Jewish Music Blog

March 9, 2006

MBD’s Mussar Schmooze

Filed under: Uncategorized — jewishmusic @ 6:41 pm

Life-of-Rubin has an excellent post on MBDs mussar schmooze on not stealing music.

I just wanted to comment on this myself:

I think MBD should address his blatant use of Dschinghis Khan’s German rock song more commonly known as Yid’n before he lectures us on stealing. The message is good, but please don’t partonize the listeners, who are the ones buying your album!

MBD also says that,”Chas V’sholom, it’ll get to a point where it won’t be affordable to produce an album anymore”. I just wanted to reiterate what Life-of-Rubin said. Nowadays it is much much cheaper to produce albums, and in the Jewish music industry it seems that every shmo is coming out with an album, which reduces the quality of the music as a whole for the small but dedicated market. Perhaps the industry needs a little market force to whip it into shape. Also, there is no concrete evidence that sharing of music has slowed the music industry down, so even though his message is good, don’t say something as fact without some basis.



  1. i plan on posting on this as well.
    the jewish music stolen from rock, honor roll.
    Dedi – Berlin and ABBA
    Piamentas – Men at work
    Mishanichna Adar – pick a bale of cotton….
    probably every chassidishe niggun ever composed – waltzes.

    Comment by happywithhislot — March 9, 2006 @ 11:03 pm

  2. HWHL wrote:
    probably every chassidishe niggun ever composed – waltzes.
    You are obviously being facetious, ’cause niggunim come in other flavors besides waltzes [ya know, there’s marches, dveykus, tish niggunim, etc.]. While not an expert in classical music, I am not a stranger to it either.
    Listening to music over many years, I have found once in a while a seeming borrowing. One that struck me very strongly was a similarity between a R. Shaul of Modzitz waltz, and one by Shoshtakovitch. However, before accusing R. Shaul of borrowing, I checked out some dates: R. Shaul’s niggun was composed in 5677 [1917], when Shostakovitch, born in 1906, was a mere 11 years old! Perhaps this one went in the OTHER direction – that Shostakovitch took it from Modzitz?
    Not convinced yet? Perhaps you never heard the story, told by R. Shlomo Carlebach, that Arturo Toscanini was once in Israel [then Palestine] and wanted to find some authentic Jewish music. He eventually came upon the Modzitz shtibel in Tel-Aviv, where he sat in a corner and wrote down the notes to several niggunim – and later conducted the performance of one of them at a concert!

    Comment by yitz — March 19, 2006 @ 6:56 am

  3. As to the Chassidishe niggunim resembling waltzes: that is a common phenom in classical music as well, where a composer adapted a local folk tune and scored it for an orchestra. That was not considered plagiarism, because folk songs were considered public domain, and more than one composer often picked the same tune for adaptation. (For an example of this, take a listen to Smetana’s tune “The Moldau” and see if it brings to mind any national anthems. They were both based on a Hungarian folk song.)
    MBD cannot possibly claim that DK’s song is public domain, and if HE didn’t consciously rip it off (figuring no one would notice or care) then whoever wrote that song did so.
    Piamenta is a rock presence outside of the Jewish world and absolutely knew the Men at Work tune, but was probably doing it as an homage (need to check the liner notes).

    Comment by ESH — April 16, 2006 @ 7:06 pm

  4. dveykus I credits a [fake]dubliner rebbe for what is a well known sea chanty…and Piamentas never claimed to write the melody for what everyone outside the chareidi yeshiva world knew was a popular song.

    Sandy Shmueli’s Ani Chozer Habayta
    is aspanish language ‘ditty’. One Chabad tune at least is a Czarist military song.

    Second London album (song Taaleh) rips off Autumn Leaves…we could go on…

    Comment by Anonymous — April 30, 2006 @ 1:54 am

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