“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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Some of the silliest examples: Talitakumi in front of Jerusalem’s HaMashbir LeZarchan, a strangely out of place wall-and-clock structure intended to replicate the front of a girl’s school that was razed to make room for the department store. The gate leading to Gymnasia Herzliya in Tel Aviv was thrown up by sentimental, well-meaning people in recognition of the original structure, demolished to make way for the Kolbo Shalom. And does anybody know that the Gan HaIr mall and residential complex was named for the municipal zoological garden that once stood there?

The most unsung of all are the movie houses, most of them shuttered for decades, fall deeper and deeper into disrepair until they are destroyed to make room for malls, tall buildings and parking lots. No one remembers Tel Aviv’s majestic Mugrabi Cinema or Jerusalem’s historic Edison.

Nonetheless, a small victory was achieved a little over a week ago when high-rise developers were forced to change a plan to tear down Bay Yam’s historic Savion Cinema. The victory belongs to a local activist group of Bat Yam residents, artists and the Society for Preservation of Israel Heritage Sites who objected to the demolition and proposed a synthesis of old and new structures.

In its heyday, Bat Yam boasted six movie houses. The Savion Cinema was built in 1957 and — in line with the global trend – closed in the 1980s. “However it remained an architectural icon because of its facade which was characterized by a weave of concrete block units,” states The Marker.

Icon or not, the building was in bad shape. Its most recent tenant: a dollar store in what was once the movie-house’s lobby.

According to The Marker, the design for a 25-story tower by architect Ilan Pivko, will be modified in accordance with preservation plan for the building. The building — a luxury residence and prestigious office space — is a flagship project for the Bat Yam municipality which wants to develop the run-down neighborhoods adjacent to Jaffa. The preservation plan calls for the street-facing facade to remain intact.

One look at Pivko’s work and its clear that adapting his design to the new guidelines goes against his post-modernist grain. He does not favor keeping the facade as is and suggests a modular solution instead. “One can reconstruct, dismantle or in some other way create an interior element within the structure.” How Pivko handles this challenge remains to be seen… he has done this sort of thing before… but if he wanted to do it with the Savion, he would have worked it into the original design…

Hmmm… one gets the feeling that this issue isn’t over just yet.

Whether or not the Savion Cinema facade remains on the street level or whether, in the end, Pivko’s lobby will simply feature a bold construction of recycled concrete filigree, the real significance of the decision is a precedent set in curbing real estate developers’ ability to destroy old structures without recognizing their historic value. Hopefully, that means recognition not just in the form of an incidental plaque, statue or clock, but as part of the planning, putting real thought into paying homage to what came before.

The Savion Cinema photos were taken by architect Sharon Raz who is a one-man documentary powerhouse with a particular interest in Israel’s old cinemas. See his Disappearing Architecture and Disappearing Cinemas sites as well as his Natush blog for more photos and information.

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At issue: a 2006 decision to transfer the contents of the Archive’s warehouses from Jerusalem to Arad, to storage facilities managed and operated by a private contractor under the BOT (build-operate-transfer) model. The installations are due to be begin operations in 2017.

As reported on Friday by Megafon News, (a new independent worker-owned online Hebrew-language publication): “In addition to the protest measures taken by the archivists, Tel Aviv University researcher Maya Mark [has] published an online petition against the move, that has already been signed by more than 700 people.” Actually, at this point there are over 1,400 signatures. Israelity readers are welcome to add theirs but please read to the end before signing it, as there are two sides to this story.

“The petition lodges serious complaints against the State, the Ministry of Finance and the State Archive’s management who are responsible for the privatization initiative… Mark claims that ‘such a move is in contrast to the state’s obligations to maintain responsibility for the spiritual and cultural treasures that are important to its citizens’”.

The petition also claims that transferring the materials to Arad comes in direct conflict with the Archive’s central main mission: to make the materials accessible and available in the public domain. Mark: “After the transfer to Arad is complete, any research request will require transporting materials a long way from Arad to Jerusalem and back. Researchers will have to wait a whole day and even more to get service, “says Mark.

The petition also raises concerns that warehouse privatization is only the first stage of a larger program to fully privatize the State Archive. “Such a move would turn the archive employees into contract workers and significantly worsen their employment conditions… Says Mark,’If this trend persists, soon the National Archives of the State of Israel and all the enormously valuable materials that within it, will be mostly in private hands.”

Megafon News’ report continues: “But it seems that the most disturbing of Mark’s claims is that the privatization process will severely damage the privacy of citizens with the dangerous exposure of archival material containing sensitive, classified information. Mark claims that the State’s initiative could lead to ‘a situation in which the most sensitive material with high levels of confidentiality, such as minutes of government meetings and personal information about citizens, will be in private hands”.

Megafon News’ reporter Maayan Dagan obtained a response from Deputy State Archivist Ruth Abramowitz, who said, “A 2006 government decision determined that the State Archive warehouses would be moved to Arad. Other Archive units and employees will remain in Jerusalem.

“‘The choice of Arad was born out of a collaboration with the Ministry for the Development of the Negev and Galilee which seeks to strengthen the outlying areas. Arad decided to establish a storage facility for historical material and facility for temporary material, as opposed to the current practice. At present, temporary material not intended for permanent safekeeping is stored in warehouses belonging to and managed by private individuals at a cost of more than NIS 10 million per year, all without the Archives’ supervision and without having to meet the Archives professional standards”.

Abramowitz also said that “to date, the State of Israel had not built a facility for maintaining its historical material, even though preserving this material is stipulated in the 1955 Archives Law.” She further noted that the present warehouses were full to overflowing and, for the past decade, unable to receive additional historical materials.

Abramowitz: “The state chose the BOT method so that the private concessionaire would build the facilities and operate them for 15 years, according to the requirements listed, and at the end of the period transfer the facilities to the State.”

Abramowitz clarified that the Archives are not being privatized. “The facility is – and will remain forever – state-owned with operations alone conducted on its behalf by a private franchisee. I mean, this is not privatization. The government remains in ownership, holding all supervision and control, and reserves the right, at all times, to terminate the contract should the agreement be violated.”

As for the matter of employment, Abramowitz said that a small number of workers would be transferred to other public service positions, without compromising their tenure, conditions or wages.

Abramowitz did not relate to the petitioners claims that sensitive information and private information such as medical, psychiatric, social welfare records, adoption records, etc. could be made public. Nor did she relate to claims that the roads between Jerusalem and Arad are unsafe and undeveloped. (Personally, as one who braves the Jerusalem potholes on a daily basis, I think that last one is a stretching things a bit).

Storing our national archive isn’t a matter of immediate survival but the preservation of a national record is critical to our long-term collective memory. As the petition points out, the State is obliged to maintain its spiritual and cultural treasures and make them available to the public. The State Archive has made good use of the Internet in uploading a large number of movies to its YouTube channel but the online archive is less satisfactory, as the website presents only fraction of the Archive’s database.

The Archive promises that it “will continue to update and expand the database over time, and will eventually be able to display all unrestricted information to users”. That should come sooner, rather than later. As one weary commenter posted at the end of the Megafon article, “Isn’t it about time to scan and upload it all?”

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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 papers, both local and international, reported on her passing — she was indeed the symbol of the War of Independence generation and a singer of some of Israel’s most beloved songs.

But she was also loved for being a fixture on the Israel Song Festival and Children’s Song Festival circuits, in the 1960s and 1970s, respectively.

For many years, she was an unofficial cultural ambassador for Israel, who charmed visiting international celebrities like Sean Connery, Cliff Richard and Sammy Davis Junior.

Like many women performers with a strong personality and powerful stage presence she, like fellow diva Shoshana Damari, inspired a generation of local drag queens.

Most of all, Yarkoni was a dyed-in-the-wool performer who was born to be onstage. In later years, she came out strongly as a member of Israel’s peace camp. In this interview, she covers topics ranging from cataloging her gowns, (so that she would never wear the same dress twice to a given venue), to face lifts (she didn’t have one and shows the back of her ears to prove it). She also describes the time she went down to Sinai to perform for the troops and ended up giving an impromptu performance to an onlooker who happened to be an Egyptian soldier on the other side of the line. “On the way back, I said to myself, ya allah, maybe we can end this war simply with song?”

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On December 16th, 2001, when Wayback Machine visited The Jerusalem Post, the headlines were concerned with an IDF crackdown on the Palestinian Authority in the wake of shelling from Gaza, a falling Cost Price Index and relations with PA Chairman Yasser Arafat. JDate was the dating site of choice for Jpost readers.

The lead story on Ynet on December 17th, 2001, (only available in Hebrew at that time), was about victims of a shooting attack. Other stories included the opening of a second McDonald’s franchise in Jerusalem and the Bank of Israel’s fight against forged checks while online messaging pioneer ICQ offered up its ultimate tip guide and Ynet ruminated over who would be its choice for Person of the Year. Cupid.co.il was the premier dating site for Hebrew-speaking Israelis at that time.

That same day, December 17th, 2001, Haaretz also ran the story about the West Bank attack victims. US Secretary of State Condoleeza Rice said the US had no plans to invade Iraq and Arafat called for an end to violence against Israel. (It must have been true ’cause it was in the papers!) And JCupid, the English-language version of Cupid.co.il, was offering an end to lonely singledom.

Wayback didn’t crawl Globes around January 2002. It visited Globes on November 8, 2001, at which time the financial news headlines were concerned with, among other things, the acquisition of cement block maker Ytong, the public sector workers strike and the short-lived reopening of troubled Phoenicia Glass Works. There were no dating ads; the one advertiser was a bank.

Israelity didn’t get started until 2005. When it did, it looked like this:

And what of our own Israel21c? Unfortunately, due to its archive structure, the Wayback Machine isn’t able to reconstruct its “snapshot” — good thing I made a screenshot some time ago for another posting!

The Wayback Machine is operated by the Internet Archive, which collaborates with institutions including the Library of Congress and the Smithsonian. It’s great fun to go in and crawl around.

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Some years ago, to salvage the industry, dreidel-makers began producing more upscale and eclectic versions for collectors of contemporary Judaica. Styles encompassed everything from modern contemporary to silver and gold filigree and, of course, chocolate. The sevivon, as it’s known in Hebrew, has become less of a children’s game, more of a conversation piece.

In secular Israel, toy stores very often sell round tops at Hanukkah time, which is, of course, a mistake. A true sevivon has four sides, each emblazoned with a letter: nun, gimel, heh and peh — ness gadol hayah poh, a great miracle happened here. This, as opposed to the Diaspora, where the fourth side of the dreidel is marked with a shin for the word sham — a great miracle happened there. Clearly a Hanukkah holiday symbol throughout the generations.

But all that is just spin, if you’ll pardon the pun. The true origins of the dreidel have less to do with Hanukkah and more to do with keeping the children occupied, as is often the case with a week-long holiday. According to an essay (in Hebrew) by Israeli collector Rachel Bar Lev, “We all played sevivon in our childhood… but collectors know that the picture is far more complex: playing with tops is universal and prevalent in all continents of the globe. The top is not Jewish in origin and its connection to Hanukkah is late. In addition, tops appear in a range of shapes, sometimes with accessories to assist.” Bar Lev notes that archeologists have found tops dating back to as early as 2000 BCE.

“The tops most widely known in Israel are those with four sides, but in the world there are also tops with six and eights sides… Tops are also used in gambling. On such tops you can find letters instructing the player to pay the others, take the winnings, etc… So, for example, in Italy, the letters P,O,M,N are on the sides, meaning Pone ‘put’ (pay into the pot); Omne, ‘all’ (you won it all); ‘Medium’ (half, take half the pot); and ‘Nihil’, zero, nothing (you lost).”

“The Hanukkah sevivon, whose identifying characteristics are four sides, spindle and point, came to us from Germany. On Christmas in December, German children would play with tops to win nuts.” The tradition spread to the neighboring Jewish communities; Bar Lev says that it was the Jews of Poland who brought the dreidel game to the pre-State Land of Israel. “We find the German influence on our sevivon in the letters engraved on it – N,G,H,S – which encapsulate the instructions in German for playing the game.”

“As part of the ‘conversion’ process, the sevivon’s acronym was Hebracized to nun, gimel, heh, shin and received a new meaning: ness gadol hayah sham… intended to mask the game’s non-Jewish origins… As the years have gone by, it turns out that this creation of a link between Hannuka and the spinning top has been so successful that many tend to believe that the sevivon has always been a Jewish game.”

A note about the word “sevivon”. The root word is “svv” (“to turn”) and, according to Wikipedia and other sources, it was invented by a 5-year old Itamar Ben-Avi, the son of Eliezer Ben-Yehuda, the man who was the driving spirit behind modern Hebrew. However, the first usage of the word in print was on December 24, 1897, by journalist David Isaiah Silberbusch, who credited himself with the new term.

The poet Hayyim Nahman Bialik created a different word, “kirkar” (from the root “krkr” – “to spin”) and author Mendele Mocher Sforim created the word “hazarzar” (from the root “hzr” – “to return”) but neither of these were adopted.

Dreidel, by the way, comes from the Yiddish word “dreyen” (“to turn”). This is similar to German word “drehen”, which means same thing.

Dreidels have become so identified with Hanukkah, they appear in all things Hanukkah-related, including the American-Israeli Hanukkah stamp, the first stamp ever issued jointly by Israel and the United States.

Referring to the joint Israeli-US stamps, Bar Lev writes, “We can see the dilemma of which acronym to use in the First Day Issue envelopes. We find sevivons with the letters N,G,H. But the side that is supposed to have the letter P (for stamps issued in Israel) or S (for stamps issued in the US) — is hidden. Thus is created a philatelic item familiar to children in Israel and the Diaspora as one.”

A lovely PowerPoint presentation about spinning tops — Jewish, Israeli and non — is available for download here, courtesy of the wonderful Nostal.co.il site.

Proving that kids today do still play the game: just today, 15 children from New York, accompanied by their parents on the UJA-Federation of New York’s Winter Family Mission to Israel, met with 20 Ethiopian children at the Mevasseret Zion Absorption Center near Jerusalem to eat sufganiot and make glitter glue dreidels together.

Photo: Ilan Halperin, courtesy of UJA-Federation of New York.

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The permanent collection includes Renaissance and Baroque arks of the Torah and religious objects. According to the museum website, “The period during which Jewish art in Italy expanded and flourished extends from the end of 15th century till the end of the 19th century, with the most remarkable handicrafts dating from the Renaissance and Baroque period.”

“These were brought from Italy to Israel in the 1960s by Dr. Umberto Nahon… These rare items were found in deserted synagogues that belonged to communities which had completely lost their members. They were kept in spaces adjacent to the synagogue until 1982, when the Museum was officially recognized by the Ministry of Culture, Science and Sport and was opened to the public. through a joint initiative in collaboration with the Jewish communities of Italy and Israel.”

Among the ritual objects are antique and rare Chanukah menorahs. “The lamps are made of silver or brass; they are richly decorated with images of animals, Jewish symbols or motifs inspired by Italian architecture. One the lamps lamp’s design, for instance, clearly recalls the characteristic shape of Firenze’s [Florence's] Palazzo Vecchio and of Siena’s Palazzo Pubblico (both built in the 14th century). The 17th century Italian Jew that created this lamp, could not certainly even imagine that his creation will be eventually exposed in Jerusalem…”

A typical feature of Italian Jewish art is the fusion of ancient and traditional motifs… with the prevailing style of the period…” Because Jews were prevented from working as artisans, “most of the objects were commissioned to non-Jewish artisans that were influenced by their personal taste and skills.”

“Helmets of Austrian soldiers were turned into beautiful Chanukah lamps after the battles of the 18th century. The helmets were made from brass, which was perfectly suited for the lamps, as candlelight reflects beautifully from them.

“The most important metal utilized in the fabrication of the different handicrafts is silver. During the 18th century this was due mainly to the decrease in the price of this metal, but also because it was the favorite material of the European bourgeois in the same period.”

The Museum also operates a Center for the Restoration of Wood and Textiles which specializes in detailed restoration of objects dating from the Renaissance and Baroque periods. The specialists, trained in Italy and around the world, use the same techniques as those used during the Renaissance period.

This past year, the center invited to public to observe a wood restoration project of a rare gilded 16th century Italian Holy Ark and a textile restoration project of an embroidered silk, velvet and gold Torah binder from the late 17th century — hopefully, the “live viewing” project will be continued in 2012.

Hamshushalaim 2011 runs for the next two weeks. In addition to free museum entry every Thursday night, there are live musical performances at little or no cost at various locations around the city — including concerts in the Italian Museum newly restored Fresco Room.

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Before surfboards arrived on our shores, there was the hasakeh, a sort of platform on which lifeguards would stand and paddle. Used from at least the 1930s onwards, there are several theories as to how this banana-shaped wood vessel came into being: one that it was used by Arab fishermen, another that it was based on a 1926 design by legendary surfer Tom Blake.

Its use by the Israeli Navy was immortalized in song in 1972.

Hasakeh

Riding the waves on a hasakeh, however, was not surfing. According to an online essay about the History of Surfing in Israel, that began with Dorian “Doc” Paskowitz, an American surfer and physician visited Israel in 1956. Wikipedia states that he volunteered for the Israeli army during the Suez Canal crisis but was rejected. Nonetheless, during his year-long stay, he found happiness on the beaches of Tel Aviv where he conceived of a dream: to found the first Olympic surfing team from the young state of Israel. Paskowitz imported six long-boards imprinted with the Israeli flag and began scouting the beach for potential talent and for someone to manage the project.

“…he arrived on Frishman Beach, [where] he found a lifeguard named Shamai Kancepolsky, also known as Topsea, and presented the idea to him. Says [Topsea's son] Nir Almog, ‘There was an immediate chemistry between them and my father decided to take on the project.’

‘At that time, lifeguards caught waves using hasakehs alone. Dorian gave them lessons and slowly, the lifeguard booth gang began surfing. In those days, [before breakers were built] Israel had high waves that broke on the shore itself… and going into the sea to surf was considered an act of bravery bordering on insanity…”

“A few years passed and the gang gained experience… but there was still no Israeli representation abroad. Dorian [Paskowitz] returned a second time, bringing a load of surfboards with him that were distributed among the new members.”

“Nir Almog adds, ‘In the Sixties, a huge storm damaged the storeroom where the surfboards were stored, and broke some of them to bits. After that, my dad decided to restore one of the big ones and shortened it to 1.80 meters. I was the only one in Israel with a shortboard.”

“In the early Seventies, a paratrooper commander by the name of Yair told Topsea that the army used a material — a aerated plastic called polyurethane foam — made by a company in Haifa. The material was similar to that used to make surfboards. Yair raised the possibility of manufacturing surfboards made of this material… Topsea and Nir began trying to design surfboards… and began a small surfboards producing industry. Most were rented out, and so a new generation entered into surfing…”

Topsea managed a small workshop on Hilton Beach and, along with renting out Hasakehs, designed surfboards. He, his wife Naomi — Israel’s first female surfer — and their children, all became lifelong surfers.In 1977, son Nir founded Almog Surfboards, Israel’s first pro surfboard company. Topsea co-founded the Israel Surfing Association in 1986.

The sport has continued to grow in popularity; according to the Encyclopedia of Surfing, “Israel is home to about 15 surf shops and 10,000 surfers”.

Paskowitz, by the way, gave up practicing medicine to become a professional surfer. He and his family founded and run Surf Camps and are known as The First Family of Surfing. In August 2007, he founded Surfing 4 Peace together with his son David (along with Israeli surfer Arthur Rashovan and eight-time world surfing champion Kelly Slater) to deliver surfboards to the surfing community in Gaza.

A wonderful online photo archive, can be found at the Topsea Israel Surfing Center website. Topsea’s youngest son Orian runs the center, carrying on the tradition and legacy of his father. The Center also hosts a YouTube channel where there are more videos about the legendary Shamai “Topsea” Kancepolsky and the history of surfing in Israel.

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The campaign is targeted at Israelis living in the US with the aim of guilting them into going home. As the daughter of one such mixed marriage — sabra Israeli mother, nice Jewish-American boy father — I can say with surety that the ads were absolutely on-message, that is to say, my sisters and I witnessed in real-life, all of the scenarios depicted in the videos.

The American-Jewish reaction, as everyone Jewishly or Israeli-ly involved now knows, was to take umbrage, with an emphasis on the second syllable. Since the ads were not targeted towards American Jews, the extreme reaction — among other things, accusing the Ministry of negative stereotyping, “luring expats” and “scare tactics” — is interesting.

More to the point, the target audience — Israelis living abroad — found the ads an insult to their intelligence. This may be so. No professional ad agency has yet come forth to take credit for the campaign so maybe it was indeed devised solely by thumb-twiddling bureaucrats tootling up and down the Ministry’s corridors. What I do find amazing is that this Ministry — so ineffectual at drumming up North American aliya that the job was handed over in part to outfits like Nefesh b’Nefesh — decided to do anything at all.

As to whether or not the campaign would have served to get the expats a-packing, I cannot say and we will never find out because it was pulled — by no less than Prime Minister Benjamin Netanyahu — although at this moment it still exists on the Ministry of Immigrant Absorption’s website. FYI.

Anyway… it’s time to take a deep breath and look back on the images that put forth positive messages, ones which made us truly, madly, deeply want to come to Israel, to make aliya*. This was one of my favorites:

Here, the Ministry tries to be hip… with Hippies!

Now THIS is messaging!

Even then, companies like Rolnik Publishers often did a better job of conveying the aliya message than the Ministry itself. Who can forget these iconic images?

All the preceding, with the exception of the Rolnik images, come from the Palestine Poster Project Archives, an online collection of posters published by 1) International artists and agencies; 2) Zionist and Israeli artists and agencies; 3) Palestinian nationalist artists and agencies; 4) Arab and Muslim artists and agencies.

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