The Star Soloist Of The Choir, That Never Performed Live

Hey guys, welcome to the 11th episode of Clappy and Frank. >> It is so exciting to be here for our 11th episode. Everybody should please enjoy this show. It's going to be fantastic and amazing. It's something very unique >> cuz I know Yudi Cohen is just an outstanding, happy, positive, motivational person that just makes you feel good about yourself. >> Yeah, bro. That's true. Thank you. >> So, uh, are you a cousin, a caner? >> That's a good question. >> Guy, what you do? Uh well I grew up uh learning from Kazanas from my father. I can't say I ever I I was a khazan for many years in South Africa in Johannesburg South Africa. Um and I have a degree in opera. So um >> you got the paperwork. >> Yeah, I've got the paperwork. Yeah. Yeah. Um but I I I sing all kinds of music today. If you say somebody is a kazin, it could like red lights start flashing and you know and bells start ringing. So it's it's uh I and part of what I do is being a kazin. >> What's your goal as a performer? >> My goal as a performer is to open people's hearts. Actually that's my goal to that when I perform I want people to open up and what they do with those open hearts. That's their business. >> How do you do it? >> How do I open their hearts? How do I open >> I think that um music music opens people's hearts. music when it's sung in a way that you uh or more of a vessel as in the asis would say to the art form or to the music that goes through you. You music opens people's hearts as long as you can remove your ego during the time before and after you can have a strong ego. >> We have a wide audience from people from all different backgrounds in the world and even in our community when we say kazin I want to just make a breakdown. There's a guy's like, "Yeah, Mosha, you want to go to the Kesh is getting in a cold, you know, go to the M and you know, gargo a few pages of then there's like even a doesn't have a lot of money. They'll pay somebody5 $10,000 to dash during the year. Anybody that can read Hebrews is then there's freed you know putting out, you know, like putting out an album every year getting hired by all the Jewish places to gig. So there's and then there's like like a health goat. So there's like a health goat, there's like an Aram, there's the Kazan guy that goes to the Ahmed. Who's your target audience? >> Oh, it's a good question. >> So he's hold on. He's beyond health and freed. I just want to make >> He's better than he sings better than Helfat. >> Honestly, he's my favorite cousin. Hence why I >> But but famous cousin like >> favorite favorite >> favorite over Hgot over every >> over everyone. It's a big >> Wow, that's quite a thing. That's a she's a a maven in in in music. But your style music, you sing both styles, like a freed and like a health gun. >> And that was the coolest thing. I was in Johannesburg, South Africa, I'm going to say 18 years ago. And I have this preconceived notion of what a Kazan looks and sounds like. And I come and I see this Khazen, this big fancy show with a 30man choir. He had like a 30 people choir all sitting with their books and reading notes. And even though it was so official, he was super engaging, singing lively songs. It was not the typical funeral kazanus music that I thought, you know, that I was exposed to. So that was the thing that really captured me and got me super excited and impressed. I'm a musician myself and a just a a a high kazin. I was very impressed and then I saw Yuri I don't know 15 years later I saw him roll rolling around back in seven. Are you that talented guy that that I heard in South Africa? And anyway, >> so you were the paid senior Khazan in a show in South Africa. >> Yeah. So >> it's a full-time salary. >> Yeah, actually. Yeah. Oh, well. >> So what is what is a Kazan getting paid let's say 150k a year? What do you do on a Monday afternoon at 2:00? >> I I it's a good question. So first of all, I was involved in business over there and I was I was blessed that I was able to do that because I was uh when I first came there at least I was getting uh full-time Saturday at the school. So, I I was involved in business during the week as well. And I for the first few years when I was in um uh Johannesburg, I I studied I did a full degree in opera. It's a four-year degree where I was studying full-time. Um >> what do you do all day? You gargle eggs. >> How do you study four years to be an opera singer? >> Because well, opera is a whole art form. Opera is not just a voice. Opera is music. It's acting. It's interpretation. It's languages. >> Jackie Mason makes such fun of opera. Opera. Opera. Got to go to the guy. I have to go to the opera. You go you go. You see I'll tell you a funny story. YOU SEE A BUNCH OF OLD JEWS SLEEPING at the opera. >> Yeah, there's a lot there's a lot opera is an incredible incredible art form. But one of the funny things there's so many funny things but one of the funny things is I grew up in London and we had a version of Alterra in London. So we never had any any secular studies. Secular studies includes uh no English cuz that would be secular. >> I thought it was exclusive. >> No no exclusive to no English education. >> No English. So we had no English. We never I never learned how to read or write English. I never learned mathematics because for some reason they thought mathematics was also going for him. Although the I mean the whole thing is based on mathematics. It was for him. So also dogs were also forg you know. We used to walk in the street and say also you guys you'd say um what's up we were saying it on because in London everybody had a dog. So from the time we left our house till we got to school and then if he walked past the church we would say shak you know that spit and spit and spit and spit. Isaiah came from Russia. He would walk across the road, you would across the road all day. YOU WERE WALKING AND >> THE problem was if you were walking past the church and the dog came by, Zil which pastor said first. So anyway, so so we I we never learned. >> How come people are not into these? >> Yeah. Yeah. Yeah. My brother-in-law and Gordon said that in his community in Tarzana, there's like 20 churches in a row and every time his grandfather show Gordon would come, HE WAS LIKE mumbling and spitting the whole time. But it's also it's a whole it's a whole genre like it's also if you like you make a say something terrible to someone you say it automatically reverses the whole thing. It's a whole kind of genre where nobody knows exactly where these things all come from. Actually, we probably do know but so we never studied I never learned a word of English. So when I came to do my degree in opera and opera opera is studied in many is sung in many languages. Five main languages opera is sung English, Italian, German, French and Russian. >> Not Latin. >> Uh well it's all the lot they all based on Latin languages and Latin no Hebrew operas. >> No Hebrew Hebrew. I could just imagine it'll be the best opera. This is the best ever. What do you know? Do you know that Domingo his first the famous Domingo his first his first uh um professional hiring was in the Tel Aviv opera. His first professional Domingo, the great he's he's in in the opera world. Some people consider him the greatest opera singer ever because he's all an all-rounded musician. Not necessarily because of his singing but also because of his all because when he was hired he's no come and sing. We don't care. You know that he doesn't have to be perfect but that's he started off there. So we had to we had to study we had to study language. Now in class I'm studying Italian. So you get tested. You have a fair on what you learn. So I get a great mark in German. I'm studying in German viten. I learned that I said they ask a question. How do you say goodbye in Italian? Great. Comes to all of the assignments in English and I have to write an essay in English. And the head of department calls you. She calls me and she said, "I don't understand. Yi, you're writing something in English. You can't spell you. You your grammar is crazy." And she couldn't understand. I explained I was in an institution that didn't um didn't we didn't we didn't learn. I never wrote it. I never learned how to write uh read or write English. Have you ever picked it up? >> Yeah, I picked it up relatively. See, if you see our writing, you can still tell cuz the P's I don't know how to write the P has to be the top part has to be on top of the line. >> Who writes this? Everything's typ >> and I'm not the only. There's lots of lots of people who didn't learn how to read or write English, you know, and everyone, you know, they're all fine. Mathematics is another is another question. >> We just we just jumped to South Africa. You grew up in London. I grew up in London and um I went through the whole system. I mean I was grew up in in in Labavich. Um I uh >> And your father was a Kazan? >> My father was he was he used to fre both of my ZAS were um Kazan? My my father's father was an official Khazan in England in um in Sunderland for many years. Miseda my mother's father Bar Levan was uh also a billa I mean he the Levan family his brothers and he knows al it's the same he's a cousin of so they um they were they always music was always a part of the thing I used to go with my father to uh remember as a kid there was he was practicing with a choir downstairs and he had a onelegged the choir master was on one leg and he was conducting thing and I always used to either think he was going to fall over or not fall over. I always have this memory of a one-legged choir conductor. Isn't the funny memories you ask about a who what's a mo in the old days a used to have to be used didn't have to be shabas but he had to be able to sing. Today the very mass shabas singing is just you know as long as he doesn't have to necessarily be able to sing >> well toned up what's the worst that will happen >> what's the worst they KEEP >> but but on the on the reverse if the guy the dening for you on you want somebody that's here >> I'm not arguing they say why did Ros they used to say yel and kat and two of the great khan they used to say why used to ask yelma why do get paid so much more than was not necessarily aid to put it mildly and was not only a he was how come you get paid so much more he said they pay me also for the still tell us about your child music career which sort of went to sleep the past 20 years and the past year sort of awoken please tell us about that >> my child music career So I as a kid we we we the first >> I would say the most ironic career I've ever heard in my life. Well, it was it was an interest it's been it's been an interesting ride, let's just say. Um, my first time that I sang sort of a solo on a recording was we in the Barbage Moist in London, they made a record they made an album called Mia >> Mia >> Mia because it was uh in memory of Benin Shantaa song was he he taught it or he invented it or some sort. It's an old Russian march that was picked up somewhere in a cret or a bar or something and then transformed to kadusha by bansic. So he sang. So they that was the name of the album and I we had songs like and I sang this and so >> just just for history you're how old? >> I'm 51. >> 51. So we're talking about 40 years ago with long time. No, this is this is when I was eight. So this is like thousands of years ago, man. This is like a long time ago >> in the early 80s. >> Early 80s. Yeah. Yeah. Early 80s. So we had that recording and then um uh >> so you were the solo on this record in this >> I was one of the soloists on this >> and then this it was it was a a tape. >> It was a tape but still if you go on Spotify you can find it. >> They sold it at Jamaica stores in London. Where >> they sold it they gave away for free but it was available on the market. >> No no it was it was it was an album. It was sold in those days. Yeah. It was a tape. It was you know um for those listeners who don't know what a tape is. It was a tape. Yeah. >> Google it. >> Yeah. So, um we had we made that album and then um actually my my cousin uh my cousin Mendy Solomon and Short Hills we were very close and he actually married my my cousin but he's also like a brother and you know we were very close. He was he knew um of Rosenberg from Silver Emma through Montreal camp. >> I remember going I remember going to Silva Zmer concerts 30 years ago. >> Yeah. Nowadays, nobody knows because it doesn't really you buy tickets in Jamaic World for $18. I remember going >> so he convinced that Roseman said, "You got to get this kid from London or whatever it was." And we um so I remember getting the phone call, whatever it was, I remember when that call came through in London. So my class were coming here from London for Yudvat, a pre-bitzvah trip. Um, and they contacted my parents, ask if when we're here, when I'm here, I would be able to sing for the recordings. Then it was I remember listening to the first two albums. You know them. Oh, those were so gorgeous. Beautiful. >> I wasn't even born. >> Yeah. And that and and that's a classic. Absolutely classic. >> Those sil was was really was there was three choirs. There was three main choirs. There was London School of Jur Song who I still believed I never sang for them. I still believe that till today they were the Mikma >> who pond >> London School of J was Salic. >> He his first yard site was a few days ago. It was a few hour um music composition that happened in Arrow on YouTube. >> It's amazing. Everybody has to watch it. It's amazing. No, I think that they were um >> delic and there was no you had in order to join them you had to approach them and it was a whole process of approaching them. As far as I remember hearing they didn't approach you but as as my story goes with silver and not only did my parents not approach them there was a whole I had to ask if I was allowed to sing with them once they approached me. So they definitely want to go. It's it's borderline abusive, but I'm hearing a lot of stories out of London. My in-laws grew up in London and they came from came close to Labavich and raised my whatever. It used to be that in London in the 1970s, '80s, every single thing was User. Women can't get together for an event during the week. They have to meet the family. Kids can't go to mommy and me. It's it takes away from the family. Was a lot of what we repression. What do you call it? >> You've said it. You said it to put it mildly. I mean, it's terrible. >> Yeah, that was very mild too compared to what it was. That's why these kids in London, they all run for their lives. They turn 17. They never they never decided to stay away. I think Labavich got it wrong in London. >> So, it's very interesting because Labavich in London in the 70s and early early 80s, very early 80s. I think that was just the beginning of January 1918. That's how early 80s, but in the 70s where they were very much avid. If you look at the building that Labavich built in London, this beautiful building, it was one of the first Labbavich buildings to have a it had a gym. The shul was put in the gym. The gym they they they asked the reb they should build a mikvah or swimming pool. They built a swimming pool and all the comm labavich was very very much in London originally at the forefront. They had activities great and something somewhere along the line something snapped. I don't know what it was and from >> what it was or who it was. I both related, but I don't know what I don't know what it was. I I would like to know. I have in my head some some some clear signs. I remember when they they had used to have beautiful rallies. They had a mita down in the middle in the in the in the big shul and we were there were lots of rallies and there were clowns and and at some point they decided now that it wasn't good enough cuz the boys and girls were together in the same room. They put the girls downstairs and the boys and it was almost like an obsession. They started obsessing with that aspect. >> Um which most of more fumach and it comes it comes most of the time from an unhealthy some individual who's got an unhealthy relationship with >> with the opposite sex or whatever it might be if I may say that word I said opposite before it so it's not a terrible thing so um that and and from that at some point something changed and it became literally repressed >> so the silver zmer >> so going back to silver so so so I had to ask mashim now my uncle my my mother's uncle my great uncle is Mendel Morazzv So in those days I'm in a clubasha. There wasn't that many thousands of us in those days. So my mother said call fetal to ask him >> men. Yeah. The famous guy from >> Yeah. You have to be something like 100 years old or something. Amazing. So I had to call him to ask him if can sing on a on a anything. He said, "Yeah, no problem." So So I got per I got the mashim cleared it. >> Not the London mashim. No, no, no, no. >> Modern Crown Heights. >> Modern Kits 100-y old. He wasn't 100 at the time. He was like, uh, anyway, so he said, so okay, I came to Crown Heights and I did the recording for the first album. They gave me the tape >> one night. Um, I met Avon Rosenberg. He has family in in in Crown Heights. I met Avon Rosenberg. He gave me the tape. He said, "Okay, take this, learn the songs. Tomorrow we're going to go to the studio." Um, my class went to the United Nations that we were all there on a class visit. Uh, they went to as a trip. I went to the studio in Tina. >> You missed you missed nothing. >> If that building completely disappeared, the world will be a better place. Correct. Build fancy condos. Nuts. >> So they So I went to uh the studio the next day and I recorded the first So that was the first time I was there and I only recorded solos. I didn't meet I didn't sing with a choir. So I recorded >> No, that's Oh, that one's a big into that. Lakewood weather. >> That was Yoshi Green's composition. >> Still a popular song. >> Yeah, it's it's a beautiful Oh, it was a beautiful song. It was a big hit at the time. >> And then I sang uh that I sang a few mitzvah. >> They paid you. >> No, no, but they didn't pay me. >> And how old were you? >> I was uh mitzvah class was 12. I was 12. Okay. >> But they gave me he gave me a gift. He gave me a big a beautiful double cassette player JVC and it had auto reverse. So when the tape came to the end, you would open it up and >> they would turn over the thing and he took me to the pizza store. He said, "Yi, you could take whatever you want." I said, "I could take whatever I want. I can take a pizza with mushrooms and onions and olives." And like in England, there was this little tiny kosher pizza shop in Gold's Green called Coach Arena and only privileged people went. Yeah. It was a It was like a >> So I came to America and he said, "You can have as whatever pizza you want." I mean, I think I took some I probably have some left over now in my pocket from when I was there. But um and it was a Yeah, that that's that was the first time I did it and the next year I came back and recorded the the >> So after that recording, did you become a star in London? Did people how that >> it was? >> Did you never met any of the choir members like people knew? >> I never met I met I met one of them the following year when I went to do the next recordings and >> you never performed with him. >> I never performed him. I'm trying to understand you're doing solos for these top songs and the choir that's going to do the background, they're not even meeting you. It's like they're mixing it later on. >> So, the way the way these things work work anyways with these recordings and those kinds of things, uh I think if you have like certain bands and certain rock bands and stuff like that, they'll they'll be in a studio together and do a lot of the stuff together where they sort of uh uh compartmentalize. I don't know what it's called. The different tracks, you know, as they're singing, they'll they they have a way to record everybody's >> these these kinds of things are done where the music is pre-recorded, then they the choir comes into the studio at a later date and sings the songs and the soloist come in afterwards and fill in the gap. >> Even those days, they had good technology. >> Yeah. Even though they had a 24 was called a 24 track thing. Yeah. >> So, so you became a star from your soloist, but there was recognition in London, New York. People knew you exist. Like what was that >> scene? What was a snapshot of that time frame and you and them and your fans and people knowing about you? >> First of all, there's no YouTube those days. There's no Instagram. There's no Facebook. So, you could be >> You never even record with them. >> No, but he could be a popular voice that hundreds of thousands of people are listening to, but they don't have the face and the voice together. So, you could walk down the streets in London and they could be listening to music, but they don't know who you are. And and and there's a lot >> asking what's the snapshot of time. >> So, at the time, um I knew it was it was a good feeling. and I was a kid and I knew that I had sung on this international thing but there was a lot of uh how do I say this I don't want to come over negative there was a lot of baggage that came with it because I was supposed to be this kid and it was almost like it was against even though I was allowed to sing it was almost like then the one of the first you know what I mean yes so so it was it was there was a lot of it wasn't like a normal kid, not normal, another kid or a kid who you're singing great, beautiful, it's you guy, whatever. There was a lot of so and then later on there was a whole story where they wanted to make a there was a concert in London. Somebody brought them out specifically because I was a soloist. There was a great um balbasa his name was Bobby Vogle >> and a big philanthropist a big balaka and he was a big Askan and he his until today actually his family are the ones the keepers of the yes yeshiva in kingsley way um it's been like that for years and he um wanted to make a concert fundraiser for the yeshiva so he figured we've got this local kid >> who's a star >> who's a star who's an international soloist let's bring out Silva Zama and let's make a concert and he'll his solos. So they made the concert. They made the concert. Uh they bought out Silva Zamb. They were bringing out Silva Zammer and Araf Freed. So I got a call from my parents get a call from Avon Rosenberg. We're making a concert. Can Yuri sing? Ask him. So we had So they're writing into the Reb. They're writing into the Reb on on an anecdote on this. It's a funny story because my father once bumped into um guy's name is Vel Pastanak. Vel Passanak wrote the book wrote all the music books called Tara melodies. >> So he told my father when they were doing when they were recording >> you know the original. Now if at that time there was and there was there was these these various albums or various recordings of the like you know post 60s or postwar 60s. So recording, they were recording the maj. And there was a few, you know, of those. So >> rabbi sons. >> Yeah. I think the rabbi sons was a little bit laid out. >> The chads. >> Huh? >> The chads. The rabbi sons are chad. >> Yeah. Yeah. So when he says he told my father a story, he he could never he could never get it done with because every time he wanted to do something that somebody disagreed, he said, "We have to write into the rabbi." He was trying to run a choir. Every time he wanted to do a harmony that somebody disagreed with, they said we got to write into the Anyway, so my parents said we have to write into the >> They should have moved the choir into the Z 770. >> They could have a quick right away. Anyway, so my parents um decided that I have to have to write to the Reb. So they wrote to the Reba and already from that point on there was for me it was like just I was a kid and I but I could never get my head around it. You know sometimes as a kid you could you go through a stage where you're being disciplined or whatever you you understand okay you may not may not feel good that your parents are but you feel that it's right you deserve it even then I could not get my head around it it made no sense to me um and they the rebb wrote back I remember waiting did they ever write back's going to you could think anyways eventually a couple of days after they wrote and the reb said shilus ra kabat ask kalatian ask kabat so who so my parents went to the same rabbi whatever who they and and and whatever it's not a question of this is the story this is factual what happened and uh the guy the rabbi said it's not for to be singing on stage >> imagine 2020 >> destroy your kids >> that so I don't know you know today I don't really have any trouble from it at all but I mean I I'm saying like you don't know you don't you don't actually know what I think now these years later I'm thinking about it and I'm thinking it must have done some had But at the time it was very traumatic. It was it was I couldn't >> I think they asked the wrong rub. He should have said of course it's good for the kids. >> Well yeah my my parents asked the r they wanted to ask. It's also uh you know what I mean it's part of the whole thing. So they they anyway so they they they alert >> and I remember they would Bobby Vogle could not say he's calling whoever it was and like why don't you let this kid sing and whatever it was but in the other day >> the choir came >> and did you hear it? My father took me that night when the the concert was in London. He drove me to Manchester so that I shouldn't feel upset. >> What I'm really upset about is that they're making the choir in the lab to fund raise for the lab. SO BRING A NOTE KID BECAUSE HE DIDN'T ask that didn't say it's not. >> Well, they they didn't. They got one of the kids from the one of the other kids in the choir to sing the solos. >> You don't understand. They have to bring the guy the notab kid to sing for the lab kid. But the lab kid that's SUPPOSED TO SIT IN THE CROWD, HE can't watch it. If it's not enough, DON'T BRING THE CHOIR. STAY HOME AND EAT PIZZA. Which is also >> Well, if he could have, he probably would have cancelled the >> No, I'm very angry about the story. >> Yes. Thank you. Thank you. No, >> I think that >> these stories, it's such a contradiction. Don't bring the Bobby V. DON'T BRING THE CHOIR into it. >> If the Labavich kid can't be in the choir, shut it down. No choir. >> Bobby persist. Actually, it was Adra, but he >> he wanted you. No, he he persisted in bringing them even though look the guys in London the same rabbis who had who didn't who said I shouldn't sing they used to ban every concert I' freed they banned him they banned him they banned all these guys that's was the same it was the same >> you understand what I'm saying don't if the choir is not don't bring it into make a fundraiser if it's good enough then you coin singing >> got it so you were a star locally in London yes or no >> yeah pretty much >> yes I mean when you came to New York people recognize you or Yeah. Well, the the kids in the community all knew that I had, you know, those people knew. And uh >> so you're the anonymous child star. >> Well, yeah, >> cuz now I know when you walk around night with you, everyone like start singing your solos. >> It's such a funny thing. It's 40 years later >> and they're all singing a solo. >> It's such a weird thing. It's 40 years later. I mean, I hadn't even reached puberty at the time. I was like now I'm like, "All right, look at my beard." And then and you know, and it's like I I I was telling somebody a lesson. It's a very important thing. Why? >> But I put him back in we put him back in the studio and he re-recorded. We put out >> I have to check out the views now. But it's at what we before 6,000. Let me check. >> It increased over Shabas exponentially. After by the way after this rev after you said you were still doing recordings for Sulama >> and I that was I had done the two that was the two that I had done that he didn't say no he said publicly. Uh but I had done the two that was it. Those are the two albums that I did and then my by by the next time my voice had already uh I did volume three and silver volume four. >> So could we skip cloud to skip? I know you're like counting every year every day every month. >> Skip skip jump. Sorry. When did you get your first full paying gig? How old were you? >> My first paying gig >> like full-time >> a full-time job. Um I >> you know let me take it back. When was the first time you got paid normally or like anything? The first time I got it pizza not pizza first time I got paid >> where when what >> was Bobby Vogle he had no he had a before he was a big fan of my singer I used to go there's videos now I just now just surfaced recently of me singing in his house purim uh kalbak stuff you know he he he had a birthday his family made a birthday party for him I don't remember how old I was I think I was pre silver days even and he uh he had a party and they got me to sing at the party and I got a check for £100. Now we're talking about >> How many years ago is this? >> 30. It must be worth like >> $500 today. >> $25,000 today. I was >> Yeah. For me, a little kid, it was a lot of That was the first time I was ever probably was the first guy who paid >> the next time. >> Like many years later. >> 20. >> No, no, no. So the next time I I I I fulltime was in South Africa when I went to South Africa. >> But you did get yarn gigs before. >> Yeah. I did. I did my differentim uh you know um and uh but the first full-time kavay >> Cape Town >> position was actually you know in Oxford school in Johannesburg. >> I went there as a bach after I finished um and everything like that. >> Do you recommend the career? >> Do I recommend the career? >> Yeah. >> Well, he did answer the question. What was his first paid gig? He said so how did you get the gig? >> I was there as a I went out to teach. I was sitting in 770 actually cuz you know I was after SMA and you know the regular thing where >> I was learning yeah and sitting there and a friend of mine uh came to me said to me you want to go to South Africa he was teaching they need to teach us so and the Torah academy which is the kabat school you know go out to teach in the schools and I went out there and when I was there I damed one shabas at Oxford Shul and then there kazen who had been had left previous Ahri Klein who just passed away recently He had uh recently left and he um they they said do you want to come back for Kipa cuz I was in 770 and I said yeah I came out then they offered me the full-time position and you're you're single >> I was single >> and they're going to offer you I understand they're going to offer you a full-time gig in the show as a single buck. Yeah, I was that good. >> It's not like it's not like they weren't married, stability, family. >> Yeah, I did. But you know what I mean? I grew up in Stata. Didn't know anything about stability or anything like that. So, you know, um we uh Yeah, >> you didn't have to ask my singing a show. >> Yeah. If I had to if I asked Mash for all the things I did subsequently. >> Yeah. >> So, they hired you to be the full-time. >> So, they hired me. Then I remember they said maybe you want to carry on. I went back to New York and I was I for the the few years that I was at that school I was almost like coming back to New York and there coming back and forth. So it was um it was um yeah it was pretty it was cool. It was amazing. >> What kind of money are we talking about? >> It was in those days it was good money. Uh it was >> in the equivalent of 50 60,000 a year more 100k a year. >> Yeah it was I don't remember exactly the amount making a lot. >> I was making a lot. I didn't know what to do. I never had any money. So I was just basically I mean I I was making I was being paid in dollars as well at the time. And um you see South Africa at that time was at almost at the tail end of its of its um Kazanus thing. South Africa was very into every sh had a kazin and everything like that. And I think that almost like I was like the bridge between the old kind of thing and the new because even when I got it once I got once I did become uh full-time I changed the style because I grew up with I grew up with with both styles and I changed the style into being very much a participatory style of singing and >> what's the hardest part of being a cousin >> of being of the career or of singing? career. >> The hardest part of the career career. It's not being in music. You know, there there is a uh a famous rock star. I don't know what don't remember who it was that said music is spiritual. The music business is not. And that's the way it is. Um there's I've had some interesting experiences from other people who have in this industry who actually literally um proven that point. So I I I would say that but I've also had a wonderful amazing things. Um, if somebody came to me today said to me, a youngster came to me, I want to be a Kaz and I want to do it as a career. I would be very hesitant to tell any anybody to get into music. It's music and arts is not an easy um you have to do it because you're so passionate about it or because it's it's you it's your natural evolution towards that towards that stage. >> So, should we do podcasting or do you think >> podcasting is a highly recommended podcasting? >> It's an art format. We really have to love it. >> Yeah. Yeah. Yeah. Yeah. So you think >> I think I think a podcast No, but it's it's the in thing now also. It's a trending thing and um you know, you don't necessarily have to be Shabas to do a podcast. >> Don't ask me if I should have you. >> Exactly. >> So you you're a Bakar in 770. You've flown here to this cool show. They think you're amazing and talented, not just for a full year getting paid in US dollars. You're living the life. >> I'm absolutely living the life. >> Back and forth New York, South Africa. >> It was It was amazing. I and I fell in love with South Africa because the the Yiddish kite over there, the country and the Judaism was the complete opposite of everything that I was brought up with. It was a it was and it still is. It was a joyous Yiddish kite. A Yiddish kite where they loved being they were proud to walk in the street with a yamoka. I grew up every day somebody would curse me. Jew boy in London. I remember somebody throwing a brick at my mother and uh we grew up with anti-semitism was a daily thing in London. >> So it's not new in London. All this anti-mitism. No, no, no. It's just gone much worse and it's evolved into a different kind of form which is much that's another whole story. But we grew up Europe anybody who grew up in Europe as a as a as a Jew in the street walking with a yamoka would have experienced it. Um in South Africa it was and and also the the kind of Judaism that we had was very severe. It was very oppressive. It was um um but there it just was it was just it was joyous bar. Ah, it was gorgeous and people lived life and people knew how to, you know, you have to they enjoyed life. You have to enjoy life. You want to have Yiddish proper Yiddish, you have to enjoy it. You have to love it. You have to love life. You can love the Aster if you love life. If you don't love life and you're not living it, >> they should have shipped they should have shipped the Raanam in London to South Africa for a few weeks. Get them like retrained. >> It's the British Commonwealth. You think >> I think they probably offered, but South Africa didn't want to take them. They offered to send in there for a while. But um yeah and I I wouldn't say also it wasn't all rub it wasn't all people in London it was specifically where I grew up but just generally England is a different kind of environment. >> So so what happens with this career and this this this kazen gig is that how you married somebody from South Africa. >> I ended up I was there as a buck for sure I was there for a long time. I met my wife in South Africa and again people like name of you know what I'm saying. Yeah. But there time will tell. >> You ever composed? >> I never composed. >> You want to? >> I would love to. >> But you don't have it. >> I I I I I I not not I haven't tried enough. It's not. But the truth is I don't believe in composing something that you if you have to try too hard then it's not really something composing has to come from a a deeper place, you know. Um and but I is my intention to do some of that too. >> Maybe AI can help you with that. Maybe. >> Have you tried to use AI to compose? >> Yeah, I I I will. >> You will. >> It's might shabas. We've never had somebody on a mitz shabas that was also a musician. Maybe you could sing. Give give the audience the tens of thousands of people. Give them a taste of your beautiful voice. >> Um there's a there's a beautiful Omar Shamlakov. I grew up listen my father used to listen to to Majunim. I love majunim and I'd love to do something like that like just have an evening where we get a few together >> and sing majun and then I have another evening for the bab >> guitars guitars >> yeah guitars or instruments but there's a lot of out there and from who knows maj were very very very special >> and see shanker was big in maj he was a big composer right >> he composed a lot of the nagun your famous story where the maj where the maj composed escar >> yeah when he was a surgery >> he was getting Um yeah, it's hard. >> It's a surgery. They didn't have any um anesthetic and he didn't feel it or something. >> Yeah, that's the part. >> What's your favorite part of performing? >> My favorite part of performing connecting with people. That's that's because that's also when I know that I'm I'm doing what I when I'm on stage and I forget about me. It sounds strange, but that's the way it is. So if you hear the audience, >> if I if I am on stage and at that moment Yuri Cohen comes into the equation, it's it's it it interferes between but if I lose myself um to the music or to the whatever it is, you become a kay for the air that comes through it and then those moments are it's a they call it in sports or whatever it's called getting into the zone. Those moments are almost euphoric because you just lose yourself and it's like >> who's your favorite Jewish composer? When you say Jewish, >> you mean? >> Yeah. Uh, yeah. My my I grew up Yasler Rosenblat was my was my uh >> that band music >> was my was my king was >> my favorite favorite. He's your favorite composer. >> Yeah. And Kalbach I mean his music I these are so Yas the guys who Yas Rosen Blood I would say Yaslbach and yeah those two >> if you had to volunteer to sing what song which type of music would you sing? >> It's a very hard question to answer. >> Oh god every everyone I mean >> or what do you what do you sing? >> I sang opera on stage. That's another coming from from Smika. I just finished and I few a couple of years later I'm doing the role of Carmon on stage. That was quite a jump >> a metamor quite a jump. Yeah. But I think that there's something about that. There's something about opera that is just >> uh there's no there's nothing. It's a genre. It's a genre of music that is absolutely incredible. That's one thing. There's moments. Um >> how often do you go to operas? >> I go when I can go. And Atlanta has >> Atlanta has they just have now a Traviata Traviata which was the last role that I did before I left South Africa. >> Did you just have it? >> Did you dabble in operas in Atlanta? Not yet. >> Not yet. No. So what if I have a problem because of my ear now? >> What's the problem with your ear? >> I before I left South Africa I had an operation on my sinuses and um in London what's called the National Health Service. It takes you a long a long time to get an appointment and even when you do then the followup is like you know >> sounds like Canada. >> Yeah. It takes like I >> universal healthcare is terrible. >> Yeah. So I can't blame it cuz everything is supposed to be exactly how it's supposed to be. But the way it unfolded I'll be tea was that it took a long time to get things done and the buildup of fluid caused me to lose a lot of my hearing in my left ear. So if I'm >> which is the worst thing for a musician. >> It's it's crazy. It's it's but the flip side to it is incredible. >> Silver lining. Huh. The silver lining is that I there that was a part of the technique that I was trying to get for many years. I've been trying to get forever. >> What is it? >> And it was a blockage. It's it's almost about the lower opera is very much um uh uses its main thing actually is the lower chest voice. So um if you sing for example, if you watch a lot of the even today, they sing very much in their head. It's like it's like I'll give >> nasal is called nasal music. It's it's it's this almost this forward height placement which is like a very much a uh if I give me it's a very high place voice and opera is very very much the the foundation the fundamental is completely the opposite. It's based on the chess. So it would be and then you superimpose the top on top of that. So, it would be very much um um I don't know. You got a lot of the bottom part of the voice. Um how did I get onto this? I can't remember what it was. I can't remember what the question. >> The hearing. The hearing. >> Oh, so the hearing. But when I'm singing, >> I still don't know how I got on to that, but when I'm singing, it's very hard for me to hear the outside music. Now, if you're singing uh let's say pop music or I'm singing a concert, I can have a I can have a sound monitor >> that plays or inear monitor that plays, right? >> But opera is sung without any amplification. >> So you I'm standing on stage singing. There's a massive orchestra and there's no microphones, there's no sound and so it's difficult it's difficult for me to hear what they're doing. So I I have since this I haven't even bothered. >> Perfect. So now you only have time for >> and Jewish music. So probably so happy. >> Yi what's what how do you classify Jewish music? Said this what's Jewish? What's >> Jewish? There are modal there's modes in music. There are different modes of music. >> A lot of the music today coming out is like totally there's nothing Jewish about it. They take something from Z 100 and they put in a few >> it depends what you def what is the definition of Jewish music. >> I think that a lot of times in the from community if they start doing something then they call it Jewish and if they don't do it they call it not Jewish. You know what I mean? That's they kind of cultural appropriation in a way a lot of it. Um in music there's what's called modes. Um in the the the most simple modes are minor and major major and minora da da da da da da da da that was actually frigish which is another which is very much a lot of um minor is da da da da da da da da that's major and minor is in minor there's a few versions but the simple version is that's another one mode that's a different mode but it's not minor but anyway minor is let's keep it simple. >> Yeah, keeping it simple. There's different modes. So, there are different uh uh um locations, geographical locations in the world that their folk music used different kind of uh modes. So, scales. So, you will have the Carpathian Mountains, which is some of the songs you'll have if you look at the past, the lab, the past. Uh how does it go? Remember? Okay. Anyway, that's very much it's got the feeling of it's in the mountains. It's got that feeling. It's it's it's a it's a feels like a a shepherd in the mountains and because it's it's made the music is is consists of certain modes. So Jewish music technically what they would call klesma is is is um a lot of it is based on certain kind of modal music that was common in Jewish folk music in specific locations but but but kabad nigunim you is a kabad niggan are is nigunim that that are composed within and and and part of the kabad culture. So did it reflect the European the Russian or Ukrainian whatever surroundings of village music or was it own little >> what what's that >> did the kaban music reflect the Ukrainian >> yes a lot of it does very much a lot of it very much does yes >> the rebum took music that was not Jewish and they made it into Jewish music like Napoleon's march orun like the Russian and national anthem >> French >> could anybody take Jewish a not Jewish song now and make it Jewish like >> again when you say Jewish they made it they they almost made it religious They turned it into a religious music. They turned it into an exper a part of the religious uh experience. That's the difference in saying it became Jewish music. You want to talk about taking music and using it for a hashem. Then it's like anything else in the world. Music is a neutral force. >> If I hear a song, if there's a song on Z 100 and it's really resonating me, can I put the songs up like Ash? >> Absolutely. Just do what everyone else is doing. There's some guys I mean Yeden Yeden that's a German song that was banned in London. All the they're upon him. None of the Kadashia put out big signs and uh it was banned. That song was banned. I mean a lot of the songs other guys that um uh uh use a lot of like >> Soak what about him? >> Original, right? >> No, he he he all most of his songs but he does >> a lot of people banak music. >> Oh, they banned it. Yes. >> A lot of people are banned by they banned. I'll tell you a story that >> because people are very quick to judge >> to judge and it's very easy to cancel culture. He was like one of the first who was canceled. Okay. So I'm not going to go into his whole uh polit political situation that he tells a story that he had with his fellow here in 770 when he was a bach. He was here from lake. He was learning in lake with him and his brother. >> Yeah. And so he he'll you can hear a story himself. We go on on YouTube. I'll tell you a story that I was by um I was a in Melbourne as a a Sydney as a bach and we went to Melbourne like as bakham the kinlook kind of bakham from Sydney and we went to Melbourne we fabangled a lot with Ichim Groner and I may grer told me this story and I'm I'm sure I heard it from him directly I'm sure it was that or I heard the story anyway somebody he asked the Rebok was coming to Australia and he asked the Reb about whether he should bring him into her concert whether he should make a concert with him. Uh and the Reb said something to the extent of not making a concert with him in the mosid and when he came he was very cold to him and he it was his contemporary he was a contemporary of his and he said he realized after he made a big mistake the had told him don't make a concert in the mid because it's not Indian it's not our Indian be of him >> but he's your friend that that that doesn't mean you you don't talk to him that doesn't mean you don't you know so um look in when he was alive the spat on him. They were they were disgusting to him. You now you go to buy a piece of kul in the shop and all you hear is these singing stuff the whole day wherever you go they're all singing he's making kumites and making things. >> But back in what was the music around was just was the rabbi sons. What was around? >> Yeah. Yeah. It was it was you had you had you had you had um you had maj you had the rabbi sons you had the you had the different you had you had there was something called jeep or jeep >> jeep jim I think that was from them they had like you know there was those songs >> you hear that that that sounds like you listen to that and you become not from >> actually the music was the music was good later on the music became quite different but in those days the music Because these guys a lot of these who were making these music were trained secularly were were had you know uh Sham Kabak by the way sings some songs like Cinnamon from Nina Simone I mean Nina Simone was a famous um black jazz singer and she sings a song Cinnamon um uh talking about you know when you sin it was it's a religious song and and Slay MBA sings it cinnamon it's beautiful how he sings he sings yeah he sings that song he sings someone is singing the Lord. You hear Schlama singing that. Um >> so Yi, so what's Jewish music? Just it happens to be that Jewish people from people saying it and that's >> from people call Jewish music what they listen to, right? Because they call that's their point of reference. >> Uh Jewish music. It's it's religious Jewish music. Yes. It's it's uh music made up of somebody later on Yashi Green started composing songs that were also more creative in the in the where they the lyrics because you know AB Rottenberg has like nice words in English just stories that he like takes a guitar and hums to it. It's like nothing. >> But a lot of a lot of the original songs were like they would just take a P and see what you can do. So the lyrics the lyrics didn't actually have much much uh cuz they were just uh now there's a lot of creative stuff coming out now. I think there's a lot of >> Who's your favorite uh comp living from composer today? >> Living from composer. >> Um who composes? I I I think there's a few good ones. Yasi Green is still gems. He's still your favorite as a Yasi Green would say I would say. Yeah. >> Who's your favorite Jewish film singer today? >> Um >> I would take you Shere Boy probably. >> He's very good. >> Yeah. >> So you're you get married in South Africa. >> Back to the days. >> You get married in South Africa and I want to know if somebody wants to go into this music as a career. I just want to know where your career took you throughout your life. in South Africa. I was the cousin of the of of the biggest shul how many years for before I came here before I left 16 years. >> You were in one sh 16 years. >> I was in a few different sh >> and they paid well >> and then I went to a sh that I stayed there for 16 years. They started paying me well but the rand the currency of the rand literally crashed. >> Don't they have to pay you what's good according to what standard of living? >> It it doesn't matter because what happens is if the currency there's a limit to how much they can increase that's the way it works. So when a currency crashes the regular people they they struggle with stuff. So that's what happened. So although initially I was paid very well as time went by um it was no longer >> and the show that you were the wasab but it had a laby Goldman was >> oh Goldman the famous rabbi >> famous rabbi >> you were you were the in what's it called? Ah okay okay. He wrote a book I saw at the spir store about >> and I got as a I got on very well with all the rabbi on him that >> you were in his sh 16 years. >> Yeah. Yeah. >> And how many you had that that's what you had a 30 piece choir singing with you? >> Uh 30 I mean between it was it around 18 18 to 19. Yeah. >> Kai choir 18 to 19. A few of them passed away as the years went by >> and they weren't replaced. >> They weren't replaced because as soon as they were replaced more passed away. No I'm kidding. They weren't guys. If you see this I'm just joking. >> They weren't replaced because the rans wasn't paying enough. They were actually most of them were volunteers but there was when I when I started there there was there was a who had been singing in SH choirs for years. It was really beautiful. It was I missed I missed those pieces. I missed singing those. >> We had kippa we had so the the shul has 1400 seats and the first was fully kippa. So imagine that you you see when when you talked about when when the basos is described in all its glory mish who I didn't see the the building of of Herod you never saw an eye so there was there was beauty there was gorgeous architecture there was gold there was it was gorgeous so you had the senses were all being engaged when somebody went in the old days will explain what's it was an emotional journey you had you were bringing your carbonas whatever it was and you had a choir standing on the side. They were singing. So you it was a journey. What happened with Schulz is they slowly but slowly removed a lot of the elements of the actual personal emotional journey of >> That's terrible. Absolutely terrible. >> So but it wasn't only the building. Now you have a very so okay so but anyways when I when I first started we had a so it was let's say 1 1400 people wearing kettles and talles gigantic building big big uh sanctuary the white on the bimma and the aurin opens you have 1520 cifer in there and people are standing it was it was magnificent and we had >> yeah we would sing and we would sing these these these glorious ious compositions with a choir. It was I miss I I missed that. The times have changed and there's no >> coming back. No, never never. There are a certain amount of occasional schools that would want that, but it's there's young sat developers and there's young five town kids that have $100 million and Louis Shiner gets in the mood of putting a show up with a 30piece kazin band and he wants to write you a fat check. Why can't it happen? >> Oh, if he does that, it can't happen. >> No, no, THE GUYS ARE BLOWING MONEY on private jets. No, no, because because times have changed and and music is a represent rep is a is a reflection of the c it's a cultural expression and what people want to hear. So although I I say although I miss it very much, I don't I don't uh mourn its passing like some people say, "Oh, it's a terrible thing we used to do this." Okay. Yeah. >> How many of these shows are left in the world today >> that do that kind of thing on a regular >> bas? Few years ago on a Friday night I went to the great synagogue in Jerusalem across the street from the Leonardo Hotel and this is exactly what you're describing. Grand glory, hundreds of seats. The one time I think in my life I actually experienced this. It's like a 30 piece. I mean I don't have to volunteer paid. I don't know who was paid not paid. I wasn't involved in the checks but and I was sitting there and I was and I'm not the biggest cousin guy and I loved it. It was amazing. >> So you can go there and you would enjoy it once in a while when you visit there, right? But you wouldn't go and sit there every Friday night. Am I right? >> I know. I don't know. >> I I know. I know because I personally also wouldn't. >> You would you were doing it and you didn't like it? >> I would. No, no, no. If I was doing it and I would I would >> Would this have this this this experience that you described on Keeper Night? What was going on on Paris Vera on that show on a regular Friday night? >> Uh so there was in the in the days when I first started there was probably between 500 and 600 people on a Friday night and we had the same thing. So the D >> you did the Kazanas with the 30 people on a Friday night. >> 18 18 >> 18 people on a Friday night. >> Yeah. Yeah. Yeah. >> And how long was it from when you walked into the show? I'll tell you. >> No, no, it was it wasn't that long. It was maybe from It was between 6:00 and 7. No, it wasn't that long. And then later on I started singing with the choir more upbeat stuff. So I we sang together with the choir changed the style and I together with the choir we'd get the people involved. And when I first started going there and I started clapping, they thought I was off my rockers. They were right, but it had nothing to do with the clapping. But I'm saying like they they um they they it was something foreign to them. But now that's become the norm. >> And this show that you were at for 16 years, they still have such a thing. >> They have it, but it's very different. There's no the choir and it's like a there's a um it's very much like almost like a wedding kind. The the kazin is like is a wedding singer. He's very good at what he does, which is it's it's a very different kind of um >> experience. >> Experience not not like it. >> How often did you have to practice with these 18 people? >> We had we had a rehearsal every Thursday. Every Thursday. Every week. I wouldn't necessarily go to every rehearsal because they had a lot of work that they had to do, but when I when they had finished doing their part and I would have to come in, I would go in there. So, I was I was there often every >> I understand. You're the guy getting paid the big bucks. They're the volunteers. You don't even have to show up and you're the one that being paid for this. >> That's a good It's a good point. I never thought of that. >> That's a good life. And now you're >> they did a the guys they enjoyed it. It's the people who do these things experience. >> It's it's beautiful. I would love to see when when we when you know how that feeling is when people are singing together the whole community guys have never experienced singing in harmony a fourpart harmony where you have the different voices it comes there's something about it that's so beautiful and so so special do you know what I mean that's very >> and now you're currently touring and where do you live now >> I live in Atlanta I moved to Atlanta the bastion of Kazanas >> I met a guy on Friday on Friday this Friday I met a he's His name is Jacobson. He was walking to his mother's house, coming from the grocery store with like 30 bags. And I said, a guy shleing so much, whatever. Anyway, take a long story short. I asked him how many young from families moving moved to Atlanta in the last 15 years. I wanted to give a broad span. I said guys between 20 and 50. He said over a 100 families. 100. That's a lot. >> Yeah. >> Where did this renaissance happen? >> It's a beautiful place. And I have to give credit to Rabbi, you know, Yasi and Dasinu who have done something because when you have a place like that, the same way as in the opposite way in London, they destroyed the place. It's a very big sign of the leadership. >> Wasn't it South African destination for a while? >> What's that? Yeah. Yeah. A lot of South Africans went and they've obviously done something. >> South Africans go from South Africa to Atlanta, Georgia. >> A lot of South Africa. >> What do they have in common? Peach Trees. I'm saying >> No, it's very it's it's very similar. It's the most similar place to Johannesburg that I have been to outside of Johannesburg. It's it's it's it's very open. There's big big space. >> Oh, by the way, shout out to very close friends. Misha is new. >> Yeah. Okay. Hey, is how's it? Great guy. I And they've done they've done something that created that environment that that that attracted lots of young uh >> So, you're in South Africa for over 20 years. >> I'm in South I was in South Africa more than 20 years. Yeah. >> And how did you choose Atlanta, Georgia as the next >> We first went to London. I moved to London. >> Oh, you went back to the abuse. >> I went back to London. >> You can't get away from there. >> Yeah. Yeah. It's crazy, huh? Well, actually, because London is actually a very beautiful city. London is a gorgeous city. London has culture and if you're not being held down and crushed by some lunatics, London is a gorgeous city. So, my kids are British, I'm British. So, we figured that the easy we America was always the uh >> the the destination, but we thought it would be easier the transition from South Africa, go to London. Um, and London is London is you tell us about your current touring and uh Kazan's career today uh November 15th. Um my current what I currently do is I um I have a a show that I take around to communities and other places if they want to offer at a concert where I take the different styles of my music that I have um that I sing which is opera musical theater um and also uh uh like if it's before Yam I'll sing songs that are re you know to that YTV but it's songs that that people can relate to that are not necessarily listening to what you call Jewish music. >> So, it's songs that regular um people relate to. >> So, if Kabad House if Kabad House is making a fundraiser and they want to bring somebody, it's not the regular box that I'm not going to say names of the regular, you know, Tom Dick and Harry singers that everybody's using, they could bring somebody like you that could do something unique. Absolutely. Unique compositions. >> Yeah. Yeah. So, I could do all the Exactly. >> Opra all mix. >> Yeah. All mix. And and I also I'm very into >> uh I mean I as I say I I I went to Africa quite far away but in the end of the day um I I I find myself giving the Reb's message and uh that's something that maybe I maybe for a long time I >> take out a pushka on stage and you do the dollar before >> it's not that it's that I I always attach my my my shows are very much about giving a message. So I'll sing let's say if in if it's an opera song I'll somehow relate it to the the the message that I'm trying to give. Right now I'm my focus of my message is that uh is about Jewish pride not in a way of Jewish pride but in a way of Jewish pride as we learned in being you know and we need to be strong about that. We need to be telling ourselves that so we have that confidence that we go out there into the world today and and beyond reason we we have a strong confidence in who we are. That's very much the message of my show. >> And what's we finally have a direct uh connection between Bill Tongue and our guest, our sponsor, Crown Adventure. Beauty, tell us what Bill Tongue is. >> Let me have a taste of this. I'll tell you exactly. Here one second. Just >> he's from South Africa. He knows. >> Yeah. Yeah. >> Billong Bil tongue is a it's a dried cured meat. It's a very um South African thing. And in South Africa, it's um uh served, you know, as a snack. And uh it's our kids grew up with Bill Tong. So I'm about to tell you now if this is worthy of Is it South African or African? >> Hope I don't lose our sponsor. >> It's made in Connecticut. No, it's made in Connecticut. >> The first thing you have to do is you have to hold it up to your nose. >> Yeah. >> I'm kidding. I'm kidding. You make >> Wow. I can see. >> Okay. >> Here we got this bouncer. We kept >> beautiful. It's proper built on face. >> It's the real deal though. Well, this is the real I eat this. I don't want to tonight I'm I'm milking, but this is the best built. I I love all their flavors. CH Butcher really really is doing a great job and the restaurant on Troy is delicious. >> It's a Crownite product. >> Yeah, >> the Crown your local producer >> It has that bottom texture. >> Yudi, what's your uh old protein? If you want to get your dose of protein, it's hot now. Simple ingredients. Yi, what's your website if people want to check you out? >> Coen.com. www. You have yuden.com. Y u d what happened to y u d i c o hen >> what happened to shamyak if we're going to get from shambas >> so um you want to do one >> yeah we'll sing it we sing it if you know people get a sample people get a sample >> I don't remember the words properly but I'll do the first verse because I know the first words out of We are good. I La. Oh. of the coordin I'll Now we have to tell everybody on ourselves. Don't be don't be frightened. Don't be scared. >> Fantastic. Fantastic. >> Definitely bring this guy down to your mid. He's going to bring you big bucks. Don't ask him. Subscribe. >> Subscribe to the channel. >> Thank you so much. >> Great. You've kept on bringing in that line. That line. I like the shark.