Then We Will First Begin To Spread Joy
By Mrs. R. Gershowitz

To celebrate the month of Adar – "When Adar arrives we increase in joy" – we present interviews with people who bring joy all year round – musicians and composers * A discussion of Chassidic music, songs of Moshiach, and the performers’ connection to the Rebbe Melech HaMoshiach * Part 1 of 2
 

The Jewish music industry is large and growing. Nearly every week new tapes and CD’s of Jewish and Chassidic music are released, which an enthusiastic and supportive public willingly buys. Chassidic singers stand at a crossroad as there are many paths they can take, starting with authentic Chassidic music that was sung for Admurim, moving on to conservative Jewish music, and concluding with music which, although called Jewish and containing p’sukim, doesn’t sound Jewish (at least in the traditional sense) at all.

We approached various types of performers and asked for their views on the current Jewish music scene and how they use their music to convey the message of Geula. These are the three questions we asked: 1) Do you have Moshiach songs in your repertoire, and if yes, how do people respond to it? 2) Have you had a personal connection with the Rebbe or Chabad? 3) We are in the month of Adar, a month of joy and song. As a singer who brings joy to people, what do you think of Chassidic music today? Does the new sound we hear deserve the title of "Chassidic music?"
 

R’ Mordechai ben David Werdyger

Mordechai ben David is undoubtedly one of the greatest Chassidic singers of our time. In his over thirty releases in the past twenty years, and in his hundreds of performances around the world, he has left a deep imprint on Chassidic music of our time. Mordechai ben David’s music appeals to people of all backgrounds, ranging from Chassidim to the general public.

I started it with "Moshiach, Moshiach," which was enormously popular throughout Eretz Yisroel, even among the nonobservant. I’ve said it before – the song’s tremendous appeal is not altogether logical. The reason it became such a hit is simply because every Jew believes in the coming of Moshiach, so even when an nonobservant Jew hears the song, his spark is ignited. I am thrilled that the song was so well received by all sorts of people of all ages, including little children and seniors.

Whenever I went to the Rebbe, whether for dollars, kos shel bracha, or other occasions, I always received the Rebbe’s brachos for my singing. The Rebbe once said, "Kabeid Hashem mei’geroncha" ("Honor Hashem with your throat [i.e., voice]"). One time when I came to the Rebbe with my wife, the Rebbe asked her whether she gives me honey so that I can sing sweetly. One of the most important brachos I received was when I passed by on Hoshana Rabba and the Rebbe said I should merit to make the Jewish people rejoice until the coming of Moshiach, and then I would first begin to spread joy.

Naturally, I will sing "Moshiach, Moshiach."

Unfortunately some music today is inappropriate. In my opinion it isn’t only the style of the music, but also who is singing it. The first thing you have to know is who are the singers. Chassidus explains the effect a doer has on the person who receives. The early tzaddikim said that if you listen to a singer who is not a yerei Shamayim (G-d-fearing), it can have a negative influence.

I don’t think I’m the biggest yerei Shamayim, but I try... I think that whoever loves music ought to be careful about this.

In the tractate Sanhedrin it talks about those who do not have a share in the World to Come. Rabbi Akiva says even those who read secular books are included. The commentaries say this also refers to singers who are not coming from the side of holiness, which is why Rabbi Akiva says that one who listens to them doesn’t have a share in the World to Come. It is something to be very careful about.

As far as the different musical styles today, I don’t even have the time to listen to all the popular music. I try to get music back to its Chassidic roots.
 

R’ Efraim Mendelsohn

Efraim Mendelssohn burst onto the Chassidic music scene recently and captured it by storm. Until his meteoric rise to fame, he was a beloved singer who sang at weddings. His first CD, "Rak al Avinu," was a hit, and since then he has become quite popular. His song "K’Ayal Taarog" with Amit Listvand was named Song of the Year twice in a row at the Chassidic Song Festival.

I have a song in English about Geula and shleimus ha’Aretz. It was written by Kane Bridges, a convert from London who lives in Eretz Yisroel, who wanted to convey the message that even if all the nations of the world around us want to take parts of our tiny land, in the future with the true and complete Redemption, Eretz Yisroel will remain ours forever.

My connection with Chabad began many years ago when I was a child, and then later on when I was a yeshiva bachur. I would go to 770 many times and join the Rebbe’s farbrengens. Although I belong to a different Chassidic group, I always enjoyed and was uplifted by the atmosphere of the Rebbe’s beis midrash, and I enjoyed hearing Torah from him.

I also went for "dollars" many times, and before I married I received the Rebbe’s blessing and approval. I had my first connection with Chabad with my father’s encouragement. He had a few yechiduyos with the Rebbe and always recounted these experiences with great excitement.

My connection with the Chassidim grew when I appeared twice at Simchas Beis HaShoeiva on Kingston Avenue. Ten thousand people showed up. I remember that when I saw the enormous crowd, men, bachurim, children, and even older people, dancing all night as the Rebbe said to increase in simcha, I couldn’t get over it! After moving to Eretz Yisroel, I continued performing at Chabad weddings and at Chabad events.

Unfortunately, there are many singers whose connection to Chassidus is tenuous, yet they call their music "Chassidic."

On the other hand, if the question is whether I think this music is beneficial even though it isn’t Chassidic, I’ll say yes. Whoever gets people to listen to Jewish music as opposed to secular music contributes to the spreading of Jewish music. There’s no question that if Jewish music didn’t have different styles, people would look elsewhere. In the U.S., religious radio programming is rare, so if somebody has the money he buys a Jewish tape, and if he doesn’t have the money, he listens to whatever music plays on the radio, with its destructive influence. That is why, in my humble opinion, the Chassidic music of today serves a purpose, especially for young people who shouldn’t have an excuse to look elsewhere.
 

R’ Menachem Mendel Girufy

The world of Chabad knows Menachem Girufy well. He is a refined 28-year-old young man who performs at Chabad simchos and Chabad events. Mendy’s first tape was "Eretz Asher Tamid."

My first tape was mostly about Moshiach and Geula. I composed the well-known "Anavim, Higia Z’man Geulaschem," using the phrase the Rebbe quoted so often referring to the time of Redemption being here now. My dream has been to contribute, even if in a small way, towards publicizing the besuras ha’Geula.

The truth is that as a new performer, I took a chance with that song, which is obviously Chabad. I thought about how I was just beginning my musical career and I was already announcing that I am Lubavitch and I sing songs based on the Rebbe’s sichos. Yet this song was one of my greatest hits.

The same tape has a song with words from Rambam’s Hilchos Melachim: "B’oso ha’z’man, lo yihiyeh...," which speaks about Moshiach. Two new Moshiach songs I’ve composed are "Achake Lo," and "Moshiach Omeid Ba’pesach."

I am a Chassid like any other Chassid, and I write to the Rebbe, consult with the Rebbe and am mekushar to the Rebbe. As far as my singing, on Chol HaMoed Sukkos 5752 the Rebbe told me, "Marbim b’simcha." These two words changed my life. At that moment I knew I had to utilize my musical talents in a forum to make many more people happy.

Baruch Hashem, I’ve had the z’chus of performing at huge kabbalas pnei Moshiach events in Eretz Yisroel.

I can only speak for myself. When I say that I am a Chassidic singer, I feel good about it and I’m proud. People quickly realize that Chassidic song and joy are something else, something real.

Chassidic music has greatly expanded, and people enjoy it. The truth is that at home, my children only listen to Chabad niggunim, songs of simcha, and songs of neshama v’nefesh. That’s the atmosphere I want at home. I think that the popularizing of Chabad music is thanks to Avrohom Fried, who presents authentic Chabad niggunim in a way that everyone can enjoy.
 

Mr. Yoel Chaibi

Yoel Chaibi is known as an especially gifted singer who accompanied all the great Chassidic singers over the years. With his soft voice accompanied by his guitar he succeeds in reaching hearts and souls. His singing is traditional, with compositions and lyrics which speak about coming close to our Creator.

One of the interesting projects I’ve done is that I composed songs for all fifteen chapters of Shir HaMaalos. It was a huge project which got a lot of publicity. After I finished that, I felt that since I managed to do this, we’ve really reached Yemos HaMoshiach. And then I composed another song, "Hinei Zeh Moshiach Ba." This song is so unusually popular that it even surprised me!

Unfortunately, not with the Rebbe. But I do have a strong connection with Chabad and Chassidus Chabad for many years.

"Chassidic music" today is actually Jewish music with a strong influence from secular sources. It’s definitely not authentic Chassidic music. When I play at weddings and at Chassidic courts I see the enormous difference between the different music.

I perform at many gatherings and events where people request popular Jewish music. The sound of contemporary music may be digital and modern, but it doesn’t play on the heartstrings of the soul like the violin of yesteryear.

When I compose a song, I believe that with this song I can make people happy and give Hashem nachas. This would be my reward – to be mekadeish sheim Shamayim b’rabbim, and may this be my share in preparing the world for the Geula.

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