"Voice of Jewish Radio INTERVIEW" Nachum Segal - The P'nimius Podcast with Uziel Naparstek

All right, Remigo, before I start, I need you as an MC yourself. I need you to rate my intro for you. It's a pretty It's It's pretty uh uh intimidating for me. Usually I'm intros, no problem. People go, "Yeah, it's cool. Okay, but like you're the you're the pro, so I need you to tell me what you think." >> Oh, boy. You're really putting me on the spot. >> It was You have good questions. >> That's a good question. >> I mean, look at you. You're you're you're making me mistaken over the internet. >> You are listening with the previous podcast with New Zealand Parsons where we go deep with people from our childhood. All right, we're here with the man, the voice of Jewish radio. You may know him from JM in the AM or the Nahule Network or the one that has for many years have introduced and hyped us up for the many many concerts and events for Jewish music and beyond. Without further ado, the voice of Jewish radio, Nakam Seagull. >> Thank you very much. Quite a job you did. >> You all right? Now, now if if we were if I was together with my boys and we were sitting around the dining room table, we'd probably spend the next 30 minutes analyzing and dissecting every nuance of the introduction that you just made. But you you thank God you don't have to sit through that. I'm not making you sit through any of that. We'll get into the aspects of uh especially with MCing and stuff, but uh the whole idea is to get to know you more also from behind the scenes because not many people know your your your backstory. So uh when why don't you start off with telling us about yourself and where your background is? >> Um well, I'm originally from New Jersey and the fifth of six children and pretty prominent parents. Um, my father was the rabbi, the young Israel of Newark for many, many years, the largest, at that time, the largest Orthodox synagogue in New Jersey. And, um, always lived in Jersey until I got married. I got married um, I moved to the Lower East Side, still living there with my wife, Bar Hashem, raised six children, uh, none of whom are still home, so we're empty nesters. And um when I went to college in 19 uh 81, my mother said to me that the university where I was going has a radio station. Check it out. It might be something you'll enjoy and always listen to the advice of your mother because I did in fact get a shift at WUR, the university radio station. And then two years later, somebody was desperately trying to find someone to take over the morning show at a radio station known as WFMU, which had a Jewish morning show. And they happened to call you University. As if anything happens, you know, by coincidence. They happened to call you University. And the person on the other end was a mentor of mine who said, "I'll have someone for you in 20 minutes." And the next morning, error of Russ 1983, I was on the air. And that's >> what was your feeling when you first went on? >> Oh, I was awful. Um, in fact, Howie Bramson of Blessed Memory, who I'm sure I mentioned in my book, um, I owe him a tremendous debt of gratitude. He was the general manager of WUR. And I had finished my first show and thought that not only was it horrible, but said to myself, okay, this this experiment does not deserve any further treatment. and he came over to me, you know, just right after my shift and said, "You did really well, you know, for the first time, and don't listen to the tape of your show tonight. You know, listen to it in a couple of days. Let it simmer for a little while and uh and keep working because you have some really great raw talent." And I don't know if I would have quit that night if not for him, but but that was one of the most important encounters in my life. >> Wow. Do you somehow feel the same um feelings or more like the more anxiousness or like the preparedness that you kind of have from when you started or do you feel like you're more comfortable now? What's it like to balance? >> Yeah, I wouldn't say it's like when I started. It's It's not nearly as nerve-wracking, but I do say that uh even though I've done thousands of shows, I uh I still have a tinge of nervousness and anxiety and excitement, a combination when I first go on the air uh just after six o'clock every every morning. Uh some people find that hard to believe after 40 plus years, but it's a reality. And thank God it's a reality. I always tell my kids, especially before a concert performance, I say, "If I wasn't nervous, I'd be nervous." uh concert performances till this day, you know, completely ruined my day. I mean, everyone knows stay away from me that day because until I've said my first words on stage, you can't talk to me. Um which is pretty unbelievable. But even on radio, it's um you know, the excitement, the rush, the that hint of anxiety, the nervousness, the you know, knowing that this you have a threehour road ahead of me, a road that I absolutely love traversing on a regular basis. Um, that feeling is still with me every single day. >> And what's funny about that is that like it's not like in the radio you're in front of thousands of people that are staring at you or anything. You're just like in a booth with a mic and like to to people like listening it's like so what? But like you won't you can't really tell until you're till you're in the moment when you're in it. >> The reality is it's much much easier at a live performance to speak in front of 10,000 people than in front of 10 people. much easier. >> Really >> the Oh, 100%. The radio component is interesting and I agree with you that, you know, one would think based on my theory that the radio would really be nerve-wracking and that the appearance, you know, in front of thousands would be much easier to deal with. But this is, you know, I'm not saying there I'm not saying they're that similar, but this is the the way it is that the larger the crowd in person usually the easier it is. Although I would I will say that the that the rush the um the excitement behind it is probably a lot more and that might actually help outweigh the nervousness because when it's a big crowd, you know, the crowd helps carry the energy of the room and that's only helpful to the person on stage. The 10, 20, 100 people is more of a challenge. And the radio thing is just a little bit different. Like yeah, you don't know who's out there and you know how many are listening and where they're listening and stuff like that. But I don't know. I think in my head the default always is that there's just a lot of people in a lot of places who are tuned in. If they're not tuned in now, they're going to hear it later on during the day, you know, when they play the archive or podcast at a show. So yeah, it's it's like I said, we could spend the next half hour analyzing this. That's that's how I would break how I would break it down. Um, would you say that uh because you have you're one of the only real traditional Jewish entertainment that kind of transition with the times from when the radio is happening to now with podcasts and with and with the streaming uh uh components? Uh what would you say is the major difference of how you approach each show as opposed to how you started or at that time to like now? Is it the same and it's just a different platform? Is there a different calculation how you uh perform? >> Uh I think well well one of the big differences is that um you know in the old days so to speak the 90s early 2000s I assumed that if I would say something that I was revealing on the air most people would not have known about it already. And I can give you a million examples of that today. If I reference something on the air, chances are a large percentage of people have either come across it already, have seen something about I mean, there are a lot of people who still are not focused on Jewish stuff and aren't really uh that into the news of the of the community and of the Jewish world, but but a lot more people have actually, you know, come across the news item. Um, and I think that that's a very big difference. I think that um that in many cases my role including with guests, maybe even especially with guests, becomes more of a news analysis and and shining a spotlight on what's happening than actually giving the information. People may know about an event that's going on, but they'll hear me and speaking to, you know, to the organizer about what they're really going to be doing as opposed to just a social media post and that might entice people to, you know, explore the event, find out more, give to the cause, whatever it might be. So I think that's one of the big differences. Um and then I think there's a general difference between podcasting and broadcasting. I mean the reality is that uh you know not nothing against the podcasters but the reality is that I have to be prepared every single day to present a threehour live show. You know combination of a whole bunch of stuff that's got to be interesting or at the minimum engaging. uh you know no matter what mood I'm in and no matter who the lineup might be and no matter what the news might be people are now I mean at this time we're speaking in the middle of June people are now tuning in just to feel a sense of community because they're so nervous about what's happening in Israel and again we're not breaking news but we are you know giving certain messages and reminding people about certain things that are important to them and they want to feel part of the whole thing so I I think all of these elements that have always been there you know some of them are now more emphasized like the whole community feeling and others may not be as you know as vital to the whole operation. And then and then there's the final piece and that's the um the fact that now it's global. You know I used to be a local radio show that really you know someone tuned in from Baltimore because of the different methods we gave them to listen in over the years including phone lines that you can call etc. Um the reality was the show was geared to anybody who's in New York and New Jersey. It didn't bother me that, you know, that the people who are listening in from other time zones were hearing about the local snowstorm because that's that's sort of who was made for it. Now, I think long and hard before I speak about the New York City mayoral election because we do still have a tremendous base and backbone of the show in New York and New Jersey. That's where the bulk of it is. But the number of people now who are listening around the around this country and around the world, I mean, we we listed off just the cities in Israel that we know of that are tuned in on a regular basis. And that's just Israel. So, I think long and hard about the fact that a percentage of the audience that deserves to be, you know, frontline listeners are going to have to listen in to, you know, a New York City mayoral primary discussion, which is very important if you're living in New York right now. So, I I think that the globalization of this show has been a big factor as well. >> I remember every morning waking up getting dressed to ready to go to school and I would stop by my mother's my mother my parents' room to like hey like whatever just in general whatever it was and my mother had on on the computer in her room blasting loud the jam in the AM every morning and I I don't really remember much of the show. I just always remember JM in the A.M. org and then >> well you have you obviously have an amazing mother and uh >> and look this you know it's funny for for for a generation and I say that unequivocally I think it's beyond that as well to an extent but for a generation JM was the soundtrack of the Jewish world I mean that's the you know that's the bottom line you know you couldn't have lived through the 90s and early 2000s or those 20 years you couldn't have lived through it as a kid and not have known, you know, the voice, the routine, the jokes, the format, the timing. Yeah. >> You know, it was it was part of everyone's existence. Uh, and that still goes on. But, you know, try to convey to a teenager today. I I had an encounter I had an encounter where I was in a restaurant and a woman was dining with her what seemed to be like an elementary school kid with her son. And uh I was speaking to certain people at one of the tables and as I'm walking toward the door, she says, "I knew I knew that voice. It's it's you, you know, Nam Seagull. I grew up with you." Okay. I said, "Try to convey to him," pointing to her. So I'm trying to con significant that is. He goes, "Yeah, I'm trying I'm trying my hardest to tell him how how important a rendevu this is, but he's not that impressed." I go, "Yeah, exactly." Uh what's also interesting is that like your voice is very much like um well I'm well I'm telling you because you obviously know what your voice is like but but like it's very like prominent and it's like very like it's it's more than just like a conversation with like a guy just talking. your voice really brings a more of a an aura or like a actual like some sort of uh like like it's as if like what you're spotlighting is as important and it could be like something minute of like you just saying quickly an ad or you're actually talking to someone important there you saw whatever it is um is that something that you always had and you just brought it in is something you built up >> um I mean I think there's always been some drama to my voice and thank god it's a pleasant voice to listen to thank god thank god thank god um and that's a very important part of it. Uh but I would say that you know once I once I established the recognition that there was some you know raw talent there um then then through you know the different ways that I present you know whether it's on the air or in a concert environment you know through those different ways and the words I use and the pace and the and the um the cadence uh and the you know the tempo. I mean, all of this, you know, are such important elements to I mean, if I was asked to record one line, I really could spend hours just figuring out. It's like a comedian, you know, comedian figures out exactly the right word, exactly how to hit what he wants to hit. And that that's what it is with this. You want it to be, you know, as perfect as possible. And I have 9 a.m. regrets every day, you know, meaning that, you know, something there there's something I would change about the show every single day. And no matter what, you can record me doing an announcement now or tonight and and even if it's perfect and even if the hamone who's listening to it says, "My gosh, you hit it out of the park, I will find for you something that I would love to improve on." Which is good. You know, it's it's a learning experience. >> Obviously, there's a difference between you do from radio or from a concert because in a radio, you're more in your elements. You're you're sitting down. and you're like almost like lack of a better word hanging out with the guys on on the radio and then on the concert it's more you're hyping up the crowd and bringing it up. What would you say is a major difference between how you approach performance-wise in radio and shows that people don't know or don't necessarily pick up on? >> Well, I think it's beyond that. In a live concert performance, you're you're trying to manage the crowd. You want them to react at certain times and in a certain way. And that's half the battle. I mean, you know, when you're with a live audience, you want them to, you know, again, you want to be you want to make sure they're malleable and that they can I mean, there there are events in our community which are very hard to control. Very hard to control. And I would never, >> you know, try to, you know, pursue that uh those events again. I mean, they're few and far between, but they're but they're hard. Um but but in a concert event especially when people are you know waiting with baited breath for the performers to start uh you know you want to be able to set the tone and to you create a certain type of excitement and you want the crowd to be you know very into what's about to happen and things like that on the air you know you could do that from today till tomorrow you'll have no idea how people out there are responding but I think I do have a general feeling that based on the way that I am, you know, speaking on the air or presenting a guest, you know, I think I can at this point especially, I think I can, you know, be confident when I'm able to keep the audience engaged. I know when there's been a boring interview and it may not be my fault, but but I and I know when I've like, you know, where where I've gone ahead and, you know, found some real diamonds that are going to make people just continue to tune in and, you know, no matter how late they are for work, they're not leaving their car. Um, you know, until the conversation is over. You've interviewed and had people on your show for years and thou probably over thousands of people that tuned in and interviewed whether it was an actual topic of the show or for ads or for publications. What is the thing that you would typically do if it came to a situation where this guy is really not the radio type? He's really whether it's good or bad just he just doesn't have the type of atmosphere that you would hope to have on a show. What would you do then? Well, the first thing I would say is that um you never know who is going to be good on the air and you never know who's not going to be good on the air. In other words, you may have a fantastic public speaker who gives great lectures, who presents really well in different types of environments. You have no idea how they're going to be on the radio. Be a fantastic storyteller and they'll be awful on the air. Can be an awful storyteller and be a great guest on the air. So, that's the first thing. The second thing is there's somebody in my world uh whose name I'm sure you're familiar with who always says that I can interview a wall. Now, that that's a great compliment, but I think the point of that compliment or that statement is that if I see that the guest is just not equipped to um to um convey what they're trying to convey in an exciting manner, in an engaging manner, that I could sort of take over things and, you know, not do their job completely, but you know, step in and and take over the role to a degree of guest and and make the conversation more interesting. >> Someone should make a a fun like video for YouTube or something of G you just interviewing a wall. That would be great. >> That would be a good idea, actually. >> Um, without going favorites or anything, but is there one really like conversation that's like this is this is this was the this is what my show was all about? Is there one interview or one uh interaction with a guy on the air that you had that made it for you? Um, I mean there are a couple of interviews that I think have been really noteworthy within the last couple of years. My interview with Jonathan Pard, I think I >> Oh, wow. >> went down avenues and asked him stuff that a lot of people wouldn't ask. I try to ask like the common man would ask if they, you know, saw him in a bar and sat down and just started smooing with him. >> Um, and there are other conversations like that. But I think the the bigger point when it comes to what I'm doing is that um in the same show in the same show we can have a yeshiva league sports update and an update from Israel about rockets falling in different neighborhoods and you know and and and of course you know many other things in between. And I think that that's a I think that I think that it takes it takes somewhat of a skill to balance all that and to make all of it seem important, right? Not judging, of course, the importance of anything compared to what's happening in Israel, but I think you get my point. And um and I think that that's really the bigger picture for me is that the whole free form slash you never know what's going to happen next slash he's live and it's worth listening in because it's a live presentation and you really don't know where it's going or how it's going to end up. I think that whole element is really the story when it comes to my on air career. >> Um you've done uh lots of shows and lots of uh airings. Were they all in the same studio? Have you moved along? How well what's like your studio background about a little bit? >> Um, I mean, I worked my first few years that I did the morning show was in East Orange, New Jersey, and then the radio station moved to Jersey City when I became an old digital independent network. Uh, I moved into what I had a New York City studio. That studio burnt down unfortunately in 2023. Um, and since then we rebuilt in New York and in New Jersey. And we right now have a mobile studio in Jerusalem. So the goal is to Yeah. The goal is to keep the the two USA studios and the one Israel studio or more than one Israel studio hopefully um going. These days, you know, studio building is not nearly the task it used to be as you podcasters know. So >> So it's not that big of a deal. But I always think location is a big deal. And being on the Lower East Side, the historic neighborhood in Manhattan, uh being in Tene, New Jersey, you know, very vibrant young uh community in New Jersey. I think they both have tremendous advantages to what I do every single day. >> You've also not only interviewed on the ground, but you also you've done shows on the air. In the air, >> literally, you know what I mean? Like in >> Yeah. Um how how does that work? like how what's like the technical practical of way of doing on the air on on LL or on any airplane when you >> right well we're not doing we're not doing those shows live they're being presented you know as as live to tape shows a few hours later but uh when you have but but it does require a very I don't want to say complicated but in an intricate setup because it's we wanted to operate like a radio show you know with headsets and with a music laptop and the standard laptop it's going into like we want it to look like a studio because we want the show to sound like it's you know being done in a studio not over a phone or something like that and just inserting music and stuff afterwards. So when you have a brilliant engineer and the chief engineer of the NAM single network for the last 20 plus years is ZK Zman Copel he actually built >> oh wow >> a small studio setup that fits right on the the uh the tray table. >> Oh wow. and we're able to actually conduct interviews as we would in a regular radio environment on the plane with Nefish benefish to Israel. So yeah, we've done a lot of lot of interesting things to say the least and that's among them. >> Wow. But it's like it's very because like there's tons of noise happening on the plane, people, babies, and and also pressure. >> The truth is that the the plane noise is really the only thing that disturbs us. You don't hear people. I mean, you know how it is. You're not on an airplane that's in the air. You're not really can't you don't hear your neighbors well, you know, even and the crying babies are not being picked up by the by the microphones. But it is the only time where we really do tolerate background noise. And that's the sound of the engine. It's really the only time. If that noise was going on in a regular show, I'd be running out in the street begging the guys to stop doing their construction. But but on the airplane, we tolerate. We think it it gives a nice avira. It gives a nice atmosphere. what we're doing. >> Oh, so you could be like, "And we're about to All right, we're on the air with Morai Ben David. Sir, would you like some pasta?" Sure. Yeah. Once. Yeah, sure. All right. I'm sorry. I'm just eating here. >> Oh, the staff knows not to bother us during that show that I can tell you. >> Oh, okay. All right. So, this is one of my favorite topics because I grew up with VHS's and DVD concerts where you were on like 80% of them mcing, knocking away. Um, h how did that start? The the the career of MCing. >> Uh, the story is in my book. There are a couple of people that were involved who are still friends of mine and who get all the credit for it frankly. But the reality is that um in that era when I was you know 20 years old 21 uh in that era there were a lot of Jewish music concerts like now where you know it's the the Jewish concert scene is limited or you know most of the performances take place in people's backyards or or uh you know or kumstances in their living room or the events are much larger now. Then there was a proliferation of concerts that were 500, a thousand people. Uh, you know, there could be there could be months where I would be working every Saturday night of the month at a different concert. So, friends of mine got me involved in it and um I was lucky enough to right away MC two very, very high-profile concerts. In December of 1983, I was the MC for the final concerts of the Diaspora Yeshiva Band. And those were big college book and college events that drew a tremendous amount of attention >> and that got my MCN career off to a very very big start. >> And um and then you know because again then the larger concerts began a few years later whether it was H or others I had the opportunity I already had you know quite a a good measure of of experience and people realize that the MC actually makes a difference with these nights. Um, and I was able to, you know, do the events in those big venues. I mean, it was um, it was the perfect storm. The concert scene had started to explode and I already had the uh, experience under my belt because I got started so early. >> I before we continue with the history with a lot of questions I have, but there's an interesting thing that I just thought about because your voice is very much like the like bringing in the hype and it's like here we are in Jewish music. Um, but then what do you do when you're So, how do you kind of tone your voice when you get to those concerts that it could or or events that are kind of more serious or the singer is more clums like? There's not there's not really much like like the Asie, right? Like, oh, um, but sometimes you'll have like the concerts where the main singer is a very much like a sitting down. So how do you balance when you have such a strong voice but you also want to set the tone that are not necessarily aligned with what you kind of bring into your performance? Yeah, I mean I think part of it as I said earlier I think part of it is is you know trying to match the mood of the evening and I think that uh you know when it comes to introducing someone who's about to do a big kumit set or is known for you know the more um you know the quieter music I think there's a way to you know to calmly introduce them and still have a pretty dramatic effect >> right yeah um one of the things that I actually realized when I was kind when I got as I got older is that the hardest part for the MC, tell me if I'm wrong, the hardest part for the MC is is is uh is probably the first time you go on stage, right? Because when when people are sitting there expecting like Yakushwi, oh, the lights are going down, who's going to be on stage? And then you come up and says, welcome. Like, who's this guy? You know, I mean, like that's probably the hardest part probably, you know? >> Yeah. I mean what makes it easier is because usually someone introduces me. So at this point that may have been the case when really nobody knew who I was years ago but now because of the name recognition etc. So if someone introduces me so you know people are like ah finally the show is starting. But I mean there's no question that the mo I wouldn't say hardest but I would say the most nerve-wracking part of the concert for an MC or at least for this MC the most nerve-wracking part is that initial announcement. Once that initial announcement is under your belt and you've done it, it just changes the entire tone of the evening. And then every time you go out, as you said, every time you go out, people are like, "Oh, you know, what's next and what's he going to say and how's he going to say it?" And, you know, does he have a special announcement? Somes we get out there and, you know, we'll announce a special donation that someone's making or a special prize that we're about to give away or whatever it might be or a special happy birthday wish. Um, so even on stage, you never know what's going to happen next. I think there is a measure of of anticipation, but that initial that initial rap to to kick things off is probably the uh the I don't want to say hardest. What did I say before? The most um >> essential. >> Well, yeah. I mean, the most aggravating. >> Yeah. So, what would you say is the hardest or the most essential for an MC in a concert? Like at what point in an average concert? Uh, I think the hardest part is the emergency situation. When we were asked by the NYPD to make a certain announcement about someone who was missing at one of the HA concerts, that >> that takes some thinking about whether to do it, how to do it, and when to do it. >> Uh, I was I was minging an event um a Holocaust memorial event where someone collapsed in the audience. Now, now again, what what do you do? Obviously the program stops. Everyone sees Hot Sullah's racing to the front of the room. But now there decisions to be made. Is the event over now? Is is the coalation cancel? You know, like and this has happened to me and this is, you know, the real life situations. So I think the unexpected is um ends up being, if you're going to use the word hardest, the unexpected ends up being the hardest to deal with. And then once you once you get the green light to continue the show, now you have to get the crowd back into the show. >> Well, first of all, the green light often comes from me. Very often they'll turn to me and say, you know, you've done this a million times. What do you suggest? So very often the green light comes from me. >> Um yeah, once the once a decision is made, then it's easier then. Okay, now now the assignment's out there. Now let's just go do it. You know, that type of thing. >> Wow. Um, so now let's get into like the different concerts because you've done many things. You've done Hasks, Miami Experience, oh concerts. I mean, you've done like the OG like like huge like like like prominent pillars of Jewish concerts out there. Um, >> lots of big events. >> Yeah. Um, so I want to get into the hasks a little bit. Um, what would you say is like the thing that like cuz you even out of all the concerts I kind of grew up withing, it feels like H is like the one that everyone just every Jewish singer and and production manager, anyone that works at H, they just say like H is like something different. What to you? What do you think it is that gets everyone still today going H has concerts is the thing? Well, I mean, first of all, first to market is a very important element. That's just uh you know, that's the reality is that they were the first of all the big concerts. Um they're always in they're always in some type of exclusive venue, which is not always the case with other concerts. They'll always make sure that the atmosphere is an elegant one. Um large crowd, you know, I mean, again, they're not, you know, I'm not talking about Madison Square Garden. There have been concerts there, but it's different. It is a different atmosphere than going to the garden or even the theater of Madison Square Garden. Um, and there and there's a history, you know, when you're in Yankee Stadium, you know that quote unquote Babe Ruth played there. You know, whether he was actually in that building or not, you know, is is, you know, is not important to the discussion. And I think the fact that you know this is a stage where Morab and David and Aram Freed opened things up the very first year and set the tone and where Kalbach and Ben Shanker and Joamar and uh you know they at some point they were all there and I think you know the history is is critical you know Di's no longer with us he made a name for himself on H Pmenta is no longer with us he made a name for himself at H and there millions of others obviously but you know this is you you think of those memories when someone leaves us and and invariably it's going to be to a H concert. Um, >> yes, >> I like I I'm right now every Tuesday I do this live stream and I react to like longer forms of medium with Jewish music and so like that's the time to watch the concerts and unfortunately not all concerts I've watched but just every time it's the first five minutes I'm just in and I I just can't explain it but there's some a when it's just like it's more than just like AB Romberg on stage it's like oh it's AB Romberg and H it's more than just Morai David at a concert it's Morai David and H I don't It's just something that just adds everything to each performance and and it's it's it's a such a feeling. >> I think you just said it. I think you just said it. There's something about again, you know, you could play basketball anywhere, but Madison Square Garden is Madison Square Garden. You could play baseball anywhere, but Yankee Stadium is Yankee Stadium. And that's just the reality, you know, and and and the H concert, you know, beginning with the H ads and in newspapers and now in, you know, social media and and, you know, and building up to it and conversations about it and, you know, and then of course, you know, will there be tickets available, you know, the whole the whole thing, the whole buildup becomes an event in of itself. Um and you mentioned AB you know the majority of new songs that AB has created meaning thematic songs have been for ask you know those are you know those are the concerts that you know again have elements whether it's videos or special songs you know that most other concerts don't have and if they do they're just taking an idea they saw it as >> Right. Exactly. >> It's it's crazy and and just the whole ensemble was crazy. Um, Shio Mendoitz, he he always what he set the theme for H is that every year was something different. So whether it was like H seven with the musical or 25 with the duets, uh, whatever. It's just like every H concert had some sort of theme. As an MC, can you recall one of those type of concerts that was kind of challenging for you as an MC if whether it was the duets or other concerts with different themes? Yeah, the mosting the most challenging was uh there are medleys that have been performed at HS >> at least two that come to mind where where in between the songs that the artist is doing there is narration that has to be done and if you're going to do >> Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. >> If you're going to do it, you got to do it right. And invariably again and and this was a moment I was with Shia uh at the first Hall of Fame concert. Um and and I I was stuck in the middle of a medley and couldn't hear what was going on on stage and I just guessed and I guessed right and it was, you know, like I'm saying to myself, you know, 40 years later, if you guess is a good shot you're gonna get it. Um but yeah, look, he brought to he brought to the whole Jewish music industry, the things I do till today that were, you know, that that were his ideas or inspirations or innovations. He was a very very creative guy, a wonderful friend. And um he always thought that Jewish music had potential that um that nobody else thought it had. The unfortunate part was that he was way ahead of his time. you know, there was a lot of things he dreamt about, a lot of things that he insisted we could get done as a community in the world of Jewish music, >> you know, didn't happen till now. And, you know, he saw it coming, but and we didn't. Many of us did not see it coming, but he saw it coming. And, um, and I wish he'd be around to, you know, to really enjoy it because he did he did enjoy the success of others in the industry. That's one of the things about Shia. >> Yeah. He wanted to see everyone be successful and if he saw some of the things that are going on now in the world of Jewish music, he'd be getting tremendous nas. >> Yeah, for sure. Um, was there a specific hand concert that comes to mind that it was like that was such a great one to such that was an evening. >> Which one? The hand concert? >> Yeah. Was there one particular that comes to mind that like that's like that was a really good one. Like that was >> um Yeah. I mean, I you're going way back in time with this one, but and there were others since then. I don't want people to think that all the good stuff was done early on, >> but HP 2 was a parade of Jewish music rates >> and done really well. Done in twominut segments, rapid fire, one after the other. It >> it was just done and presented really well and, you know, to their advantage. It was an idea that, you know, you would never have seen before in those days. Now it's, you know, now we tend to think we've seen it all. Um, so that that definitely comes to mind. Um, I'm trying to think of the more recent ones. I remember I don't know if it was 30 or 31. There was a set I think Ellie Gersonner was producing the event. There was a set by Yakov Schweki that was simply unbelievable. >> Yeah. Yeah. 2930. Yeah. Yeah. one of those. >> It was either 29 or 30. And I remember saying to myself that I may have just seen 20 of the best minutes of a H concert. Now, it's not to say that, you know, there aren't other 20 great, you know, 20-minut segments, but there are times, and I've seen Rainbow do this also. There are times when someone is just so on and the crowd is just so perfect and reacting so well, and you're a diaspora. Diaspora, it has for sure the same thing. Um, that's why the Kalbach piece from has five or six, that's why the Kalbach piece was so significant. That was the first time that really happened >> where where there was, you know, the audience engagement was off the charts because they were just >> so into the fact that he was on stage doing this live set and doing it, you know, so incredibly. And again, I think we've seen Ray Moy and others, you know, pull off the same diaspora, pull off the same thing where you could say to yourself, "My god, that was one of the most incredible sets ever." I think someone said that to me. Something happened either last year or the year before and someone made that comment to me that if you were if you walked in at this time again, not to belittle the other parts of the show, if you walked in at this time, I forgot what time it was and you walked out 40 minutes later, you you you it would have been a complete night for you. Like that's how great that piece was. So that those are those pretty pretty cool moments. my my two moments that come to mind because every has moment is a moment but but there's always these moments that like because it was done in because it was H has that made the moment meaning like like singers sang but and they always sing at other concerts and it's like oh h really elevated but there's some there's something about other moments that that I could point to and one is the adatana from h 18 with ohad and green I mean like that combination is a songs and you have oh which is like he was coming out to the scene but he was perfect and in the middle and it wasn't even their songs like you could have easily just made the whole thing having David together or something but >> that was around the piano segment right >> yeah yeah >> right yeah >> like that >> there that one and a couple of others including with AB piano yasarina piano uh have been amazing there are there are It's funny you say that because now that I'm thinking about it, it's happened multiple times where where those segments really click, where they really work. >> Um, >> yeah, that's a good one. >> Morheim and David and my Miami Boy Choir. Like that's a duo that I did not expect like because I didn't because there's not really video of it. So I only listened to when I was older when I had access to like Spotify or YouTube Music or a lot of things and it's just like it was just like knocking and knocking and going and going. the arrangement the whole >> I think there is >> there's some footage but there's not an official H video >> there is footage I've seen it I had it like there was but I think it was a camera held from the audience so there is footage out there but just listening to it >> in general MBD had this incredible ability to bring out the best in in child soloist that he would sing with >> and I think that goes until today by the way other talented people have done the same thing Um Ari Goldwag just did a duet with a kid and again I I I think and this is my point. I think that um the sum is greater than the total of its parts. >> Um and when you're able to achieve that MBD with a star from Miami, you know, when that's able to be achieved and it's a project worth pursuing. Otherwise, I don't know if it's the best idea to have, you know, the more inexperienced kid with the seasoned veteran. I don't know if it works but when that happens where where the project or the segment comes out where the total is greater than the sum of its parts that to me makes it worthwhile. >> Um so back to like the more practical questions I have. Um, are you at all in communication in those concerts with Israel Lamb? Because your job is mostly like cues, like okay, the song's over, so I come up, okay, to start the song. But is there any communication between you and the conductor? >> Um, so I would say there's constant communication, but we never speak to each other. >> In other words, Lamb knows that if I'm walking on stage, he he gets, you know, that the chaser is, you know, needs to end, that type of thing. and he knows because he knows my intros really well. He knows my cadence really well. We've worked a lot of weddings together. So, he really is in tune with, you know, like I think that's an easy assignment for him working with me because he's just, you know, we've just done it so many times. So, he knows how my intros work. And I'll sometimes say to him that if you want to hit the first note at the right time, do it after this word because and he and he appreciates it like he understands, you know, where etc. So yeah, there's constant communication but very little talking. >> Wow. Um what's funny also is that like that how you that theme of Huma and how he composed and arranged is so beautiful. But what knocks it is the fact that like when it happens you're hyped up and it's over then like you come in already up with the with the tux and standing up like ready. It just matches the whole mood and it's great. I just love it. Yeah, that's true. That's a great intro piece. It's a great outro piece. It starts the night beautifully. It ends the night beautifully. That's I should have thought of that. It's another reason why it's such a iconic event. It's got its own theme. There's no other concert theme that anybody on planet Earth in the Jewish music world could identify with. That's the H theme. >> Yeah, it's so great. Um and also there there a little off topic but there was this uh this magazine made that play Zusman right a while back and and it was composed the songs were composed by Jesse Green and the arrangements were you throw a lamb and I think that's just made that was and I just loved it because it kind of brought me back to like Hask 7 when they did the musical but also like like as like a person like okay they're making a musical for sure but then when it's like the name Isra. It's like you got me. I'm hooked. You know what I mean? Like it's it's just and I know I I know I have a trust that I know that I'm gonna be satisfied and they decided, "No, you're just going to go even more than that." I'm like, "Okay, wow, great. I love it." You know, it's >> you're talking you're talking about two legends. >> You know, the the reliability behind those names is insane. >> Yeah, >> that's what you're talking about. You're talking about the fact that you know reliably that what they're going to present you're going to like because of their track record. >> But then it's even more than that >> that they take me on a road that I don't expect. Even if I do expect there, you know, >> that's great. >> Um, and then I also want to get to the Miami experiences because those were epic events. like not many people talk about it as much as H has concert or anything, but when you like watch the videos that are out there and they put up it, it was an event of uh things and especially like each concert had like like the the idea of like oh it's split into two parts and they're totally different concerts but it's in the same evening but then you also have it's just like the whole thing was but but then back to the MCing and the master ceremony's job of it, it's a lot to tackle. as an MC keeping the crowd into the moment especially when there's a lot of themes and topics are changed up you know >> yeah and on top of that there's a lot of narration also those were you know not just musical performances but it was acting and >> look um your begun is uh obsessive about his work and I say that with tremendous admiration but those years the Miami experience years he was so completely enveloped in those. >> You can see in the concerts he's dripping in sweat like he's in them. >> I mean it just you know you know he wants them to be perfect. He introduced elements that we had not seen in these events before and they're doing it one of the pesaks we did it four times. There were four performances one pesak I don't know if it was I don't know was it Monday I think it was Monday Tuesday Wednesday Thursday I think it was four performance one year >> Monday Tuesday night Wednesday night Thursday night and I think one year we did mat shabas and then two on Sunday >> if I'm not one concert >> no Miami experience the the whole of Miami experience well the first first one was one Miami experience one was one but then I think the was Miami experience two was two. My experience three was three. My experience four was right. I think that's how it went. If I'm or three was four and four was three, depending on the calendar. I'd have to look up how to calendar it came out. >> Now, I just have more. Wow. >> Yeah. And on top of that, >> I didn't know that. >> On top of that, Nassau Coliseum Pesak 20 Pes 1995. I mean, there were there were >> 95 was number five. >> Was it officially called Miami Experience 5? I I I remember I know for a fact that four was 1994. So I would assume that the next year would be 955. >> That was I don't know if he called I'm not sure if he called him Miami experience, but that was a night boy. I mean 10,000 people and and you know an arena atmosphere that had never been done before. Um lots of bells and whistles. Those are real performances, you know. I mean, today I know we have real performances and technology makes it easier to do the bells and whistles. I get it. But you're talking about the people you're ringing up in this conversation are, you know, come from an era when it was not that easy to implement, you know, really creative ideas and they figured out a way to pull it off. >> Yeah. There there was one Miami experience that I'm not sure if you did stuff like on in on site and they just didn't record you for the CD or stuff, but there's like a lot of moments in my experience I'm like, "Oh, thank God he doesn't have to narrate that much." You know, you know, like there's the around the world with the Miami with with the Miami Voice Choir and the like I don't know if you did on site or on the the concert, but in the whole CD they or the DVD really, but they showed they showed like the themes of different countries and they would introduce the countries by footage and by and you saw line would do like intros for each country. And then I'm like, can you imagine if you had to stand there as a MC, >> right? I remember that >> monologues and monologues. >> I remember that set. I don't think I was involved in that one. I remember that set though. >> Yeah. Yeah. I don't think you were in that one actually. Like >> Yeah. Um I actually I forgot I totally forgot about this, but you also had a lot MC partner >> with in the house concerts in the beginning especially with with Zale Newman, >> right? Well, Zale actually MC at the first concert and I had a limit limited role in the second one and um I think by the time we got to the sixth, I think it was my gig at that point. I don't remember exactly. >> Six you you did it with him in six. >> Yeah, I guess. >> Yeah, you did in six and then and he only came back after that for the duets. >> No, not the duets. You did country with the duets. um you did with Zale at 25 when you were doing tributes for the singers. So I guess he came for that segment for the tributes. >> So 8 through 24 I think I did. Yeah. >> Zale is very different when he MC's just first of all the the performance of his voice is very different. Um but what do you think like what what is the thing that you actually like maybe took away from him or you actually enjoyed from from Zale when he was MC? Well, I'm not here to talk about anybody else's MC, but I will but I will say that I am jealous of Zale. I always say this and I and I and I I can't believe I never thought of it, but uh he was on stage. I I believe Yeah, I was with him that year. Yeah. Yeah, he was on stage and I believe the first maybe there was only one HS concert at the Met. Yeah, there was a HS concert at the Met. Did you know that? >> Yeah. There was a wait, say it again. >> There was a H concert at the Met, the Metropolitan Opera. >> Oh. Oh. Oh, the Met Opera. Okay, fine. Yeah. Okay. And and I'm I I remember I mean, we were both on stage for sure at different times during the night, but the first time he got on stage, I don't remember if it was before me or after me. I think probably after because that's why I'm so angry at myself. He's at He's in the Met. He's he's on stage at the Met and he he he he walks off of the podium to a little bit toward the center of the stage and he goes, "I've always wanted to do this because he does it after that." And I he brought the house down. He brought the house down and I was so jealous. I'm like, "Oh, how did I not think of that?" When you live by the sword, you die by the sword. The reality is that when it comes to M King, I'm I'm a real stickler at sticking to the script and sticking to my assignment. To do what he did, not a criticism. I admire it, but do what he did with would take it would have taken a stretch for me to have done that. So, like I say, you live by the sword, you die by the sword, you know. >> Has anyone ever told you that you might be good at Kazanis? >> I'm a Kazen. I uh >> Oh, really? I've been in the Kazan restaurant Kipper at the New Springville Jewish Center on Staten Island. I'm proud to say since 1984. >> Wow, that's great. >> In fact, in fact, in fact, when I was 50 years old, someone said to me, I bet you in the history of this country, there is no other Kazin who has been Khazen 30 years in a row and they just turned 50. You know, I mean, the point being that young and >> anyway, the bottom line is it's one of my one of the greatest honors of my life that I'm able to lead services there every single Russian amber. >> So, what what would you say then is uh a very big common denominator that people wouldn't really know really between Kazanus and being an MC. I mean, I keep using this expression, but I think that uh the Khazen's job is to engage the crowd and make them feel part of what's happening. And I think I'm able to do that as a Kazin, obviously, both as a radio host and as an MC. Those, you know, that's a really important element as I keep emphasizing. Um, but the who can, I think, do that. Well, look, in my congregation, it works. Um I don't think every congregation is the same but a kaz that could do that as opposed to just you know leading a performance you know again it depends on the crowd it depends what people need what they want you know but in the in in in our sh under the leadership of our seagull um in our sh it works so >> nice um I also wanted to bring up uh one of your one of your very close friends but also he does a thought what you did but in a whole different way like almost like a different filter. Uh country um he was a radio host and he was also MCing and uh and just like and essentially your shows were very different. >> Oh. >> Um because your show was Yeah, for sure. But >> but look, I I say that with great admiration. Um, you know, there are people who I really enjoy being colleagues with. He is one of them. Country, one of the most talented people out there, Jewish community, really lucky to have him. And um, and what I'm most jealous of when it comes to him, especially on the air, is how quickwitted he is. I mean, he is quick. He's fast. I don't know if you ever seen the videos of my conversations with him on the air, >> but >> Oh, yeah. You always you're every second you're just laughing. >> Those are just fun. and we we certainly appreciate each other's work and I'll I'll lord him forever what he does and he's has very you know he has nice compliments for the work that I do and yeah he's he's one of the most enjoyable people in the industry. So my main question is is that because your shows were very different, your was more down to to earth like what's going on and you're kind of like getting in people in the mode starting their day and he's just like and he's just like starting your day in a roller coing your day with a roller coaster here and there and that. >> Yeah. But what would you say is like the one thing that you actually took to your show from how he would do his shows that you that's very essential? Is there anything really? I mean again I don't know if there's anything that I would that I consciously you know can think that I took from someone else. Um >> well let me rephrase the question. Is there like um a tip or advice that you took to that you started doing that you took from him like inspiration from him? >> Uh well there's a famous line that he taught me that I've been using since he taught it to me. uh when someone asks him how he makes a living, he says he's a notary public and then he'll follow that up. He'll follow that up by saying those quarters really add up, which is the best part of the joke. So that I' he knows I've stolen that from him and I love it. Um um I don't know. I I I can't think of anything that uh like I say I admire most about him is the is how quickwitted and how fast he is, how quickly he thinks on his feet. Um, yeah, that's uh and and listen, look, he's a very pleasant person, which is uh Yeah, which is important in the world of Jewish. >> Yeah, for sure. For sure. Um, we we need to get him back on the radio. I don't know what um I'm sure there's something that went on, but like I don't know, maybe make some sort of segment in the network, the last hour, just like add another hour or something at the end or at the end of the day. make a night segment or something. I don't know. We got to get him back on the radio. >> Have a clue if he'd be interested in doing something like that. I, you know, times are different now and you know, our audiences are older and times are different and uh but the truth is what he does might be able to work like that. Who knows? Not sure. >> Yeah. Um, another thing I wanted to bring up is your famous and entertaining kosher halftime shows. >> Those were a banger. I I got I the first one I saw was the one where you did with Oh, and Mater K. That really drew me in. And then then I was like in it for every year. I'm not I'm not a sports guy. I don't really watch the Super Bowl, but that's my entertainment Super Bowl, you know? >> That's how you know it's time for the Super Bowl when you hear about the coach halftime show. >> Yeah, exactly. Oh, popped the notifications. Coach halftime show. Oh, wait. It's a Super Bowl. No wonder it's quiet out there. >> Yeah. Look, there have been some good Super Bowl some good coach halftime shows. There have been some, you know, less exciting ones, but we try to do something different each and every year. We actually I was actually meeting with someone about this yesterday about about February of 2026, believe it or not. Um >> Oh, wow. >> Yeah. So, uh, we the Super Bowl the coach halftime show is is done for one reason. It's to make a statement. That's the whole thing. The the content, I hate to say it like this. I don't want to be quoted, but you'll get my point in context. the content is uh is is is not even the the most important thing. The message is the most important thing and that is that uh you know the whole country is watch I love the football game. I love football love football game but the whole country is watching this junk during halftime and and that's what it is and and and Jews and non-Jews many Jews and non-Jews are not happy with the content. So we're making a statement. I don't care when they watch it. They may watch it the next day. But we're making a statement that, you know, that the the the entertainment that the NFL is providing is not kosher. And even if you believe it's kosher, you know, someone privately would want to watch it, which I get. There are people who like certain styles of music. You certainly wouldn't want to watch it with your kids or with your family. So that's, you know, like I say, the message is more important than the uh than the um performance itself. But I I just like the like the fact that like when you're first starting out doing them, the guy that you go to to help you start them out is Mayor K. Like that that's just a great duo. I I just love that. >> How is I I have a question for you actually about Mayor K since like you worked with him. Is he the same and when he's in his element of work as he is on camera? Yeah, he's uh again he's a a very energetic, friendly, creative person who's um you know a pleasure to speak to. Um yeah, he's he's just wonderful. Yeah, I think I think he is a I think his onair persona his on camera persona is representative of how he really is. Yeah. >> Yeah. Um, also I I also want to give a compliment that to that one where you did with Oh, that what I loved about it is that you the they re-recorded the songs for the segment. They didn't take the ones from the albums >> and like lip sync and make a whole thing of it. They you it was from A to Z. And I I really appreciate it cuz unfortunately like nowadays with productions and with even concerts unfortunately a lot of big singers and a lot of people just they take take elements from like oh let's do the halfway road and like take music from the album and add just add little beats and that's it. But what I love is that you guys said no, we're going to do it from A to Z and we're going to re-record it, new arrangements, new production because this is our thing. And I really respect that and I and Yan also said like um that sometimes when you go to concerts and like they do that that type of thing where they lip sync or when they take elements from the album so they could just make it faster or easier like he calls it gana. I don't know if it's that as drastic, but like his point is is that people are there for entertainment, but they're there because they're looking something that they won't get at home, >> right? >> And so when you >> performance >> Yeah. And so I just want to I really applaud you for that. >> Thank you. I think most of the credit for that goes to Oh, and David Fida and Mayor K, but thank you. I'll accept the album. >> Yeah. that is there a part of you that kind of um misses the old things of whether you did the radio show and versus it is now or when you participate in older concerts than newer concerts now. Is there something that you miss? >> Um I don't know if there's anything I miss in particular. Um, I think again when when the when the show was less global, the intimacy of radio that's so amazing was probably, you know, more intimate and better when when you were speaking to a more secluded community, so to speak. Um, now that there's a real global element to it, you know, that makes it uh that makes it different. Um, so I might miss a little bit of that. I might miss a little bit of that. See, now now the the it's a reality that I'm speaking to people where there are groups of people that can't relate to what I'm saying about that other group. It just they can't relate to it. Um, >> but I don't know if that's enough to actually, you know, miss it, so to speak. But, uh, >> Right. Yeah. Yeah. No pro. Yeah, for sure. Um, is there something that you actually there's something because a lot of people go like, "Oh, I miss the oldies or I like I like more traditional." Is there something that there's happening now in Jewish music entertainment or just entertainment in general that you're like, "Oh, this is what we needed for a long time." >> Oh, I was thinking the opposite. Um, that I don't know. I I think one of the things that that the industry is missing is the anticipation of albums coming out. There's so many singles and so much new music that's released on a daily basis. And I mean that when I say daily, that I think the whole and even when an album does come out as some artists still do, it's not nearly the same type of anticipation, excitement. People don't realize if there some of the singles are on the album, if it's completely new, like it's it's a confusing situation. So I think that whole anticipation of, you know, of, you know, did you hear the news? this is about to drop and this is about to you know and there's a you know and and and you know radio shows would play a specific single for a while and that would really get drumed into the heads of people and it would get into the wedding scene you know >> that whole thing is very very different than it used to be >> how often do people I actually thought about this how how often people come up to you and say hey can you record something um for me like uh can you say this to my to my like it like almost introduce my wife to or something or like >> I was just in the shook on was it called my Oh no it was right after Pesak I think was it right after Pesak I was in the shook right around Pesak time and someone comes over to me I was with a group of people and someone came over to me and said can you please give a shout out to everybody and tell them how great my shook tours are I said I I'm Sorry, but I How am I going to endorse a shook tour that I know nothing about? You're like, I feel bad about that. But it was funny. It caused a very funny moment. >> Should have asked, can I get a free tour to find out? >> It caused a very funny moment with the people that I was with. Um, but yeah, we get to, you know, wish my son a happy birthday. The bar mitzvah thing is very big because people put together those videos, stuff, happy milestone birthdays. Um, I think the selfie is more than the than the can you send a message to. >> Yeah. Yeah. >> I mean, I'll get I'll get sometimes, oh, my wife will never believe I actually saw you. Can you say something to her? That type of thing. >> The funny thing is about other Jewish celebrities, so to speak, but like when they get like the only thing you can get is an autograph or a selfie. But your whole profession is your voice. So, if I was a really hard fan, I would go like, "Hey, can I just record you, you know, saying something, you know? I'm trying to think because that's happened also. I just recently had a situation where someone asked me about an intro. I don't remember what it was. But uh yeah, I like to say after 40 plus years, a question that starts with has it ever? The answer is yes. Has it ever happened? The answer no matter what the question is, the answer is yes. It seems everything. >> Um I I I I love this conversation. And it was a I I I just love picking it because it's it's very interesting because a lot of people that I interview are people that are in the middle of something. So if I interview like an actor that it was because they were the focus of the of the movie or if I interview a a singer, it's because the concert that's what that they were the concert. So, it's actually very interesting from a perspective of a person that's in it, >> but like they're but they're from the outside, but they're like it's almost like you're in the middle line of between the audience and the actual content or entertainment and concerts. So um but so but my question also to that point is do you sometimes wish that when you watch those concerts that you were the one in the audience or you kind of felt that way anyway? There are times where I've said to myself, especially during historic segments like the diaspora on where I said I would also like to be in the audience, but I would never give up the the um vantage point that I have. I would never give that up because it's unique and it's, you know, one of the best seats in the house. And um yeah, I mean it's funny because over through the years there have been times very rarely, but there have been times where I said I'd rather be in the audience. >> Um >> because it's almost like you're on the side of the stage also. So it's like it's a perspective, but also just to take it in. >> Um >> there's also a lot of you know there's a tremendous amount of energy backstage. you know, you're getting a you're getting a perspective that that nobody else in the in the building is getting. >> Um, so sometimes watching the pre and post performance, >> you know, backstage is is is almost as good, if not better, than actually seeing the actual performance on stage. >> It's crazy for, you know, certain people understand that. But but you know that the you know the behind the scenes, the BTS, the you know those moments that are you know um you know that's a uh that's something that's exceptional and and and often you know the best part of the whole thing. before we end the conversation because this I I I have so much to talk about and so much topics and questions but unfortunately we are kind of running out of time but I do want to bring up one thing that actually might you'll appreciate. Um you were an actor yourself and not only an actor in a comedy segment with Ellie Kleimman in the hall concert. >> You remember that? Wow. I grew up with the DVD and I remember I scr the whole DVD was was good and the only scratch part was that part because I would replay it all the time when I was younger. It was just such such an out of your element type of segment that you guys did. It was very funny. >> We had a premise was that uh he wouldn't reveal to us um who's in the Oh concert and I refused to go on stageless I knew who was on it. >> That was the whole premise. I'll never forget recording that. We were in my apartment. I I remember they said that they could get it all done by like 10 PM and I think we were still sitting there at 2 am trying to just get >> Oh yeah, brutal. >> Every one of my kids wanted to be in it. So you'll notice that every one of them had some small role had some small role and in fact >> funny lines in it. The kids had a couple of funny reactions. Um >> yeah, >> so those were all your kids. >> Every any kid who appeared was mine. I think only four out of the six were in it, but those are the four who were home at that time. And uh >> yeah, yeah, the kids in my kids. >> And there's a scene there with uh the security guard of my building. Very funny. >> Oh, he was actually a security guard. >> Yes. And nothing against the gentleman who ended up being the security guard that night, but the one who was normally there at that time would have been so good at that role. And for some reason that night, he was off off duty. So Do you see this? >> I see it. All right. That was me in my living room. >> Okay. >> So, the review, it's the end of a very long day here. >> You're watching Watching the game. >> Okay. Good play. >> Good play. >> Bad play. >> Go for the >> Is that the What do you call it? Is that the >> Okay. >> That That was the blooper part. Yeah. >> Holy. I didn't know blooper part existed. >> Wow. And then they give you applause for your performance. >> That was great. >> The Academy Award nomination. [Laughter] >> What year is that? >> 2010. 11. 2011. >> Recent. Interesting. It's only four ago. Wow. Interesting. >> Yeah. >> Yeah. A little snippet. Yeah. I can send you a link to the video, but Yeah. Wow. >> And it's funny because um that that that's one of the concerts that were actually kind of on under the radar like it's on a Spotify or YouTube or anything and I had the CD and so I saved the footage so I posted it on YouTube on some on like a channel so everyone can have it. So I I got it. You know, >> that was a strange event. It was a strange venue. It was a place in Manhattan that we had never used before and I don't think it was ever used again. It was a strange venue and this whole inside stuff with not knowing the artist and the whole was so it was so um it was such a hot topic but only in that hera that that you know that were that were involved either in the concert or that were you know the audience members that were looking forward to being there like it was not a big Jewish music piece of hawk as they say but with the people who you know who had an interest in that specific event. It was like off the charts >> in terms >> um to get to to to clarify with the audience this concert like all has been doing concert for years but this concert no one knew who would play at the concert. No one knew the artist until they got into the concert >> and it's so interesting because like nowadays that's like a hard thing to like it's such a common thing with go you don't really have that with a lot of the Yiddisha entertainment but like like movies and TV like the spoilers and the No, but most house concerts now they don't reveal anybody in advance. >> Oh, really? >> Yeah, most of them they don't. >> Oh, wow. And and it it and the hardest thing is what if what if you got the wrong artists that people you know >> Well, like there, you know, a reliability factor that's already built into the house concert. >> Yeah, that was a great concert. I I recommend people to listen to it. It's on YouTube. So, um uh to check it out. It's a very good concert. Um, >> my son, >> thank you so much. >> My son's on stage >> on stage. >> My son's on stage in that concert. If you look at the opening after I run in from that video, then you'll see that my son is there as a coc. >> Oh, really? Because I I don't I don't remember from the videos or him popping up. >> Yeah, he's about 12 years old. I think he appears with me in the opening if I'm not mistaken. >> Huh. Okay, very nice. Um, thank you so much for joining us, Knuckles Seagull. A >> pleasure me. >> Yeah. Uh, I loved going through memory lane with you, especially with the backends of of these concerts and Jewish music. Uh, the one last question I have for you, two two more questions. Number one, >> as an interviewer, what would you rate? >> Where would I rate you? Yeah, >> I I rate you pretty high because I think one of the keys to interviewing, especially when you have limited experience, I'm just saying limited compared to me. Um, one of the keys is preparedness. And it's obvious that you took this vet. You you know, you see the the seriousness of the interviewer by the amount of preparation that went in. And it's obvious that you put in a voluminous amount of preparation. >> Thank you. Um, so I I guess I'll end off with one more thing. Um, where would people find you and your entertain and and uh hear your shows and anything out of the shows that you're actually doing in the tri-state area or something? Um, >> appreciate that. JM in the AM is my morning show which I do live every day. It's a flagship show of the Seagull Network. People could learn more about my career in my brand new book, 1.8 8 million minutes in counting which is celebrating >> my first 40 years in Jewish broadcasting available on Amazon if you search Nam Seagull and select Judeica stores in Tene and Brooklyn have it as well and I'm told it'll be in Woodburn I hope for Judea as I said we are planning a couple of big things for the for next season please God and people should tune in every day and follow us and check us out >> all right thank you so much for joining us it was a great conversation and hopefully we can have you back in the future Sure. Obviously, this was great. I really want like this to sink in as a unique. So, we'll definitely have you uh u hopefully in the upcoming future. >> Looking forward already. Thank you so much. >> All right. See you around. Thank you for joining us on this week's episode. It was an amazing episode. I had so much fun with Nam Seagull Real. Thank you so much for joining us. I really took a lot of your experience and insights on the Jewish world and the Jewish entertainment and in the Jewish music especially and I'm really putting those things into my creativity and how I create content especially on Jewish entertainment and in the Jewish music. So, thank you so much for coming and I hope to have you over again. Thank you everybody for joining us. There's another episode of the Premier's podcast every Thursday and every Sunday we have our music reactions with songs that I never heard before and I react to it on camera and every day we have our dose of Jewish music where I do short reviews on Jewish songs out there. Please leave your comments and subscribe and like this video and share with everyone you know. I really enjoying doing this every week and I hope you do too. So please join us every week and thank you for joining us and have a wonderful day. [Music]