Band-o-matic

Anon writes:

I had this experience when I was a guest at a wedding last week. I asked the Chosson before the wedding if he has the music taken care of and he said that his friend 'has a band'. At the wedding, I saw familiar musicians (Ron Bertolett, Mike Koon, etc) but I saw a band name I've never heard before. I realized that we can use a lot more bands out there, so I decided with the economy in the shape thats its in, i'm coming out with a new product:

"My Friend Has a Band" kit

Includes:

1-Full color music stands and business cards with your original band name
2-7 Music books by Avremi G
3-A phone book with 200 musicians's contact info (we'll even throw in Mordechai Ben David's cell phone #- so you can say "I work with MBD")
4-all inclusive guide with topics covering marketing to friends and guys in your Yeshiva ("yes, we have the same musicians as Neginah and Neshoma but we charge much less") and much more!

This has been an ongoing issue for years. Usually, these guys book one or two moderately successful gigs (meaning they got through them without any severe trainwrecks). Then, they spectacularly crash and burn either when the client has specific musical needs other than Shwekey, or on a moderately busy day, when Psachya, Mike Coon, et al, aren't available.

From the mailbag...

Psachya writes:

One thing I've learned over the years as a bandleader is that, when it comes to band prep, everything is relative. Two examples:

On a recent gig, the prep said that the choson wanted a "long first dance set". The caterer wanted to give me 15 minutes. I negotiated him up to 25 minutes. In the more yeshivish weddings, 25 minutes is "just getting warmed up" - I hoped the choson (who is a friend of mine) wouldn't be annoyed at the short length of the set.

Sure enough, after the set, the choson came up to the bandstand. "The music is great," he said, "but try to keep the next dance set shorter. The dancing went on forever!"

Go know.

The following night (a yeshivish wedding), the prep included requests for (count 'em) 13 hora/disco-type tunes. Followed by the statement, "Please don't overdo the horas." (!!)

What can I say? Everything's relative.

Shloime Kaufman emails about his new release to raise funds for A T.I.M.E. (an organization helping couples with infertility issues.):

Shloime Kaufman's Avodos Tzedakah album is in all Judiaca stores or the CD is available for download on MostlyMusic.com, and features Dovid Gabay, Baruch Levine, Abie Rotenberg, Michoel Pruzansky, A.K.A. Pella, Sholom Jacobs and contains songs composed by Yitzy Waldner and Baruch Levine. The CD is presented by and PROCEEDS WILL GO TO BENEFIT A T.I.M.E., which is the premier, internationally acclaimed organization that offers advocacy, education, guidance, research and support through our many programs to Jewish men, women, and couples struggling with reproductive health and infertility.

You can hear audio clips and buy the album here.

Steven I. Weiss emails:

Jewish Punk Rockers. I thought you might enjoy some of what's said in this week's newscast.
There's a lot more in the broadcast version, though we'll be posting some additional clips on the Web soon.

Zal Schreiber writes:

THAT said….I know the gist of what was said here was perhaps a bit sarcastic in tone (at least, at times), but I think the comment the Xmas Music is Avoda Zarra needs to be mitigated a bit.

My Rov knows music, world philosophy, real Kabbalistic zaachen, and about the waltz….and has his favorite Classical Music composers (Sibelius is his favorite, I believe) , and I asked him about music (I have some relationship with that being a Levi from both my parents, a”h, growing up with Chazzanis and Presley, and classical music, playing in wedding and, ahem, other bands..and then working for a/thee major secular music corporation in the world for 16 years…..)

So I asked my Rov about music, and he said, MAYBE Handel and his Messiah are not to be listened to, otherwise, I don’t think popular Xmas music is really something to be stoned for…for listening to, and is (real) Avoda Zarra. (Church hymns for JC MIGHT be a no-no….)

And he also said that Waltz music has roots in things we shouldn’t really speak about in public, BUT, because we really don’t know about those particulars and because it’s a way bygone issue, that we’ve embraced it in Jewish music (and shouldn’t worry). Otherwise, we would toss out Shlichey Tzibur on a regular basis.

PS. You should take Dovid Kerner’s music, seriously, folks, as he composes and records it l’Shaim Shamayim. He’s a man with a(n important) message, and he puts it to song.
In the dangerous world we live in, it’s his own way of letting other to know to take heed. For the sake of Klal Yisrael.

Greg Wall forwards a link to a J-Post writeup of Pioneers for a Cure.

Peeps!

"The Modzits Fan"
Don't ever make the mistake of playing a Modzitzer melody when this peep is at the gig. We made that mistake recently, playing three such tunes. Sure enough, he was drawn to the bandstand, like a moth to a flame, wanting to talk Modzitzer nigunnim. Since we couldn't talk right then, he waited until the end of the affair, hung around while we packed up, and then held us up after we'd loaded our car, sharing his B.Z. Shenker impersonations (spot on), thoughts on various Modzitzer melodies, digressions into the attributes of various well-known cantors (alive and dead), and more. Oy!

"The Greedy Cheapskate"
A while back we met the "Renegotiator" (here and here.) This peep puts 'em to shame. Or should that be, this peep has no shame. The "Greedy Cheapskate" hires us for a morning Bat Mitzvah. Tells us it'll be for two to two and a half hours.

The Friday before the Sunday gig, he calls and says it probably won't go over, but if it does need to go fifteen minutes over, would that be OK. Figuring we might as well be nice, since we've charged him for the slot, and have three hours between gigs anyway, we tell him we'll do it at no additional charge. A nice gesture, we thought. This character, though, saw it as an opening to renegotiate. After all, if we're willing to play two hours and forty five minutes for that fee, why should he pay the same amount for only two and a half hours. No class! Naturally, this peep tries to short us forty dollars at the end of the gig too.

"Mr. I'll Never Hire You For My Wedding"
This fine fellow (it's always a guy) is a friend of someone at the wedding who can sing. Allegedly. He comes over all night long, demanding that we let his friend sing one more song. Note: He's not just asking to give his friend the mic during a dance set. He wants his friend to be given a showcase, singing a featured song, while all assembled watch and take in his awesomely incredible vocal talents. The friend wouldn't mind said showcase, but would never push for it this aggressively and rudely. Naturally, we refuse. After all, he's sung one song at the family's request. And, much as this peep wants this to happen, there is a wedding going on, we've got dance sets to play, etc, so we decline. Multiple times. Before, after, and during the dance sets. The kicker. At the end of the gig, "Mr. I'll Never Hire You For My Wedding" comes over and says: "I'll never hire you for my wedding." Given his personality, that's not exactly an unwanted outcome. Who says sechar mitzva behai alma leka?

From the mailbag...

Aryeh comments on the Rabbi Wolfson article:

It's very clear that Mr. Donn is not acquainted with music theory at all. When I read the article to one of my music teachers he had many questions on the work.

Fist of all if you have only seven notes, you'll will not get to far. there isn't a single song played with only 7 of the 12 notes the scale has. and even then most music take several range of Octaves.

The color of the Piano keys and it's name (KEYS) has nothing to do with music style at all. Music can not harm you unless it's too LOUD!!!

The Composer  behind the music can harm IF you know who he is and what he stands for. For example you would not want to go to a Chupa with Mendelssohn march, since he was a son of a meshumad and he said jewish music is lack of color.

Xmas Music ins't kosher, it's avodah Zarah.

And if you'r a Squarer Chosid G-d forbid if you sing a Breslever Nigun.

When Midzitz introduced the Walz in the Jewish music world, it was critized since it is a coed dance.

Carlbach was also critisized and his songs where banned, when he was know as a dropout from Yeshivishe derech...

With similar token, the Mishnayos Kahaty was banned in many circles becouse of his views on politics not because his writtings. The same with Shteizaltz.

The bottom line is there is nothin Kosher or non Kosher about music, but reather about message send by 1) the composer 2) the player (or singer) 3) and the lyrics.

Dovid Kerner writes:

While our families were off together spinning the kids around on the local carousel, Steve and I spent some time today recording World Series of Hate. You can listen to it here.

E. comments on the NY Post headline for the Shwekey in Jail performance:

they could have come up with something punnier like locking them up and throwing away the Shwe-key.

Psachya's Peeps

Psachya's having a peep-filled season too.

He writes:

Hey, just got my own bumper crop of June peeps. Here they are:

"The Siblings From Hell"

They come over to you with a predatory smile and say, "Hi, I'm the choson's brother," and proceed to make your life miserable. Occasionally, it's the other way 'round - when they've been making your life miserable for a half hour and you tell them to bug off, they say "Do you know who I AM? I'm the kallah's BROTHER!!" These people need to be ignored at all cost - as opposed to the siblings who are actually trying to help.

"The World Expert On Everything"

That's the teenager who was explaining to the drummer that his (the drummer's) technique stinks, he's not half as good as the drummer he saw last week, and "everybody" thinks the band is awful today. (Everyone else I spoke to thought the band rocked, but go know. And trust me, this particular drummer didn't deserve that.) And what is the source of his breathtaking musical expertise? As he explained to us, he a) really likes music, and b) goes to lots and lots of weddings.

"The Just One More Song Guy (Or Gal)"

This person will come over to you after you've been stowing your gear for at least three minutes and say, "Oh, c'mon! Just one more song!" (This is never the person who is actually responsible for paying your bill.) Don't EVER give in to him. Or her. EVER.

And that brings us to...(drumroll...)

"The Most Important Person At The Wedding"

That would be the kallah, right? Wrong! It's also not the choson. Or their parents. Or the rabbi. Or the rich uncle from Chicago. Or the bandleader, the caterer, the photographer, or the limo driver. Nope, that would be the chazzan who strolled into the ballroom just as you were about to start the second dance set, and demanded to be given a mike IMMEDIATELY so that he could torture the guests for ten or fifteen minutes. Never mind that everyone else in the room wants to dance. Never mind what the choson and kallah want. Never mind if they even know who he is. He needs a mike NOW, because he is the most important person at the wedding! And don't you forget it! (And as with the last peep, never give in. Guard your microphones with your life.)

OK, that's all for now.

I remember one gig where the kallah started to cry when the chazzan sang because he was ruining her wedding. (She wanted light violin instrumental music during dinner.) Turned out he wasn't related to anyone. He was just a Chassidic W'berg local who wanted to have the thrill of singing for a crowd with a six piece backing band, something he could never have afforded to pay for. So he just strolled in to a local wedding hall, told the band the groom wanted him to sing because he's close, and voila!

An Abundance of Peeps

There seems to be a bumper crop of "peeps" this season. Here are some more.

"My Speech Must Start Now!"

This peep absolutely needs to start his/her speech THIS VERY SECOND! No need to cue the band, wait for them to end the song, or even ask permission to use their mic. Such formalities are for plebes. Not for someone with something this important to say.
Invariably, this peep is also a "can't be bothered to say thank you" peep at the end of the affair.

The "I Can't Believe I Have To Wear A Suit" Guy

This peep wears a suit that looks like its from the 1970's. A neat trick, considering that he was born in the late '80's. Always accessorizing his afro and aforementioned suit with a big satin kipah, this peep adds a touch of nostalgia with his inadvertent impersonation of "Saved By the Bell's" Screech.

"Italian Aria Guy"
This chazzan, classically trained in Russia approximately 70 years back, wants to sing Italian opera arias during dinner. Lots of them. He doesn't bring music and won't be denied the mic. "It's easy, you'll just follow me," he says, launching into one obscure aria after another. Guess he can't tell the difference between the Met and a shul social hall.

Tal-Mood Music

C'mon NY Post! Surely you could come up with a better headline than Lockup Crooner's Tal-Mood Music.

Who Needs The Waldorf...

when you can throw a lavish Bar Mitzvah in jail.

6/10/09 Link Dump

Rabbi Dovid Landesman writes about badly behaved bochurim at weddings in "Houston, We’ve Got A Problem!"

Meanwhile, the Times Herald-Record reports on pre-wedding violence in Satmar.

Sara Smith writes about the Haredization of weddings in "My Story: Aliza's Haredi Wedding"

In the Forward... "Why Straight People Go to Gay Synagogues." the end of the article talks about transgender Jewish hip-hop artist Harvey Katz.

Also in the Forward, a review of "The Songs of a Wandering People."

Modern Uberdox posts about "Niggunei Hisorerus Novhardok."

Michael Makovi posts on "Kol B'Ishah: A New Analysis."

Teruah posts about Sruly Meyer's move from Sameach to Mostly Music.

Mottel posts "Reactionary Jewish Music."

Here's an article by Rabbi Murray Singerman: "Dancing in the Footsteps of Reb Shlomo: An Halakhic Analysis of the 'Carlebach Minyan'."

It's Peep Season Again!

"The Micro-Manager"

This peep, usually a school or kiruv org admin, needs to call the tunes at the gigs played at his venue. "No!" he'll shout, running over during a dance set. "The kids don't know this song!" Umm, they did the last four events we played at your place this year. And that's not including the multiple times it was played/sung at this past year's retreat. Or the events we played it at last year.

"Mr. I Need Your Card"

This peep comes over towards the beginning of the event and tells the bandleader "I'll need you card" in a way that makes it clear he has an imminent gig. Then they disappear before they can be handed a card. They will not come over again, and it will turn out to be impossible to find them among the 500 other guests at the affair.

"Need A Peep"

This Chassidic couple stands in close conversation on the other side of the room during a chupa. Then, with quick resolve, the husband, closely followed by his wife, walks past the open exit door and across the room, only to put his car keys down on the keyboard. His wife will immediately pick them up and head out to the parking lot. TMI.


"Everything Carlebach"

This peep needs to use a Carlebach melody for everything. He even sings Akdamus on Shavous using Carlebach's Od Yishoma (San Fransisco) instead of the traditional melody. Now that's just wrong!

From the mailbag...

Yonah Lloyd writes "Seeking Hiney Matov by Jewish Blues":

Hi fellow bluesers - I asked permission from Shmuel "Steve" Simenowitz to seek out his legendary "Hiney Matov" song online, as I would like a digital copy.  He said ok.  He doesn't have one himself, nor the tools to make one, so if I do find it, I'll send it to him as well.

Anyway, if any of you have it or are able to find it, please share the wealth this way!

Kathy writes in looking for Adi Ran's first disc, which does not seem to be available on line at the moment. Anyone know who has these in stock here?

E. forwards a link to a Ynet article on Gershon BVeroba's latest, "Is This Pop Hit Kosher?"

A Simple Jew forwards a link to "A Niggun From The Sudilkover Rebbe."

Finally, proof that klezmer is emotionally engaging, even to those who don't want to like it. Estevão Carlos Botelho Egas, who apparently just found out about Paul Pincus's passing writes:

GOT TO HELL MR. PINCUS!, FINALLY WE ARE TOTAL FREE OF YOUR HORRIBLE AND KITCHES SONGS!

GOD HATE US ALL!
Estevão Carlos Botelho Egas
Projetista da Engenharia e Projetos de Instalações Industriais
Mangels Indústria e Comércio Ltda.
Tel.: 55 11 4341-1688 Cel.: 9388-3540 Fax.: 55 11 4341-8975
e-mail: e.botelho@mangels.com.br

Classy.

Guilty Plea In Melzer Case

The Jewish Week is reporting that Adam Melzer has plead guilty.

...according to Kenneth Ralph, assistant prosecutor in Bergen County, Melzer pled guilty to four counts of endangering the welfare of children. He will be evaluated as a sex offender before sentencing, scheduled for Aug. 28.

Depending on the outcome, Melzer could be sentenced to up to three years in prison or placed on supervised parole for life.

Earlier posts on this can be found here and here.

Not Dschingis!

Rokhl Kafrissen writes about Dan Kahn for the Forvitz in "Partisan or Parasite?". Check it out!

From the mailbag... (New Blog edition)

Bert Stratton's got a blog. He'll be posting daily; at least until Yiddish Cup's new CD. "Klezmer Guy" drops on June 28th. He writes:

YIDDISHE CUP’S NEW BLOG,
UPDATED FREAKING DAILY.

You’re not looking at the blog right now.
You’re looking at an announcement,
which is screaming:

PLEASE CHECK OUT
YIDDISHE CUP’S NEW BLOG AT
www.yiddishecup.com/blog

The blog is “Klezmer Guy: Real Music & Real Estate.” It’s similar to Yiddishe Cup’s previous “gossip” emails, but to the 10th power.

Here are some sample post headings:


SHARP SALAMI . . . My clarinet teacher used to eat salami sandwiches during my lessons.

THE THING I DO WITH MY HANDS . . . Play clarinet.

BOUNCED CHECK . . . I've never gotten a bounced check at a gig in 20 years. Why?

SOFT SEATS . . . That's what bookers call college auditoriums. Cushy gigs.

A SLICE FROM THE KLEZ PIE . . . The klez scene is slightly bigger than a 12-inch pizza. Inbred? Rye.

BAGGIES ARE USEFUL . . . To pocket smoked fish.

ACCORDING TO THE TALMUD . . . Pay your musicians after every gig. How to be a bandleader.

THE LOWEST NUMBER STICKS . . . When you say "$6,500-$6,800," the client only hears the "$6,500" part. Negotiating for arts majors.

---
BERT STRATTON, a.k.a. Klezmer Guy, was a Sun Newspapers reporter. His articles have appeared in Rolling Stone, Downbeat and The World. He won two Hopwood Awards.

---
The blog will be updated daily through June 28 –
the day Yiddishe Cup's new CD, KLEZMER GUY, comes out.

Yosef Sukenik writes:

Hello,
After doing my best to help the cause I'd like to ask your readers to take a few minutes to help improve the Wikipedia article on Contemporary Jewish music.  Today Wikipedia is a major info source and it would help us all to have a clear unbiased history and summary.

Please contribute your knowledge: Contemporary Jewish religious music - Wikipedia, the free encyclopedia

Please keep in mind:
Try for a neutral point of view.  We are informing.  We are not promoting specific artists.
Please source as much as you can.  Newspaper articles, album liner notes, anything.
Don't worry if you don't use the correct code formatting.  Someone else will fix it.

Much love and thanks,
Yosef

Adam Andersen writes:

So this isn't jewish music, but it does relate to your email address
quite nicely.

"I DONT WANNA HEAR YOUR BAND!"

Thanks for fighting the good fight & keeping music blogs not-lame!

Letter To The Hamodia Editor (More Rabbi Wolfson Content)

The following letter and response appeared in Hamodia on May 6th.



Yochonon Donn's response demonstrates clearly that he and Rav Wolfson both lack comprehension of some of the music terminology and history used in the original article and that Donn doesn't understand some of the points made in H. Meyer's letter. There are errors of fact and logic in this response. This is simply embarrassing!

A question for Rabbi Wolfson... (one of many that can be asked)...

According to your expressed view, what is the date at which the accepted rules of music were finalized? Since music and music theory has been in a continuous state of evolution, any assertion that certain popular styles of music "are not composed according to the accepted rules of music" implies that the rules must have been finalized at some earlier point, to the exclusion of current practice. So, lishitascha, when did this take place?

Upcoming Jew-Mu Gigs

There are a bunch of creative Jewish music gigs coming up over the next bit.

Here's some info cut/pasted from the promo emails...

Sunday 5/10 at 11 AM: Klook! at City Winery

Details:

Introducing... Klook!

Eleonore Weill (Paris) - Baroque Recorder, Accordion
Madeline Solomon (London) - Flute
Jake Shulman-Ment (New York) - Violin, Accordion
Pete Rushefsky (New York) - Tsimbl

at the City Winery Klezmer Brunch this Sunday, 11AM - 1:30PM! Bring Mamele!

$10 cover

City Winery
155 Varick Street
New York, NY
curated by Michael Dorf
City Winery

Monday 5/11 at 9 PM: Eitan Katz, Nochi Krohn, and Avi Feinberg at Aish Kodeh's Lag BaOmer Hilula

Details:

Eitan Katz and Nochi Krohn will be performing at the annual Aish Kodesh Lag B'Omer Hilula at 8:30 p.m. on Monday, May 11th at the Young Israel of Lawrence Cedarhurst (corner of Spruce and Broadway in Lawrence). Rav Moshe Weinberger will be delivering words of hisorerus. Suggested donation, $10. Separate seating.

Tuesday 5/12 at 7 PM: Breslov Bar Band at the Carlebach Shul

Details:

Breslov Bar Band - Lag Baomer Concert @ Carlebach Shul

Tuesday, May 12, 2009
7:00pm
305 West 79th Street
$15 cover

From melancholy midnight meditations to funky/punky affirmations of the One, the Breslov Bar Band explores musical expressions of the Breslov Chassidim from the traditional to the contemporary... Rock, Middle-Eastern, Punk, Jazz... it's all there!

The group's repertoire includes old dveykus melodies and ecstatic nigunim, as well as contemporary Breslov folk and rock music. The band members combine their passion for Jewish music with their strong roots in rock, jazz, and world music.

Website:BreslovBarBand.com

Tuesday 5/12 at 9 PM: Yoshie Fruchter's Pitom and Michael Winograd's Infection at Zebulon.

Details:

I and my erstwhile Pitom collaberators are super psyched to be coming back to our fave joint Zebulon this Tuesday evening to play some music from our new record, some new music that is not on the record, and just have fun and make some glorious noise! Joining us will be Michael Winograd's Infection (and his army of swine flu fighters).. a seriously killer band - you will not be let down. It also happens to be the Jewish holiday of Lag Baomer - so come celebrate with us, have a beer, do a dance, shave your beard.

**SHOW INFO
WHERE: Zebulon, 258 Wythe Ave, Williamsburg (L Train to Bedford)
WHEN: Tuesday, May 12th 9pm
NO COVER**

Sunday 5/17 at 11AM, Klezmerfest CD Release Party at City Winery

Details:

I am pleased and proud to announce the release of Klezmerfest's second CD, "Life of the Party," featuring Jordan Hirsch, Greg Wall, Aaron Alexander, Zev ZIons, and Brian Glassman. We will be performing in celebration on May 17th, with sets starting at 11:00, at:

City Winery
155 Varick Street
New York, NY

There is a $10.00 cover charge.

Check out our first release, "Party Music" at CD Baby: KLEZMERFEST!: Party Music. Ari Davidow of Klezmershack had this to say about it: "this album is simply a delight. Many are the medleys as the band puts traditional tunes in a simkha context. Like I said, the sound is smooth as silk and the feet can't stop moving. For a change, here is a band guilty only of absolute truth in advertising: This is perfect "Party Music". Enjoy!"

Wednesday 5/20 at & PM: Joey Weisenberg's Niggunim Unplugged at the Eldridge Street Synagogue

Details:

Please join me for a special concert of Jewish music at the Eldridge Street Synagogue in New York City on Wednesday, May 20th, 7:00 pm.  I'll be performing with a wonderful ensemble, including:

Benjy Fox Rosen -- Bass
Llova Zhurbin -- Viola
Jake Shulman-Ment -- Violin, accordion
Joey Weisenberg -- vocals, mandolin, clarinet, percussion

Please reserve a seat at:

New York Events at The Museum at Eldridge Street

If you know people who would enjoy this show, please let them know about it.

I'll look forward to seeing you there!

From the mailbag...

Rabbi Moshe Yeres writes:

you link to
Here's a video of an attempt to revive old Jewish wedding traditions. I'm not convinced the soundtrack music is authentic period music. [/sarcasm]
 
It seems to me that this post is of messianic judaism
there are alot of signs for that in teh video including but not limited to how they phonetically pronounce teh name of G-D , plus shofar usage, plus new moon.
i am sure if you will research teh group you will find them not to be a jewsih grouop but messianic judism toye who believe in jesus
Moshe Yeres

I don't think these are messianic Jews (aka Christians). There's no mention of Jesus/Yeshua in the entire ceremony. They're historical revivalists who attempted to recreate old Jewish wedding traditions. Obviously, they are not Orthodox, but it doesn't appear from this that they are Christian.

Mindy writes;

I do not know who translated the lyrics, but this was performed in Satmar camp in 1993, it was beautiful. The chorus goes:

און דער רבי האט מיך צו זיין הארץ צוגעדריקט
זיינע ווערטער האט יעדן דערקוויקט
געזאגט "קיין חילוק צו מען איז זייער יונג אדער עלטער מען איז
די רייד פון די תורה אפהיטן מען מוז"

I don't remember all the lyrics by heart, it's ages ago, and I also don't know the source, but it was performed in camp, I wonder if it was translated by the camp heads or something.

If anyone knows who translated it, or of a recording, please let me know.

Sruly shares a link: "Auto-Tune the News: Obama Flashback."

Joel Shares another: "In Praise of Auto-Tune." It's an Auto-tune link-fest!

"Rotzeh B'ilum Shemo" writes:

On Vocalist Shea Rubinstein's offer to perform for free: "Music Star Offers Free Performances to Charities and Nonprofit Organizations: “I Want to Give Back to Those Who Give to Many.”

Here is my personal opinion. For this one, you can leave my name out of it.


Why Should other singers follow in his footsteps?

If he wants to perform for free - then let him, but don't tell people in the music business where to give their Tzedaka to.
Maybe the Hall, Caterer, Photographer, Printer, and all the other vendors should be donating their ENTIRE services as well?

Many singers rely on these events to support their families. I'm not against giving a good deal, but to donate all your services and hope that everyone else will do that is simply crazy.

I personally believe that this is just a well disguised ploy to get publicity.  If it is, congratulations - you got a gig, Shea!

I'd be interested to hear what others think too. I think this offer deserves a post of its own, as time permits.

5/7/09 Link Dump

The Cool Jew asked a bunch of boys' choir leaders about whether they use pre-recorded tracks in concert.

Do you think that it's ok to use a pre-recorded song during a concert performance? If yes how often are you doing it and why do you feel it necessary?

The answers are revealing and in some cases, one might say, deliberately misleading.

The Life-Of-Rubin Blog had two posts on the topic that I was going to link, but he has apparently deleted them.

Klez clarinetist Michael Winograd makes the Forward 36 under 36. So did Girls' Night On! founder Leslie Ginsparg, Anat Cohen, Y-LOVE (Yitz Jordan), Gilad Hekselman, and Michelle Citrin.

Avraham Fried has released an a-capella album to benefed Yad L'shliach.

The Klezmer Shack posts"Yid Vicious: Car-less Klezmer in Madison."

Teruah posts "Death of a JDub Saleman."

Here's a great clip - "Breslov Books vs. Mendy Pellin."

Here's a video of an attempt to revive old Jewish wedding traditions. I'm not convinced the soundtrack music is authentic period music. [/sarcasm]

Finally, it's time for wedding photos.

Yiddish Lyrics Question

Asya writes:

In my fieldwork, I came across a lyric sheet with an unattributed Yiddish translation of Abie Rotenberg's "The Place Where I Belong" from the Journeys, Volume 1 album. It begins thus:

Toyre hakdoyshe, azoy ikh heys
Ikh bin geshribn gevorn in yor tov resh hey
Durkh yankele der soyfer an oyved hashem
Dos gantse khiyus nor geleygt in dem.

Does anybody know where this translation comes from? Is it on a recording anywhere? Wikipedia says that Rotenberg has collaborated with Mordechai ben David, Avraham Fried, Yehuda Schechter, and Yaakov Shwekey, but I could not find the song on any of their albums.

It is possible that the translation was done by a Hasidic woman and has never been recorded, but I want to make sure I can't find it somewhere before assuming this.

Anyone have any info about this?

Mic Check This... Orthodox Female Rapper Rinat Guttman

This is too cool...

Who says tznius women can't bring it?

Hat tip: The Curious Jew, who posted a link to a YU Observer interview with Breslov-influenced Ortho-rapper Rinat Guttman.

From the mailbag... (More Rabbi Wolfson Content)

S. writes:

I really appreciated your post on R. Wolfson's article.

I see in your explanation you explained the novelty of black and white keys, but didn't really mention that the equally tempered scale of twelve notes itself is recent (late 16th century)! Possibly R. Wolfson simply meant to speak of major and minor, which are not recent, but he used an idiom that would be comprehensible to readers (everyone knows what black and white keys on a keyboard look like), however he did not mean to suggest that the keyboard goes back to Yuval. However, he is still embarassingly wrong about the antiquity of the various modes current in Western music!

I thought you might be interested in seeing an example of a rabbi who understood music, back when rabbis were not Charedim or modern, just the most learned segments of the nation, who therefore were most likely to know things and therefore wrote treatises on numerous subjects outside of the yeshivishe massechtos.

Rav Saadyah Gaon:

http://onthemainline.blogspot.com/2006/02/guess-who-said-it.html

Chazak ve-ametz!

S.

http://onthemainline.blogspot.com

E. forwards a link to vocalist Shea Rubinstein's offer to perform for free: "Music Star Offers Free Performances to Charities and Nonprofit Organizations: “I Want to Give Back to Those Who Give to Many.” I'd be interested to hear what people think of this.

Yerachmiel Altizio writes:

Please promote our upcoming show on your site/blog:

Merkavah - The Hasidic Funky Jam Band w/ Shalom Pasternak's Kabbalah Dream Orchestra

Sunday, May 31 7pm, at Puppets Jazz Bar - 481 5th Avenue, Park Slope, NY 11215

$10 per set, $15 for both bands!

KDO - 7pm, and Merkavah - 8:30pm.

I'm getting to this late, but Greg Wall emails a link to a free download of Am Yisrael Chai at the Pioneers for a Cure website.

Aaron Alexander writes:

I humbly announce that May 17th shall be the day of the CD Release Concert for the new recording by the great New York klezmer band, Klezmerfest! 
The new CD will be entitled "Life of the Party!" and features great traditional klezmer standards and a couple originals by band members.
It's our sophomore release. The first one was called "Party Music", here's a little of what Ari Davidov of Klezmershack had to say about it: 
"It's solid, delightful, entirely danceable klezmer music as it has been played for generations, by musicians who are very, very good at playing it."-Ari Davidow, Klezmershack
This one features the same working band, all a little bit older and wiser (except me - I'm just a little loopier and more tired from lack of sleep!) 
Liner notes were written by the legendary Pete Sokolow!

The band is:
Aaron Alexander - drums,
Brian Glassman - bass,
Zev Zions - accordion,
Jordan Hirsch - trumpet, 
Greg Wall -  clarinet

The festivities will begin at 11am at City Winery and we'll play 'til around 2:30 or so.
KIDS are welcome! Please bring them!

City Winery 155 Varick Street (between Spring and Vandam Streets)New York, New York 10013
By Subway: 1 / 9 to Houston Street or Canal Street; C / E to Spring Street
By Bus: M20 downtown or uptown, M6 uptown, M21 crosstown
Customer Service: 212.608.0555

We hope you can make it out!

I've heard this disc and it's well-worth checking out.

There are a lot of Jewish music events upcoming in the area. Time permitting, I'll try to post a roundup. If you have a local show in the next two weeks or so, please let me know.

From the mailbag... (Rabbi Wolfson Content)

Shalom writes:

I suppose Rabbi Wolfson has never seen a harpsichord... don't they have the opposite pattern of black and white keys to a piano? And they pre-date pianos by two centuries at least.

Do you remember a song called "Computer Game", by the Yellow Magic Orchestra from about 1979? Took me a few listens to realise that with the exception of the second part of the bridge, it's entirely played on the black keys -- and it's far from being a "mournful" tune. (Not to mention Chopin's Etude, Opus 10, number 5, which can't conceivably be called mournful either.)

I suppose that if he's talking to an audience that's even more musically uninformed than he is, he might sound plausible.

As I said, the factual errors in the rabbi's essay make a compelling argument for establishing music education in frum schools,if for no other reason than preventing rabbis for embarrassing themselves.

Clarification On The Rabbi's Musical Ignorance

The Wolf writes:

Thank you for your most recent post. Can you clarify, for the non-musically inclined, what the musical errors by Rav Wolfson are?

Sure.

The white key/black key distinction is fairly recent, as keyboard instruments and that color scheme are not that old. Most instruments don't have this distinction at all. A violin, or clarinet, for example, don’t have black keys. Yuval predates the concept of white/black keys by five thousand years or so. (That's a low-ball estimate assuming he takes the chronology of Maaseh Breisihis literally.)

The key of A minor and some other minor modes use white keys only.

In the keys of D, E, and A, the black keys make the key major by raising the minor third you’d have using only white keys by one half-step.

One can play slow depressing songs using only white keys and cheerful melodies using only black ones.

It's quite clear that Rav Wolfson does not understand what "minor" and "major" mean, what the black/white keys mean, or how happy/sad melodies are constructed.

From the mailbag...

Yitzy Spinner writes:

Your recent inclusion of the cell phone at the chuppah peep reminds me of a story that happened a few years back at the Excelsior on Route 9. I was under the chuppah preparing to sing Mi Adir as the groom was walking down the aisle with his parents. It's usually one of the few moments within the entire ceremony when people are actually quiet. My spot by the canopy gave me a great view of what was about to transpire. As luck would have it, as the groom and co. were mid-aisle, a cell phone that seemed to be on full volume rang. It turned out that phone belonged to none other than the groom's father, who then answered it! He kept walking but politely told the caller something to the effect of 'I can't talk now - I'll call you back'!!!

Jeremy Gimbel writes:

The newest album from Jeremy Gimbel & Shira Tirdof, Let it Happen, is available now at JeremyGimbel.com !

Here is what people are already saying about Let it Happen:

* "Jeremy Gimbel's music moves your body...and your soul!" -Craig Taubman, "Friday Night Live"
* "This is the Jewish album I've been waiting for!" -Ira Miller, Director of Informal Education, Potomac, MD
* "This CD provides a fantastic blend of liturgy and Torah that you rarely find in today's Jewish music." -Matt Jerome, Youth Director, Plantation, FL
* "An event to be experienced. I laughed, I cried, I spent half an hour trying to nail the female harmony on 'Only Start.'" -Adam Blotner - Song Leader, Los Angeles, CA


Let it Happen, the second studio album from Jeremy Gimbel & Shira Tirdof, presents two meaningful sides of Jewish music. The first half -- "Side A" -- includes five songs that each tell a story. "Salaam Achshav" is about our need to stop merely talking about peace and working together towards our common goals. "Only Start" is a ballad of the possible unrequited love between Eliezer, Abraham's slave who finds Isaac a wife, and Rebecca, the future wife of Isaac. "Joe's Blues" is what Joseph would have sung if his brothers left him with a guitar after they abandoned him. "Make it Through" imagines what was going through Miriam's mind right before the Israelites crossed the sea out of Egypt. Lastly, "By A River" is a melancholy song of the Israelites' emotions after the destruction of the Temple. The second half -- "Side B" -- includes five songs that are musical settings of Jewish prayers. "L'cha Dodi," "Eitz Chayim Hi," and "Adon Olam" are upbeat and fun versions of classic prayers. "Sh'ma" and "Elohai N'tzor" are slower but bring out the emotion of the prayers. All of these melodies are easy to sing by yourself or with a group. Listen and try to open your mind to the possibilities these stories and melodies possess. Let it Happen.

Let it Happen is available now at JeremyGimbel.com for $10.

Check it out & thanks for your continued support,
Jeremy Gimbel & Shira Tirdof

E. wants to know who wrote "Niggun Shloime." The mp3 was released to market the Shloime Dach's Orchestra's forthcoming wedding CD. The marketing for that one has been interesting, like the claim that the drummer on the recording, Benny Koonyevsky, is just making a name for himself on the orthodox simcha scene in recent years, playing a number of gigs with the band. In reality, Benny, who has recorded with Avraham Fried and Dbbie Friedman, among others, has been a first-call drummer on the NY simcha scene since at least the early nineties.

karol wrote:

Hi, I came across your blog while looking for Jewish wedding mp3 downloads.  We're getting married this weekend, actually leaving tomorrow, and are in a last-minute scramble to find traditional Jewish wedding songs (Hava Negila, Havenu Shalom Alechem, etc.) for our dj to play.  Any chance you have these and might be willing to send them along to me?

I emailed a link to an an album page at OyTunues. Why do I think Karol wasn't looking to pay for these tracks? Could it be because there was no thank you response?

Itzchak writes:

New CD release:

"HA'OROT-THE LIGHTS OF RAV KOOK" by 'Greg Wall's Later Prophets Featuring Rabbi Itzchak Marmorstein'  is now released on Tzadik Records.


The Later Prophets are:
Rabbi Greg Wall on saxophones, clarinet, shofar and moseno (Japanese wooden flute) -"the Jewish John Coltrane".
Shai Bachar- Israeli virtuoso jazz piano player .
Dave Richards- bass .
Aaron Alexander-drums
Rabbi Itzchak-spoken word.


This CD has 12 poem/songs in various combinations of Hebrew and English as well as 2 instrumental two nigunim/melodies that were originally composed and sung by Rav Kook and his circle. (67 minutes of musical Rav Kook Torah).


The CD is being released on Tzadik Records whose founder, John Zorn wrote about it:


"A leading figure in the Jewish music scene for over thirty years, Greg Wall is one of the pioneers in blending Jewish music with jazz. His newest recording with his powerful ensemble Later Prophets is a colorful and provocative mixture of jazz and Jewish poetry and features the spiritual writings of Rabbi Avraham Itzchak HaCohen Kook, recently voted the most influential person in the shaping of modern Israel. Kook was a unique blend of the traditional and modern- and the music follows suit, with funky grooves, improvisations and even a few of Kook's own compositions. With texts read by one of the greatest living scholars of Kook and his milieu, this is an important document of Jewish mysticism."

Cuts from the album can be heard on http://www.myspace.com/orotharav.
A short video clip from their recent concert in NYC can be viewed here.

Reviews and interview about the CD:
http://www.israelnationalnews.com/News/News.aspx/130735

http://www.myjewishlearning.com/blog/?p=1759

The CD ( $20 including s &h) can be acquired through
www.haorot.org
Payment secured through Pay Pal.

At this time of intense upheaval, Rav Kook offers an illuminating and inspiring understanding of our greatest possibilities and what we need to do to actualize them.

"And a generation will awaken and come to life,

singing to beauty and to life,

and suckling unending delight

from the dew of heaven."
Rav Kook, from 'The Whispers of Existence'

Eitan Katz emails about his newest album and writes

...With this Torah, I released my latest album last month. I felt that each of the nigunim (whether mine or not) had the ability in them to bring the listener to a deeper and more meaningful connection to Hashem. I felt that the nigunim would allow a person to see how deep their neshama really is. And I tell everyone who buys the CD that this is what I felt, but if you don’t feel that way about the nigunim, if you feel they are just commercial and not uplifting, please do me favor- don’t listen to them!

But will he give refunds? You can buy the album here.

Rob Tanenbaum and Sean Altman each wrote to thank me for my post, "Happy Passover, Let's Eat." I neglected to include links to their current projects in that post. You can find Sean at JEWMONGOUS and Rob at GOOD FOR THE JEWS. Now, let's eat!

Steven W. writes:

Miami's "ezri me'im Hashem" sounds very similar to which recent rock song?

Finally, Matt Garville writes:

I thought your readers might be interested in Theodore Bikel’s upcoming benefit concert at Carnegie Hall. Pasted below is the press release for the event.

Thanks,
Matt

Broadway and Jewish folk music legend Theodore Bikel to be saluted at Carnegie Hall

WHAT:
“Theodore Bikel: The First 85 Years” – Broadway a legend Theodore Bikel, a lifelong social justice advocate, will celebrate a rich career devoted to art and activism with a star-studded 85th birthday benefit concert at Carnegie Hall. All proceeds will go to the Juvenile Law Center.

WHO:
Confirmed performers to-date include: Theodore Bikel, Alan Alda, Arlo Guthrie, Rosemary Harris, David Amram, Beyond the Pale, Artie Butler, Patricia Conolly, Judy Kaye, David Krakauer, Tom Paxton, Serendipity 4 (Shura Lipovsky, Merima Kljuco, Tamara Brooks, and Theodore Bikel), Noel Paul Stookey and Peter Yarrow, Susan Werner, Michael Wex.

WHEN:
7:30pm Monday, June 15, 2009

WHERE:
Carnegie Hall, Stern Auditorium/Perelman Stage, 57th Street and Seventh Avenue, New York City

TICKETS:
Tickets go on sale April 16th and range from $30 to $500. www.jlc.org./bikel


BROADWAY AND FOLK LEGEND THEODORE BIKEL CELEBRATES A LIFE OF

ART & ACTIVISM WITH AN 85th BIRTHDAY CONCERT AT CARNEGIE HALL

June 15th concert to benefit Juvenile Law Center; tickets go on sale April 16th

http://www.jlc.org/bikel

New York (April 16th) – Broadway and folk legend Theodore Bikel, a lifelong social justice advocate, will celebrate a rich career devoted to art and activism with a star-studded 85th birthday benefit concert at Carnegie Hall on Monday, June 15, 2009.

The concert will benefit Juvenile Law Center (www.jlc.org ), the pioneering, non-profit law firm dedicated to protecting the rights and well-being of children in the child welfare and juvenile justice systems. Bikel will be joined by Alan Alda, Arlo Guthrie, Rosemary Harris, David Amram, Beyond the Pale, Artie Butler, Patricia Conolly, Judy Kaye, David Krakauer, Tom Paxton, Serendipity 4 (Shura Lipovsky, Merima Kljuco, Tamara Brooks, and Theodore Bikel), Noel Paul Stookey and Peter Yarrow, Susan Werner, and Michael Wex. Honorary committee co-chairs for the event include Barbara Cook, Frank Langella, Pete Seeger, John C. Whitehead, and Elie Wiesel.

Bikel made his Carnegie Hall debut in 1956 and went on to forge an extraordinary career as a musician, actor and activist. His stage and screen credits include such classic films as The African Queen and The Defiant Ones and the 1959 Broadway premiere of The Sound of Music, in which he originated the role of Captain Von Trapp. He has performed the role of Tevye in Fiddler on the Roof more than 2,000 times and is currently starring in a national tour of Sholom Aleichem: Laughter through Tears.

A leading light in the folk-music scene of the 1960s, Bikel was a co-founder of the Newport Folk Festival and has been a powerful advocate for peace, human rights, and social justice for more than five decades – from the civil rights movements in the United States to apartheid in South Africa to promoting peace and religious pluralism among Israel and its neighbors.

“Throughout my life I have been equally passionate about music and social justice, and have allied myself with others whose use guitars, banjos, fiddles and words to conquer fear and injustice,” said Bikel. “I can think of no better way to celebrate that life than a night of music with some of my nearest and dearest friends, and no more deserving cause than protecting the rights of our nation’s most vulnerable children.”

All proceeds from the concert will go to Juvenile Law Center, which works to protect children’s rights and interests in the child welfare and juvenile justice systems. Juvenile Law Center, which provides legal services at no cost to its clients, is currently heading litigation in the Luzerne County, Pennsylvania judges scandal, a court corruption case that has made international news as one of the most egregious violations of children's rights in U.S. legal history. The organization’s work on the case was recently covered by 20/20 (http://abcnews.go.com/Video/playerIndex?id=7194700), the New York Times (http://www.nytimes.com/2009/03/28/us/28judges.html?_r=2), and People magazine.

“Theodore Bikel was at the forefront of the social justice movement that led to the creation of organizations like Juvenile Law Center, and we’re awed and honored that he chose to turn his 85th birthday celebration into an incredible gift for us,” said Robert Schwartz, Executive Director of Juvenile Law Center. “Theo is not only helping to promote the rights of people around the world, but also providing a true inspiration the vulnerable children who seek justice and protection.”

Tickets go on sale April 16th and range from $30 to $500. A pre concert VIP reception for performers to mingle with sponsors, major donors, and box seat ticket holders will be held in the Rohatyn Room at Carnegie Hall.


About Juvenile Law Center
Founded in 1975, Juvenile Law Center ( www.JLC.org ) is the oldest multi-issue public interest law firm for children in the United States. With an approach grounded in principles of adolescent development, Juvenile Law Center uses the law on behalf of youth in the child welfare and criminal and juvenile justice systems to promote fairness, prevent harm, ensure access to appropriate services and create opportunities. Juvenile Law Center uses an array of legal and other advocacy strategies to ensure that the child welfare, juvenile justice, and other public systems provide vulnerable children with the protection and services they need to become healthy and productive adults. In 2008, Juvenile Law Center was one of eight organizations around the world to receive the prestigious John D. and Catherine T. MacArthur Foundation Award for Creative and Effective Institutions.

While We Were Out...

Haaretz published an article, "The New Black Music" about Chareidi singers. This part is of interest:

The Bnei Brak-based Guardians of Sanctity and Education is conducting stubborn battles against singers who don't obey its instructions, and tries to prevent commercial bodies from cooperating with them. "Many groups that wanted to help and nurture Hasidic music prefer not to get drawn into arguments with the activists, and give up these cooperative ventures," says Lapidot. "The activists are torpedoing marketing initiatives by cell phone companies and approve only mainstream music. Many artists are harmed by that. The activists dictate to firms precise lists of artists with whom they should cooperate." He says the rabbis' decisions even affect the types of ring tones mobile providers offer their users for download.

One of the companies that has reduced its activity in the area of Hasidic music is Cellcom, whose activity in the field of ultra-Orthodox music is conducted under the name Cellcom Volume. In the past the company funded large performances, held in the context of Hakafot Shniyot, a post-Simhat Torah celebration, and sent its customers compilations with songs by the giants of Hasidic music.

But even Cellcom was forced to significantly reduce its activity. The company has a seal of approval from the rabbis' committee for communication affairs, and sells "kosher" products to the ultra-Orthodox sector that do not include content services or the ability to send text messages. The approval of the rabbis' committee has forced Cellcom to abide by the committee's instructions regarding singers it can cooperate with. The committee has also forbidden Cellcom from financing concerts.

"We don't interfere with business deals of one kind or another or with wars," says Yoni Sabag, the head of Cellcom's marketing department. "I can say unequivocally that even in the field of music, which is related to cell phones, we work closely with the rabbis' committee. We're very pleased about this cooperation and it works both ways. We listen to them regarding of other activities as well. They express their opinion and we don't oppose them. We are willing, and what they allow us to do we'll do. We won't act against a decision of any committee."

Meanwhile, Oorah settled yet another misleading solicitation practices complaint. We told you so. Any guesses as to which State AG pursues this next?

And, Hamodia included a "Melody & Harmony" section in their "Bright Ideas" Pesach supplement. The section includes an embarrassing article by Harav Moshe Wolfson, Shlita. Rav Wolfson is the Rav of Beis Medrash Emunas Yisroel and Mashgiach of Yeshiva Torah Vodaas.

Here's a taste:

SEVEN KEYS OF CHESED

There is a fundamental difference between the seven Ushpizin and the twelve shvatim, the twelve tribes of yisrael. Every Jew has a direct connection with the Ushpizin, whereas each shevet is a seperate and unique entity; the shvatim are thus a symbol of disunity.

For every seven white keys, representing the major notes on the piano, there are five black keys, representing the minor notes, each of which is half-tone higher or lower than the white key next to it. The black keys complement and harmonize with the white keys.

In general, somone who would play using just the white keys on the piano would be able to play only a lively song, while playing just the black keys would result in a sorrowful song of atzvus, sadness.

It is likely, then, that another tradition handed down from Yuval is for the keys that play major notes to be white, for happy songs, while the black keys, which play the minor notes, are black, for mournful music. White is a source of chessed for Klal Yisrael (this may be one reason why doctors wear white); on the Yomim Nora'im we wear white kittels. Black, on the other hand, represents the trait of gvurah and is a source and an expression of melancholy.

A song that is played using a combination of black and white keys mixes chessed and gvurah. Together the seven white keys and five black keys of an octave equal twelve, the number of shvatim of Klal Yisroel, which as mentioned above, can symbolize disunity. Such a song is appropriate only for galus. When Moshiach arrives, however, everything will be whiite, for there will be no atzvus.

Oy! Where to even begin? Lets just say that the musical misstatements/errors in this segment alone speak to the strong need for music education in Chareidi schools!

Happy Passover, Let's Eat!

Here a nice Passover ditty for y'all. It was written by Sean Altman and Rob Tannenbaum, who used to perform together as "What I Like About Jew." I believe they are no longer performing together. I've had the pleasure of backing Sean up on this fun number at a recent concert.

Here are two video clips of the song.

Sean Altman



Rob Tanenbaum and David Fagin's "Good For the Jews"



Have a happy and healthy Pesach!

Lucky Break - Jewish Bluegrass

Got a nice promo package from Lucky Break, a bluegrass band who are blending Shabbat Zemirot with Appalachian music. Check out "Kee Eshmerah Shabbat!"

Following in the footsteps of Andy Statman, Margot Leverett and the Klezmer Mountain Boys, and others, Lucky Break brings a sweet down home approach to Jewish music.

There seems to be a bit of a Jewish Bluegrass scene developing these days. It'll be interesting to see what it produces.

In Review; Wolf Krakowski's "Goyrl" and "Gilgul" plus

Wolf Krakowski is a man of his word. In his introductory email, he offered to send me some CD’s that “use a lot of that "jungle" rock 'n roll in my music…..lots of =kol isha= too, in case that's a problem for you.

His promo package delivered on that promise in spades. It included three discs: Krakowski’s own “Goyrl:Destiny” and “Transmigrations:Gilgul” -- both on Tzadik Records -- as well as Fraidy Katz’s “Di Alte Kashe.”

Wolf Krakowski is the Johnny Cash of Yiddish music. Backed by a solid roots rock trio, The Lonesome Brothers, and some guests, including “Goyrl” producer by Frank London, Krakowski delivers dark interpretations of Yiddish songs familiar and un. The band’s powerful arrangements nicely support Krakowski’s reedy vocals throughout. This ain't your grandma's Yiddish music. Well, actually, it is, but the arrangements aren't.

Krakowski is drawn to dark lyrics. Many of the songs are about death, dying, or leave-taking. From the brothers who slowly die in ‘Tsen Brider” to Warsaw’s Jews remembered in “Varshe” to the self-explantory “Alts Geyt Avek Mitn Roykh” all on Gilgul and martyrs remembered in“The Griber, Roter Laym” and the powerful “Hundret” on “Goyrl.”

Yet underneath it all, there is a optimistic defiance; an ode in praise of Shabes, a belief that man will not keep on repeating the sins of the past, and an optimism that Geule (redemption) will yet come. These are deep records. Check ‘em out!

Fraidy Katz’s disc takes a similar musical approach and she even duets with Wolf on ‘Gedenk” a role reversal from her duet appearances on Krakowski’s discs.

Amazon has the albums here:

Transmigrations:Gilgul


Goyrl:Destiny


Fraidy Katz’s ‘Di Alte Kashe”

Pesach's Coming! You'd Better Run....

... From The Egyptians!

New Shlomo Katz Single...

... posted at Life of Rubin. Nice!

Peace Partners?

The Jerusalem Post reports that the PA has dismantled a Palestinian youth orchestra because it played for Jewish Holocaust survivors. This is just outrageous!

Peep This Email

Psachya sends in some more peeps:

Got three more 'peeps for you - and all at the same wedding! (They seem to come in bunches, don't they...)

"The Operatic Chazzan" - he comes over to me at the smorg and says, "This is what I'll be singing under the chupa." He hands me three pages of a complicated piano-vocal un-chord-charted arrangement of an aria from "Cosi fan Tutti". As my eyes glaze over, he adds, "Oh, by the way - can you do that in F Major?"

"Mrs. See-No-Instruments" - she comes up to the bandstand while we're playing and says, "Excuse me, do any of you have a pen?" As we ignore her, she then walks right smack through the middle of the band, jostling as she goes. (I know - we've talked about the shortcut ladies before - but this lady didn't even seem to realize that we were playing instruments!)

"Mr. Gear Salesman" - related to your "gear guy", I think. Lately, I've been using a two-keyboard setup on some gigs - one for "piano/keyboard", one for "bass". (It gives me a wider palette of sounds to choose from, plus a much wider range for each hand. Anyhoo...) This fella comes up and says, "Wow - I haven't seen a two-keyboard setup for a long time. Listen, I have a keyboard at home that I'm trying to sell - it actually splits, so you don't need two keyboards. (No!) It's called a 'Yamaha DX-7'. Would you be interested in buying it?" Apparently, he didn't notice that my "bass keyboard" was, in fact, a Yamaha DX7-2D. Oh well...

And BTW - re Yiddish announcements at weddings of non-Yiddish speakers - two tips for sounding more authentic. 1) Don't stop between each word ("Mitt...der...ershter...brocho...") - it's a dead giveaway. 2) Better yet - dispense with the Yiddish numbers altogether. Just say that HaRav HaGuen HaRav So-and-So is "mechibbed mit ah BROOO-CHEH!" Now that's authentic!

Here's another one...

"Front Row Phone Call"
This peep sits in the front row at the chupa. Not only does he ignore the request to turn off his cell phone, he actually takes the call when his phone rings mid-ceremony. Nothing like a stage-whispered convo about shidduchim to help solemnize the kiddushin.

To The Guy Making Announcements In Yiddish At The Chupa...

It's "Elter feter" you want, not "Alter feter".

You Know You're A Musician When..

you see this headline and think it's talking about a grant for creative musicians.

Pre-Pesach Peeps

Some recent "peeps" for y'all...

The Chassidish caterer who told the Klezmer trio w/ one intermarried and one non-Jewish member: "It's nice to see a band that's all unzere heimishe Yidden."

The Seinfeld fan MC who introduces the groom's speech by describing him as the "master of his domain."

The Neturei Karta chassidim protesting outside an engagement party because the shul had hosed a Nefesh B'nefesh meeting earlier that morning. When told he was protesting an engagement, the leader of the group shrugged and said: "Nu, it's good for them also to hear it."

The groom who, in thanking his parents, said: "Dad, unlike mom, you know the value of silence."

The new gear guy, who comes over at gigs and ID's any new gear we might have added to our setup since the last time he's seen us.

Hip Hop Hassidios

How long until they try to ban the Chareidi women Hip-Hop dancers?

Overheard in the Bank...

Guy on cell phone...

"He did what?"
"I'm so sorry about that."
"I don't know the dude. He's a guitar player."
[...]
"That's just crazy!"
"He's supposed to be a very good guitar player...."

From the mailbag...

Joe Flix emails a link to his post: " A few exciting items in Jewish Music."

Eitan Katz writes:

Hello Everyone!

I am so excited to announce that my new CD titled “Boruch Hu” has been released. Every nigun was carefully selected and arranged in a way I felt would bring out the deeper meaning of the words and make your overall connection with Hashem more meaningful. Below is a picture of the cover of the CD with links for clips and purchasing.
(also, be sure to check out my newly designed website www.EitanKatz.com )

To hear clips and purchase click here here.

Anon writes:

Was just sitting and watching the very funny Geller Bus from Yoeli Lebovitz, after just hearing the new single from Shmiel Ber "Berry" Weber, produced by Naftali Schnitzler and I realized something. Not only did the attempts to ban and destory Lipa fail, they opened up the flood gates for a 100 new lipas. These guys are ALL from Lipa's school. They all know Lipa, they all work with him, and there are more of them. They are talented, smart, and ready to take it even further then Lipa has. They glorified him, they lifted him up and they turned him into an icon for all these young chaseedish guys to emulate and be inspired by.

One of these days, I intend to write about the new wave of public Chassidish creativity in music and the arts.

Hugh Mullican rants:

Frumteens.com Misstatement

The entitled website has many fine points, but its moderator deliberately mistranslates a Sha'ar haTziyun of the M"B on Hilchoth Tb"A. It states that the the ShLa"H prohibits singing non-Jewish tunes, even devoid of their words, to babies.
The actual word used in the text, though, is not "non-Jewish" but "courting." It would seem to prohibit "Bei Mir Bist Du Schein" rather than "You Ain't Nothin' But a Hound Dog" (a complaint against lashon hau-rau).
This mistranslation was called to their moderator's attention. The effort had no effect.

Ordinarily, I wouldn't give tuppence for the whole subject that everyone's excited about, but I must be concerned.
We were asked recently to sign an "oath" that was included in the registration forms. of a local BY nursery school. It included prohibition of listening to non-Jewish music and referred to a non-existent Parents' Handbook. It turned out that that was really the Student's handbook, which says nothing on the topic (and states that girls must [sic] use the internet!).

Also, I am anguished that the gedoleem who signed the kol koraeh last year expended goodwill capital and viciously attacked the livlihood of the targets on what was really a whim. What good is their word on tz'ddaukauh matters or on much anything? Also, were they not setting up a decree which the public could not withstand?

Now, this year, some of these same individual g'doleem ask us to contribute money to help save the three poor souls who are held in harsh conditions in Japan. The arguments presented in the material beg a lot of questions: If they didn't think that they were smuggling drugs, did they think that it was OK to smuggle other items, like their sender asked them to? Didn't they speak to parents and advisers, who would have asked them how they planned to pay for their trip? Is it OK to ignore the laws of any national and international entity?
So we're told that money has to be spread around, both in Japan to hire counsel and in Israel (for what?). I smell a further xilul H' (R"l) brewing in their pots! I think the Keystone Cops are running the show, and I wish I could make myself known to the folks in charge.
Of course, I'll send in something as they asked, but PLEASE! We're asked to admit that these poor boys are not exposed to outside news, and that's why it was easy for them to be victimized. (We're to believe that they never heard of drugs or smuggling. The PR people are out of their minds!)
Maybe the g'doleem ought to make sure that unexpurgated outside news reaches these communities! I'm reminded of my schoolmate, whose father received Time mag. in Mir, Poland. He was ridiculed for reading "timmeh," but their prediction that H., ymax sh'mo, would invade helped save his life by allowing him to flee back to these shores.

I'm sorry. I was supposed to be talking about L'Affaire Lipa!

Rebbe Elimelech's Dance

Vos Iz Neias just posted an article which appeared in this week's Hamodia Magazine about "Reb Elimelech's Tants."

The hard copy of the article has some very nice additional photos.

The Answer, My Friend, Is Blowing In The Luft...

Been having some emails about Rabbi Luft...

Nechama wrote:

Do you have written somewhere on your blog, about the Nazi song that became Moshiach, Moshiach ..... ? I would like to send someone that information.

I responded:

I'm pretty sure this is the song you're looking for.

http://www.youtube.com/watch?v=W_esCf2GSTI

It is NOT a Nazi song. It is a German pop song from the late '70's about the Mongolian warrior Gengis Khan. Mordechai Ben David recorded it on the album Jerusalem Is Not For Sale as "Kumt Aheym" (Yidden).

She wrote back:

Eeeek! Thanks for the clarification. But I heard Rabbi Luft interviewed on a particular radio show that made it clear that the MBD song was such. Where does the discrepancy come from? Are you sure that this German group didn't get it from the Ns?  Not to doubt your expertise, just a confusion of sources.

My response:

I have written a lot about Rabbi Luft on my blog, including a complete review of his book “The Torah Is Not Hefker”, which you can find here:

http://blogindm.blogspot.com/2009/02/in-review-r-ephraim-lufts-torah-is-not.html

This link is for my concluding post, but there are links to the previous posts in the series at the bottom.

In short, Rabbi Luft can not be trusted on anything he says on music or on Torah as it relates to music. His entire approach is based on distortions, misrepresentations, ignorance, racism, and outright lies. I know this sounds strong, but I’ve amply documented it on my blog, and his activities have and are creating chilul Hashem on an international scale.

“Genghis Khan” is an original song that was written for the Eurovision contest in 1979. Any claims that it is a Nazi song are simply false. (The lyrics glorify Genghis Khan and aren’t exactly appropriate, as it were. But that’s a separate issue.)

I also received the following email from a reader who asked me to withhold his name:

in your blog you attack R. Luft for using the phrase "Cretinous goons" on p.25

the phrase is italicized because it is a quote from the Sinatra quote on page 18

My response:

I’m not really sure what your point is...

Frank Sinatra is not a ben Torah. Neither are the rockers he was referring too.

Rabbi Luft, on the other hand, professes to follow halacha, and the people he describes by that term are frum Jews.

I stand by my critique.

It's quite interesting to me that I've published quite specific criticisms of Rabbi Luft's book -- which I believe he is aware of -- and there has been no rebuttal excepting the pointless email above. Telling, I think!

א פריילעכן פורים

Pirim Luni!!!

Purim Headlines!

In the spirit of the season, we are pleased to bring you news headlines the J-media will not be bringing you. Besides, Rabbi Zev Brenner needs some more material for his Purim show. (Hi, Zev!)

Ateres Avrohom Installs Automatic Pitch Correction On Chupa Mic

Rabbis Ban One-Man-Band Arranger Keyboards Citing High Costs: Limit Musicians To Casio Brand Keyboards Only

Cadillac Signs Deal To Use Kol Noar Track In New Escalade Commercial

Rabbi Avremel Schorr Apologizes To Lipa Schmeltzer

Novominsker Rebbe Apologizes To Lipa Schmeltzer

Rav Aharon Schechter Apologizes To Lipa Schmeltzer

Moetzes Gedolei Hatorah Join Facebook

Vos Iz Neias and Yeshiva World Commentors Apologize for Daily Chilul Hashem

Facebook Campaign To Get Sameach To Release Menucha 2 Album A Flop

Matisyahu Abandons Karlin; Becomes Kretchnover Chossid

Sameach and Aderet To Merge; Industry Analysts Cite Redundant Products As Cause

Rabbi Ephraim Luft Resigns From Committee For Jewish Music; Apologizes For Deceiving Gedolim

New Album "Avraham Fried Raps" A Commercial Failure, But Critics Rave

NY Jewish Week Signs Content Sharing Deal With J-Bloggers

New Broadway Show, "Pester Rebbe Live," Wins Tony

Upcoming Agudath Israel Convention To Address Rising Anti-Semitism Will Honor Bernie Madoff, Wextrust Partners, & Three Drug-Smuggling Chassidim Currently Jailed In Japan

Previous years' Purim headlines can be found here, here, here, and here.

Cultural Signifier? I Think So!

Here's a music video for "Der Geller Bus" off of Yoily Lebovitz's new comedy CD release "Purim Bailout."



Hat tip, Der Kegener.

Getting Ready for Purim - Free Sheet Music

I've got some pre-Purim sheet music for you...

Here’s a free JewishMusician.com lead sheet for a well-known Purim melody, “Mishenichnas Adar,” as performed on “Purim Sameach.” You can download a PDF by clicking on the sheet music image.



As well, Avremi G. has posted more free Purim sheet music at "A Notable Idea."

There's still more free sheet music, mainly kids songs, over at Tot Shabbat!

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.