Menachem Toker INTERVIEW - The P'nimius Podcast with Uziel Naparstek | ראיון עם מנחם טוקר

Welcome to the various podcast where we interview those that entertained us in our childhood. All right, we are here with the legendary Manim Toker. How can you how can I describe Toker? If you in short, he is the oft but more accurately he is the most well-known the most prolific voice in Jewish radio and for the from and community. He has also hosted countless concerts and programs and organization events and also he has been majorly part of a lot of singing and music competition like a ba kadash and kanim both singing and musician competitions and so much more. So here we are talking with the voice of Israeli radio tok. How are you doing today? >> Thank you. Wow, what an intro man. only for you. Hello. Also, like when when I'm interviewing people that do interviews themselves, I have to like up my game a little bit. >> Yeah. >> So, hello. Shalom everyone. Manish. I hope my English is okay. We're doing this in English. No. >> Yeah, we'll do it in English. If you want to do Hebrew, you can do Hebrew. It's all good. >> Your viewers are >> mainly American. Yeah. >> So, let's do it in English. And if I get stuck, so I'll change, you know, to Hebrew. >> Yeah, for sure. For sure. All right. So, >> thanks for having me, my friend. >> Yeah, thank you. Thank you for coming. So, uh, let's start a little bit about your background, what your child is like, and how you and what was it like till you got to the where you are now. >> I was born in Amsterdam, Holland. >> Whoa. Whoa. >> Yeah. My grandfather was expect Yeah. My grandfather was the head of the community 12th generation in Holland like he he was one of the he rebuilt the Jewish after the Jewish people Jewish community the Jewish life after the Holocaust the he I was very very he had a lot of inspiration a lot of impact on me like like he was into music and composed songs at at his house he was of course classical music the whole music vibe I got from him even though my father's American but my father's from a different background more litish I grew up in B vaganim it's a famous neighborhood um firstborn beh loved music loved radio even though and that that's my biggest um nest miracle in life that I grew up in a radio in a in a in a family in an environment They had no RA there was no radio not not only because when I was a kid there was no uh from religious radio in Israel there was only was very fri there was no no such thing but even though I used to dream to be a a radio host that was my dream I don't even know why and I can't explain it I'm sure there are doctors or maybe mental doctors who can explain why how does it come cuz we didn't listen to radio. There was no radio but something mad put it in my hand in my head to be that's my dream and my whole life I I I dreamt to do it until I was at 19 18 18 19 years old I fulfilled and I'm over 30 years in this field success and doing and happiness and ratings and and I'm I'm working on my dream that's mash my dream I mean it's not my a little bit maybe I'm doing TV a lot of I have a lot of TV and shows and MC and but that's not the that's parasa the radio is my dream is my love is my my my my vein everything and that and I'm so happy to to be in this so you're saying that um obviously like now you have the enjoyment of the radio and the the idea of sitting down and with the mic and the cameras but it's not the same as what you imagined as a kid. Um, has your perception and passion about the radio aspect of things changed? Not necessarily like from good to bad or like, oh, I didn't expect, but but how would you say like your your passion about the radio space changed from when you're a kid to now you where you'reing it better? Um, no I listen to a lot of radio but the radio of course a radio listen radio the medium of radio changed but >> don't forget that all the people you know that say that radio is like an old medium and it's from the old old school it's not it's it's wrong look at the podcast yours podcast today is not radio but it's a it's a it's a radio it's a it's in a radio medium radio environment radio radio, you know what I'm saying? In the radio group and it's going it's it's getting back now. people in the cars listen to radio and my radio shows throughout the years. um a very very very effective effect the affected singers had and politicians and radio was a very big success in my crowd in my in my in my but throughout the years it became more kosher when I was in the beginning >> it was not kosher at all I started I remember the first two years I worked in Arut Cheva I learned of the mirror sha and I and I didn't even mention my last name because my father didn't want ta da da. So and then slowly slowly people knew who I am then into in in radio kohay I worked till I'm almost 28 years there. So also the beginning there you know what is this you're making singers into superstars we only have to admire the Rabani what is this you know what's who's this youngster over here that's that's is getting wild and whatever but then slowly slowly slowly became not only because of me but also a lot of because of us and our khai station became say became kosher became not kosher it's the mainstream like today the biggest >> media medium in Israel is radio. It's funny because in America you have TV and you have internet and you have newspapers and you have social media in Israel also. But the me the the radio because the live of the whole thing you know the piguim and the wars and everything has to be live. So the radio system became very very strong in Israel side by side with also different you know social media and every has their media media but but radio is radio. So my that's actually a really good point how you were one of the first or maybe the first of trying out the aspect of from radio in Israel. Nowadays, if people want to start a podcast or or uh or a radio show, they there is like guidelines of like Kashas or how far you could go, what's the what's the borderline for you? It was like a you're tapping into an ecosystem that that you're basically creating you're you're tapping into something new. So what was it like when you started out and in the aspect of like how far you could go and trying to figure out what was like accepted not accepted because especially when you were starting out. No, I have a good I think I have a good smell to know where where are the limits, where the borders, you know, because I'm very hashem for 30 years. I never got, you know, banned. You say ban no >> Yeah. >> No letters against me and the opposite. I always try to to be in the kosher good way to be good with everyone, you know, that's also my personality. I don't like fighting with and you know that that's what I I am. And because I grew up in a kared environment and my language was also throughout and so I think I became trustable by those you know what the rabbis and the scanim and the everyone because everyone I'm sure there people homes say hey don't listen to talker he's too okay but but the majority the mainstream knows that know that I always try to be with dawa uh with with good things activities throughout my shows throughout the years I always went I played around but always in in our misg in our frame that's why I think uh people trust me so so you know I did I I didn't get I I know what to do I I have a good smell but gave me I have to tell you I Hashem gave me a very very good sense smell to to to to catch what is good and what is not good. Like also in the in the in the you know in the Bashmi I could tell you right away if a song of Schweki will be a hit or not if this guy is honest guy story go buy a cell phone from this guy or not. This organization of is a kosher one I have the feel to know what is good not always sometimes I I lost it but usually I know and also if you know what to say and you know how to work and you don't talk against only and so if I know how to find my way there people trust me that's what I think >> and do you think that came because of the fact of experience Is it because there was were you like like I I I'm actually interested like when you started out you were you testing the waters or you were you were researching or was it just you went with the flow? >> No, I went with the flow. >> I didn't test and research. Never I went with the flow but I always tried to be the >> in Hebrew you say not deep. I'm never deep. You know what I'm saying? Very it's not a good word. People people what? >> Simplified. Simple. >> Yeah. Yeah. Yeah. Not deep. Let's have fun. Music talk good the good good fun make happy. You know leave the deep things to different people. Even this conversation for me is too deep. You know what I'm saying? >> Right. Yeah. Exactly. >> It's not my not my vibe. You know, it's actually interesting that we're talking about this because I've heard from different people with different shows, different mediums. There are the people that says, "My show is for escapism, right? Because for my viewers to escape." So, you have to basically always hype and have a good time. And then there's people with with shows that like uh that we have to ground it in reality in a way where not necessarily depressing, but that like we don't want to fake it. So we have to like be truthful with the audience whether it is in a negative or positive way. Um how do you balance that in your show or is it one one side of the other? >> No my shows are all only and always escapism. That's what I do. We are always out of the wars. If there's a war with Iran, my two hours of daily show will be the happy to uplift the you know the people. um if there's a pigua, if there's a rabbi funeral, if there's bad situation, everyone also with their personal um conditions. So I my show has to be the the escape, you call the escapism, but it could be also like the balance, the normal two hours a day you forget of everything. go into listen to good music, get some, you know, be smile a bit, you know, that that that's my my my >> right. Uh, and that's so interesting because you're you're basically tapping the Israeli mentality because I I like I remember like after October 7th you would see like videos of people talking and videos of people uh uh with the discourse online but then you go to the happiest energetic people were the soldiers in Sahal, right? It was like boggling to me how how the soldiers in Sal were seeing the worst of it and nevertheless they're more happy than the people that are just talking about it at home or they're talking about on their shows and it it showed like how much like Yiddisheskai like brings out so much simka more than other like countries even even Yidden and America are not at the level of what happens in >> Yeah. Yeah. By the way, I'm sure that in America it's even it's even more because because of the distance because people live far. So they they don't feel connected to the Israeli challenges. Listen, someone who lives in New York doesn't feel whatever we feel here, you know, even though there's families, okay, you know, end of the day, >> October 8th, the Americans continue to work in Manhattan when here Israel, you know what I'm saying? I'm sure. But and that's why because it's that situation. So that's why the the people in America and all over the world but also in Israel the word that they feel very very sad and and connected and and and it's good because they're not what and that that then became very very big thing the support of the Americans and the Jewish you know with the barbecues with the donations with the tilim and with all those spiritual things And because that was part of the thing because you don't but if you're here inside the army or if inside inside the bases of course definitely you feel if you're far the eye is far from the heart. Yeah. >> Yeah. >> Yeah. It's >> but it's good because because that's why there was such a big connection between all the Jewish people throughout the world because everyone has their family here and am together and yeah but the soldiers here went they have good vibes they're good they're good people they're happy energy because of your because of because of the Jewish people they made them happy throughout the >> Yeah of course for sure. So um I I the one aspect that that you have interviewed so much pe different varieties of people whether it's rabbis, singers, celebrities, even in actors or or politicians. I know that people that do interviews, they have a mentality of going in a in a certain mode when they interview certain people. But then there's also people that I treat everybody like a person. So, like I'm just going to have like a conversation as if I'm figuring out him from from the beginning without the like the mentality of having uh what I'm getting into. Uh how do you tackle your interviews when it comes to different types of people? Um, each I usually like to to to to share my my my my style in the interviews. Like I could have an interview with a widow that just lost her husband or Leah Havdil someone who just gave birth to four kids and or or Yishibo or Natanyahu. It doesn't matter who but I I I usually try to bring my my vibe my my my style because I'm not going to be too deep. I'm not going to be too angry. I'm not going to be I have to be my my my style. So that's why All the most of the interviews I think sound my most of the my careers that I have my my uh mda my thing my signon you know this it's my style so it's not the diff every interview I have to get you know different uh I come I have my people that interview listeners whatever and and just I I just play my game there >> I think that's also the best way to do it because then like why like because it's interviewing or Nintendo or whatever It's not just like any other interview that you find online. The there's the man took, >> right? And I'm sure that there are people who could interview, let's say, Rebo, they could interview him 20 times better than me. They could ask him about it. Each drummer, how did he do the right hand like this strong and the left was very so you hear that it's weak or the arrangements and this when did you compose the second word? Very important. But I don't do this. I have my style. you know talking when was the last time you cried when you were singing you know you know I'm saying today I had an interview with him so I asked him when was the last time you cried in Dominic and I didn't ask it as a psychology I asked it as you know easy and he said he answered he answered right away because it's easy it's nice it's also good for him to answer you know to participate in such an interview when it's more light and easy and and and and not deep, >> right? So, it's it's more like you're not trying to find the philosophy in the answer. You're trying to find his answer. You're trying to find him. >> I can, but I think people will close the radio right away. I mean, >> who cares? Listen, there are the the podcast maybe is a style to be okay. Listen, so let's go into the philosophy and how come you became a singer and why didn't you you know, why didn't you combat? What do you think about your parents? I don't know. I have to go I have to, you know, flowing next. Boom. >> I love also the fact that even though the interviews that you typically do on the shows are five, 10, like at most 10 minutes, but you have that mentality of like every question has its time, but still with the same energy. But then also it's it's a lot of times when you ask a question, I like the fact that you see like like sometimes you'll like bend over and you're like trying to like discuss the guy, right? You're not just like sitting back down and asking questions. You're like eager to ask him like like like if he asked you Shereebo what when was the last time he like you you cried in Domin. It's not like you know like you you're showing in the interview that you're eager for the for the answer eager for the for what's going to come up. I feel like when it comes to uh from audiences as opposed to other type of audiences the feedback is more intimate in from audiences than with other aeser scope of the feedback not necessarily like like detailed. So when you do shows whether you continue with them or you don't or based on the feedback how do you balance the feedback from from audiences when it comes to like what shows you do how shows you do longer shorter let's say um how often you do like how often you do another season or >> that's the number one secret of radio in my point of view that you have to know exactly when toadesh when to do something new. When to stop before it gets boring before. Never wait till it gets boring. Never wait till you get bored because then the listener will get bored. Always stop it not not by the peak but right after the peak. Uh that's why always we have let's say in a reality competition like singers or whatever. So we know exactly when to when to pause it in order that it's we have enough that also it takes time to lift the ratings until people start talking about it. So it takes time till you pick it up then it's high then you keep it high then it goes a bit down down down but then you stop. I never wait till goes down and I always always always always always work and try to kadesh my shows my career and to make the the listener have new stuff the whole time why first of all then I I'll have listeners and second for me because if I get bored as I said as I told you he the listener will get you're going you're going to hear it on me >> I can't I can't fake I can't imitate I can't Yeah. A performance. >> Yeah. >> When it comes to singers, like from where you find out or when I talk to singers, uh the idea of the audience always coming back is very true. But also, it's to be authentic. If there's like an ounce of you that are that's not connected with the material, the audience picks it up right away. Like I asked Beny Marcus, one of the eighth Day brothers. I asked him like uh we we someone asked him on our stream, what is your favorite song? He said the last one I did because if I'm working on a song and that song is not my favorite, then there's something wrong with the song. >> Nice. Good answer. >> And I feel like that's al I feel like that's also with with anything in life or with especially what we're talking about now with the the idea of entertainment and shows. If you're not connected, if that's not your favorite thing at the moment, then you're >> you're in trouble. you're in trouble. Exactly. >> Yeah. So, we have to the whole time to make things new and to be updated and and listen for me, I like it. That's my but it's hard because listen, you always have to make new things and new stuff and change. Let's say I have something nice on the radio, but like I have now a a a game when beautiful, very popular. Everyone's talking about it that I have like a robot and listeners call and I'll tell I tell them they have to imitate a singer. Okay. So, you have to sing like Schweki. They're very talented people that the robot gives them the the the you know the the number between the range between zero to 100 >> and whoever's highest he gets a prize and everyone's talking listen. But I stopped in one day because I felt that it has to, you know, you have to continue do do new stuff. That's the secret of radio I think. >> Right. Right. Uh so let's talk about um I do want to talk about the the relationship between the radio and the music. Um >> Oh. Um because it's it's a very it's for some reason music and radio in essence are very different just for the simple reason that there's no metal and tunes but for some some reason they connect very much together whether it's you with your show or Nam Seagull when he does his radio show and he also has the music as a part of the show. What do you think it is that that that makes it that makes it gel so well? And then how do you balance that not not necessarily the music takes over overpowers the medium of the radio show or the radio show doesn't overpower the medium of the music in the show? >> No. So, so it's different because I could talk about my radio show even though the most popular radios in the world today are music radios. >> Yeah. >> It's 95% music. So that and that's very popular and it's very good but not that that's not what I'm doing. I do a show that I interview singers of course a lot and I I I balance it with with with a few songs each show not too much not too many songs of course but also not too not not I don't I have whatever happens I need at least two songs an hour you know it's a good break for the listener and that and those songs become popular sometimes so that's why the here Here here's the first connection between the singers and the media and the radio because they want their songs to be popular or that we play it on the radio and also the opposite. We want to play the the listener will like it, >> right? >> And the second thing is that we interview singers as you said me and everyone and we interview them about an album about a single about a clip and that's the second connection between music and radio. The third thing in Israel in Israel not in America in Israel the biggest culture by the from people is is music you know I don't have to tell you 100% >> since mikdashim all those weddings and and and everything is through music and there is no culture in Israel for the people at all no sports No cinema, no theaters, no uh restaurants. Yes, but it's not a it's not a industry of you know TV shows about food and there's no TV of course. Um the only culture kosher culture here in Israel is the music and that's why bea became very very very popular kosher and that's a third answer what I think that that's why there's a connection between music and radio. Um, so I like getting the perspective of the of like like a person like you that's been in the radio business for you said over around 30 years. Um, especially when you have very close connections and you see the evolution of music and Jewish music specifically. Um, when you look back from the 30 years that you've been on the radio and the 30 years you've been watching Jewish music, what do you think um, what do you think besides for the fact of the brand of let's say Yakushwi and Alvin Free, the brand of their names? What do you think makes the singers last so long? And what do newer singers that don't last long get get it wrong that they end up just quitting or they just don't pursue it as much? >> Very easy. The same thing as I told you about radio MBD and free they invented the whole industry. So that's not uh what I'm saying now is not about them but in order to um to stay in the s in in the industry and to success you have to whoever whoever makes a kadesh makes a new something new will uh will remain will stay and be popular. Take sharibboi was a big kadesh after freedom and no one said who who could compete the MBD in freedom today he's not he's not smaller is a very very good example also that >> oh yeah >> very popular very lie it's truly green um of course but even by you know Barry Weber keen there's many many examples of singers who are popular because they made and there's so many singers that I could tell you. There's one that I like very very much. I'll tell you I'll tell you my I'll tell you his name soon. And he I think he's one of the top singers ever. Beautiful voice. Beautiful voice. But he grew up at the generation. So he came after Schweki and there's no big kesh and that's why he retired. He he quit. Now he's came back. His name is David Gab. >> So yeah, >> I love Gab. >> I like him very much. I love his songs. I play him all the time. I I really love him as and I play his big hits. He's big man music. But so he he also ced it and he also catch it that there's no big kush in what he's doing. like Shaper is aim even though it's a different field but if you are a you most most of the times you'll succeed but mobile radio same thing as radio >> it's it's the idea of being unique >> unique unique yeah unique maybe was not the right right way unique something unique unique. >> What are the audiences that you see from from your from when you're involved in music? There's the people that connect with certain singers and then there's the people that connect to genres. Um, do you see something like that in your radio show where you'll have people listen to your uh like certain segments and they'll not necessarily listen to the rest of the show or people that will listen to all the shows. Do you see that in it or it's it >> people who were driving the cars for instance? So, so they listen to me till they get it home and then they close it. But if people Yeshivas or in the house, of course, they listen to majority of the shows because that's what they do. They like it. But I can never know. I can never tell who who stayed with me for the whole show and who not. >> Let's talk about a little bit about the competition shows cuz I remember really getting hooked to to your to your radio show from America because obviously we don't have the radio so we have the internet with the videos and the clips. I really got hooked when you did Hakaba with Davi Fadida. Uh when you partnered with them to do Hakaba um because we also in America we had a singing competition didn't last too long but but now in Israel like Hakola Khadash all those competitions are like really really popular. How did that start? >> That it's very very interesting. I don't I again it's probably the mentality because um in Israel is very popular. I I I I was the first one was not my idea. I took it from the goish world. Um and I started a colaba was before also we did something smaller but and then we did a colaba it's in like the next voice or whatever you call it. Um we we're already the fifth fifth season I think. >> Yeah. >> And all those singer whoever came out from those shows are 99% are singing today weddings and making panas very popular. Mosha Klein the top singer. You know >> Yeah. Yeah. >> So came from my show from my my came from our show. >> Yeah. And it's funny because even Masha Klene, he he didn't necessarily was the first place. >> He was second or third, right? >> Yeah. Yeah. >> Right. That's a different thing. It's not always the one who wins of course the Right. But >> um then we have the Malinim that's the composers. Then we have the clanim that's the keyboards because very popular today in weddings. The clanim is very popular um thing. Um we had a talent show like a um mto. It's like a more talent show. people who play violin or da da da and um and one one more we had I forgot now. So the every Mo I have Moses Shabas my most popular music show is Mo Shabas every Mo Shabas for 30 years already 30 years consistent >> consistent all the singers come with the new singer songs albums shows music shows live >> but also I I always have an hour of reality competition there and again because of the industry of the music because as I told you before that's very popular so we're doing it a very we're doing we're doing but like you know if compared to Goisha TV or the Fria TV. It's like a it's very simple, not big budget, but there's I can't nothing in the in the Israeli media and the Jewish media. Nothing >> that got even close >> to the ratings we had in throughout those seasons. >> Yeah. >> I mean, it was amazing and say we saw it the viewers and listeners and researchers and p it was amazing. People love it because we we don't do criticism too much. We talk throughout the music and everyone wants as I told you before, everyone wants to be a singer. So it's and I by the way I I don't understand why it's not such a thing in America. I want one day I called the owner of 246 and I told him this. Let's do it together. Let's do something big in America. He said, "Wow, what a great idea." Then I saw he did something in a small in a camp or something and he told me that he got people I think rabbis told him about against it. I don't even know what happened in Israel. We don't have it in Israelim from Zatal all the biggest were with us and backed up us and they knew we're doing it for a good good good you know people between this dar and yeshiva it's okay if they watch listen one hour to a competition you know so it's a different mentality even though it sounds so-called an American is like more open but in this field no because he said to me the guy from 246 after he put it People called me they're going to ban the app Lakewood everyone tries to be bigger more bigger than you know no one could be bigger than that he gave us the okay no one could be bigger that said you have to take the the technology and make it kosher but always there are the smart people that think that they know more okay but maybe the generation maybe the youngsters in America they go to different things or maybe there's different They could do, you know, everyone has >> other outlets. >> Yeah. Everyone has their uh challenges and America is very very good in Israel. If you don't give those people to listen, if you don't give them a pon a solution for their time, for their hours in yeshiva, but there's no internet and there's no sports and there's nothing >> and they they're pure. They don't use I don't want to tell you what here now you know not alcohol and other other things in Israel the people the yeshiva guys are glut if you don't give them something that they so they right away could change to a different station to do no and that's why called me one day not him one of these people and they want to listen for me how do I get how do I get to to the youngsters to the ears of the youngsters and also I he gave me so many blessings because they knew that the this generation they need it. They need something to loose a bit bit after they learn the whole day and they build the whole world with the Torah. They need a bit one two hours of excition. It has to be kosher. Not not only me and that's why it's very popular in Israel. All those competitions are very very popular. that's not in America. You know, >> it's so interesting you bring that up because um like one of the the mo the big the biggest uh audience that listen to my podcasts are bakim bakim and yeshiva you know like bakim that cuz this podcast we deal with all different mediums of from entertainment whether it comes to singers or the radio shows but also with videos like I've interviewed uh Yehudvice on this on this podcast also and the bakim like I don't know what it is but the most the biggest feedback I get are the bakim more than any I get I have more bakim listening than the the kids that are below bar mitzvah, the parents or or or you know what I mean? Like I and I think it is that mentality of like something that that could hook them after they're learning all day or after they're focused and she listen >> very important. Nice. Good. Yeah. No, now now these days they're podcast and everything so it's easier but but um it's very important. Listen, people need these days, especially our crowd that they you don't you don't you don't want them doing not good things, you know. We want them to listen, you know. So, >> to find them, you you can't just put your head in the sand and say, "No, it's not it's not going to touch us." No, these days, >> you need to have you have to come back with a with a a tactica. what to be, you know, >> how to be prepared >> strategy, how to be >> how to be ready >> for the for the outside um you know uh from the outside sources that could affect and and harm and I hope my English is okay. Sorry, my it's English my second language so I hope I'm okay. >> Yeah. Yeah. Yeah, you're good. By the way, you're doing better than I did. I was talking to Golvice and my Hebrew was the second language and it I totally get it. Um, so it's an interesting point that you bring out. I'll give you an examp um so for a long time I only put it on you all my stuff just on YouTube and people were saying oh you should put on Instagram other stuff for a little bit like like cuz out of every every platform on social media that from you didn't look at is YouTube more than anything right >> so I was like you know I was hesitant whatever eventually like you know what let me try putting out stuff on Instagram whatever and then there's also Tik Tok which which in the front world is very very very very controversial right and I was also hesitant to put on and then eventually I got to a place so you know I'll just put without using the app so there's like a thing where you could put in a third party it puts it for you so you don't have to look at all the list and everything um in I was in Florida and a te a a teacher with a high school student so these are students that didn't make it to a missa or yeshiva kane ora they didn't make it to yeshiva so they went to a high school of like a from high school and like boys were like, "Oh, I see your stuff. It's so cool." Whatever. And these boys like like like my stuff is probably the least interesting thing they'll ever see, right? Like like they like, "Oh, [clears throat] I saw you my feed." Their teacher came over to me and I told the teacher like it's so interesting how they know my stuff cuz my stuff are not necessarily the things that they are looking for, right? And the teacher said told me something interesting. They said the one minute that they see your clip is so much more uh it's so much more it's it's so much more powerful. And thank God they didn't spend that minute looking at something else even though they spent a whole hour looking at other things. Lavo what we know what they look at but that one minute out of the hour the fact that they look at your stuff is much that in itself is an effect. >> Beautiful. >> How much how much more is it when we're doing like what we're what you're doing with a radio show that goes in hours and hours. >> Beautiful. Beautiful. Right. Exactly. >> I wanted to ask you because the most entertaining thing about the competitions is not just the competitors but also the judges. Um, I love when like when the first season of Akaba I feel like was the best assemble the first season and second season of the of Judges because you have like like you have people from like oh that goes very technical and stuff and then you have soalam that used to go like very broader in the music space and then you have that goes very mellow and and like like fbranging about a little bit. Um, does it surprise you whenever you like get the feedback back from the judges and like when you're at when you're hosting these things? >> Um, no. That's why that's why I picked those judges because I wanted because ever listen if I would tell you I think 70% of the singers tried to be judges but I always say that because you know I don't know how to sing I have a radio voice and also and that's why I could tell you that most of the singers do not know how to also give interviews Um, it's okay. They don't have to. Hashem gave everyone their talent. And that's why it's very hard to pick figura figura. How do you say fig figures? Mandal someone that people listen to what they say. You know, you just can't bring some kid to be a judge. And other side that also need that he has to know how to talk and what to talk. And we found some that that's my challenge by the way. Okay, that that's that that's a challenge also usually finding I sometimes I find listen this last competition I had Malin was very popular but one of the judges was very boring and I I couldn't hear I didn't want to hurt him so I didn't know what to do so I brought some some fifth judge in order to make it and Davka him I brought very funny one that you know to balance it but uh yeah that's a that's a challenge to find the judges and they get feedback of course and of course they're a huge part of part of the success. >> Yeah. And I feel like also like for me I always find it I always surprise myself that there's like I go into the competition and going Yeah. I like after like going a few episodes I probably agree with that judge more and then all it takes is that one uh like one uh competitor to come on and the judge that I usually agree with say something that I don't and then I all of a sudden it agree with a judge that I don't usually like agree with. you know, like the dynamic is always changing. >> Yeah. I'll tell you a secret. People think that there's this there's a writer and there's, you know, a whole uh uh writers >> a script. >> Script. Yeah. Script. Exactly my friend. Everything is imp, you know, everything is spontaneous. >> Improv. >> Yeah. Nothing is planned. >> Also, like you can't write Adhan. No one could write Adhan. [laughter] >> Yeah, he's amazing. >> Um, also like it's also great that you have a different diverse uh like judges, right? So you'll have like whether it comes with the age gaps also with the generations, but also with the style of music, you know, you have like the Oh, and then you have with the Kazan part of it, you know, you have like very different genres of singers in that stage. >> Right. Right. this coming winter we're doing something very very nice different and um wait it will be something very nice >> nice um I also want to say thank you by the way for doing the for the composer competition because >> everybody always talks about singers >> and a lot of times they'll talk about I'll talk about composers like Yussi Green or AB Rottenberg and Mel allow for but very rarely nowadays with newer singers and new productions does anyone ever talk about the behind the scenes the arrangers the producers the composers so I feel like that what was great about Malanim it was bringing that out in the music >> that those compos that that's what they felt I didn't do that for that I did it because I felt that this generation the the new style of music is uh we call it the Shaibo style um that they compose their songs the singers no more there's no more songs of Yosi Green and Mosha Alfrey they did Pale Pinky Weber I mean there are songs but the new generation are looking for someone young who this is very important because it's very right it's who who compose their songs and write the words the lyrics of their songs and usually they don't have to have the best voice like is he doesn't have the voice in the world. But when his song comes out with like Green is a good example in the in the Yiddish world, but also him, he doesn't have the best voice in the world, but his produ his his mutal his project is compos composition singing lyrics because he writes it for himself and he composes it. And that that's this generation that you have David and Kempe and is of course and Mosha Feld and of course also in America you have and maybe different singers that they write of course they write they write and compose their songs and lyrics. Some people help them maybe with lyrics and whatever but it's a different thing than used used to be that you have a comp composer a singer and an arranger and if it's lyrics so someone who wrote words >> this changed it's a Jewish music went to a different step used to be car and a rock and pop and everything now the generation in Israel the music here went to a personal And also it's very good because you know one of the guys I forgot who told me listen we saw we we know the whole we also want to write things that we feel these days or we're we're challen our challenges with the with the questions here and with the with our what to do here with the it's very important you know so that's why they write words and that's why the whole music is different today. So when on our last season, season 4, it's amazing. Everyone there, everyone there came with the words, but they they sang. So they sang their words and their and their compos and their their composition. And that's that shows the the change the shinui. So, uh, it's a it's an interesting aspect that you're bringing up. The idea that that there's a in a way the music of a per of a singer that does from A to Z himself is more intimate, right? There's there's it's more it's more personal. Right. And then also also um that's just in general like like there's something about music and meddling and composition that it goes deeper than just words. So when you have a singer going deeper with his own composition, his own inner feeling in that music, it just brings >> feeling and he knows exactly what he what he thought about he thought about Pigua or >> his kids or it comes from very personal because then it's different than what you we used to play throughout the years that Yosi Green sat on with this amazing talent and composed Zamir Shabis is mirror. It's very nice, very holy, very important. But the singer didn't have to connect to those, you know, to those words other than it's a regular Jewish nice kosher important holy words. these days with all everything what we're going through here in Isl of course so many things around us that are it's the singer sounds 10 times better when he sings his words and his composition of course so that what that was our last reality competition we took comp we we we we did tests we We found compos composi composers. They came with their composition and we and we found some good talent there. Very good talent. It's also interesting that um that's also probably why the singers that do from A to Z their own stuff, they're coming out with the music faster, not because they're rushing it, but because the the hardest part of putting an album together is finding the right song. And finding the right song means something that the singer really connects to. You have people like Aan Freed and Benny Freeman and David Yakushwi. They have a very high standard of which songs they connect to, right? Because it has to really feel it has to be really deep and how you're supposed to and and therefore it's harder if you're listening to demos and compositions from other people as opposed to let's say and that are playing that they're coming up with their own songs, their own compositions. They click with it right away, >> right? I also wanted to bring up a few things that you did uh with uh films whether you like your cameos with you the girl vice or with uh uh I forgot his name but when you did when you were the radio host in that film uh do you enjoy being being like because it's like pretending to be yourself but then you're being not reality in these things you know what I mean? Uh, no. I did it as a favor to those guys. Uh, was a was a director and also you grow nice guy. He called me one day. I said, "Yeah, come to the radio." No, just it was fun. It was nice. But that's not my my I'm not good in being an actor, I think. Or maybe yes. >> What do you think about when it comes to the Slatim when it comes to From videos? Because it it really had it ups and downs over the years when it when it came to its popularity and and the things. Uh what do you think like as opposed to like music or radio shows or or there's no videos there's no movies for Israeli for Jewish for from people in Israel >> today. >> I mean there's Yoda Gul he's putting out stuff now there's also Fleman he's putting out a few things >> I forgot his name but he's doing stuff with and and stuff like that. >> Yeah but they're not aiming only to from people and the the industry is not so big. It's good to take like a hall and they show it to woman only women or only men. That's it. But the industry is not big. It's a waste of it's a lot of money. Cost him so much money in order to do it. And um I I used to have you know what is >> Oh, I wanted to ask you that also. Yeah. So that was a different me and Grovis we we basically brought in the the the visual media into the crowd 25 years ago was before it needed even the internet but then it stopped because internet came the YouTube and no one know needs it now but now it's a waste of money to produce a movie and if you want to you know you need the money from the you know you think of of an income from the people no chance you know But I wanted to also bring up because you because practically opened up the world of music videos, right, and visual with music like you you you for sure did the first Leapa music video, the first AA freed music video, you know, like all these like >> where did that come from? How did that start? Someone someone met me at the the gas station. He told me, "Listen, Docker, let's do something amazing. I just bring out DVDs, CD ROMs if you remember. >> Yeah. >> Um those. Yeah. >> Yeah. We'll have a talk show, an hour talk show. I'll be the host. Singers said, you know, nice interesting stuff. And uh it be I said, "Okay, now why not?" It became so popular. We did a 100 shows. It became so popular. Not even one house. All the houses in Israel had it, but was not a was not a business. They had no business. Um, I think the American way. It went Israeli way. No, you know, no business plan. Okay, now they're going to put some money. Now they're going to have an advertisement. Let's sell it for five sheke. There's no And then it went down. The they didn't have income and side by side the the YouTube picked up. uh and the Jew from websites. So it was already we did it and we stopped we stopped as I told you in the beginning we stopped after we were high but popular but there was no and because we were first of course in that also not me of course the whole crew so whatever we did was first >> the singers the interviews cheap production but very very popular because that was the only thing that that they watched. Now everyone has the social media, the websites, YouTube. Okay. >> That was then. >> Yeah. It was really like a like ahead of its time, you know, like definitely. And and also like the idea >> like I always grew up thinking that the father don't cry music video of a free was the first and then I someone told me did you ever see the sky a free video? I'm like what? And it's adabet from 19 when was it 9697? I'm not sure when it went, but like >> it was No, it was 2000. >> Oh, 2000. Okay. Okay. >> We started. >> But like the idea that like there was a Adaba music video. Like it it was so cool. Like I did a reaction video. I can send it to you later. But like like someone mentioned I'm like what? And I looked at I'm like oh my gosh. Um >> we were you said it you said it the right way. We were we were in ahead of it time. made a lot of happiness to people. very popular and been that how do you say been there did >> been there did that >> been there did that yeah [laughter] that's been there did that >> people all over the ever wherever I go hey let's bring back but it's not now the I it's not the it's not the crowd it's not the time it's not this time now people went to reality the social media >> uh so when when you because you've for over the 30 years you've done the radio stuff and then you did concerts and now with the age of social media you're also doing a lot of clips and like whether it's like I'm not sure what it's called but like the basically the carpool videos with the >> singer auto >> oh there you go yeah >> yes exactly and then you're also doing stuff where you're checking out places and and stuff like that um did it become natural for you to because when you're on camera you basically have to put your whole presence not just your voice right Hello. I'll tell you what. It's it's interesting because the kite that you just told me now was my biggest school teacher to go in front of camera sound visual. How do you how do you stand here? How do you listen? How you move? Because we didn't mention it, but over 13 years I have a weekly TV show at the secular number two TV in in Israel. It's called channel 13 very lefty very very secular but I have there an hour weekly hour Friday afternoon with a studio I bring them nice um vision of the yad I have every week from different place in the world comes on zoom I bring singers food kosher food I show the secular the nice perspective nice face of and religious it makes very big very big it's not very popular >> but it's consistent 13 years already I do it and that's that gives me a lot a lot of experience I'm the only one in Israel who has a kipa that has a show talk show with my name it's called my it's my name and and I'm hosting it alone and for in 60 minutes each Friday and it's gave me a huge experience that and how to be in front of cameras because my talent is radio but I got success so that's why I use it if I have commercials or advertisements or go check here or if reality is nice I I try also to be in YouTube a bit to show I want to you know I have a nice nice uh YouTube channel um to be update also there and to do a few things a lot of things I'm not going to do but But I I will I like to be everywhere. You know what I'm saying? To be to try everything to be and the visual medium. I got the the the experience from through channel through the TV and that's why it's it's easy. It's it's not it sounds maybe but it's very easy for me the the camera system the video to you know but but also like I I always like tell people how like also when I speak to like actors that act in in in animation anatimia I'm not sure what it's called anatmia um uh films that like it's a very different ballgame when it's their voice versus their body right because it's it's so visceral and visual Um, and it's it's very different, but it's also fun. It's a lot of fun. >> It is. It is fun and I like it. And um, you're good, my friend, you're very good. [laughter] >> Really fun. >> Thank you. Thank you. Um, so I wanted to ask one more question before we close off. Um, I always like to ask my guest uh what because I the one thing I like to focus on the podcast and on the channel is the idea of good quality from entertainment. So I always ask my guests that have been in the industry in all different types of mediums of the industry, what is something that right now we are not necessarily lacking but we're that we're just tipping the iceberg that we could do so much better in from entertainment. Of course, of course. Video and and TV show. I don't like the word TV. It's too >> dry. But I mean >> video video shows like talk shows and reality and a lot of late night a lot lot of things, competitions. Of course, the the the Jew the religious world in Israel and in America are missing that field. Um, and that's and I hope that but but it's budget-wise. So I hope I think I'm sure I'm sure it will be one day. I'm sure one day we'll talk and our kids will see a huge religious channel. Doesn't have to be TV, but a visual channel. And um I think that I think that that we have to improve because the generation is there already, you know. >> Yeah, 100%. I I do feel like that >> doesn't have to be a channel, TV or YouTube channel, whatever, but it has to be some like not just someone s Hey, I'm over here. Look, check I also do it. Okay, look, let's check out this restaurant. Let's go. I'm talking about a professional like professional shows, professional video visual shows quality video. There's no platform. the the idea of not just not just the actual content but the visual way of just upscaling it in a way. >> Yeah. And the content of course too. >> Yeah, of course. For sure. Uh, it was so nice to talk with you even though we're in uh we're literally in the opposite side of the world and the opposite side of the clock. >> Where do you live? >> In Myrtle Beach, South Carolina. >> South Carolina. >> Yeah. >> Wow. >> So in America it's like Florida and New York are on on top and bottom. I'm in the middle. >> Nice. Nice. >> Yes. And uh Yeah. Thank you for your time and we had a I had a great time with you. >> Yeah, for sure. And I always like to tell my guest uh when I end off an interview, thank you Minim for being part of my childhood. Uh whether it was in in the radio shows and then in the singing competitions and then especially also with the uh with the uh uh in general just being part of like that industry and being an inspiration for me as a child that now I like to pursue these things and bar hashem I'm in that space you know with the podcast. So I like to thank you very much for being part of my childhood in that way. >> It's my honor. My thank you for listening to me and uh I did a good job. Look at you popular [laughter] you know. >> Next is the next is the haircut after the haircut. >> What does What does the word hair mean? I don't know. [laughter] >> All right. Thank you so much and good to meet you.