Of Kannoim and Controversy: The Failed 2009 Lipa Schmeltzer Concert Ban

Now that yesterday's Lipa Schmeltzer concert, "The Event Live," has successfully concluded, I think it is important to take a look at the second failed concert ban and the actions of those who participated in it.

It's important to look at this event in light of last year's controversy. (You can find links to posts on that topic here.) A full recounting of the details is beyond the scope of this post. In short, the "Gedolim" and others who signed that ban allowed themselves to be manipulated into signing a last-minute ban by dishonest kannoim. It is a matter of public record that the kannoim behind the ban lied to many if not all of the signers. It is also a matter of public record that a number of the rabbonim who signed last year's ban were opposed to banning this year's event. Opposed, not ambivalent. The fact that they didn't sign a ban this year was not by oversight. It was a deliberate decision to allow the event to proceed.

This created a challenge for the kannoim when they were unable to get these rabbonim to sign on to another ban this year. So, instead they orchestrated another last-minute ban, this time signed by the principals of many Chassidic schools and one Litvishe Rosh Yeshiva, Rabbi Aryeh Malkiel Kotler of Lakewood's Beis Medrash Govoha.

As they did last year, the ban was announced at the last minute, in this case the Thursday before the Sunday show, by an ad published in Chareidi newspapers. The ad was published in the Yiddish newspapers "Der Blatt" and "Der Yid". Fortunately, the ban was not taken seriously and Lipa performed to a full house including many "Hemishe Chassidim."

This ban and the way it was organized/announced/implemented raise some troubling questions about the leadership in the Chareidi community. Especially the massive Chillul Hashem last year's ban caused.

A brief digression first...

Here's a troubling post... Note this part:

This year, like last, there were some people who wished to stop the efforts of the concert organizers and performers. Matzav.com has discovered that virtually every single Litvishe rosh yeshiva refused this year to sign any letter or kol koreh banning a specific singer or The Event concert.

Gedolim have faced tremendous pressure from certain so-called activists and have maintained their position despite fabricated stories that all other roshei yeshiva would be signing against concerts and/or singers.

One particular rosh yeshiva whom Matzav.com was in contact with mentioned that these activists sat with him for over an hour, not willing to let up, and telling him that they have signatures from every other rosh yeshiva. This particular rosh yeshiva had the foresight to pick up a phone and contact a few other roshei yeshiva only to find out that they too were told the same stories but refused to sign.

Of course, at the same time, these rabbonim have said that it is vital to reinforce the idea that concerts should be comprised of kosher entertainment that does not contradict the spirit of the Torah.

Recognizing that there is a strong need to provide kosher outlets for members of our communities, especially children and young adults, gedolei harabbonim have refused numerous requests and attempts to have them sign letters against this upcoming concert and other similar events.

I'd like to point out two things here. One, the facts have not changed, but the psak has. Yet, there has been no public explanation, and only one public apology to Lipa. And, I'm told the financial damages were not made up as promised. This is just wrong.

Two, note this part again:

One particular rosh yeshiva whom Matzav.com was in contact with mentioned that these activists sat with him for over an hour, not willing to let up, and telling him that they have signatures from every other rosh yeshiva. This particular rosh yeshiva had the foresight to pick up a phone and contact a few other roshei yeshiva only to find out that they too were told the same stories but refused to sign.

A rosh yeshiva sat with known liars after last year's fiasco for an hour about this??? That's outrageous! It's also not foresight.

Now back to this year's ban...

The ban states that there is a new nisayon (test) of "menagnim umezamrim mekulkalim shehichniso tarbus neykhor b'oholei Yaakov..."

It uses inappropriate language to describe Lipa and similar singers and is a clear violation of Hilchos Lashon Hara. This is true even if one were to accept the premise at all. As I have amply demonstrated in many places on this blog though, and as is widely known, this notion reflects historical revisionism. Jewish music, even Chassidic music, has always borrowed from the popular music of the surrounding time and place.

Obviously, raising the issue of Lashon Hara with these people is pointless, but I'm not addressing them, but the responsible leadership that needs to step forward.

I could make a few more points about the ban text, but this will suffice for now.

I'm more interested in addressing the circumstances surrounding the publication of this ban. There are a number of issues this ban raises. The first is one of timing. This concert was announced and promoted for the better part of a year. There was plenty of time for rabbinic leadership to address the issue. Waiting until the last minute to publicize a ban is therefore irresponsible and unjustifiable. There was plenty of time for these rabbonim to do their due diligence and announce their ruling well in advance. That they didn't reflects either incompetence or a deliberate tactic by the kannoim behind the ban to attempt to cause the most financial harm. Either should be unacceptable from the perspective of communal policy.

A question about the rabbonim who signed the "new" ban...

They had to have been aware of last year's ban. So, when they were approached to sign a ban, why did they? If they truly respect the Gedolim as representing Da'as Torah, why step in here at all? Isn't this a classic case of Moreh halacha lifnei rabo?

Additionally, even if they don't respect the Gedolim/Da'as Torah,which is hard to believe, did they learn nothing from last year?

A question for the kannoim behind the ban...

Do you respect da'as Torah? If so, how could you ignore the gedolim's refusal to sign on to your attempted ban this year? It's been widely reported that the Gedolim who signed last year's ban refused to sign this one. Is it respectful to attempt to manipulate Gedolim? Is it proper to ignore their clear directives not to impinge someone's parnossah in this specific case?

In short, the ban and the process surrounding it highlight some troubling communal policy matters that the Chareidi leadership needs to address.

On the subject of the kannoim and manipulation...

I received an email this past Shabbos from "V.B. using the email address chesssed@gmail.com. The email, although ostensibly written by "A Concerned Himesher Yid"[sic] and styled as an "Open Letter to Lipa Schmeltzer" seemed to be the product of one of these kannoim and not the thoughts of an uninterested third party. So, I sent a few follow-up questions about the email, and the answers I received confirmed that writer does not find Emes to be important and either can't or won't answer specific questions about his claims. The writing style sounds a lot like Rabbi Luft and the writer seems to be in Israel... Hmm....

Here is his email with my comments in italics. My questions to him and his non-answers will follow.

AN OPEN LETTER TO LIPA

BS"D

Dear Lipa, ly"t

Its time we all woke up and smelled the coffee. After reading the new ban regarding your performance it seems that in Shomayim they are NOT happy enough with the Derech, you have chosen. It does not matter which of the Rabonim signed on the new Kol Korah banning the event, and who not. [Of course it does. The rabbonim who signed last year's ban refused to sign another one because they wanted to allow this event to happen.] If you count the amount of signatures you will come up with about SIXTY signatures.[The number of signatures is not important, especially considering the refusal of the Gedolim to participate, and the relative lack of stature of the signers. The "Gedolim" were asked to sign and refused, allowing the show to proceed.] I believe that this is only the beginning stages of the Kol Korah. It's a clear and strong message from Hashem and the Rabonim who are the leaders of our times that something smells terribly wrong over here. Never in the past decade has there been a gathering of Rabonim to condemn an individual in such a strong way!!! I am not out to hurt you Lipa, I am simply suggesting that you should examine your performance closely, could we believe it's done 100% Al Taharas HaKodesh?[This is a hypocritical assertion, given the proven lack of same among the anti-concert kannoim. See, for example, the kannoim who lied to the Rosh Yeshiva about who else had signed, as reported by Matzav, and Rabbi Luft's book.]

In history of Klall Yisroel we almost never had ALL the Gedolim unite and sign on the same topic. [Here too.] If you LIPA are a true Chosid, like you proclaim to be with your outer Levush (dress code,) you are obligated to adhere to the Chasidishe Rabonim and maybe that's why the majority of the Ban is signed by Chasidishe Gedolim and not Litvish. [This is a mischaracterization. The ban was not signed by Chassidishe Gedolim, but by school principals.] In general the Litvish are any way more modern compared to the Chasidim, and they always allowed for Kalus Rosh in a lax manner compared to the Frum Chadishe Olam. [This is Lashon Hara by any standards. And you ask people to post this and forward it around?]

If one examines the Ban you will find that it does not only pertain to the event - the concert, it's far and beyond that, it includes many of your great and exciting ideas that many have to compliment you on. [Nope. Only a concert cruise (that many other singers also do) and his recordings in general. It does not mention Lipa's unique ideas.]

Lipa you are an extremely talented individual who has inspired thousands upon thousands in Klall Yisroel. If some how you can take a turn and use your influence in a Torah way, you will be able to be Mekarev a huge part of Klall Yisroel to our father in heaven and have a Zchus to speed up the arrival of Moshiach. Take an example from Uri Zohar and see how he turned around and was able to teach hundreds of thousands of Jews Hashems Torah. BTW if you believe you are powerful and have the ability to attract many, show us that you are a true Ben Torah a Tzdik "an Erlicha Yid" as you have been referred to by some leaders, please prove your strengths in Yidishkite to all of us and most of all listen and follow the advise and direction of the Chasidishe Rabonim of todays times...

Lipa I want to tell you something that can not be denied, I personally spoke to the Rosh Yeshiva Reb Shmuel Kaminetzsky Shlita and the Novermintzsker Rebbeh Shlita this week and they both said that I may quote them and publicize in their name that: in no way shape or form are they backing your activities they are NOT vouching for you and they never ENDORSED you. So when many people are suggesting that the Litvish Rabonim are behind the event, that's not so at all. [Citing the Novominsker as proof that Litvish Rabbonim are not behind the event is bizarre. this is also a straw man argument.] The Ban was only signed by those who have a Yeshiva for the younger generation, not by Rabonim who have a Bais Medresh Shull or a Kehillah etc. [Firstly, this is not true. There are several Roshei Yeshiva signed on the ban. Secondly, the reason for this is because the Roshei Yeshiva who signed last year's ban explicitly refused to sign one this year. The kannoim tried to get them to ban this year's event too.] Rabbi Belsky Shlita the Rosh Yeshiva of Torah Vadath was asked on this matter, he too replied that he has never given his approval on "the event" or your music and entertainment. [The issue isn't one of approval. It's over whether the concert should be banned. Rav Shmuel Kamenetzky explicitly said it shouldn't. Whether he endorses Lipa or not is irrelevant. He feels that he shouldn't be banned.]

By the way do you realize that Manhattan is not a clean place to say the least. There is ZERO Kedushah in NYC and you ran an ad on a Jewish site saying that you are offering 400 Free tickets to any boy under 18 who learns a Perek of Mishnayis. [I'm pretty sure this is a bogus claim.] Why would you even dream to do something so hurtful like this.-- Shlepping our innocent Kinderlich to NYC, are you by chance looking to corrupt those clean Neshomos who are UNDER 18 CHAS V'ESHOLOM???? I don't believe you are that bad yet, it must have just slipped by you without noticing the domino effect of this performance. Perhaps you are having a very difficult time selling tickets, because we all remember that the Kol Koreah banning the "big event" (prohibiting your performance) . Were you just desperate to fill up seats, which we understand that’s done totally LeKovod Hashem Yisboruch so the full proceeds could go to Tzodoka and feed the hungry and poor in Israel.

I want to end off with a Brocha and wish you and your helpers that Hashem opens up your hearts and helps you to return to him seeing the true light of Kedusha and Taharah. May we all be Zoche to true Yiddishkiet with out being confused with goyishkeit Amen.

A concerned Himesher Yid.

I emailed "V.B." the following:

A few questions...

1) Why an open letter. If you are sincere, why don't you contact Lipa privately?

2) Your letter contains quite a few mischaracterizations? Couldn't you make your point without any distortions?

3) Can you honestly say that your email and the actions of the people who organized this year's ban in spite of their knowledge that the Gedolim would not support a ban were 100% Al Taharas Hakodesh?

4) Why are you remaining anonymous? If you truly believe what you write, what reason do you have for witholding your name?

I look forward to hearing your answers. I intend to post your email with my comments and any clarification you send.

He responded:

1) An open letter is a great idea when it express many peoples opinion

2) this is my style of posting on the web

3) I believe 100% that it was clean and green

4) the reason to with hold the name is a way of focusing on the letter with out distractions

5) I did contact Lipa and he responded as a real gentleman, lots of respect for Lipa as indicated in the letter...

I hope this puts your day at ease.

Noting that he did not respond to #2 or #3, I followed up with:

Your answer raises some further questions...

1) If you have contacted Lipa privately and he has responded, why write a public open letter to him after that?

2) You didn't address my second point at all.

3) In this case, people approached Gedolim to sign a ban, they refused to sign, responded that it's forbidden to interfere with another Yid's parnossa, and other similar responses, as well as flat out caught them lying. (Rav Shmuel Kamenetzky and others stated so publicly last year and the same was reported this year as well.) Can you honestly assert with a straight face that the people who did this and ignored the responses of the Gedolim, going behind their back to organize a 2nd tier ban because the Gedolim weren't going to sign another ban, were "clean and green"? Do you really think this demonstrates respect for Gedolim? Da'as Torah?

Incidentally, his identity would not be a distraction unless he is Rabbi Luft or another of the known kannoim on this issue.

His response to my follow up:

if you read the answers you'll find an answer to each and every question. 1,2,3,4,5,....

As you see, he ignored my questions, which were not answered, contra his claim.

He did not reply to my last follow-up question:

So am I to assume that your #2 is an answer to mine?

I find his entire correspondence troubling, as I indicated in my questions. His refusal to answer real questions about abuse of process is just sad. So is the attempt to shame Lipa via public letter, when Lipa is perfectly willing to engage him personally and privately, as he acknowledges. For shame!

Lipa Concert: Liveblogged

Matzav.com liveblogged tonight's Lipa concert @ MSG. Judging by the photos, it looks like they had a good turnout.

WSJ On The Lipa "Event" Concert

The Wall Street Journal has a profile of Lipa Schmeltzer, "Dancing and Shaking With an Exultant Spirit," that was obviously written before the latest ban.

Check this:

"The Event," as the March 1 show has been dubbed, is being heavily promoted in New York's Orthodox neighborhoods. A huge billboard of Lipa smiles upon Avenue J in Brooklyn. "I would doubt very strongly that there would be a ban this year," said Zev Brenner, a popular radio host who says that he has been told that several rabbis acted last year before "they had all the facts in front of them." One of the rabbis, Rabbi Shmuel Kamenetzky, told the Jewish Star newspaper that he now had no problem with Mr. Schmeltzer: "As far as I know he is an ehrliche Yid [a truly devout Jew]."

In some ways, another condemnation might be more harmful to the rabbis than to Mr. Schmeltzer. To an outsider, it is striking how popular he is in the community. Within seconds of hitting the sidewalk on 13th Avenue in Borough Park, Brooklyn, on a recent evening, he was approached by a man holding a small child. The 40-something Hasid, with sidelocks dangling underneath his black hat, gestured toward the singer and spoke to the boy in Yiddish. Later, Mr. Schmeltzer translated the words. "He says, 'You wouldn't believe who this is. Should I tell you who this is? This is Lipa Schmeltzer himself.'"

The Wall Street Journal realizes the damage another ban will cause. So do many of the rabbonim who signed last year's ban. It's time for responsible leadership to end this lunacy.

From the mailbag...

Bo Whitaker writes:

Did you ever come up with anything to organize your music for gigs ? I’ve also been struggling with this and have also thought it would be good if we could have a wireless laptop that could organize your gig music (by artist, song, etc…), sort of like Chordie.com does (and then display it on musicians screens (allowing them to bold it, zoom it, etc… ). Currently, I just have 2 THICK binders organized by band/artists that I flip through. It’s not easy. People call out songs all the time and many times I have the lyrics/chords somewhere, just can’t put my hands on it at the moment. Kind of frustrating. OK, very frustrating. Any ideas would be helpful

I'd be interested in hearing how readers address this issue.

Psachya writes:

In response to Naftali: I understand your reaction, but I wouldn't take this lady too seriously. In my many years of clubdating, I have noticed that people's natural tendencies tend to be augmented at a family simcha. Nice folks become even nicer, and the mean-spirited among us tend to show their true colors loud and clear. Just think of her as wearing a huge sandwich board with the words I AM A JERK emblazoned proudly on both sides, and you'll feel much better. Better yet, do what our gracious blog-host would have undoubtedly done: turn her into a Peep!

On the same topic, Dovid writes:

Slap her on the cheek and see if she turns to give you her other cheek. You can tell her you were testing to see if she was really a closet Christian.

Steve Schwab forwards the info for this Sunday at Puppets, where they've been having a Jewish music series Sunday nighs.

Puppets Jewish Music Sundays welcomes pianist Mirele Rosenberger and singers this Sunday. Showtime is 6:30-8:30 PM. $10 cover  and $5 minimum

Puppets Jazz Bar, 481 5th ave. between 11th and 12th streets, Park Slope,Brooklyn NY

Yossi Zweig writes:

Why haven't you posted the Gershon Veroba's Don't Stop single???????

I must have missed the letter (with check enclosed) where he hired me to be Gershon's PR agent... Seriously, I'm happy to link promo mp3's, but don't send me the files and expect me to upload/host/etc. Send me a link, and I'll be glad to put it up! Obviously within reason. (That's for the folks sending tons of unsolicited mp3's w/o asking first.)

Breaking! Fanatics Attempt End Run Around Gedolim; Publish New Lipa Ban

From the Dm investigative news desk...

Asher Friedman who runs the charity Nechomas Yisroel and Yitzchak Stern from Williamsburg, having failed to convince the rabbonim to ban this year's Lipa Schmeltzer concert, "The Event Live," scheduled for this Sunday, are once again attempting to cause its cancellation at the last minute.

Word is that ads have appeared in today's Yiddish papers, "Der Blatt" and "Der Yid", announcing a ban on the concert, signed by school principals. This represents an attempt at an end run around the Gedolim who signed last year's ban, but were clearly not going to back one on this year's event.

This is a developing story... More as it comes in...


UPDATE:

Here is the text.





Matzav.com reports "Litvishe Roshei Yeshiva in America Refuse to Sign Ban Against Concerts."

Here's a Vos Iz Neias report.

Reading the text, it is clear that it is based on falsehood. Once again, the folks behind this have created a Chilul Hashem. This also should be quite embarrassing for the one Litvishe Rosh Yeshiva who signed. In the past, he's already had to publicly back away from a sefer he wrote a haskama for. An observer might reasonably conclude that he does not read or investigate before signing things.

More as time permits...

From the mailbag...

Naftali writes:

I left a recent gig dazed and fuming. I had finished playing the gig, and the client came up and handed me an envelope with the cash enclosed. Upon counting it, I noticed there was $50 extra than the actual price. I went back to her and mentioned it, obviously expecting her to tell me that it was a tip for a job well done. Much to my shock she says, "I was testing you to see if you were honest" and she took back the $50!! The rudeness on so many levels!

1) What gives her the right to test me?! Am I up for the job to be Av Bais Din of the city?
2) Say that it IS her job to test me - Why say it? She should just say thank you for your honesty and know in her head that it was a test - But to SAY IT?

What is your take on this, how would you have reacted, and maybe your readers can submit some good one-liners that I should have retorted with.

Sar S. writes:

do you know where i can find all cd's for nadverna songs
i do have #1 #5 only

E. forwards a link "Chazanim Tune Up For Pesach" and comments on Cantor Goffin's Shwekey arrangement: "if you can't beat 'em, join 'em."

By Popular Demand...

Since so many of you have forwarded this video clip of Miami Boys Choir choreograpy...

Here you go:



Hat tip: too many to list

Kane Tihye Lanu

Voices of Conservative/Masorti Judaism has an article about Joey Weisenberg's work at the Kane Street Synagogue. He's got some interesting ideas. He's also a really nice guy, and a fantastic musician.

The Nascent Chassidic Klezmer Revival?

Here's a demo sampling of the forthcoming Project X.

I think this *might* be notable. In addition to the klez content (a patsh tants and one other tune I've heard called several titles, including "Zig-Zag"), this record is also interesting because it illustrates the cross-pollenization between the Israeli and NY chassidic scenes, both in its inclusion of the Patsh Tants at one extreme (some Chassidic bands there play it) and Breslover punk (Adi Ran) on the other.

In Review: Klezmer Juice: Jewfro, Moshe Skier Band:Light Up The World, Rebecca Teplow: Kaveh/Hope, Shmuel Laser:Blues for Temima

Off the review stack...

Klezmer Juice: Jewfro

You have to love someone who's recorded a Matisyahu klezmer tribute album. Amazon has Gustavo Bolgach's "Klezmer Tribute to Matisyahu" here:


Jewfro features Bolgach's arrangements of mostly traditional Klezmer and Israeli chestnuts including Bashana Haba'a, Oseh Shalom, and even Hava Nagila. There are also two original tracks. One of these, "Librescu Tango", is an upbeat number dedicated to the late Liviu Librescu. Librescu, a Holocaust survivor, was the professor at Virginia Tech, who gave his life blocking the door to his classroom when a gunman rampaged on campus, so that his students could escape. I like the idea of dedicating an upbeat number in his memory.

Bolgach's clarinet tone/approach sounds like he's been influenced by Giora Feidman. Think Fiedman after a bissel mashke. Oh, and he's playing for dancers. On this album, Bolgach blends traditional tunes with other musical flavors including boleros and tangos.

Amazon has the album here:



Moshe Skier Band:Light Up The World

This release by the Moshe Skier Band is a mix of new material and some redone older songs, including a Shlock Rock cover or two.

Straight-up Jewish rock in a variety of rock styles. Includes a powerful blues-rock arrangement of Tzomo Lekkho Nafshi, a Floyd-esque arrangement of Carlebach's Nachamu, and Skier's original setting of Aniyah Soara, inspired by Hurricane Katrina.

Definitely worth checking out if you like Jewish rock!

Amazon has the album here:



Rebecca Teplow: Kaveh/Hope

This disc features vocalist Rebecca Teplow singing her own settings of Tehillim. This is an interesting release. Teplow is a sweet, yet powerful singer, who effectively and effortlessly transitions from soft folksy styles to rock. The melodies are pretty and the jazz-inflected pop arrangements are quite tasteful. David Morgan's piano work is especially nice throughout.

Fave tracks include "Nachon Libi", (which features guest beat-boxing and vocals from her son, Joe Teplow), "Gam Ki Elech", "Min Hametzar", and "VaAni", but the whole disc is worth hearing.

I've asked Rebecca to write a guest post on Kol Isha from her perspective as a Modern-Orthodox woman who has released her music to the public at large, not women only, and I hope she will do so.

CD Baby has the album here. Rebecca's website is here.

Shmuel Laser:Blues for Temima

Ran into our old friend, Shmuel Laser, singing on the street in Jerusalem recently. He gave us a copy of his latest, Blues for Temima. The disc features Laser's soulful singing accompanied by some incredible Israeli musicians including pianist Avi Adrian and Yood guitarist Eliezer Blumen.

Shmuel is a terrific singer, who blends Van Morrison-esque blues, rock, and jazz influences tastefully. The musicianship is first rate as well. A true labor of love, this disc of Jewish-themed English songs is worth a listen.

Amazon has the album here:

Are You A One-Man-Band looking For An Easy Purim Gig?

Trying something new here...

Are you a one-man-band capable of handling an easy gig Purim eve, 3/9? If so, I might have something for you locally (NYC).
Respondents must be familiar with "yeshivish" Purim repertoire.

Strom un Drang

Elizabeth Schwartz writes:

Dear blogger - So, I must admit, I'm curious -- who are you, f my i?

I ask because I'd like to know - know why you linked Mark Rubin's vicious attack on fellow klezmorim to your blog. Yes, I read it and yes, I wrote Rubin, although I doubt I'll hear back from him. Just out of curiosity - have you been to any of our concerts? Have you heard any of our CD's (all of which have gotten major good reviews). I know it's easy to take pot shots at Yale - he's a major figure in our world, he's used to it... and he frankly doesn't care -- his response to Rubin was, "Imagine if all that energy, determination and apparent free time had gone into trying to get a better gov't in place in Texas".

But I'm not a major figure - I'm just an honest musician trying to do some good work and trying to keep our teeny tiny little music afloat. I've been gratified by the overall response to what I've been doing, and to the koved I've gotten from Yiddishists and Yiddish organizations. BUT THAT'S NOT WHY I'M WRITING:

I think these anonymous blogging potshots are super-destructive. When a klezmer calls another klezmer a "clumsy horror show" - them's fighting words. I don't care if Rubin thinks that of my singing - because I know for a fact he's never heard it. I do care when klezmers try to destroy other klezmers. If someone's bad, leave them to their inevitable failure. But I guess if they really were bad... there'd be no need to attack them on blogs.

Right?

peace, zay gezint, Elizabeth Schwartz

It's funny. I didn't read Mark's article as a vicious attack against klezmorim. I read it as a snarky response to a wanna-be music critic. Check this:

With "writers" with this sort of agenda supported by the mainstream Jewish press, it seems what I feared for many years really is true: my own community actively rejects me and my work. Why else then is it that to perform Yiddish music, I must travel back to old Europe, sometimes standing on the very spot of my extended family's destruction, to find an appreciative audience? Conversely, I have performed for my local JCC a total of 3 occasions in 15 years. How sad can it be that the children of the murderers find meaning in my culture when the children of the murdered actively despise it. I'll let Mr. Lester (ne' Lowenstein, maybe?) work that out on the couch years from now when the vacuousness of the Goldyne lands shallow consumer culture finally leaves him flat. By then, there may not be anybody left to say a kaddish. ("It doesn't really reflect the true Jewish sentiment of today" one imagines they might be heard to say.)

I fully agree with the overall sentiment of the article. It's true that Mark dissed a few klezmer performers in the essay, but that was not the point of the article at all.

For the record, as I've noted many times in the past, I will often link to thoughts/articles/etc. I don't agree with, if I find them to be thought-provoking, interesting, or noteworthy.

I'm really not sure what the issue is here, to be honest. Yale wasn't attacked on this, or any, anonymous blog so far as I can tell. He was criticized on Mark Rubin's blog.(BTW, this isn't an anonymous blog. I use a pen name, but my ID isn't exactly a closely held secret.) So I'm not sure why I'm being challenged on this at all. Anyone with an issue here should be commenting at Mark's blog.

Incidentally, for my take on one of the bands Rubin mentioned, here's my review of Yiddish Cup's last album, "Klezmer With A Slice Of Wry."

2/13/09 Link Dump

Chasing the Fat Man posts Jewish Self Loathing, music edition.... Sing it, brother!

Parsha Blog responds. Seems like we're basically on the same page here.

The Forward profiles video game composer Inon Zur.

Zackary Sholem Berger writes about Benjy Fox-Rosen's Minutn Fun Bitokhn.

Surprise, another pro wins.

Finally, here's an awesome commercial.

From the mailbag...

Anon from the new Jewish Music Report website writes:

I hope you'll check out our new website

The Jewish Music Report

I saw you had something about Kol Isha, you might find this post interesting. It's written by one of writers who is a lady. Her Blog name is, Kol Isha :-)

My Lips Are Sealed

Psachya forwards a link to the best version of Racheim ever! He also forwards a link to Miri Ben-Ari on Sesame Street!

Josh forwards a link to Not Just Typical: Avrohom Schorr, Lipa Schmeltzer, & Avodah Zarah.

Strange Calls

I've been getting some strange calls lately...

Like the bandleader who calls or texts five minutes before Shabbos about a gig thats months off. Because the slot has to be filled NOW!

Another would be the secretive bandleader who won't say where the gig is. Really.

A slight variant is the office who won't say what time/where the gig is. In that case it's usually a guarantee that's it's either a night gig two hours away or a twilight that'll kill the whole day and naturally, it's for a busy day.

Sometimes they'll say something like "we're not sure which job we'll put you on. There's one gig in Philly and one around the corner from you. (They'll always put you on the one in Philly. And then they'll pay a few $$$ extra for travel. Not enough to make it worthwhile.)

The last one is one who doesn't want to say what the job pays.

Weird!

NB: Word to the wise. Excepting the first case, it's usually in your best interest to turn down the gig.

Responding To The Lipa Diss

Rabbi Josh Waxman posts his thoughts on "The Incident with Lipa at the Wedding." His approach is to urge people to consider Rabbi Schorr's possible perspective.

To comment on some of his points...

2) Even so, this is Rabbi Schorr. He does not lose his semicha just because he does something you (commenters, bloggers) disagree with. Even if it is something I disagree with. ;) Don't go stripping people of their semicha when they take an unpopular position. This is the attitude of the closed-minded. And I have been on the receiving end of this tactic on more than one occasion, when putting forth an established halachic position that others felt was not machmir enough.

I agree with this one. I think some people have cognitive dissonance with regard to the notion that a Rabbi can do something wrong. This is an unfortunate outgrowth of the relatively recent notion of 'Da'as Torah" as rabbinic infallibility. I try to always refer to Rabbis by their title in my posts, even when I strongly disagree with them.

3) Chazal often derive things from the fact that someone acted in a certain way ולא מיחו בידן חכמים. Here, Rabbi Schorr felt that certain actions were not appropriate, and he publicly acted to show his disapproval and that he opposed. There is an assumption that rabbis will do so. And where they do not, shetika kehodaah. Here, there is an element of kanaaut, but there is something to this anyway.

This is irrelevant, unless one can identify a legitimate complaint. In this case, as I'll show, Rabbi Waxman has not identified one.

4) If, as the commenter at Life of Rubin notes, the father of the bride, who is close with Rabbi Schorr, asked Lipa to stop singing, that absolutely is relevant.

As I understand it, the kallah's father asked Lipa to switch songs, which he did, from "Hentelach" to the chassidic "Amar Rabbi Akiva." So this point is not relevant, with regard to Rabbi Schorr's outburst.

5) By Avodah Zara, I would guess that Rabbi Schorr meant the idolizing of musical personalities. Lipa was there as a guest. But he was apparently mobbed by admirers and asked to perform his popular tunes. This idolization over e.g. rabbinic leaders and over the focus on the chassan and kallah may be problematic.

I don't think this is what Rabbi Schorr meant. I think he was referring to the music. Readers of my recent review series of Rabbi Ephraim Luft's "The Torah Is Not Hefker" will know that one of the bases for Rabbi Luft's criticism of charedi pop music is his assertion that it's all rooted in idol-worshipping voodoo music. (Readers of my review series will also know that Rabbi Luft's characterization is factually wrong, racist, and based on ziyuf haTorah, but I digress...)

Regardless, if Rabbi Waxman's suggestion is correct, it still would not justify Rabbi Schorr's response. Appropriate kannaus is in response to actual sin. Here, even if someone has an issue with people's response to a singer, the singer has not committed a sin, and there is no halachik justification for publicly shaming him.

6) We have a tradition of much more forceful opposition to public displays we feel are not correct. Think of the Jews pelting the Sadduccee with esrogim.

True, but this is in response to sin. Not random drive-by kannaus, as it were.

7) At the same time, there is an issue of making a public confrontation, thus embarrassing the other person. See Sanhedrin 101b about how Yeravam merited the kingdom for rebuking Shlomo haMelech in public, but was punished because he rebuked him in public.

That's precisely the problem here.

8) However, the nature of the "offense" (and I use air quotes deliberately here) is one in public. If the only time to stand up to someone is when they insist on performing in public, as they are acting, then it has to be in public.

There is no reason why this issue can't be addressed privately first. Especially since there is no crime.

9) Forgiving Rabbi Schorr for this disgrace does not (necessarily) make him the better man. It is also an ingenious tactic. Because Lipa comes off as one who is not taking offense, even as he insists on his conduct. This is a way of winning. Also, he casts the conduct of the other as something which needs forgiving, rather than just an opposing viewpoint. And the crowd eats it up. Perhaps because of the conduct of the previous ban, which undermined the role of rabbinic authority, particularly for those who would ban music, the public sides with the singers and does not grant any fleeting thought to the possible legitimacy of those who would ban Jewish pop-music.

Perhaps Rabbi Waxman is unaware that Rabbi Schorr is one of the people behind last year's ban. In other words, the public siding with Lipa here is a direct result of their knowledge of Rabbi Schorr's anti-halachik behavior in that episode too.

10) Baruch Hashem, I am not in Lipa's position. I do not have thousands of adoring fans, nor his musical talent. And at the same time I am not the focus of any controversy. And if I were being attacked in this way, knowing myself, I probably would not respond with such poise and respect. My intent here is not to attack Lipa. Rather, to question some of the assumptions of the other people taking sides.

Sometimes, people need to take sides. The argument to be dan lekaf zechus has often been used to perpetuate avlos. In this case, the burden is on Rabbi Schorr to provide an explanation or an apology. Personally, I think he owes Lipa an apology. But, if he feels his actions were halachikly justified, he has an obligation to explain them. At the moment, the outcome of his actions has been a tremendous chillul Hashem.

Meanwhile, the Life-Of-Rubin Blog posts THIS IS AN OPEN LETTER TO RABBI AVROHOM SCHORR. This approach won't work either. Lecturing kannaim about Loshon Hora???

Chaptzem Blog's approach might work, but is a tad disrespectful. Sometimes, though, disrespect of this sort does help because the kannai being mocked gets embarrassed.

The reality is that I think the solution to this issue needs to come from the responsible rabbinic leadership, who through public words and actions, make clear that such behavior is anti-halachik. Sadly, these leaders have been MIA, not just on this topic, but on many public controversies.

We are taught that shtika is like hoda'a. The fact that it doesn't say shtika is hoda'a demonstrates that even in cases where the silent person does not agree, it's as if he does, because his silence results in the inevitable outcome of that which he disagrees with. In this case, by being silent, these leaders both enable Rabbi Schorr and other kannaim, and ensure that their agenda is carried out.

It's past time for the rabbinic leadership to step up to the plate.

Lipa Diss: The Fallout Continues

The story of Rabbi Averemel Schorr's public shaming of Lipa is being fleshed out and a lot of people are talking about it.

You can find more details at and commentary at Life-Of-Rubin and VosIzNeias among others.

This incident is important because it confirms what many have asserted about the people behind last years' concert ban, namely that the people behind it are not rational.

Put simply, there is no halachik justification for the way this rabbi acted. None. The leadership, such as it is, needs to take a public stand on this. Unfortunately, as I've amply documented, they did not follow up responsibly to last year's ban fiasco, and I'm not optimistic that they will this time either. The end result? Still more chillul Hashem.

Lipa Diss!

Here's a YouTube clip descriptively titled "Schorr Pulling microphone from Lipa and distrupting the wedding." That new-fangled citizen journalism; it'll getcha every time!

Via Chaptzem Blog!

UPDATE:
Gruntig has more in the comments.

The Life-Of-Rubin Blog has some thoughts and an active comments section.

It's time for the Agudah leadership to reconsider their relationship with Rabbi Schorr.

Another UPDATE:
Emes Ve-Emunah posts"Turning Jews Off."

This Is Not A Link Dump

I was planning to include this in my earlier link dump, but thought it important enough to warrant a separate post.

Chasing the Fat Man posts a personal appeal for support of Yiddish Culture by Veretski Pass' Cookie Segelstein. I'm reproducing it here because I think it's important for people to read it.

From world reknown klezmer fiddler, and single mother of 2, Marlene Segelstein:

To all of our friends, students and fans;

As you know, musicians and other self employed folks are getting socked in today's trying economic times. We've been hit really hard with tours cancelling, gigs drying up, and performance series being cut short. Those of us who make our living playing and teaching our instruments (including voice and dance!) travel the globe to play concerts and teach at workshops, and to pass along our knowledge of this music and dance that was almost wiped out in the last century. We form collaborations, sometimes with those from other cultures, to keep this art alive, and find new ways to keep it vibrant. When you see us at Klezkamp, Klezkanada, Klezfest London, Weimar,we are always happy to give as much as of our time, energy and knowledge. When possible, we are giving extra (free) lessons to folks; under the staircase, in a lobby, even in our own rooms, often when we are in a state beyond exhaustion. And of course it doesn't stop there.

At least once a day and often much more, I am answering a query to help someone with a dissertation by answering a questionnaire, providing chords for a tune, sending a copy of a sound file, or sheet music to students, friends of students, people who have found my name on the internet. Often the queries are very polite and filled with thanks, but just as often, they are two liners with no greeting, for example (a real email!):

I got your name from your website. I need the music for Hora Midor.
Please send asap.

And of course I have the music. We recorded it, and I transcribed it. And I sell it in a book that I self published. These little things are how I make my living. Now of course, I love what I do. I must. I struggle to pay my health insurance, live at a below the lower middle class level, and have sacrificed a MUCH more comfortable lifestyle to do what I love the most, play music with and for friends.

Think back. Has anyone in this small Jewish music community helped you by giving you a little extra lesson, even 15 minutes (the going rate for private lessons in the east coast are $75-100 an hour)? Has anyone helped you with your research? Filled out a questionnaire for your dissertation? Provided you with a chart? Spent extra time with you showing you a dance step? Sent you a rare soundfile? Helped you fix your instrument? Generally enriched your musical life?

No, I'm not asking you to send money. I'm asking you to support us by buying our products. If you already have bought CD's and books, many thanks! Now think about buying more as gifts.

We appreciate all of the wonderful support we have received over the years from many of our friends, students and fans, and I never want to think twice about helping someone who emails or calls me with a query. I am just asking that you give back by supporting those of us who are your teachers, your favorite bands, and your friends.

Cookie Segelstein

I'm considering writing a variation on this about booking musicians for simchas in tough economic times.

2/4/09 Link Dump

Matthue Roth wirtes "Jewish Music: How the Other Side Lives."

Jewcy posts "Jazz Is the New Klezmer: An Interview with Yoshie Fruchter."

The Life-Of-Rubin Blog posts a couple of YouTube clips of the late Megama Duo.

Here are a bunch of YouTube clips of the recent Pioneers for a Cure concert. I like the idea of concept events like this.

This rubs me wrong on so many levels.

Here's an audio clip of Lipa Schmeltzer's latest.

Here's a post titled "Lipa Is Not A Loser, So Therefore He Won't Back Out Of This Show!"

The Jewish Music Report posts an Exclusive Audio Interview with Lipa Schmeltzer.

Mo Kiss writes "Songwriter’s Woes in Jewish Music." It's a guest post over at the new Jewish Music Report.

It's a machlokes! Ron Rosenbaum writes "The Awfulness of Billy Joel, Explained." Joe Malchow writes "I Rise to Defend Billy Joel."

Rav Shlomo Aviner: Rock Songwriter.

I'm way late on this one, but it's still worth posting. I love Chilik Frank's clarinet playing and Teruah posted a video of Frank playing a Breslov melody for Maoz Tzur this past Chanukah. Check it out!

Oorah: The Song Remains The Same

Unfortunately, we told you so...

Here's a press release: from the Pennsylvania Attorney General's office:

HARRISBURG - Attorney General Tom Corbett today announced that the Attorney General's Charitable Trusts and Organizations Section has reached a $65,000 settlement agreement with two New Jersey-based non-profit groups that were accused of misleading Pennsylvania donors about the use of their contributions.

Corbett said the Assurance of Voluntary Compliance (AVC) was reached with JOY For Our Youth Inc., doing business as Kars-4-Kids, and Oorah Inc., all from Lakewood, New Jersey.

According to the settlement agreement, these groups solicited for contributions in Pennsylvania through a vehicle donation program in order to benefit disadvantaged children, but failed to properly inform donors that their contributions would only benefit services for children of certain religious affiliations. Additionally, JOY allegedly solicited for charitable contributions without being properly registered with the Pennsylvania Department of State and failed to include state-required disclosures in radio, print and Internet solicitations.

The AVC requires JOY to pay $45,000 in restitution, which will be distributed by the Attorney General's Office to various children's charities in Pennsylvania, along with $10,000 in civil penalties and $10,000 in investigative costs.

I take no pleasure in being proven correct.

Factor in that the same issue likely applies in all fifty states. That's a potential liability of $3,250,00 assuming the penalties are identical! That's a lot of money! And, even if they didn't actually wind up disgorging all of the profits... think of the chilul Hashem. This has been ongoing for years. Where's the accountability?

Via Vos Iz Neias.

In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IX

I'd now like to take a look at the assertions I made in my initial post in this review. Readers will recall that I made a number of assertions about Rabbi Luft and his arguments.

Here's what I wrote:

I intend to demonstrate the following about Rabbi Luft.

1) He is musically ignorant.
2) He is intellectually dishonest.
3) He is a manipulator.
4) He uses "junk science."
5) He is a racist. (This is relevant because he builds his music criticism on racial theories.)
6) His approach is, in the main, not based on Torah sources.

Lets look at these again.

1) He is musically ignorant. I have clearly demonstrated that Rabbi Luft is musically ignorant. I have demonstrated that he doesn't know his musical history or musical terminology, making basic errors that no musically-knowledgeable person would do. Examples include his obvious ignorance as to what 2/4 means, and his misrepresentation about the evolution of the modern drum set. It also extends to his ignorance of music history and the role Rock and Roll has historically played in spreading democracy.

2) He is intellectually dishonest. His abundant misquotes/misrepresentations of Torah sources, as well as other sources, which in reality do not support his position upon review, proves that he is either intellectually dishonest or a flat out liar. Or both.

3) He is a manipulator. In addition to the above mentioned distortions of Torah sources, his entire non fact-based presentation to gedolim and rabbonim consists of manipulation. It is easy to see how a rabbi without any knowledge of this subject, when presented with Rabbi Luft's assertions as fact, would agree that such music is inappropriate. Of course, if a rabbi is asked if idol-worshipping music is kosher, he'd prohibit it. Hence, Rabbi Luft representing his theories as fact, when they are clearly not, ranks as manipulation. And, as I mentioned, there is his manipulation of Torah sources, none of which actually prohibit what he says or implies they do.

4) He uses "junk science." Looking at his "scientific evidence," especially his bringing the work of both Mrs. Dorothy Retallack and rock guitarist Bob Larson, proves he relies on "junk science" to make his case. As I noted, Bob Larson publicly recanted his medical assertions thirty years ago

5) He is a racist. (This is relevant because he builds his music criticism on racial theories.) From quoting the KKK publication The Southerner, to making race-based arguments against rock music, to making common cause with, and quoting favorably, such apparent racists as the reverend David Noebel, to citing "white citizens councils" approvingly, it is clear that Rabbi Luft is comfortable advocating racist views.

6) His approach is, in the main, not based on Torah sources. As I've noted, there aren't a whole lot of Jewish sources quoted in this book. I'd estimate ten or so, and that includes multiple citations various comments by Malbim, none of which --as I demonstrated-- prohibit what Rabbi Luft claims they do. In short, Rabbi Luft's book which claims to represent the Torah viewpoint on this music contains no quotes --not even one -- from a Halachik source, or even from a source claiming to make a halachik ruling. Now that's not exactly compelling, I'd think!

To sum up, I have clearly demonstrated my claims about Rabbi Luft and his book. My assertions are, in the main, supported by the book itself. I did bring a few other quotes from Rabbi Luft's earlier writing for the Yated and from his "Rules for Jewish Music" recently published by the BBC that help support my claims. These are all a matter of public record.

If I were creating that list of assertions again, I'd add one to the list. That'd be "3a) He consistently misquotes/misrepresents Torah sources." I'd included it in the breakdown above, as part of his manipulations, but upon reflection, I believe it deserves it's own bullet point. Distorting Torah to achieve one's own social goals constitutes a huge chilul Hashem. Simply put, it's ziyuf hatorah. And, misleading rabbonim into endorsing those "interpretations" constitutes a true "devar Hashem bozoh."

One additional hagaha, as it were. In Part III, I addressed Rabbi Luft's misrepresentation of the Gemara in Chagiga 15B and Acher's singing of Zemer Yevani. The interpretation I suggested is the Maharsha's explanation of the daf. Rashi's explanation represents an even stronger disproof of Rabbi Luft's contention. According to Rashi, Acher's sin was that he was constantly singing after the destruction of the Beis Hamikdosh, and that's why he turned out the way he did. It was because he was not sensitive to the churban. In other words, it had nothing to do with the fact that it was secular. That's what he happened to have sung, but the same would have happened, even if he'd only been singing medleys of Rabbi Luft's approved nigunim all the time. So, according to Rashi's explanation, Rabbi Luft has no evidence whatsoever on the bad effects of secular music on Acher. And according to Maharsha, as I explained in that post, it's because of the inappropriate lyrics, not the melodic or rhythmic content.

To reiterate why I took the time to do this...

I don't believe that Rabbi Luft is open to considering any challenges. I do believe though that there are those in the community to whom Emes (truth) is important. I believe that those people feel, as I do, that distorting Torah is wrong, full stop. This is true regardless of supposed holy intentions. I know that there are many chareidim, including rabbonim and members of the Agudah leadership, who have read my blog, and specifically my posts on this subject. It is my hope that they will do the right thing and use their influence to head off these askanim. Thus far, the askanim have managed to create several world-wide chilul Hashem spectacles. The fact that they appear to have rabbinic sanction amplifies the chilul. It is past time that responsible members of the chareidi leadership reject these bullies and this approach, both to end the chilul Hashem and to stop the inevitable exodus in response by thinking and artistic Jews who are being made to feel they have no place in the community.

For ease of use, I will be updating all my earlier posts in this series to include links to all the posts on this topic.

Here are my previous posts in this series:

In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part I
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part II
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part III"
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IIIa
In Review - R' Ephraim Luft's "The Torah Is Not Hefker"; Part IV
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part V
In Review - Ephraim Luft's "The Torah Is Not Hefker" Part VI
In Review - R'; Ephraim Luft's "The Torah Is Not Hefker" Part VII
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part VIII

In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part VIII

Continuing our review...

We are now up to the final chapter "Ki Defar Hashem Bozoh"

In this chapter, Rabbi Luft presents his solutions to the problem.

He proposes the following (I've added the numbers for identification purposes):

1) "First of all, we are obligated destroy the image of the chareidi pop idols..." He advocates that these singers not be given any respect in public and should not be invited to perform at Simchas Beis Hasoeva, Hachnasas Sefer Torah, Yeshivah camps, etc.

2) "It is also the obligation of everybody to protest at weddings and other simchos when the band plays rock music..."

3) "It is of course more of an obligation on the people making the simcha to ensure that the music being played is kosher, and this should be done by hiring a reliable band, and deciding which songs should be played."

4) "Also, it is advisable to make a contract with the band stating that if they do not play as they have been told, they will not be paid."

5) "If you can't protest, leave the hall immediately."

In addition to his recommendations, Rabbi Luft also summarizes what is wrong, in his view, with the current state of affairs. This summary is also a useful summary of why his position and activism are such a chillul Hashem. Rather than paraphrase it, I'll simply let Rabbi Luft speak for himself.

After all the information that has been brought above, there remains no doubt that rock music and all its related styles are not only completely unsuitable to be used as Jewish music, but also it is absolutely forbidden to use the modern forms of music in songs with words from pesukim, berochos, or divrei Torah, since the music is indecent and obscene in nature, and contains many immoral undertones that come from the evil music that originated in the jungles of Africa. Furthermore, the music itself, even without words contains evil influences, and since the majority of the singers, arrangers and musicians in the frum music business do not care at all about the purity of their songs, it is the obligation of all parents and teachers to try their best to ensure that children should not have their minds filled with this indecent music.

There is no doubt that if the goyim took those same pesukim to use in their immoral songs, there would be an uproar in the entire chareidi community. If so, why do people remain silent when the dregs of the chareidi community are using holy words for the sole purpose of making money, and degrading them? If some lunatic would throw seforim on the floor or start ripping the pages out of a sefer tehillim, would anybody sit there and allow him to continue to desecrate kisvei hakodesh?

Speaks for itself, I think.

I would be remiss at this point if I didn't also review the back cover, as it contains some relevant items too.

First, it has three quotes from "gedolim" about music. One is totally irrelevant. One is wishy-washy hyperbole that expressly says the speaker "doesn't know", and the third is on topic.

The first irrelevant quote is from The Rebbe of Bobov, Rabbi Ben Zion Halberstam HY'D.

Speech is the expression of the mind. Music is the expression of the soul, and by means of this it is possible to determine the level of a person at any time. The prohibitions related to speech apply also to musical expression.

This quote provides no evidence that Rabbi Luft's presentation is correct. One could agree with the Bobover Rebbe's characterization, while still disputing all of Rabbi Luft's contentions.

The second quote is from Rav Elazar M.M. Shach, ZT'L.

I have heard that there is something new that they call "Chassidic music". I don't know whether it is kosher or not, but one thing I am quite sure about -- that it has no connection to Chassidus, and I don't know if it is suitable for Yeshiva boys to listen to.

Since, in this quote, Rav Shach says he is unsure of whether the music is should be rejected, it seems a stretch for Rabbi Luft to assert unequivocally that it is verboten. As in the opening vignette of the book, it seems that Rabbi Luft has no problem making decisions about things that gedolim, in this case Rav Shach and in the earlier case Rav Boruch Ber, are unwilling or unable to determine.

The third quote is from Rabi Moshe Shmuel Shapira ZT"L.

The non-religious street has managed to infiltrate into chareidi society by means of the modern music.

This is the only unambiguous quote on the back cover. Rabbi Luft seems to intend that all the quotes be viewed as support for his book, yet upon closer inspection, two of the three do not support his contentions, and in fact the Rav Shach quote in particular, explicitly rules out the extreme position Rabbi Luft has taken. Incidentally, Rabbi Shapira is also the source for the story of Rav Boruch Ber and Rav Chaim in the opening vignette. Make of that what you will.

I would also note that these quotes are nowhere referenced inside the book, and in fact, the book does not contain many alleged Torah sources in total; by my count, there are approximately ten inside and that count includes multiple quotes by the same source. And, as I've demonstrated, those sources are not as Rabbi Luft portrays them either.

One final point. Where are the haskamos from prominent gedolim for his work? Where are the specific, not generic, endorsements of his positions? If all is as Rabbi Luft represents it, why have the gedolim not made themselves heard with specific concrete guidelines for Jewish music? After all, that's how both the yeshivish derech halimud and the halachik process work. Ideas need to be clearly defined, delineated, and articulated. Yet, thus far, aside from the occasional generic screed/speech against contemporary Jewish music, to my knowledge there has been no godol, or even respected Rav/Rosh Yeshiva who has clearly articulated the parameters for what is and isn't kosher Jewish music. For a book ostensibly representing daas Torah, the fact the the only two endorsers are Rabbis no one has ever heard of, rather than the gedolim on whose shoulders this campaign allegedly rests is bizzare. Like the dog that didn't bark in Conan Doyle's "Hound of the Baskervilles", the silence is revealing.

Next, I will briefly review the assertions in my first post in this series, and show how I have documented them.

Here are my previous posts in this series:

In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part I
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part II
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part III"
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IIIa
In Review - R' Ephraim Luft's "The Torah Is Not Hefker"; Part IV
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part V
In Review - Ephraim Luft's "The Torah Is Not Hefker" Part VI
In Review - R'; Ephraim Luft's "The Torah Is Not Hefker" Part VII


UPDATE 2/1/09:
For your convenience, I have updated the posts in this series to include links to all of the posts on this topic.

Here are the links to all of the posts in this series:

In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part I
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part II
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part III
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IIIa
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IV
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part V
In Review - Ephraim Luft's "The Torah Is Not Hefker" Part VI
In Review - R'; Ephraim Luft's "The Torah Is Not Hefker" Part VII
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part VIII
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IX

In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part VII

It's been a while since my last post on this book, links to the previous posts are below. Back to the book...

We are up to Chapter 5 - "The Influence On The Soul".

In this Chapter, Rabbi Luft attempts to make the argument that only "pop stars, disc jockeys, and all the gang of yeshiva dropouts" are the ones denying that the popular contemporary chareidi music is obscene. He asserts that at this point the only people who disagree with his assertions are the aforementioned.

He then "demonstrates" that in the secular world, the rock singers do know what they're doing and are intentionally ruining society.

Even if we can say that some of the frum singers do not intend to corrupt the young people with their corrupt music, the same can not be said about the goyishe pop stars. They know exactly what they are doing, and their power to ruin society is so strong, that an American priest, Reverend David Noebel, wrote extensive articles against the Beatles claiming that they were actually communist agents who were manipulating the behaviour of Western society by means of their music.

Rabbi Luft again demonstrates that he has no knowledge of musical history. This is just absurd. He also demonstrates that he does not vet his sources prior to citing them.

Here's a review of Noebel's book, "The Marxist Minstrels". Note the racial angle. Birds of a feather, it seems. It's quite obvious that Rabbi Luft is willing to quote anybody, no matter how delusional, if their agenda supports his own. What's amazing is how few supporting sources he brings, despite his indiscriminate non-standards.

Again, part of the tremendous chillul Hashem here is when rabbonim endorse Rabbi Luft's efforts, implicitly endorsing his absurd assertions, dishonesty, and racist views.

Rabbi Luft then turns his attention to Jewish musicians. He quotes a popular Chassidic bandleader who expressed himself at a meeting of bandleaders in Bnei Brak in Teves, 5764:

The meeting was made in protest of the Roshei Yeshivos who had demanded that the music at weddings should be respectable, and he said the following: "We will compromise a little. We will talk with the Rabbis. But if the rabbis will not agree with us, I will organize every night parties for the bochurim!"

Essentially, Rabbi Luft takes this bandleader to task for not falling into line with his own views.

Now let's see. The facts and timing on this are clear. The Roshei Yeshiva didn't just get together and decide to address the issue of chareidi simcha music. Lets take a look and see what Rabbi Luft was up to at that time in 5764. That's right, using his false representations, he was manipulating rabbonim into appointing him the head of "The Committee for Jewish Music." He wrote:

Several months ago, I presented the above information to HaRav Nissim Karelitz and asked what should be done to improve the situation. He told me that a committee should be made to supervise the playing of music at simchas, and after taking advice from several other important rabbis, the Committee for Jewish Music was formed, consisting of a group of bnei Torah from Bnei Brak and Yerushalayim who all have experience in the field of music and understand the subject fully.

A special committee of rabbis who have an understanding of music was also made to advise the new Committee for Jewish Music, and a meeting was held in Bnei Brak on the 27th of Tammuz to make a list of guidelines regarding the music to be played at weddings. The members of the committee of rabbis are: HaRav Mordechai Gross, HaRav Shmuel Eliezer Stern, HaRav Sariel Rosenberg, HaRav Eliezer Dunner, HaRav Mass'oud Ben Shimon, and HaRav Aharon Mittelman.

The "above information" he references includes many of his assertions we've already disproved.

Rabbi Luft and his ilk had been running around "organizing Da'as Torah." The meeting and this bandleaders' comments were a response to published threats from Rabbi Luft in which he threatened that any bandleaders who don't follow his rules will be boycotted by the rabbonim. The context is quite relevant. Since Rabbi Luft had managed to manipulate rabbonim into signing on to his campaign, this was viewed as a serious threat.

This bandleader deserves a Yasher Koach for insisting on speaking to the rabbis, something, Rabbi Luft has thus far shown no interest in allowing to happen, let alone facilitating. Why not let the rabbonim hear another perspective? The fact that Rabbi Luft cites this bandleader's lack of willingness to "roll over" for him as evidence that the bandleader is attempting to corrupt the youth is just absurd.

Further, Rabbi Luft was attempting to institute new regulations including the banning of certain instruments, something that if succesful would put some musicians out of business immediately. (See the section titled "The Following Statement and Rules Were Made.") It is perfectly legitimate for people to respond in a less then accommodating manner to such threats. It seems that what really outrages Rabbi Luft is the fact that at least some bandleaders aren't willing to let him have his way unopposed.

Rabbi Luft then moves on to citing riots at rock concerts as evidence. For example, he mentions the infamous Hell's Angel's riot at the Rolling Stones Altamont concert in 1969 at which someone was killed.

(Incidentally, he misrepresents the details here too. You can trust nothing he asserts. He writes:

When, during the 1969 Altamont festival, they performed the song Sympathy for the Devil, the Hell's Angels 'bodyguards' went on a rampage, attacking the audience with such violence that people were severely injured and even killed.

Actually, only one person, Meredith Hunter was killed, although a few people died in an auto accident and one drowned in a drainage ditch. Also, the band was actually playing "Under My Thumb" at the time Hunter was murdered. You can read all about that concert here. But I digress...)

At any rate, he then quotes Mick Jagger as having said: "Something like that happens every time I play that song." Aside from being contradicted by the Stones' half-century of touring, at which riots and murders have not erupted at their shows, it also sets up an absurd idea. That is, that rioting crowds indicate that the famous people at whose event they are rioting bear direct responsibility. I wonder what that says about Rav Steinman, given the violent Chassidic protests against him here in the States when he came a few years back. I wonder about the riots that have occasionally occurred in various Chassidishe kreisen. Somehow, I don't expect Rabbi Luft would fault those rabbonim and rebbes.

Rabbi Luft then explains why we don't see riots at frum concerts. He offers three reasons.

1) The young people in the chareidi audiences, even the lowest of them are better educated than the goyim who attend these types of shows, and have more self-control to stop themselves from misbehaving in public.

2. The words of the songs do not promote violence and disruptive behaviour.

3. The frum musicians are not interested in promoting violence, because they don't want the Rabbis to ban them completely.

Let's take a look at these. Reason #1 is goy-bashing and is offensive for that reason alone. It is also foolish on its face. To illustrate, compare the typical audience at shows for the following artists: Garth Brooks, Steely Dan, Brad Mehldau, Children of Bodom, Medeski, Martin and Wood, Christina Aguilera, the Metropolitan Opera. These each have a different demographic at their shows. I could have listed many other examples, but my point is clearly illustrated here.The notion that all non-Jewish artists and audiences are wild and uneducated is simply not true. Different artists attract different demographics. Even if some attract a more boorish crowd, so do some Rabbonim, vehameyvin yovin.

Reason #2 is correct, but also applies to many secular performances as well.

Reason #3 implies that Frum artists would encourage violence at their shows, but for the fear that they'll be completely banned by the Rabbonim. This is silly. It does illustrate Rabbi Luft's persception of Jewish performers, though. The idea that someone with this kind of agenda and bias is the one attempting to make rules about Jewish music should give pause to anyone considering his notions.

Rabbi Luft then claims that there have been occasions when boys have thrown their shirts at the singer and alleges that "at a concert in Tel Aviv the night after Purim 5764, it was reported that the girls did the same thing." Frankly, I don't believe him. And I think he knows it didn't happen. The locution "it was reported" sans source is telling. Someone, probably one of Rabbi Luft's associates, made this one up.

Rabbi Luft closes the chapter with a section on "The Disco Wedding." He writes that the bands turn the wedding into a discotheque, and although the bandleaders say they are forced to do so by the bochurim, it is not so.

"...we can see from the words of the Chareidi band leader quoted above that it is not the boys who are dictating what and how to play, but rather a few corrupt individuals who set the style for all the Yeshiva weddings, and they are willing to fight for the right to continue doing this.

In truth, the band leader quoted above said no such thing. But why let facts get in the way of some good demonization.

On a roll, Rabbi Luft then tells another scandalous tale of debauchery.

Everybody heard about another infamous band leader in Shvat, 5764 at a Bnei Brak wedding, when he saw that the boys took down part of the mechitza to let the girls come through to dance on the men's side, he started to encourage them by playing in a way that aroused the yetzer hora. And we shouldn't think that he is the only one who knows how to do this. They all know how to play in that way, but they are still waiting to see if that one degenerate can succeed to get more orders, then they will follow his example because their parnossah is more important than Yiddishkeit.

Reading this chapter, one would get the impression of a chareidi society in decline, with chareidi girls going topless in public, throwing their shirts at MBD and the like, and mixed dancing at simchas. I've been to a number of Bnei Brak weddings, have relatives there, and feel quite comfortable saying that Rabbi Luft is clearly exaggerating here. The image he's trying to present is based on falsehood. So are his rules and so is his presentation.

Note that, as in the rest of his book, the language Rabbi Luft uses in this chapter to describe musicians and their motivations is simply inappropriate for a ben Torah.

Next up, the final chapter. After that, I intend to post a short follow-up to my original post, demonstrating that I have proved all of my initial assertions about Rabbi Luft and his work.

Here are my previous posts in this series:

In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part I
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part II
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part III"
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IIIa
In Review - R' Ephraim Luft's "The Torah Is Not Hefker"; Part IV
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part V
In Review - Ephraim Luft's "The Torah Is Not Hefker" Part VI


UPDATE 2/1/09:
For your convenience, I have updated the posts in this series to include links to all of the posts on this topic.

Here are the links to all of the posts in this series:

In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part I
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part II
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part III
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IIIa
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IV
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part V
In Review - Ephraim Luft's "The Torah Is Not Hefker" Part VI
In Review - R'; Ephraim Luft's "The Torah Is Not Hefker" Part VII
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part VIII
In Review - R' Ephraim Luft's "The Torah Is Not Hefker" Part IX

Lipa vs. Luft - He's Not Backing Down

Vos Iz Neias posts a story on Lipa's upcoming concert. Poor Rabbi Luft! Can't get no respect!

Its Time For Even More Peeps

"The Gaggle"
"The Gaggle" are a group of women jointly hosting a Sheva Brachos. They show up about five minutes before the invite time, look at the perfectly set room, and proceed to make minor, mostly irrelevant adjustments, all the while discussing said adjustments loudly among themselves. "Do you think the flowers look good like this? Or, should I move this lily one millimeter to the left." From an aesthetic standpoint, these efforts are pointless. Nevertheless, they always feel compelled to make some changes.

"Super Nice Lady"
We've run into this peep quite often recently. She always makes a point of coming over and saying really nice things about the music.

"Heil Hitler Guy"
A friend of the 'rents, this peep always acknowledges our presence with a drive-by Nazi salute of sorts as he walks past. He never says hi or stop to chat.

The "Mavin Dovor"
Walks into a Sheva Berachos hosted by several kollel families and immediately understands, based on the amenities, that they must be really stretching to pay for the affair. So, as a fellow who also "learns in the kollel," he discreetly tells one of the hostesses that he too ought to have been included in contributing towards the event. He proceeds to pick up a nice part of the tab. He doesn't know that he's been "caught doing good!"

The "$5000 Rabbi"
This Rabbi is an hour late to the wedding he's officiating at. This despite the fact that the family had sent a car to pick him up on time. He'd simply kept the driver waiting. The father of the bride is later heard estimating his cost for the additional hour at $5000 in overtime fees. We met a similar peep earlier, but he'd cost his baalei simcha thousands more. The difference between a heimishe venue and the Waldorf.

The "Bathroom Smoker"
This peep smokes in a stall in the men's room at Ateres Chynka, a basement wedding hall. Apparently multiple times throughout the night. The lack of ventilation in the bathroom means that all of the guests have to experience the unpleasant heavy smoke. At least he doesn't have to chill himself outdoors, and that's what's most important, right?

The "Grooveless Badchan"

This peep takes an hour to warm up. Seriously, the first hour of this two hour mitzvah tants is simply excruciating. But, after hitting the bar for a drink or two after each tants, he finds his groove, and he brings his "A game" for the rest of the tants.
Should've started hitting the bar an hour or so earlier.

Best Translation Eva!

From the Naomi Shemer songbook "Simanim Baderech""... Shirat Ha'asavim translated as "Weeds Are Singing".

Some Worthwhile Websites

There are a number of websites that I think it's worth calling attention to. Most of these are pretty recent and will be quite useful and informative. Mazal tov to the publishers!

Save The Music.com: Jewish Songs: Yiddish

SephardicMusic.org

Der Yidisher Gramofon

Finally, George Robinson, who many will know as the music critic for the NY Jewish Week, has started a Jewish Music blog, Shirim Khadashim -- New Jewish Songs. He will be posting reviews and other music-related writings, since the JW no longer has the space for his review column.

From the mailbag...

Yale Strom writes again:

BiDm - not to belabor the point, but once again, you've misquoted me -- I never "laid credit for Chabad Houses across the world on the klezmer revival"; so let me clarify by example: In 1981, in Miskolc, where there was a small Jewish community (secular and frum and everything in between) there were a couple of local amateur Jewish musicians who began playing Jewish music privately. I know, because I was there. Point of fact: Chabad was not. The frum Jews were not Lubavitsher - in fact, the elderly frum Jews who grew up before World War II were followers or sympathetic to the Satmar or Munkacser khasidim (who by the way have had strong religious philosophical disagreements over the years - continuing today - with Lubavitsh).

During the Communist era, throughout Eastern Europe, Jewish life and practice went underground, particularly for the youth. The older Jews were already pensioners, they were not as afraid of retribution, of career assassination or expulsion from attending specific colleges - risks posed to the young Jews. As one old orthodox Jew told me in 1981, "I was in prison before the war, I was in various concentration camps, the Soviets sent me to a camp, and I'm here now. What can they do to me?"

What these young musicians did was get people interested in singing Jewish music and for some, to even looking at Hebrew and Yiddish text (and Miskolc was not a haven for Yiddishists). There was a young man I interviewed in 1988 for my book "A Tree Still Stands: Jewish Youth in Eastern Europe Today" who eventually went on to study at the Budapest rabbinical seminary. Part of the kindling of his interest in Jewish life and religion (of which he learned nothing from his parents) came from listening to Jewish music, particularly Ashkenazic Jewish music from Eastern Europe, aka - klezmer. This happened before Rabbi Oberlander, the Lubavitsher rabbi in Budapest since 1989, formed a Chabad minyan in Miskolc.

I never stated that in every case, in every Chabad minyan throughout Central and Eastern Europe, the way was paved only because of the klezmer revival. But to not acknowledge the power of the klezmer revival (music, text, Yiddish, the cultural cohesion and community building for Jewish communities and the social history of klezmer as functional music) is simply wrong. All of these factors made communities more receptive to new Jewish expressions - including Chabad. And Chabad has done a great job in re-igniting the embers of Judaism in these communities where there are shlikhim.

My assertions are based on fact, on interviews with actual informants since 1981. Those things may not support one's thesis, but they are indisputable.

It seems to me that we are talking about two separate assertions.

1) There are individuals whose interest in learning more about Judaism was kindled by Jewish music.
2) The success of Chabad Houses can be attributed, at least in part, to the klezmer revival.

Point #1 is clearly true. I don't believe anyone contests that. I've met many people who came to some form of Jewish observance through becoming involved in Jewish music, whether as a performer or listener.

Point #2 is inaccurate though. This is easy to test. Look at Chabad's history even before the klezmer revival, when they were perhaps the most effective outreach group under three generations of Communism in the U.S.S.R. Compare also, the success of Chabad Houses worldwide. Not to belabor the point, but Chabad and Chabad houses have been successful throughout the world, including many areas where the klezmer revival has not reached. Might some people who became interested in Jewish culture via klezmer then been more open to Chabad? I know people who came to some form of observant Judaism through Jewish music. But I'd also say that Chabad has proven itself globally, reviving Jewish interest, in areas untouched by the klezmer revival. In other words, I'd point at Chabad as the source of Chabad's success, not the klezmer revival. In short, I'm confident that the Chabad House in Miskolc, to use Yale's example, would have been quite successful in reaching out to unaffiliated Jews in the area, even if there hadn't been a klezmer revival.

Joel Rubin made a simliar point, about the renewal of interest in Judaism in various forms taking place at the same time, like the klezmer revival and the Havurah movement. He did not credit the klezmer revival with the success of the Havurah movement though. I'm sure there are people who came to Havuah that way too, on an individual level, (and Orthodoxy and various Chassidic groups too) but, I don't see it as cause and effect.

In short, what I take issue with is the assertion that the Chabad House's success is based on the klezmer revival. Sure, some individuals may have decided to start attending because of that, but there is enough empirical evidence for the success of Chabad houses in places outside the influence of the klezmer revival. Perhaps, judging by his clarifying emails, this is what Yale meant to say at the conference, i.e. point #1 not point #2, but that's not what I heard him say.

Yosef Sukenik writes:

Here is a link to a new song composed for the Puah Institute's annual dinner on January 13th. The dinner was the same week as the annual conference in Jerusalem which had over 1500 people but unfortunately no music. Composed by Cecelia Margules and Rami Yadid. Performed by Shloime Dachs. Song of the Cradle.

Joe Flix forwards a link to his LinkBag #3. He's been enjoying my Luft review series. I'll be getting back to that shortly.

Roger Bong writes:

I did a Google search of the Stanley Miller Band and, like several others, have found your blog.

I wanted to find more information about the Band, but it seems there is very little info on the internet. I own the album "Live!" by the band, originally released on Azoi Records and recorded April 16, 1976 in New York at the Lincoln Square Synagogue.

I know nothing about Jewish music, but bought the Band's "Live!" album (an LP) because it was unopened. I found it in a thrift store in Eugene, Oregon. Have you heard the album before? I thought you or visitors to your blog might like to know about it, since there is no discography of the band online.

It's good to know that the Band wants to reissue one of their albums to CD.

Chris writes:

I've written before, you may not remember. I'm studying for conversion and am an semi-pro/amateur reggae musician/producer. Do you know of any message boards or IRC channels where I can talk to Jewish musicians? Here in Tokyo I know precisely zero people in my shul who make music. I'd like to be able to talk to some people who make torah centric music or even musicians living a torah life.

BTW, it just tears me up that I cant play during shabbat! Yesterday I was almost counting the minutes till I could fire up my gear. I know thats probably not in the spirit of shabbat at all, but I wonder if other musicians feel the same?

Got this email about "But, Kol Isha!!!":

Regarding the J-music post with the "kol isha warnings" - My impression is that these types of disclaimers are similar to the Surgeon General's warnings on a pack of cigarettes. Whoever's buying pays it no mind; and those who take it seriously weren't buying anyway. But you still have to put it on the cigarette box.

I just found the idea of putting a Kol Isha warning on a Gay/Lesbian/Transgender event a bit odd. I guess he missed that bit. It’s kind of like hosting an affair at a treif restaurant and warning that there might be shaatnez in the dinner napkins.

Gil Student comments on "For Everything Else, There's Mastercard."

Yeshua is an Aramaicized version of Yehoshua. See Ezra 2:2 for one of many places where Yehoshua Kohen Gadol (of Zechariah 3 fame) is called Yeshua.

That's true, but to the secular Jews who see this, Yeshua means Jesus.

On the same subject, Leor writes:

I noticed that right away in the music video as well and questioned it. Then I though about it and realized it was possible that they meant Yeshua simply as "salvation" ???

It'd be spelled differently in that case.

Say It Ain't So, Yo!

So Yo Yo Ma and Itzhak Perlman were faking it at the inauguration ceremony, the NY Times reports. They should have asked Adrianne Greenbaum to play instead. She even wrote a piece, "Yidishe Marsh far der Inoryguratsie" in honor of the event.

Ehr Vilt Zayn A Rebbe!

Hey, it's a promo video for Yoely Lebovitz's (d.b.a. Pester Rebbe) Kigel un Pickel Concert.

More Comments on Beyond Boundaries: Klezmer Music in the 21st Century

One of the things I find interesting about blogging is seeing which posts people respond to. Naturally, if I post just before heading out-of-town, that post will invariably turn out to be one attracting a lot of interest.

Case in point, my recent post, " Some Comments on Beyond Boundaries: Klezmer Music in the 21st Century." The klezmer Shack linked the post and a number of people emailed as well.

One of those people was Yale Strom, whose presentation I'd criticized in my post. Yale apparently misread my post and wrote in to correct me, thereby clarifying that he had claimed exactly what I'd said he'd claimed. He wrote:

Thank you for coming to the conference and writing about it. I would like to correct you on my topic, because I think you may have misunderstood my point. I do not credit Chabad houses with the revival of klezmer. It's just the opposite: In many of the cities, towns and villages where the revival of klezmer helped spark re-interest in Jewish life among disenfranchised Jews and curious non-Jews, these interested parties were present before the Chabad Shliakh. Thus, when Chabad came to these communities, they found a spark of interest. For many of the Jews in these communities who felt spiritually empty (largely due to the 40 years of fascistic governments), klezmer sparked a longing for connection. So in certain instances, the groundwork was laid by klezmer, which thus enabled Chabad to take root. I'm sorry if you misunderstood my thesis during my talk, but I hope that now it's clearer to you. And as I was personally there in many of these communities in the early 80's, I witnessed this myself.

Fishel wrote:

Thanks for your brief review of the Beyond Boundaries event for those of us who couldn't be there.

Your point about looking sideways is particularly well-taken. They are more interested in looking sideways at "edgy" artistic endeavors for context, than at frummies. No big surprise - though unfortunate - that folks in the thick of the klezmer revival would dismiss simcha music and the entire hassidic scene out of hand.

As a frum musician who plays both frum weddings and "klezmer" (though for the past several years my "klezmer" repertoire has become largely hassidic nigunim), I can understand their viewpoint:

On the one hand, there is the secularist desire to negate anything too firmly rooted in observance.
On the other hand, there is the perception (which I must confess that I share) that most of the simcha music scene - at least in the US - is pop pabulum. I call it ortho-pop, and while I do enjoy playing some of it, most of my enjoyment comes from participating in the holy and joyous event which is the wedding. Most of the ortho-pop itself is not very deeply rooted in the gut-wrenching work of avodas HaShem. One has only to play some real hassidic nigunim, and some newer pop tunes, to know the difference.

Nonetheless, your comments about Meron, etc. should most certainly have been part of the discussion. But then, fifteen minutes for each presentation sounds pretty ridiculous!

I found Yale Strom's hypothesis on the source of Chabad's success to be...fascinating.

As I noted, I think the lack of interest by Klezmer musicians in looking at elements of Chassidic music is surprising.

Here are some specific examples of areas where I think looking sideways would be very useful to klezmer musicians.

1) The evolution of the Meron repertoire and similar music in the Chassidic communities in Israel. For example, I just picked up a great disc, "Menagen Meron" by Israeli-Chassidic clarinetist Chilik Frank. In general, here's an artist I think the klezmer world should be aware of, both as a clarinet stylist and even more importantly, because of his performance repertoire. Shmuel Nieman is another I think worth checking out. The backing band is uninspiring to me, but his clarinet playing is worth hearing.

In a similar vein, I also think it would be worthwhile to look at the old Yerushalmi Chassidic groups, like Toldos Ahron, and the music they play today, which is deeply rooted in the older styles.

2) There is an ongoing Modzhitzer musical tradition that it would be "vikhtig" to check out.Here's an example of the current Modzitzer Rebbe's original music. This song is one of the first compositions he composed a little over a year ago, his first year as Rebbe.

3) Some other Chassidic groups have either ongoing traditions of composition or else are experiencing a new-wave of inspirational musical compositions. To my knowledge, Frank London and friends are basically the only people looking at these songs. I'd think dance songs like Belz's Tehei Hasho'oh Hazoys", Vishnitz's "Yodee Lashem Chasdoy", the revived "Lag Ba'Omer Nigun" etc. would be of general interest to klezmorim. Yet, it seems like too many won't even consider looking at this material.

To be clear, I'm not talking about the Euro-pop/Disco that passes for Hassidic music in much of Brooklyn. I'm talking about the art of the nigun, as it were, and the associated musical traditions that have evolved directly from older folk styles, both Eastern-European and Middle-Eastern. There's a wealth of material there.

It's Gonna be A Big Event!

In this week's Jewish Star... "Lipa plans another ‘Event’" Check out the quotes from Rav Shmuel Kamenetzky. He's been the only ban-signer to handle the situation honorably, when it became obvious that they'd been manipulated.

The Life-Of-Rubin Blog posts a link to a Five Towns Jewish Times article on the upcoming "Event."

Meanwhile, here's a bizarre report. This part is outrageous.

With all this in mind, and desiring to prevent last year's hullabaloo from recurring this year, rabbonim met with Sheya and Lipa privately and gave them their consent and divrei bracha. The event organizers were instructed that if any person has a legitimate concern or objection, the organizers should privately direct him to the roshei yeshiva and rabbonim involved, without broadcasting any dialogue. They feel that to prevent damage that has been brought about in the past, the most effective way to deal with the matter is in private.

The community suffers from "leaders" with a lack of courage. This makes Rav Kamenetzky's public statements to the Jewish Star all the more important.

Here's a Vos Iz Neias thread on the J-Star article.