Latest / The World of Phil Hendrie / Episode #3882 The New Phil Hendrie Show

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Episode #3882 The New Phil Hendrie Show · The World of Phil Hendrie

• 0:00
  Speaker 1: Folks, we want to thank Rory McLeod for today's presentation
• 0:03
  Speaker 1: The Best of John Jerryman. John Jerryman was a colleague
• 0:07
  Speaker 1: of Margaret's Margaret Gray, when she was walking the boards
• 0:11
  Speaker 1: in Philadelphia, when she was doing theater in Philadelphia starting
• 0:14
  Speaker 1: out with her acting career, if you will, Margaret and
• 0:18
  Speaker 1: John Jerryman were very tight and they you know, we're
• 0:21
  Speaker 1: in a lot of plays together. And ultimately Margaret went
• 0:23
  Speaker 1: west and John wound up in a retirement home. Anyway,
• 0:27
  Speaker 1: let's listen to what's happened to John in the intervening years.
• 0:29
  Speaker 1: Let's listen to him now in Philadelphia as we visit
• 0:33
  Speaker 1: him on occasion. Here it is from Rory McLeod, The
• 0:36
  Speaker 1: Best of John Jerryman. The following is a world famous
• 0:40
  Speaker 1: Phil Henry show odcore Bros.
• 0:44
  Speaker 2: Oh Well, John taking a bath right now?
• 0:47
  Speaker 3: John? Huh, Margaret, I am taking a bath right now.
• 0:50
  Speaker 3: I hope it doesn't overwhelm.
• 0:52
  Speaker 2: The Phil Hendry Smith's here likes.
• 0:55
  Speaker 3: Just wants to say hello, Oh, hello Phil.
• 0:57
  Speaker 4: Yeah, John, tell me how long have you been singing?
• 1:01
  Speaker 3: Oh? I've been singing ever since I was thirteen years old.
• 1:04
  Speaker 3: That would be seventy years and I've been in full
• 1:08
  Speaker 3: voice since, but you know, I haven't been out professionally
• 1:12
  Speaker 3: probably from about ten. I retired ten years ago. And
• 1:15
  Speaker 3: now I relax here. I'm at the Berlin Senior Center
• 1:19
  Speaker 3: in Philadelphia, and we have our little you know, recitals
• 1:24
  Speaker 3: and things.
• 1:24
  Speaker 5: You do have a lot of professional musicians and performers there,
• 1:28
  Speaker 5: don't you.
• 1:29
  Speaker 3: Yes, we do. We have. Well, I told you about
• 1:32
  Speaker 3: a number of them last time I was on. I
• 1:34
  Speaker 3: thought I told you about Bill Kemper and Todd Blackledge,
• 1:38
  Speaker 3: who happened to have the same name as a famous
• 1:40
  Speaker 3: Kansas City chief quarterback, but that's not the same guy.
• 1:43
  Speaker 3: And all kinds of we have. Sheila's with us, of course,
• 1:46
  Speaker 3: and Agnes, who is constantly with the she did it again?
• 1:52
  Speaker 3: Get her at it? He's got the hands on me,
• 1:54
  Speaker 3: you know, Agnes, don't do it all right, right, don't
• 1:57
  Speaker 3: put your hand and them. So we all get together
• 2:01
  Speaker 3: and we sing these different songs, and we have quite
• 2:03
  Speaker 3: a We have quite a ball when we can. And
• 2:06
  Speaker 3: so I understand it's the uh yeah, it's.
• 2:08
  Speaker 4: General Shaw's birthday. Thank you very much, John for singing.
• 2:12
  Speaker 3: It's my pleasure. I want to sing a song that
• 2:14
  Speaker 3: was a favorite of mine, and you might be a
• 2:16
  Speaker 3: much younger man in general. But it goes something like that, Oh,
• 2:19
  Speaker 3: the bells are ringing or me and my girl. The
• 2:25
  Speaker 3: songs are singing, hold on, get her out of them.
• 2:28
  Speaker 3: I'm in the bathroom. I got no clothes on.
• 2:32
  Speaker 4: Can I tell you something, John, Yes, you got to
• 2:35
  Speaker 4: get that woman under control.
• 2:36
  Speaker 2: Whoever she is, well, they've trying to get her.
• 2:38
  Speaker 3: Get her out of here. I got no clothes on.
• 2:41
  Speaker 3: That's why he's here. I understand that she's some old
• 2:46
  Speaker 3: lady who's I.
• 2:47
  Speaker 2: Think it's very inappropriate. It also puts you at risk.
• 2:50
  Speaker 3: Lock the door, Hey, lock the door, Hey, you locked it?
• 2:54
  Speaker 3: What's your name? Who? Me? Yeah? You know? The guys
• 2:57
  Speaker 3: stand at yes you Ray, Ray, lock the door. All right,
• 3:01
  Speaker 3: here we go one two, one to old. The bells
• 3:04
  Speaker 3: are reading for me and my goal. The songs are
• 3:10
  Speaker 3: singing for me and my girl. Hold up, turn it off,
• 3:15
  Speaker 3: turn it off. She got back in. Not supposed to
• 3:19
  Speaker 3: be here it, Agnes. I'll talk to you later. The
• 3:24
  Speaker 3: bells are ringing for me and my girl. The songs
• 3:29
  Speaker 3: are singing, Oh for me and my go like that, general,
• 3:35
  Speaker 3: that's very nice.
• 3:35
  Speaker 2: I enjoy that song. Do you know the song called
• 3:38
  Speaker 2: I've been working on the railroad.
• 3:40
  Speaker 3: Yes, I know. Are you serious? You?
• 3:42
  Speaker 2: Well, I'm just I'm trying to think of songs that you.
• 3:44
  Speaker 3: Know, what do you mean songs?
• 3:46
  Speaker 2: I know I'm not that old. What I'm trying to say.
• 3:49
  Speaker 3: Is how old are you?
• 3:50
  Speaker 2: But I'm a little bit younger than you. But what
• 3:53
  Speaker 2: I'm saying, how old are you?
• 3:55
  Speaker 3: I'm eighty three.
• 3:56
  Speaker 4: Wait a minute, you said you've been singing for sixty years,
• 3:58
  Speaker 4: since you were thirteen.
• 4:00
  Speaker 3: No, I said seventy years.
• 4:02
  Speaker 2: I thought he said seventy two.
• 4:03
  Speaker 6: Now he said seventy two.
• 4:05
  Speaker 2: Seventy or seventy two? He said seventy.
• 4:09
  Speaker 3: Yes, I said seventy.
• 4:10
  Speaker 2: I thought he said sixty. Now thought said sixty two.
• 4:13
  Speaker 3: Well, I don't care. I said seventy, which makes me
• 4:16
  Speaker 3: seventy three?
• 4:18
  Speaker 2: Makes you eighty three?
• 4:19
  Speaker 3: Well, God, look at this guy. This is the General's birthday.
• 4:23
  Speaker 3: I'm calling in to sing to him, and Henry's dead,
• 4:25
  Speaker 3: going eighty three.
• 4:32
  Speaker 2: I'm very sorry.
• 4:33
  Speaker 3: Uh yeah, let me get some hot water on this situation.
• 4:36
  Speaker 2: Hit. Well, can you sing I've been working on the railroad?
• 4:41
  Speaker 3: Yeah, hold on, sure, I'll sing I've been working on
• 4:44
  Speaker 3: the railroad. God damn, here we go. I've been working
• 4:47
  Speaker 3: on the rail road all the live long day. Oh,
• 4:52
  Speaker 3: I've been working on the rail road all the goddamn day. Hey,
• 4:57
  Speaker 3: he got in again, Bill, and you can. I'll tell
• 5:00
  Speaker 3: you what your job? Your job. You're at your job.
• 5:05
  Speaker 7: Now.
• 5:06
  Speaker 3: That feels good. It's been a long day, Phil.
• 5:08
  Speaker 4: Are you ready to sing the song? Try and watch
• 5:10
  Speaker 4: the language if you don't mind. If you don't mind,
• 5:12
  Speaker 4: what's that? Watch the language?
• 5:14
  Speaker 3: I'm sorry, but she got in again. I've been working
• 5:18
  Speaker 3: on the rail road all the live long day. I've
• 5:23
  Speaker 3: been working on the rail road just to pass the
• 5:26
  Speaker 3: time away. Can't you hear the signals call in? Oh
• 5:32
  Speaker 3: early in the morn and I've been working on the railroad.
• 5:37
  Speaker 3: Who really, Oh, I'm a coughing jag.
• 5:42
  Speaker 2: Are you all right?
• 5:42
  Speaker 3: Yes? I'm fine? Fine? Uh uh?
• 5:45
  Speaker 2: Well that was that was lovely. I enjoyed that.
• 5:47
  Speaker 4: Can you sing the song old? You know what I
• 5:49
  Speaker 4: love is the uh my old Kentucky home.
• 5:53
  Speaker 3: H you're saying, are you trying to think of a
• 5:56
  Speaker 3: real coinball songs? Are? No?
• 5:58
  Speaker 4: I like that song because they play that at the
• 6:00
  Speaker 4: Kentucky Derby.
• 6:01
  Speaker 6: Yeah that's the one.
• 6:03
  Speaker 3: Yeah, Okay, whoever that was yelling in the background, bub
• 6:07
  Speaker 3: Dickman and who is that?
• 6:08
  Speaker 2: I'm Robert Levin, Robert and Butter in the background there.
• 6:10
  Speaker 3: All right, Oh the sun shines bride. Oh, you know what,
• 6:14
  Speaker 3: You're right, this is a great song. Let me get
• 6:16
  Speaker 3: some hot water. I just want to relax the vocal cords.
• 6:22
  Speaker 2: Would you please?
• 6:24
  Speaker 3: Right? I'm sorry, what do you say?
• 6:27
  Speaker 5: We don't like that whole Oh it still doesn't like it.
• 6:30
  Speaker 5: I'm not sure I like it either.
• 6:32
  Speaker 2: Rather suggestive suggestive.
• 6:34
  Speaker 3: All I'm trying to do is relax. But yeah, alright,
• 6:39
  Speaker 3: I'm sorry. All right, here I go. Oh the sun
• 6:43
  Speaker 3: shines bride on my old Kentucky home where the people
• 6:48
  Speaker 3: frolic every day. So the sun shines bright on my
• 6:52
  Speaker 3: old Kentucky home where the horses in the thoroughbred's play?
• 6:58
  Speaker 3: Do do do? I don't know how the god damn?
• 7:01
  Speaker 3: Hey see what I'm saying? All right? Phil?
• 7:04
  Speaker 2: Uh?
• 7:05
  Speaker 4: You know what were we may have to get you
• 7:07
  Speaker 4: in a neutral location away from there.
• 7:09
  Speaker 2: Any other songs? Yeah?
• 7:10
  Speaker 3: Do you know what? You know?
• 7:11
  Speaker 2: Some more contemporary songs like? Uh, the one that I.
• 7:14
  Speaker 3: Like was, how about some rock and roll? I know
• 7:17
  Speaker 3: if you knew Pegy Sue, you and I would sure
• 7:21
  Speaker 3: be blue. Oh Peggy, my Peggy Sue. If you knew
• 7:28
  Speaker 3: Peggy Sue, please send her home something like that? Is
• 7:31
  Speaker 3: that it?
• 7:32
  Speaker 2: Well, no, if it's a different theory.
• 7:34
  Speaker 3: That's a that's as good as it gets. Here is
• 7:36
  Speaker 3: one that you're gonna like. Uh. This is called I
• 7:39
  Speaker 3: want a girl just like the girl that married dear
• 7:42
  Speaker 3: old Dad.
• 7:43
  Speaker 2: Oh Christ, I love this.
• 7:45
  Speaker 3: Yeah, I want a girl just like the girl that
• 7:49
  Speaker 3: married dear old Dad. There, that's all I know.
• 7:53
  Speaker 2: Now you know what you know that song goes because
• 7:56
  Speaker 2: my aunt likes this song a lot. Mama's Little Babies.
• 7:59
  Speaker 3: Oh, Mama little Baby Love short and then shot that one. Yeah, yeah,
• 8:03
  Speaker 3: MoMA's Little Baby Love Short and in bread better. I
• 8:06
  Speaker 3: don't know that song.
• 8:07
  Speaker 2: All right, that's all I need, John, thanks so much.
• 8:10
  Speaker 3: All right, I got to finish taking my bath and
• 8:13
  Speaker 3: then I have to get my vix vapo rub Margaret,
• 8:16
  Speaker 3: and I'll go downstairs and get some key and.
• 8:18
  Speaker 2: Cost all right, John, thank you so much.
• 8:21
  Speaker 3: And I hope you have a very pleasant uh birthday. General.
• 8:25
  Speaker 8: Oh my you second, just be contact with mister Jerryman
• 8:29
  Speaker 8: and he is on the line.
• 8:31
  Speaker 2: H John Jerryman's going to.
• 8:32
  Speaker 4: Join us from Philadelphia. He's at the Senior Center there
• 8:36
  Speaker 4: in Philadelphia. It's been a long time since we've talked
• 8:38
  Speaker 4: to him. Is he going to work up some Uh?
• 8:40
  Speaker 2: Well, he already has.
• 8:41
  Speaker 5: He's got a couple of songs that he wants to do,
• 8:44
  Speaker 5: uh from you know.
• 8:45
  Speaker 2: John was a singer on the old Mitch Miller Show.
• 8:48
  Speaker 5: I'm going to get John Jerryman on the on the
• 8:49
  Speaker 5: phone right now, John, John.
• 8:53
  Speaker 2: Yes, Oh John, it's Margaret.
• 8:56
  Speaker 3: Hello, Margaret, Hello, and hello all.
• 8:58
  Speaker 6: Hey mister Jerryman.
• 8:59
  Speaker 5: Hello a no, well John, it's wonderful to have you
• 9:02
  Speaker 5: with us. Are you feeling good, darling? Are you feeling healthy?
• 9:06
  Speaker 3: I'm feeling good. I've got a bit of a cold.
• 9:10
  Speaker 3: Oh my god, it's all right.
• 9:13
  Speaker 2: Are you getting your soups? Are you getting your soups?
• 9:17
  Speaker 3: Yeah? Say that word again, soups?
• 9:20
  Speaker 2: Are you Are they giving you? Know how you said
• 9:22
  Speaker 2: you weren't getting enough soup?
• 9:23
  Speaker 3: Oh? No, they're not giving me enough soup. There's no
• 9:26
  Speaker 3: soup to be had.
• 9:28
  Speaker 2: That's terrible. Let me talk to who's the director there,
• 9:33
  Speaker 2: Emily And I need to talk to her later.
• 9:35
  Speaker 3: Well, don't worry, but I told him. I said, where's
• 9:39
  Speaker 3: the soup and they said, mister Jerryman, here, it's in
• 9:43
  Speaker 3: front of you in a bowl. Yeah, oh if this
• 9:47
  Speaker 3: guy and I looked down and it was liquid, and
• 9:52
  Speaker 3: I said, this looks like this looks like seamen, and
• 9:57
  Speaker 3: all right, we.
• 9:57
  Speaker 2: Got to get him under control, John, you can't use that.
• 10:00
  Speaker 2: Just put you. He can't get let me talk to him. Oh,
• 10:06
  Speaker 2: he's out of control, all right, Grow the hell.
• 10:08
  Speaker 5: Up, John, dear, you can't use that word. The word
• 10:13
  Speaker 5: you se. That's all right, that's.
• 10:15
  Speaker 3: All right, everything may They say.
• 10:18
  Speaker 2: That's okay, darling, we're back on the air.
• 10:19
  Speaker 3: All right. Forgive me, mister Henry.
• 10:22
  Speaker 2: Oh no, no, not a problem, John.
• 10:23
  Speaker 3: All right, Donnie. What am I doing here?
• 10:26
  Speaker 2: I don't know, but suddenly I'm out here.
• 10:28
  Speaker 3: Forgive me, mister Henry.
• 10:29
  Speaker 2: That's okay, all right now, John, what are you going
• 10:32
  Speaker 2: to sing for us?
• 10:33
  Speaker 3: Well? At first, this one is for Debbie Daily. I
• 10:36
  Speaker 3: know she's not there, but.
• 10:38
  Speaker 2: What she is listening though? I said, dallas in Oh.
• 10:40
  Speaker 3: Wonder, So Debbie, this is for you, Dotty. I'm sorry
• 10:43
  Speaker 3: that I wasn't there, but I've had a problem again.
• 10:47
  Speaker 3: I don't want to, but I can't get any soup.
• 10:50
  Speaker 3: And they said, here, here, have this. I said, what
• 10:54
  Speaker 3: is that and they said, well, it's a brisket. I said,
• 10:57
  Speaker 3: do I look like I don't know? I said, soup, soup, soup.
• 11:02
  Speaker 9: I know.
• 11:03
  Speaker 2: I'm gonna talk to Emily.
• 11:04
  Speaker 3: All right. Uh, this is for you, Debbie. One two three,
• 11:09
  Speaker 3: one two three one two whatever comes after that. When
• 11:14
  Speaker 3: the red red Robin goes bob Bob bobin along.
• 11:18
  Speaker 2: That's a great song. I love it.
• 11:19
  Speaker 3: Oh, when the red red ba Robin. Would I say, bobbin,
• 11:23
  Speaker 3: it's red red Robin. Let me start all over again,
• 11:26
  Speaker 3: one two, one two. I used to have a band.
• 11:28
  Speaker 3: I used to have guys with trumpets and horns. I
• 11:30
  Speaker 3: had a suit on it. Now I'm sitting here in
• 11:32
  Speaker 3: a bathrobe. It ain't making it well.
• 11:35
  Speaker 2: You're doing You're doing a good job.
• 11:37
  Speaker 3: Okay, thanks, I would say, I haven't even sent a
• 11:40
  Speaker 3: say again, one two three. Oh, when the red red
• 11:43
  Speaker 3: Robin goes bob bob bob long long, when the red
• 11:48
  Speaker 3: red Robin goes bob Bob bob and along along, I'm
• 11:52
  Speaker 3: just a kid again doing what I did again, singing
• 11:56
  Speaker 3: a song. When the red red Robin goes bob Bob
• 12:00
  Speaker 3: Bob and oh and that's red red Robin.
• 12:03
  Speaker 2: Well that's fantastic. Yeah, very dems, Jenny, I am you're
• 12:07
  Speaker 2: gonna sing another one now right?
• 12:08
  Speaker 3: Yes, this is called Has anybody seen my gal? Get
• 12:12
  Speaker 3: her away from me? Hold on, get her away? Okay,
• 12:14
  Speaker 3: he down? What's wrong? She's the one that's grabbing my penis.
• 12:19
  Speaker 2: Okay, if you know we can't have this, get that woman.
• 12:22
  Speaker 2: Let me talk to him. Hi. Is this Derek? Derek?
• 12:25
  Speaker 5: Please get that woman away from him because he's gones bye.
• 12:29
  Speaker 3: Oh will thank you very much? Oh? Five foot two
• 12:33
  Speaker 3: eyes of blue? Could chi? Could? Chi? Could? I don't
• 12:36
  Speaker 3: know the words again, I have to tell you, Phil,
• 12:37
  Speaker 3: I use improvisational lyric which is an advanced form of lyricism.
• 12:42
  Speaker 3: Hold on, I just want to tell this guy hire.
• 12:44
  Speaker 3: Are you Craig? You're the one that gets the breakfast soup? Soup? Soup?
• 12:48
  Speaker 3: You know what soup is? Right? I want soup, I want,
• 12:51
  Speaker 3: I know, but I want ball after bull of it,
• 12:53
  Speaker 3: ball after ball. That's the problem you guys are having,
• 12:55
  Speaker 3: isn't it. Yeah? No, don't cut it off after five balls.
• 12:58
  Speaker 3: Keep it coming. Here we go. Five foot two eyes
• 13:01
  Speaker 3: of blue? Could she could she could she No, maybe not.
• 13:05
  Speaker 3: Has anybody seen my gal? Oh? She's five foot two?
• 13:10
  Speaker 3: Is of blue? Now you're telling me it's a he
• 13:13
  Speaker 3: Has anybody seen that guy when I first saw him?
• 13:20
  Speaker 6: Fuck off?
• 13:21
  Speaker 2: What what is wrong? You know what's wrong? I don't
• 13:28
  Speaker 2: know what's up with that guy.
• 13:29
  Speaker 4: You know you're gonna have to get that guy some
• 13:31
  Speaker 4: kind of I think the poor man is senile.
• 13:34
  Speaker 2: I don't say that.
• 13:35
  Speaker 4: I'm telling you, Margaret, I think I've been around guys
• 13:37
  Speaker 4: like this. He may be having some blood supply to
• 13:40
  Speaker 4: the brain like it's getting shut off.
• 13:41
  Speaker 2: Man, I've heard about that. You know what kind of
• 13:43
  Speaker 2: happened to my dad? Don't you dare talk about that.
• 13:46
  Speaker 2: I won't. I won't hear it.
• 13:48
  Speaker 5: He's perfectly healthy. The problem with that dump that he's in.
• 13:52
  Speaker 5: I can't believe that John Jerryman, the great singer, is
• 13:54
  Speaker 5: in that crap canned dump. It's twenty thousand bucks a month,
• 13:58
  Speaker 5: I know, but it's not that's not even good enough
• 14:00
  Speaker 5: for him. They need He wants soup. Get him soup.
• 14:04
  Speaker 5: And I call up that woman, Miss Grace, call her up.
• 14:07
  Speaker 5: You want to do this on the air right now?
• 14:08
  Speaker 2: Yes, I do.
• 14:10
  Speaker 5: Her name is Emily right here, Emily, Yeah, get down
• 14:13
  Speaker 5: line too, Emily.
• 14:15
  Speaker 3: Hello, Emily.
• 14:17
  Speaker 2: Hi, it's Margaret.
• 14:18
  Speaker 3: Oh Margaret, how are you.
• 14:20
  Speaker 2: I'm good. I'm calling.
• 14:22
  Speaker 3: Uh he's doing side if he's having a soup, yes,
• 14:25
  Speaker 3: but I'm.
• 14:25
  Speaker 2: Calling about that, Emily. You know he wants his soup.
• 14:28
  Speaker 3: Oh, yes, I know. We'vet Barry and Derek are taking
• 14:33
  Speaker 3: care of it right now, John, do you have enough
• 14:36
  Speaker 3: out for now? But I is that Margaret? It's Margaret.
• 14:39
  Speaker 3: Margaret's on the phone.
• 14:40
  Speaker 2: I don't want to talk to him.
• 14:41
  Speaker 3: She doesn't want to talk to you. He's feeling bad.
• 14:44
  Speaker 2: I don't tell him that. Let me talk to him now,
• 14:47
  Speaker 2: she does.
• 14:47
  Speaker 3: I'm having soup for christ I'm sighed. We're very confused here, Margaret.
• 14:53
  Speaker 2: Look at Emily. Make sure he has soup.
• 14:55
  Speaker 3: He has soup in the morning, in the evening. Every
• 15:00
  Speaker 3: time I turn around, this guy's got his he's got
• 15:04
  Speaker 3: his face a bull of soup. What do you want
• 15:05
  Speaker 3: me to do? I can't have staff on twenty four
• 15:08
  Speaker 3: to seven making him soup.
• 15:10
  Speaker 5: Well, he wants to have a hot bull of soup
• 15:13
  Speaker 5: ready for him?
• 15:14
  Speaker 3: Ready for what?
• 15:15
  Speaker 2: Goodbye?
• 15:17
  Speaker 3: I'm telling you, I got one hundred of these.
• 15:18
  Speaker 4: Old you, no, Phil, not for nothing. But one of
• 15:25
  Speaker 4: these days, maybe you want to get a like a
• 15:26
  Speaker 4: regular job.
• 15:27
  Speaker 2: Yeah, uh huh, sure that's what I'll do.
• 15:29
  Speaker 3: Yes, I'm gonna be on the Phil Henry Show, The
• 15:31
  Speaker 3: Phil Henry Show. All there she is. Keep her. I'm sorry, Margaret,
• 15:37
  Speaker 3: he doesn't sound.
• 15:38
  Speaker 2: Like he's ready. All right, you go ahead and do
• 15:40
  Speaker 2: what you have to do.
• 15:41
  Speaker 3: Keep her away from me.
• 15:43
  Speaker 4: John Jerryman there at the Bellamy Retirement Home there in Philadelphia,
• 15:49
  Speaker 4: he's going to be singing some songs in honor of
• 15:53
  Speaker 4: keep them in honor of Uh, there's.
• 15:56
  Speaker 2: A lot of commotion there. I'll tell him, Miss Jerman,
• 15:59
  Speaker 2: talk to me.
• 16:00
  Speaker 4: In honor of the Philadelphia Eagles.
• 16:05
  Speaker 3: Margaret, John Jerryman, how are you.
• 16:08
  Speaker 2: I'm fine, John. We've been holding on here waiting for you.
• 16:11
  Speaker 3: Oh. I'm terribly sorry. I'm trying to get all of
• 16:13
  Speaker 3: the ladies. Ladies please do you can jockey for position
• 16:17
  Speaker 3: and you can see me sing. Thank you. I'd like
• 16:23
  Speaker 3: to thank Phil Henry. I am Los Angeles, and also
• 16:27
  Speaker 3: Margaret Gray, my dear friend from musical theater back in nineteen.
• 16:32
  Speaker 2: Sixty, nineteen seventy three.
• 16:36
  Speaker 3: Nineteen seventy three. Thank you, I'm going to do a
• 16:44
  Speaker 3: couple of selections for you, and we will do these
• 16:48
  Speaker 3: acapella because I always I always enjoy occapa. Don't you
• 16:51
  Speaker 3: enjoy acapella? He is z there? Would you excuse me
• 16:55
  Speaker 3: for he get away from me? Or I'll beat it
• 16:57
  Speaker 3: to death with this phone. Well, you've got to what
• 17:00
  Speaker 3: you watch it?
• 17:02
  Speaker 2: John? A lot of that is going out over the air.
• 17:05
  Speaker 3: I'm sorry, ladies and gentlemen, I was just talking. I
• 17:08
  Speaker 3: was I'm practicing lines for a movie that I'm going
• 17:10
  Speaker 3: to be in.
• 17:11
  Speaker 2: Oh and uh is there a guy there?
• 17:14
  Speaker 3: Yeah? Keep that woman quiet. I can't do that. Constitutional right.
• 17:19
  Speaker 3: He does not have a constitutional right to shell, to yell,
• 17:23
  Speaker 3: to shell peanuts, to yell bullshit.
• 17:26
  Speaker 2: Now, that's the second time. That's the second time I've
• 17:29
  Speaker 2: heard that, John.
• 17:30
  Speaker 3: I apologize, all right, ladies and gentlemen, for the Philadelphia
• 17:35
  Speaker 3: egos we're going to sing. In nineteen sixty, Charles BURRELLI
• 17:41
  Speaker 3: and Roger Cortlin took their fandom to the next level
• 17:45
  Speaker 3: and created Penuts. I'm gonna oh, I hate it so much.
• 17:54
  Speaker 10: Just stick with it, John, Would you people shut? Can
• 17:58
  Speaker 10: we get close the back door? The problem is people
• 18:00
  Speaker 10: coming in the room is, it's filled with people. It's
• 18:03
  Speaker 10: getting very hot from here, and I can't breathe. I'm sorry,
• 18:08
  Speaker 10: I'm sorried.
• 18:10
  Speaker 2: John, don't get yourself worked up.
• 18:13
  Speaker 3: I want margaret, Ladies and gentlemen. It's very warm in here,
• 18:17
  Speaker 3: and we want to get this done. And just get
• 18:20
  Speaker 3: it done, ladies and gentlemen. In nineteen sixty, Charles Burrelli
• 18:25
  Speaker 3: and Roger Cortland took their fandom to the next level
• 18:28
  Speaker 3: and created the Eagle Victory Song. The song lost its
• 18:33
  Speaker 3: popularity in the early nineteen nineties, and in an attempt
• 18:38
  Speaker 3: to bring it back, Eagles management changed it musically, changed
• 18:42
  Speaker 3: the musical key, and renamed it Fly Eagles Fly, Perhaps
• 18:46
  Speaker 3: the best knownn NFL fight song, belongs to the Washington Redskins,
• 18:51
  Speaker 3: and it goes hail to the Redskins. But this is
• 18:54
  Speaker 3: Fly Eagles Fly, as performed now here by us on
• 18:59
  Speaker 3: The Fill Henry Show. Take it Away, Bob, Would you
• 19:04
  Speaker 3: ladies please be quiet? Would you shut you at your kid? Now?
• 19:09
  Speaker 3: Get my hand in it? Would you keep that woman
• 19:11
  Speaker 3: away from me? Fly Eagle sly, as sung by me
• 19:16
  Speaker 3: John Jerryman Fly Eagles Fly hy on the Road to
• 19:24
  Speaker 3: Victor Fight fight by fight. Eagles fly just got a
• 19:31
  Speaker 3: touchdown one, two, three, get them low, hit them hard
• 19:38
  Speaker 3: and Roger Eagles fly hy fly, Eagles fly on the
• 19:45
  Speaker 3: Road to victory. E A G L E L Eagles.
• 19:52
  Speaker 2: Fuck it, that was very good. It was great, John.
• 19:56
  Speaker 3: No, it wasn't. No, it was.
• 20:00
  Speaker 2: But you've gone another song to do.
• 20:01
  Speaker 3: What other song do I have to do?
• 20:03
  Speaker 2: You said you do another song?
• 20:04
  Speaker 3: Oh, oh, ladies, happy days are here again. The sky
• 20:12
  Speaker 3: above is clear again. Let us sing a song of
• 20:16
  Speaker 3: cheer again. Happy days are here again. O, happy days
• 20:21
  Speaker 3: are all around. I'm surrounded by that clown town and
• 20:26
  Speaker 3: all the happiness is mine. It just wraps me. I'm sublime.
• 20:31
  Speaker 3: Oh I got a new job at a car. It
• 20:34
  Speaker 3: looks like you are going to go to bed with me.
• 20:40
  Speaker 3: It's going to be late. I'm sorry. Grab she grabbed
• 20:45
  Speaker 3: my balls, John, John, old man. Get her out of here,
• 20:52
  Speaker 3: Get her out of here, Take her out the side door.
• 20:55
  Speaker 3: I'll be fun, man. Let's take her for a ride.
• 20:57
  Speaker 3: It'll be fun like the old days. Now I can't
• 20:59
  Speaker 3: do it, but I can't do it. Who is laughing
• 21:06
  Speaker 3: at me?
• 21:07
  Speaker 2: That was Phil Hendry?
• 21:08
  Speaker 3: And what are you laughing at? Mister? Henry.
• 21:10
  Speaker 2: Nothing, sir, would you tell these women.
• 21:14
  Speaker 3: To shut their goddamn Oh happy days are you?
• 21:20
  Speaker 2: That's fantastic?
• 21:21
  Speaker 3: Man.
• 21:21
  Speaker 2: What were you laughing at the street? The street's calling,
• 21:25
  Speaker 2: but I can't listen. Well, mister Henry, I talked about
• 21:28
  Speaker 2: telling that lady out the back door. I'll get out
• 21:31
  Speaker 2: of here. Take the lady out the back door. It
• 21:33
  Speaker 2: sounds like a lot of horse dung. That just is
• 21:35
  Speaker 2: going on in his.
• 21:35
  Speaker 4: Head, Jo, we're able to hear it. I think he's
• 21:38
  Speaker 4: talking to himself. You want my honest opinion.
• 21:41
  Speaker 2: And what about all those women? What about them?
• 21:44
  Speaker 3: Man?
• 21:44
  Speaker 4: I bet you they don't even know they're watching the
• 21:46
  Speaker 4: guys singing. I bet you they just go down there
• 21:47
  Speaker 4: to play Canaster or something. I have no idea.
• 21:50
  Speaker 2: I don't care. John.
• 21:51
  Speaker 5: It is the fourth of July, and so we're wondering
• 21:54
  Speaker 5: if you'll favor us with a patriotic number.
• 21:57
  Speaker 3: I am going to do that right now. Can you
• 22:00
  Speaker 3: you know that I've had these.
• 22:01
  Speaker 2: This is an ongoing problem with the woman. Not this
• 22:04
  Speaker 2: woman again.
• 22:04
  Speaker 3: She's a lady who is constantly trying to run the zippoint.
• 22:08
  Speaker 2: All right, John, make sure he's under control there.
• 22:11
  Speaker 3: I'm under control. Make sure the lady in the front
• 22:13
  Speaker 3: row there, Charlie. Oh right, I don't know. No, try
• 22:17
  Speaker 3: do it if you don't mind. There's a wonderful song
• 22:20
  Speaker 3: that I've enjoyed down through the years. There's a wonderful
• 22:24
  Speaker 3: song that I've enjoyed down through the years, Margaret and
• 22:27
  Speaker 3: General Show, and it's a song called You're a Grand
• 22:30
  Speaker 3: Old Flag.
• 22:31
  Speaker 2: I love this.
• 22:33
  Speaker 3: There's a feeling comes as stealing, and it sets my
• 22:36
  Speaker 3: brain reeling when I'm listening to the music of a
• 22:39
  Speaker 3: military band any too, like Yankee Doodle simply sets me off.
• 22:45
  Speaker 3: My new Noodle. It's that patriotics something no one can understand.
• 22:51
  Speaker 3: He's hip. I got the copy. That's what I'm talking about.
• 22:57
  Speaker 2: I can't have that live on the air. John, you
• 22:59
  Speaker 2: need to get her on control.
• 23:00
  Speaker 3: I'm trying.
• 23:01
  Speaker 2: Do you know this is the third or fourth time
• 23:03
  Speaker 2: we've had him on the air. You know if you
• 23:04
  Speaker 2: can't do it, we can't have you on the air.
• 23:06
  Speaker 3: I understand. Ask me if I can.
• 23:08
  Speaker 8: Oh, guy, if mister Henry heard that, he wouldn't want
• 23:11
  Speaker 8: you to be on the air.
• 23:12
  Speaker 3: If mister Henry heared that, where is she? We've got
• 23:15
  Speaker 3: her tie in the closet right now, all right, they
• 23:17
  Speaker 3: tell me she's tied up in the closet.
• 23:19
  Speaker 4: Can we edit out the whole thing about the zipper?
• 23:21
  Speaker 4: You're asking me, No, I'm asking yes, Bud.
• 23:24
  Speaker 6: Yeah, I'll be able to edit it out.
• 23:25
  Speaker 2: All right.
• 23:26
  Speaker 3: There's a feeling, comes a reeling.
• 23:28
  Speaker 2: I tell you just pick it up from where you Well,
• 23:30
  Speaker 2: I let.
• 23:30
  Speaker 3: The people are listening for God's sake.
• 23:32
  Speaker 2: Yes, but it tends.
• 23:33
  Speaker 4: She tends to reattack if you start the song all
• 23:36
  Speaker 4: over again, whatever that means.
• 23:37
  Speaker 3: But I'll try. Well, I don't know where I was.
• 23:40
  Speaker 6: You're talking about. They're pants.
• 23:44
  Speaker 3: I got pants.
• 23:45
  Speaker 2: No, No, it said. There's a tune called Yankee Doodle.
• 23:48
  Speaker 2: It sets me off my noodle. It's say, yeah, there
• 23:50
  Speaker 2: it is.
• 23:50
  Speaker 3: Oh, that's right, there's a tune like Yankee Doodle. It
• 23:53
  Speaker 3: sets me off my noodle. It's that patriotic something no
• 23:57
  Speaker 3: one can understand away down south in the land of
• 24:02
  Speaker 3: cotton melody, untirings, ain't that inspiring? Hurrah, Hurrah will join
• 24:07
  Speaker 3: the jubilee. And that's going by some for the Yankees.
• 24:09
  Speaker 3: By gum, red, white and blue. Oh, you're a grand
• 24:17
  Speaker 3: old flag, You're a high flying flag. And forever a
• 24:20
  Speaker 3: peace you wave. Yeah, you're the symbol of the land.
• 24:25
  Speaker 3: I love the home of the brave and the free.
• 24:28
  Speaker 3: Every one, little ah, how'd she get out?
• 24:34
  Speaker 2: What's going on? Now?
• 24:35
  Speaker 3: She got out? I'm sorry?
• 24:37
  Speaker 2: Do you guys have handcuffs for luck?
• 24:38
  Speaker 3: Who's that? That's a gentleman on the radio that I'm talking.
• 24:41
  Speaker 2: I think handcuffs is a good idea.
• 24:43
  Speaker 3: Yeah, you've got handcuffs. They're asking maybe maybe not your business.
• 24:46
  Speaker 3: It's my goddamn business.
• 24:48
  Speaker 2: We gotta watch the language, all right.
• 24:50
  Speaker 6: You're the symbol.
• 24:51
  Speaker 2: Of the land.
• 24:52
  Speaker 3: Yes, you're the symbol. Love the land. I love the
• 24:56
  Speaker 3: home of the brave and the free. Every heart beats
• 25:00
  Speaker 3: true under red, white and blue, where there's never a
• 25:03
  Speaker 3: bull stoor brag? Should old acquaintance be forgot? Keep your
• 25:08
  Speaker 3: eye on the grand see zipper again? Here? Whoa? I'll
• 25:13
  Speaker 3: beat her to death if you don't get her out
• 25:14
  Speaker 3: of here right now. I'll get her for it.
• 25:16
  Speaker 2: This is ridiculous. I don't know what's going on there.
• 25:18
  Speaker 2: You should call the police.
• 25:19
  Speaker 3: Get the cops over here here. I mean, we don't
• 25:21
  Speaker 3: need that, do we get the cops over here? And
• 25:23
  Speaker 3: another old man, I gotta do it what's going on there?
• 25:25
  Speaker 2: Anyway?
• 25:26
  Speaker 3: I don't know the man that owns the retirement home
• 25:28
  Speaker 3: where he and is here visiting today. He lauds over
• 25:30
  Speaker 3: us like a dictator or something. Those are rhythm today,
• 25:33
  Speaker 3: mister Durman, everything today. I'm still getting selled up by
• 25:35
  Speaker 3: that old lady. Gonna do something about it. And by
• 25:37
  Speaker 3: the way, we're on the Phil Henry podcast all over America.
• 25:41
  Speaker 3: Is that wonderful? I'll see you in my office later.
• 25:44
  Speaker 3: That could mean I'm gonna get a car battery.
• 25:46
  Speaker 2: What are you talking about?
• 25:47
  Speaker 3: You don't know.
• 25:48
  Speaker 4: Look, John, I don't want your health or your safety
• 25:50
  Speaker 4: being violated there.
• 25:51
  Speaker 3: I don't worry. I got an eye on it. I
• 25:54
  Speaker 3: want her locked up. I don't care. How where was I?
• 25:57
  Speaker 6: No, I actually finished the song?
• 25:58
  Speaker 3: Where was I?
• 26:00
  Speaker 6: Your Grandall's flag.
• 26:01
  Speaker 3: You're a grand old flag. You're a high flying flag,
• 26:04
  Speaker 3: and forever in peace you wave. You're the symbol of
• 26:08
  Speaker 3: the land I love, the home of the brave end
• 26:10
  Speaker 3: or the free end, the brave. Every heart beats blue
• 26:14
  Speaker 3: for the red, white and true. I mean, every heart
• 26:16
  Speaker 3: beats blue for the red true, and every heart beats blue.
• 26:19
  Speaker 3: How every heart beats blue for the blue tube do boo.
• 26:24
  Speaker 2: Just keep keep killing with it.
• 26:26
  Speaker 3: Tandfoot and it's never a bost or brag. Should old
• 26:30
  Speaker 3: acquaintance be forgot? Keep your flag on the grand old eye,
• 26:34
  Speaker 3: I mean keep your eye. Yeah, that's it. Keep your
• 26:37
  Speaker 3: eyes on the fla on a grand flag. Keep your
• 26:41
  Speaker 3: eye on the grand flag.
• 26:42
  Speaker 2: The grand old flag, on the.
• 26:43
  Speaker 3: Grand old flag. Oh man, that is beautiful. Away from here,
• 26:49
  Speaker 3: they're gonna kill it. They're hustling me up.
• 26:53
  Speaker 2: I'm calling the police.
• 26:54
  Speaker 3: Oh no, it's all right.
• 26:56
  Speaker 4: Well, there he goes John Jerryman. Ladies and gentlemen, with
• 26:59
  Speaker 4: your are a grand old flag. You're a high flying flag.
• 27:02
  Speaker 2: And all that other jazz stick around.
• 27:04
  Speaker 11: There's gotta be more to hear on the World Famous
• 27:06
  Speaker 11: Phil Hendry Show, and the best that John Jerryman right
• 27:09
  Speaker 11: after these words are spoken.
• 27:13
  Speaker 1: The World Famous Phil Hendry Show gives you a variety
• 27:16
  Speaker 1: of entertainments entertainments. When I say entertainments, I mean it
• 27:20
  Speaker 1: gives you a variety of people who are doing funny voices,
• 27:24
  Speaker 1: singing songs, perhaps even dancing, although you cannot see dancing
• 27:29
  Speaker 1: on the World Famous Phil Henry Show. One might imagine
• 27:32
  Speaker 1: the steps, the delicate steps, the two for tea, the
• 27:36
  Speaker 1: tea for two, and the various toe front, toe back
• 27:40
  Speaker 1: dances that are favored by those of us in the know,
• 27:44
  Speaker 1: those of us who are cultured, those of us who
• 27:47
  Speaker 1: bring to the table something a little more than the
• 27:50
  Speaker 1: vulgarities that we are so used to. The world Famous
• 27:53
  Speaker 1: Phil Hendry Show has certainly indulged in its fair share
• 27:56
  Speaker 1: of vulgarities. Where we feel today Phil has found his
• 27:59
  Speaker 1: will is on the right path, and his show is
• 28:03
  Speaker 1: no longer being detoured into a place where human waste
• 28:07
  Speaker 1: is being purified.
• 28:10
  Speaker 2: I don't think we need.
• 28:11
  Speaker 1: Any more from that doing get a backstage pass to
• 28:14
  Speaker 1: the world Famous Phil Henry Show at philinryshow dot com,
• 28:17
  Speaker 1: the greatest value online other than porn.
• 28:21
  Speaker 11: And now let's get back to the world Famous Phil
• 28:23
  Speaker 11: Henry Show and this stuff what he does.
• 28:26
  Speaker 2: John, You went with Margaret to the what was it
• 28:28
  Speaker 2: the boopar or what is it called.
• 28:30
  Speaker 3: It's not there anymore. It's a recording studio in Philadelphia. Margaret.
• 28:33
  Speaker 3: Margaret cut this disc of her singing the theme to
• 28:36
  Speaker 3: Star Trek because they were looking for a singer and
• 28:40
  Speaker 3: Margaret was working from lyrics that she wrote herself. Now,
• 28:45
  Speaker 3: I don't know whether or not, Margaret, you'll recall the lyrics.
• 28:48
  Speaker 2: I don't, but I will work from memory. I know that.
• 28:51
  Speaker 4: And not only that, but the Star Trek theme had lyrics, Phil,
• 28:55
  Speaker 4: and they did indeed want it sung, So I brought
• 28:59
  Speaker 4: one my own lyrics. What I have in my mind
• 29:03
  Speaker 4: is a mishmash.
• 29:04
  Speaker 2: I think I know.
• 29:05
  Speaker 4: I wrote my own lyrics, and there were the lyrics
• 29:07
  Speaker 4: there that Gene Rodberry.
• 29:09
  Speaker 3: You know, Oh, Gene Rodberry.
• 29:11
  Speaker 4: Yes, Gene Roddenberry. I'm sorry, Gene Roddenberry. Who is Gene Rodberry?
• 29:16
  Speaker 2: Gene Routt, George rod Berry? Who's George Rodberry? But we're
• 29:20
  Speaker 2: not talking about a baseball player?
• 29:23
  Speaker 3: Do I know that?
• 29:23
  Speaker 6: When I were a catcher?
• 29:24
  Speaker 2: No man talk on Marv Thornberry. Marv Thornberry.
• 29:27
  Speaker 3: Yeah, all right, now that guy played and he also
• 29:31
  Speaker 3: produced Actrick.
• 29:31
  Speaker 2: No, he did not, Marvin Thorntonberry was with the Mets. Gene.
• 29:36
  Speaker 2: It was George Roddenberry.
• 29:38
  Speaker 3: Right, George Roddenberry, Gene.
• 29:40
  Speaker 2: Roddenberry, Gene Rottenberry. Are you guys bullshitting me?
• 29:44
  Speaker 3: No?
• 29:45
  Speaker 2: Phil, Phil, what is the name Gene Roddenberry? Okay? Phil?
• 29:50
  Speaker 3: Right? Phil? You know you're going to have a heart attack.
• 29:52
  Speaker 3: And you're going to die clutching your throat, your chest.
• 29:55
  Speaker 3: And if you had three arms here, you know what,
• 29:58
  Speaker 3: and you'll be laying there as the paramedics walk in
• 30:01
  Speaker 3: and go get a load of this. Three armed men
• 30:04
  Speaker 3: jerking off and strangling himself. I'm cheating, just kidding around, right.
• 30:09
  Speaker 4: All right, So let's start this off, Margaret, you up, yes,
• 30:13
  Speaker 4: but you do the honors.
• 30:15
  Speaker 8: Yeah, we got the music right here, and we'll get
• 30:17
  Speaker 8: it going right now, right here.
• 30:19
  Speaker 3: Yeah, that's very nice, but just do it, okay, and
• 30:22
  Speaker 3: quit talking about it.
• 30:23
  Speaker 2: All right, John, Take it easy, John. The kid's doing
• 30:25
  Speaker 2: the best he can.
• 30:26
  Speaker 3: Oh yeah, sure, well let's.
• 30:27
  Speaker 2: Go, but it okay, burning daylight.
• 30:34
  Speaker 3: Space, the final foot here. These are the voyagers, you know.
• 30:39
  Speaker 3: It's the five year mission to explore strange new worlds.
• 30:42
  Speaker 3: He got new life and new civilization and directly girl,
• 30:46
  Speaker 3: well no man has gone before.
• 30:54
  Speaker 5: Wait here to sing the lyrics and oh you're right,
• 30:56
  Speaker 5: you're right, stop it, stop it, but let's do it again.
• 30:59
  Speaker 2: I'm sorry, so I have to sing.
• 31:01
  Speaker 3: The lyrics, right, you're the right the lyrics.
• 31:04
  Speaker 2: Well, we're all familiar with the woman singing. Did you
• 31:08
  Speaker 2: do that part too, Margaret? Yes, I did, and I
• 31:10
  Speaker 2: automatically went into.
• 31:11
  Speaker 8: That, I'll rereck it, okay, Ms Gray Reracket Okay, Miss Gray, Yeah.
• 31:16
  Speaker 3: You do that.
• 31:17
  Speaker 2: You rerack it, rerack.
• 31:19
  Speaker 3: What does that mean, Reracket?
• 31:20
  Speaker 2: It means he's gonna cue it back up.
• 31:22
  Speaker 3: Okay. I don't know if they're being spot with you,
• 31:24
  Speaker 3: if they're trying it to be to be the spawn ass.
• 31:27
  Speaker 2: You know, I understand, and thank you for looking out
• 31:29
  Speaker 2: for me.
• 31:29
  Speaker 3: John, You're welcome.
• 31:31
  Speaker 2: What's going on with you? Phil? All this whole thing?
• 31:34
  Speaker 4: Let's go Okay Margaret, Okay, Phil, I'm not your little
• 31:37
  Speaker 4: boy scout troop.
• 31:39
  Speaker 2: What does that mean?
• 31:40
  Speaker 3: Oh my god, I'm just.
• 31:42
  Speaker 2: Saying, quit rushing me, Bud, do the honors. Thank you,
• 31:46
  Speaker 2: Thank you, John.
• 31:49
  Speaker 3: All right up, wait a minute. Space, the Final Frontier.
• 31:54
  Speaker 3: These are the voyages of the Sparship Enterprise. It's by
• 31:58
  Speaker 3: the omission to explain strange new worlds, to seek out
• 32:03
  Speaker 3: new life and new civilizations. You only go, no, man,
• 32:10
  Speaker 3: that's gone before I.
• 32:13
  Speaker 4: Went into space, and there I saw her, your face.
• 32:22
  Speaker 2: Who knew our five year mission to explore strange new
• 32:30
  Speaker 2: planets would be such a ball?
• 32:34
  Speaker 12: What?
• 32:34
  Speaker 7: There you were in the hollow deck and I plugged
• 32:42
  Speaker 7: in my personal cassette. I punched funky looking.
• 32:52
  Speaker 3: What happened to a wear sheet?
• 32:53
  Speaker 2: I'm here, my throat just jamped.
• 32:56
  Speaker 6: Throat champ which one murder?
• 32:58
  Speaker 2: I'm fine?
• 32:59
  Speaker 3: Hold on, Let's try that again, please, if you don't mind,
• 33:02
  Speaker 3: because so I know, Margaret, so your throat jammed. I'm
• 33:05
  Speaker 3: not sure I'm familiar with that.
• 33:08
  Speaker 2: I caught my throw.
• 33:09
  Speaker 4: Let's do it again, well, Margaret, come on, let's do
• 33:11
  Speaker 4: it again, please, Bud.
• 33:13
  Speaker 6: All right, fine, this is very entertaining.
• 33:15
  Speaker 4: What do you think, Robert, Yeah, but it's very I
• 33:17
  Speaker 4: don't know that there were lyrics when everything to this song?
• 33:19
  Speaker 2: Well, these are the ones that I wrote, but also
• 33:21
  Speaker 2: there are ones.
• 33:26
  Speaker 3: And now hold john me there, hey s these finals.
• 33:29
  Speaker 3: I'm sorry, the final front here. These are the voyages
• 33:32
  Speaker 3: of a starship Enterprise. The five year mission is four
• 33:34
  Speaker 3: strange world straight things, and it's all very strange. You
• 33:37
  Speaker 3: take it away?
• 33:38
  Speaker 2: Well, thanks a lot for that.
• 33:39
  Speaker 3: Just getting tired of this new life, new civilization. Only go,
• 33:44
  Speaker 3: no man, go before boom take off, Margaret.
• 33:48
  Speaker 2: I ran into outer space and there and then I
• 33:55
  Speaker 2: saw your face.
• 33:59
  Speaker 13: I want to go where no one had gone before.
• 34:05
  Speaker 13: Who knew the whole thing? Would be such a boy.
• 34:11
  Speaker 2: But there you were in the Hall of Day. I
• 34:17
  Speaker 2: went in there.
• 34:19
  Speaker 7: With my personal cassette of recordings.
• 34:25
  Speaker 6: A fuck it.
• 34:28
  Speaker 3: All right, what's going on anyway, Margaret?
• 34:30
  Speaker 2: What are you doing? I'm sorry, I can't get it out.
• 34:32
  Speaker 6: Yeah, she's doing it on purpose.
• 34:34
  Speaker 2: No, I am not saying again, I'll kick your ass.
• 34:36
  Speaker 3: Well, Phil, Look, I got more things to do than
• 34:38
  Speaker 3: sit around here and pull my dick.
• 34:40
  Speaker 2: Wait a minute, Wait a minute, how dare you John?
• 34:42
  Speaker 3: Well? Margaret, listen, I thought you were serious about this.
• 34:45
  Speaker 4: Serious about What all I want to do is replay
• 34:47
  Speaker 4: for Phil and everyone and everyone listening what you and
• 34:50
  Speaker 4: I heard and experienced that that beautiful day in Philadelphia.
• 34:53
  Speaker 3: I understand that. But every time the lyric is mister Henry.
• 34:57
  Speaker 3: If you don't mind, Margaret, go ahead. There you were
• 35:01
  Speaker 3: on the Holida deck. I had gone there with my
• 35:02
  Speaker 3: personal cassette with my collection of funky looking aliens. You
• 35:07
  Speaker 3: and I eventually became what did you call it?
• 35:11
  Speaker 2: Salians?
• 35:11
  Speaker 3: Yeah? Aliens?
• 35:13
  Speaker 2: What does that mean? Are you kidding?
• 35:16
  Speaker 3: We are You're kidding? Right?
• 35:17
  Speaker 2: What does that mean? All of a sudden you and
• 35:18
  Speaker 2: I became aliens. We joined scientology.
• 35:21
  Speaker 3: Yes, the fliens were the creatures that eventually when the
• 35:26
  Speaker 3: earth blew up, they were the spirits that imbute themselves
• 35:29
  Speaker 3: to humans.
• 35:29
  Speaker 2: What are you people talking about?
• 35:31
  Speaker 3: Look, general, I don't have time to explain the world
• 35:33
  Speaker 3: to you. This is what scientology is based on.
• 35:36
  Speaker 2: Let's get off that kick.
• 35:37
  Speaker 6: Okay, yeah, but it is true on scientology.
• 35:39
  Speaker 4: Yes, there, and then we became falian. In other words,
• 35:43
  Speaker 4: we became two spirits that would imbue or or we
• 35:47
  Speaker 4: would imprint ourselves on two humans, one named Margaret, the
• 35:51
  Speaker 4: other John.
• 35:52
  Speaker 3: Yes, well okay.
• 35:54
  Speaker 2: Oh so it was about you hah. At the time
• 35:56
  Speaker 2: I was in love.
• 35:57
  Speaker 3: Yes, yeah, we didn't want to bring it up.
• 35:59
  Speaker 4: So John Jerryman was the inspiration for He was the
• 36:02
  Speaker 4: one you were thinking about as you were singing going
• 36:05
  Speaker 4: into space and meeting a guy. Well, okay, Phil, if
• 36:08
  Speaker 4: you want to put it like going into space, in
• 36:10
  Speaker 4: space and meeting a guy.
• 36:11
  Speaker 6: Yeah, like all of a sudden you just meet a guy.
• 36:14
  Speaker 2: Well that's what she did. She met a guy. Why
• 36:16
  Speaker 2: what's wrong with that?
• 36:17
  Speaker 6: It's in outer space.
• 36:18
  Speaker 2: It's in outer space, Phil, It's got to be different.
• 36:21
  Speaker 3: It must feel different. It isn't just oh hi, how
• 36:24
  Speaker 3: you doing. Do you want to go to my cabin
• 36:25
  Speaker 3: and have a drink. It's probably more like wow, I
• 36:29
  Speaker 3: don't know's.
• 36:30
  Speaker 4: I would think it would be extra worldly or mind
• 36:32
  Speaker 4: expanding something like that.
• 36:33
  Speaker 2: Anyway. Okay, Well John, uh yeah.
• 36:36
  Speaker 3: Okay, Well I can tell you want to blow the
• 36:38
  Speaker 3: whole thing off as a freak creep creep show, some
• 36:41
  Speaker 3: kind of a freak creepy Jesus man, you.
• 36:45
  Speaker 2: Do don't you feel? You think we're just a couple
• 36:46
  Speaker 2: of creeps. No, I don't. It's just it's it's just
• 36:49
  Speaker 2: very weird the song itself. Well, what's weird about it?
• 36:52
  Speaker 3: Look, I'm going to check out because they're having dinner
• 36:55
  Speaker 3: and tonight. It's very rare this evening. We're actually getting
• 36:58
  Speaker 3: real meat. You know.
• 37:00
  Speaker 6: See what does that mean?
• 37:02
  Speaker 3: You know? Phil, I'm telling you right now, I'll fly
• 37:05
  Speaker 3: to La at my expense just to find that kid
• 37:09
  Speaker 3: and shut it down. Find that kid.
• 37:11
  Speaker 2: Shut it down, all right, John, No sense in threatening
• 37:14
  Speaker 2: find the kids.
• 37:15
  Speaker 3: Shut it down.
• 37:16
  Speaker 2: John. You heard what Phil said, find.
• 37:17
  Speaker 3: It, shut it, find it.
• 37:20
  Speaker 2: John, Jerryman, they retired musical fee. John is on the line.
• 37:24
  Speaker 3: John, Hello, Margaret, Yeah, Hello.
• 37:26
  Speaker 2: Fell Hey John? Have you heard of these songs?
• 37:29
  Speaker 3: Always sang some of them quite a bit back in
• 37:32
  Speaker 3: the old school days, especially jingle Boy.
• 37:36
  Speaker 2: There was a jingle boy.
• 37:39
  Speaker 3: It went like this, Oh there was a jingle boy
• 37:44
  Speaker 3: and he had a jingle bell wrapped around the fender
• 37:48
  Speaker 3: of a bus. We got the bus that day.
• 37:52
  Speaker 2: But I got to interrupt you.
• 37:54
  Speaker 3: I don't like being interrupted. I don't know who is
• 37:57
  Speaker 3: this again?
• 37:57
  Speaker 4: This is General Galen Shaw, sir, for the nine hundredth time.
• 38:01
  Speaker 3: Sorry, And what's your question?
• 38:04
  Speaker 2: What is this wrapped around the fender of a bus?
• 38:07
  Speaker 3: Well, it's an urban song and one Margaret tells me
• 38:11
  Speaker 3: there's a sensitivity to it.
• 38:12
  Speaker 2: Yeah, it sounds like something. It's horrible, Phil. It's about
• 38:16
  Speaker 2: a kid that gets hit by a bus.
• 38:17
  Speaker 3: But he lives, all right, Oh that's the part. You
• 38:20
  Speaker 3: don't know that he lives. Yes, he does live.
• 38:23
  Speaker 2: Is he crippled?
• 38:24
  Speaker 3: Was tiny Tim? Ooh? Yes he's crippled? Well?
• 38:28
  Speaker 2: Is he is? He healed?
• 38:30
  Speaker 3: Was tiny Tim?
• 38:31
  Speaker 2: So? What is this a modern day Tiny Tim?
• 38:34
  Speaker 3: Exactly? It's about a modern day Tiny Tim who was
• 38:39
  Speaker 3: a jingle boy. That means that he ran numbers on
• 38:42
  Speaker 3: Christmas Eve. For all the book, he's up and down
• 38:45
  Speaker 3: the street. They'd say, give it to jingle Boy, and
• 38:48
  Speaker 3: he would run the numbers.
• 38:50
  Speaker 2: Tiny Tim didn't run numbers.
• 38:52
  Speaker 3: Really, so says you. But the point is it doesn't
• 38:56
  Speaker 3: matter what he did. The fact of the matter is
• 38:58
  Speaker 3: that jingle boy. And then he gets hit by the
• 39:00
  Speaker 3: bus and so it goes. And then the other song
• 39:03
  Speaker 3: you did was Santa Claus is looking at you.
• 39:05
  Speaker 5: Yes, Santa No, there is Santa Claus looking at me.
• 39:07
  Speaker 5: That is one that a lot of people don't understand.
• 39:09
  Speaker 5: They think it is they think it is degrading. But
• 39:11
  Speaker 5: it's about Santa Claus making the mistake of looking in
• 39:14
  Speaker 5: a bedroom window before he climbs up onto the roofs yes.
• 39:17
  Speaker 3: And it's a traditional song here in Philadelphia, phil not
• 39:21
  Speaker 3: because it's salacious, it's kint of logical, or any of those,
• 39:25
  Speaker 3: but because it is as it's a cute, family oriented song.
• 39:30
  Speaker 3: There's Mother and if you can imagine, there's mother taking
• 39:33
  Speaker 3: her pants off. She's putting on another pair of slacks,
• 39:39
  Speaker 3: and she's having to be.
• 39:44
  Speaker 2: What a child.
• 39:45
  Speaker 3: You're the child, and she's putting on a pair of slacks.
• 39:48
  Speaker 3: So she gets on the edge of the bed and
• 39:49
  Speaker 3: because they fit tight, she's got to put her legs
• 39:52
  Speaker 3: up in the air. Yeah, well, what's wrong with that?
• 39:59
  Speaker 3: Go ahead, he best to put her legs And so
• 40:01
  Speaker 3: Santa Claus catches sight of that as he's about ready
• 40:04
  Speaker 3: to climb the ladder to go on the roof. And
• 40:06
  Speaker 3: so it goes like this, Oh, there go Santa Claus.
• 40:12
  Speaker 3: There go Santa Claus up the roof today, and he
• 40:16
  Speaker 3: sees my mother with her legs in the air. What
• 40:19
  Speaker 3: do you think you'll say? Looks like a puppy. I'm sorry, Agnes?
• 40:27
  Speaker 2: Is she doing it again?
• 40:28
  Speaker 3: Agnes is here? She just shoved her hand right down
• 40:30
  Speaker 3: the front of my pant, would you please? Oh, they're
• 40:36
  Speaker 3: gonna have to clear this room, so pardon if I'm
• 40:38
  Speaker 3: gonna get her out of here. Her her all of these.
• 40:40
  Speaker 4: Oldly John is very popular with a lot of the
• 40:44
  Speaker 4: women there. And is that a retirement home, sir, that
• 40:47
  Speaker 4: you're in.
• 40:47
  Speaker 3: I'm in a don't worry about it, where other old
• 40:51
  Speaker 3: people live here, let's put it that way. Yeah, all right,
• 40:53
  Speaker 3: And so the song is very much a part of
• 40:59
  Speaker 3: the Chris this tradition, all right.
• 41:01
  Speaker 4: So just so I know, this is a song about
• 41:04
  Speaker 4: a woman trying to squeeze into a pair of jeans.
• 41:06
  Speaker 2: She's got to stick her legs in her rear end
• 41:08
  Speaker 2: up in the air.
• 41:08
  Speaker 4: And Santa Claus sees this in the window as he's
• 41:12
  Speaker 4: going up the ladder.
• 41:13
  Speaker 3: Yes, but he lingers, and that's what it's like. Oh,
• 41:16
  Speaker 3: sat the Claus look through the window. There was mother's
• 41:22
  Speaker 3: legs in the He lingered a moment, didn't singer a movement.
• 41:29
  Speaker 2: All right, that's fine, you know.
• 41:31
  Speaker 3: Well you get the general what's the up?
• 41:33
  Speaker 2: Well the line about fingered?
• 41:35
  Speaker 3: Oh, I'm sorry, well, he lingered a moment, and then
• 41:39
  Speaker 3: he said, it looks like another pub tick. You get
• 41:44
  Speaker 3: he got a hand in there again. I don't know
• 41:46
  Speaker 3: what she's getting. She's got her hand in my pants.
• 41:50
  Speaker 3: Get her hand out of.
• 41:50
  Speaker 4: There, Jesus John, get a break her hand if you
• 41:54
  Speaker 4: have to, but get it out of there.
• 41:57
  Speaker 3: I you know what, but you get the general idea.
• 42:00
  Speaker 3: I'm sorry to bother you, Margaret, but I knew that
• 42:01
  Speaker 3: you'd be talking about this this evening.
• 42:03
  Speaker 2: It was. It was part of the songbook.
• 42:05
  Speaker 3: Yes, yeah, the great Margaret great songbook, and I love it.
• 42:08
  Speaker 3: And of course there are traditional ones there as well.
• 42:11
  Speaker 3: Frosty as Frosty is, as Frosty does, And that's about
• 42:16
  Speaker 3: Frosty the film at Frosty is as Frosty does when
• 42:20
  Speaker 3: he is you think he was. It's Frosty, Oh, Frosty,
• 42:27
  Speaker 3: Frosty there, and Frosty here, Frosty all over the schmer
• 42:32
  Speaker 3: get yourself a little bit, Frosty.
• 42:38
  Speaker 6: You're a great singer.
• 42:39
  Speaker 3: Huh, what's that again?
• 42:41
  Speaker 2: Never mind? Thank you very much, John.
• 42:43
  Speaker 3: Those are some of the songs. And get her hand,
• 42:46
  Speaker 3: break her hand if you have, Thank.
• 42:48
  Speaker 2: You, Phil.
• 42:50
  Speaker 5: John Jeryman's a man that I sang in dinner Theater
• 42:53
  Speaker 5: and small little theater as we called it nearly seventies,
• 42:56
  Speaker 5: as we were both coming up.
• 42:58
  Speaker 2: Although John was one.
• 42:59
  Speaker 5: Of the bign't on Broadway and did a lot of
• 43:01
  Speaker 5: the little dinner theater things. To tune up on, John
• 43:05
  Speaker 5: joins us, John, I hope I'm not mischaracterizing that.
• 43:08
  Speaker 3: No, not at all, Margaret. That was although let's emphasize
• 43:12
  Speaker 3: that I was doing Broadway at that time, and so
• 43:15
  Speaker 3: I'm not just doing dinner theater per se.
• 43:18
  Speaker 2: No, absolutely not.
• 43:19
  Speaker 5: And of course John and I appeared in a couple
• 43:23
  Speaker 5: of productions when I was the understudy to Julie Andrews
• 43:27
  Speaker 5: in Camelot for instance.
• 43:28
  Speaker 3: Yes, I was in well, I think I played a
• 43:31
  Speaker 3: football in Camelot. I didn't have any lines. And then
• 43:34
  Speaker 3: I played one of the Scottish in Fie on Scotland
• 43:37
  Speaker 3: and I sang two lines and then I'm dragged off
• 43:40
  Speaker 3: or be headed or something. But those were glorious days
• 43:43
  Speaker 3: on Broadway.
• 43:44
  Speaker 6: Look were you in a play though?
• 43:46
  Speaker 3: I just said that I was in a plue.
• 43:47
  Speaker 2: With that that was, But yes, he was. He was
• 43:50
  Speaker 2: in Camelot.
• 43:51
  Speaker 3: I was in Camelot, not as much as Margaret was.
• 43:55
  Speaker 3: I was a sky was one of the Scottish nights
• 43:57
  Speaker 3: for Never all right?
• 43:59
  Speaker 12: Uh?
• 44:00
  Speaker 4: And Wilson Ebraham, it's Eedaham.
• 44:03
  Speaker 2: I'm sorry, Edaham. I know Wilson very very close, very deeply.
• 44:08
  Speaker 3: Now that's why it surprises me. I don't know his name.
• 44:11
  Speaker 2: I will certainly do.
• 44:12
  Speaker 3: What was that you would, So it is shocking you
• 44:15
  Speaker 3: don't know his name.
• 44:16
  Speaker 4: I think she knows his name. She misspoke, mister Jerrman.
• 44:19
  Speaker 4: We're looking very forward to hearing you sing.
• 44:21
  Speaker 3: Well. I'd like to do some songs. Wilson is one
• 44:24
  Speaker 3: hundred and six years old. Yesterday I asked Margaret could
• 44:27
  Speaker 3: we celebrate his birthday? On his birthday? And I guess
• 44:31
  Speaker 3: you were too busy or something, right, Margaret, No, I was.
• 44:33
  Speaker 2: Not too busy. I forgot it skipped my mind.
• 44:36
  Speaker 3: Okay, like you forgot.
• 44:37
  Speaker 4: His name, you know, I would say, mister Jerryman, with
• 44:40
  Speaker 4: all due respect, You're right it was, but don't hang
• 44:44
  Speaker 4: it all on Margaret. Is probably my fault. I should
• 44:46
  Speaker 4: have known. I know that Margaret said that a birthday
• 44:49
  Speaker 4: was coming up.
• 44:50
  Speaker 3: Well, as much as I'd like to blame you, Phil, no,
• 44:53
  Speaker 3: this one's all on Margaret. But that's all right. The
• 44:56
  Speaker 3: older that we get, the more the people forget us,
• 44:59
  Speaker 3: and Wilson all but forgotten. In fact, I even forgot
• 45:03
  Speaker 3: that he was here at the home until one day
• 45:05
  Speaker 3: I saw a wheelchair with someone in it, and it
• 45:07
  Speaker 3: had been in the corner of a hallway for about
• 45:09
  Speaker 3: twelve hours, and I went down. I said, my god,
• 45:12
  Speaker 3: it's Wilson Eteham and I looked at his chart and
• 45:15
  Speaker 3: I realized his birthday was coming up.
• 45:17
  Speaker 2: Now does Wilson speak at all?
• 45:18
  Speaker 3: No, he doesn't. He hasn't talked in ten years. But
• 45:20
  Speaker 3: he's here. He's smiling though, Wilson, you're enjoying it. Yeah,
• 45:25
  Speaker 3: why do you do that? Doing what? Put the phone
• 45:28
  Speaker 3: to his lips? Excuse me, Are you part.
• 45:30
  Speaker 2: Of the let's not get sidetracked.
• 45:32
  Speaker 3: You're right, I'm just back off, will you. I can't talk.
• 45:36
  Speaker 3: I know he can't talk. Ah, okay, you you see
• 45:41
  Speaker 3: her every week she puts her hand down my pants.
• 45:44
  Speaker 5: Now come on, yeah, you got to keep her on
• 45:47
  Speaker 5: the control.
• 45:48
  Speaker 3: I will, I will, so Wilson a very happy birthday.
• 45:51
  Speaker 3: And I'd like to sing, first of all, I want
• 45:53
  Speaker 3: to sing happy birthday and then Phil from the era
• 45:57
  Speaker 3: in which Wilson was born, the great years of the
• 46:00
  Speaker 3: First World War, when America Germany, when the world got
• 46:04
  Speaker 3: together to defeat the monarchy of Kaiser Wilhelm. Is that right, Wilson,
• 46:09
  Speaker 3: Alan day, Oh wait a minute, get her away from me,
• 46:12
  Speaker 3: going for the fly? Wow, I don't give it. Danny,
• 46:16
  Speaker 3: good front them.
• 46:17
  Speaker 4: You know if you can't, if you can't keep her
• 46:19
  Speaker 4: under control, John, we have to.
• 46:21
  Speaker 3: It's not me.
• 46:22
  Speaker 4: Well, I don't care who it is. We're gonna have
• 46:23
  Speaker 4: to push off.
• 46:25
  Speaker 3: All right, you're gonna blow it from me. From the
• 46:27
  Speaker 3: World War One era. Let's let's kick it off here, Wilson,
• 46:30
  Speaker 3: and I want to first of all sing happy birthday
• 46:33
  Speaker 3: to you. One to one two one too. Margaret and
• 46:37
  Speaker 3: I went to the same school of improvisation.
• 46:39
  Speaker 2: Yes, we went to the lyrical improvisationals. We didn't go
• 46:41
  Speaker 2: to it. We learned at that school of singing.
• 46:44
  Speaker 3: Right, one two, one to one. B birthday to you, Oh,
• 46:53
  Speaker 3: have b birthday to you. Happy birthday, happy bird, Happy
• 47:02
  Speaker 3: birthday to you you.
• 47:10
  Speaker 4: Oh that was wonderful, that fantastic. All right, Happy birthday
• 47:14
  Speaker 4: to Wilson Etterham.
• 47:16
  Speaker 3: Right now, Wilson, when you were born, World War One
• 47:22
  Speaker 3: was going to be starting in four years, and you
• 47:24
  Speaker 3: were lucky enough to be born in the United States.
• 47:26
  Speaker 3: Had you been born in Belgium, you probably would have
• 47:28
  Speaker 3: been cannibalized by the adults because there was no food.
• 47:32
  Speaker 3: But as it was, you were not.
• 47:35
  Speaker 2: For God's sake, who said that?
• 47:38
  Speaker 9: You know?
• 47:38
  Speaker 2: Can it's the man's birthday.
• 47:40
  Speaker 3: I know it's his birthday. Happy birthday, Wilson. Had you
• 47:43
  Speaker 3: been born during the Great War in Belgium, you would
• 47:46
  Speaker 3: have been eaten by the adults. No, she's coming back
• 47:51
  Speaker 3: with the hair. Look at that. She's got a fake
• 47:52
  Speaker 3: hand it. I got her. No, that's a fake handful, right,
• 47:56
  Speaker 3: get it?
• 47:57
  Speaker 2: She tries to that woman should be you know what,
• 48:00
  Speaker 2: They should put her in a locked ward.
• 48:01
  Speaker 3: I've tried to tell them. See what she did was
• 48:04
  Speaker 3: you know, she goes from my crotch, Phil.
• 48:05
  Speaker 2: I'm sorry to say this, I understand.
• 48:08
  Speaker 3: And when they finally caught her, then she went out
• 48:10
  Speaker 3: and she had a fake.
• 48:10
  Speaker 2: Handmaid and had it made.
• 48:14
  Speaker 3: Yes, she to her specifications, so that she could reach
• 48:17
  Speaker 3: out with his fake hand and try to unzip my fly,
• 48:20
  Speaker 3: and when they grabbed the hand, it would go free,
• 48:22
  Speaker 3: and then she'd have the real hands. So all right,
• 48:25
  Speaker 3: come on, what are you some kind of a pussy?
• 48:27
  Speaker 3: Get her out of here? All right, Wilson, Happy birthday
• 48:31
  Speaker 3: and many happy returns of the day. Here's a great
• 48:34
  Speaker 3: one over there over there, say the word to be
• 48:39
  Speaker 3: heard over there. I wasn't that the Yank sar come
• 48:44
  Speaker 3: in the Yank day. Had a yank was a bucket
• 48:49
  Speaker 3: we could get her out of Hilee. I had a
• 48:51
  Speaker 3: yank coming. Very funny, very very funny. At God, God
• 48:56
  Speaker 3: damn her to hell.
• 48:58
  Speaker 2: Uh As, please mister Jerryman apologize though.
• 49:02
  Speaker 3: All right, Wilson, how you doing? He's leaning to one side.
• 49:04
  Speaker 3: Can you probably over there over there say the word
• 49:10
  Speaker 3: to be heard over there that the Yanks are coming.
• 49:14
  Speaker 3: The Yanks are coming, and they're gonna kick ass over there,
• 49:19
  Speaker 3: so beware, get your hair, put your wig on and
• 49:24
  Speaker 3: flig on. You know at the Yank Ye that the
• 49:29
  Speaker 3: Yank is coming out this gang. See she got a
• 49:33
  Speaker 3: hand on my back that the Yank is. I mean
• 49:35
  Speaker 3: the Yanks did, I mean the Yanks are coming. The
• 49:39
  Speaker 3: Yanks are coming, and it won't be done till we're
• 49:42
  Speaker 3: over over there.
• 49:44
  Speaker 2: All right, Very nice, Terry, Great, that's the George m Cohen.
• 49:48
  Speaker 3: Yes, the great George m cohen Jeryman.
• 49:51
  Speaker 4: Is joining us from his digs in uh what in Philadelphia? Actually, yes,
• 49:56
  Speaker 4: John's in Jones at the Mainline home there. It's a
• 49:59
  Speaker 4: senior retirement home in Philadelphia, and it's gonna come on
• 50:03
  Speaker 4: and sing a song of tribute to Donald Trump, not
• 50:06
  Speaker 4: Donald Trump.
• 50:07
  Speaker 2: Bill O'Reilly.
• 50:08
  Speaker 4: I hope we haven't been making that mistake that much.
• 50:10
  Speaker 4: Go back and check the tape I think you have.
• 50:13
  Speaker 4: Isn't that great man?
• 50:14
  Speaker 2: Now?
• 50:15
  Speaker 3: I don't know?
• 50:16
  Speaker 4: All right, Thank you very much, folks, and welcome back
• 50:18
  Speaker 4: to the world famous Phil Hengry Show.
• 50:20
  Speaker 5: Let's get John Jayman up now from Philadelphia and John
• 50:23
  Speaker 5: always a pleasure.
• 50:24
  Speaker 2: How are you feeling, dear Margaret?
• 50:25
  Speaker 3: Hello? How are you John Jeryman in Philadelphia, and we want.
• 50:28
  Speaker 2: You to sing a beautiful song and tribute to Bill O'Reilly.
• 50:32
  Speaker 3: I'm very happy to do that. And it just so happens.
• 50:35
  Speaker 3: We have our relatives and now my grandchildren are here.
• 50:38
  Speaker 3: Everyone's grandchildren are here to visit them and their children.
• 50:41
  Speaker 3: So it's quite a festive atmosphere in Philadelphia Retirement sent
• 50:46
  Speaker 3: a Senior retirement center. Now I know that Agnes is
• 50:49
  Speaker 3: she's been in quarantine. Right, this is the old lady
• 50:53
  Speaker 3: that comes up and tries to slip her hand.
• 50:55
  Speaker 2: Yeah, we understand.
• 50:56
  Speaker 3: So let me. This is a song for Bill O'Reilly
• 50:58
  Speaker 3: and it's called you Gotta Have Heart. And I think
• 51:01
  Speaker 3: that when Bill hears this, if he ever does hear it,
• 51:04
  Speaker 3: I know you just had him on your program. Do
• 51:06
  Speaker 3: you think he's listening on the radio?
• 51:07
  Speaker 2: No, all right, well I'm so well, I'm sorry, but
• 51:11
  Speaker 2: he's not. Because this is a podcast. It's a what
• 51:14
  Speaker 2: it's a podcast?
• 51:16
  Speaker 3: Whatever? That is?
• 51:17
  Speaker 2: All right? So go ahead and saying this is heart.
• 51:19
  Speaker 3: Yes, there's this all heart from damn Yankees. You gotta
• 51:25
  Speaker 3: have had. All you really need is heart. When the
• 51:30
  Speaker 3: odds are saying you'll never win that's the grin should
• 51:35
  Speaker 3: not the grin that get the leg, get up, get
• 51:37
  Speaker 3: a rock. What did I tell you?
• 51:39
  Speaker 2: Hey, if you can't keep that old lady under control?
• 51:41
  Speaker 3: Nic? What does that word does that say? Grin?
• 51:44
  Speaker 2: Yeah?
• 51:45
  Speaker 3: Who am I speaking with? But you gotta have hard.
• 51:52
  Speaker 3: When the odds are saying you'll never win, that's when
• 51:56
  Speaker 3: the grin should start. You gotta have ho Oh, don't
• 52:02
  Speaker 3: you sit around and bubble. Nothing's half as bad as
• 52:05
  Speaker 3: it may appear. Wait till next year and hope when
• 52:10
  Speaker 3: your luck is batting zero, to do, to do, to
• 52:13
  Speaker 3: do when your chin is on the floor. Mister, you
• 52:17
  Speaker 3: can be a hero. You can open any door. There's
• 52:20
  Speaker 3: nothing to it. You gotta do it. You don't you
• 52:22
  Speaker 3: blew it? You gotta have I gotta get the other arm,
• 52:27
  Speaker 3: break the arm if you have to. I got had
• 52:30
  Speaker 3: fuck John? Yeah, are you all right? I'm fine, But
• 52:35
  Speaker 3: don't try to wrestle guy. God, you guys said you're
• 52:40
  Speaker 3: gonna keep her out there, all right? Uh, you gotta
• 52:44
  Speaker 3: have had miles and miles and miles of hard. Oh.
• 52:49
  Speaker 3: It's fine to be a genius, of course, but keep
• 52:52
  Speaker 3: the old horse before the car first. You gotta have hard.
• 52:58
  Speaker 2: Hey, all right, very's very good, John, thank you.
• 53:01
  Speaker 3: And that's a song for Bill O'Reilly. And I know
• 53:04
  Speaker 3: that life is treating him poorly these days, not that
• 53:08
  Speaker 3: he doesn't deserve it, because you know, why do you
• 53:11
  Speaker 3: say that? Why do I say that? Get a hold
• 53:14
  Speaker 3: of this. I'm talking to a guy over here.
• 53:15
  Speaker 2: Hey, hey, John, just talk to us, all right.
• 53:17
  Speaker 3: Why do I say that? I say that because it's true.
• 53:20
  Speaker 3: He's brought his own problems on himself, and one will
• 53:23
  Speaker 3: hope that eventually he is going to recognize the error
• 53:27
  Speaker 3: of his ways. And there's one more song that I
• 53:30
  Speaker 3: want to sing for Bill O'Reilly, and this is one
• 53:33
  Speaker 3: called I'll be seeing you in all the old places.
• 53:38
  Speaker 3: I'll be seeing you in all the old places, all
• 53:44
  Speaker 3: the old faces, you and me. Oh you will shut up?
• 53:51
  Speaker 3: I well, who is that? Hell? No, furner? What's your problem?
• 53:55
  Speaker 3: I know?
• 53:56
  Speaker 2: John?
• 53:56
  Speaker 3: Hold on, what's your problem? Shut up? Man? I've got
• 53:59
  Speaker 3: to my wife. You're visiting your wife. You got your
• 54:02
  Speaker 3: wife in here, got out? Dammit? What a fum you are?
• 54:07
  Speaker 3: By your loves warrant?
• 54:10
  Speaker 2: What the hell? Hey? John?
• 54:13
  Speaker 6: Who's this?
• 54:14
  Speaker 3: Oh? This is great play?
• 54:15
  Speaker 2: I'm like tenn what happened?
• 54:17
  Speaker 3: He got knocked out?
• 54:19
  Speaker 2: Who got knocked out? Who got knocked out?
• 54:22
  Speaker 3: Ms Carmon knocked out that many fucking out?
• 54:25
  Speaker 2: He knocked out somebody.
• 54:26
  Speaker 3: Yeah, mc camamon knocked him out. Miss Jerman out, Rick.
• 54:30
  Speaker 2: Can we talk to him?
• 54:31
  Speaker 3: No, No, they got to sedate him.
• 54:34
  Speaker 2: Whoam all right? Thank you very much, sir Jamen you
• 54:39
  Speaker 2: did you did real Wow.
• 54:43
  Speaker 4: John Jeryman just assaulted someone there at the home. John
• 54:47
  Speaker 4: Jerryman joins us from Philadelphia, Pennsylvania. And John, it's not
• 54:50
  Speaker 4: that I'm not glad to see you.
• 54:52
  Speaker 2: You know that. I am very happy to uh we'll
• 54:54
  Speaker 2: not see you, but hear you.
• 54:56
  Speaker 4: It's just that you had such a successful career in
• 54:58
  Speaker 4: musical theater and it overshadowed the Where are you tonight, Margaret?
• 55:02
  Speaker 3: I'm where I am tonight is so I here at
• 55:05
  Speaker 3: the Mainline Retirement Home. But it's a very big to
• 55:08
  Speaker 3: do tonight because the Mayor is going to be presenting
• 55:11
  Speaker 3: a plaque for us. We'll hang it here on the
• 55:15
  Speaker 3: Mainline Residents. One hundred and twenty five years of serving
• 55:21
  Speaker 3: the retirement deeds of the people of Philadelphia. I'm very
• 55:26
  Speaker 3: proud of this. And here's mister Mayor now that's all right.
• 55:31
  Speaker 3: Well he's already done it. No one supplotting, So.
• 55:36
  Speaker 5: You and I didn't know that there're one hundred and
• 55:38
  Speaker 5: twenty five years as how that home is, yes.
• 55:40
  Speaker 3: This retirement home. I don't like the term a home
• 55:43
  Speaker 3: because it sounds as if the people that they here
• 55:47
  Speaker 3: have beentally deficient. I'd rather say that it is the
• 55:50
  Speaker 3: place of leisure, voluntary leisure. If I want to stay here,
• 55:56
  Speaker 3: if I want to go, if I can do whatever,
• 55:59
  Speaker 3: my part my language, but I think whatever my sweet
• 56:03
  Speaker 3: ass feels like doing.
• 56:05
  Speaker 2: You know, every time John and I get together it
• 56:07
  Speaker 2: gets a little a little crude. Yeah, I mean you guys,
• 56:10
  Speaker 2: you're not. It can all hang out here, John, This
• 56:12
  Speaker 2: is General Shaw. How are you?
• 56:13
  Speaker 3: Yes, General, very fine.
• 56:14
  Speaker 2: Now are you going to sing for a sennight at home?
• 56:17
  Speaker 3: Oh? Yes, I have a song all picked out?
• 56:19
  Speaker 6: Hey, Drek, listen to you, mister Jerry jerry Man.
• 56:23
  Speaker 2: Well, the name is that Bud, Yes it's Bud, but
• 56:26
  Speaker 2: the name is Jerryman.
• 56:27
  Speaker 3: You don't have to say Jerry Mann because it makes
• 56:31
  Speaker 3: my name. First of all, it butchers my name up,
• 56:33
  Speaker 3: and secondly, it makes you sound as if you're a
• 56:35
  Speaker 3: bit of a Simpleton. Oh my god, I just saw
• 56:38
  Speaker 3: Kim Novak's face.
• 56:39
  Speaker 2: Oh, now what are you looking at?
• 56:41
  Speaker 3: We got the TV on here? Why is there someone calling?
• 56:45
  Speaker 3: Where are we anyway? Oh? They opened up the back
• 56:47
  Speaker 3: of the residence here and we borner Equine Park. Is
• 56:51
  Speaker 3: that was that? The post call for christis all right?
• 56:55
  Speaker 2: We want we want to watch our language. You are
• 56:57
  Speaker 2: going to sing for us?
• 56:58
  Speaker 3: Yeah, get a bet down for me one night now.
• 57:02
  Speaker 5: Phil has prohibited the sounds of horse racing. So if
• 57:05
  Speaker 5: you don't mind.
• 57:06
  Speaker 3: Wait a minute, you're not gonna go keep him.
• 57:08
  Speaker 2: We're gonna have to dump out of that well. We'll
• 57:10
  Speaker 2: get back to tell him that we'll be back with him.
• 57:11
  Speaker 8: Yeah, mister jerry Man, Yeah yeah, huh you bet okay,
• 57:17
  Speaker 8: uh huh you lose give me the.
• 57:19
  Speaker 2: Phone, would you, bud Hi? John, it's Margaret. Where is he?
• 57:23
  Speaker 2: I just he went off to I think he said idiot.
• 57:25
  Speaker 8: I mean Susie said he had to take a crap.
• 57:29
  Speaker 2: Thank you very much, John.
• 57:31
  Speaker 4: That We'll get back with John just as soon as
• 57:33
  Speaker 4: we can, because we do not want him there. We
• 57:37
  Speaker 4: don't want to be listening to the sounds of horse racing.
• 57:39
  Speaker 4: Phil has prohibited it.
• 57:40
  Speaker 2: From the uh from his show.
• 57:43
  Speaker 6: Yeah, he said he's your side now.
• 57:46
  Speaker 2: All right, John, I'm sorry, but you know we don't
• 57:48
  Speaker 2: want to hear the horse racing.
• 57:49
  Speaker 3: Oh this is a new one for me. When did
• 57:51
  Speaker 3: this all take place?
• 57:52
  Speaker 4: Yeah, I'm sure is he does not want to hear
• 57:55
  Speaker 4: no horse racing now because all our horses die of
• 57:57
  Speaker 4: sant Anita.
• 57:58
  Speaker 3: I am, mister Henry come from a horse a town?
• 58:01
  Speaker 3: I thought?
• 58:01
  Speaker 2: Yesee, does fil come from Marchadia, California.
• 58:04
  Speaker 3: Huh that's the home of the wonderful Santa Nisa.
• 58:06
  Speaker 5: Yes, and they lost a horse on Breeders Cup Day,
• 58:09
  Speaker 5: so it's everything's going south over there.
• 58:11
  Speaker 3: Don't even ask my god. Well, we are outside now
• 58:15
  Speaker 3: on the patio and very nice gathered people here the
• 58:19
  Speaker 3: old Okay, you remember Sarah?
• 58:22
  Speaker 2: Is that the woman that can't keep her hands off you?
• 58:24
  Speaker 3: Yeah? I want her as far away from me as
• 58:26
  Speaker 3: you can get her physically. I know that she belongs here,
• 58:30
  Speaker 3: right all right? Margaret send everyone. I'd like to sing
• 58:32
  Speaker 3: a song now from Margaret Gray in California and her cohorts.
• 58:36
  Speaker 3: And it's from my fair lady Margaret.
• 58:39
  Speaker 2: Oh my god, I love this.
• 58:40
  Speaker 3: Yes, it's called wouldn't it be loverly to use the cockney. Nay,
• 58:46
  Speaker 3: get her, back her up. You have to back up, Sarah.
• 58:49
  Speaker 9: All I want is the room somewhere far away from the.
• 58:56
  Speaker 3: Get it off of me.
• 58:58
  Speaker 2: I can't have that, John.
• 58:59
  Speaker 3: I'm sorry, just kidding one. All right, let's start it again.
• 59:05
  Speaker 3: Side seats, I got your ring side seats swinging. Okay,
• 59:10
  Speaker 3: Oh my god, Burteside, would you please back her? I can.
• 59:16
  Speaker 2: It seems to me you should be able to ask
• 59:17
  Speaker 2: the home there to protect.
• 59:19
  Speaker 3: This is Mamberry, Miss Bomberry. She's doing it again. Back
• 59:24
  Speaker 3: up or I'll tick you. Either move back or I'll
• 59:26
  Speaker 3: kick you back there. So was it a woman the
• 59:31
  Speaker 3: second voice? Yeah, both voices were women. Oh missus Momberry. Yeah,
• 59:35
  Speaker 3: she's you're singing or what? It's not going to sing
• 59:39
  Speaker 3: as long as you move your back. All right, Here
• 59:41
  Speaker 3: we go.
• 59:42
  Speaker 9: One two one two, one two to one. All I
• 59:47
  Speaker 9: want is a room somewhere far away from the cold
• 59:53
  Speaker 9: night air with one nee nor miss Oh?
• 1:00:02
  Speaker 2: What is going on there? This is? This is too much. Yeah,
• 1:00:06
  Speaker 2: it sounds like it's out of control.
• 1:00:08
  Speaker 8: Bud, don't talk to him. Yeah, what's going on? We
• 1:00:11
  Speaker 8: have to know, we must know. We heard some, he said,
• 1:00:15
  Speaker 8: with one enormous Then we heard the word webeert.
• 1:00:17
  Speaker 2: Say, don't say it.
• 1:00:19
  Speaker 8: And then everything went dead. I mean everything you know died.
• 1:00:23
  Speaker 8: Oh you've got yeah, mister Jerryman.
• 1:00:25
  Speaker 3: I'm back here, Margaret and everyone. I'm awfully sorry. But
• 1:00:29
  Speaker 3: Sarah worked her way to the front. As I was singing.
• 1:00:31
  Speaker 3: I didn't watch her, and she worked her way up front,
• 1:00:35
  Speaker 3: literally crawling along the ground, standing up and looking around
• 1:00:38
  Speaker 3: so no one would notice her.
• 1:00:40
  Speaker 2: And wait, wait, what did she do?
• 1:00:41
  Speaker 3: I said, They moved her to the back of the room, this.
• 1:00:44
  Speaker 2: Woman that's been man handling you.
• 1:00:46
  Speaker 3: Yes, they moved to the back of the room. So
• 1:00:50
  Speaker 3: I started to sing. Well, when I started singing, she
• 1:00:53
  Speaker 3: ducked down and started crawling forward. Then she'd stand up
• 1:00:56
  Speaker 3: and whistle and look around with her hands in her pockets,
• 1:00:58
  Speaker 3: like no big thing.
• 1:01:01
  Speaker 2: Just to look no, none, none descript, I guess, yeah.
• 1:01:05
  Speaker 3: Sure. And so finally when I hit the line with
• 1:01:08
  Speaker 3: one enormous chair. Before I could get the word chair out.
• 1:01:12
  Speaker 2: I said, she said, d ic k, yes.
• 1:01:15
  Speaker 3: They've got her now in restraints in the back. How
• 1:01:17
  Speaker 3: are you doing back there, Sarah. I'll get you for this.
• 1:01:22
  Speaker 3: Nothing will stopping, No mountain. You you fed up homeboy?
• 1:01:29
  Speaker 3: Fucked up? Good? What are you iced tea? It's not
• 1:01:33
  Speaker 3: iced tea, it's iced ice. Here I go, yeah, here
• 1:01:37
  Speaker 3: you go. Hey, everyone back up. Okay, you know what.
• 1:01:40
  Speaker 3: I made far too much money in my life to
• 1:01:43
  Speaker 3: be staying in this show, so I could now.
• 1:01:47
  Speaker 6: What I don't know that that was not cut off
• 1:01:49
  Speaker 6: by us.
• 1:01:50
  Speaker 2: They don't have any control there. Selling is great, give
• 1:01:53
  Speaker 2: it one more try?
• 1:01:54
  Speaker 3: Yeah?
• 1:01:55
  Speaker 6: Are you there, John Ji? Yeah, there is, Yes, Fiz chairman.
• 1:01:58
  Speaker 3: Are you guys finding copleps because this place is about
• 1:02:01
  Speaker 3: to come on glue one two one.
• 1:02:03
  Speaker 9: Two one two one two. All I want is a room.
• 1:02:09
  Speaker 3: So don't you dare let her out of it.
• 1:02:11
  Speaker 9: All I want is room somewhere far away from the
• 1:02:16
  Speaker 9: cold night air, with one enormous chair.
• 1:02:21
  Speaker 12: Oho, be lovely, Margaret, lovely, lovely, lovely, wooed the lovely.
• 1:02:40
  Speaker 3: All right, I got it. I'm sorry, Mark,