The Music Of Yitzy Shapiro (Ep. 314)

Hi, I'm Deowski and welcome to a special edition of the Rabbi Olowski show [applause] and we have a live studio audience this week. If anybody here would like to uh be part of the live studio audience, it's very easy. Go to my uh website.com [music] and send an email including your name, social security number and bank information and we will make that happen. [laughter] I'm just kidding, of course. But if you do, anyway, but uh I I have to tell you, I was had a whole thing where I was fetching. Only thing I was fetching about is my bookcases are falling apart. And somebody wrote me and said, "I feel so bad for you. I'm a carpenter. I'll make you new bookcases." So, my car is really giving me a lot of trouble. [laughter] Anyway, uh we have a sponsor for this episode anonymously. Thank you, Rabiolski, and the whole team for the Torah. May this be aus for all the things that are too hard for me to express right now. And may Hashem send Yeshua to all those who need. Amen. I I've said this many times that I don't feel that this is merely a uh a podcast or a show. It's a community and people who become part of this actually feel a certain uh connection. That's one of the reasons we're doing our special PES program in the nokiner to bring us all together and uh have a pes experience and share it as a community and a family. But yeah, it should be Yeshua's for all of KL Israel and especially for the sponsor and for his uh family and loved ones. Now uh I've used this word beforehand. It's a fun word. It's very hard to work into a conversation. serendipity and uh uh serendipity is uh when things just work out. I guess you could call it hashkah. Yeah, it's serendipity. It it just happens to be that things happen. So, um, we started this podcast, uh, six years ago, and, uh, I happened to have a fellow at my house for a Shabas meal from Australia, Rabbi Fogulgarn, and he came with a number of his Talmid. And over Shabas, they sang a number of his mirrors. And one of them they sang was a uh, a song that Remy Fogarn had composed. And I thought, wow, this is something really special. Let's do this on the podcast. And as it happened, like I say, serendipity. It was Paras Shira. And so therefore, we were able to bring them on to the show. It was our first musical episode. And we've tried to do it uh on Pares Shira as often as we can. We haven't always succeeded, but we've always tried at least. Sometimes I only think about who I'm going to have onto the show. And uh and that's enough cuz I do live in my head. That's one of the great things of having ADD is you could just imagine that something actually happened that it never did. But uh but every now and then we try to and uh I'm so happy to say we are continuing the tradition and uh we've had a number of musical guests. We had uh the Waterberry Boys and we had Lenny Solomon and uh we had uh Ari Goldwag and we've had musical guests over the years and it's something really very special and we're continuing that tradition and uh to put this into context um I don't know if I've mentioned this but we're making a pesk program in the no up in Tavaria this year. A lot of people have been calling up saying that they want to come, but they have not booked their rooms and it's going to happen all at once. And I'm afraid some people will be left out. So, if you're thinking of coming, please, you know, uh get make sure and and uh click on the link and go to my website. You can uh find the information there. But in any event, um, so when I heard I was making, uh, this program, I said right away to my good friend Yity Shapiro that I would like him to come and be the Kazen at the at the hotel. I'm saying [snorts] because I've seen programs where they advertise and they actually have a Kazen with like the big black hat, you know, and the little scarf talis and they do kazonus. Now I have nothing but the greatest respect for people who can listen to Khazanus. My father used to sing in the choir with the great Khazanim. And he used to make us listen to Kazonus records. Um for some of my audience before there were downloads there were CDs. Before there were CDs, there were cassettes. Before there were cassettes, there were records. That's how far back this goes. And they would play his Kazunha records for us. And uh I went to a synagogue where they had an actual kazan doing kazanus. And to this day when I hear kazanus I want to eat my arm off. I just bite it right off and and and then start on my next arm. And I don't know it doesn't doesn't speak to me. You know everybody has their own things that speak to them. And uh uh that's that's beautiful. I had my nephew Ezra on the show to do ziras. And uh I have to say I'm not from that culture so it doesn't really speak to me because it just sounds like you know and I okay I can't relate to that you know and which is [screaming] okay I can't I I just I can't say nothing for me. So he's the Khazen, I should really say the Balta and not really. So I thought wouldn't it be great to have him come on and speak about his musical experience and his career. And so welcome to the Raviolski show. >> Thank you. Thank you. [applause] And the reason we have an audience today is because Yi has a following and uh [laughter] back from the days when he was young and cool. Anyway, I never was young and cool, so I don't have that following. But >> I appreciate the reminder [laughter] though. I appreciate the reminder. >> Listen, uh when I was in uh when West Coast NCSY so there was uh the fellow who became started the region and then became the U director. Um he used to sing. He was cool, you know, he had a mustache, you know, that kind of thing. Anyway, so he was at a showation of coolness. [laughter] had some of the old people asked him to sing it. He got up, sang this song, son of man. Son of man, you know, you know the song. I >> actually don't. >> I don't either. But uh but it [laughter] was like you see these old people go like ah it's like Barry Manalow's audience. You know what I mean? But uh very exciting. So uh Isaac, tell us a little bit about yourself and your musical musical experience. >> Where do I start? You know, you're going to start with your history as the I think you you go down in the annals of NCSY as probably the most famous and/or accomplished of all NCSY directors. >> There are many NCSI directors who would disagree with that. Not me, but >> listen, I appreciate [laughter] that. But I was going to make a point of saying that my musical career began um >> you were an NCSY band. >> Uh I was an NCSY band. >> Wow. >> This is an a little factory. I don't think I've ever shared it with you, but uh it started at the feet. Did you know Ari Solomon? He would have been you know, >> there you go. So Ari Solomon, when I knew him as a child, I'm saying as a as a as a participant in NCSY events, uh he was the lead singer and the leader of the band for the New England region of NCSY. >> Was this a real band or this? >> It had it had a it had a name that's escaping me. Long story short is it was him and I was just totally completely taken by the idea of wow, I will have accomplished everything I need to do in my life if I should ever become the band. >> Right. But you you obviously had some musical experience before that. Well, I we're going to go deeper and farther back, but yes, just to put it out there, you and I both have a history [laughter] and and to be clear, I think Peggy Weiss was the head of the entire region for for all of New England. But, uh, and I allow Sean, I think she's with us anymore, but to the extent that for any number of years, the band, my band was my my band with my my good friends Dale Cohen, Ari, and and the whole team, we had a we had a we was a full band. We had a good time. Um, >> what was the band called Cool? We were called Shira Kadasha cuz >> Did you guys make albums? >> Uh, no. No, I don't other than other than I think fan recordings. I think there were bootlegs of some of our shabonium. >> You composed your own songs or you did cover. >> We composed a handful. Mostly covers. I think uh we did not do that's a cool term meaning when you play somebody else's music. It's called doing a cover. >> I learned that term >> but we [laughter] to be clear it was myself on the guitar. Dan was on the keyboards. We had drums. We had saxophone. We were we were a full-fledged band, you know. We played a few weddings and bar mitzvah after that, too. >> Yeah. Yeah. We were we were not >> Who was with you with this? >> Uh my my fellow bandmates. Yeah. >> Yeah. Dan Cohen uh was the actually he was the original founder. He came to me. He's like, "We should have a band." I'm like, "Really?" We were in high school at the time, by the way. And uh I said, "I don't really think we do have to have a band." [laughter] He said, "No." He said, "No, no, no. We should have a band." I said, "Okay." And so, uh, he was roommates with Ari Lindenberg, who, uh, played the drums and was only getting better. Um, and then Ben was on the saxophone. Ben did not go to high school with us, but he was, he was a quite a good saxophone player. And, um, wherever you are, Ben, you were fantastic. Um, but yeah, we played, >> but Ari and the others went to high school with you. >> We all went to MTA together. Yeah. And we were all from New England. They were from West Hartford. I was from Stanford, Connecticut. Um, we were kind of the lower, >> you know, the best part of Stanford, Connecticut. Um, I have my own opinion on that, but go ahead. >> No, I couldn't think of anything. I thought [laughter] maybe you had could jump right out. >> I spent I spent a week there one day. >> People will [laughter] tell you people will tell you today it's that there's a fully kosher hotel in Stamford, Connecticut. And you know, that's true. >> Because you've been there. >> I've spoken there a number of occasions. I'm still available. >> Yeah. Go ahead. >> There's many a good convention that has been held in Stanford, Connecticut. Um, Gateways before they moved to Florida used to be in Stanford, Connecticut. M Shapiro was in Stanford, Connecticut >> before my time. >> Exactly. Um, so anyways, if we're really going to go deep into the history, so yes, I grew up in Stanford, Connecticut. Um, interestingly enough, my father was from >> So was there a bonding of all the New England people in MTA? Is that how you guys found each other? >> You know, um, first of all, we all >> you could just each spot each other and say Peppidge Farm remembers. [laughter] >> We Well, it was easier than that. We all lived in the dormatory. >> Yeah. But so did people from other places, >> which is to say that people could pick us out in a crowd, you know, um, which was much easier for them. >> It was the rain hat. [laughter] >> No, no, no, no, no. The the the Connecticut folk, we all lived in the dormatory together, which then of course led us to have to have to, you know, we used to have to spend way too much time together. Um, which then led to the music. Um, but uh but my history in music predates uh my time in high school. Um, I do come thankfully from a musical family. Um my father and his brothers, my uncles, my grandfather, my great-grandfather was one of those Kazison and with the hats. >> Really? >> Yes. Yes. >> And he did. >> Great grandpa Willie. Yes. Um did you enjoy that? Um in, you know, in the time that I knew him and thankfully I did. Uh I don't think I appreciated it enough, but I have his recordings. Uh somebody found his recordings, digitized them, and put them out. You know, >> um I appreciate the fact that he was a kazin. [laughter] I'm not sure. I >> I appreciate the fact that my father was in the choir with him. >> No, no, no. And >> that doesn't mean I have to listen to it. >> Let's be Let's be fair. [laughter] At the end of the day, he is the reason so many of our >> That was where this that's where the music began. >> That's really where it began. >> Yeah. >> And if you go across um the majority of the Shapiro our Shapiro family, there are a lot of Shapiro out there. We're not related to any of them, but the ones who we are >> Well, all the musical ones you are related to. >> Yeah. Well, yeah, that's the point, right? So, uh, you know, Morai Shapiro. >> Exactly. So, Morai Shapiro and his brother Duvie are all my first cousins. Um, as are the rest of the the boys in that family. There are five boys in that family, by the way. There's Morai and Dvi and then there's the other ones, >> right? Because we don't care about them because >> Exactly. They don't sing. But, shout out to [laughter] Avi, Josh, and Aon. Okay. Um, but >> learn how to sing VR. >> No, no, no. They [laughter] listen, they are as on the same levels, just don't have the same drive. But the point is um >> I made money singing from the time I was six. >> Yeah. >> They used to pay me to stop. >> Exactly. >> Anyway, >> my father But you know what though? My father and his brothers, they used to sing with Devon Nolman. You remember Devon Nman? >> He did my wedding. >> Exactly. So then who could not remember Devon Nman? >> Devon Nolman. He used to do all the time weddings. >> So Devon Nolman was a recording star before he was famous singer and he had an album I think it was called Hello Goodbye 13th Avenue or Goodbye Hello 13th Avenue, one or the other. and my father and his brothers were the backup singers on that album. Um, and so, uh, >> he composed his own songs, >> I believe. So, there's a I remember the cover art more than anything else. It's him holding a standing bass in the water of a beach somewhere. I don't know, but it was a pretty cool picture if I'm not mistaken. And he also sang he used to come to our day school and he used to play music for us. So, he, you know, amazing that we should all know him so well. Anyway, so that's um I I would like to say that I come by it honestly, you know, uh that my my experience in and thankfully in my own family amongst our children, you know, my boys, even my girls, I mean there, you know, everybody thankfully is quite connected musically and so uh so what you do when you I've seen you do this cuz uh um full disclosure, we have I have my own shaw and Yitsy does the Rashan Kipper. He's the he's the cousin and every now and then he brings up one of his kids to be like to do a duet with him and uh to back him up. Did you do that with your father when he was Yeah, you did. >> I did. I did that with my father. Um I went to a growing up where we had a kazin. >> Um and I wanted to break into the business, you know, I wanted to be a balt. I wanted to dav. And so I went to the khaz said >> that's so interesting. [laughter] Almost no kid says when I grow up I want to be a kazin. >> Well, let me be clear. I didn't say I wanted to be Kazin, but I wanted to be a Baltila, right? And I, you know, we we had a pretty big shul. Um, it was uh very open and kind of pluralistic. It was a proper orthodox shul, but you know, we had all manner of folk who came to do with us kipper and we had a few auxiliary minion and I said, "Hey, can I be the kazin in one of those minyanim?" Now, I was also at what age? >> 16, [laughter] >> which again admittedly I might have been a little bit young but ambitious. And uh so the khazin said, "Hey, I'll I'll I think we could work something out here. You just simply join my choir for Musaf and I'll let you be the Bal Shah in the 8:00 beginners minion." And uh you know, I was like, "Hey, >> which is one step above cleaning out the bathrooms before the >> Let me put it [laughter] this way. was not it was not exactly what I would define as you know prime time but it was a great place to get your feet wet and all I had to do was spend the next five or six hours standing behind the Khazen while he while he did an extended version of Musf uh and Glickman Shalom I appreciate the uh I appreciate you giving me the the opportunity so you would do like and you would Then >> listen, the best the best [laughter] part about it was we all had matching robes. So that was, you know, for you know, >> oh, so you could do like one of those sister acts like, you know, in those black musical churches. >> It [laughter] was I had to get measured, you know, to make sure it's impressive. But uh anyway, so yes, this is uh this is kind of where it all comes from. >> So you actually were shak uh already at 16. >> Yeah. Yeah, that was the beginning. And uh I haven't actually I took a couple years off when I came to for for yeshiva. Strangely enough they didn't allow me to be the kazin for aim kipper for the whole yeshiva. But uh but to the extent that once I got back um somehow someway the yeshiva university canal school um either I found them or they found me. But either way they they always found a place for me. I was once going to get shipped off to Omaha, Nebraska before the rabbi realiz realized I was 19. But um anyways, but uh you know, >> and what exactly are they looking for in Omaha, Nebraska? Well, you know, they think they're getting Kuseski. >> Well, to be clear, good story though. Um you know, why you called me and said, "Listen, they're they're they're without a kazin and if you're willing to fly out there and so I I sent them a recording, I did a phone call and only at the very last moment did somebody wake up and realize that I was only 19." Um and so they felt terrible because they they couldn't have me out. So they paid me half my contract to not come. uh to your point about [laughter] not to sing and then at the very very last moment Beth Israel Medical Center in Manhattan also without avy Kipper and uh they said if you're willing to come down here we'll uh we'll pay you and then I show up there and it's uh we were in like some kind of seminar room in the hospital and fascinatingly enough doctors just kept coming in and out all day in their lab coats which kind of looked like kits. So it worked out uh it worked out for clever >> it worked out for everybody. It uh you know this is what you do in the early But that's at 19. But at some point, you became a real cousin in in >> So So once >> I know you did gigs. >> Thankully. Thankfully. Yeah. Once once I once once I married and and kind of got on with my life, I always managed to find a stellar somewhere. I was in Manhattan for a few years. It was Riverdale for a year or two. I was in Elizabeth, New Jersey for a number of years. And then when we finally moved to Artisel, we moved to Artisel 20 years ago. Um again, just by by happen stance, um Leo Beach Synagogue. Uh Rabbi Melman. >> Sure. I I had an NZ white chapter. >> There you go. And uh and they were they had had a Kazan for many many years who was retiring and uh and they said, "Listen, are you interested?" I said, "I live in Israel now." Yeah, yeah, we're okay with that. I'm like, "Yeah, no, it's kind of not worth my while." And like to fly back and forth like, "No, no, no. We'll make it worth your while." Anyways, I was there for 5 years and uh to the point where, you know, at some point I woke up. It's like h [clears throat] you know being away for for a shyam kipper I think it has its you know if I was visiting like if I was going to um maybe if I was visiting a rebi I could see it uh but ultimately speaking um at some point I determined to not travel anymore >> but tell the story with the with the overflow minion with the young people that's one of my favorite stories >> the overflow minion >> I don't remember where it was >> in Leo >> no it was in a different show it was like the the the younger minion and you were doing musf and they're like they just didn't get it. >> Yeah. [laughter] No, you're now you're you are you are reminded I was well what happened was um >> cuz I've been in this situation myself not with dominating but with uh speaking >> I was uh so it was it was only one year. Okay. I was in Englewood New Jersey. uh the let's say the shul will remain nameless but uh no but I I'm invited in to be the kazin and uh it happens to be by the way that one of the families from Leo so their kids live in Englewood and they called me up and said hey we loved you in Leo can you please come out to Englewood I said I'm not sure they said no no we'll do it okay so we did it and uh and then I didn't realize this but I had this idea that it's a big shul and they have the main minion and they have like the downstairs minion and I had this thought When I was growing up, we always my my father liked to go to the overflow >> which by the way similar to our own sh my father was the balshakah in the main minion which would get about 1,200 on rashashana on yum kipper we'd get about 300 on a regular shabas and then in the overflow minion which was kind of where we would do the hashkam minion he would get about 400 he was a balmf right so that's that's usually that's what I grew up in but I had the sense that you were going to fly me in from Israel to be the kazin that I was meant to be the khazan right so it turns out though I get there so first day I was the balmos of upstairs. Second, I was the most bulos of downstairs. Okay, everyone wants to everyone wants to hear Yi Shapiro. And um but I get downstairs and it was uh it was it was fascinating in the sense that uh I couldn't hear myself with the amount of talking uh that was going on and uh I kind of just looked around at some point and I was just like um >> it was during the Hindi. >> So I because the Hindy no one has to do anything. They just >> Yeah. So So at some point I stopped actually. I just stopped and I didn't say anything. I just stopped and it took a good 60 seconds before everyone realized that there was nothing happening and then it kind of died down and then I kept going and actually it was kind of quiet after that. It was uh it was an eye opening experience uh for some people to hear D. >> That's amazing. >> But uh but listen over the course of X number of years it's been [snorts] >> 30 or so 20 30. Yeah, it's been a while. Um it's been a quite a while that you I've been a part of some interesting uh shulles and and minionam and so on and so forth. I didn't quite have my father told me a story once that when he was younger before he was married that he was brought out to a place called Colombia Connecticut. I don't know if you know if there's a place called Colombia Connecticut but the >> I know there's a boat called Colombia. >> Yeah. Yeah. No, no, no. There was a place called Colombia, Connecticut. And uh it was him and his one of his >> I know there was a university called Colombia. >> Exactly. Named for this place in the middle of nowhere in Connecticut. >> It was a country called Colombia. Look how [laughter] good I'm doing. >> Only place I ever heard of was Columbia. >> And yet Columbia, Connecticut did not factor for you. But my father tells me the story was him and his brother and they were together running this minion which was a grand total of like 14 people and uh and they're in some they're in some trailer, you know, on the edge of town and uh he just said they looked at each other versus Shashon and they just start crying just like where are we? What's going But you know, but these are the things the experiences that make us, you know. Listen, sometimes it's not the amount of people like you saw in Englewood. It's not the amount of people, it's the it's the dedication of the people. >> Well, the willingness to bring somebody out even, you know. So, >> so I assume besides the role of a musician cuz you played that role as a musician. There's something different that you need when you're when you walk in to a what is your goal? You say I'm going to din a kazin does not want participation. There are no tunes that everyone goes everyone. There's no participation. The only one I can remember [laughter] and I've sung this for you a number of times is during most of what they do which we would take about 20 minutes. Just so you know, I grew up with that exact same tune. I love >> I wouldn't want to show you up on that >> and then it goes [laughter] and they start again. It's funny by the way that >> for the 20 minutes I'm sure there's a show of an article that discusses the uh call it the permissibility of andor the preference of repeating uh during domining of which I don't think anybody is in favor of but >> my wife's uncle was a kazin in Shah Shamayim in Toronto. >> Mhm. >> And um he came to Yakuz mitzvah. Okay. So this is some years ago and we asked him to do musfin he was also the at our you know so uh so he says what do people hold over here about repeating words so I said here they don't really repeat words and he [laughter] says me you know who says it's supposed to repeat words should I tell you which brother repeat I said do what you want you asked me why do [laughter] you ask me why do you ask me if you want to do whatever you want I don't care you know [laughter] so he didn't repeat one. But uh >> in my life growing up, we repeated words and it was okay. And it was okay. Later on, we didn't do it. >> When I grew up, like in Hollow. So there's they would repeat a line over there, you know, and everybody did it. Then they had to rework it, you know, so that you avoid >> I think within Kadusha people get a little bit more uh a little more sensitive. >> Yeah. Because it's >> but there is there's there's for definitely I'll put it this way. the Kazan and Arshel growing up he knew all the chuvas of which one said you could repeat >> what I don't understand is and that's one of the things that you do uh in in musf is where you add ask special to do put [laughter] where you ask permission to be able to you know add in so I don't understand is if I can add in whole why can't I repeat words >> it's a good point I think that's amongst the the the proofs that you can repeat words >> indeed Okay, >> listen if depending on which minion you are either fortunate or unfortunate to be in you'll be saying a lot of putum on rashy. Luckily here in Israel we >> do you know spartum don't say pudum. Yeah, amongst the main reasons I [laughter] really like stardom. You know, >> I have one of my my major talks that I give is called Why Be Jewish? And I do a whole routine on the Santo and I did this in Megan Magg and they just looked at you like they just looked at me. They never heard of the Santo. [laughter] I suddenly found a little silly but anyway. So, okay. But when you walk in, what is what is your stated goal? What would be successful to you as a as a when you walk into a minion? I think my thoughts about what would make a successful davining, you know, at any minion has evolved over the years. I think when I was growing up and in the early years of my dining, I think singing and picking the right tunes, finding the ones that probably impressed the seabore and maybe they'd even you'd want them to sing along, but if they just listen, you'd be happy about that. I was never one of those. I I'm not a Kazunisha kazen. I'm not I'm not doing pieces. You know, I have cousins of mine whoever Kipper, they're listening to pieces. You know, you mentioned Kusovitzki. They're there. They're hearing Vinc Miller. They're listening. >> Well, this year you did that new uh uh >> Well, at Zohar. Yeah. Which is a popular >> we've never done before. >> Um I tried doing the previous year. Thankfully, you don't remember it. But the point is, you know, we uh we worked on it. We worked it this past year. We workshopped it and uh hopefully it came out quite nice. You did it with your assignment. But it's but it's popular. Morai and David. Uh Shaibo, you know, which is of course an interesting pairing. But um but yeah, I mean to that extent to what I consider a successful Davining today is the one where >> I think where you get the vast majority of the people just walking up to you afterwards going, "Wow, you know, and and it's a combination, by the way, of song and speed." I think that's a it's something which I think sometimes people >> that's a lost art. >> Uh I think people lose sight of it a little bit. I think that sometimes once you're up there, you're like, "Okay, I'm here already. I might as well take advantage. No one's pulling me off this um you know, and I'm my reaction is is I I'm here to be a schlak for the seabboard." >> When I was when I was in Orville used to be the And he sang anything you could sing, anything you could sing. And he would always have a tune that either the guys knew or just was very upbeat that would get you going or was like machim was like, you know, very touching, etc. But in between and he would run through it because he knew that I'm going to lose, >> by the way. And there is a there's an art to running through dabining the the the parts of Davening one can run through. There's an art to doing that in a way that I think that Seabour appreciates the efficiency of the way you're doubing but at the same time they're still covered and so to me that's a successful dabbining if you can still find the things that are quite singable right I do it was shabor two weeks ago right and I often enough get asked to davin and you know you you know singing the you have a choice you can get up there and you know you could just say yhi ratson you can add a little bit of nusk to it maybe you can give it a little bit of some little bit of kazan but you're moving it you know or you know and I have a I have a relatively regular it's the um you know see people say that's I think those who know it think it's but I grew up in the age of journeys I grew up in the age of it's it's called the place where I belong right which is a song which that goes way back which very old it does it does and it was but it's been used I think to good measure in the right places. But when you it it happens to fit quite perfectly to the zone of Shabas. >> The use of the peas. >> Yeah, that's what I was told was that's when I my father thinks of that. It's one of the but that's my father in his age says that that was one of the that was one of the tunes for it. But anyways, let me show the point being is that it fits quite nicely to the E-hone and and while I attempt to come up with newer ones, I kind of fall back to it and it works. And then >> you never do like the little holiday ones. >> Um on on uh >> like an ad, you know, >> you know. No, not for >> tune or something. >> We'll do the PM tune for for Kadusha. We'll do the PM tune for uh you know it's hard doing most s to it doesn't you know it's not doesn't quite have the same way the same >> well that was one of the things I was going to point out that there's nothing more painful than when takes a niggan that just doesn't fit and one of the biggest problems with this is and they somehow take a tune and it doesn't fit in and it goes on forever and it's just painful and the words don't fit in and it's just >> I will I I will agree with you that uh it is for sure an art form to to really spend time on those things and come up with the right ones. Um and there's no shortage. I mean you you you know and I my philosophy is if you find one that works work with it you know if it doesn't work you know it's more painful for the tab. I I would suggest that >> now you said that you've introduced that when you uh when you df do you do the new callim >> um >> you mean on a regular shabas? Yeah. Um >> only only if I'm angry at somebody and it's [laughter] why >> no I'm joking. It's beautiful. >> It's a beautiful tune. >> No, it's magnificent. I do it when I have my boys around me. I do it. Uh >> the only thing terrible is I once saw somebody do it and nobody joined in. >> Well, that's my point. I I the the one thing I'm I'm not interested in is doing a solo. I know there are some kazon out there for whom a solo is exactly what they're looking for and I'm trying to avoid that if I can. So, when I have my boys around me, it's obviously it's all bets are off. And by the way, in some cases, I think that see sometimes not so excited. like we'll throw in a carb, you know, if we're feeling it, you know, and I'm not talking about not that one, you know, we're doing the old school and then you see certain you see certain people their shoulders they they slouch, [laughter] >> you know, if you look left or right, you're just like, you know, somebody grabs a safer, you know, it's like, you know, and we're we're in we're having a good time. If I can get like if we're at a simka, if we're at a family simha >> and there might be 10 or 12 or 15 of us there, it's actually impressive, you know, if you're right and we when everybody can sing >> when we have when we have a crowd. Um to be honest with you, there's almost nothing better. And uh it's like that when we have family sas when we get together even stam we get together a few times a year and uh that's what we do. Almost all my kids can sing. Uh, and uh, and Moyo, of course, who everybody knows, he wrote a song for my wife's birthday, but they put it up, I think, you know, and they all recorded themselves singing the song. And I thought to myself, that is so impressive and not as impressive as our dancing because at every we do an Olski family dance and most of my kids took ballet and dancing. Exactly. They're trained dancers. >> So, they're trained dancers. So we do the Olasi family. >> By the way, if they if people show up for Pesak this year, there will be trained D. I believe some of your daughters are happy. They'll be seen dancing. I think [laughter] when I was in NC that was my move was like, you know, profession. [laughter] >> I don't think there's like anything like old school, you know, Sima dancing. I think we should re reintroduce that. >> Yeah, it should be. I I when I went to yeshiv they had what they called the shuffle >> which you I can't do by myself. You need a line of people and they used to do like a whole line of it and uh it's uh I'm doing this sitting down. So but it's basically it's one two one two one two one two >> guys are practically rockets. It sounds like >> it was like a whole line of people. It was very impressive. So when I uh go to a kasa now and I see a couple of my old sometimes we'll do it and then they call to come in and give us oxygen but uh cuz we don't you know when you were younger it's a lot easier to do keep up with that kicking [laughter] not everybody not everybody takes care of themselves. I remember Rabbi Orurrett uh he was at a Urav dinner and they gave out these little bentures and they were what the was it was magnetic so that this way it was considered in a kiss and if you put it in your pocket and you had to go to the bathroom so it wasn't a problem you know so he says to me you see what they gave out at the dinner he shows this to me you know he goes I just had a dinner of our alumni we had the benches for the blind Right. [laughter] How is anyone supposed to see this? [laughter] So that's uh so that's Kazonus. Kazonus is uh that's spelled felish and let's be clear. I want to be clear about the difference. >> The difference. Yeah. Yeah. >> No. And I I >> Kazanus what I heard about Kazanus was it was for Jews who weren't allowed to go to the opera. So they developed their own form of opera called Kazonus. That's what I heard. I don't know. >> I have a high appreciation for Kazan. >> Why? >> To be honest, um because I actually if you appreciate why certain pieces are written for that specific file, you you mentioned earlier when the tune doesn't fit the words, but when you have a piece that's written specifically for a certain part of the Davin, like it could be, you know, the most traditional versions of Una Sanat, it could be, you know, to your point about the Misha Bar that we say the Misha Oskim, right? We have a nice song for that right now. But there are kazan out there for whom there were pieces that were written a hundred years ago. >> Now here's me. Okay. Rather than listening to the tradition on the side of I find the AB Rottenberg one much much more meaningful >> which is why I do it. >> I know. >> Yeah. Right. >> Well, I I start with >> Exactly. >> And you can sing it by the way a little bit slower and you can add some more feeling to it. And there is something to be said that knowing your seabboard. So I could do the traditional one, right? [laughter] >> And you have to cry to make it sound. >> I cracked it out a little bit. >> Yeah. >> But um >> but I don't find that as as meaningful as the as the Ronberg one personally. >> But that being said, for instance, I one year was doing in Riverdale. I was at the Rivville Jewish Center and I was the Khazen actually there were multiple minyanam and so I kept I kept getting moved around from one to the next and they had brought in a kazin from Israel like a caner to be like the main kazin and someone then I was at somebody's house for lunch shortly thereafter and he mentioned that for unisan tok he had kind of like a peppy upbeat tune that nobody was happy [laughter] about if you could only imagine it's unisan tok and we're talking about are you >> tof It was it was just had one of these like so that's why you know >> it's so much more fun when they do that at the when you do that at the end of the after you know then it's >> do mudgets right I I think nobody I think pretty sure if you if you know a good midget's niggan and you want to get people woken up right after that's where you pull But I think he miscalculated. He pulled it out too early. And so uh anyways, but people were were upset. You know, people were unhappy. You know, kind of ruined that day's dings. >> I could see where I try to avoid >> an inappropriate tune. >> Yeah. >> You know, >> but back to your point though, I enjoy listening to Kazan. I on occasion like listening to it during most likely I most most enjoy it not during sh. >> I see. Now, if you listen to recordings, to me, the only thing worse than listening to Kazonus is listening to Kazonus with an organ. [laughter] >> No, but if you're if you're driving, [screaming] I'm like, "Oh my god." >> But you know what though? But when you're stuck in traffic, >> this is like a bad funeral. >> But when you're [laughter] stuck in traffic and you crank up the volume and you're singing along and the people in the car next to you are like, "What is that guy listening to?" That is so interesting because I my my good friend David Kedim in Los Angeles was one night driving me back from Baltimore and I was exhausted. He was exhausted too but I went to sleep and I figured if I die I die but you know but he was trying to stay awake. >> So he cranked up the Kazanas, didn't he? >> No, he cranked up Mexican music [laughter] cuz you can't sleep through that. And it's like, you know, it's like I managed to sleep through it, but it kept him up, you know, kept the windows open and we made it back alive, you know, but uh he says if you ever fallen asleep, just put on Mexican music, you can't sleep through it. [laughter] [gasps] So, uh so that's that's that area. And then obviously the area of doing music, concerts, you were banned, etc. That's a whole different type of music. Yeah, >> right. You want to get out there and go the son of like it's not going to go. So, so this is what I don't understand. I don't get it. I be perfectly frank and I am something of a performer. Any speaker is by nature a performer. I have refused to give in to the pressure that some of my friends have. I know a famous speaker who's short and he added lifts so he would look taller. I have a good friend who like me has a space between his teeth and he got it fixed. I know somebody who before he goes out to speak gets a manicure. Yeah. To me that's a waste of time because I don't have any nails. But um uh you know so I never gave into any of that pressure. But obviously when you get up there there's a certain presentation. you know, Pisakron says, you know, he always, uh, he always makes sure he has cufflings if he's going to be speaking, get this and that and certain other things like that. And, you know, so, uh, uh, so there's a there's obviously a certain amount of presentation. Now, I remember seeing a clip of the Vegas at the H concert. Have you ever saw this? So you talk about like Ellie Cranler, Yassie Zunnick, like >> it was it was like uh AB Rottenberg and um I guess uh I guess uh um >> it would have been Ellie Cranler. >> Yeah. It would have been uh Yity Weinberger probably or Revy Schwabel. >> Ryel and uh and Label Shaman. You know what I mean? Like Yep. >> Anyway, so they're in concert. Okay. AB's sitting at the piano playing and the rest of them are all standing like this and they're singing whatever it is and then they stop and he plays the piano and they all just stand there and then he comes in again [laughter] and I thought to myself I think it'd be more fun to listen to the recording than to watch his performance. Now on the other hand, do you remember Yehuda exclamation mark? Yes. Yehuda chick. >> Okay. So, Yehuda was in my shir in uh >> in Orovit. >> In Orvin. Yeah. Before his name was exclamation mark. He was still Yehuda Chick. And then changed his name to >> He moved to Stanford, Connecticut at one point, by the way. >> Did he? Someone told me he met him on a on a on a plane and he says, "What's your name?" He goes, "Yuda." Goes, "Yuda who?" And he's like, "Yhuda." [laughter] Anyway, he was we were I was in a hotel where I was Scotland residence. He was doing a concert and one of my kids said, "Oh, my father said you were in his shit." He goes, "Yeah, please ask him to come to the concert." No, I'm not a concert goer. Concerts don't do it for me. I don't I don't I'd much rather sit at home and listen to the music, you know, cuz what am I watching? You know, the Miami Boys Choir, 30 Little Kids in Sailor outfits. La. >> Listen, when the dancing is good, it's, >> you know, I know, but I'm just saying like that that to me doesn't add to the experience personally. That's just me. I'm not a concert person. I don't like people in general. But anyway, so um but to do a performance, right? Okay. So, so Yehuda, I got to give this guy credit. He was working hard. He put on rollerblades at one point. He was throwing things out into the audience. He was putting on costumes. Whatever he could do to get the crowd going. Cuz if you're going to a concert, you don't want to watch the for the Vegas guys going >> [singing] >> You want a little more action. >> But you know what though? You grew up at a different time. I think uh you know before the before Debos was the rabbi sons. Did you ever catch them in concert? >> No. I know they were offered to be on the Ed Sullivan show >> and they turned to town. >> No. The Rashiva told them absolutely not. I l you [laughter] that's all I need for my meeting to be on the Ed Sullivan show. If you if you've ever, >> by the way, for those of you who are under the age of 50, at one point the most popular show in America was Ed Sullivan. It in fact made it into Bye-Bye by Birdie as its own song, The Ed Sullivan Show. Ed Sullivan had no talent whatsoever. He looked like he was dead and he'd bring out different variety acts. And to get onto the Ed Sullivan show was like unbelievable. And if Ed Sullivan didn't like you, which is what happened to Jackie Mason, he got into trouble with Ed Sullivan. who was blackmailed, blackma bowled for like 30 years. You know, he could make or break you. You know, when when the Beatles came to America, they went on on to Ed Sullivan. Uh what's his name? Uh >> Elvis. >> Elvis was on. I mean, it was like to to get on to Ed Sullivan was like the most unbelievable thing, you know. So, the rabbi's sons were invited to come on to it's like said absolutely not. [laughter] >> That's all I need. My can be out there. And I remember people used to tell me at the time now okay I was born in 1959 so I was a kid when they got started but they they used to say goes ah it's it's like rock and roll and I'm like [laughter] it's like [laughter] the whole thing is like you know >> this is but I mean How is that rocky, you know? >> Yeah, but in our in our house, that's what we grew up on. But if you've ever seen Rabbi Barate on stage today, he actually is quite the opposite. He he's he doesn't move around too much. He's not like dancing or anything, but he gets the crowd going still, you know, to this day. And I've seen it cuz I was at a HS concert. He was headlining with a few other acts and it was fascinating to see. Somebody told me they were at a Kbach concert >> and Kbach would like he start he was singing some song whatever it was and then he stops and he goes well you think I'm a performer so do you sing along when I sing you know these words let's go and he starts again and I was like okay so now I used to lead the ru at the NCS sometimes so I know that routine you get up on a chair and you're like okay [screaming] let's goinga whatever it is and you get everybody singing and going and jumping and stuff but uh but when you do a concert like I I don't know how so okay so you don't do concerts >> no no >> but your your cousins do >> have you ever gone to one of them >> yeah Morai but so Morai is the the he's the performer Morai Shapiro you've heard of him uh Morai Shapiro uh you know I think widely known amongst so many though who do go to live acts He's got that energy. He's >> What does he do? >> He's back and forth and jumping and sweating and singing and putting the microphone out to the crowd and he's taking selfies and he's, you know, he's he's got the whole package. You know, Morai is uh that's what people say, you know, and having been to a few of his concerts, it's true. And comparatively speaking, you know, there are plenty of acts thankfully. Um I think a lot of people would do well to add some of that energy to their uh to their to their things. He also sings at weddings as does Duvy by the way and those of you who live in Israel you should call Dvy Shapiro. He's an amazing he did my daughter's wedding. Fantastic. But that being said um Doovie has that energy on stage. When he's doing a wedding he takes his m he's in the crowd he's dancing in the middle with the in his >> right. So I there were people like that back then. I remember there was a fellow I can't remember his name now but he would do that. He would take his microphone. And I'm talking about back in the 70s and he'd come out in the middle and he'd sing with the kala, you know, or he'd or he would take the and he'd hold him and he'd carry on and sing with the microphone out there in the people, you know. Okay, that's a performer. That's a performer. I've never seen it, but I've heard uh Leapa. >> Yeah, I haven't seen Leap in a while, but yes, very much so. >> Like there's he there was the Leapa dance. >> There might have been. If you go back and check the second time the Waterberry guys were were here, um, one of the guys does the Lipa dance. I had no idea what it was. And my son says to me, you know, look it up. And I look it up and there's just clip after clip of people doing the leaper dance. He has this kind I tried doing it and it's not for me. I I can barely do the shuffle at this point, [laughter] but >> it's good to know where we are. >> But uh, but yeah, there's no question of being able to get the get the car. I know this from NCSY, you know, we have to try to get the rock going and you know, >> no, but that's in in there in lies the point like I I remember in our day as the band for the New England region of NCSY from the years 1993 maybe 1992 1993 right from 90 into 94 I came to Solola in 1994. So from there on out, I don't know if we went back to it afterwards, but we were one of those stage bands like we were up there, you know, and we had all the sound system and it was loud. Um, and we definitely did our best to get the crowd into it, but you know, we we we were I think we were younger and stiffer back then. I don't remember a lot of running, you know, but >> So my band was um Ruach Claver, Ira Silva, >> that's a long time ago. >> Dove Lavine. >> That's a really long time ago. >> Yeah. Yeah. And uh and they knew that if they were going to be the band, they had to have a microphone for me. So I would just stand there and sing with the [laughter] band. And uh it's it's hard to even picture this today, but at one point I I actually was able to exude a certain level of coolness. And it didn't matter if I did because I was paying them. So I had got a microphone and I sang along and you know which was not as exciting as the uh Diaspora Yoshima band. >> Yeah. >> Uh Mosha uh Mosha Shaw um came with some of his guys to do my last convention and uh and they handed me a trumpet, you know. So I I had some kind of crazy hat and a and sunglasses and I don't know how to play the trumpet and I'm like you know you know playing around with the trumpet and suddenly the whole band stops and say take it away [laughter] and I go and they came back in and I was like oh my gosh I pulled that off. >> Wait, [laughter] just to be clear, you did it with your voice, not with the trumpet. >> I flew into the trumpet and pushed the keys. Oh, cuz I think you would have been just fine just to use your voice. >> Oh, I could do got a kazoo. [laughter] >> Listen. >> No, but I actually played the trumpet with the the Assha band. >> Adrenaline will do that. >> Yeah, [laughter] >> adrenaline. >> People don't listen very closely to your uh I used to do that with the band where I would like, you know, suddenly say like, "Take it away." And he would just do a drum solo, you know what I mean? It would be really cool. or I'd say take it away this one, you know, and they would just, you know, get their little solo over there, which was really cool. >> Mhm. >> And uh and I had a uh a trumpet solo. [laughter] >> And that is it. That is the sum total of your musical career. Fantastic. >> Uh just about Yeah, it was only when I ran NCSY that I had that opportunity to do it. And um you know of course with uh with my father and my mother's yard site coming up so I get the diamond for the >> which we look forward to every year >> which they have no choice because it's my shaw. So I you know >> but I like the fact that you still bring out the old tunes because we do have >> well that's that's always my question is should I do a tune that I want or should I do a tune that I know the people want. >> Well let me be clear that people don't want any tune but no I'm just joking. >> No I'll give you an example. When I was in yeshiva, Bakman Zalowski Shalom had written this kadon >> that it was a march that we used to do in yeshiva and the only people who knew it were people who were in yeshiva at that time. I don't think anybody else even knows it. And it has like three parts. I always have a timer to do it, but I know nobody knows it. So, I'm basically do it myself. >> We come along with you. We >> you know. Yeah. So, instead I uh I I do the uh you know, good as it is to yours. >> We're depressed. [laughter] We're depressing as it's an old car. We like that one. But uh >> but but you know, I do that. You're the only one who knows what it is. >> Yeah. Yeah. >> Yeah. >> Um I love that one. No one knows where it comes from either. I know I give I May God [singing] bring the whole thing. >> This is a musical episode. We haven't sung anything. This is the shall I know. I surren I'm [singing] sure there's somebody out there who knows where that came from. So you could leave it in the comments. >> Maybe you send that back into the comments. That'd be >> so. But uh you're the only one in the world who knows it. Nobody else even knows. >> Uh I'm >> so people fake it at some point. You know, >> we sang it. We sang it when I was growing up. >> You did remember. >> You don't know where it comes from? >> Nope. >> No. All right. So, uh >> still like it though. >> I remember when we were doing Smeirus tunes. I brought in Ari Goldwag and I would like do one of the classic guitar. Say, "Where's that coming?" He goes, "I don't know, but I wrote my own." [laughter] He'd sing this. Some of you like, "Where does this come?" He goes, "I don't know, but I wrote my own." It was like every summer he >> but he's written so many. But you know what though? My son writes Miros and we sing them and they're I don't think they're I'll play this. I don't know if they're getting famous. There's like a handful of folks who've been on our table and then I'm going elsewhere and they're singing his Miros and it's kind of cool. >> That's beautiful. >> You want to hear one? >> Yeah, sure. >> Yeah. We sing one on Friday night. for [singing] Mal and we it goes through and people who've come to our >> So why don't you put out an album near us? Yeah, we Yeah, we keep talking about it >> because people needs mirrors, you know. It's a >> You can't get tired. >> You can't keep singing the old ones over and over. >> I can [laughter] I can sing that every single >> Wait, who author composed [laughter] or who put together what I consider to be the Orlski uh Barak Calio? It is the medley of the fastest parts of the slowest barons. [laughter] You've you know >> is just too long. That's the problem. It's seven. It's seven stances. >> But yet, >> so I just mix in different tones, >> but it works, >> right? That's why you'll notice a lot of the switch inside of it. >> I'm saying we say we start off with which is the traditional one, right? And then we get to um and we switch out there and then we get to and we go to the thankfully the fast part of the original Mesalo and it works but I only the first time I ever heard it was at the Olski table. >> Yeah because my kids get bored easily so I try to mix it up a little. >> There's a there's a there's a legend that that Yako came up with it. It's not true though. It's new years old. Yes, >> I think. [laughter] >> No, cuz my he says to me, "I don't know that one, but I wrote one." [laughter] >> No, but people like that one. That's a popular one. >> And it has three parts to it. >> Yeah, for sure. >> So, like it keeps you from getting bored, >> you know? Listen, the missing out on the boring parts is >> the biggest problem is Keshabas because there's only one tune. >> Yeah. >> And it goes like a Christmas carol >> unless you're unless you have enough brothers in love and then you can do the onea, you know, >> but you don't do the one. >> Oh, I know that one. No, I can't do >> I feel like I need like calypsos with that, you know. I I'm I'm like a I'm like a white guy. I don't have any rhythm. [laughter] >> I have I have several Friday brothers in LA. >> Got rid. >> As far as they're concerned, most Ashkenazi miros are essentially like funeral dures and then they get up and we do we do a lot of dancing. So uh you know, but that's uh not that that's not really like a dancing. >> Well, it is if you sing it the right way. You have to add that little zip to it. So, you're back to like, you know, the son of Tokyo. [laughter] [gasps] >> No, it's fine. >> All right. So, we're going to have fun at the hotel. >> Looking forward to it. >> Going to do some great stuff. Going to be a lot of music, a lot of singing, a lot of fun. And uh and now, of course, we come to the part of the program that's my favorite part, which is talking about me. So, we [laughter] we have appreciation uh comments over here. Uh one came in. It wasn't on my list this week from Schlimma Steinberg. It starts with happy birthday. That's how it got my attention. Hi Rabki, I'm a bacha in Lakewood in 10th grade and I really enjoy this show. Also, I wanted to wish you a happy birthday as you mentioned so many times in the podcast. I'm looking for gifts. [laughter] I would love it if you can give a shout out to the great anal and the special Baham of 10th grade Yeshiva Kessesbased Ley also known as KBL Krupn Yeshiva in Lakewood thank you so much being a baka in Lakewood has a downside I can't watch the show but I do listen on 246 thank you so much mayer I would normally say mayor but he wrote pronounced like fire [laughter] mayer Yeah. Mayer Weiss. No. Is that that's how they say Mayer? Yeah. You know, you got there's a different way of pronouncing things. You know, Shiman Perez, they say he he had a reputation of being a loser because he kept losing every election he ever ran. So, someone said, "Why don't you go to a Reba and ask him to help you?" He goes, "Well, I don't really believe in you." He goes, "Go to a Reb." So, which Rebi he goes to? And he says, "Well, if your masle is bad, add another name." He says, "What should I add?" He says, "A loser." So they get up and they say, "Yeah, Shiman loser." [laughter] Anyway, Maya Weiss, hi. I discovered the podcast about six years ago. Well, that's good. If you found it before then, we all got a lot of explaining to do. And it has truly changed my way of thinking about Yiddish kite and the world in a good way. I'm glad you added that. I consider myself a Talmet. So much so that when I came to the Mir in Jerusaleim, me and my friends started a kumish vad with Rabi Olavski, which naturally is the highlight of our week. Or maybe it's just because of the popcorn. They bring popcorn. Um either way, and I cannot digest popcorn at this point, but I also can't resist it when there's a big bag of popcorn. So I'm sick all Friday. Anyway, either way, thank you so much for what you do. P.S. We can't wait to see the It's Easy Stupid apron. They brought me an apron that says it's easy stupid because I said that's how my mother taught me how to cook. My wife doesn't like it because that's not a nice word. So I'll have to like block out the stupid and put it's easy as blank blank blank blank blank and then people will think of an even worse word. Till next time, I'm Mayor Weiss and this has been the Mayo. [laughter] Yafa Ashki, your last fetchy podcast, the annoying one was absolutely hilarious. I know you were fetching, but sorry, I found it absolute laughter therapy. I have to tell you the truth. I got tremendous feedback from this because everybody wants to fetch, but they don't have a chance. And I quetched for everybody. I was your fetch. I was your fetcher. And I sat here and fetched about lots of stuff. And all I can tell you is people kept writing, "You'll forgot this and you forgot that." So, I'm going to have to have a part two. Continue cringing. I identify with so many of those annoyances. Thank you for all your amazing shim shows or whatever you like to call them. I'm also really love the concept of the seven liquids to the and the sh you give about blood. I repeated over to my serious bentora husband who really enjoyed it too. Go figure. Hashem is should give you the continuous to continue to inspire us from. Okay. Well, that's it for this episode, our special Shabashira episode. Now, I know it's going to come out after Shabashira, but full disclosure, we're recording it on Shabashira. Okay, so um on Chabas itself anyway. No, [laughter] of course not. The week of because we record a week ahead, you know, and that's why uh uh the only reason I can do that is because I live in Earth. There's a time difference. But uh [laughter] actually someone told me he says he uh he called his older brother and he says uh he was in show and he says hey there's going to be that great game tonight you know he says yeah yeah you know Chicago won he says how do you know he goes I'm 7 hours ahead and he couldn't figure it out. He goes there's got to be something wrong with the logic here. He goes no I'm seven hours ahead they played the game already. He goes, "So, how how does that Anyway, but uh [laughter] so that's it for our special Shabashira episode. If you want to find out more about the show, you can go to my website.com where you can sign up for the Pesak program where you can uh sign up for my online sharim. You can sponsor an episode, you can sponsor a paran, you can sponsor a question and answer, you can ask a question, make a comment, hold the pickles, hold the lettuce." Yeah, there's all kinds of exciting things you can do at the website. There's other articles and things. [music] And that's it for now. Until next week, I am David Olowski. >> And I'm Yeti Shapiro. >> And this has been the Rabbi Olowski Show. [applause] Show ready to go. The Rabbi Olavski show. Knowledge and wisdom will help you grow. Lots of fun in every episode. And we don't have to rhyme, though. We [music] It's the Rabbi Orlovski show on rabbi.com. Torah anytime, YouTube, and more. It's Rabbi Orski show ready to go. It's the Rabbi Orski show. Till next [music] time, till we meet again, it's the Rabbi Olowski show. It's the Rabbi Olowski show. It's the Rabbi orski show.