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| 1 |
ID:
078917
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| Publication |
2007.
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| Summary/Abstract |
One of the most difficult problems Israel has faced has been securing sources of energy. That existential reality explains the secrecy that Israel has kept relative to the various means it has employed to overcome these difficulties. However, recent declassification of Israeli documents facilitated the publication of several academic works which emphasized and explained the major solution of the state's oil problem during 1957-77-the evolving relations with Iran. Still, the climax of these economic relations, in the joint venture of the Eilat-Ashkelon oil pipeline during the late 1960s and early 1970s, has not yet been analyzed using the new government records. The article illustrates that Israel had been preoccupied with plans for the project long before 1967. It also provides an analysis of the intricacies of the Israeli-Iranian dialogue on the subject, and uncovers some unknown elements of Tehran's and Jerusalem's complementary and conflicting perspectives
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| 2 |
ID:
104677
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| 3 |
ID:
084762
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| Publication |
2008.
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| Summary/Abstract |
Held since 1956, the Eurovision Song Contest is an annual event traditionally dedicated to the eternal themes of love, peace, and harmony. Yet Israelis asked to pick a song for the 2007 contest in Helsinki paid little heed to these themes. Instead, they settled for "Push the Button," a controversial number by an Israeli punk group called Teapacks; the song is generally understood as a description of life under the threat of a nuclear-armed Iran with its "crazy rulers." Meanwhile, an Israeli fashion house (Dan Cassidy) commissioned a series of photos at a construction site in southern Tel Aviv that showed a topless model lying in a pit. The project was designed as a warning against the "holocaust" that would follow Iran's possible nuclear attack on Israel; the pit, as the project's creative director explained, represented "the mass grave of complacent Tel Aviv residents."
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