You fellows just better
get on out of here.
We're having a big celebration.
You gonna give us
our money back?
You just get back
on over yonder.
Yonder. Get on out of town.
Oh, no.
We're not gonna drop our guns.
We're not even...
Ladies and gentlemen,
Legends of the West welcomes you
to Caravan of Dreams.
I want to read this proclamation
for you, Ornetle,
and then I've got a little gift for you.
All right,
'Whereas Ornette Coleman,
born and reared in the city
of Fort Worth,
has enriched the lives of individuals
of every race, color and creed
as a composer, performer,
and renowned jazz musician,
and whereas Ornette Coleman,
a widely acclaimed figure
in the jazz world
has traveled throughout the United States,
Europe, Japan and Africa
and fashioned for himself
an unchallenged right
to historical prominence;
Whereas Ornette Coleman
has demonstrated
that individual initiative
and the free enterprise system
continue to be
the American way of life
and that success is possible
for all who take advantage
of the opportunities
in our country;
Now, therefore, I, Bob Bolen,
Mayor of the City
of Fort Worth, Texas,
do hereby proclaim
September 29, 1983,
as Ornette Coleman Day
in the city of Fort Worth. "
Congratulations.
Thank you very much.
Although you're
a citizen of Fort Worth,
we want you to have a key
to the city of Fort Worth.
Now, this is a tie clip.
You haven't got a tie on today.
You will later.
But the original of this
was taken to the moon
by Alan Bean,
another Fort Worth native.
Yeah, that's the key to the city.
Where's the moon?
It's a key to the city, right?
He was with the mayor
this afternoon.
Where are the pieces
of the moon?
Yeah, he said it went to the moon.
The key went to the moon?
Why did this key go to the moon?
I don't know, man, you know,
how the mayor recited
the whole document
before he gave it to him, right?
And then he accepted the key.
And it was really nice.
Did you cry?
Did you cry?
No, I didn't cry, man.
It wasn't that sentimental.
It was nice receiving
a key to the city, man.
You know, it's not every day
that something like that happens.
It must be a tie pin.
It says "Fort Worth".
I know, but that's not the key, is it?
Yeah, it looks like a key.
Don't you see it?
Man, the key went to the moon.
It's like when they take objects
to the moon
and stuff like that.
Why would they take that
to the moon?
Just for, you know,
just for the experience.
It's like this has been
to the moon.
Like somebody gives you
a shirt, and it's from Paris.
See that trumpet case
over there...
the mouthpiece?
Looks good.
Cowtown USA.
The mouthpiece...
Now remember, I'm gonna let out
all the dogs.
What is it that you do
that is different
from other drummers
in relationship to playing
without having to have
something to go by'?
It's obvious you don't have
anything to go by,
but yet you're playing
as if you did,
and that is a very modern way
of playing.
I'm just trying to find out
what method do you use
to be correct or be right.
I mean, you're more right
than you are wrong, you know.
I don't know.
I just don't have
any particular method.
So when you do it
it's just a spontaneous thing
that's happening,
and how you're hearing the music
when you do do it.
Yeah.
Are you planning
to become a drummer
as far as growing up
to be a man?
What they call being an artist
and all that,
does that ever occur to you?
Yeah, but I'm not sure.
Let's fly it again.
On the reeds; On the rhythms.
Charlie, you play the changes
this time, all right?
Yeah, that was...
that was really there.
That was really there that time;
I mean the idea of the whole piece.
That house was standing like that
when I was a little kid.
I remember playing
in the streets here one day,
and my mother told me,
"Don't you leave this yard".
I said, "Yes, ma'am".
And as soon as she went to town
I ran downstairs
and started playing football,
and I looked up and saw
her and my sister coming.
I peed in my pants and I was
running back down here
because she told me,
"If you leave this yard,
I'm going to spank you. "
And I said, "Oh, my mothers
gonna beat me.
I better run. "
But she caught me, and she did.
She beat me to death.
You remember that.
Yeah, I remember it
very well.
But you know, I was listening
to the tape the other night.
And the thing
that really amazed me,
what really makes me
want to play music
is when I really hear
an individual thought pattern
placed in an environment to make
something actually come about
that is not an obvious thing
that everyone is doing,
and actually it comes...
You do more-
I'll tell you the truth,
I think you do it
much better than I do.
That's what I'm trying to say.
Because I remember having
an elder musician telling me,
"Oh, your kid, your kid," this here.
I remember being in California
when I read a review
of a drummer
saying that, oh, you know,
I should get
some other kind of drummer
because I shouldn't have you
because you were my-
we were related.
But really it was just-
now that I look back at it,
it was really insecurity
and jealousy.
The train really comes
through your backyard.
Oh, yeah.
That train liked to wake me up
every morning.
I was living really close
to the track there.
Hey. W-
You make your mother
to answer that door,
or I'll lock you up.
Oh!
Junior!
Junior, where you going?
Outside.
No, you're not.
You're slaying here.
Thank you.
Brion was saying
this is almost the exact day
ten years later you were
together in Jajouka.
I'm gonna find that video I have
of Burroughs and you and I
in the tent.
Yeah, really,
a great event that occurred
in the mountains of Morocco.
We don't have any of the music
from Jajouka
to go on the soundtrack, do you?
Oh, yeah, oh, yeah.
How did you guys get together
at that point in time?
Well, Bob Palmer
had a good deal to do with it
because he'd played and been
up there several times.
Ornette, you know,
one thing I've always
wondered about-
You remember when I came back
when Gysin took me up to Jajouka
and I played with the musicians
up there
and I brought back those tapes,
and you listened to them.
And to my incredible surprise,
you said,
"Let's go, let's get
an organization together
and go up and make a record
with those guys. "
And we went and did it.
What did you hear in those tapes
that made you want to do that?
Well, I was telling
someone the other day
when I was in New Orleans,
I was playing
in a Sanctified Church,
and you know, in most churches
the pianos are so out of tune
that they be playing in the key
of Z... K... P... T...
I mean, H.
And I took my horn
in this Sanctified Church,
and I played the same way
I'm playing now.
When I heard those tapes,
I heard that same quality,
only on a much more high level
than religion.
It was more on a creative level.
Because most religion
is on an emotional level.
This was on a creative level,
and that's what really turned me on.
I said I got to go and play
with these guys,
because I could see
that for once
I would be able to play whatever
passed through my heart and head
without ever having to worry
about was it right or wrong.
We had something like
15 double reed horns
and 15 drummers,
and Ornette and me and hundreds
of hill tribesmen
all camped out in tents
around this little village
on the top of this mountain,
and the place was just shaking.
Bob was playing,
and I keep telling him,
and I have this tape,
where he started playing,
and all of a sudden
through some instinct
the whole sound of everything
that was going on
passed through his horn.
It was like intense flame.
I mean, his clarinet sounded
like it was just some kind
of bolt of fire.
I mean, it was
the most incredible sound
I ever heard any musician play,
including myself.
That would be
a pertinent question.
An impertinent question.
An impertinent question
works even better sometimes.
Can you think
of an impertinent question?
Pertinent or impertinent.
A question.
Immortality to the people.
Every man a god.
How do you get to be a god?
Well, to put it
apple pie country simple,
by doing your job and doing it well.
So you may become a god
of jugglers and acrobats;
A god of the long chance-
the horse that comes from
last to win in the stretch;
The punch-drunk fighter
who comes up from the floor
to win by a knockout
a god of future space travelers
who are ready to leave
the whole human context behind
and take a step into the unknown.
Well, every man a god
if you can qualify.
You can't be a god of anything
unless you can do it,
for Christ's sakes.
Happiness is a by-product
of function,
and those who seek happiness
for itself
seek victory without war,
and that is a flaw in all utopias,
and of course a paradise
is really a terminal utopia.
One thing
that's always mystified we
that I feel was magic
about your band
with Don Cherry and Blackwell
and Charlie, and that is-
and I think a lot
of other people, too-
you never counted off
your pieces.
I mean, just everybody would
instinctively or intuitively
come in with the instruments
at the same time,
and you didn't nod your head.
Yeah, I didn't nod my head.
We're gonna start when we start.
HOW did that work?
Insane, instinctive
insight.
See, that's one reason
I think that the West
doesn't really understand
about music,
because the West thinks of music
as entertainment, you know,
and in the same way this feeling
that persisted in jazz for years
that, well, black musicians
came along
and were kind of geniuses.
What they don't understand
is that the heart
is probably the highest kind
of intelligence.
This intuitive intelligence
that we have
in the Third World countries
is really Third World technology,
so, I mean,
the answer lies in music.
I asked Buckminster Fuller,
I said,
"Don't you think it's
a scientist's responsibility
to relate his discipline
not only to that science
but to everything?"
His answer was,
'Well, you have a dome.
Why don't you use if?"
OK, well...
actually I met
Buckminster Fuller in 1954
at Hollywood High
in Hollywood, California,
and I listened to his lecture,
and I was just inspired.
In fact, I once studied
architecture.
I thought I was going to be
an architect,
then I thought I was going to be
a brain specialist,
then I thought I was gonna...
I wanted to be so many things.
So I finally realized
I didn't have enough money
to support any of these ideas,
so I decided I would pursue
my career imitating music.
So I got a horn
and I started playing
whatever I heard on the radio,
and the one thing that really
just blew me away
was his demonstration
of his own domes,
and when he demonstrated the way
his domes are put together
and how geometric
they were done,
it just blew me away
because I said this is how
I've been writing music.
This is the way I write music.
I was in Rome,
and I was on my way to Florence
to play a concert,
and I'd heard
that he had passed,
and so I dedicated
my program to him.
To me he surpassed
all of the entities
that have to do with surviving
because of abilities or skills,
and to me he became one of my-
he's probably my best hero.
In the short time
that I'll have with you
I'll spontaneously select out
what I think most relevant
of all things we can talk about
about humans in the universe,
which is the only subject
I really care about,
and about what I assess
to be our position
in evolutionary history right now.
When I was born,
reality was everything you could
see, smell, touch and hear.
Very important to remind you
and everybody else
that no human being has ever
seen outside himself.
We see entirely in our television set
inside the brain.
We have this thing called
imagination; Imagination.
As Bucky says,
you can't see outside yourself,
but we do have imagination.
The expression of all
individual imagination
is what I call harmolodics,
and each being's imagination
is their own unison,
and there are as many unisons
as there are stars in the sky.
Yeah, them were
the days, man,
when all the kids went to one
school, all the colored...
Yeah, that's right;
L.M. Terrell.
If you wasn't black,
you couldn't go there.
No, you couldn't go there.
And busing's not new,
because kids were bused...
Busing is outdated
compared to this.
That was all there was
was busing then.
I remember when you used to
play upstairs over here,
and we weren't old enough to go
up there.
That's right.
We used to
sneak up the steps,
and William Richland's daddy
was the doorman,
and we'd all have bricks
in our pockets
just in case something
broke out up there
and we had to get out
in a hurry.
I remember Charlie Rouse
used to get all of us:
"Let's go upstairs. "
"The Bucket Of Blood,"
that's what we used to call it.
And you know what?
When I got to New York City,
King Curtis was driving
a Rolls-Royce.
Yeah.
King Curtis was probably
the most successful musician
that left Fort Worth.
He had his own porter car,
train car.
He was opening for the Beatles.
Well, I'll be dogged.
I'll be dogged.
King Curtis.
King Curtis made heavy money.
I know it.
King Curtis,
when I got to New York City,
he came and picked me up
in his Rolls-Royce,
and you know
I was making peanuts
compared to what he was making.
He was making big money,
you know,
and playing really beautiful.
Yeah, I know.
Charlie sent me the clipping.
There's a building
in New York City
that looks exactly like this building-
the Flatiron Building
in New York.
General Worth, the guy that
Fen Worth was named after,
was buried there
on 23rd and Fifth Avenue,
across the street
from the Flatiron Building.
Thank you all so very much.
Once again a great hand
for the ladies and gentlemen
in the band
who worked so very hard.
I'd like to thank our sound crew
from the Port Authority,
World Trade Center,
who sponsor these concerts;
The recording industry;
Most of all I'd like to thank you
for coming on your lunch.
I hope you enjoyed it.
Go, Denardo.
That's all the way down
in the World Trade Center?
Yeah.
It's synchronized
with up here, right?
Yes.
Did you ever see anything
like this before?
Nu
No, I haven't.
Do you think
it's pretty weird?
Oh, I think it's great.
When musicians can get together
without being together
and playing together,
I think it's fantastic.
So what do you think
about this television/music stuff?
All right,
It's all right?
Yeah.
You still play the drums,
and now you're the manager.
How do you feel
about that responsibility'?
Well, I think
it works out pretty nice
because what we're doing
and what he's kind of doing
business-wise,
things that have happened
to have been kind of unusual,
as the music is kind of unusual.
It's a different situation
that somebody who's managing
and doing the business
has to be aware of
and sensitive to.
And since I've seen
so many people come and go
that played that role
that didn't know
quite how to work it out
One place called
the California Club
in the late fifties,
and I think his music
was so powerful at that time
that they were very puzzled,
confused, and embarrassed,
and, of course,
them being next to him,
sort of it made their music
a little off balance
or a little weaker,
and their attitudes
were really a drag.
I mean, they looked at him like,
"What is this guy doing?"
And they would look
at the audience
like, "God, isn't this a drag?"
And of course they put him
off the stand.
Well, the so-called
Ornette mystique-
It's like when he first
started playing, like...
people would break
his instrument.
Well, like when I first met him
in Los Angeles,
I walked into a place
one Wednesday night,
and the entire rhythm section,
they just got up
and left the stand, you know,
and left the saxophone player
up there playing.
So I came to a quick conclusion
this has got to be
Ornette Coleman, you know,
and true, it was.
Ornette has always been
different.
He has always been different
from anybody else.
He wanted to invent things
for himself.
He's an inventor.
He wasn't accepted at all.
He's had times when
he walked on the bandstand
and the musicians walked off.
And he has come back home
on several occasions.
Then he went to New York
and went into the Five Spot,
and he had the same band
that had been with Ornette
about 10 or 15 years,
and when he got to New York,
he hit it.
And suddenly Ornette Coleman,
up on the bandstand
in the Five Spot
during a blizzard
started to play the blues
like Charlie Parker,
and I have never heard
anyone else
other than Charlie Parker
do that that way,
and Charlie Parker
has had many followers,
and he has also had
many imitators,
and there's a big difference.
None of them has come near this.
Ornetle had the attack
on the reed right.
He was doing it
like late Parker, too-
the more virtuoso period
of Parker's short career.
He was absolutely uncanny,
and he went on and on doing it.
And I said, man, why don't you
do this more often?
Why don't you do this
on a record
to show people that you really
do know what you're doing-
those that won't listen to you
and learn it that way?
And Ornette said something like,
"Oh, I like to do that
every now and then for fun,"
or something like that,
and dismissed it that way.
A symphony orchestra musician
is trained to be
extremely precise,
to meld with everyone else
in the orchestra,
where Ornette's whole philosophy
is totally contrary to that.
He wants the freedom
of expression
between, among all the musicians
in the orchestra.
He wants people to feel free to
express themselves at any time
within the confines
of the structure
that he has designated.
I see the connection
between the jazz
and the symphony orchestra
in a very interesting way.
To me it's like
two different forces
juxtaposed against one another,
and it's almost, to me,
it's almost like
two sources of language.
And in Ornette's playing
and in the entire group,
Prime Time group,
I hear elements
of very early jazz,
even dating back to Dixieland.
I think there was a feeling of-
for me, to be absolutely honest-
a feeling of apprehension,
a feeling of being...
threatened by this...
mind of yours.
And I probably was,
along with just about
everybody else.
We had an inkling
of what would come.
So when I finally met you in 1959
at the School of Jazz in Lenox,
the worse dreams came true.
I heard your music
and knew that here was the music
that was frightening
in its implications,
that they would have to learn
new disciplines.
And I think in that sense
you influenced
everybody, you know.
Obviously the initial impact
of free jazz
was kind of chaotic.
Everybody was running off
in the early sixties
and doing everything
they could think of doing,
and whereas it made sense
in a kind of instinctual way
for Ornetle to do it,
it didn't always make sense for
some of his imitators to do it.
But Ornette was always
one step ahead of them
because he was moving on
to something else
while they were still imitating
his earlier phases.
His current phase,
it seems to me,
really got going
in the early seventies
when he went to Morocco,
when he started picking up
in a lot of ways
on different kinds
of Third World music.
Any kind of music
encounters resistance
from the mainstream audiences
if it's particularly dissonant
or particularly jagged rhythmically
or off-putting in that kind of way,
and this is a problem
that's been faced by everything
from modernist classical music
to free jazz to punk rock.
Ornetle, to his credit,
has not sold out,
if you want to put it
in the basic terms.
He has pursued
what he wants to do.
This got him branded as
an eccentric when he was young.
It gets him branded
as a genius when he's old.
Well, I've been working
on this dream
for about 20 years now,
and it seems as if it's getting
closer and closer to a reality.
And what I intend to do with
this space here on Rivington
is to make
a multiple expression center
which involves space, artists,
dramatics, and science.
I had to migrate to California,
then to Europe,
then to New York,
and to go through lots of things
just to get to this normal state
that I'm trying to achieve now.
So I do believe
that the belief system,
the concept of what is called
the emotional state
of human beings
and their desire to do things
in their own time
is an endless cycle in what
is called the human cycle,
and I would like to,
in my cycle,
making a contribution
to that cycle.
There were
two very bad incidents
that happened in this building.
The first was in September 1982.
I got a call about? A.m.
while I was sleeping,
from my father,
and he said he had just been
tied up and beaten
by six teenagers
that came in to rob him.
So I immediately
called the police
and called other people
here in the building
and told them what happened.
And I ran down from where I was,
which was about 12 blocks away.
By the time I got here
the police were here
and people were already up here.
And he had been tied up and hit
in the head with a hammer,
actually, by these kids,
which they didn't have to do,
but they were scared
and they were trying to take
his equipment, lake his money.
Someone saw them on the way out,
and they had to drop everything,
but they got away.
He crawled across the floor,
actually, to call me
while he was still tied up,
and you know, it was amazing
that not more happened to him.
He just got a concussion,
but it was bad.
He had to stay
in the hospital a few days.
Then about six months later,
still at this building,
we were walking up the steps
and in the dark
two guys attacked us.
They hit him with a crowbar,
and I grabbed one guy
and was hitting him with a board
that I'd picked up.
We took him to the hospital and
they released him that evening,
but during the next day he had
a lot of trouble breathing
and we knew something was wrong,
so we took the ambulance
and came back to the hospital.
That's when we found out
he had a punctured lung.
But all that happened,
let's say,
within a six-
or seven-month period,
and all because he was
just trying to do his work
here in this building
where he could be peaceful
and people wouldn't have to
bother him
and he wouldn't have to bother
other people,
and he would have enough space
to take care of things that he
wanted to take care of.
It's a dangerous area.
At one point it was known
as the most heavily
drug-trafficked area-
you know,
it's the Lower East Side.
And you always have people
who are going to mug you
or rob you or take your money,
anything.
A lot of junkies,
a lot of poor people, also,
and that's the conditions
that are in this neighborhood.
But this building he got
through a public auction.
It used to be
a New York City school building.
It has a tremendous amount
of space
and potential to do a lot here.
He's going to develop it
and have maybe a music school
or galleries and performances
and a lot of things happening,
once it's developed.
But until that point,
or until things get a little better,
it's always going to be
dangerous, you know.
And I worry about him a lot.
He's not necessarily going
to stay here or live here,
but just being in this area,
you law, will be dangerous.
I'd like to go
out in space tonight,
and one reason why
is because all the things
such as religion,
science, astrology,
death, survival,
and all those things,
they leave you
without any answers
other than what's going
to happen to me when I'm gone.
So why not think about
what's going to happen to you
while you're here?
About four months ago
I got a questionnaire from NASA
asking me about my interest in
working in space as an artist.
And in this category they asked
if you wanted to come to NASA;
Did you want to work
in the shuttle;
Or did you just want to work
on different projects.
So I went,
I look their documents
to a lawyer friend of mine,
and we filled them out,
and I put several
of my friends down
that I thought I'd like to have
there with me.
Well, I think that whatever
out in space I have met
and whatever is not out in space
I have met.
I mean, in other words,
if space is only space
to communicate to us
if there is a being or a theme.
So therefore the earth
itself is in space,
so we're already out in space.
It's just the difference between
looking up and looking down.
In fact that's why I admire
Buckminster Fuller.
He said in his last lecture
that I attended
that there's no such thing
as up and down.
There's only out
So in that sense I don't expect
to find anything
that I haven't already
experienced, out.
Say a million years from today
the image of what we know
as human beings
might become altered
or might become extinct.
I don't believe
that the human form
will ever cease to exist.
So if it's not
on what is called this earth,
then I guess the next place
would be what is called heaven,
and in a sense heaven
is a form of space,
could be considered
as a place in space.
And for some reason,
if the earth is not here
or if it's destroyed,
humanity is not going
to go with it.
That's why I would like to go
out in space
because I'm not interested in,
personally,
what's going to happen to me
after I pass.
I'm more interested in what can
I experience while I'm alive.
This beautiful woman
was coming down this street,
and the more we got close
to each other
she started smiling.
Finally when I got
really close to her
she grabbed me and kissed me
real passionate.
Then in my broken English
I asked, 'What is your name?"
Who are you?
And she started screaming.
And she didn't have no idea who I was
than a bullfrog, you know?
And I said, "Oh, my goodness.
Maybe if I hadn't
opened my voice
we would have had a good time. "
Tell us
the castration story.
Nu
But I'll tell you
a story about it.
When you said tell them
about sex, well, when I was...
I guess I was turning
to be a teenager,
and I remember
having to walk home
with girls from high school.
I got involved in, you know,
trying to court
my little high school playmates
and things.
And during that time I started
playing music as well.
Also, when I played music
I always got a different kind
of relationship to girls.
And then I started wondering;
I wonder if this...
if playing music
has anything to do
with these girls liking me,
and if I wasn't playing music,
how would they respond to me?
I'd really become very serious,
and so I started traveling,
and when I was traveling
I always found
that I could pick up a girl
because I told her
I was playing music.
No, not yet, not yet.
I never
got over the feeling
of knowing whether some girl
would like me
because of me
just being a person
and not just a performer.
And so after having been married
and having a kid
I was thinking about eliminating
any sexual feeling I could have
in my body.
So I was told that was called
castration.
So I went to the doctor
and I told him
that's what I thought I was
interested in him doing.
So he looked at me very strange
because I think I'm about 30, 32,
I'm in my early 30s.
So, you know, he looked at me
very strange and said,
'Well, are you sure
that's what you really want?"
I said, "Yeah,
that's what I want".
And so he said,
'Well, I'll tell you what.
Before you try that, why don't
you try circumcision first?"
I said I didn't have any idea
what he was talking about
because, you know,
it's just something
I hadn't thought about.
And I said, "Is that
a kind of form of castrating?"
And he said, "Well, not exactly,
but it's symbolic".
I'm going to have a baby.
Can I have your baby'?
So I had the operation
of being circumcised,
and finally after I got well
I still didn't feel any change.
I mean, it didn't improve.
I didn't solve that problem
by having that
particular operation.
But one thing that I did solve
was the fact that I realized
that being physical or sexual
has nothing to do
with what you think or believe.
It has more to do with who
you think you're affecting
and what you think
you're affecting.
And so from then-
from that day to this day-
I have decided there's two kinds
of human beings-
one female and one male,
and one man and one woman.
So I decided to join what I
thought the categories would be.
I would rather be a man
than a male.
So that was the conclusion of
all the things that I had done.
That's the results
of what I came to.
Bravo! Bravo! Bravo!
Bravo! Bravo!
Bravo! Bravo! Bravo!
Bravo! Bravo!
Oh, fine. How are you doing?
Mr. Ornette,
ifs a pleasure to meet you.
Same here.
And Hell you,
Jean has lived, talked, dreamt-
where I find out more and more
about Ornette Coleman.
Oh, my goodness.
That's my saxophone.
That was good.
Yeah, you should have
had your horn.
You could have come up
and played with us, man.
It was very, very nice.
Aren't you from Fort Worth?
Yeah.
I write for the Dallas Morning News.
I'd very much like to meet with you.
Oh, well, I'm at the Americana.
How long are you
going to be there?
Until about the 6th
or 7th of October.
- Of October?
- Yeah.
May I call you for an interview'?
Yeah, sure.
My name is Lee Ann Howe. H-OW-E.
And I write for
the Dallas Morning News.
I'd very much like to meet you.
I enjoyed it very much.
- Thank you.
- Thank you very much.
Marvelous, fantastic!
All I can say is I have a friend
that I'm going to send
to see you at the club.
Were they taking a recording?
Yeah, they were.
Good.
That would be great.
Oh, thank you.
I'm gonna see my friends.
It was a wonderful concert.
Just beautiful.
Thank you. Thank you very much.
Ornette, can I have
your autograph, please?
Excuse me.
How will I find your room
at the Americana?
I'm in 1104.
1104?
A lot of times
when celebrities stay there
they won't tell you.
Well, I'm telling you.
It's 1104.
I'll be there.
Thank you very much.
This is a very exciting
happening.
It is a very exciting happening.
John, you're a great
disappointment to us all.
I am? I left my clothes on.
Want a sip?
Hello, my darlings.
I'm having a marvelous time.
Love yuns all.
No, darling.
I'm from Beverly Hills, California,
and I worked in Tarzan movies
out in Hollywood...
with Lex Barker...
and Down to Earth
with Rita Hayworth,
The Harvey Girls
with Judy Garland,
many, many others.
I love Fort Worth.
I pretend I'm a Texan now.
I've even got the Texas accent.
Sweetheart.
Oh, I love you, too,
you good-looking doll.
Friends and neighbors
# That's where it's at #
Friends and neighbors
# That's where it's at #
Friends and neighbors #
That's a fact #
Hand in hand
That's the score
Hand in hand
That's the score
All of the world, so. So, so!
Friends and neighbors #
# That's where it's at #
Friends and neighbors #
# That's where it's at #
I Friends and neighbors #
That's a fact #
Hand in hand
That's the score
Hand in hand
That's the score
All of the world #
Go! Go! Go! #
Friends and neighbors #
# That's where it's at #
I Friends and neighbors #
# That's where it's at #
Friends and neighbors #
# That's a fact #
Hand in hand
That's the score
Hand in hand
That's the score
All of the world, so. So, so!
Friends and neighbors #
# That's where it's at #
Friends and neighbors #
# That's where it's at #
I Friends and neighbors #
# That's a fact #
Hand in hand
That's the score
Hand in hand
That's the score
All of the world
Go! Go! Go! #
Friends and neighbors #