00:00:07.168 --> 00:00:08.635
[children playing
happily on a playground]

00:00:08.768 --> 00:00:15.868
[ball bounces, running steps,
happy chatting]

00:00:16.001 --> 00:00:18.467
[tender piano music]

00:00:30.201 --> 00:00:34.834
[tender music continues
as birds chirp and cheep nearby]

00:00:41.034 --> 00:00:45.834
[song swells with emotion]

00:00:59.869 --> 00:01:03.134
[happy voices on the playground
as music continues]

00:01:03.268 --> 00:01:10.435
[melody slows]

00:01:10.568 --> 00:01:14.534
DOUG GOODKIN:
Music is a language.

00:01:14.667 --> 00:01:16.768
It's a way of speaking.

00:01:16.902 --> 00:01:20.901
It's a way of
communicating that has

00:01:21.034 --> 00:01:22.868
something in common
with language.

00:01:23.001 --> 00:01:24.634
Both of them depend upon
some kind of

00:01:24.767 --> 00:01:27.869
connection between people,

00:01:28.002 --> 00:01:31.069
some kind of
communicating, "I feel this.

00:01:31.202 --> 00:01:36.001
I want you to understand what
I feel, find out what you feel,

00:01:36.134 --> 00:01:38.467
and let's find out
what we feel together."

00:01:39.468 --> 00:01:41.435
[tender piano music continues,
children chat and laugh]

00:01:41.568 --> 00:01:44.201
The kids come in
three years old.

00:01:44.335 --> 00:01:47.868
They know they're musical.

00:01:48.001 --> 00:01:53.268
They're musical
down to the bone.

00:01:53.401 --> 00:01:55.235
My job is just
to keep that

00:01:55.368 --> 00:02:01.301
sense of musicality alive
and nurture it.

00:02:01.435 --> 00:02:04.101
[piano continues,
slow duet on recorders]

00:02:04.235 --> 00:02:08.367
But at the root of it is
that childhood musicality.

00:02:18.034 --> 00:02:26.301
[tender song slowly
fades into birdsong]

00:02:26.435 --> 00:02:29.834
[energetic rhythm pulses
on a box drum]

00:02:29.968 --> 00:02:33.335
DOUG: Wow, I like that one.

00:02:33.468 --> 00:02:35.468
[rhythm on drums continues]

00:02:35.602 --> 00:02:39.868
Let's see who knows
when to start singing.

00:02:40.001 --> 00:02:41.535
[kids sing "Funga Alafia"]
DOUG: Ooh!

00:02:41.668 --> 00:02:44.168
[traditional greeting song in
the Yoruba language continues]

00:02:44.301 --> 00:02:52.034
ALL: ♪ Funga Alafia, ashay ashay
Funga Alafia, ashay ashay ♪

00:02:52.168 --> 00:02:53.101
[song winds down]
DOUG: Ashay!

00:02:53.235 --> 00:02:54.168
KIDS: Ashay!

00:02:54.301 --> 00:02:56.235
DOUG: Ashay!
KIDS: Ashay!

00:02:56.368 --> 00:02:59.001
DOUG: Ashay.
KIDS: Ashay.

00:02:59.134 --> 00:03:02.768
[dramatic drum roll,
then silence]

00:03:02.902 --> 00:03:08.101
[cacophony of voices over
Bulgarian dance song on bagpipe]

00:03:08.235 --> 00:03:10.801
DOUG: First 8th grade class.
This is your first test.

00:03:10.934 --> 00:03:13.335
-So I do it too?
DOUG: Yeah. Like that.

00:03:13.468 --> 00:03:15.501
Here we go.
-Oh.

00:03:15.634 --> 00:03:17.334
[snaps]
-Ow.

00:03:17.467 --> 00:03:19.801
[laughter]

00:03:19.934 --> 00:03:21.968
DOUG: Yeah!
That was a good one.

00:03:22.101 --> 00:03:23.835
So, I'm gonna spin around,
I'm gonna say,

00:03:23.969 --> 00:03:26.435
"Good morning, class,"
and here's what you do.

00:03:26.568 --> 00:03:28.101
You stand up
straight really fast.

00:03:28.235 --> 00:03:29.934
You put your hands here,
you have a nice smile,

00:03:30.068 --> 00:03:33.435
and you'll say, "Good morning,
Mr. Goodkin."

00:03:33.568 --> 00:03:35.702
You have to do it
like one voice.

00:03:35.835 --> 00:03:37.201
[students giggle]
Then you sit down.

00:03:37.335 --> 00:03:38.901
Then the class
officially begins,

00:03:39.034 --> 00:03:41.101
and only one person can talk,

00:03:41.235 --> 00:03:42.902
and that person ain't...
STUDENT: Me.

00:03:43.035 --> 00:03:45.901
DOUG: Ain't you, it's me
at that point so you find out

00:03:46.034 --> 00:03:47.235
what we're gonna do.
Are you ready?

00:03:47.368 --> 00:03:49.034
Good luck.
Don't forget to smile.

00:03:49.168 --> 00:03:49.901
Here we go.

00:03:50.034 --> 00:03:51.368
Good morning, class.

00:03:51.502 --> 00:03:54.034
CLASS: Good morning,
Mr. Goodkin!

00:03:54.168 --> 00:03:57.835
DOUG: And then I'll pick
one person to do the snap,

00:03:57.969 --> 00:04:00.435
and I'll try to pick a
different person each time

00:04:00.568 --> 00:04:02.667
and then have a seat.
[students giggle]

00:04:02.801 --> 00:04:04.869
I said a boom chick-a-boom.

00:04:05.002 --> 00:04:07.068
CLASS: [tentatively] I said
a boom chick-a-boom.

00:04:07.201 --> 00:04:09.901
DOUG: ♪ I said
boom chick-a-boom! ♪

00:04:10.034 --> 00:04:12.567
I got interested
in teaching...

00:04:12.701 --> 00:04:14.101
because I hated school.

00:04:14.235 --> 00:04:17.401
I had a healthy curiosity
about the world.

00:04:17.535 --> 00:04:19.467
I started a rock club
with my friends.

00:04:19.601 --> 00:04:20.602
I would read a lot.

00:04:20.735 --> 00:04:24.668
So, I loved learning,
but school just...

00:04:24.802 --> 00:04:27.002
it's like, "You guys aren't
doing it well." [chuckles]

00:04:27.135 --> 00:04:29.934
I had an intuition without
the language for it, you know?

00:04:30.068 --> 00:04:32.502
I said a boom
chick-a-rock-a-chick-a-

00:04:32.635 --> 00:04:34.869
rock-a-chick-a-boom.
I said a boom.

00:04:35.002 --> 00:04:37.101
[hi hat keeps time as Doug
continues the rhythm]

00:04:37.235 --> 00:04:39.001
Practice.
I said a boom chick.

00:04:39.134 --> 00:04:41.401
Left foot. Chick-a-rock
chick-a-boom.

00:04:41.535 --> 00:04:43.435
I said a boom chick-a-boom.
[bass drum and ride cymbal]

00:04:43.568 --> 00:04:47.435
Then everybody with your right
foot, you're gonna do this.

00:04:47.568 --> 00:04:50.601
A boom chick boom,
a boom chick boom.

00:04:50.734 --> 00:04:52.535
Yeah!

00:04:52.668 --> 00:04:54.201
And this is the
hardest part coming up.

00:04:54.335 --> 00:04:56.667
Who's up for the hard part?

00:04:56.801 --> 00:04:59.301
Ooh yeah. Uh-huh.
Try it.

00:04:59.435 --> 00:05:01.635
JOEL: So, he started like,
"Boom chick-a-boom,"

00:05:01.768 --> 00:05:03.668
and then he would say,
"Boom chick-a-boom."

00:05:03.802 --> 00:05:05.934
And everybody else was like,
"What the hell is he doing?

00:05:06.068 --> 00:05:09.168
Is this part of the class?"
[chuckles]

00:05:09.301 --> 00:05:13.834
But later on we connected the
beat of jazz: tt-tth-tt-tthh.

00:05:13.968 --> 00:05:15.601
That connected to
what we were gonna do

00:05:15.734 --> 00:05:17.201
for the rest of the year.

00:05:17.335 --> 00:05:18.335
DOUG: Right here.

00:05:18.468 --> 00:05:21.701
[jazzy melody on percussion]

00:05:21.834 --> 00:05:25.235
Uh-huh!

00:05:25.368 --> 00:05:26.834
There you go, mmhmm.

00:05:26.968 --> 00:05:29.734
And the best part is here.

00:05:29.868 --> 00:05:32.801
[cowbell joins the tune]

00:05:32.934 --> 00:05:34.802
[piano jumps into the song]

00:05:34.935 --> 00:05:37.034
KERALA TAYLOR: It would be
very hard for me to envision

00:05:37.168 --> 00:05:38.868
my father having
an office job

00:05:39.001 --> 00:05:40.301
or any kind of job

00:05:40.435 --> 00:05:42.834
that he didn't feel immensely
passionate about. [chuckles]

00:05:45.502 --> 00:05:47.868
DOUG: Good, Jennifer.

00:05:48.001 --> 00:05:49.368
Yeah.

00:05:49.502 --> 00:05:51.235
KERALA: I know that it will
be many years before

00:05:51.368 --> 00:05:54.901
he's truly retired as in not
doing any work at all,

00:05:55.034 --> 00:05:56.301
if that ever happens.

00:05:56.435 --> 00:05:59.535
But within the last year,
he made it official that

00:05:59.668 --> 00:06:03.268
this would be his last year at
the San Francisco School.

00:06:03.401 --> 00:06:05.534
[banjo plays a jaunty
tune as kids chit chat]

00:06:14.668 --> 00:06:17.168
DOUG: Oh, that's so beautiful at
the end when you went like that.

00:06:17.301 --> 00:06:18.435
Mmhmm.

00:06:18.568 --> 00:06:22.668
Now, real soft.
Sing back and do the motions.

00:06:22.802 --> 00:06:24.901
DOUG AND KIDS:
♪ Who fed the chickens? ♪

00:06:25.034 --> 00:06:26.468
♪ I did ♪

00:06:26.602 --> 00:06:30.235
♪ Who stacked the hay?
I did ♪

00:06:30.368 --> 00:06:33.534
♪ Who milked the cow?
I did ♪

00:06:33.667 --> 00:06:36.400
♪ On this fine day ♪

00:06:36.534 --> 00:06:37.869
DOUG: Point to me.

00:06:38.002 --> 00:06:40.335
DOLORES ELKIN: My first year
coming here, I had a break

00:06:40.468 --> 00:06:41.535
in the afternoon.

00:06:41.668 --> 00:06:43.601
And once a week in
that break, they had

00:06:43.734 --> 00:06:45.568
preschool singing with Doug.

00:06:45.702 --> 00:06:47.701
DOUG AND KIDS:
♪ Who fed the chickens? ♪

00:06:47.834 --> 00:06:49.335
♪ He did ♪

00:06:49.468 --> 00:06:52.634
♪ Who stacked the hay?
She did ♪

00:06:52.767 --> 00:06:54.002
♪ And who... ♪

00:06:54.135 --> 00:06:57.101
DOLORES: I thought, "This guy's
amazing. He's brilliant.

00:06:57.869 --> 00:07:00.001
I've got to spend my break
in here with the kids,

00:07:00.134 --> 00:07:01.568
and I'm gonna learn songs."

00:07:01.702 --> 00:07:05.502
And I loved it, and I went
every week, and I learned

00:07:05.635 --> 00:07:07.768
as much as I could,
his repertoire of songs,

00:07:07.902 --> 00:07:12.101
and what a community to have
in the palm of your hand.

00:07:12.235 --> 00:07:17.802
He was fun, gentle, expressive.

00:07:17.935 --> 00:07:24.467
He was very thoughtful and very
preciously careful with them,

00:07:24.601 --> 00:07:25.969
and it was heartwarming.

00:07:26.102 --> 00:07:29.168
DOUG AND KIDS: ♪ And who milked
the cow? We all did ♪

00:07:29.301 --> 00:07:31.868
♪ On this fine day ♪

00:07:32.001 --> 00:07:35.468
♪ Keep singing
on this fine day ♪

00:07:35.602 --> 00:07:39.134
♪ Who had fun playing
on this fine day? ♪

00:07:39.268 --> 00:07:44.601
♪ This song will end
on this fine day ♪

00:07:44.734 --> 00:07:48.133
[quiet giggling]

00:07:49.201 --> 00:07:52.235
DOUG: That was almost what
I call the perfect ending.

00:07:52.368 --> 00:07:58.134
However, I heard two little
sounds from somebody's voice.

00:07:58.268 --> 00:08:00.034
When I go like this
for the perfect ending,

00:08:00.168 --> 00:08:03.068
it has to be...freeze.

00:08:03.201 --> 00:08:05.467
Then when you see me relax,
you can relax,

00:08:05.601 --> 00:08:07.468
but still don't talk.

00:08:07.602 --> 00:08:14.201
Last chance to get
the perfect ending. Okay.

00:08:14.335 --> 00:08:17.001
DOUG AND KIDS:
♪ On this fine day ♪

00:08:17.134 --> 00:08:20.535
♪ Two more times
on this fine day ♪

00:08:20.668 --> 00:08:26.068
♪ Last time
on this fine day ♪

00:08:26.201 --> 00:08:30.767
[breathing, soft sounds]

00:08:30.901 --> 00:08:33.934
DOUG: Everybody say,

00:08:34.068 --> 00:08:35.567
"Take a sleep, banjo."

00:08:35.701 --> 00:08:39.668
KIDS: Take a sleep, banjo.

00:08:39.802 --> 00:08:44.467
[jazzy, syncopated
tune on piano]

00:08:49.002 --> 00:08:51.335
When I was growing up in
New Jersey, my father was

00:08:51.468 --> 00:08:55.668
playing the organ, and that
inspired me to wanna play.

00:08:55.802 --> 00:08:58.834
So, I started playing the
organ at six years old,

00:08:58.968 --> 00:09:01.602
and then I added
piano in 3rd grade.

00:09:01.735 --> 00:09:03.735
GINNY MATTHEWS: Doug,
he just would take off.

00:09:03.869 --> 00:09:05.435
He could improvise right
from the beginning.

00:09:05.568 --> 00:09:10.401
He was not that interested in
learning the standard pieces,

00:09:10.535 --> 00:09:12.768
and he often got
in trouble with

00:09:12.902 --> 00:09:15.535
Mrs. Lutz, our organ teacher.
[chuckles]

00:09:15.668 --> 00:09:18.668
DOUG: The lessons were
the typical lesson of,

00:09:18.802 --> 00:09:21.335
"Here's Trudy Treble
and Bobby Bass.

00:09:21.468 --> 00:09:23.502
That's a quarter note.
That's an eighth note.

00:09:23.635 --> 00:09:25.869
Put your finger down there,
curve your finger,

00:09:26.002 --> 00:09:31.602
put it together, play it,"
rather than singing or dancing

00:09:31.735 --> 00:09:34.835
or feeling the music
in your whole body.

00:09:34.969 --> 00:09:40.134
Something was way too narrow
in that musical upbringing.

00:09:40.268 --> 00:09:45.468
[mellow jazz continues]

00:09:45.602 --> 00:09:51.502
[nearby traffic as
kids play and squeal]

00:09:51.635 --> 00:09:55.634
[jazz winds down to
soft conversations nearby]

00:09:56.468 --> 00:09:59.400
JAMES HARDING: I had
a connection to Doug through

00:09:59.534 --> 00:10:01.668
a mutual friend.

00:10:01.802 --> 00:10:06.435
DOUG: James graduates
from Yale, gets into Yale

00:10:06.568 --> 00:10:10.768
medical school, but decides
he wants a year off.

00:10:10.902 --> 00:10:12.735
JAMES: I remember
going to the school.

00:10:12.869 --> 00:10:15.702
It was a little bit after
the earthquake in '89.

00:10:15.835 --> 00:10:18.400
I remember watching this
class that Doug was doing

00:10:18.534 --> 00:10:19.667
with 2nd graders.

00:10:19.801 --> 00:10:22.668
[cheery music in old video]

00:10:22.802 --> 00:10:25.001
DOUG: And at the end
of the day he said,

00:10:25.134 --> 00:10:26.902
"Can I come back tomorrow?"

00:10:27.035 --> 00:10:30.534
So, he just started coming,
and he came back

00:10:30.667 --> 00:10:32.168
for almost a whole year.

00:10:32.301 --> 00:10:34.468
He said, "I decided not
to go to medical school.

00:10:34.602 --> 00:10:36.635
Can I come back to school?"
[laughs]

00:10:36.969 --> 00:10:39.601
JAMES: Let's hear the...
I'm gonna call you the circle,

00:10:39.734 --> 00:10:40.934
the circle of strings...

00:10:41.068 --> 00:10:42.535
JAMES: So, then
the next year,

00:10:42.668 --> 00:10:45.134
I was basically
teaching everything.

00:10:45.268 --> 00:10:50.734
[sings along with melody
on strings, xylophones]

00:10:50.868 --> 00:10:52.201
And stop!

00:10:52.335 --> 00:10:54.701
You got the right time to
enter in, but you did too many.

00:10:54.834 --> 00:10:56.068
Do it again.

00:10:56.201 --> 00:10:58.401
DOUG: And then in 1990,
I got an invitation

00:10:58.535 --> 00:11:01.668
to teach in Salzburg,
and Sofía was teaching

00:11:01.802 --> 00:11:04.268
in the summer course
that I was teaching at.

00:11:04.401 --> 00:11:06.335
SOFíA LóPEZ-IBOR: He was
teaching in the morning,

00:11:06.468 --> 00:11:07.869
I was teaching
in the afternoon,

00:11:08.002 --> 00:11:11.568
and there was one person
that came to us and said,

00:11:11.702 --> 00:11:13.435
"You need to talk
because it looks like

00:11:13.568 --> 00:11:15.401
you guys are doing
the same thing."

00:11:15.535 --> 00:11:17.835
I mean, not exactly the same
material, but that person

00:11:17.969 --> 00:11:20.801
actually revealed that
we had a lot in common.

00:11:20.934 --> 00:11:21.834
DOUG: The girls can do Areira,

00:11:21.968 --> 00:11:23.001
then when it's time
the boys come.

00:11:23.134 --> 00:11:24.934
The girls can move back,
and the boys come up.

00:11:25.068 --> 00:11:26.268
SOFíA: Perfect.

00:11:26.401 --> 00:11:29.301
And then Doug came
to me, and he said,

00:11:29.435 --> 00:11:32.301
"I think you are very good
with middle school kids.

00:11:32.435 --> 00:11:37.435
I'm thinking about writing a
jazz book, and I need someone

00:11:37.568 --> 00:11:41.902
to cover my classes for six
months while I finish my book.

00:11:42.035 --> 00:11:47.034
Would you like to come?"
And I said, "Sure, why not?!"

00:11:47.168 --> 00:11:49.901
And I never knew that
that was going to turn into

00:11:50.034 --> 00:11:51.835
25 years of my life.

00:11:51.969 --> 00:11:54.068
[boisterous rhythms, on
hand drums and cowbell]

00:11:54.201 --> 00:11:56.401
[kids sing "Funga Alafia"]

00:11:56.535 --> 00:11:59.535
TALIA GOODKIN: It's just
so enviable that he got to

00:11:59.668 --> 00:12:03.235
find his soulmates
as colleagues.

00:12:03.368 --> 00:12:07.602
That relationship extends far
outside the music room here.

00:12:07.735 --> 00:12:09.468
DOUG: ♪ I greet
you with my words ♪

00:12:09.602 --> 00:12:10.968
♪ I greet you
with my heart... ♪

00:12:11.101 --> 00:12:12.435
JAMES: We're teaching
the Orff-Schulwerk

00:12:12.568 --> 00:12:15.335
approach to music education.

00:12:15.468 --> 00:12:18.935
[mellow music plays]

00:12:19.069 --> 00:12:23.101
This particular strand of
Orff teaching is music from

00:12:23.235 --> 00:12:24.502
the composer's point of view.

00:12:24.635 --> 00:12:26.468
[piano accompanies xylophones]

00:12:26.602 --> 00:12:29.434
Orff did say, "Let the children
be their own composers."

00:12:29.567 --> 00:12:31.368
SOFíA: Excellent.

00:12:31.502 --> 00:12:34.602
SOFíA: What is important about
the Orff approach is the way

00:12:34.735 --> 00:12:38.401
we are engaging the children
with the musical ideas and

00:12:38.535 --> 00:12:42.467
the way they are improvising,
composing, understanding.

00:12:43.502 --> 00:12:49.567
[piano and xylophones
in call and response]

00:12:50.368 --> 00:12:52.435
A lot of people think it
is required to have this

00:12:52.568 --> 00:12:54.034
collection of instruments that

00:12:54.168 --> 00:12:56.034
we don't have in many places
around the world,

00:12:56.168 --> 00:12:57.335
but there's other instruments.

00:12:57.468 --> 00:12:59.168
And there's your body
and there's objects,

00:12:59.301 --> 00:13:01.101
there's anything to play music.

00:13:01.235 --> 00:13:03.001
[all clap in time
with each other]

00:13:03.134 --> 00:13:03.901
KIDS: Yes.
DOUG: No.

00:13:04.034 --> 00:13:04.868
KIDS: Yes.
DOUG: No.

00:13:05.001 --> 00:13:05.667
KIDS: Yes.
DOUG: No, no.

00:13:05.801 --> 00:13:07.568
[cheery tune on piano]

00:13:07.702 --> 00:13:09.602
JAMES: The really big
foundation of Orff is

00:13:09.735 --> 00:13:11.468
just going back
and forth between

00:13:11.602 --> 00:13:13.869
experiencing music
with your body

00:13:14.002 --> 00:13:16.335
and then having that
come out through an instrument.

00:13:16.468 --> 00:13:18.768
DOUG: Soft and clearly.

00:13:18.902 --> 00:13:21.567
[kids all play in unison
to Doug keeping time]

00:13:28.934 --> 00:13:30.667
DOUG: [on video]
First one, and...

00:13:30.801 --> 00:13:32.301
STUDENTS: Ta ta...

00:13:32.435 --> 00:13:35.001
DOUG: When I was in college,
I took a class called

00:13:35.134 --> 00:13:37.201
Music for Kids or something.

00:13:37.335 --> 00:13:38.368
One day somebody said,

00:13:38.502 --> 00:13:39.968
"Oh, we have a
guest teacher today,"

00:13:40.101 --> 00:13:41.635
and his name was Avon Gillespie.

00:13:41.768 --> 00:13:45.602
And he just comes in,
and he just goes...

00:13:45.735 --> 00:13:47.734
motions us to
take off our shoes.

00:13:48.502 --> 00:13:52.201
Gets us gathered in a circle,
and he starts going like this.

00:13:52.335 --> 00:13:54.268
Not saying a word,
just not saying a word.

00:13:54.401 --> 00:13:57.935
We said, "What is he doing?
Okay, we have to figure out."

00:13:58.069 --> 00:14:00.668
And then after we finally
get this little pattern, and

00:14:00.802 --> 00:14:06.068
he goes, "Head and shoulders,
baby, one, two, three.

00:14:06.201 --> 00:14:08.201
Head and shoulders,
baby..."

00:14:08.335 --> 00:14:11.035
And at the end of that class,
maybe it was an hour long

00:14:11.169 --> 00:14:14.702
or something, it was like,
"Well, that was interesting."

00:14:14.835 --> 00:14:18.101
So, he was one of the first
wave of Orff teachers.

00:14:18.235 --> 00:14:20.201
JAMES: There was an initial
generation of people that

00:14:20.335 --> 00:14:23.268
became kind of like the first
pioneers of Orff-Schulwerk

00:14:23.401 --> 00:14:26.101
in the US and started
teaching and bringing it

00:14:26.235 --> 00:14:28.134
into their school communities.

00:14:29.169 --> 00:14:32.734
DOUG: I think the big thing
that struck me about it was

00:14:32.868 --> 00:14:34.968
finally the sense
that the learning

00:14:35.101 --> 00:14:36.668
took place in the group.

00:14:36.802 --> 00:14:38.601
You weren't sitting
in a practice room

00:14:38.734 --> 00:14:40.235
by yourself.

00:14:40.368 --> 00:14:42.502
And it was through the ear,
not through the eye.

00:14:42.635 --> 00:14:44.001
You weren't reading things.

00:14:44.134 --> 00:14:46.301
You were hearing,
listening, responding.

00:14:46.435 --> 00:14:49.301
And so, I think those are
the radical tenets of

00:14:49.435 --> 00:14:52.901
the Orff approach that I was
experiencing personally

00:14:53.034 --> 00:14:54.968
and feeling like, yeah!

00:14:55.101 --> 00:14:57.301
[continues in Slovenian]
Po zelenoj trati...

00:14:57.435 --> 00:14:58.735
[xylophones match the melody]

00:14:58.869 --> 00:15:00.768
KAREN GOODKIN: One thing
he says over and over is

00:15:00.902 --> 00:15:06.001
so often in music classes, you
sit in rows, and kids file in,

00:15:06.134 --> 00:15:08.001
and they sit, and they
listen to somebody talk.

00:15:08.134 --> 00:15:09.934
And he just
gets them in there,

00:15:10.068 --> 00:15:12.068
makes a circle, and
just starts a game.

00:15:12.969 --> 00:15:15.935
It's less about talking
about everything

00:15:16.069 --> 00:15:19.301
and a little bit more about
doing and making music.

00:15:19.435 --> 00:15:21.102
[they complete the song]

00:15:21.236 --> 00:15:24.535
TALIA: Working for this many
years, my dad could easily

00:15:24.668 --> 00:15:27.368
have his curriculum in a binder
that says, "On Tuesday you

00:15:27.502 --> 00:15:28.702
do this and on Wednesday..."

00:15:28.835 --> 00:15:31.335
He knows what works,
but it's always different.

00:15:31.468 --> 00:15:33.001
It's always responsive.

00:15:33.134 --> 00:15:36.134
It always changes according
to the group of kids.

00:15:36.268 --> 00:15:39.034
That goes back to
finding what's special

00:15:39.168 --> 00:15:41.201
about each kid
and nurturing that.

00:15:41.335 --> 00:15:44.134
DOUG: I say high, and you say...
CLASS: Low.

00:15:44.268 --> 00:15:47.001
DOUG: I say fast, and you say...
CLASS: Slow.

00:15:47.134 --> 00:15:49.735
DOUG: I say yes, and you say...
CLASS: No.

00:15:49.869 --> 00:15:52.602
DOUG: I say stop, and you say...
CLASS: Go.

00:15:52.735 --> 00:15:55.634
[Doug claps and
pats a slow rhythm]

00:15:55.767 --> 00:16:01.335
[all clap and pat in unison]

00:16:01.468 --> 00:16:03.868
DOUG: Are you impressed that I
could make that up on the spot?

00:16:04.001 --> 00:16:05.268
CLASS: Yeah!

00:16:05.401 --> 00:16:07.901
-I was doing the exact
opposite, like the hand motions.

00:16:08.034 --> 00:16:09.401
DOUG: You were going?

00:16:09.535 --> 00:16:12.535
-When you clapped, I patted.
When you patted, I clapped.

00:16:12.668 --> 00:16:16.301
DOUG: And guess what?
In music, they're both right.

00:16:16.435 --> 00:16:19.534
And, in fact, if you do that
way, and I do the other way,

00:16:19.667 --> 00:16:20.934
it sounds really cool.

00:16:21.068 --> 00:16:31.602
[faster clapping,
patting rhythm]

00:16:31.735 --> 00:16:34.001
DOUG: Well, I say
slow, and you say...

00:16:34.134 --> 00:16:35.101
CLASS: Fast.

00:16:35.235 --> 00:16:36.701
DOUG: I say first,
and you say...

00:16:36.834 --> 00:16:37.968
CLASS: Last.

00:16:38.101 --> 00:16:40.168
DOUG: I say open, and you say...
CLASS: Closed.

00:16:40.301 --> 00:16:42.268
DOUG: I say fingers,
and you say...

00:16:42.401 --> 00:16:43.401
CLASS: Toes.

00:16:43.535 --> 00:16:45.101
DOUG: I say I eyes,
and you say...

00:16:45.235 --> 00:16:45.968
CLASS: Nose.

00:16:46.101 --> 00:16:48.301
[students and Doug laugh]

00:16:48.435 --> 00:16:51.068
DOUG: I say go, and you say...
CLASS: Stop.

00:16:51.201 --> 00:16:55.868
DOUG: I say Mom, and you say...
CLASS: Dad.

00:16:56.001 --> 00:16:57.201
-Pop. Pop!
DOUG: Pop.

00:16:57.335 --> 00:17:01.635
[all laugh]

00:17:01.768 --> 00:17:03.968
DOUG: All right.
Carter, thanks for your idea.

00:17:04.101 --> 00:17:05.368
[happy kids voices outside]

00:17:05.502 --> 00:17:09.235
[slow plucking and sweeping
across Chinese zither]

00:17:09.368 --> 00:17:12.235
JAMES: Here comes
the pipa part. And...

00:17:12.368 --> 00:17:22.134
[all instruments join a
slow, rolling melody]

00:17:22.268 --> 00:17:24.068
JOSé: In 6th grade
we had this thing where

00:17:24.201 --> 00:17:25.468
there was this little hat.

00:17:25.602 --> 00:17:27.168
Someone would choose
this little piece of paper,

00:17:27.301 --> 00:17:30.368
and it had a country
in the world.

00:17:30.502 --> 00:17:33.268
And then whatever
that country, their music,

00:17:33.401 --> 00:17:35.201
we learned about their music,
their culture,

00:17:35.335 --> 00:17:37.601
and then we played
pieces from that place.

00:17:37.734 --> 00:17:41.401
[slow melody continues]

00:17:41.535 --> 00:17:44.268
Learning culture is something
you feel like you would

00:17:44.401 --> 00:17:48.435
only learn in Humanities
class or Social Studies.

00:17:48.568 --> 00:17:49.868
But when I learned it in music,

00:17:50.001 --> 00:17:51.868
it just seemed
really cool to me.

00:17:53.002 --> 00:17:57.368
[piano accompanies xylophones
on "Mo Betta Blues"]

00:17:57.502 --> 00:17:59.502
KAREN: At the end
of my first year at

00:17:59.635 --> 00:18:03.034
the San Francisco School, I had
invited Doug into the class

00:18:03.168 --> 00:18:06.802
to teach us how to use
these xylophones.

00:18:06.935 --> 00:18:10.568
TERRY EDELI: It was in his
music room that now is still,

00:18:10.702 --> 00:18:13.468
I mean, he has made that
music room stay the same.

00:18:13.602 --> 00:18:16.134
It's the only part of the
school that's stayed the same

00:18:16.268 --> 00:18:20.668
since the 1970s.
And it was in that space.

00:18:20.802 --> 00:18:22.268
And people were really
impressed with him,

00:18:22.401 --> 00:18:24.968
and it kind of just
morphed organically into,

00:18:25.101 --> 00:18:26.534
"Maybe we need
a music teacher."

00:18:26.667 --> 00:18:29.868
[Calypso jazz]

00:18:30.969 --> 00:18:35.734
KAREN: We were really a
ragtag kind of [laughs] place,

00:18:35.868 --> 00:18:37.201
and it all worked.

00:18:37.335 --> 00:18:38.435
I don't know quite
how it worked.

00:18:38.568 --> 00:18:39.767
Maybe we were
all a lot younger,

00:18:39.901 --> 00:18:41.735
we all had a lot more energy.

00:18:41.869 --> 00:18:43.634
TERRY: We were all almost
like a family.

00:18:43.767 --> 00:18:46.301
It was our lives.

00:18:46.435 --> 00:18:48.534
KAREN: We wanted kids to
wanna come to school every day

00:18:48.667 --> 00:18:49.902
and be excited.

00:18:50.035 --> 00:18:55.335
The same things that are
wanted now by teachers,

00:18:55.468 --> 00:18:58.335
but back then, maybe we
felt like we had a little more

00:18:58.468 --> 00:19:01.667
control over the
habitat. [laughs]

00:19:01.801 --> 00:19:05.567
[cheery piano tune]

00:19:05.701 --> 00:19:08.034
KIDS: ♪ Side by side ♪

00:19:08.168 --> 00:19:09.368
[drums join piano]

00:19:09.502 --> 00:19:13.168
KIDS: ♪ We ain't got
a barrel of money ♪

00:19:13.301 --> 00:19:16.602
♪ Maybe we're ragged and funny ♪

00:19:16.735 --> 00:19:20.801
♪ But we travel along,
singing a song ♪

00:19:20.934 --> 00:19:23.901
♪ Side by side... ♪

00:19:25.035 --> 00:19:29.368
DOLORES: Sometimes I think
perhaps some people forget

00:19:29.502 --> 00:19:32.869
that music is such

00:19:33.002 --> 00:19:36.835
a deep, connecting,
important part of life.

00:19:36.969 --> 00:19:41.235
And when you leave school, yes,
it's good to know how to read

00:19:41.368 --> 00:19:43.501
and write and do your math,

00:19:43.634 --> 00:19:45.869
but you wanna be happy!

00:19:46.002 --> 00:19:50.602
And being with people and
singing, it brings such joy,

00:19:50.735 --> 00:19:53.435
and it brings such connection
if you go sing together.

00:19:53.568 --> 00:20:00.468
ALL: ♪ Side by side!!! ♪

00:20:00.602 --> 00:20:06.168
[music ends on a flourish,
cheers and applause]

00:20:06.301 --> 00:20:08.134
[gentle birdsong,
a light breeze]

00:20:08.268 --> 00:20:09.634
DOUG AND KIDS:
♪ We're goin' down the hall! ♪

00:20:09.767 --> 00:20:11.468
[claps] ♪ Uh-uh, uh-uh, uh-uh! ♪

00:20:11.602 --> 00:20:13.767
♪ We're goin' down the hall! ♪

00:20:13.901 --> 00:20:15.001
♪ Uh-uh, uh-uh, uh-uh! ♪

00:20:15.134 --> 00:20:16.001
DOUG: ♪ Stealing Poppop's
glasses ♪

00:20:16.134 --> 00:20:17.868
♪ just to bring them home ♪

00:20:18.001 --> 00:20:19.401
[toy rooster wails]

00:20:19.535 --> 00:20:22.134
♪ Stealing Poppop's glasses
just to bring them home ♪

00:20:22.268 --> 00:20:23.201
[rooster wails]

00:20:23.335 --> 00:20:24.767
Hoo hoo, ha ha ha!
[rooster wails]

00:20:24.901 --> 00:20:26.768
Hoo hoo ha ha ha!
[rooster wails]

00:20:26.902 --> 00:20:30.301
♪ Moo moo moo moo,
moo-moo ha ha ha! ♪

00:20:30.435 --> 00:20:32.168
[rooster wails]

00:20:32.301 --> 00:20:35.435
KAREN: I think he feels like
he wants to sculpt

00:20:35.568 --> 00:20:37.667
what he leaves behind for kids.

00:20:37.801 --> 00:20:39.834
[cheerful tune on mouth harp]

00:20:39.968 --> 00:20:41.901
TERRY: I would imagine
he worries about

00:20:42.034 --> 00:20:44.768
the external influences,
which are

00:20:44.902 --> 00:20:47.801
highly about technology
and entrepreneurship,

00:20:47.934 --> 00:20:52.835
and winning [laughs]
in this new world,

00:20:52.969 --> 00:20:57.335
like, somehow overrunning
the more cooperative,

00:20:57.468 --> 00:21:01.602
collaborative,
heartfelt sensibilities.

00:21:01.735 --> 00:21:06.401
Without him there, I think the
school is more likely to shift.

00:21:06.535 --> 00:21:09.901
[air rings through bottles,
shakers shake]

00:21:10.034 --> 00:21:12.868
DOUG: Zadie, that was good!

00:21:13.001 --> 00:21:14.101
Here's the game!

00:21:14.235 --> 00:21:19.201
You're gonna move around
with your beanbag, but.

00:21:19.335 --> 00:21:22.301
Kepler! Remember what
happened last class?

00:21:22.435 --> 00:21:24.301
If your beanbag falls off,
you were out

00:21:24.435 --> 00:21:27.168
and you had to sit down?
So, now I have a new rule.

00:21:27.301 --> 00:21:31.835
If you're moving around,
and it falls off,

00:21:31.969 --> 00:21:37.068
you do have to freeze,
but you can get back

00:21:37.201 --> 00:21:43.667
in the game if somebody
else puts it on your head.

00:21:43.801 --> 00:21:51.767
[Bach's Prelude in C Major]

00:21:51.901 --> 00:21:58.401
Hannah, beautiful.
-[giggles]

00:21:58.535 --> 00:22:00.367
Dylan, leave it down.
You can't pick up your own.

00:22:00.501 --> 00:22:02.502
[laughter]

00:22:02.635 --> 00:22:04.069
[tender Bach melody
continues on piano]

00:22:04.202 --> 00:22:07.401
DOUG: The beanbag game is a
physical enactment of the moral

00:22:07.535 --> 00:22:11.701
value that you're hoping
to nourish in the children.

00:22:11.834 --> 00:22:14.401
[happy giggling]

00:22:14.535 --> 00:22:19.001
What you see is who's noticing
that kids need help,

00:22:19.134 --> 00:22:21.068
because there are plenty
of people in this world

00:22:21.201 --> 00:22:23.834
that don't notice.

00:22:23.968 --> 00:22:25.668
Get your arms out.

00:22:25.802 --> 00:22:29.768
[Petzold's Minuet in G Minor
on piano]

00:22:29.902 --> 00:22:34.567
If they do notice,
how do they respond?

00:22:34.701 --> 00:22:40.101
Dylan, beautiful job.

00:22:40.235 --> 00:22:42.667
Then, if you wanna talk
about these values,

00:22:42.801 --> 00:22:44.734
you have something to refer to.

00:22:45.134 --> 00:22:47.667
Nice, Leo.

00:22:47.801 --> 00:22:50.134
-Ha!

00:22:50.268 --> 00:22:51.667
-That's it.
You have to sit.

00:22:51.801 --> 00:22:54.101
[piano drifts out
as kids chatter]

00:22:54.235 --> 00:22:58.101
DOUG: ♪ Old king
glory of the mountain ♪

00:22:58.235 --> 00:23:02.668
♪ The mountain was so high,
it nearly touched the sky ♪

00:23:02.802 --> 00:23:05.435
♪ The first one,
the second one... ♪

00:23:05.568 --> 00:23:10.034
♪ So so mi mi re do ♪

00:23:10.168 --> 00:23:12.802
♪ So so mi mi... ♪

00:23:12.935 --> 00:23:15.435
SERINA: What I've learned about
music is that it isn't just

00:23:15.568 --> 00:23:17.668
a certain technical thing,

00:23:17.802 --> 00:23:20.801
it's this whole world where
you can engage and connect

00:23:20.934 --> 00:23:22.435
and be together and perform

00:23:22.568 --> 00:23:24.634
together and practice together.

00:23:24.767 --> 00:23:26.535
DOUG: Ta, ta ta.

00:23:26.668 --> 00:23:28.568
[room filled with
claps and giggles]

00:23:28.702 --> 00:23:31.268
SERINA: It's a community that's
not just about being technical

00:23:31.401 --> 00:23:32.134
and doing it right.

00:23:32.268 --> 00:23:34.401
[clapping, happy voices]

00:23:34.535 --> 00:23:39.968
[drums play as
Doug sings melody]

00:23:40.101 --> 00:23:41.568
JOEL: Everybody in
the music department was

00:23:41.702 --> 00:23:44.801
very patient because
there are many students

00:23:44.934 --> 00:23:46.602
that learn very differently.

00:23:46.735 --> 00:23:51.368
DOUG: Here we go, Joel!
One, two, only him.

00:23:51.502 --> 00:23:56.401
[Doug sings melody as
he and Joel play it]

00:23:56.535 --> 00:23:57.968
JOEL: Depending on the
connection that you have

00:23:58.101 --> 00:23:59.034
with a teacher,

00:23:59.168 --> 00:24:01.068
you fall in love
with what you do.

00:24:01.201 --> 00:24:05.668
And I don't just like the
class, I also love what I do

00:24:05.802 --> 00:24:07.701
and love who taught
me all of this.

00:24:07.834 --> 00:24:08.801
DOUG: Sing with him.

00:24:08.934 --> 00:24:17.301
[Doug sings along
with mallets]

00:24:17.435 --> 00:24:20.968
[bamboo rattles as
Joel plays xylophone]

00:24:21.101 --> 00:24:23.401
DOUG: Here we go!

00:24:23.535 --> 00:24:25.802
SERINA: The music teachers
really wanted to have everybody

00:24:25.935 --> 00:24:27.934
join into music as
much as possible,

00:24:28.068 --> 00:24:29.435
and everybody, because of that,

00:24:29.568 --> 00:24:32.335
found a love of music
in one way or another.

00:24:32.468 --> 00:24:34.502
Everybody connected
in a different way.

00:24:34.635 --> 00:24:37.568
DOUG: Get ready.
Ta ta ta ta, ta-te!

00:24:37.702 --> 00:24:39.767
[Philippine melody continues]

00:24:39.901 --> 00:24:43.702
Annnnnd, hold!

00:24:43.835 --> 00:24:52.134
All right. For 20 minutes,
that's pretty good.

00:24:52.268 --> 00:24:55.502
DOUG: Are you ready?
Ready, one, two, three!

00:24:55.635 --> 00:24:57.634
[delighted squeals and yells]

00:24:57.767 --> 00:25:00.135
[laughter]

00:25:00.269 --> 00:25:02.435
DOUG: We don't really have the
long class tomorrow because of

00:25:02.568 --> 00:25:06.568
the Latinx celebration, so the
goal is to go through everything

00:25:06.702 --> 00:25:13.101
you need to know for the Intery
Mintery part, because we have

00:25:13.235 --> 00:25:14.835
no music class before Halloween.

00:25:14.969 --> 00:25:18.068
So, it's like, we have a
dress rehearsal, that's it.

00:25:18.201 --> 00:25:19.567
One, two, three.

00:25:19.701 --> 00:25:24.468
[spooky melody on piano]

00:25:24.602 --> 00:25:30.201
Use your arms, cross,
and bouncing, bouncing.

00:25:30.335 --> 00:25:31.968
Nice bouncing, Naomi.

00:25:32.101 --> 00:25:36.134
JAMES: Intery Mintery
is our Halloween ritual.

00:25:36.268 --> 00:25:38.468
It's not really a performance.
It's not a show.

00:25:38.602 --> 00:25:40.767
[spooky song continues
as kids whoop]

00:25:40.901 --> 00:25:42.935
DOUG: Sofía has a
suggestion for you.

00:25:43.069 --> 00:25:45.101
SOFíA: With this "ooh, ooh,"
I see a lot of people

00:25:45.235 --> 00:25:46.468
doing different things.

00:25:46.602 --> 00:25:48.667
The kids come in August,
and they're saying,

00:25:48.801 --> 00:25:50.101
"When are we starting to do

00:25:50.235 --> 00:25:51.634
the Halloween stuff?"

00:25:51.767 --> 00:25:53.001
They're just obsessed with it.

00:25:53.134 --> 00:25:55.301
So, if you see Doug
and I doing this...

00:25:55.435 --> 00:25:57.667
[Doug and Sofía
sing a slow melody]

00:25:57.801 --> 00:25:59.401
DOUG: Left foot.
Doo doo.

00:25:59.535 --> 00:26:01.069
SOFíA: You see this action?

00:26:01.202 --> 00:26:03.068
JAMES: Having each class in
the elementary be responsible

00:26:03.201 --> 00:26:05.401
for a different aspect
of the performance,

00:26:05.535 --> 00:26:06.968
that's a tradition
at our school.

00:26:07.101 --> 00:26:10.635
[recorder and xylophones play]

00:26:10.768 --> 00:26:14.535
[dramatic cymbal crash
as melody continues]

00:26:14.668 --> 00:26:18.535
SOFíA: There is a cycle where
the children know that in

00:26:18.668 --> 00:26:21.201
1st grade, I'm doing this,
but then in 2nd grade,

00:26:21.335 --> 00:26:22.735
but then in 3rd grade.

00:26:22.869 --> 00:26:25.734
And then they can look
forward and backwards again.

00:26:25.868 --> 00:26:26.834
The nose.

00:26:26.968 --> 00:26:29.134
[suspenseful drum roll,
shakers rattle]

00:26:29.268 --> 00:26:33.368
The legs.
[goat hooves clatter]

00:26:33.502 --> 00:26:43.602
[instruments inch up the scale]

00:26:43.735 --> 00:26:47.567
It was created by Doug and then
transported into the class

00:26:47.701 --> 00:26:48.901
by the three of us.

00:26:49.034 --> 00:26:53.934
ALL: ♪ Apple seed
and apple thorn ♪

00:26:54.068 --> 00:26:58.435
♪ Wire, briar, timberlock... ♪

00:26:58.568 --> 00:27:00.435
JAMES: He describes it as
something that he was inspired

00:27:00.568 --> 00:27:04.002
by his mentor, Avon Gillespie,
who did some kind of

00:27:04.135 --> 00:27:08.935
mystical chanting thing as part
of a workshop with adults.

00:27:09.069 --> 00:27:11.635
Doug found a nursery rhyme
that he felt like was kind of

00:27:11.768 --> 00:27:14.101
mysterious and
then adapted that.

00:27:15.202 --> 00:27:16.735
[music grows more mysterious,
kids sing "Intery Mintery"]

00:27:16.869 --> 00:27:23.735
DOUG: Welcome to the annual
1st through 5th grade

00:27:23.869 --> 00:27:30.934
ritual enactment of
Intery...Mintery.

00:27:31.068 --> 00:27:36.368
[kids' voices build in
a round with clapping]

00:27:36.502 --> 00:27:38.435
♪ Three geese in a flock ♪

00:27:38.568 --> 00:27:42.935
♪ Wire, briar, timberlock ♪

00:27:43.069 --> 00:27:48.767
[round continues, overlapping
voices with a spooky tune]

00:27:48.901 --> 00:27:55.635
[recorders play a
suspenseful melody]

00:27:55.768 --> 00:27:58.935
SOFíA: I think that it's one
of his favorites because of

00:27:59.069 --> 00:28:03.134
the mystery, because of
this momentum of seeing

00:28:03.268 --> 00:28:06.401
100-something kids
just together,

00:28:06.535 --> 00:28:09.735
building that
moment of attention.

00:28:09.869 --> 00:28:16.602
[drums, xylophones tiptoe
through the melody]

00:28:16.735 --> 00:28:20.034
[cymbal rings out as
melody continues]

00:28:27.168 --> 00:28:31.101
[music grows loud, tense
with bagpipe solo]

00:28:43.968 --> 00:28:48.735
[instruments build,
kids whoop]

00:28:48.869 --> 00:28:51.768
[rousing cheers and applause
as music winds down]

00:28:51.902 --> 00:28:55.702
KID 1: The xylophones and
that stuff were kind of creepy,

00:28:55.835 --> 00:28:58.502
like the, "bong bong bong
bong bum bum bum."

00:28:58.635 --> 00:29:01.735
KID 2: It was cool because
we were in the show,

00:29:01.869 --> 00:29:04.868
and we also got to watch
another performance.

00:29:05.001 --> 00:29:07.068
KID 3: In 4th grade,
it's really cool because

00:29:07.201 --> 00:29:09.502
we get to do the dancing,
and it's also really cool

00:29:09.635 --> 00:29:12.001
'cause it's Doug's last year.

00:29:12.134 --> 00:29:16.068
I also really like the
bagpipe that Doug plays.

00:29:16.201 --> 00:29:21.601
[cheers, applause continue,
filling the space]

00:29:21.734 --> 00:29:25.201
[kids chatting]

00:29:25.335 --> 00:29:26.602
DOUG: Raffee?

00:29:26.735 --> 00:29:29.534
I'm gonna give you the words
tomorrow for your song.

00:29:29.667 --> 00:29:30.901
RAFFEE: Aw, okay.

00:29:31.034 --> 00:29:32.601
-Could you sign me out?
DOUG: I can!

00:29:32.734 --> 00:29:35.935
-Thank you.

00:29:36.069 --> 00:29:40.268
TALIA: My dad, he is bound by
tradition and things staying

00:29:40.401 --> 00:29:44.535
the same, and change can
be really hard for him.

00:29:44.668 --> 00:29:49.768
He puts his entire heart
into what he does

00:29:49.902 --> 00:29:54.702
and leaves it there, quivering
on the table at all times,

00:29:54.835 --> 00:30:01.602
which has its fabulous pros and
some hard cons at the same time.

00:30:01.735 --> 00:30:06.434
[the Goldberg
Variations on piano]

00:30:14.869 --> 00:30:20.101
[classical music continues,
emotions growing]

00:30:28.002 --> 00:30:31.567
[same song continues, melody
growing in speed and energy]

00:30:49.735 --> 00:30:52.834
[hums softly for
a bit with music]

00:31:01.168 --> 00:31:04.901
[piano continues as basketball
bounces, kids laugh]

00:31:13.667 --> 00:31:20.001
[music gently ends]

00:31:20.134 --> 00:31:23.468
[horn honks]

00:31:23.602 --> 00:31:28.201
[choir sings to xylophone]

00:31:28.335 --> 00:31:30.534
[roomful of singing voices]

00:31:30.667 --> 00:31:32.001
DOUG: So, first change.

00:31:32.134 --> 00:31:36.068
ALL: ♪ Mi re, mi mi re do ♪

00:31:36.201 --> 00:31:39.934
♪ Mi re, mi mi re do ♪

00:31:40.068 --> 00:31:43.934
DOUG: A lot of the theme
of today is simple music,

00:31:44.068 --> 00:31:47.235
three, four notes,
great musical effects.

00:31:47.368 --> 00:31:49.235
Uh, uh, uh, hey!

00:31:49.368 --> 00:31:57.501
[energetic Ghanaian song,
"Kanbile" on mallets]

00:31:57.634 --> 00:31:58.735
Hey!

00:31:58.869 --> 00:32:06.934
[more percussion and
winds join the tune]

00:32:07.068 --> 00:32:11.634
Bom bom!

00:32:11.767 --> 00:32:13.534
Ending, here we go.
Short.

00:32:13.667 --> 00:32:15.668
Bom bom bom dah dah dum!

00:32:15.802 --> 00:32:18.935
I do this thing called
the Secret Song, which is,

00:32:19.069 --> 00:32:21.869
I just have five-year-olds come
in, and I put xylophones around.

00:32:22.002 --> 00:32:24.468
And I tell them that inside
these bars of woods

00:32:24.602 --> 00:32:28.502
is a hidden, a secret song,
and it's waiting for them.

00:32:28.635 --> 00:32:31.168
And they have to find it.
All right?

00:32:31.301 --> 00:32:34.602
And all they have to do is
explore it with their hands,

00:32:34.735 --> 00:32:37.468
listen with their ears,
remember with their mind --

00:32:37.602 --> 00:32:40.101
three things -- and then
come back and share it.

00:32:40.235 --> 00:32:42.602
And every single kid
comes back with something

00:32:42.735 --> 00:32:45.734
musical and coherent.
Because guess what?

00:32:45.868 --> 00:32:48.001
News flash: Kids are
extraordinary

00:32:48.134 --> 00:32:51.101
musical beings, right?

00:32:51.235 --> 00:32:53.468
And often they will come up
with much better things

00:32:53.602 --> 00:32:55.802
if the adult just
leaves them alone.

00:32:55.935 --> 00:32:58.602
And so, a lot of it is to give
them the structures

00:32:58.735 --> 00:33:01.168
and the skills and the
techniques that they need,

00:33:01.301 --> 00:33:03.335
but it's also to give them
the time and space

00:33:03.468 --> 00:33:05.434
to just figure stuff out.

00:33:06.502 --> 00:33:11.901
SOFíA: Twelve sides,
a shape with twelve sides.

00:33:12.034 --> 00:33:15.101
Diego, iEmpiezas!
Un, dos.

00:33:15.235 --> 00:33:16.835
Un, dos, tres, y!

00:33:16.969 --> 00:33:20.601
ALL: [singing] Rombo, romboide,
trapecio, trapezoide.

00:33:20.734 --> 00:33:22.235
-Pentagon.
-Sphere.

00:33:22.368 --> 00:33:24.101
-Circle.
-Square.

00:33:24.235 --> 00:33:27.534
ALL: Rombo, romboide,
trapecio, trapezoide.

00:33:27.667 --> 00:33:28.934
Circle!

00:33:29.068 --> 00:33:30.768
SOFíA: I remember my
experiences growing up

00:33:30.902 --> 00:33:35.268
in Madrid, seeing myself
in a circle with a hand drum,

00:33:35.401 --> 00:33:37.368
where there were

00:33:37.502 --> 00:33:41.568
24 other girls
playing a hand drum.

00:33:41.702 --> 00:33:44.834
Everybody, "boom, boom,
boom-boom, boom,

00:33:44.968 --> 00:33:46.834
boom, boom, boom-boom."

00:33:46.968 --> 00:33:50.034
And then thinking,
I'm in heaven right now.

00:33:50.168 --> 00:33:52.535
[slow music on marimba,
woman singing]

00:33:52.668 --> 00:33:57.002
SOFíA: I wanted to give
you another idea in here.

00:33:57.135 --> 00:34:00.134
When you have your shape,
don't let your shape be lazy.

00:34:00.268 --> 00:34:02.801
This is a lazy shape, right?

00:34:02.934 --> 00:34:05.268
Try to really find a focus.

00:34:05.401 --> 00:34:09.034
You have parents that
come to you, and they say,

00:34:09.168 --> 00:34:12.568
"Oh, my child is so musical.
Have you noticed?"

00:34:12.702 --> 00:34:15.502
And the kid is a three-year-old
or a four-year-old,

00:34:15.635 --> 00:34:18.835
and I just wanna say,
"Oh, yes, I have noticed it.

00:34:18.969 --> 00:34:21.668
They are such a good
musician, such a good dancer."

00:34:21.802 --> 00:34:24.502
The secret is that every
single one of them are!

00:34:24.635 --> 00:34:27.502
They are all good musicians.
They're all good dancers.

00:34:27.635 --> 00:34:32.268
They all have ways of waving
a scarf and telling you,

00:34:32.401 --> 00:34:33.734
"Here I am."

00:34:33.868 --> 00:34:37.168
Follow Margaret, one, two, go.

00:34:37.301 --> 00:34:38.435
Yeah!

00:34:38.568 --> 00:34:40.201
We are facilitators
that are trying

00:34:40.335 --> 00:34:42.535
to bring those things out.

00:34:42.668 --> 00:34:44.767
Go around, go around.
Go around.

00:34:44.901 --> 00:34:48.101
Charlie, be careful.

00:34:48.235 --> 00:35:02.635
[kids calling out on the
playground as traffic roars]

00:35:02.768 --> 00:35:08.868
[bowl echoes, chiming
note reverberating]

00:35:09.001 --> 00:35:14.901
[a second note rings
out long, echoes]

00:35:15.034 --> 00:35:29.535
[slow taps on the gong
bring low, slow notes]

00:35:29.668 --> 00:35:35.701
[light giggling,
mostly silence]

00:35:35.834 --> 00:35:38.501
[bells ring and tinkle]

00:35:39.001 --> 00:35:41.468
DOUG: Happy New Year!
Happy New Year.

00:35:41.602 --> 00:35:44.868
Happy 2020. Happy 2020.
[bells ring, fill the room]

00:35:45.001 --> 00:35:49.201
[mellow music]

00:35:49.335 --> 00:35:52.235
DOUG: You can open this
world to the kids

00:35:52.368 --> 00:35:53.869
through improvisation.

00:35:54.002 --> 00:35:56.168
What you can do is make
a little harmonic pattern

00:35:56.301 --> 00:35:57.702
with one and five.

00:35:57.835 --> 00:36:00.902
KAREN: With Doug retiring,
I think he'll stay plenty busy.

00:36:01.035 --> 00:36:03.435
I'm sure he'll write more
books, and I'm sure

00:36:03.568 --> 00:36:05.634
the teaching that they do

00:36:05.767 --> 00:36:09.468
out in the world
will continue

00:36:09.602 --> 00:36:12.668
as long as this virus [laughing]
gets under control.

00:36:12.802 --> 00:36:14.502
I mean, they were having
a meeting here last night

00:36:14.635 --> 00:36:18.502
and saying, "Wow, maybe the
world is changing, that we can't

00:36:18.635 --> 00:36:22.101
really plan to do a
workshop somewhere anymore."

00:36:22.235 --> 00:36:25.635
It's kind of,
it's a little dicier.

00:36:25.768 --> 00:36:27.168
ALL:
♪ Concentration, sixty-four ♪

00:36:27.301 --> 00:36:29.235
DOUG: No repeating.

00:36:29.368 --> 00:36:32.667
First time I heard of
coronavirus was from James,

00:36:32.801 --> 00:36:34.168
who was in China.

00:36:34.301 --> 00:36:37.468
JAMES: With her own love potion,
what number is it?

00:36:37.602 --> 00:36:41.134
DOUG: Even then, I think,
the very first directive was,

00:36:41.268 --> 00:36:46.502
"We'll close for two weeks."

00:36:46.635 --> 00:36:53.001
DOUG: All right, so, this is
the last chance we'll get to

00:36:53.134 --> 00:36:55.435
play together for
the foreseeable future,

00:36:55.568 --> 00:36:56.667
hopefully just a week.

00:36:56.801 --> 00:36:57.701
STUDENTS: No!
Oh god!

00:36:57.834 --> 00:36:58.934
DOUG: Just a week.

00:36:59.068 --> 00:37:01.868
But meanwhile, the beat goes on.

00:37:02.001 --> 00:37:03.235
Come on, people.
It's the last time

00:37:03.368 --> 00:37:04.767
we're gonna have for a while.
It has to be good.

00:37:04.901 --> 00:37:06.268
Freeze at the end!

00:37:06.401 --> 00:37:08.634
[Doug leads students
to end of song]

00:37:08.767 --> 00:37:09.968
Watch Luca. Watch him.

00:37:10.101 --> 00:37:14.034
[all roll, slow, stop]

00:37:14.168 --> 00:37:18.801
[long reverberation,
then silence]

00:37:18.934 --> 00:37:22.534
DOUG: I just have
eight words for you.

00:37:22.667 --> 00:37:24.001
Let me count.

00:37:24.134 --> 00:37:27.168
-I will miss you.
-So much.

00:37:27.301 --> 00:37:29.501
DOUG: Yeah, eight words.
Here it is. You ready?

00:37:29.634 --> 00:37:31.502
-You are the best class.

00:37:31.635 --> 00:37:38.101
DOUG: I love working with you.

00:37:38.235 --> 00:37:39.201
I love you.

00:37:39.335 --> 00:37:41.401
-Awwwww!
-We'll miss you,

00:37:41.535 --> 00:37:44.668
and I hope we come back to
school to have music class.

00:37:44.802 --> 00:37:47.969
DOUG: All right, so you guys,
I'll miss you next week.

00:37:48.102 --> 00:37:55.001
And listen to a lot of jazz,
watch videos, and be safe.

00:37:55.134 --> 00:37:58.101
Wash your hands.
-I'm gonna wash hands right now.

00:37:58.235 --> 00:37:59.435
DOUG: Yeah, wash your hands now.

00:37:59.568 --> 00:38:01.467
We disinfected the
mallets, but still.

00:38:01.601 --> 00:38:02.634
-Thank you, Doug!!!

00:38:02.767 --> 00:38:07.101
DOUG: Thank you.

00:38:07.235 --> 00:38:08.268
All right.

00:38:08.401 --> 00:38:12.300
[pensive music]

00:38:21.435 --> 00:38:26.234
[pensive music continues]

00:38:38.768 --> 00:38:41.068
[breeze rustles palm,
pensive music continues]

00:38:49.301 --> 00:38:50.601
[music gently fades
into the breeze]

00:38:50.734 --> 00:38:58.134
[silence]

00:38:58.268 --> 00:39:01.901
Hello, 4th graders!
Remember me?

00:39:02.602 --> 00:39:07.301
I really miss you guys,
but music can go on.

00:39:07.435 --> 00:39:11.068
So, I'm giving you a little,
your favorite instrument,

00:39:11.201 --> 00:39:12.868
recorder lesson!

00:39:13.001 --> 00:39:14.101
And let's see.

00:39:14.235 --> 00:39:15.801
I think I need to move
back a little bit.

00:39:15.934 --> 00:39:17.335
Here's how it's gonna work.

00:39:17.468 --> 00:39:22.934
I'm gonna give you some notes,
and just like a real class.

00:39:23.068 --> 00:39:24.868
Of course, you need
your recorder,

00:39:25.001 --> 00:39:26.835
and we'll do a little echo.

00:39:26.969 --> 00:39:30.134
So, I play a little something,
and you play back.

00:39:30.268 --> 00:39:32.268
And of course, I can't
hear you, but...

00:39:32.401 --> 00:39:33.869
DOUG: [on phone] Everybody
that I know in the world

00:39:34.002 --> 00:39:39.034
right now, and that's people
in 50 different countries,

00:39:39.168 --> 00:39:41.034
is sheltered down.

00:39:41.902 --> 00:39:43.767
That's never happened in
the history of humanity.

00:39:43.901 --> 00:39:45.001
I mean, that's extraordinary.

00:39:45.134 --> 00:39:45.801
G.

00:39:45.934 --> 00:39:47.634
And this one?

00:39:47.767 --> 00:39:48.434
A.

00:39:48.567 --> 00:39:50.267
And this one?

00:39:50.400 --> 00:39:51.335
B.

00:39:51.468 --> 00:39:52.468
So, that's what
we'll start with.

00:39:52.602 --> 00:39:54.668
So just echo here.
If I go...

00:39:54.802 --> 00:39:56.235
DOUG: [on phone] What's
happened is that I've had to

00:39:56.368 --> 00:40:00.268
learn six different
technologies in two weeks.

00:40:00.401 --> 00:40:02.201
So, there's ParentSquare,
there's Google Drive,

00:40:02.335 --> 00:40:05.702
there's Schoology, there's
Google Meet, there's Zoom,

00:40:05.835 --> 00:40:08.502
there's Loom, there's Flipgrid,
there's Seesaw.

00:40:08.635 --> 00:40:11.368
I mean, that's a big list!

00:40:11.502 --> 00:40:15.735
And this has never
been a strong suit.

00:40:15.869 --> 00:40:21.534
Okay, we have lesson #2,
and this is the response

00:40:21.667 --> 00:40:22.735
to the A section.

00:40:22.869 --> 00:40:24.902
And we'll take a little
while to do that.

00:40:25.035 --> 00:40:26.767
[on phone] I still, by the way,
hope that school could

00:40:26.901 --> 00:40:28.335
possibly open May 1st.

00:40:28.468 --> 00:40:31.235
I still hope I could possibly
still finish the year

00:40:31.368 --> 00:40:34.201
and teach classes and
have a retirement party.

00:40:34.335 --> 00:40:36.934
But it's as likely
that it won't happen

00:40:37.068 --> 00:40:38.535
as it is that it will.

00:40:38.668 --> 00:40:44.134
So, either way is just
what I have to accept.

00:40:44.268 --> 00:40:47.868
SOFíA: Five green dragons
making such a roar.

00:40:48.001 --> 00:40:51.602
One danced away,
and then they were four.

00:40:51.735 --> 00:40:55.268
JAMES: With this next one,
it's showing you the rhythm

00:40:55.401 --> 00:41:00.168
of the words: ta ta ta-te ta.

00:41:00.301 --> 00:41:02.868
JAMES: Not being together
physically and not having

00:41:03.001 --> 00:41:04.834
the synchronicity of sound,

00:41:04.968 --> 00:41:06.668
all that stuff prevents

00:41:06.802 --> 00:41:09.568
a huge amount of what
we're normally focusing on

00:41:09.702 --> 00:41:11.567
and giving kids
as an experience.

00:41:11.701 --> 00:41:13.301
[banjo plays over Zoom]

00:41:13.435 --> 00:41:18.668
It destroys music making
in time with other people.

00:41:18.802 --> 00:41:22.468
For the next activities, see
if you can get your own glasses

00:41:22.602 --> 00:41:24.802
that have two different
sounds, high and low.

00:41:24.935 --> 00:41:26.601
So, I'll go first, and then
I'll leave some space

00:41:26.734 --> 00:41:30.168
for you to echo.

00:41:30.301 --> 00:41:33.734
[James clinks spoon against
glasses, high and lower pitch]

00:41:34.034 --> 00:41:36.268
[student clinks glasses]

00:41:36.401 --> 00:41:37.668
Okay, now...

00:41:37.802 --> 00:41:40.834
JOSé: On screen everyone
just looks different.

00:41:40.968 --> 00:41:43.034
Everybody's just there.

00:41:43.168 --> 00:41:44.668
It's not like a real experience

00:41:44.802 --> 00:41:46.201
to say when you're
in a classroom,

00:41:46.335 --> 00:41:48.468
and you can see
everybody.

00:41:48.602 --> 00:41:50.768
You can see everybody
now 'cause everybody's in

00:41:50.902 --> 00:41:55.235
their own little squares, but in
person, it just feels much more,

00:41:55.368 --> 00:41:58.635
I don't know, exciting.
You're bonding.

00:41:58.768 --> 00:42:01.535
You're building up your
friendship even more than

00:42:01.668 --> 00:42:02.868
if you were just on a screen.

00:42:03.001 --> 00:42:04.168
DOUG: Okay, you guys.

00:42:04.301 --> 00:42:06.601
I'm gonna leave you
there until next week.

00:42:06.734 --> 00:42:07.735
STUDENT: Okay.

00:42:07.869 --> 00:42:08.968
SOFíA: El tren
chookoo chookoo chookoo

00:42:09.101 --> 00:42:11.834
is a really, really good
song for you to actually

00:42:11.968 --> 00:42:13.768
try to play at home.

00:42:13.902 --> 00:42:20.468
You can find some very...common
objects to play that song.

00:42:20.602 --> 00:42:24.134
I can try to play, for example,

00:42:24.268 --> 00:42:28.201
with two books on my bookshelf.

00:42:28.335 --> 00:42:30.602
♪ El tren chookoo chookoo
chookoo... ♪

00:42:30.735 --> 00:42:32.734
[guitar plays longingly]
SOFíA: When you are at home

00:42:32.868 --> 00:42:34.902
filming a class with kids,

00:42:35.035 --> 00:42:36.735
so you're doing your small
little video where you're

00:42:36.869 --> 00:42:38.869
showing something
to the preschoolers,

00:42:39.002 --> 00:42:41.368
and the preschoolers
are not right there,

00:42:41.502 --> 00:42:43.467
you immediately
become an entertainer.

00:42:44.535 --> 00:42:47.701
Sometimes you become
a little bit like a clown,

00:42:47.834 --> 00:42:49.835
and I hate that,

00:42:49.969 --> 00:42:54.634
because the work that
we do is not a show.

00:42:55.335 --> 00:42:59.667
In your package, you might
find a paper like this.

00:42:59.801 --> 00:43:01.568
I was in pain.

00:43:01.702 --> 00:43:04.001
I am still singing the songs,

00:43:04.134 --> 00:43:05.801
I'm showing the same material,

00:43:05.934 --> 00:43:08.301
I'm using the same method,

00:43:08.435 --> 00:43:11.602
but this is not who I am.

00:43:11.735 --> 00:43:17.968
I'm missing half of who I am,
because who I am as a teacher

00:43:18.101 --> 00:43:21.602
is down there in
the circle with me.

00:43:21.735 --> 00:43:24.968
Teaching is not about me.
It's about them.

00:43:25.768 --> 00:43:29.235
And they're far away,
and I don't see them.

00:43:29.368 --> 00:43:31.268
I can't smell them.

00:43:31.401 --> 00:43:33.734
I didn't untie a shoe.

00:43:33.868 --> 00:43:35.502
I didn't ask them
to put a sweater

00:43:35.635 --> 00:43:39.367
[laughing] in the corner
before coming to my circle.

00:43:39.501 --> 00:43:41.635
I am...

00:43:41.768 --> 00:43:45.868
Now, I am in front of a screen.
I'm an entertainer.

00:43:46.001 --> 00:43:48.335
And this was extremely hard.

00:43:48.468 --> 00:43:51.068
Please don't forget to send me
a photo if you make a dragon.

00:43:51.201 --> 00:43:54.134
That would be so great to
get some photos from you

00:43:54.268 --> 00:43:57.535
with your dragons or even
singing my dragon song.

00:43:57.668 --> 00:44:04.134
We had to pull ourselves out of
a situation, reach out to still

00:44:04.268 --> 00:44:08.201
work with this very strong
concept of communication

00:44:08.335 --> 00:44:10.601
that is essential to who we are.

00:44:10.734 --> 00:44:11.834
MAIA: Hi, Sofía.

00:44:11.968 --> 00:44:17.301
It's Maia, and I'm
gonna play this song.

00:44:17.435 --> 00:44:22.167
[sings "El Tren Chuga", shaking
beans in the jar, hitting drum]

00:44:23.201 --> 00:44:27.102
DOUG: I'm gonna play G G
A B B, and you echo me.

00:44:27.236 --> 00:44:31.968
And just for fun, let's try
playing all together unmuted.

00:44:32.101 --> 00:44:34.468
[recorder notes overlap]

00:44:34.602 --> 00:44:36.667
DOUG: I did try some recorder
things at the beginning,

00:44:36.801 --> 00:44:38.168
and that was hilarious, because

00:44:38.301 --> 00:44:41.835
first of all, some kids,
"I can't find my recorder!"

00:44:41.969 --> 00:44:44.602
Then another kid, "I don't have
a recorder, but I have a guitar.

00:44:44.735 --> 00:44:46.568
Can I do it on
guitar?" [chuckles]

00:44:46.702 --> 00:44:49.869
And then it was one kid said,
"My mom doesn't want me

00:44:50.002 --> 00:44:52.501
to play recorder when
we're in the house together."

00:44:52.634 --> 00:44:54.201
[delighted laugh]

00:44:54.335 --> 00:44:57.134
Ah, Sasha, you have
an alto recorder!

00:44:57.268 --> 00:44:58.668
SASHA: Yeah.

00:44:58.802 --> 00:45:00.001
DOUG: Okay, that makes it in a
different key, but that's okay.

00:45:00.134 --> 00:45:01.468
It'll be interesting.

00:45:01.602 --> 00:45:05.368
[Doug sings through
laptop speakers]

00:45:05.502 --> 00:45:08.268
JAMES: That whole
improvisational spirit of

00:45:08.401 --> 00:45:09.535
working within limits

00:45:09.668 --> 00:45:13.702
and finding what's
the human way through

00:45:13.835 --> 00:45:16.301
no matter what the
conditions are, that definitely

00:45:16.435 --> 00:45:18.601
came through in what
happened this spring.

00:45:18.734 --> 00:45:20.134
-Hello. This is my

00:45:20.268 --> 00:45:23.034
table choreography
assignment thing.

00:45:23.168 --> 00:45:25.634
And I have my dad with me.
He's right there.

00:45:25.767 --> 00:45:28.467
And I'm gonna do this.
Yeah.

00:45:29.502 --> 00:45:31.801
[tapping out rhythms on
glass, table, and bowl]

00:45:31.934 --> 00:45:34.168
DOUG: Open your hands
really slowly,

00:45:34.301 --> 00:45:37.201
and it'll look like
a flower blooming.

00:45:37.335 --> 00:45:39.235
Shhhhh.

00:45:39.368 --> 00:45:41.068
KID: Wow, it is blooming.

00:45:41.201 --> 00:45:44.068
JAMES: This situation,
it's such a crisis that

00:45:44.201 --> 00:45:45.868
some of the biases around

00:45:46.001 --> 00:45:47.702
what's important and
what's less important

00:45:47.835 --> 00:45:50.568
for education,
I think, show themselves.

00:45:50.702 --> 00:45:53.268
Either clap it or play it
on your instrument.

00:45:53.401 --> 00:45:55.268
We had to keep
arguing a little bit.

00:45:55.401 --> 00:45:58.767
Like, "Actually, this is
really important for kids."

00:45:58.901 --> 00:46:00.768
It's not just an extra burden.

00:46:00.902 --> 00:46:04.034
It's something that feeds
them in a different way.

00:46:04.168 --> 00:46:07.101
DOUG AND KIDS:
♪ Skinnama-rink-a-doo ♪

00:46:07.235 --> 00:46:10.502
SOFíA: We identified that
singing unifies the school

00:46:10.635 --> 00:46:13.401
in so many different ways,
and we were missing it.

00:46:13.535 --> 00:46:15.969
We were missing those moments
where the three of us are

00:46:16.102 --> 00:46:18.502
in the three chairs in front of
the kids, just having fun

00:46:18.635 --> 00:46:20.602
and communicating through music.

00:46:20.735 --> 00:46:23.368
[plays a dramatic
intro on piano]

00:46:23.502 --> 00:46:31.368
DOUG: Welcome to
Friday afternoon! [chuckles]

00:46:31.502 --> 00:46:32.934
It's been a tiring week.

00:46:33.068 --> 00:46:34.401
[continues on piano]

00:46:34.535 --> 00:46:36.435
JAMES: We started talking
about it like it was our

00:46:36.568 --> 00:46:39.802
"Prairie Home Companion"
radio show.

00:46:39.935 --> 00:46:41.868
SOFíA: ♪ It's a
beautiful day today! ♪

00:46:42.635 --> 00:46:45.201
DOUG: ♪ It's a
beautiful day today! ♪

00:46:45.335 --> 00:46:46.735
SOFíA: ♪ And I think... ♪

00:46:46.869 --> 00:46:49.634
We really started just
having fun with each other,

00:46:49.767 --> 00:46:51.634
appreciating each other.

00:46:51.767 --> 00:46:53.602
It was very, very sweet.

00:46:53.735 --> 00:46:56.869
DOUG: So, can you
guys hear me? [laughs]

00:46:57.002 --> 00:47:00.201
When I go like that, you
have to do the word right then.

00:47:00.335 --> 00:47:01.467
So, if I go like this...

00:47:01.601 --> 00:47:02.735
KID: What's so funny?

00:47:02.869 --> 00:47:03.968
DOUG: "Oh, my aunt,"
you do it right then.

00:47:04.101 --> 00:47:04.934
JAMES: Oh, my aunt!
DOUG: Yeah, exactly.

00:47:05.068 --> 00:47:07.702
All right, try it again.
[laughs]

00:47:07.835 --> 00:47:10.335
JAMES: I wonder if
this is gonna work.

00:47:10.468 --> 00:47:12.001
DOUG: We're gonna
make this work, people.

00:47:12.134 --> 00:47:14.567
It's too hard to know
what the timing is

00:47:14.701 --> 00:47:16.034
until you've done this.

00:47:16.168 --> 00:47:17.702
One more time!

00:47:17.835 --> 00:47:21.502
♪ Oh, my aunt came back ♪
KIDS: ♪ Oh, my aunt came back ♪

00:47:21.635 --> 00:47:27.468
-♪ From old Japan ♪
-♪ From old Japan ♪

00:47:27.602 --> 00:47:29.535
DOUG: For me to see
those kids' faces,

00:47:29.668 --> 00:47:31.702
for them to see me,
for it to have some kind of

00:47:31.835 --> 00:47:35.001
interaction, it's actually
astounding how far that goes.

00:47:35.134 --> 00:47:36.502
All right.

00:47:36.635 --> 00:47:39.635
The spirit and the need for
that connection is so strong

00:47:39.768 --> 00:47:43.101
that even in these most
adverse mediated things behind

00:47:43.235 --> 00:47:45.835
these screens, it still
comes through somehow.

00:47:45.969 --> 00:47:50.801
JAMES: We love you.
Have a great weekend.

00:47:50.934 --> 00:47:55.101
SOFíA: iAdiós, amigos!
iAdiós!

00:47:55.235 --> 00:47:57.200
[rubber rooster wails]

00:47:57.834 --> 00:48:00.968
DOUG: iHasta la próxima!
See you.

00:48:01.101 --> 00:48:07.368
Keep singing.

00:48:07.502 --> 00:48:09.068
DOUG: [through laptop] I'm gonna
play one of these songs

00:48:09.201 --> 00:48:11.435
on the piano.
If you can recognize the tune,

00:48:11.568 --> 00:48:13.568
put a check next to that song.

00:48:13.702 --> 00:48:16.767
And then I'll ask you to raise
your hand, and I'll ask you

00:48:16.901 --> 00:48:19.801
to guess what song
I was playing.

00:48:19.934 --> 00:48:22.734
This is step one.
Are you ready?

00:48:22.868 --> 00:48:24.602
Watch. Here we go.

00:48:24.735 --> 00:48:27.268
It became clear that it was
gonna be a little bit longer.

00:48:27.401 --> 00:48:32.001
And then it finally became
clear: that's it for the year.

00:48:32.134 --> 00:48:34.835
JAMES: I've often felt of it
as like this huge

00:48:34.969 --> 00:48:38.802
smoke bomb that went off, and
we're all like, "Hello! Hello!

00:48:38.935 --> 00:48:41.368
Are you still there?!
Oh, I can hear you."

00:48:41.502 --> 00:48:43.969
And then it's all gonna settle.

00:48:44.102 --> 00:48:48.702
And people will be like, "There
used to be this amazing teacher

00:48:48.835 --> 00:48:53.201
at the center of the school
who's not here anymore."

00:48:53.335 --> 00:48:54.735
[tender music]

00:48:54.869 --> 00:48:58.001
DOUG: If I count up the losses,
there's nine or 10 things

00:48:58.134 --> 00:49:00.701
that were part of this cycle

00:49:00.834 --> 00:49:03.034
that I had lived just about

00:49:03.168 --> 00:49:05.535
every year of those 45 years.

00:49:05.668 --> 00:49:08.835
And for a year and a half,
I've been anticipating both

00:49:08.969 --> 00:49:14.368
the delight and the sorrow of,
this is the last one.

00:49:14.502 --> 00:49:17.969
And it's irrecoverable.

00:49:18.102 --> 00:49:20.702
SOFíA: I was hoping that this
was going to be just a period

00:49:20.835 --> 00:49:23.368
where we were gonna be at home
and then that, immediately,

00:49:23.502 --> 00:49:28.568
we could just organize a couple
of things that were meaningful

00:49:28.702 --> 00:49:32.869
to him, but I don't
think not only to him.

00:49:33.002 --> 00:49:37.235
It was important to me to have
those moments with someone

00:49:37.368 --> 00:49:42.935
that is my friend,
my colleague...

00:49:43.069 --> 00:49:49.035
and one of the most important
people in my life.

00:49:49.169 --> 00:49:51.835
JAMES: One thing that we all
were thinking about was

00:49:51.969 --> 00:49:56.335
the last day of school ceremony
and how much that would just be

00:49:56.468 --> 00:50:02.268
meaningful to have Doug be
leading that for the last time.

00:50:02.401 --> 00:50:04.034
We originally planned
that all three of us would be

00:50:04.168 --> 00:50:05.535
in the music room together.

00:50:05.668 --> 00:50:09.268
And then we could tell, in
the morning of, that they were

00:50:09.401 --> 00:50:12.902
probably not gonna allow any
of us to be in the music room.

00:50:13.035 --> 00:50:17.735
STEVE: Hi, everybody, both folks
that are in this G Meet and

00:50:17.869 --> 00:50:19.902
folks that are joining us
on the live stream from...

00:50:20.035 --> 00:50:22.201
SOFíA: So finally, we had
to negotiate hard to get

00:50:22.335 --> 00:50:23.702
just Doug permission

00:50:23.835 --> 00:50:26.602
to be in the music room
one more time,

00:50:26.735 --> 00:50:29.534
playing the piano,
and just feeling himself

00:50:29.667 --> 00:50:31.101
in that particular space.

00:50:31.235 --> 00:50:33.468
STEVE: I'm gonna turn it back
over to you, Doug. Thanks.

00:50:33.602 --> 00:50:36.735
DOUG: Well, what other
way to start than?

00:50:36.869 --> 00:50:42.468
[starts jazzy "Side by Side"
on piano]

00:50:42.602 --> 00:50:44.168
I wanna hear you
through the mute.

00:50:44.301 --> 00:50:46.101
Keep it muted, but
I'm gonna hear you.

00:50:46.235 --> 00:50:50.301
♪ Ain't got a barrel of money ♪

00:50:50.435 --> 00:50:54.268
♪ Maybe we're ragged and funny ♪

00:50:54.401 --> 00:50:58.435
♪ Travel along, singing a song ♪

00:50:58.568 --> 00:51:01.568
♪ Side by side... ♪

00:51:01.702 --> 00:51:05.934
SOFíA: That moment of solitude
of Doug in the music room

00:51:06.068 --> 00:51:07.768
is symbolic in many ways.

00:51:07.902 --> 00:51:11.502
DOUG: ♪ Trouble and sorrow ♪
Hope not!

00:51:11.635 --> 00:51:16.767
SOFíA: James and I spoke about
this poem by Antonio Machado.

00:51:16.901 --> 00:51:33.968
[recites in Spanish]

00:51:34.101 --> 00:51:37.069
So, this talks about
somebody that is walking.

00:51:37.202 --> 00:51:41.068
And then, while you're walking,
you're making a pathway, right?

00:51:41.201 --> 00:51:43.969
And...but this person
is walking alone.

00:51:44.102 --> 00:51:48.468
Even though Doug has always had
his colleagues and his friends,

00:51:48.602 --> 00:51:50.968
at the end, he was like this
person in the distance,

00:51:51.101 --> 00:51:54.335
you know, still
making a pathway.

00:51:55.035 --> 00:51:58.134
DOUG: So, for all the people
leaving, for all the people

00:51:58.268 --> 00:52:01.401
staying, let's sing --
put your hands here,

00:52:01.535 --> 00:52:04.401
put your hands here --
our "Skinnama-rink" song.

00:52:04.535 --> 00:52:08.168
Instead of, "I love you,"
let's sing, "We love you."

00:52:08.301 --> 00:52:12.667
♪ Skinnama-rink-a-dink-a-dink,
skinnama-rink-a-doo ♪

00:52:12.801 --> 00:52:15.801
♪ We love you ♪

00:52:15.934 --> 00:52:16.868
Are you pointing?

00:52:17.001 --> 00:52:18.368
♪ Skinnama-rink-
a-dink... ♪

00:52:18.502 --> 00:52:21.634
DOUG: It was after it was
over that I sat alone

00:52:21.767 --> 00:52:23.468
in that music room.

00:52:23.602 --> 00:52:27.335
[voice soft and shaking]
And...yeah.

00:52:27.468 --> 00:52:30.034
I let it go.
I let it out.

00:52:30.168 --> 00:52:35.201
'Cause that's a sacred place.
Yeah.

00:52:35.335 --> 00:52:38.602
That's where...

00:52:38.735 --> 00:52:46.702
yeah, that's where so much of
that happened, you know?

00:52:46.835 --> 00:52:51.267
[distorted sound of Bach Prelude
in C Major piano over Zoom]

00:53:02.668 --> 00:53:05.901
[ballad played live,
full and rich on grand piano]

00:53:15.535 --> 00:53:19.834
[ballad continues,
tenderly flowing]

00:53:59.969 --> 00:54:03.801
[ballad slows, quiets,
then builds gently again]

00:54:13.635 --> 00:54:26.235
[music slows to an end, echoes]

00:54:26.368 --> 00:54:30.434
[Latin jazz builds in energy]

00:54:35.002 --> 00:54:40.502
[claps, stamps, and chants
echo and fill the hall]

00:54:40.635 --> 00:54:44.934
DOUG: Well, this is the
first time that I have gotten

00:54:45.068 --> 00:54:48.868
to teach with these two
colleagues since 2019.

00:54:49.001 --> 00:54:50.468
It really feels nice.

00:54:50.602 --> 00:54:54.869
DOUG: The other day, Talia
said, "Are you just heartbroken

00:54:55.002 --> 00:54:58.535
and really sad about the
way you're ending school?"

00:54:58.668 --> 00:54:59.934
And I said, "Do I
look heartbroken?"

00:55:00.068 --> 00:55:02.568
And she said, "No,
you actually don't."

00:55:02.702 --> 00:55:04.602
And I said, "You know what?

00:55:04.735 --> 00:55:09.001
If I stop and think about it
and imagine what I wanted it

00:55:09.134 --> 00:55:14.602
to be and what it is, yes,
I am heartbroken.

00:55:14.735 --> 00:55:18.301
But I don't have
time to do that."

00:55:18.435 --> 00:55:20.801
And I think part of it is
'cause I'm just so busy

00:55:20.934 --> 00:55:22.300
doing the next thing.

00:55:23.535 --> 00:55:26.268
And the next thing is bringing
me so much pleasure that,

00:55:26.401 --> 00:55:28.702
right now, it's not a big deal.

00:55:28.835 --> 00:55:33.134
Remember, in spite of
everything that's going on,

00:55:33.268 --> 00:55:37.401
or maybe even more because of
everything that's going on,

00:55:37.535 --> 00:55:39.869
♪ We're so glad we're here! ♪

00:55:40.002 --> 00:55:43.902
[all join singing and clapping]
♪ We're so glad we're here ♪

00:55:44.035 --> 00:55:48.968
♪ We're so glad we're here,
to sing this song! ♪

00:55:49.101 --> 00:55:51.035
♪ (well, singing this song) ♪

00:55:51.169 --> 00:55:56.968
♪ We're so glad we're here
We're so glad we're here ♪

00:55:57.101 --> 00:56:10.634
♪ We're so glad we're here,
to sing this song ♪

00:56:10.767 --> 00:56:12.934
[Calypso jazz]