Re: Celtic shmeltic

[Wolf Krakowski, Paula Parsky <media...>]

ARI:
You write that Perlman is close to but not quite playing klez.
Would you be kind enough to tell us  your criteria for what constitutes
( and what does not constitute ) "klez"? I have read your previous 
narrow, subjective, self-serving and tsemisht  comments and would be
curious to see if you've grown.  Your reviews have been for the most
part inaccurate, flawed and,  therefore irrelevant. 
 In the future, it would behoove you , as moderator of this list to
restrain  from raping one artist's album with shameless plugs for your
"friend" and EMPLOYER, as you did in reviewing  my  CD,
"Transmigrations",  which continues to garner excellent and over-the-top
reviews in the Jewish press (Washington Jewish Week), the mainstream
press (Berkshire Eagle) and the music press (Dirty Linen).

I am still annoyed with you for saying that there "are no strong people
on this album ("Transmigrations").  You owe the widows of Benzion Witler
(Shifra Lerer) and Max Perlman (Menorah Zahav), the son of Bernardo
Feuer 
(Cantor Feuer of Palm Beach, Fla.) as well as the families, friends and
fans of the late  HaRav Abraham Isaac Kook, Shmerke Kaczerginski,
Abraham Brudno, Abraham Eliyohu Kaplan and Mordkhe Gebirtig AN APOLOGY. 
As you do to the very-much-alive Manfred Lemm and Samson Kemelmakher.

My backup band, The Lonesome Brothers, and myself have over a century of
collective musical experience in dives, joints, dancehalls and other
venues.  Not knowing any of us, where do you get the khutspa to say
"there are no strong people on this album"? ( By the looks of you, I
would venture to say  that my female back-up vocalists could kick your 
ass. Individually).  Was your rape of my album some  pathetic posturing
to attempt to  tell the world that you have a big one, Ari?  By putting
down several dead artists of whom you know nothing about?  Your
ignorance of Shmerke Kaczerginski, a major Jewish poet and PARTISAN is
chilling, given that some people may actually take you seriously.   When
your lie and misrepresentation  was exposed to you, you countered with a
fig-leafing, "I can see how some people could have interpreted..." 
Bull.  What you said was, "There are no songs on this album by partisans
of the Holocaust...", a line  which you did, I admit, remove, only to
throw a retaliatory  tantrum by inserting the word "victim" in your
review as many times as it could fit.

I find your general comments are often tinged with hostility,  disdain
and insults.  We all have some idea where that is coming from.
It would have been too much for you to show "Transmigrations" the
respect one would give to a blues album, for instance.  In a world where
the Yiddish artist is already  marginalized and ghetto-ized, thank 
you,  Ari for reminding us that   music (to you and unfortunately, many 
others) is  a COMMODITY and a COMPETITION. 
The next artist you  callously put down, as you have Friedman, Strom and
myself may react  not  only with words.  Think about it. 
(If Debbie Friedman is "whitebread", I suppose you, Ari, are a "hearty
rye")?

 Thank you everyone who bought "Transmigrations" and sent me your 
comments.  They were all very heart-warming and encouraging. The first
pressing is all but SOULED  OUT;  TARA still has several copies,
though).  The new edition will include songwriter bios so as to minimize
future false and  ridiculous comments by self-styled "critics".

Git shabes ,
Wolf Krakowski ( a.k.a"Marlboro Man")