All language subtitles for A.Mighty.Wind.2003.1080p.BluRay.H264.AAC-RARBG

Finally in the news tonight,
the music world

mourns the death of folk music
icon Irving Steinbloom

an instrumental figure
in guiding folk music

from its humble beginnings
in the 1950s

to its zenith in popularity
in the 1960s.

Steinbloom managed
and directed the careers

of such million-selling
folk groups as

The Main Street Singers,

The Folksmen,

and the sweethearts of the folk
music scene, Mitch and Mickey.

Their music was the voice
of a generation.

It carried a message
of peace and freedom

and young people got behind
the message in a big way.

Steinbloom is survived
by his wife and three children.

It's up to you. What do you say, Mitch?

Are you gonna be with us?

Yeah?

Yes, we do.
We have all three Folksmen.

Of course, Alan, of course.
He was the first to--

We can't imagine doing this
without you.

It's as simple as that.

We cannot conceive
of doing this--

One second.
Your messages.

It really seemed that the only
fitting tribute

to this fantastic human being--

And I have to tell you, my dad
was really an amazing character.

And really the only fitting
tribute we could come up with

was a memorial to my dad

that would be a concert
that would be performed

by all of the fabulous groups

and people that he used
to represent.

It's gonna be very fast.
It's gonna be in two weeks.

And it had to be in Town Hall

because where else could
we have such an event?

It had to be Town Hall.

And they had a hole
in the schedule.

But it's a very sudden hole

and we've got two weeks
to put together this

really very complicated event.

But, uh, I'm...

I'm pretty organized myself.

Really, I've always been
a very organized person.

When I was 12,
I formed the J.C.P.L.,

the Jewish Children's
Polo League.

We rode Shetland
ponies instead of horses.

It was funny,
my mom used to say:

"Well, if he has to fall,

he shouldn't fall
from so very high."

She was very protective.
You could say overly protective.

I just like to think she cared
about me. Which she did, a lot.

And I was a member
of the chess team.

And whenever we had chess
tournaments,

I had to wear
a protective helmet.

I had to wear a football helmet.

Now, who knows
what she was thinking?

Maybe she thought
we might have fallen

and impaled our heads on
a pointy bishop or something,

I don't know.

♪♪ Now they don't
Allow no frowns inside ♪♪

♪♪ Leave them by the door ♪♪

♪♪ There's apple brandy
By the keg ♪♪

♪♪ And sawdust on the floor ♪♪

♪♪ So if you've got a hankering
I'll tell you where to go ♪♪

♪♪ Just look for
The busted neon sign ♪♪

♪♪ That flashes ♪♪

♪♪ Ea-a-oe's ♪♪

♪♪ Well, there's a puppy
In the parlor ♪♪

♪♪ And a skillet on the stove ♪♪

♪♪ And a smelly old blanket
That a Navajo wove ♪♪

Hello,
Mr. Stranger Man

- Who is that?
- Who are any of us?

No!

I'll take some
of that.

Mr. Palter has
an altar, I see.

Yeah.
The Palter Porch.

I knew you looked familiar.

Just a little.

I think I used to work
with your kids.

A couple of young guys.

Mark and I met
at the University of Vermont

in about '61?

Late '61.

We were both interested
in folk music,

and there was
a big folk music scene

as there were in many colleges.

And we formed a group
called The Twobadours.

- Two. T-W-O.
- Badours.

Because there
were two of us.

That was the reasoning
behind the name.

Mark was a bass, really,
a bass singer.

I sang way
down here.

And I was a tenor
singer up there.

And so we had no lead.

No glue.
No middle, no...

Vocalist. So when
we went down to New York

to see what was
happening in the biz.

We were playing at a place.

The Folk Place.

At The Folk Place,

which was a wonderful club
at the time and we ran into--

It was the flash point.
It really was.

Everyone-- It was like a big
magnet, everyone went there.

He was singing,
he was backing people up--

I thought I was
a guitar player at the time.

If you have enough vibrato on
those nice blue Fender guitars,

you can sound like
a surf king, you know, but...

I was drawn
to the folk music as well

and I wound up down
at The Folk Place

and met these two guys.

I could play the guitar
a little bit.

I could sing right
in the middle there,

you know, mostly
just sang for myself.

Not a bad-looking
gent, to boot.

No, that's true.
That didn't hurt.

We ended up getting together
and it just kind of...

It clicked.

It clicked.

And Mr. Irving Steinbloom
came down

and he signed us to Folk Town
which was the label to be on.

Terrific label.

Later on we were kind of
moved down the food chain a bit

to the Folk Tone label
which was a subsidiary.

It was a decent label,

they just didn't
have the distribution.

Well, they just didn't
have any distribution.

No distribution
at all.

And the covers were printed
in two colors instead of four

which I noticed
was a problem.

And they had no hole
in the center of the record--

No, you'd have
to provide it yourself.

So the people complained

that you'd get this vinyl,

of course in those days,
and it's up to you to center it.

It would teeter crazily
on the little spindle.

And that was,
of course,

we had no control
over that aspect of it.

- They were still good records.
- Good product.

If you punched a hole in them,
you'd have a good time.

♪♪ It's scary
But it's true ♪♪

♪♪ So do what
the Good Book ♪♪

♪♪ Do what the Good Book
Do what the Good Book ♪♪

♪♪ Tells you to
Oh, yeah, yeah, yeah ♪♪

I guess it was in about 1958
in Greenwich Village.

My partner Chuck Wiseman
and myself had gotten together

with Fred Knox and Bill Weyburn.

We were lucky to be joined by
one of the greatest talents

of our generation--

any generation,
as a matter of fact,

Ramblin' Sandy Pitnik.

And we became
the Village Folk Ensemble.

And we were a great group.
Great.

We had a good sound
but I always thought

we should have something bigger,
a fuller sound.

And one night in 1960,
I'll never forget this

we were at a hootenanny
and we were jamming

with the Klapper Family.

And all of a sudden, I heard it.

The sound that
I'd been thinking about.

The harmonics were amazing.

I thought, "Well, there's five
of us, there's four of them.

It's a neuf-tet."

And it was there, just
in a moment, it was all there.

The neuf-tet sound.

This thing clicked
with The Klappers too,

so we joined forces and became
The Main Street Singers.

Well, 10 years
and 30 albums later,

we disbanded,
but we'd had a good run.

My partner Chuck Wiseman and
myself, we called it quits too.

I went my way
and Chuck went his.

In 1971, after the breakup
of The Main Street Singers

Chuck Wiseman moved up
to San Francisco

where he started
a retail business

with his brothers
Howard and Dell.

Um, the Three Wiseman's
Sex Emporium.

It was very successful
for a year

until they were sued over
something having to do

with a box of benwa balls.

No, I need you, Mitch.

I need Mitch and Mickey.
Mitch and Mickey.

That's the thing.
You go together.

I love Mickey, but without you
it's not the same.

You got to think--

I'm gonna tell
you something--

I'm gonna tell
you something, Mitch,

and I've never told
anybody this before.

You were Dad's favorite. Okay.

Just deal with it, okay?
You were Dad's favorite.

I've never said this
to a single soul.

Two weeks before he died he took
me aside and he said to me:

"Of all those ferkakte people,
I love Mitch, he's my favorite.

He's like a relative,
he's like my nephew to me."

I'm only saying
this because

I think you'd want
to know this, Mitch,

before you make your mind up one
way or the other.

Would you just think
about it, okay?

♪♪ When I'm lying, next to you ♪♪

♪♪ I feel moonbeams burn ♪♪

♪♪ I see rainbows turn
Into gold ♪♪♪♪

Sounds cliché, but it's
kind of a blur, you know?

They loved us.

I think, I guess we were,
in a way, maybe easy to love

because we represented,
you know, true love

and romance
and sweetness, and...

And to be quite honest,

I bought the image
as much as anyone else.

Maybe that's why
I sold it so well.

Because it was sweet
and happy

and everybody, everybody
loved to hang around Mitch.

They tried to get close to him,
but I was close to him.

He was very smart,
very intense...

and distant,
you know?

You'd get close to him
and he'd just inch back

that much further, you know.

And you'd move in,
you know, to get inside Mitch

and he'd just
back off a little more.

Just always kept you wanting
to get there, to understand him.

Which was impossible.

♪♪ Oh, when the veil
Of dreams has lifted ♪♪

♪♪ And the fairy tales
Have all been told ♪♪

♪♪ There's a kiss at end
Of the rainbow ♪♪

♪♪ More precious
Than a pot of gold ♪♪♪♪

The phenomenon
of that kiss was...

It can't be overstated.

It was...

a superb moment
in the history of folk music.

And maybe...

maybe a great moment
in the history of humans.

I'd like to think that Mitch
would agree to do this with me.

Because I already said yes.
And I can't do it alone, so...

No, I didn't think
this through.

Should've talked to him
beforehand, you know,

but I haven't talked
to him in so long.

It wasn't, uh...
We weren't talking.

You know,
those last few years...

Okay, I'm remembering some
things now, yeah.

There was lots
of fighting going on.

And I think
for a while we were able

to keep it
on a professional level.

But really,
we were getting

some personal things out,
you know.

I was just out of high school,
I had just started here.

And I must say I was in awe
of Mitch and Mickey.

Who wasn't?

They were here working on
When You're Next To Me

which proved to be
their last album together.

Mickey started shouting
at Mitch.

She just went off.

She started throwing anything
she could get her hands on

at Mitch. Anything.

Music stands, microphone stands,
mics, guitars.

And Mitch...

He just...

He just snapped.

♪♪ It's time to kick on back
Toss your cares away ♪♪

♪♪ Cartwheels and piggybacks
It's just that kind of day ♪♪

♪♪ I'm sitting on a hill
Watching clouds at play ♪♪

Well, gosh, you know,
I've been playing

the music of
The Main Street Singers

oh, my whole life, I mean,

from way back in Tampa.

I've come to understand
as an adult,

uh, with the help of Laurie,
my beautiful wife

that there had been
abuse in my family,

but it was mostly
musical in nature.

My father used to lock
me away in a room

with nothing but the Percy Faith
recording of "Bim Bam Boom"

and then send me to bed
with nothing but dessert.

And one of the records
he put me in there with

was Sunny Side Up.

The Main Street Singers,
1968.

I tell you, my head opened up,
my heart opened up.

I listened to that record

over and over and over.

I knew it right and left
and every way to Sunday.

I feel like
I knew those people.

And, uh, I wanted to be
in that group so badly

that at the age
of 8 years old,

I went down
into the basement

and I made cardboard cutouts
of everybody in the group

so that I could sing along
with them and be one of them.

These were my friends, and they
were made out of gin boxes.

It's odd that Laurie
came from such a different--

Right. A completely
different path.

I was brought up
in a very small town,

just south of the Chicago
city limits.

And just far enough away
to have been peopled with pure,

unadulterated
white trash.

And because I was one
of so many children,

I don't believe
that anyone noticed

when I blew town at 15

and ended up
in San Francisco, California.

And it's at this point in my
story that the dark clouds part

because I met a certain
Mr. Wiseman,

who gave me a job in his shop.

And before long, he tapped me
to do some small roles

in some of his short films
for more mature audiences.

And before long, I had landed,
if you will, some leads

and then I started
to do some cameos.

Well, I was known
for doing a certain thing

that many of the other
girls wouldn't do.

And of course, I loved to sing,
ever since I was a little girl.

And I learned to play the
ukulele in one of my last films,

Not So Tiny Tim.

And based on that,
my world opened up

because I was invited
to join

the re-formed
New Main Street Singers.

And that's where
I met my man,

and before long
I was the new Mrs. Bohner.

Ain't that something?

A beautiful story.
I tell you.

Last week I heard you were
gonna come in at 5

and you never showed up.
It's okay, it's just that--

- He's in. Mitch is in.
- Really?

- It's unbelievable.
- Congratulations!

Thank you.
Thank you.

He said he would
be a part of this?

Yes. Well...

He said just now
on the phone?

Yeah, I think he did.
Did he-- In writing?

I'm sorr-- I'm just
looking out for you.

Let's not rain on the parade,
okay? He's in.

In 1974, after the breakup,
Mitch was extremely angry.

His first solo album,

Cry For Help, contained
numbers like "If I Had A Gun"

"Anyone But You,"
"May She Rot in Hell."

And this just spiraled down

to the next album,

Calling It Quits.

And at that point
he was in a very bad way.

There was a lot of
of anger in Mitch...

for reasons, you know,
that he had.

I think he went too soon.

He should have stayed longer,

because we really
didn't get a grip on him.

And, uh, his anger
was unhealthy...

for all of us.

- Hello, Mickey.
- Mitch.

- How are you?
- Great.

- It's good to see you.
- You too. So...

Mitch Cohen,
this is my husband.

Leonard Crabbe,
very nice to meet you.

It's nice
to meet you.

Welcome to the house
of Crabbe.

Thank you very much.
I just checked into the hotel.

Left my things there.

Good.
Which hotel was that, then?

I don't know the name.

I can't remember the name,
but it's very nice.

Are you hungry?

Yes.

Good. Lunch is
not quite ready.

Maybe you'd like to take
Mitch to see your trains?

Oh, yes.
Do you like trains?

I took a bus.

No. Model trains.
Do you like model trains?

- Sure.
- It's a bit of a passion for me.

I'll show you around.
It's right down here.

It was a 16-hour trip.

This will be quicker
than that.

This whole area here
is called Crabbe Town.

We've got a brothel
down there above the saloon.

And right down there,
further along,

I'm thinking of building
a French Quarter.

I've actually got a bit
of French blood.

I would love to see
this town in the autumn.

I think Crabbeville in autumn
would look quite magnificent.

I would have made
tiny little leaves...

oak, poplar, maple, chestnut...

and spread them across
the town of Crabbe... ville.

Magnificent.

It's Crabbe Town,
not Crabbeville.

What is it you do,
Leonard?

For work?

Oh, work.

I'm in the bladder
management industry.

I sell catheters.

I have my own
distribution company.

- Sure-Flo Medical Appliances.
- Ahem.

May have heard of it.

It's actually named
in tribute after my mother.

Her name was Florence.

It's a growth
industry, really,

because one
in three people over 60

either have a flaccid
or a spastic bladder, so...

so, in a sense,
every 13.5 seconds,

a new incontinent
is born, as it were.

People like
you and I

have what they call
"leakage problems."

They can be running,
playing tennis,

laughing, sneezing,
anything.

I mean, the good old
constipation, you know?

You have
impacted fecal mass

in your rectum, you find
that pushing on your bladder.

You know, this might make
good dessert talk.

I started playing folk clubs
in New York City

and walked into one such
coffeehouse one night

and there--
Half Moon Café.

The Half Moon Café
and--

I was playing with my sisters,
Jocelyn, Claire, Estelle.

We were the North Four.

We were on-stage and we had
a horrible little heckler.

A little guy, but with
the loudest voice in the world.

And just, you know,
"Take off your tops"

and "Get off the stage."

"You sing like crap!
You get off the stage!"

Very inarticulate.
Rude.

Mean.
Mean little bugger.

All of a sudden, we couldn't see
clear, you got the lights on us

but I see this tall,
dark figure go over

and there's
this intense little

something going on, and all
of a sudden, he's pummeled.

The crap pummeled out of him.
I don't remember much.

But the next thing
I know, I'm in a hospital,

and the first thing I saw

was a beautiful rose
sitting

in a vase on the night table
next to the bed.

And I can't express

what was surging
through my body.

I was consumed
with an emotion

that I had
never felt before.

♪♪ This love for you
I'm feelin'... ♪♪

We started
singing together.

We simply
fused together

in a very
meaningful way.

And before you know it,
we were recording.

I learned to sing
with Mitch.

And...

So scary, so scary.
But I just...

Mitch was so strong and so smart
and knew what he wanted

and I just focused
on Mitch and...

You know,
I went along for the ride.

One, two, three, and...

Wait. I doubled
after you?

No, with me.
That's doubling.

You both climb aboard
the ferry at the same time.

Okay, fair enough.

One, two,
three, and...

Yeah!

♪♪ My mama was
The cold north wind ♪♪

♪♪ My daddy was
The son of a railroad man ♪♪

♪♪ From west of hell ♪♪

♪♪ Where the trains
Don't even run ♪♪

♪♪ Never heard the whistle
Of a southbound freight ♪♪

♪♪ Or the humming
Of its driving wheel ♪♪

♪♪ No, I never did no wandering ♪♪

♪♪ Never did no wandering ♪♪

♪♪ Never did no wandering
After all ♪♪♪♪

- You know what?
- Hold it. Hold on.

I just, sorry, I just got
a mental picture in my mind

of us on-stage
in the show.

And it just...

We weren't wearing
the old stuff, the old gear,

the old...

We're talking
about the dickeys here?

I think I'm on record
as Mr. Anti-dickey.

You were
Mr. Drop-the-dickey.

It's just
a very retro look.

I'm totally available
for the discussion of it.

It just sounds like you're
thinking the image that we had

was a retro image of something
that wasn't retro

because we weren't
retro because we were then--

Right, it wasn't retro
then but now,

to try a retro thing,
it might just look kind of sad.

I mean...
To do then now would be retro.

To do then then
was very now-tro, if you will.

It's odd.

I'm looking at
at numbers here, guys,

I know we're getting emotional
with things

and I know we want
to give this

to be a great thing
for you know who,

but I'm looking
at numbers--

For Dad.
Can't you say it? For Dad.

Look, I--

You can't say
his name, can you?

You're not the only one that's
thinking about Dad right now.

You're not the only person
going through this little--

You don't have to take
everything personally.

It's not you.
It's her. Forgive me.

I'm sorry. Forgive me.
Never mind.

This isn't really just
a reunion for the folk groups.

It's also a reunion
for the Steinbloom family,

minus Dad,
of course.

Because we never get together.

Not really.
No.

We talk. A lot.
We talk a lot.

We talk on the phone
a lot.

We don't really
see each other.

No. We don't need to.

I moved away
to North Dakota.

I tried to get
as far away as I could

to actually get the singing
out of my head.

I didn't care for folk music
and Dad knew that.

I just didn't get it.

So I haven't kept up our ties.
That's why this is kind of nice.

Hopefully we can get
through our little things

and put on
a good show for Dad.

You like to make amends,
but you can't,

so we'll try to do it
with one good--

Music.

You okay?

Let's just
hang on.

Oh, Jesus.

Woo!

My dad, Fred Knox,

was an original
Main Street Singer

so I grew up with
this kind of music.

So I listened
to it when I was little.

But I didn't hear
much of it when I was a teenager

because I was, um...

I was on the streets.

Yeah, I was really rescued
by The New Main Street Singers

and they really
gave me a break from that, uh,

dark, that darkness.

And, um... So I like
to give people a break now.

So when I sing, I want to give
out what was given to me.

And I want to be, you know,
a vessel of love

and I want to entertain
and make people happy.

So I look for someone
out in the audience

and that's what
brings me real joy.

And, so when Mr. Menschell
called me in 1995--

my dad died--

and asked me to be
a part of this band, I said:

"Well, yeah."

♪♪ Going home
I'm going-- ♪♪

♪♪ Go-- ♪♪

♪♪ Going ♪♪

♪♪ Go-- ♪♪

♪♪ Going home
I'm going home ♪♪

♪♪ Home ♪♪

♪♪ Home ♪♪

♪♪ Go-- ♪♪

Quick plugola,
I'm Mike LaFontaine,

owner and founder
of Hi-Class Management.

Whoops!

Comic's constant companion.

Let's start right out.
Hey, wha' happened?

As you know, back in

197--

I starred on a series called,
Wha' Happened.

And every time something
would go wrong,

I'd look
at the camera and say:

"Hey, wha' happened?"

We had a lot
of fun with that

and a lot of other
catch phrases.

"I got a real red wagon!"

And, "I can't do my work!"

And I believe I was the first
one to use the phrase,

"I don't think so!"

But it only lasted a year.

And that's good because that's
how you establish a cult.

So I was on-stage

doing all my shtick,
you know,

"Hey, wha' happened?"
and "I can't do my work!"

If someone would heckle me,
they'd say,

"Are you gonna be
on-stage all night?"

I would say, "That's right!"

and that would crack up
the audience.

But I noticed a guy sitting down
front with a long face,

nothing got to him.

So I turned to the lady next
to him, I said:

"Would you hold your mirror up
in front of his nose

"to see if he's still breathing.

To see in fact,
if there's a reflection."

So he started to smile.

After the show I go down
and introduce myself.

His name is George Menschell.

He had been with a group called
The Main Street Singers.

Now I was never into folk music.

I'd worked some bills
with some folkies. You know:

♪♪ Put him in a cell
With a long hose on him ♪♪

♪♪ Put him in a cell
With a long hose on him ♪♪

And I used to say,
"If he's got a long enough hose

he's gonna have a lot of friends
in the shower room!"

Folk audiences hated that joke.
But I said to George, I said:

"Seriously, you've put up
some great numbers.

If you re-form your group,
I can send you out

on the Starfish Cruise Lines.

Together, we could
make a fortune

and you will have a ball."

They used to go out, come back,
they had a great time.

Except a couple of cruises

dysentery broke out on the ship.
I was not there.

You do not want
to be on a cruise ship

when dysentery breaks out
and be knocking

on the men's room door,
"Will you be coming out soon?"

and hear, "I don't think so!"

I'm just so glad
to be here. I love the network.

I love what you do here.

I watch it constantly,
basically.

That's really all I wanted
to start by saying.

I just think you're doing
a fabulous job.

And I'm very, very happy
to be here talking with you.

Well, it's a perfect fit.

As you may know,
our demographics

are skewing a bit older

and that can be a minus

with some of the corporate
underwriters.

But in this case,
it's a plus because

there's a lot of built-in fans
for The Folksmen,

all the other groups
that your dad represented.

And, you know, I think it's
gonna do very well

in the evening hours, here,
which is when we would propose

to do this concert.

If you don't mind my saying so,

our audience for some of these
groups is getting younger.

Not radically younger.
Which I hope is all right.

All right? If we can get
two dozen young people

watching in the evening hours

I think there's several people
at this table

that would be happy because
we don't have much of that now.

So, this is great
and I want to tell you

if you're not weary of hearing
stories about your dad,

I want to tell you
a little story.

A young kid by the name
of Lars Olfen,

in 1966, going to a concert.

I'm 16 years old
and it was raining.

And I got right up
to the box office

and like some kind
of practical joke

the door slammed shut.

Sold out,
right when I got there.

And my little young tears
mixed with the rain,

and I'm walking away
and I hear a voice.

"Hey, kid, over here."
And I go, "What, a scalper?

"Who is this guy?

I can't afford that kind
of money for a ticket."

But he looks kind of familiar
and I go over there.

He hands me two tickets,
doesn't want a dollar.

It's your father.
Why would he do that?

That was Dad, you know.

He was just out there,
with people.

And he was generous,
and he was kind

and really that's why
we're doing this thing

to pay back this much back
to his memory.

The naches
I'm feeling right now.

Because your dad was like
mishpoche to me.

When I heard I got these tickets
to The Folksmen,

I let out a geshreeyeh

and I'm running with my friend
like a vilde chaye

right into the theater,
in the front row.

So we've got the schpilkes

because we're
sitting right there.

And it's a mitzvah
what your dad did,

and I want to try
to give that back to you.

Okeinhoreh, I say,
and God bless him.

- Where did I go up?
- I remember hitting a...

♪♪ We shared a song ♪♪

I think it might be on
"the ravens," on "the ravens."

"We shared." I think
you might stay below me on--

Stay on:

♪♪ We shared ♪♪

♪♪ Wandered ♪♪

♪♪ Wandered through
Each other's secrets ♪♪

♪♪ We traded ♪♪
♪♪ Tra-♪♪

♪♪ A ♪♪
Oh!

♪♪ We traded ♪♪

You're right!
Oh, Mitch, you're right!

Oh, I forgot that.

♪♪ We traded an honored worth ♪♪♪♪

It's, um...
Oh...

That's it,
nice and crisp!

That's very nice.

♪♪ Walking down to Main Street
Everybody's gonna sing ♪♪♪♪

There you go.

♪♪ Sing ♪♪
Sing.

Whoa, whoa, whoa.

What are you singing there?
You got the root on "sing"?

You singing the root?

No, I was singing:

♪♪ Everybody's gonna sing ♪♪

You're singing the root.
Didn't I give you a sixth?

I don't think so.
Tony, I give him a sixth?

I think you were
singing the sixth.

Can you sing me a sixth?
Could you sing a sixth?

♪♪ Everybody gonna sing ♪♪
♪♪ Everybody's gonna sing ♪♪

Yeah, I can sing
that. Sure.

Let's try it again.
One, two, three.

Can I jus--

What? Yeah?

I'm sorry, go ahead.

No, you have a problem
on the bridge?

No, I was gonna say--

Can I switch? Can I change
out of my costume?

Costume? Are you hot?

Yeah. But also, I mean...

I've been wearing it
for a month.

You know the policy.

We all gotta wear
the uniform

until we're ready
to take it off.

I think you're real close,

I just don't think
you're quite there yet.

I mean, you did not
sing that sixth,

and I want to see you
sing that sixth.

You just wear what you have on.
You sound fine.

We'll just do it again,

and eventually you're gonna be
able to wear your civvies

when you're singing.

Jonathan? Hi.

Well, I got good news
and better news.

Good news is,
we're still doing the concert.

Of course, the better news is,
we are going live.

Yeah.

I got a friend
at NOAA so we're going up

in the Nimbus 7
Oceanographic Satellite.

He's got some bandwidth there,
and it's live!

Yeah, the corporate underwriters
wouldn't go for it, so...

I'm excited too!

Okay. Okay.

Shalom.

Folk music is in my blood.

You know, as a young boy,
in Sweden--

I was born there and came here
at an early age

but we'd go back
to Sweden every year,

my family and I,
in the winter

which was a flip
from the normal thing.

But every Olfen kid,
Lars, Sven, Pippi and Liv,

we were trained on the dulcimer,
from the earliest age.

When you could hold a rattle,
you'd hold a dulcimer.

And we learned to play.

And eventually I had
a garage band in Stockholm,

which was a challenge
in its own right

you know to keep
an instrument tuned

with that temperature swing.

There's a block warmer
for the Volvo in the garage

but it's pretty cold
in there in the winter.

So we played and I had a hit
that you might have heard of.

Which means,
"How's It Hanging, Grandma?"

and it was big
on the Swedish charts.

And so I got in touch
with the American music.

And I loved that
and thrived on that,

so I came here
and became part of that scene.

And I'm just so happy to be here
and come full circle,

airing this show on PBN.

It's a dream come true.

♪♪ I worked the fields
My father worked ♪♪

♪♪ From dawn till setting sun ♪♪

Then it quiets down.

♪♪ And the skeletons of Quinto ♪♪

♪♪ Call me home ♪♪

"The silver tentacles
of the moon's rays haunt me."

That's really getting confusing.
It's really confusing.

It's really confusing.
I'm hearing you the same timbre,

and it's cluttered.

Maybe if I did it higher
and he did it lower--

Actually, if you do
what you did before--

I can't get
that much higher.

But that's--

Now it sounds almost
more like a ventriloquist.

Can I make the radical
suggestion that maybe

this is not
the best number

to start with?

This is a live
television show.

We don't want people
to reach for their remotes here.

It's public television.
I don't think...

- They don't have remotes.
- Yeah.

My God, that's terrible.

What do you mean
he won't come out of the room?

Yeah, well, Mickey,

have you talked to him?

Has he talked to a doctor?
Have you given him medication?

I mean, I know he's anxious.
I'm anxious. I'm always anxious.

I come out. You know, I mean,
we gotta do something.

You want me to-- You mean,
I'm supposed to talk to him?

I mean, I like him, I don't have
that much to say to him.

I could be empathetic.

I'm not sure
what else I could do.

I could sit, I could try.

Anything, we have
to do something.

I'll see him. I'll talk to him.
I'm happy to.

I gotta get him out of there.

We're not broadcasting
from a motel room.

You know, we gotta
get him out of there.

What's happening here?

Could you run your hand
over that?

- What are you getting?
- Well, I'm getting a bounce.

But there's a lightness
within it, as well.

Interesting. You know, honey,
it's a very tricky color.

Terry and I worship
an unconventional deity.

The power of
another dimension.

Now, you're not going
to read about this dimension

in a book, or in a magazine
or in a newspaper

because it doesn't
exist anywhere

except in my
own mind.

Through our ceremonies
and our rituals

we have witnessed firsthand

the awesome
and vibratory power of color.

We experience it
as alive

and constantly shaping
our experience.

And we believe that
this saturated energy

is the basis of all creation.

We are WINC. W-I-N-C.

Witches In Nature's Colors.
WINC.

I know the word "witch" may be
a problem for some of you.

The word has a lot
of silly connotations.

No, ladies and gentlemen,

we do not ride around
on broomsticks

and wear pointy hat--

Well, we don't ride
on broomsticks.

This is not
an occult science.

This is not one
of those crazy systems

of divination
and astrology.

That stuff's hooey

and you gotta
have a screw loose

to go in
for that sort of thing.

Our beliefs are
fairly commonplace

and simple
to understand.

Humankind is simply
materialized color

operating on
the 49th vibration.

You would make
that conclusion

walking down the street
or going to the store.

I know this
is a lot

of pressure for you
to be under, Mitch.

And I don't want you
to feel you have

to push yourself
too far. Okay?

This is a one-day-at-a-time
kind of thing.

I really don't want you
to think that you have

to achieve anything
right away.

Very important to back
off the pressure. Okay?

There's a deception here.

The audience,
they're expecting

to see a man
who no longer exists.

Well, you know,
that may be true.

It might
indeed be true.

But I think
what you have--

- Oh, baby.
- Oh, baby.

Can I--?

♪♪ Loco man ♪♪

♪♪ Watching
all the fish swim away ♪♪

♪♪ He no work
He just sleep and play ♪♪

♪♪ Sitting here on the sand ♪♪

Talking about the loco man.

♪♪ Sunny land ♪♪

♪♪ Sunny land ♪♪

♪♪ Coconut coming down
All the time ♪♪

♪♪ All the time ♪♪

♪♪ Milk, she sweeter
Than honey wine ♪♪

♪♪ Sitting here on the sand ♪♪

♪♪ Sun breaks over
The sprits'l yard ♪♪

♪♪ Jib sheets hauling
To leeward hard ♪♪

♪♪ Crosstrees humming
A morning hymn ♪♪

♪♪ I'm the cabin boy
Call me Jim ♪♪

♪♪ His name's Jim ♪♪

♪♪ Fare away, fare away
Under main top sail ♪♪

♪♪ To the furbelow
Of the wily whale ♪♪

Hold on. One second, please.

I got an idea.
Very literate reference.

I don't know
if you're familiar

with a book
about a pirate captain,

his name is Moby Dick?

He was chasing some big whale.

And he had a catch phrase
he'd always yell out:

"There she blows!"

So I thought
if you could do that,

we'd have someone off-stage

drench the whole
group with water.

And you could look at the camera
and say, "Hey, wha' happened?"

And every time,
another thing of water.

And by the end you're all
soaked, even the ladies.

And at the end of the song
you turn the guitars upside down

and water splashes out.
Kerplunk!

It's just a thought.

♪♪ Oh, when the veil
Of dreams has lifted ♪♪

♪♪ And the fairy tales
Have all been told ♪♪

♪♪ There's a kiss at the end
Of the rainbow ♪♪

♪♪ More precious
Than a pot of gold ♪♪

♪♪ My sweet, my dear
My darling ♪♪

♪♪ You're so far away from me ♪♪

♪♪ Though an ocean
Of tears divides us ♪♪

♪♪ Let the bridge
Of our love span the sea ♪♪

♪♪ There's a kiss at the end
Of the rainbow ♪♪

♪♪ More precious
Than a pot of gold ♪♪♪♪

We're very pleased to be having

the folk people
here tomorrow night.

It's not something
we usually do.

This is obviously more
of a classical venue.

But it'll be a lot of fun.

It's like having a carnival
come to town or something.

I'm the events liaison.

Although a lot
of people around here

call me "King Larry"
or "Your Majesty"

because I just
basically do everything

that needs
to be done around here.

I've been up into the highest
catwalk changing light bulbs.

I've been in the basement
changing the rat traps.

I'm also a singer.

I'm not a professional,
but I do like to sing in church

and, you know,
places like juvenile halls.

But this.

This is the best place
to sing in New York

and quite possibly
the world.

The acoustics are just perfect.

♪♪ Ave ♪♪

♪♪ Maria ♪♪

♪♪ Dominus tecum ♪♪♪♪

Did I miss it?

No. It's about a mile.

I'm not sure if I'm going
north or south.

Where is it again?

The guy said it was Midtown.
He said you can't miss it.

It has chrome on the front
of the hotel.

I think you
wanna hang a left...

I'm gonna make a left.
and try again.

Do you have a map?

I have a map, but
I don't have it in the car.

Oh.

Were you planning to study it
later, just academically, or..?

Is it on the way?

Look, guys, I'm gonna
get us here.

Nobody's busting
your chops.

Yet.

It's just a question of time.

Why don't you pull over
and let me drive, Alan.

Because I don't
want you to drive.

Now I don't know where I am.

We are very excited to be
involved with this project.

And frankly, it's gonna be
something of a challenge for me,

personally, anyways, because
I'm not a fan of folk music.

Me too!

I couldn't care less
about it.

But that really
doesn't matter

in the business
of public relations

which is what we care about,
which is what we do.

It doesn't matter what we think,
it matters what you think.

And it matters what
we can make you think.

What we can sell to you.

And a product
you're gonna love to buy.

That's the way we look
at this particular concert.

And if we can't do that,
we fake it.

Well, that's also part
of public relations.

We're professionals here,
you see.

We get ideas
that help sell.

We work together very well.

It's almost as like
we have one brain

that we share between us.

It's like
I'll have an idea,

it will just be a teeny,
tiny little spark

and then it will get to Wally
and he'll make it a fire.

I don't know
about you,

but I'm predicting
a lot of exciting

amazing things
that happen to the groups.

Like big, like, not just big,
but big-time stuff.

Ladies and gentlemen,
as deputy mayor,

it gives me
no greater pleasure

than to officially
declare tomorrow,

Saturday, June 22,

Folk Music Day
in the Big Apple.

Thank you.

Thank you very much, Your Honor,
or Your deputy Honor.

I have two questions.

Number one, do you think
New York City is ready to hear

a rebirth of some
of the finest folk music

ever created right here
in this city?

Yes, I think so!

And my second question is,
where's the real mayor?

Wha' happened?

Someone shot the mayor,

they did not
shoot the deputy.

Incidentally,
the DA's office called.

They can't find any witnesses,
so he's in the clear.

Let me say a few words about
The New Main Street Singers.

One of the founding members
has passed away,

but he's with us
tonight anyway!

George Menschell!

Come on up here
and say something, George.

How are you?
You wanna say something?

No, no.

Come on, say something!

Um, but thank you sincerely,
Your Honor

which reminds me,

I was at a swingers party
the other night,

and a fella said to me:

"I'd like to meet your wife."
I said, "Your honor!"

To paraphrase an old joke:
Knock, knock. Who's there?

It's The New Main
Street Singers!

Thank you so much.

Thank you.
You can take this.

Okay.

Thank you very much.
Thank you.

Don't forget
to buy the CDs.

Seeing these long lines of fans

who want nothing more than
to have you sign an autograph,

it's like it's 1968

or '67, or '66. Uh...

The good years.

It's so wonderful
to see the people

that have enjoyed
your music all these years.

And there's
so many of them.

And they just want
to shake your hand and say:

"We dig what you do."

And then
there's the kids.

We're hearing, "You rock."

"You rock me."
"You rock my world." What--?

I was flashing back to the rush
of adrenaline we used to get

arriving at the concert hall

having stagehands saying,
"Good show, Mitch."

"Good luck, Mickey, tonight."

And we'd wait backstage,
hearing the crowd chanting.

"Mickey, Mickey, Mitch, Mitch!"

Walking out
into the spot,

the sound
of the crowd cheering,

the decibel level...

For me it was
just watching you.

Because I couldn't think about
me actually being up there.

Watching you.

I look forward
to that, Mitch.

I wonder if it's going
to happen tomorrow night.

Oh, yeah.

And I'll be there.
We'll see.

I'll be there in the best seat
in the house.

I guess you can make money
in folk music.

Yeah, I guess you can.
Yeah.

It's usually
because of acts

like The New Main
Street Singers.

That commercial crapola.

Mm-hm.

I'm a model
train enthusiast.

Oh, that's great!

I've got a whole layout
in my basement.

It's very much
a big passion for me.

Yeah, thank God
for model trains.

Oh, absolutely.

If they didn't
have model train

they wouldn't have gotten
the idea for the big trains.

Excuse me. Hi.

Hi, everybody.
Just be a second.

Don't want to interrupt.
We're having a great time.

I'd like to propose
a big, big toast

in honor of...Dad.

He was an amazing
and a wonderful, loving father

a fantastic person
in general.

And I think anybody who even
knew Dad just for a second

knew that he had
an amazing hum.

And wherever he went, he would
just suddenly break into a hum.

And anybody who heard this hum
would just be happy.

And in honor of Dad,
I'd like to say...

let's all pause,

let's raise our glasses
and let's hum for Dad.

Uhh!

Okay, bring it down.
Back up.

Okay, bring it across.
Bring it across.

Right on down here.
Here, hold it.

So, what do you got?
You got vocal?

Vocal, vocal.

Some of them
are gonna do this,

some of them
are already in there.

They've been assigned
directions?

Believe me. We do
this every single day.

This is just
like clockwork.

- Those are microphones?
- Microphone stands.

- They don't have tops on them.
- Pardon?

They don't have
tops on them.

They'll have tops when we're
done, don't worry about it.

We do this every day.

Mic heads.

What would you call them? Would
you call them a "mic head,"

- or would it be the "mic"?
- It's just called a microphone,

and you will get them.
Don't worry about it.

You don't need
to write that down.

- We really want them.
- You'll have them.

Town Hall. Tonight. Mitch
and Mickey at the Town Hall.

Two weeks rehearsal.

That's the way
to play Town Hall.

Crazy. New phrasing.
Different keys.

But couldn't have happened
any other way.

If we'd stayed together,
we wouldn't be at Town Hall now.

We'd be lucky
to be in Branson,

opening for
The Main Street Singers.

Nope.

This was our crazy way
of getting here.

Well, I'm feeling very relaxed.

Very confident. Very focused.

You know, 35 years ago,
preparing for a concert

meant playing "find the cobra"
with a hotel chambermaid.

But tonight, I feel good.
I feel excited.

I feel ready for whatever
the experience is

that we will take with us
after the show.

I'm sure it will be
an adventure,

a voyage on
this magnificent vessel

into uncharted waters.

What if we see sailfish jumping

and flying across
the magnificent orb

of a setting sun?

I think it's impeccable.

It says happiness,
it says opening night.

It says, "I love folk music but
I'm not afraid of classical."

It's very beautiful.

I'm a little afraid
of these pokey things

that are sticking out.

- They're apple blossoms.
- Is that what they're called?

These apple blossoms
are right at eye height,

and I'm so afraid somebody could
come over to sniff, to admire,

and just get an eye poked out.
I'd love to clip it off.

If we could get a shape
to these things,

that's my basic
creative issues.

I have a health
and safety issue.

Those viny things
down there.

They're a disaster.

They're too low,
they're too tangly.

They're just, like, waiting for
an elderly person to wheel by

or somebody in a walker,

or with a brace
on their leg or something.

You know, a lot of my family
is beyond old, and--

Well, you know,
I've got a great idea.

Why don't we just
get some carnations

and a beer stein and
just put them right up here.

I don't see how
that would work.

I've adopted the practice

of taking care of my skin.

It's something...

you know, sometimes you get
razzed a little bit.

I think Jerry was razzing me

the other day
at Alan's house about it.

He caught me in the bathroom

and I did that thing where
I put my hands down very quickly

and he said,
"Oh, what are you doing there?"

But really
Norwegian fishermen

have used hand cream
for centuries.

And with that regimen,
and it's a very simple one,

I know that when I walk out
on-stage tonight,

I will-- My skin

will look its best
in front of 2000 people.

That will give me
the confidence

that will help me
to play my best

and sing my best and be my best

and you can't put
a price on that.

Tammy, we all set
on the pre-record?

Yeah.

Good, thanks.

You know, I produced
a reunion show before.

Before I came to PBN
I did the Good Times reunion.

And people said
they wanted more close-ups.

I want to make sure
we get plenty of close-ups.

I can assure you we have plenty
of close-ups scheduled.

Another thing would be great,

would be one of those great
shots where you pull back

to see the enormity
of the event and the venue.

Would be a crane.
Do we have a crane standing by?

I can't remember.

- No, we don't have a crane.
- Wow!

You know those kind
of swooping shots

where it goes
over the audience

and hammers in on a shot
of one of the musicians playing?

- That would be great.
- It would be.

Or when they pull back, kind
of like a California Adventure

ride where you get to see
the whole scope of the thing,

that would be
very nice too.

It would be.

I could make some calls, if you
want, if we could get one.

I don't know if
it's too late.

All right, here's
your giant banjo.

It's very flat.

Well, it doesn't look flat
from in the audience.

It has basically
no dimension to it.

Well, it's painted to look
three-dimensional.

If you go back there--

But it's not painted
on the back.

Can you--? Will you look
with me for a minute?

Why would it be--?

From the audience it's going
to look perfectly fine.

It looks three-dimensional.

Just go out there
and take a peek.

Is this the real furniture
or this the rehearsal furniture?

Well, A: it's not called
"furniture." It's a set.

And it's painted this way.

It looks completely
three-dimensional

from the audience. If you just
go out that way, Mr. Steinbloom.

So this is the real furniture,
and this is...

Is this an actual
street lamp?

I'm sure it was
at one time.

Can you have an actual
three-dimensional object

that represents the thing
that it actually is,

can that be next to something
that it's pretending to be?

Yes, it's
perfectly fine.

You know, I really don't have
time to explain Stagecraft 101.

This show starts in an hour.

Now everything
is exactly the way you--

What--
What's that--

Those are lights
hanging up there?

Yes, those are lights,
and that's a ceiling above us!

- But they look shaky.
- No, they're not shaky.

They're perfectly--

Is that wire? I see a wire.
I see a-- Ow!

Fellas, thanks a lot for coming
and doing this for Dad.

Yeah, honestly,
that's so beautiful.

And thank you for the flowers,
the little banjo.

Did you like that?

We had to get rid
of the lavender

because it attacked
my eyes.

Sorry
about that.

Listen, the thought
was wonderful.

I remember you guys
being in the house and...

I remember you
were always, Elliott,

you were always trying
to get a poker game started.

You were, like, 15 years old

with a deck of cards
in your hands.

- Penny stakes.
- Yeah.

You guys would always tease me
with those card games.

You taught me cards
for heaven's sake.

Yeah, we didn't know you were
gonna turn into a monster on us.

Mitch.

Hm?

You okay?

Yes.

This flame,
like all flames,

represents the light
and the darkness.

It also represents

the uncertainty of life
and its delicacy.

It also represents
a penis.

♪♪ Red, orange, yellow
Green, blue ♪♪

♪♪ Indigo, violet ♪♪

Ten seconds to air.

Roll pre-record on my count.

Seven,

six, five, four,

three, two.

Roll A. Fade up on A.

PBN New York is proud
to present:

Live from Town Hall,
Ode to Irving

an evening of folk music.

Featuring The New Main
Street Singers,

The Folksmen
and Mitch and Mickey.

And now your host,
Mr. Jonathan Steinbloom.

Hello, I'm Jonathan Steinbloom,

and before we begin
tonight's celebration

I would like to make
a brief announcement.

I'd like to warn you that some
of the floral arrangements

at tonight's performance have
dangerously low-hanging vines

and may be poisonous,
so please, whatever you do,

don't eat them.

And don't become entangled
in them or trip, please.

On behalf of the entire
Steinbloom family

welcome to Ode to Irving.

Thank you. Thank you.

Please join all of us
and give a really warm welcome

to our first group
about whom Dad used to say

they were the kind of infectious

that it was good
to spread around.

Ladies and gentlemen,
The New Main Street Singers.

Woo!

Hi, everybody!

Yeah!

Thank you, New York City,
for that very warm welcome.

Gee, I got a question.

Anybody care
to hear some folk music?

♪♪ Never did no wandering ♪♪

♪♪ Never did no wandering ♪♪

♪♪ Never did no wandering
After all ♪♪♪♪

♪♪ Wandering ♪♪

♪♪ Never did no wandering ♪♪

♪♪ H'yah! ♪♪

♪♪ My mother was
The cold north wind ♪♪

♪♪ My daddy was the son
Of a railroad man ♪♪

♪♪ From west of hell ♪♪

♪♪ Where the trains
Don't even run ♪♪

♪♪ Never heard the whistle
Of a lonesome freight ♪♪

♪♪ Or the singing
Of its driving wheel ♪♪

♪♪ Oh, I never did no wandering ♪♪

I didn't say a word.

I don't know.

♪♪ Never did no wandering
After all ♪♪

♪♪ They say the highway's
Just one big road ♪♪

♪♪ And it goes
From here to there... ♪♪

You swear to God you didn't talk
to Menschell about the set?

You didn't tell him
what we were opening with?

I saw you talking
to Terry Bohner kid.

Him and his blue sweater.

- I said, "Isn't it warm?"
- Nothing about the set.

Well, it's getting warmer now.

I don't think finger-pointing
is gonna help us here. I...

I think it's very clear
what we do.

What's that?

I'm gonna suggest we be bold.

Yeah, let's hear it.

We open with "Wandering."

Did you miss the last couple
of minutes?

They're currently butchering--

Turn it back up.
You wanna hear it?

We give the audience a choice.

We say you can enjoy
a toothpaste commercial

or hear folk music.

They've brushed their teeth
by that time,

it's not even germane.

Here's the thing,
you can't have on a bill,

especially a folk bill,

you cannot have two people
doing the same song.

That doesn't work. They're just
gonna be flat-out confused.

♪♪ Never did no wandering
After all ♪♪

Easy now!

♪♪ Never did no wandering ♪♪

♪♪ Never did no wandering ♪♪

♪♪ Never did no wandering
After all ♪♪

♪♪ No, I never did no wandering ♪♪

♪♪ After all ♪♪♪♪

Oh, boy. Thank you very much!

That song is so fun to sing.

I hope you enjoyed it
as much as we did.

Before we go
a little bit further,

we'd like
to introduce ourselves.

Hi there, I'm Terry Bohner.

I'm going out
for some air.

Are you sure you're okay?

Yes.

♪♪ One night Mama went to fetch
Herself a sweet potato ♪♪

♪♪ Fell down
The cellar stairs ♪♪

♪♪ Stork dropped in
While she was on the floor ♪♪

♪♪ So my sister
Was born down there ♪♪

♪♪ Daddy said this one will be
Nothing but a Misery ♪♪

♪♪ Never will be worth a damn ♪♪

♪♪ But Mama just loved her
Little sweet potato baby ♪♪

♪♪ With a face
Like a parboiled yam ♪♪

♪♪ Come on, boys
Potato's in the paddy wagon... ♪♪

I know you don't want to hear
this, but it's a major key,

it's up-tempo,

we open with "Old Joe's Place."

We go out, we do the song
that we're known for,

we get it out of the way.

And then, hey,
here's the icing on the cake.

What's the icing?

Well, the icing's
the rest of the act.

- That's the cake.
- No, that's the dressing.

♪♪ Mom and Daddy put together
Quite a little posse ♪♪

♪♪ Counting me and
Jack and Cousin Will ♪♪

♪♪ We all hopped into the old
Chevy pickup ♪♪

♪♪ And we caught them
At the top of the hill ♪♪

♪♪ Daddy took his Remington
And shot away the lock ♪♪

♪♪ For to set his
little darling free ♪♪

♪♪ But Potato said ♪♪

♪♪ Daddy, shut the goldarn door
Sheriff wants to marry me ♪♪

♪♪ Let's go, boys
Potato's in the paddy wagon ♪♪

♪♪ Guess we better
Leave her there ♪♪

♪♪ Let's go, boys
Potato's in the paddy wagon ♪♪

♪♪ Mama says it's more than fair
Mama says it's more than fair ♪♪

♪♪ Mama says it's more ♪♪

♪♪ Than fair ♪♪♪♪

Ladies and gentlemen,
The New Main Street Singers.

Ladies and gentlemen, I have
been watching and observing

as The New Main Street Singers
and other groups appear...

Boy, that's fun! That's really
fun, man. How did we sound?

We weren't really listening.
We were downstairs.

I couldn't hear so well, but,
shoot, I'm sorry you guys--

Shh.
I've got to hear.

And now, please join me
in welcoming

our next three talented
performers.

Taken alone they are merely
Jerry Palter

Alan Barrows and Mark Shubb.

But when you put them
all together

they spell
"absolutely fantastic."

Ladies and gentlemen,
The Folksmen!

Thank you. Yeah, it's really us.

Wow.
The waiting is over.

Long time no see.

Can't tell you.

Great to be back.
We'd like to do our hit.

You might remember it,
we hope you do.

♪♪ Whenever I'm out wandering
Chasing a rainbow dream ♪♪

♪♪ I often stop and think
About a place I've never seen ♪♪

♪♪ Where friendly folks
Can gather ♪♪

♪♪ And raise
The rafters high... ♪♪

- Hey.
- Hey, pretty lady!

- You guys were great.
- Wonderful crowd.

Have you seen Mitch?

No.

Okay.

Mitch?

Pick it!

That's nice.

♪♪ Well, there's a puppy
In the parlor ♪♪

♪♪ And a skillet on the stove ♪♪

♪♪ And a smelly old blanket
That a Navajo wove ♪♪

♪♪ There's popcorn in the popper
And a porker in the pot ♪♪

♪♪ There's pie in the pantry
And the coffee's always hot ♪♪

♪♪ Just look for the busted
Neon sign that flashes ♪♪

♪♪ Ea-a-oe's ♪♪

♪♪ Well, there's a puppy
In the parlor ♪♪

♪♪ And a skillet on the stove ♪♪

♪♪ And a smelly old blanket
That a Navajo wove ♪♪

♪♪ There's popcorn in the popper
And a porker in the pot ♪♪

♪♪ There's pie in the pantry
And the coffee's always hot ♪♪

♪♪ There's sausage in the morning
And a party every night ♪♪

♪♪ There's a nurse on duty
If you don't feel right ♪♪

♪♪ There's chicken on the table
But you gotta say grace ♪♪

Whew!

♪♪ There's always
Something cooking ♪♪

♪♪ At Old Joe's Place ♪♪♪♪

Thank you!

Thank you so much!
Thank you.

Thank you very much.
Very nice of you.

What a great crowd.

I think this crowd who might
want to join us

in a little audience
participation.

What do you think?

We're not gonna be
working up here by ourselves!

First time through,
you can relax.

Second time through,
we're gonna put you to work.

Start off with Mr. Alan Barrows
on the 5-string banjo.

What?!

♪♪ Every morning at 5:00
The farmer jumps out of bed ♪♪

♪♪ Washes up, he ties his shoes
Puts his hat upon his head ♪♪

So far, so good.

Ready, two.
Two.

Ready, three, wide.
Three.

Oh, my God. Mitch is gone.
He's just, he's gone.

Mitch is gone. Oh, my God.

Without Mitch, we got gornisht.
We have nothing.

Well, we're gonna
go find him.

Yeah, we're gonna need some
chickens. We got any chickens?

How about this aisle?
Beyond this aisle.

Just beyond the man
with the big shirt.

I want you to be my chickens.

I want to hear your best
chicken sound right now.

Pretty good. That's the ticket.
You got it.

Now we want to hear
from our horse people.

This section right here.
Not people with a sore throat,

people who can do a pretty
believable neigh! Let's hear it.

We're gonna put a saddle
on you folks. Not really.

Does he have a cell phone
or a pager or anything?

He's wandering.
He likes to wander.

They go on in a couple
of minutes!

He got a little nervous.

I don't need this tsuris
in my life.

I'm sure it's fine.
Let's calm down.

Is there a cockfight
arena near here?

She's joking, right?

Well, at least he's not lying
on the ground or anything.

Why didn't someone
go out with him?

What?

Can she do these songs solo?

Look, it's not my fault.

♪♪ And the chickens cluck ♪♪

Cluck, cluck, cluck!

♪♪ The horses neigh ♪♪

Neigh!

♪♪ Crickets go fiddle-dee-dee ♪♪

Fiddle-dee-dee!

Yes, they do.
♪♪ And the bullfrogs croak ♪♪

Croak, croak!

♪♪ The pigs oink, oink ♪♪

Oink, oink!

♪♪ It's a barnyard symphony ♪♪♪♪

Thank you so much.
Excellent.

Give yourselves
a big hand.

Give yourselves
a big pat on the back.

Thank you very,
very much for coming.

Thank you, Irv.
Thanks for the good seats.

We are The Folksmen.

We hope you've had
a wonderful time tonight.

Thank you, again.

Thank you. Good night.

We gotta give them more.
We have to give them more.

Thank you for having us back.

We have a song
we'd like to do called

"The Skeletons of Quinto."

We don't often do encores,
and this is why.

It has to do with a time
that I often think about

when this time
of year rolls around.

A time of conflict,
unfortunately and bloodshed.

The Spanish Civil War.

But our group historian,
Mr. Mark Shubb,

certainly knows more about
that than I do.

Thank you
very much, Alan.

In the late 1930s
of the last century,

Spain was wracked
by civil war.

What are you doing?

Mitch could be
lying face down in a ditch!

Would you consider
doing both parts?

No. I'd consider
going home

bake a nice tray
of Nanaimo bars,

lie in bed,
watch TV.

That's what
I like doing!

Oh, my-- Mitch,
where the hell were you?

Are we on?

You've been on
for five minutes.

It's too late, Mitch.
I forgot what a selfish--

It just took me a while
to find a good one.

That is nice.
It's nice.

Okay.

In the late summer,
early fall of 1938

so the story goes
behind this particular song

in the green hills
just outside the city of Bar--

Good night, everybody!

Good night.
Thank you very much.

They're called The Folksmen,
but after tonight's performance

I think we're all going to have
to call them "The Spokesmen"

because they sing beautifully

and they tell
a fascinating story.

And now, ladies and gentlemen,
I have two words for you:

Mitch and Mickey.

We love you!

Thank you.

Thank you so much for letting
Mitch and I do this again.

It does not seem like just
yesterday that Mitch and I met

and started
making music together.

I don't know if any of you know
or would even remember

that Mitch and I met
in the hospital.

Mitch was there
with his jaw wired shut

after defending the honor
of a girl he didn't even know.

Me.

And I, of course, was there
to visit. I felt really bad.

And the only way that Mitch
could communicate with me

was on paper.

Every word of it poetry.
And if you don't mind, Mitch,

I have the very first poem

that you wrote me.

Parched in exile
Thirsty for your smile.

Though silenced behind
This barbed-wire mask

Your spirit burns through
That I might bask

In your cool, misty loveliness.

I just wanted
a drink of water.

♪♪ Oh, when the veil
Of dreams has lifted ♪♪

♪♪ And the fairy tales have
All been told ♪♪

♪♪ There's a kiss at the end
Of the rainbow ♪♪

I know this song.
This is that really pretty one.

With the kiss.
Turn it up a little bit.

Remember?
Yeah. Where they used to.

Yeah.

Wonder how they're
gonna handle that.

Five dollars
says they do it.

♪♪ And a kiss is
The oath that they swear ♪♪

♪♪ And when the veil
Of dreams has lifted ♪♪

♪♪ And the fairy tales have
All been told ♪♪

♪♪ There's a kiss at the end
Of the rainbow ♪♪

♪♪ More precious ♪♪

♪♪ Than a pot of gold ♪♪

♪♪ My sweet, my dear
My darling ♪♪

♪♪ You're so far away ♪♪

♪♪ From me ♪♪

♪♪ Though an ocean of tears
Divides us ♪♪

♪♪ Let the bridge of our love
span the sea ♪♪

Ready two. Two.

♪♪ Your kiss ♪♪

♪♪ There's a kiss at the end
Of the rainbow ♪♪

♪♪ More precious than a pot of ♪♪

♪♪ Gold ♪♪♪♪

Thank you.

Thank you so much.

Are you okay?

Excuse me, sir. Sorry. Sorry.

Hi, everybody!

Good to be back!

Thank you.

Thank you again.

We're back!

"Mighty Wind."
"Mighty Wind" in C.

One in C. Here we go.

One, two, three.

♪♪ As I traveled down
The back roads ♪♪

♪♪ Of this home I love so much ♪♪

♪♪ Every carpenter and cowboy
Every lame man on a crutch ♪♪

♪♪ They're all talking
About a feeling ♪♪

♪♪ About a taste
That's in the air ♪♪

♪♪ They're all talking
About this mighty wind ♪♪

♪♪ That's blowing everywhere ♪♪

♪♪ Oh, a mighty wind's a-blowing
It's kicking up the sand ♪♪

♪♪ It's blowing out a message
To every woman, child and man ♪♪

♪♪ Yes
A mighty wind's a-blowing ♪♪

♪♪ Cross the land
And cross the sea ♪♪

♪♪ It's blowing peace and freedom
It's blowing equality ♪♪

♪♪ From a lighthouse
In Bar Harbor ♪♪

♪♪ To a bridge
Called Golden Gate ♪♪

♪♪ From a trawler down
In Shreveport ♪♪

♪♪ To the shore
Of one Great Lake ♪♪

♪♪ There's a star on the horizon
And it's burning like a flare ♪♪

♪♪ It's lighting up
This mighty wind ♪♪

♪♪ That's blowing everywhere ♪♪

♪♪ Oh, a mighty wind's a-blowing
It's kicking up the sand ♪♪

♪♪ It's blowing out a message
To every woman, child and man ♪♪

♪♪ Yes
A mighty wind's a-blowing ♪♪

♪♪ Cross the land
And cross the sea ♪♪

♪♪ It's blowing peace and freedom
It's blowing equality ♪♪

♪♪ When the blind man
Sees the picture ♪♪

♪♪ When the deaf man
Hears the word ♪♪

♪♪ When the fisherman
Stops fishing ♪♪

♪♪ When the hunter
Spares the herd ♪♪

♪♪ We'll still hear
The wondrous story ♪♪

♪♪ Of a world where people care ♪♪

♪♪ The story of this mighty wind
That's blowing everywhere ♪♪

♪♪ Oh, a mighty wind's a-blowing
It's kicking up the sand ♪♪

♪♪ It's blowing out a message
To every woman, child and man ♪♪

♪♪ Yes
A mighty wind's a-blowing ♪♪

♪♪ Cross the land
And cross the sea ♪♪

♪♪ It's blowing peace and freedom
It's blowing equality ♪♪

♪♪ Yes, it's blowing peace
And freedom ♪♪

♪♪ It's blowing you and me ♪♪♪♪

So the morning after the big
show at Town Hall

the TV network executives

were crawling
out of the woodwork

trying to get The New Main
Street Singers into a TV series.

We took some very nice meetings.
I ran over my ideas.

They loved my idea
where the kids played babies.

You know, in diapers. And...

It always makes me laugh
to see babies talk like adults.

The network execs said,
"Look, we're not sitting

"in judgment of your ideas.

We love the kids,
we wanna put them on a series."

And the word "judgment,"
a light went on over my head!

I always thought there were
12 Supreme Court judges

but now it seems
there are only nine.

I don't know if it's
a budget thing or not.

But there's also nine
New Main Street Singers.

And I thought,

"What if they were
the Supreme Court judges?"

And it was my idea to call them
"The Supreme Folk."

Tying in the folk singing.

And here's the idea.
During the day,

they're handling some
of the top,

most difficult cases
in the land.

There's a lot of tension there.

And at night, and this
is what sold the networks

they live in one big house
and they take off their robes

and sing folk songs.

Now, maybe during the day
they hear death penalty cases,

and at night they argue about
who cooks dinner or who does

the laundry or, "Say, why don't
the ladies bring the coffee?"

"And that's sexual harassment!

That was decided in case 126,
Johnson vs.--"

Oh, I like that. The women,
sexual discrimination.

I'm not doing much writing,
but the ideas keep popping.

♪♪ Piston or bulb syringe ♪♪

♪♪ Won't make
Your patients cringe ♪♪

♪♪ Sure-Flo, Sure-Flo ♪♪

♪♪ Don't leave them
Cold and damp ♪♪

♪♪ Use our buttocks drapes
And penis clamp ♪♪

♪♪ Sure-Flo, Sure-Flo... ♪♪

I'm a musician again.

Being on-stage again with Mitch
was a great thing.

Oh, boy. I never thought
it was possible.

And there we were.

Just wish he didn't
take things so seriously.

You know. That damn kiss.

My sister-- Well, they were all
at the show,

but my sister Jocelyn said:

"You led him on.
You shouldn't have kissed him

if you didn't wanna
go all the way."

It was just a kiss.
And it's part of--

The audience
was there waiting for it.

And I forgot
what that feels like

where you get caught up
in the heat of the moment

and you just, you know,
you want to give them

anything they want.

I think Mitch...

I didn't lead him on.
But he...

took it the wrong way,
I think.

I've never been
in better head space.

I'm writing poetry again.

I'm going through a very
prolific phase.

Ideas are coming faster
than I can write them.

My one fear in getting together
with Mickey was

always that it might rekindle...

feelings that she used
to have for me.

I feel badly that she was misled

by the theatrics of the moment.

But I think it
was a wonderful time

that we both had together.

I know that I will always think
of her fondly

every time I see a rose.

Things have been
really going well.

We've got some gigs here
working at the casinos.

It has been
a time of changes,

but change is good.
Change is life.

It was like a great big door
opening for me, Town Hall.

After that concert
I realized

I wanna spend as much
of the rest of my life

as possible playing folk music
with these gentlemen.

Right back at you.

And I wanna spend all
of it as a woman.

I came to a realization
that I was,

and am a blond,
female folk singer

trapped in the body of a bald,
male folk singer

and I had to let me out
or I would die.

When you put it that way,
it's almost poetry.

Almost.

♪♪ Now they don't allow
No frowns inside ♪♪

♪♪ Leave them by the door ♪♪

♪♪ There's apple brandy
By the keg ♪♪

♪♪ And sawdust on the floor ♪♪

♪♪ So if you've got a hankering
I'll tell you where to go ♪♪

♪♪ Just look for the busted
Neon sign that flashes ♪♪

♪♪ Ea-a-oe's ♪♪

♪♪ Well, there's a puppy
In the parlor ♪♪

♪♪ And a skillet on the stove ♪♪

♪♪ And a smelly old blanket
That a Navajo wove ♪♪

♪♪ There's popcorn in the popper
And a porker in the pot ♪♪

♪♪ There's pie in the pantry
And the coffee's always hot ♪♪

♪♪ There's sausage in the morning
And a party every night ♪♪

♪♪ There's a nurse on duty
If you don't feel right ♪♪

♪♪ There's chicken on the table
But you gotta say grace ♪♪

Whew.

♪♪ There's always
Something cooking ♪♪

♪♪ At Old Joe's Place ♪♪♪♪

Yeah!

♪♪ When I'm standing
Next to you ♪♪

♪♪ There's a song
To sing ♪♪

♪♪ I know everything's ♪♪

♪♪ Feeling right ♪♪

♪♪ When I'm standing

♪♪ Next to you ♪♪

♪♪ Steeple bells ring ♪♪

♪♪ Only good things do I see ♪♪

♪♪ When you're next to me ♪♪

♪♪ When I hold your hand
In mine ♪♪

♪♪ Different world waits
A new morning breaks ♪♪

♪♪ With the sun ♪♪

♪♪ When I hold
Your hand in mine ♪♪

♪♪ Children's wreaths
Take flight ♪♪

♪♪ Through a star-lit night ♪♪

♪♪ That's what I see
When you're next to me ♪♪

♪♪ This love for you I'm feeling
Has a power that is healing ♪♪

♪♪ It can mend the darkest hour
With glorious light ♪♪

♪♪ When I taste
Your lips so sweet ♪♪

♪♪ I see beggars die in the sands
Of time up in stuff ♪♪

♪♪ When I taste your lips
So sweet ♪♪

♪♪ Black and white bend
Every dark blends at your feet ♪♪

♪♪ When you're next to me ♪♪

♪♪ This love for you
I'm feeling ♪♪

♪♪ Has a power that is healing ♪♪

♪♪ It can mend the darkest hour ♪♪

♪♪ With glorious light ♪♪

♪♪ When I'm lying next to you ♪♪

♪♪ I feel moonbeams burn
I see rainbows turn into gold ♪♪

♪♪ When I'm lying next to you
I hear angels play ♪♪

♪♪ I see sweeter days
I see rivers wind ♪♪

♪♪ Through the end of time
I see hatred ♪♪

♪♪ Fall from the highest hill
I see God's good grace ♪♪

♪♪ Shining in ♪♪

♪♪ Your eyes ♪♪

♪♪ That's what I see ♪♪

♪♪ When you're next to me ♪♪♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ Now God said to Noah
"I don't want no sinnin"' ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ I been tellin' ya' this
Since in the beginning ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ You gotta round up your sons
And all of their women ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ Because you're going on
A big boat ride ♪♪

♪♪ Now gather all the animals
By the pair ♪♪

♪♪ Build a big ship
About a million square ♪♪

♪♪ And put all the animals
Right in there ♪♪

♪♪ And sail away on the tide ♪♪

♪♪ But what if Noah had just said
"No, son." ♪♪

♪♪ Well, we'd all have fins
And scaly skins ♪♪

♪♪ We'd breath through gills
Instead of nostrils ♪♪

♪♪ And we'd eat fish food
Instead of vitamin pills ♪♪

♪♪ It's scary but it's true ♪♪

♪♪ So do what the Good Book ♪♪

♪♪ Do what the Good Book
Do what the Good Book ♪♪

♪♪ Do what the Good Book
Tells you to ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ Now God said to David
"Do you hear that drummin'?" ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ You got a great
Big Philistine ♪♪

♪♪ Army coming ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ You want to oil up your sling
And really get it hummin' ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ Because you gotta take
The big guy down ♪♪

♪♪ Well, I take it
He got a dose of fright ♪♪

♪♪ But he wanted to be King
Of the Israelites ♪♪

♪♪ So he put old Goliath
Right in his sights ♪♪

♪♪ And he bounced one off
Of his crown ♪♪

♪♪ But what if David
Had whined and waved ♪♪

♪♪ We'd live like slaves
To Philistine knaves ♪♪

♪♪ Our bosses wood all be
Thirty feet tall ♪♪

♪♪ We'd wash their clothes
With a firehose ♪♪

♪♪ And sleep in the cracks
Between their toes ♪♪

Oh, I don't like that at all.

Well, that's not very nice.

♪♪ It's scary but it's true ♪♪

♪♪ And if I were you ♪♪

♪♪ I do what the Good Book
Do what the Good Book ♪♪

♪♪ Do what the Good Book
Tells me to ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ Do what the Good Book
Tells me to ♪♪

♪♪ Oh, yeah, yeah, yeah ♪♪

♪♪ Do what the Good Book
Tells me to ♪♪♪♪