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(Owl hooting)

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(Birds chirping)

(Wind howling)

The UP still hangs on out there,

isolated between the cold northernmost

Great Lakes. A remote outpost

geographically and culturally separate

from mainstream America, stitched with

Writers like Ernest Hemingway, John

Voelker, Phil Caputo and Jim Harrison

have celebrated mystical healing powers

of the peninsula's wilderness.

Those who know it say it's God's

country.

(Forboding music)

The UP is a hard place.

But the indigenous Anishinaabe and

European immigrants have survived.

The psychology of the peninsula people

is embedded deep in this ethnic mix.

For two centuries, America has grown

from indigenous peoples and Europeans

as the peninsula dramatically

illustrates the indigenous peoples.

Ojibway, Pottawatomie and Odawa

together called the Anishinaabe, are on

five reservation communities through

their drum stories, food ways and

rituals. The Anishinaabe maintain their

traditional cultures.

(Native American drum songs)

Anishinaabe cultural traditions are

still experiencing a revival, but

without continued immigration, old

world European traditions are fading.

Almost all of Europe blends into her

mining towns in the western counties.

The first miners were indigenous

people. But in the 1870s Cornishmen,

the expert industrial miners performed

the groundwork for huge copper and iron

mines. By 1920, there were 32 languages

spoken on the streets of Calumet that

is now only an historic copper mining

town. Irish, French, Canadians,

Italians and Croatians set up their own

immigrant language Catholic parishes in

the northern and western counties.

Finnish Americans are the largest of

the European ancestry groups.

French Canadians settled in the sawmill

towns of L'anse, Baraga, Chassell,

and Lake Linden.

(Fiddle and guitar playing)

Other ancestry groups include Belgians,

Poles and Bohemians, Austrians and

Armenians, Greeks, Italians, Danes,

Swedes, Germans, Czechs, Croatians,

Serbs, Lithuanians and Montenegrins,

Luxembourgers, Slovenians.

These cultures are interspersed

throughout the Upper Peninsula, making

a colorful rainbow, and each

contributes its own distinctive

coloring.

This deep and rich cultural

heritage has attracted prominent

folklorists from across the nation.

Alan Lomax toured the UP in the 1930s

and on what would now be considered

primitive equipment, filmed ordinary

folks in their own homes and front

porches to document ancestral music

In Champion and Baraga.

I found French ballad singers who still

enjoy Ballenfast that lasted all night

It was Alan Lomax who gave us this

authentic film portrayal of the early

music.

Richard Dorson, the great

pioneering folklorist who studied the

traditions of the Upper Peninsula in

the late 1940s, said, "The abundance

and diversity I found still stagger

me." Professor Jim Leary, a folklorist,

has documented the upper Midwest

diverse musical traditions since the

1970s, leading to many publications and

media productions.

And Michael Loukinen, a cultural

sociologist filmmaker with deep ties to

the UP, has made over a dozen

documentaries about the upper

peninsula's traditional cultures, some

of which feature ethnic music.

(Harmonica music)

🎵For he's a rough and ready guy A lumberjack is he.🎵

🎵Good old rough and ready guy That's the we he's got to be.🎵

(Group of stringed instruments, singing in foreign language)

(Fiddle music)

(Native American drum songs)

(Guitar music, female singing in Foreign language)

(Kantele Music)

Well, in the late 19th century in

Finland, the button accordion was being

circulated into the country along with

with new dance tunes from Continental

Europe, couples dances, new couple

dances, the polka, the waltz, The

schottische or jenkka, or sometimes

Rhinelander as Finns, Finns would call

it. And so all of those things were

happening at a time when Finns came

over to to the copper country.

Wasn't just Finns by themselves.

There were Chippewa Indians, there were

Cornish and Irish, there were French

Canadians, there were Croatians and

Slovenians, and there were Italians.

And those people all had their their

music as well.

They might have house parties,

especially what happened also in lumber

camps when people would be getting

together on a Saturday night, you know,

you'd have people of different ethnic

mixtures bringing together what they

knew in common, some kind of step

dancing or some kind of a waltz or

polka, one thing or another.

And, you know, then after a while, you

get people who intermarry some.

And there are all these exchanges of

tradition. And then there's music

that's coming in from the outside.

So by the 20s, there was powerful radio

kind of getting out and coming into the area

Oh yeah Bashful Joe hey?

He used to sing on the radio in the

morning.

We'll have a musical roundup.

We'll have a barrel of fun.

For you know you can't go wrong with a

good old Western song.

And we'll put the blues on the run.

That was Bashful Joe's theme song.

Yeah.

People here began to listen to kind of

the sweet jazz of the era being exposed

to that and playing it or mixing it

with some of their local traditions.

So there was a for example, in the

1930s, there was a barn dance.

I think they were called something like

Curley Bradley in his Hard Cider Boys.

Curley Bradley was a Slovak.

And there are a couple of Italians and

a couple of Finns in the band dressed

up as cowboys.

You have all of that stuff that that's

happening, this is an area that in some

ways is is isolated and is a kind of a

unique mixture of whoever it was that

that came here and different kind of

micro locations.

But it also is connected to the larger

world and there are areas of that that

seep in.

This is the one tool that my father ever

gave me that I think I have almost

mastered.

Just before the Finns really came in

large numbers, the largest foreign born

population in the Keweenaw area were

Irish. A lot of Germans.

And then there was the big flood of

Finn after 1880.

The Finns depending on what their their

their own personal interests were, if

it was religion or temperance or

progressive politics or whatever, they

would form an organization and they

would build a hall.

That was true all over immigrant halls.

Put up a workers hall or a temperance

hall, or maybe the Italians had a hall

where they could play music and get

together, or they could have house

parties and and at those areas or

events, it might be predominantly one

ethnic group or another.

But musicians are always attracted to

other musicians, and so they learn

songs and tunes from them.

Sometimes they pick up new instrumental

techniques or new instruments.

And so all of this music, you know, all

of their folk music came together as

people started to get to know each

other. The Italians, of course, there

were no recordings.

So all music to be enjoyed had to be

produced live.

And the one of the most popular

kinds of music was brass band music.

Every ethnic lodge had a brass band of

one size or another.

Of course, there were a lot more men

that were coming at first than women.

And so there was a lot of competition

to gain the attention of the young

Finnish women by all of these young

men. A young Finnish fellow in Calumet

could not hope to get the attention of

a young Finnish woman if he did not

have the uniform of his organization's

brass band to strut around in.

One of the things that I noticed when I

started searching out the older Finnish

American musicians was that they all

love playing Slovenian polkas.

And I also noticed that some of the

Slovenian accordion players and even

some of the Croatian tamburitza players

would sometimes attempt to sing a song

in Finnish. It became a great mishmash,

no matter what your last name was or

where it originated.

If you were going to play at a wedding

reception, you had to be able to play

the Slovenian polka.

Maricka Pegla.

🎵Oj Marička Pegla, Pegla, Pegla, Pegla🎵

🎵Oj Marička Pegla, Pegla, Pegla, Pegla🎵

🎵Oj Marička Pegla, Pegla, Pegla, Pegla🎵

🎵Oj Marička Pegla, Pegla, Pegla, Pegla🎵

In the bigger cities where there are

these ethnic enclaves that perhaps

there's there's more of a boundary

between the various ethnic communities

and people don't play each other's

music all that much.

But here everybody was playing

everybody's music.

And and I think it developed a kind of

Upper Michigan style of of traditional

music.

In Hancock, Michigan, there was a really

remarkable Finnish, American guy named

Rudy Kemppa and he promoted Finnish

dances. He collected Finnish 78 RPM

records with with Finnish,

Finnish-American musicians.

And he had a long standing radio

program that went on into the nineteen

seventies.

(Old Accordion music)

Viola Turpeinen was was born

in 1909, in Champion her folks were Finnish

immigrants.

At a young age, she started to play the

kaks-rivinen, the two row button

accordion.

The piano accordion, by the time she was

in her early teens, was sweeping across

the country. It offered a lot more

possibilities for a player because you

could play in any key.

So she began to play that.

And when she was a teenager, there was

a guy named John or Jukka Rosendahl who

came touring through.

He had one of these on one of these

kind of variety shows that that would

go on in Finnish halls.

And he was a kind of an impresario, but

also a good musician on violin and

banjo. While in the Iron River area, he

heard Viola Turpeinen playing and was

just dazzled by her and in the early

1920s, got permission from her parents

for her to go on on tour with him.

And she was extremely well received.

(Old accordion music)

In 1979, when I started to do the work,

she'd been dead for 20 years, but

people were full of memories for her.

Some said she took a sauna right here

or she always used to come to our house

and she liked rice pudding.

Others said, I found several people who

claimed that either they had an

accordion that was hers or that she

played an accordion that they had.

So she was like a like a saint of

sorts. She remains very much in the

memories, in the hearts of Finnish

Americans.

(Accordion music and singing)

Art was definitely a man of the people,

you know, someone who worked in the

woods, ran a little tavern, piano

accordion player, if people wanted to

hear some music, he'd come around from

behind the bar and play it, play a few

tunes.

For working people.

Sunday afternoons is the time for

sociability, because when you were at

his place, it wasn't like being in a

concert venue.

It was like being in a in someone's

home. You know, there was all of this

kind of direct interaction and teasing

back and forth and a lot of stuff that

you might call natural.

He was very integrated into his his

community.

Polkas, schottiches, rattikas I always

feature them and enjoy playing them.

And that still gives me pleasure to

play them. And so that's the way it's

been all through my life.

so I have three students

they have been with me for a number of years now.

going on the 4th year and hopefully,

they'll stay with it and carry on the Finnish

polkas, schottisches and radhikas that I enjoy playing

and it seems like it's coming back pretty strong again

and I've survived 50 years of this kind of music

and I'm sure that it'll stay around for some time

From now on.

(Accordion ensamble)

Sunday morning they gather around the TV

And watch that Finland Calling

Suomi Kutsuu

This is Finland Calling

America's only Finnish language program

Featuring the sights and sounds of Finland

Including the Finnish devotional

Here's the host of Finland Calling Carl Pellonpaa.

No one did more to promote Finnish American music than Carl Pellonpaa

Who broadcasted on his weekly TV program

Suomi Kutsuu or Finland Calling

Carl organized dances in Finnish towns throughout the UP

Where he video recorded music and dancing

And played it on his TV program

He set a world record for the longest running TV variety show

Hosted by the same person.

53 years every Sunday from 1962 to 2015

Alright polka time, let's do it. 1, 2, 3

🎵Someone stop the Kishka, someone stole the kishka🎵

🎵Someone stop the Kishka, from the butcher shop. Hey.🎵

🎵Who stole the kishka? Who stole the kishka?Better call the cops.🎵

Oren Tikknen is an amazing contemporary

yooper. His his mother is from Missouri,

his dad is a Finn from the Upper

Peninsula. His dad worked in the mines.

You know, he went off to school.

Rock and roll was happening, the folk

revival was happening, and all sorts of

musical things were happening.

And he was interested in all of those

and absorbed them.

And he decided to come home, come back

to the UP.

And instead of being like a lot of

folkies from the upper Midwest who look

to the South or the West for

inspiration, he decided to look around.

And what Oren has done then is, is to

band together with other folks in the

region who are interested in sustaining

elements of the old time music, but

also doing it and in new ways,

sometimes doing newer songs.

And and he's done a good deal more than

that. But he he, more than any other

person, has been the the driving force

in sustaining and being a kind of an

anchor for in a resource for Finnish

American music in the UP.

(Guitar solo)

There's a network too between the Upper

Peninsula and Minneapolis and the Iron

Range of Minnesota in particular.

We should mention the Kisarit Finnish

dancers. Oh, yes.

Al had become the accordionists for

that group in the Twin Cities, but then

when Dennis came along

And then I was out playing for the

Kisarit we started doing still continue

doing parties and playing music

together. And then the band began to

form and eventually Ralph Tuttila

joined us. And we had a bass string bass

player named Margaret.

Oren would take it as one when he could.

I can remember the first time I got up

and played with those guys was

when they were still called the Keskilannen Pelimoni

The Midwestern Players

Dennis, Al, Oren

I think Margaret Norland was the bass player

With them already.

Who had been with Kisarit too

All these people go back and fourth

Or they are in both groups

And Oren says hey Tutilla you got your mandolin?

Get up here.

Wow he's asking me to play on stage with these guys.

(Traditional Finnish music in foreign language)

(Accordion music)

Al was a descendant of Finns on the

Iron Range, a great piano accordion

player, and he and Oren made a series

of wonderful recordings of classic

Finnish American tunes.

I ran into an old friend from Michigan

State University, a guy from the Virgin

Islands met him on the street.

He said Oren Tikkanen. And then I said,

Evan, Harrigan. We started visiting

back and forth. And and then one night

in 1970, he said, come on over Saturday

night and bring your guitar.

I've got a special treat for you.

Wouldn't tell me what it was.

And the treat was his boss, a guy named

Al Reko who played the accordion and

sang in Finnish.

And we started playing together and and

as you know, we're still doing that.

And it just sounded right.

My dad was a bartender.

He bought a bar or an accordion from

one of the customers and brought it

home and says, well, you could read

music now, teach yourself the

accordion. So I did.

And that's where it started for me.

Dennis Halmi moved to the Twin Cities

about that time and started having

these wonderful house parties where Al

and Dennis would bring their accordions

and they would say, we need Oren on

guitar. And oh, we have some times

there 3401 Park Avenue south.

Yeah,

I'm very fortunate that a couple of old

pals of mine from the Twin Cities, I've

been to Finland with them a number of

times playing music.

I've been all over North America

playing music with them, Al Reko the

accordion and Dennis Halmi.

And not only that, but these younger

people that I have been forcing to play

traditional music.

Belinda Mattfolk from Dollar Bay, who

plays plays the flute beautifully and

and does really well on the drums.

And Matthew Durocher.

I'll tell you, if I were if I was one

of those church guys, I would say I am

blessed. And if I don't say it, you can

say it for me.

(Accordion music)

I cannot overestimate the importance of

Al Rekko in my life.

He he's just had an enormous influence

on me. He's one of the sweetest people

I've ever met in my life.

He's virtually unflappable and has

dealt with all kinds of hard hardship

in his life. This is one of the one of

the songs that I learned from him.

I learned an awful lot from him.

And then what I do is I turn around and

I make these other guys learn it.

1, 2, 3.

🎵Talvella Talikkalan Markkinoila🎵

🎵Talvella Talikkalan Markkinoila🎵

(Old world music in foreign language)

(Trombone solo)

(Old world music in foreign language)

The Aura Community Hall that dates from

the 1920s there were all those Finns,

many of whom were were mining families

from the copper country, who who bought

cheap farmland up there in northern

Baraga County. And by the 1920s, they

wanted a community hall.

And there was somebody that had an old

hall in another part of the county that

said they could have it if they would

dismantle it. And so a crew of

community people went and they took

that hall apart and they moved it up to

where it is now and set it up.

And it's still operating as it's a

nongovernmental community based Finn hall.

The jamboree, it started apparently

As a Finnish more of a Finnish folk music

Event.

But it's all inclusive so nowadays it's

A lot of bluegrass and old timey

Which holds it together and keeps it going because

There would not be enough Finnish music anymore to

To have a big 2 day festival.

Ok let's do it, how fast do you like to do it?

(Old world Finnish music in foreign language)

(Various music genres mixed together)

The Finns tend to be a very ceremonial

people, they take things with a lot of

seriousness and dignity, unlike we

Americans, Finns and Creoles.

That's what I refer to all of us as.

Yooper creoles.

Three of us are half Finnish and half

something else. Norden is half Scottish

and half Norwegian. And so we we are a

Creole band, northern version.

Get off the couch and see

if you have what it takes. If you want

some winter fun. You got to have snow flakes

Don't be a sour yooper

Get out your snow scoop and see

what Henki Lunta means for you and me

These 15 years, it's been wonderful to

have a couple of musical comrades like

Bob Norden and John Munson to play all

kinds of music with

I thought I knew a lot about these

songs, but you learn a lot from Oren

happy to perform with him.

Oren is our musicologist, and it's put

me in touch with my heredity.

When my mother went to school the first

day of school, she spoke not a word of

English. My my dad had no linguistic

aptitude. Neither do I apparently.

But it's nice, you know, knowing that at

least someone is carrying it on.

Us three old guys.

We we've we've really stuck together

for 15 years now.

And and we are all really getting up

there in age. But my hope is that that

we can keep this going for a long time.

The more and the more I push them, the

more I get that older copper country,

Finnish and other ethnic music coming

in there. And, you know, we play not

only not only do we play, Osa Poiga

Oni Poiga and Lukarin Heikki Polka and

those Finnish things. But I've got them

playing "Oh, Marie" the old Italian

immigrant waltz and got them playing "

Maricka Pegla" and it and I think it's

great.

(Old world music)

I have explored old recordings from

Finland, from from the 20s in the 30s,

I find out that they had these these

big bands they called Humppa Orkesteri,

and they they were largely, you know,

brass and woodwinds and and oftentimes

a banjo. And they were playing, you

know, kind of a mix of of jazz from

from that era and along with things.

And, you know, like that story that I

tell when we play "Oy Emma" and that

could very well be a true story.

You know, I want you to pretend that,

you know, it's nineteen twenty eight

and a ship has docked at Kotka in

Finland and there is a band on the ship

and some of the musicians had gone

ashore for the evening.

And a couple of these horn players,

guys from New Orleans, didn't make it

back before the ship departed.

And there they are, they're stranded in

Finland. What are they going to do?

They have to look around for some gigs

and they have to play what the people

want and they wind up playing "Oy

Emma". With this New Orleans timbre and

bluesy wailing, I said, this is this is

the Finnish blues.

And then we played that first time we

did that was in Ontonagon and people

were nodding. Afterwards, they came up

and said, yeah, it does sound kind of

like Finnish blues.

(Old world sad music)

Emma Emma oh Emma Emma we shared an

embrace in the pale moonlight.

(Old world sad music)

And unfortunately, in my generation of

Finnish Americans in the Copper

Country, there aren't very many

accordion players. And fortunately for

me, Dave loves Finnish music almost as

much as he loves French Canadian music.

And he even allows me to sing a French

song. And in his group, The

Thimbleberry Band, once in a while,

(Old French song)

Dave Bezotte, I, I, I say to him that we

are brothers of of different mothers

because even though his family all come

from French Canada and I don't have any

French background at all.

We have so much in common in terms of

our interests. You know, French

Canadian music has always interested

me. The music of Jean Carignan and

Philippe Bruneau has always really

gotten to me. And he, on the other

hand, grew up in Chassell, amongst all

those Finns and Finnish music is second

nature to him. And he was the he was

the chairman of the music committee for

the 2013 Finn Fest USA when it was

here. Dave Bezotte.

(Old French song)

You know, and then we have Matthew

Durocher was right in between us, you

know, from from the the the next

generation. Matt is half Finnish and

half French Canadian.

You know, when when Matt's mother was

in hospice and was was passing away,

you know, we told Matt's father that

Dave and I consider ourselves to be

honorary uncles of Matt.

Yeah. Because we we represent both both

ethnic sides and also because we have

this this musical closeness with him.

Let's have Matt take the chorus.

(Upright base solo)

Over the 14 and a

half years that I've known him, he has

returned to school, finished a

bachelor's degree in English, gone and

lived in Japan for two and a half,

three years with his wife, finished a

degree, a master's degree in

archaeology at Michigan Tech, and

meanwhile deepened his interest in

woodworking, instrument building.

He got really interested in the ancient

Finnish bowed lyre called the jouhikko

and has built a couple of those, and he

plays in the Thimbleberry Band and the

Back Room Boys Jazz Band, and he still

plays electric bass guitar with Cheap

Therapy and a number of other

situations. Very talented.

He's he's a writer and and a poet and

and another another generation of Upper

Michigan, Finnish, American, Creole,

Renaissance people.

It was one of those things where I did

not expect that I would really engage

and enjoy something like this.

But this is it's it's right in my

heart. It's a part of my body.

🎵Heat up your sauna with wood that is🎵

🎵dry. the old folks say popple is good,🎵

(Banjo music)

🎵but you can use maple or hemlock or🎵

🎵pine. It all makes good sauna🎵

(Banjo music)

🎵wood. When The rocks have some heat.🎵

🎵Well, put yourself on the top seat.🎵

(Banjo music)

🎵Wrap your troubles in steam.🎵

🎵And steam your troubles away.🎵

🎵Steam your troubles away.🎵

I think what I am is I'm a connector.

I am a connector.

There are a lot of connections that run

through me and I think both in my

career as a clinical social worker and

and in my musical experience, I've

probably been most valuable making

connections.

(Old world music)

I think that

there's a kind of communication that

goes on between the musicians and the

dancers that you don't find in any

other setting. It's kind of a spiritual

thing because there is there's a kind

of communion that goes on.

I think that in other cultures, the

dancing is seen as a spiritual practice

because it integrates the mind and the

body. And I know that it may sound

strange, but I think that playing old

time dance music in a dance hall for

enthusiastic dancers creates a kind of

spiritual community.

We have not rehearsed this, so don't

hold us to it. One two.

Ready? Go.

We need dancers we need lots of dancers

(Polkka music in foreign language)

Well, I've known Oren since I was a

young woman, young teenager, I guess,

and Oren was friends with my mother and

he would play music and we would we

would go down to Minneapolis and there

would be these beautiful house parties

thrown by some friends of ours, and

there would be traditional music played

late into the night. And so for me, as

a as a young person, this was just very

exciting and it was fun.

And I went to college and I became a

music major, which was sort of always

something that I had intended to do.

And I got really burned out on

academics and classical music.

And so I thought, you know, I just

really need something to play for fun.

And she wanted to know about the English

concertina. And I said, well, I happen

to have one in my closet.

Shall I go and get it?

And I did. She took it back to New

Haven with her. And within four months,

she had transferred a lot of her piano

skills to the concertina.

Immediately, Oren started asking me to

play with him on stage and this was

just absolutely terrifying.

But after I got over the initial terror

of playing an instrument that I didn't

know very well out in public was a lot

of fun to play with Oren and it's very

invigorating to have that level of of

adrenaline on stage.

I would say I just think Oren taught me

to be a more well-rounded musician,

Ranta Koivun Alla, under the shore

birch. I learned it from Al Rekko.

I like to play it out here at Anna's

place in Jacobsville because she has

these beautiful Birch's hanging over

the water next to her sauna.

And it is great to take steam and jump

in the water and splash around under

the shore birch.

(Acoustic music)

Ok, so let's pretend that it's beautiful

outside. The summer, a nice, warm

place, there's no bugs.

The sun is shining. It's about 75

degrees. You're at the park with a

carousel, you know, with the festoons

carousel, maybe in the Twin Cities.

So let's watch the Kivijat, the Pikku

Kivijat and the Loistivat do vatu sepi.

(Old world dance music)

We're on our 16th

year now with the Kivijat dancers, we

actually have three groups.

We have the Loistivat who are the older

preteen and teen kids, and then the

Kivijat who are the upper elementary

age kids. And then we have the Pikku

Kivijat the little Finnish dancers who

meet just a few times during the year.

And it's all about that girl named Marie

who is working and then crying

And then dancing.

Ready?

Oj Marička Pegla

1, 2, ready go

🎵Oj Marička Pegla, Pegla, Pegla, Pegla🎵

🎵Oj Marička Pegla, Pegla, Pegla, Pegla🎵

🎵Oj Marička Pegla, Pegla, Pegla, Pegla🎵

🎵Oj Marička Pegla, Pegla, Pegla, Pegla🎵

(Old wold music)

I think the music is the part of Finnish

tradition that I've always connected

to, and I've come to learn, of course,

that the the music that I grew up

loving as a child is probably the music

of my grandparents generation and

earlier. And it's been really

wonderful to be able to participate in

making some of that music with Oren and

and the other musicians that he plays

with. I think that it is the music that

I connect to the most in terms of

Finnish heritage.

That sense of heritage would would not

really be there with any kind of

strength and power were it not for

particular people like Oren Tikkanen or

Melvin Kangas who made a

Who made a choice, didn't have to have to go in

this direction. But they decided to

draw on their their Finnish heritage to

make something and and not to do it in

a moldy, antiquarian way.

But they do it in a way that draws on

and respects the past and invokes it,

but also engages with with the present

and is infused with their own sense of

of who they are within their larger

community. And Henry Glass a

folklorists describes tradition as that

that part of the past that we can

engage in the present with a mind to

the future? And another great

folklorist, the Swedish folklorist

Barbara Kline, who did a lot of work

with Swedish Americans, produced a book

on folk art, the subtitle Swedish Folk

Art, the subtitle of which was All

Tradition is change.

So it's it's a moving target.

You have written a tune about Snake River

and also about a lady who lives along the Snake River.

Yeah I composed a couple of schottisches

Keep the Snake River name going

I named the first one for Snake River

And the second one for my dear wife, Elsi. Elsi Schottische

Alright maybe we better play those two.

While Helmer relaxes there.

(Guitar and fiddle music)

(Owl hooting)