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.

12/28/08 Link Dump

In Lipa news...

Here are some details about his upcoming "The Event live" Concert at MSG.

From LipaSchmeltzer.com...

And now for the headline entertainment of the year: The Event! Finally, billboards are starting to spring up around us, projecting this colossal, stupendous, simply spectacular production. Tickets will iy'H be going on sale within a week. The exclusive, explosive website theeventlive.com should be up and running within a few days' time.
There's really no reason to expound on the extraordinarily exceptional and exhilaratingly exciting experience to be expected at The Event. The name says it all. All-star surprise acts will entrance and enthrall the crowd. And of course, we can always count on Lipa for a heart-stopping, spine-tingling, pulse-pounding, adrenaline-rushing performance.
The concert is in tribute to the legendary Rabbi Eli Teitelbaum, z'l, a pioneer in Jewish music. A special, scintillating presentation by Abie Rottenberg will honor the sorely-missed Rabbi Eli. A new Pirchei by Avi Newman and Eli Gerstner will amaze and mesmerize. Music by the genuine genius Yisroel Lamm will resound and reverberate throughout the hall. And one thing's for sure: Nobody can take every aspect of a show and bring it all together onto center stage like the illustrious Sheya Mendlowitz. Be sure to buy your tickets to The Event of a lifetime!

Teruah posts "Battle of Driedel Kitsch - Gay Cowboys vs Ersatz Hassids."

Watch This Space! It goes live Jan. 1st.

Here's the Third Annual Blogger Christmahanukwanzaakah Online Holiday Concert, with a rocking version of Mi Yimallel by Psycho Toddler.

Jewschool posts a link to two women singing Hallel set to Christmas carols.

Oh dear, it's Livni Boy.

Because he was just that good, here's Bruce Adler singing Hootsatsa.

The Forward reports on "Ikh Vil Zein A Rebbe." Here's a Vos Iz Neias comments thread. Matthue Roth comments.

Rokhl get nauseous over klez-journalism.

Finally, it's the hit single, "Auto Tune!"

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

I attended the Beyond Boundaries: Klezmer Music in the 21st Century Symposium hosted by the Center for Jewish Studies at CUNY in NYC last week.

I haven't seen any coverage of this event, so I'm going to share some comments.

The event consisted of a series of presentations followed by an evening concert. Scheduling conflicts precluded my attending the concert, so I'll have no thoughts on that part of the event.

The event was moderated by Dr. Marsha Dubrow, Resident Scholar in Jewish Music, The Center for Jewish Studies Initiative in Jewish Music Research and Performance, The Graduate Center, The City University of New York.

The symposium participants and their topics were:

Dr. Hankus Netsky (New England Conservatory of Muisc), Multi-instrumentalist, Founder, Klezmer Conservatory Band
"As We Move Forward, Don't Forget To look Back"

Alicia Svigals, Violinist, Co-Founder, The Klezmatics
"The Audacity of Hora: Fiddling With The Future"

Dr. Joel Rubin, (University of Virginia), Clarinetist, Founder, The Joel Rubin Ensemble
"Transmigrations of a Genre: Reflections on the Uses of Religious Symbolism in Contemporary Klezmer"

Eve Sicular, Drummer, Founder, Metropolitan Klezmer and Isle of Klezbos Bands
"Hidden in Plain Sight: The Yiddish Celluloid Closet, J. Edgar Klezmer and Retro Pop Culture"

Stephen Dankner, Composer, Commentator, Aouthor of "Klezmer Fantasy" Concerto for Cello and Orchestra
"Klezmer Goes Classical: Folk Dance Forms Meet the Concerto"

Yale Strom, Violinist, Filmmaker, Author, Founder, Hot Pstromi Band
"In the Key of klezmer: The Soundtrack for Jewish Renewal in America"

Seth Rogovoy, Cultural Commentator, Editor-in-Chief, Berkshires Living
"Yesterday, Today and Tomorrow: Beyond Klezmer and Beyond the Jewish Soul"

I thought the presentations varied wildly, from a content and quality standpoint. To me, the most effective presentations were by Dr. Netsky and Alicia Svigals.

Dr. Netsky spoke movingly about the importance of looking back, even as this music in its current incarnations moves in new directions. He played a short clip of the late clarinetist Marty Levitt to begin his speech. His message is one that Jewish musicians would do well to internalize.

Alicia Svigal's presentation was a bit unorganized, but interesting. She played different clips demonstrating contemporary approaches to playing klezmer, and her approach included both clips of her own performances (and some live playing) as well as a Josh Dolgin aka So-Called music video about Jewish cowboys.

Dr. Joel Rubin's presentation seemed too focused on minor details of mostly the work of two artists, Frank London and Lorin Sklamberg. His attempt to extrapolate a trend out of it seemed a bit forced to me. Perhaps he needed more time to develop his presentation. The fifteen minute time limit per speaker was quite limiting, I suspect.

Seth Rogovoy gave a nice talk with some nice audio clips to illustrate.

Yale Strom's talk was a bit over the top. Strom even laid credit for Chabad Houses across the world on the klezmer revival. A grandiose, but inaccurate claim. I was quite surprised to see this assertion pass without challenge. I'd have raised the question, but it was tangential to the main point of the conference, and since the presentations were followed by a panel discussion with very little time alloted for audience questions, it seemed silly to take people's time on that.

The other speakers, Stephen Dankner and Eve Sicular spoke about their current projects, which might/might not be representative of trends in Klezmer in the 21st Century.

To me, the notable omission, particularly given Dr. Netsky and Dr. Rubin's talks, was any mention of the Chassidic/Simcha music traditions. There was one brief reference made, during the panel discussion, wherein Alicia Svigals and Dr. Netsky, in talking about the early days of the klezmer revival, made reference to the fact that they did not consider simcha music to be klezmer.

It seems to me, that any serious look at klezmer, ought to consider looking sideways as well as back, to see how klezmer has developed within the chassidic communities who still perform/sing this music. It's not all Genghis Khan, you know.

In particular, some of the chassidic communities in Israel have been the ones who brought in/developed the Meron repertoire, a very fertile area for musicological research. As well, I believe that looking at the evolution of Chassidic nigun is very worthwhile for klezmorim. Drawing an arbitrary boundary that leaves out what in some cases is an unbroken chain of transmission of this music seems limiting.

This is especially important in light of contemporary trends on the simcha music scene. I believe that there is a window of opportunity now for researchers to interview and record both musicians/experts as well as people from within the community with strong memories of how this music was used. However, due to the changes on the simcha circuit over the past few decades, we've reached the point where there is a younger generation that is not familiar with certain dances, dance styles, melodies, or even genres, that until recently were common within the various communities.

For Everything Else, There's Mastercard

Dreidels - $4

Fake Chassidic beards - $75

Airfare for guest rapper - $800

The graffiti artist who appears in the background of your music video accidentally tagging Yeshua (Jesus) instead of your name, Yehoshua - Priceless

Chanukah Audio Links

Jack Zaintz has posted his first ever podcast, Episode 1: The Hanukkah Show.

Jewish World Review has posted a Chanukah music special, DJ'd by Nachum Segal.

The Klezmer Podcast has posted a special Hanukkah episode.

Finally, here's Kol Zimra singing at the annual White House Hanukah Party.

But, Kol Isha!!!

Here's a post off of a local Jewish music email list.

December 25
THE LGBT COMMUNITY CENTER
208 west 13th Street NY NY 10011
Neshama and David Morgan will be performing at the GLBT Community
Chanukah Party. The party will be from 7-10, Neshama's performance
will be at 8:30 PM.... NOTE: SEE BELOW

Here's the note, which is applied to all vocal performances by women listed in the email:

****NOTE: for these events, Kol Isha may apply, please consult your local orthodox rabbi for more info.

Oh, dear!

I Couldn't Save His Life... But You Can!

A while back, when a musician on the JM circuit was fighting leukemia, I did a number of posts about bone marrow donation through the Gift of Life Bone Marrow Foundation.

I've urged everyone to get tested as potential donors, becuase the odds are highest, that a match will be found with someone from similar genetic background. So, each community is better off when more of its members are listed in the registry.

I'd like to take this opportunity to raise this issue again for two timely reasons. The first is that the Gift of Life Bone Marrow Foundation is one of the victims of the Madoff scandal. The Jerusalem Post reports:

At least one nonprofit is calling out for help in the wake of Madoff's collapse: The Gift of Life Foundation, a Jewish bone marrow registry that relied heavily on Madoff as a benefactor, announced on its Web site Sunday that it would immediately need to raise $1.8 million to make up for recent losses.

The work this foundation does literally saves lives. They need donors, both financial and of bone marrow. Please support both of these needs.

The second reason I mention this now is because of a recent story that happened to me.

A few weeks ago, I got home to find a message from the National Bone Marrow Registry. I'd been identified as a potential match for a middle-aged leukemia patient. They asked if I was still willing to be a donor. When I told them I would, they sent me a test to take at home. The reason for the test was to confirm if I was a match.

I'd originally been tested in 1992, during the first drive aimed at the frum community. Since then, the test has changed from blood donation to a simple mouth swab. I believe they also can check do additional tissue typing at this time. So, I took the test and sent it back in. I was hoping that I'd be a match.

This past weekend, I received a letter informing me that I and the patient have some differences in tissue type, and the patient's doctor has decided do continue searching for a donor who matches the patient more closely. So, sadly, in this case I did not turn out to be a match. But that possibility only existed because I was tested as a potential donor. Please get tested. And, please support the Gift of Life Bone Marrow Foundation You just might save a life.

Now That's A Holiday Song!

I'm Dreaming of A White Kwanzaa!

12/11/08 Link Dump

Parshablog follows up on the fraudulent DMCA takedown notices filed over the "Ikh Vil Zein A Rebbe video."

Move over, Pete! It's the real fifth Epstein Brother!

The Center for Traditional Music and Dance has released Dave Tarras's "Music for the Traditional Jewish Wedding.

Raising the bar on Jewish music yet again.

Not what you think: Echod Yochid U'meyuchod.

Heichal HaNegina posts "The Homeless Mizmor L'David."

Ari Goldwag posts Mitzvah Gedola and Kol Haolam Kulo on his redemption-themed blog.

The "Tanzhoyz" movement spreads to Chicago

From NaNach.net, here are " The Early Na Nachs."

Here's ‘Prop 8: The Musical.’

Rusion Klezmer Mikhail Altshuller was beaten in the Moscow subway. He had a concussion and bruised ribs.

File under Muppets: Animal sings about the klezmer revivalist traditionalists.

Finally, here's a PSA YouTube clip of an original Hassidic song, "The Sin of Masturbation." This is going to #1 on Country Yossi's JM chart for sure! Remix, anyone?

From the mailbag...

E. forwards a link to Michelle Citin's Chanukah Video"Pass The Candle."

I.C. writes:

I read your recent post regarding the rebbe video, and it seems to me that Shauly is not backing down from his criticism of rebbes. He says only that he would have done a better job if he knew it would pop up on the internet.

I know you were a staunch critic of the Lipa ban, as am I, but it should stop and make you think that perhaps the banners were correct - being that Lipa's songwriters (at least one of them) harbor such animosity for the rebbes.

Do we really want our children emulating such individuals?

The notion that this retroactively justifies the banners actions is silly. As I've amply documented, the way the ban was issued in this case was unjustified and against halacha; even if you grant all of their (varied and shifting) premises. So, no, I don't think this justifies their actions at all.

Have you ever heard the original song being parodied? The spoof version was sharp satire, but quite accurate, and obviously modeled on the original Nickelback song. The video crossed the line, but, Shauly says he had nothing to do with that anyway.

The final question "Do we really want our children emulating such individuals?" is a separate question. Personally, I believe that if these leaders want our children to respect them, they have to change the way they deal with these types of situations. These bans do a lot of damage to their image, especially among the young. Rightfully so. The lack of respect they're feeling from the younger generation has been well-earned over the past few years. They've been acting just like politicians. The youth see the hypocrisy and unfairness and respond to that.

Moshe writes:

I’ve been following your series of posts on this book, and I just find it ironic that this Kannoish author must have researched all this stuff on the web – no? Where else would he have found all this – the B’nei Brak public library? :-)

I suspect that he found a book or two on the subject, and in addition to citing them, is quoting all of the sources cited in those books as if he has independent knowledge of them. I've come across one or two cites that don't jive with my recollection of the original.

David Harris Ebenbach writes:

I''ve just stumbled across your blog -- I've been looking for blogs where Judaism and the arts intersect -- and I think it's great. I am a fiction writer and a poet and a person who teaches about writing and the creative process for writers, artists and musicians more generally.

I'm writing because I’ve just launched a blog called “The Artist’s Torah” that I think might interest you; my blog explores the nature of creativity and the creative process for artists and others, using a Jewish religious lens. I'm sure you're busy, and may not have time to take a look, but I thought I'd send you an e-mail anyway, just in case this might spark your interest.

If you're still reading, if you haven’t hit that “delete e-mail” button yet, and if you want to get right to the site, here’s the address:The Artist's Torah

If you’d be interested in a little more detail:

As a writer, and as a person who teaches about creativity, I find myself regularly wrestling with a number of big questions that are rooted in the life I lead: What is creativity? Where does it come from? Who has it? How does it work? What does it do in the world? As a Jewish writer, I find myself asking: What, if anything, does Judaism have to say about all this?

In Judaism, we turn for understanding first and foremost to the Torah. Our sages have even suggested that God read the Torah for instructions when creating the universe! Now, I should say that I personally don’t take a story like that literally, but see it instead as a kind of inspired metaphor for just how rich the Torah is as a text, how full it is of a people’s
accumulated wisdom, how engaged it is with what we feel as sacred in the universe. With that understanding, this blog delves into our weekly Torah readings for wisdom on all aspects of the creative person’s life. Above all, this exploration is meant to be open and useful to all creative people, whether religious or not, whether Jewish or not, whether a professional artist or a part-time amateur.

So – feel free to check out “The Artist’s Torah.” If you like what you read and want to be notified whenever there’s a new post (I’ll post once or twice per week), click the “subscribe” link on the right side of the page. And if you think others might be interested, don’t hesitate to spread the word as far as it’ll go.