My eldest son asked me what “that noise” was. My youngest son said “is that music?” Fortunately my daughter said nothing (which means she did not hate it).

Feeling defeat, I slid a ‘Mozart for the Young’ CD into the slot instead. The little ones started to dance – a sign they approved.

My mother – a great fan of classical music – would be delighted to know that her grandchildren in Israel prefer Mozart to Madonna, Bach to Blur.

Then again, I suppose I’m partially to blame.

You see, when we go to concerts with the kids we prefer a quality performance to the nonsense often served up to toddlers.

My two older children (twins aged 4.5) adore Magical Sounds at the Israeli Opera. Actress Nitza Shaul introduces little ones to the lives of the great composers in a sort of combination play-concert-opera. She is mesmerizing, captivating and interesting.

My kids role-play the classical masters long after we see the shows.

Nitza Shaul dedicates a performance to Armenian composer Aram Khachaturian. (Photo: Yossi Tsevker)

After hosting Bach, Mozart and Beethoven in her studio, Shaul is set to launch a production dedicated to Armenian composer Aram Khachaturian (March 6-8), in the theme of Purim, at the Israeli Opera in Tel Aviv.

The Israel Stage Orchestra (ISO) is another adult-oriented company that has taken it upon itself to attract the future generation of classical music lovers.

In its current production, The Four Seasons and One Sheep (Feb. 18, 21), the ISO tells the story of Italian composer Antonio Vivaldi with a twist.

The music takes center stage but the ISO adds a story of a sheep to the production which helps the young audience identify the different seasons in the music based on what the sheep encounters. At first my children were a bit frightened by the sheep’s Commedia Dell’Arte theater mask but soon got used to it.

To “put the higher arts in first place, one has to make an effort, and to combine them,” ISO musical director Roni Porat said in the past. “I have no problem with the audience being entertained a little along the way, if the goal is listening to good music.”

The Four Seasons and One Sheep at the ISO.

Indeed, my children liked watching the sheep’s antics on stage but when we came home they were imitating the violinists.

I know there’s nothing wrong with raising classical music devotees, but I wouldn’t mind if they’d let me listen to my music as well.

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“Technology has caught up to the imagination of Lomax,” and his vision of a “global jukebox”, wrote the New York Times of the newly opened ACE storehouse of audio treasure. Locally, the same is true. Only a few weeks ago, Israeli nostalgia repository Nostal.co.il launched an online radio station of old Israeli songs. Late last summer, we reported on Shapam’s collection of old radio ad spots. And now, the largest collection of Israeli music from pre-State to recent times, has been made available to the general public.

The Kol Israel preservation project was conducted by the National Sound Archives which is part of the Music Department at the Israel National Library. The Archives has the world’s largest collection of ethnographic and commercial recordings of Israeli and Jewish music. The online collection is available both via the National Sound Archive and through the Israel Broadcasting Authority website.

In a radio interview on Friday, Dr. Gila Flam, Head of the Music Department and National Sound Archive, described the volume of the Kol Israel project. In 1983, 6,300 phonograph records belonging to Kol Israel to the National Library. The majority were recordings of radio broadcasts as well as commercial recordings. Flam noted that these were rare acetate master records produced specifically for radio broadcast.

An additional 20,000 records containing a variety of materials were transferred in 2002 of which approximately 5,000 were selected for cataloging and preservation.

Most of these records contain broadcasts from the 1950s and include many unique recordings, chiefly in the field of Israeli music. The labels, which were photographed and cataloged, contain relevant information, such as the name of the artist, production date, etc. There are speeches, such as Israeli Ambassador to the US Abba Eban’s speech on Israel’s 9th Day of Independence, holiday songs like Tu b’Shvat (a dolorous ditty but included here in honor of the upcoming holiday), Im Nin’alu performed by Yemenite immigrants (the song was later made famous in a dance-trance version by the late great Ofra Haza), and of course, no Israeli musicological collection would be complete without accordion renditions of folk dances like Simi Yadech b’Yadi (Put your hand in mine) and Hora Agadati.

There are curiosities as well, such as Arik Lavie’s HaSela HaAdom (The Red Rock) which is labeled quite plainly: “This record is forbidden from broadcast”. The reason for the banning? The song, which described a midnight trip across the border into what was once enemy territory, to visit Jordan’s legendary Petra, had apparently inspired many young people to make similar treks to their peril. And so, Israel Radio bore the national responsibility to quash the trend.

The Legacy Heritage Fund, which provided funding for the digitization project, states, “Because of their impaired physical state, the records cannot be played at all, even for research purposes. The majority are made of acetate and are considered to be at risk because of chemical processes which could cause them to disintegrate at any moment. According to the research and directives of the International Association of Sound and Audiovisual Archives (IASA), these materials should be transferred to digital format immediately in order to preserve their content.”

“As part of this project the Kol Israel recordings, among others, are being transferred from analog to digital format. The Sound Archive includes studios equipped with instruments for optimal playback of old records and conversion to digital formats. After undergoing a cleaning and fixing process, the original materials are converted to both WAV files, for preservation, and MP3 files, to enable access. The preservation process is compliant with the IASA standards.”

Each month, dozens of new audio files will be added. The complete Kol Israel collection is currently being digitized and is scheduled to be uploaded by the end of 2012.

The library has also compiled collections of songs for ease of listening, such as a Nostalgic Hebrew Songs compilation.

The Music Department and National Sound Archive at the National Library welcomes public contributions and additions to the collections and knowledge database on any subject relating to Jewish or Israeli music and are happy to receive songs, recordings, manuscripts and any other material relevant to this field of study.

BTW: The ACE collection has almost no Jewish/Israeli content (Lomax researched the US, Great Britain, Ireland, the Caribbean, Italy, and Spain) but there is a radio show from 1948 that features part of this song, Dance the Hora: “Don’t be sad now, little one, little one / I command you to be happy / All our lives are sorrowful, sorrowful / Come forget your fears and troubles / Let’s have rhythm, let’s have dancing / Bring the music, bring the wine / Let the old and young clasp hands now / dance the hora /” etc. etc. It isn’t much of a folk song — or a song, for that matter — but the lyrics, sung in accented English to the accompaniment of an accordion (what else?) gives some insight as to the Jewish condition in that important year.

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An international panel of distinguished judges, comprising experts in both design and in Holocaust Education, selected the 16 best posters from more than 300 submitted by design students from France, Israel and the Czech Republic. They were asked to present works on the theme of Holocaust commemoration, with an emphasis on the nature of memory and the plight of children.

The three finalists designed posters that stood out for their originality, beauty, and meaning.

The work by Veronica Novakova, a designer from the Czech Republic, portrays a well-known childhood punishment. “Traditionally, to correct a child’s errant behavior, an adult will force the ‘naughty’ child to write his misdeed over and over again, until he ‘learns his lesson.’ In this case, the misdeed is written by a child who is forced to denounce his friendship with a Jewish friend.

Designer Martina Cejpova also explores the effect the Nazi anti-Jewish policy had on children. “In her poster, she depicts a universally-recognized image from childhood: a hopscotch board, chalked onto the pavement. This particular game, however, is marred by a hateful symbol of discrimination drawn onto its cross-arms – the yellow star. Its inclusion here indicates that the insidious and pervasive hatred perpetrated by the adult world has also filtered down to the world of children, destroying their innocence.”

French designer Boris Grzeszcak deals with another theme in his work – the nature of memory. “His black-and-white poster presents a striking image of a scarred tree cut to expose the rings. A deep gash cuts to the very core of the trunk, where the word “emet” (truth) is written in tiny letters… [The artist says,] ‘The truth resides in the act of remembering and above all, never forgetting these dramatic events.’”

Peter Chmela of the Czech Republic says, “This poster wants to show the impotence of Jewish children against the Nazi soldiers. I tried to illustrate this theme with a big contrast between soldier and child.”

Yael Boverman, Israel: “The object that a survivor carries throughout a lifetime enables him or her to keep their memory alive. The closet symbolizes a collective closet, reflecting the repressed memories of the Jewish people as a whole. For every survivor, the memory is forever present under the thin veil of everyday functioning, represented by the new shirts, but at the bottom of the stack, there always lies the shirt kept from a different time – the persisting memory of a past that refuses to be abandoned.”

The project is funded by the Task Force for International Cooperation on Holocaust Education, Remembrance and Research (ITF), together with Yad Vashem, Israel; Mémorial de la Shoah, France; and the European Shoah Legacy Institute, Czech Republic; in cooperation with the Holocaust and the United Nations Outreach Programme.

In addition to the posters, there is also a lesson plan that provides tools to aid students and teachers in discussing the more universal aspects of memory — as well as the challenges facing those who use the visual arts to commemorate the Holocaust today.

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The renovated Habima Theater (Photo: Haaretz)

The Habima was one of the first Hebrew language theaters, emerging out of Russian origins after the 1905 revolution. Because its performances were in Hebrew and it dealt with issues of the Jewish people, it met with persecution by the Czarist government. Beginning in 1918, it operated under the auspices of the Moscow Art Theater and in 1926, the theatre left the Soviet Union to tour abroad, with some members staying in New York and others taking the company to mandated Palestine. The first play in Tel Aviv was staged in 1928 – Der Oyster (The Treasure), a play in Yiddish by Sholom Aleichem.

In 1945, the company built the Habima Theater in Tel Aviv, which has been officially considered the national theater of Israel since 1958, the year in which it received the Israel Prize for theater.

Sunday’s grand re-opening, occurring some two months after the theater began to stage productions again, was attended President Shimon Peres, Culture Minister Limor Livnat, Tel Aviv Mayor Ron Huldai, and many dignitaries from the acting world.

Despite the big budget and lavish attention that went into the renovations, the management was surprised a few hours before the opening, when the heavy winter rains sweeping Tel Aviv caused the ceiling to leak in a few places, resulting in water dripping onto the actors during rehearsal. By show time, the rain had stopped, but there was still other controversy.

A few dozen people stood outside the theater protesting against the allocation of funds for the renovation, which they claimed came at the expense of those in need of housing in Tel Aviv.

“On the one hand we are protesting against a lack in public housing and on the other hand we see in front of our eyes the opening of Habima, with nicely dressed people enjoying refreshments,” one of the protesters told Ynet.

It was a fitting dramatic debut for the theater which will continue to lead Israeli theater into the coming decades.

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In a radio interview today, Eshet said that he, together with his wife, the artist Dalia Eshet, always tried to find unusual locations and tell a story that expressed thought and originality. Venues like the Dead Sea, the zoo, the streets of Tel Aviv and even the Lebanon War were his backdrops. The couple served as stylists, makeup artists, directors, producers, designers — even model scouts, as there were no modeling agencies when they first started.

Eshet: “In the pre-modeling agency days, the relationship between fashion houses and myself was direct. Entire collections were sent to my studio and from that moment on until I got the photo I wanted I dealt with finding the models, designing and producing the image (including location and accessories) — and ‘decorating’ the model (the term ‘styling’ didn’t exist [in Israel])”.

Dalia Eshet: “He loved select the ones that came with a background in dance and movement. The model’s personality was an important component expressed in his photography”.

The exhibition presents photographs of those personalities, including Israel’s leading fashion models of the period, such as Penina Rosenblum circa 1972, before she became Israel’s most famous cosmetics queen / reality show / hoochie mama / ex-Knesset member…

Heli Goldberg went on to an acting career – including one of her best-known roles as a shopping cart bashing pudding thief in “The Battle For Milky” commercial…

The amazing Michaela Berko, Israel’s first 80s supermodel export (who recently paid homage to her famous Vogue cover on the cover of Israel’s La-Isha magazine)…

Exotic Tami Ben-Ami, who lived a supermodel’s life before they gave it a name. She dated wildly popular basketball player Aulcie Perry and was Gottex’s first house model. Sadly, she died of cancer in 1995 at just 40 years old.

The exhibition photos were selected from tens of thousands of images saved by the Eshets over the years, published in Israeli fashion magazines, catalogs, posters, ads and more. Definitely worth checking out, as is this report about Mula Eshet in his heyday.

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A little background: From posts I’ve gathered from Facebook, emails and YouTube comments, Broza was flying to New York — his fiance, clothing designer Nili Lotan, also Israeli, lives in New York — on January 3, and one of the flight staff, who are all generally young, out of the army, sometimes simultaneously in university, asked him for a song. And as he has before, and as he does in his often intimate concerts, such as one he recently did for
the Masorti center in Tel Aviv (he belongs to Kehillat Sinai, a Tel Aviv Conservative synagogue), he sat himself down in the galley, and sang an old favorite, Sigaliot, Violets:

Here are the lyrics, in English, for edification.

VIOLETS

She got married and she is happy
in spite her husband being wild
all the time he is in a bad mood
and even doesn’t know why
for the last three years, she receives
under the door, from an unknown man,
letters of poetry to her
they lighten up her youth.

Who is writing to you, girl, who sends you flags
a bunch of purple flowers when spring comes
who, every ninth of November,
with no name, greetings or hint,
sends you a wreath of violets tied with a bow

The whole night she can’t fall asleep
she day dreams about him
probably a man with a romantic heart,
good soul and simpatico smile
for three years she has been suffering in silence
yes sometimes she nearly screams
and what if her husband found out?
she hides her letters

When her husband comes home from work
throws a questioning glance
He doesn’t say anything,but he knows,
if she knew she would go crazy
Yes, it’s him that writes to her,
he is the lover, he is the subject of her dreams
And what if her husband found out?
She hides her letters.

Who is…

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The Gad cheese grandfather

Carpet tiles (Photo credit: Tchochkes)

But the point of the video, says one commentator, is to recognize the metaphor of the movie. The peak in life, is not necessarily the refrigerator shelf, where it appears that everyone should be situated. But rather, the garbage pail, which may represent the margins of society or a greater mix of products, may offer more self-expression, and, more happiness.

It’s good to get the inner meaning, but you can just appreciate the clever aspects of this student project that has already been viewed more than 30,000 times.

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In an interview with Israel Hayom, Sela stated that he and music editor Yoram Siman-Tov, had selected a library of about 4,500 Israeli oldies going back at least 25 years — 25 being the cut-off date (or is that the starting point?) for being considered an “oldie”. Each year, the station plans to add another year’s worth of old songs to the database.

Sela also said he was reviewing several proposals for radio broadcasts as well.

The Nostal website itself houses tens of thousands of images, some 1,000 videos, hundreds of audio clips, as well as scanned newspapers, magazines, posters, postcards, books, toys, trinkets and other ephemera. Sela stated that the site had visitors from 132 countries and estimated that 19 percent of users are Israelis living abroad.

Another great source of old Israeli songs is the YouTube channel called, not surprisingly, OldIsraeliSongs. It’s run by record company NMC United Entertaiment, which holds the rights to the old Hed Arzi music catalog.

The 90s may be less than 25 years away, though not by much, but enough time has elapsed to give music aficionados some historical perspective. Radio host and pop music historian Yoav Kutner has deemed that decade the most important in Israeli rock and produced a five-part series for Channel 8, The Albums, about five seminal works: Simanei Hulsha by Berry Sakharov, Plonter by Rami Fortis, Zman Sukar by Eifo Ha-Yeled, and the debut albums of Ziknei Tsfat and Eviatar Banai.

Following is a Ynet report on the series which features period clips as well as interviews from the launch party with Israeli rockers like Aviv Geffen (“We all lived on Sheinkin Street… there was a Sixties vibe in the air”), Gilad Segev (“I was most influenced recently by Berry Sakharov in working on my latest album”), Chemi Rudner (“Being unfashionable is the most fun”), and performances by Rudner and by a now-religious Eviatar Banai.

All agree that what happened at that time can’t be replicated — they cite commercial hype and the reality-TV-ization of the music industry, and that includes Geffen who is currently one of the judges on the Israeli version of The Voice.

But, as Rudner says, there’s still a place for artists who create for the love of it.

NOTE: If you can’t see the embedded video, click here to view.

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The name takes the hackneyed shopping channel phrase mutzar ha-yom, “product of the day”, and replaces it with the word ayom, meaning “horrible”. And indeed, many of the products are in fact, delightfully dreadful examples of visual wordplay.

Some of the ideas are universal in nature — others are unmistakably Israeli, for example, this toy soldier armed with mother’s cooking…

Water concentrate, as opposed to the ubiquitous sugary red mitz petel, so ingrained in the Israeli child’s psyche — and the Israeli child’s teeth!

A reversed three-fer electric adaptor…

A floor squeegee that actually gets into corners…

And my personal favorite, the real and original dubon coat.

Menkes also runs a Mutzar Ayom Facebook page in which followers are invited to comment on recent postings and share their own imaginary product ideas. Who knows, some might even make it into production — after all, if the Crembox can be an actual product fulfilling an actual need, then anything’s possible.

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Check out his shoe calendar, via the UK Calendar Club, with a 2012 wall calendar that features 12 Kobi Levi shoe designs.

He also recently collaborated with Image Comics’ Vescell storyline, integrating his shoe designs for one of the characters, Machi, a fairy protector.

Keep on spreading the word. Or the shoes.

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