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Updated: June 2, 2025


"What is Mozart Rabiner doing there, Abe?" Morris inquired anxiously. Abe preserved a cheerful demeanour, although it was the circumstance of Mozart Rabiner's prominence at Geigermann's musicale that had rendered the evening so unbearable. "Well, Mawruss," he explained, "you don't suppose that Geigermann buys all his goods from us?" Morris elevated his eyebrows gloomily.

Geigermann says it was stuck in there three hundred years ago, when the fiddle was made. And you ought to see Moe Rabiner, Mawruss. He looks at that fiddle for pretty near half an hour. He turns it upside down and he blows into it and he takes his finger and wets it and rubs on it, and he smells it, and Gott weiss what he don't do with it." "He's a dangerous feller, Abe," Morris commented.

"Last night I am sitting in the Harlem Winter Garden with Felix Geigermann, and Leon Sammet butts in on us and tells Geigermann he's got a cousin which he could play shello, and Geigermann says that he should come around to the house next Tuesday and play it with him and Rabiner." Abe shrugged his shoulders.

"I don't suppose nothing, Abe," he said; "but once you let a shark like Rabiner get in with Geigermann, Klinger & Klein would give him the privilege to cut our price till they run us right out of there." "It's an open market, Mawruss," Abe said, "and anyhow I am doing all I can to keep that feller's business. You would think so if you would of been there last night, Mawruss.

"A lowlife bum which he makes always a hog of himself, why shouldn't we fire him? And then, Mawruss, when we are taking on Moe Greisman's nephew, Rabiner, what does that sucker Max Kirschner do? He turns around and fixes up with a feller by the name Sam Green, in Cyprus, to go as partners together in Sam Green's store up there.

"I give you right about that, Mawruss," Abe said. "I got in a good Schlag at Leon Sammet and Moe Rabiner last night, Mawruss, I bet yer. I got from Geigermann a repeat order on them two-piece velvet suits seven hundred and fifty dollars; and do you know how I done it?" "Chloroformed him," Morris suggested ironically. "That's all right, Mawruss," Abe retorted. "Go ahead and joke if you want to.

I am enjoying myself, Mawruss, on account Moe Griesman from Sarahcuse was just in here, which he tells me his nephew, Mozart Rabiner, goes to work for Klinger & Klein as a drummer and we should be so good and cancel the order which he gives us yesterday, as blood is redder as water; and what the devil could we do about it anyway?" Morris's jaw dropped and he sat down heavily in the nearest chair.

Let's hear your story first." Straightway Abe unfolded to B. Gans the tale of Marks Pasinsky's adventure with Mozart Rabiner and Arthur Katzen, and also told him how the orders based on Potash & Perlmutter's sample line had found their way into the respective establishments of Sammet Brothers and Klinger & Klein. "Well, by jimminy!" B. Gans commented, "that's just the story I got to tell it you.

Abe nodded. He knocked at the door, and Liszt's transcription of the Liebestod ceased immediately. "Well?" Mozart Rabiner cried and, for answer, Abe opened the door. "Hallo, Moe!" he said. "You don't know me. What? I'm Abe Potash." "Oh, hello, Potash!" Rabiner said, rising from the piano stool. "That's some pretty mournful music you was giving us, Moe," Abe went on.

Them two cut-throats ain't paying Rabiner good money for only playing the pianner. He's got to sell goods too." "That's all right, Mawruss," Abe said. "Let him go ahead and spiel pianner till he's blue in the face.

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