do like many of Dudu Barzilay's dances, though I also like many dances of other choreographers. I make decisions about dances to teach based on the particular dance, not the choreographer. Q. One would assume that any dance taught would have its easy and hard parts per your class. What are the hard parts in teaching this dance? Does the ease or difficulty in what you perceive as to instruction influence what you decide to teach? I don't think that most people found any parts of this dance difficult per se, though I guess one of the harder parts is the end of part 1 with the stamp in the middle and then somewhat unusual rhythm of steps coming back out of the circle. I do not choose dances based on how difficult they will be to teach, though I try to introduce dances with a range of difficulty levels to the group (so that everyone can "get" some dances, while the more advanced people will be challenged by other dances).
26	Shmu'ot	Rumors	C	Dudu Barzilay	2007	Composer:Adi Le'on;Lyricist:Yosi Gispan; Singer:Eyal Golan	2:19:44
27	Hakol Dvash	All is honey	P	Avi Perez	2005	Composer:Doron Mazar;; Singer:Doron Mazar	2:10:05
28	Ten Li Batarbuka	Give me a Tarbuka	C	Gadi Bitton	2001	Singer:Hamsa	2:20:61
29	Im Tirtzi Lada[']at	If You Want to Know (said to a woman)	C	Gadi Bitton	2004		2:25:69
30	Rachamin Lev Ha'olam	Mercy is at the heart of the world	C	Avi Levy	2002	composer:lea shabat;singer:Lea and Shlomi Shabat	2:34:55
31	Secret Agent man	Secret Agent Man			1966	Composed:Steve Barri and PF Sloan;;Singer:Johnny Rivers	2:57:50

Note to the kicker to the prospect1ve, A13, CD

In 1960, a half hour British television program was to be created cashing in on the James Bond craze. Although the Bond movies were yet to be produced, the Bond books and Bond portrayed in a set of comic strips were very popular in England and this popularity would be exported to the US within a year or two partly through a Life magazine story about the favorite books of President John F Kennedy, one of which was From Russia With Love, the subject of the G11 kicker documentation.

It has been reported that a television producer for this proposed series had met with Ian Fleming, creator of the Bond books, to ask his opinion (and possibly his association) about this proposed television series, but Fleming had already signed a contract with other parties in terms of the rights to the Bond character. This would not be the last time a TV producer met and discussed ideas with Fleming. For trivia fans, this is an answer to the question of how the 60's American TV program, The Man From Uncle, was created and conceived. We'll give you a hint by indicating the lead character's name of that show, Napoleon Solo, is the name of a character in the novel, Goldfinger.

But we digress and will indicate to the reader that this is how the television series, Danger Man, started from scratch. In the process of getting onto the air, it cast a very dramatic, but opinionated actor as its lead. Possibly a great move, possibly a bad move as this actor would gain some control over the character he portrayed both to the benefit and detriment of the series.

The actor, born in the US (but at 6 months repatriated with his parents back to England) was Patrick McGoohan. The protagonist of this TV show, Danger Man, was John Drake. McGoohan was a highly intense perfectionist who showed this time and time again in the theater. To him, nothing was gray as far as acting was concerned. Everyone who has dealt with him claims his acting was a form of perfectionism, something he also insisted on others when in command. This author has read several reviews of McGoohan�s plays and critics generally said that he would envelope a part with great passion and projection.

McGoohan, contrary to most actors those and these days, was happily married since 1951, a marriage that would last until his death in 2009, and had a very high expectation of social and, should we say, sexual morals and situations. This was not an actor to be portrayed going from bed to bed. Although the John Drake character was not so written at the beginning of the TV series, McGoohan immediately put that stamp on the role he played. While, no doubt, he was as adamant as far as other ethical and moral conditions were concerned, there was a more gradual inclusion of this ethos into the program, but included it was.

Danger Man was originally designed to also play in the US market but its half an hour format, appropriate in the UK, was not such in the US. Its duration on British TV was two seasons. In the first season, a very limited music theme was installed - just a few chords - but by the second season, apparently what�s known as the highwire theme became the standard. A version of this Highwire theme will be the kicker to the Retrospective CD when it is released in October. In listening to it, any James Bond influence as far as music is concerned is missing given that it was created before the Bond movie successes. It seems to have as its influence the Harry Lime theme (now generally known as the Third Man theme) from the movie, The Third Man. You'll be able to determine if this author is correct in his assumption as the Third Man theme is the kicker for the Introspective CD also to be released in October.

Obviously, with McGoohan vetoing most plot lines, the writing and direction would have to take a different, higher level direction. Production was stopped for several seasons. It gave Mcgoohan time to pursue other roles. While off, McGoohan starred in a Disney production, The Scarecrow of Rodney Marsh, and other movies and plays. He also had the opportunity to say no to the role that would make Sean Connery famous, the aforementioned James Bond. In McGoohan�s case, being turned off by the character, it was a flat no to even auditioning for the role and who knows whether he would have been offered the part or not. His wife in later years reported that he never even considered becoming the actor to lead James Bond onto the screen although the producers of the first movie, Dr No, were very eager to see if he could be so cast.

When Danger man returned to the air it was now as an hour long drama. In the UK it was still titled Danger Man but in the US, where it started to be picked up as a syndicated show, it had two titles, the title with the most staying power was Secret Agent or Secret Agent Man.

The kicker to this CD, the last music selection, is why this name stuck. A new theme had been created using American artists. The theme was created by the song writing team of Steve Barri (supposedly born Steve Barry Lipkin) and PF Sloan who probably, if you listen to the lyrics, like most Americans projected James Bond onto John Drake. It was further modified � to, could we say, an Elvis type of sound by the singer, Johnny Rivers. For whatever reason, the theme invoked the words �Secret Agent Man� and this is what American viewers remember having had no history of the half an hour Danger man production.

From a music standpoint (and from a standpoint of these CDs) the intro guitar riff is a parody on the beginnings of the James Bond theme. Given the popularity of these movies (Secret Agent Man was in production from 1964 through 66 at the height of Bondmania) almost every guitar riff had elements of the most famous guitar driven song in the world at the time. This was no exception. But once into the theme, Johnny Rivers, the artist and singer to whom you are listening, made this song into a hit of its own and supposedly in 1966 this song topped out at #3 on the billboard chart of most favorite songs in this country. We might add that Johnny Rivers was a very accomplished musician in his own right and was very well known during the 60's for such hits as Memphis and Maybeline.

One more note: On the internet there are multiple renditions of Johnny Rivers singing this song with just three verses. We have made sure to include with this CD the version that has the instrumental third verse. Listen to the guitar: it very highly styled. All of this would have been academic as far as the TV program was concerned as only the first verse was heard.

Notes on Rak Elokim.

A very popular singer in Israel is Chaim Israel also spelled as Haim Israel and pictured on the next page. Besides this song, the disk coordinator data base indicates the partner dance, Lecha Eli, as also sung by him which we dance to in this area. The Aussie database lists quite a few dances attributed to his songs but many are not danced locally. You can see references to his albums on YouTube (and the internet in general) by typing in his name.

haim Israel.jpg During the first half of this year, Don introduced a dance to one of Haim Israel�s musical pieces set to the song name referenced here and on the label of this CD, Rak Elokim. The choreography is attributed to Erez Tabul and the date of this is 2009

However, when dancers returned from Sababa over the Memorial Day weekend, it seemed like a different choreography had been set to the same piece of music. The choreography in this case was by Moshe Eskayo and the date attributed is 2010. The music was now designated as Rak Ata but the singer remained Haim Israel.

Supposedly, modern Israeli dances are to have one set of steps to one piece of music to avoid confusion as may have happened in the past. Someone once mention to this author the process by which this is done and the explanation was confusing to him then so there will be no repetition here. You�ll have to find your own person to confuse you as far as these rules and regulations.

However, we may be able through technology to answer where the difference, rather small, occurs in the pieces of music referenced above. Luckily, the disk coordinator was able to take off enough time from his day job of radar technician/sonar operator to prepare the following diagram for you that you can see on the next page (for those into technology, this is a jpg file and cannot be split in word processing programs between 2 pages). These spectrum waves are from the author�s version of Nero that he uses to burn the diskcoordinator CDs and to analyze music.

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.

Below is a table supplying a video for one of the CD selections if a video exists. Click the link (above the blue separator line) to access the video. If a video cannot be found, the music is not indicated. To see a comprehensive listing of videos (many of these dances have several videos associated with them), click here for Videoclips