Original subtitles

(camera flashing)

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[Neal] We call this the accidental collection because,

never in a million years did we think

we were really collecting anything.

Neal and I attended the church here in Dallas

for 18 years, and there's

a small antique mall near the church.

And so after church was over, we would just sometimes stop

off there and browse.

We were there one Sunday, we were there.

We were just going through there

and have these little boots.

And we found a group of moxa photos just digging

through them.

And one of them was a photograph of a male couple.

And the look in their eyes said that there's clearly

something more here than friendship.

There was a little bit of love that showed,

there was something special between them.

To us, we looked at the photo, the photo looked back at us

and said, we're the same and we bought it,

it wasn't expensive.

And we didn't think we would ever see another one.

(camera shutters)

It was astonishing, we could not believe

that a photograph like this had ever been taken,

much less survived what looked like approximately 80 years

at that point.

We came home with it, we set it down on our office desk

in our home, and it sat there for months.

We moved it from pile to pile as when we were cleaning

the desk and it was nice to run across it.

(camera shutters)

[Neal] We found a second one, probably the only other one

that we'll probably ever have to find.

[Hugh] The second one of the only two that existed

in the world.

And then there's three.

(soft piano music)

(calm piano music)

[Neal] When we moved to New York,

we continued our collecting here.

[Hugh] Yeah, third and then there were 10.

(car horn honks)

It just grew and grew and grew

and we were never consciously thinking

that we're collecting photographs.

200 and 500.

[Neal] And 700.

[Hugh] When you see the collection, all you're looking at

is two people who are in love with each other.

(calm piano music)

We just kept thinking we were running across these photos

and they needed to be rescued.

We traveled to Europe every summer

because we have very close friends in Budapest and Paris,

and that put us in contact with European

and other types of collectors.

Some in Estonia, Serbia, Croatia, but also Europe.

And then Neal's job had him traveling all over

the United States for a good 20.

[Neal] So if I had a day or two off,

I hit antique stores looking for everything,

but it was always drawn to the photos.

(camera shutters)

[Hugh] We have a collecting parameter

that we impose on ourselves and it's called the 50-50 rule.

And we can find a photograph of a couple,

like in this instance, these two,

if you look closely at the photographs,

there's a look in their eyes that this is not a look

that two friends posing in a photograph have,

it's something more.

(calm piano music)

[Narrator] "John and Gio."

(calm piano music)

"Kariel and Gene."

(calm piano music)

When we started collecting, a lot of the photos

are really small and probably a couple of years into it,

Hugh starts scanning photos in.

And one of the tintypes that we saw that special look

in their eyes and they were holding hands

and had their legs crossed, that when we zoomed in,

followed the shoulder down to where the other hand went,

the other guy's hand was, he slid it into

the other guy's inner thigh and it was kind of shocking.

We were really excited because that was a true telltale,

that this was 150%.

[Hugh] And that element in the photograph explained

that mischievous looking the one guy's eyes

when he's doing this, and this photograph is probably 1800s

maybe 1870s or 80s, or possibly even earlier.

It's a tintype, so it's done on metal

and these were only done for about a five-year period

of time.

The tintype was the cheapest photograph

you could actually have produced,

because it's positive onto the metal.

It didn't require a negative and so in producing these,

they would have them at fairs or at circus,

so this offered up anyone, the capability of having

their photograph taken.

And there wasn't the history of a negative

that could be reproduced, so in several photos we have,

they would do something really fast and slight of hand

to show their affection for each other

and then they would take it away knowing that they had that.

(bright piano music)

(camera shutters)

[Narrator] "Boy oh boy, what a pucker."

"Dale and new friend, 1939 San Diego park."

"First friends, Bobby, 1939."

[Neal] I think our favorite photo in the entire collection

is, we call it Splendor In The Grass.

It's a gorgeous photo, of two guys laying out in the field

and it looks like they're on a picnic,

there's a loaf of bread there

and it's kind of Bruce Weber like,

so it could be in today's time.

But this photo actually was taken probably around 1910.

And it's just the colorization, the sepia tones,

it's a work of art, it's just gorgeous.

[Hugh] And their expression in their eyes, it is amazing.

[Neal] There was a professor from Vienna.

I know who's in the photograph, it's Rupert Brook,

who's a famous poet from the UK and Duncan Grant,

who is a famous artist.

Hugh and I both on our own Googled and looked up

all these photographs of these two, and if it's not them,

it's their twin.

(calm piano music)

The picture in the collection that stands out most to me

is the, not married, but willing to be.

This was taken around 1900.

A young man who would put on his best suit

and shave and comb his hair and go in

and have his photograph taken.

One of the posters would be to hold this sign up saying,

"Not married, but willing to be."

Meaning he himself is not married, but ladies I'm available.

And so that sign is in this photographer studio

and these young men held up the sign and turned the meaning

on its head, they turned it into,

we're not married to each other, but we're willing to be.

And they looked to be in their teens, I think, yeah.

[Neal] Yeah, probably.

[Hugh] They're very young.

[Neal] The photograph of them holding the umbrella

where they're gazing into each other's eyes

and they're holding the stem, and if you look up close

to how their fingers are placed, they're interlocked

on the stem of the umbrella.

But again, you can see that look in their eyes.

Marriage equality is a conversation everywhere

and has been for maybe 20 years, but 120 years ago,

that wasn't even a thought, at least we didn't think

it was a thought, but these guys thought of it.

The photo booth portion of our collection is unique

in that, a couple could serve as the subjects

and the photographer and the developer.

And so you didn't have to worry about

any third party intervention or contact.

And if a developer or a photographer who may not be friendly

or sympathetic to your situation, these photographs tend

to be even more diffusive, joyful, expressive,

in that you're sitting in this booth, the curtain is closed,

nobody's watching you doing anything.

The intensity and the expressions are just,

they're more powerful in some cases

than many of the other photographs on our collection.

'Cause it's so private.

They're there, on their own, free to be

as expressive as want.

(bright instrumental music)

[Narrator] "George Thompson and the Buddy, 1940.

Here's one of both of us before we were well, you know."

There's a group of photographs that,

it is not completely obvious

when you look at it superficially, that this is a couple,

but these couples left tell tale signs,

that they were a couple.

(camera shutters)

(calm piano music)

To one in particular that I'm thinking of,

it's two men, they're Germans

and they're wearing bathing suits and they're posing,

arm around each other, but it looks like a buddy pose,

but if you follow the photograph down lower,

what you see is that they have very discreetly,

touched their thighs together.

You go a little bit lower and one of them has moved his foot

over on top of the other man's foot.

So these very discreet little hints that,

we might look like buddies from the waist up,

but look from the waist down and there's some signs

that we're a couple and that we love each other.

[Neil] There's one where another guy's reaching over

and he's touching the guy's chin and it's making them smile,

but again, when you follow the body down and the leg down,

he's tapping the other guy's foot.

So it's just this little gesture of love.

And we see that a lot.

(calm piano music)

I think the most romantic photo in the book

is one of two guys in bed and when you first see it,

you just see two guys that are laying there,

they have on their pajamas, probably around 1915,

and they're holding a book and it's called,

"Adventure Magazine."

But when you really take a look

and you start really focusing on the photo,

their legs are intertwined into each other's

and it's that moment that,

it looks like a beautiful Sunday afternoon

and they're sharing the sunshine coming in from the window

and it's white sheets and it was just really crisp,

but it's the expression that you believe you see

that just makes you know that they love each other

and they're there and they're enjoying

the Sunday morning together.

(calm piano music)

[Narrator] "Me and Harvey, 1929."

(calm piano music)

"Bill Presant and Jack Law.

In front of Quebec Museum, Quebec, P2, May, 1944."

(calm piano music)

"Miracle corn.

Charles, Charles, two lovely birdies."

(calm piano music)

"A passing fancy, just to dodge, but, oh, the rides.

Summer 1919."

(calm piano music)

"May 31st, 1931, Sal and Cliff.

Taken at Hook mountain."

"Bud and Brandy, 1937."

(calm piano music)

"This is one of Elsie's brothers and myself.

Rather poor, but Tony loved me.

(calm piano music)

We had our happy days, but those days are gone forever.

Now I'm alone to go my way.

Now, his old guitar is silent, the one he used to play,

but it will ring in my mind forever

as it did in the good old days."

[Neal] One of the photographs in our collection

has a mysterious quality to it, that is really intriguing.

It's two men, they look to be very young

and they are actually in bed together

and they're laying on their sides.

They're both looking into the camera,

but one has a very mischievous look on his face

and they wrote at the bottom of the photograph.

[Narrator] "After the ball."

It's joyous, but it has a mysterious quality to it

because of what they wrote.

You wonder where they were that evening

and how they ended up there, I think we know the answer

to that though, and that they chose that particular moment

in their relationship to the photograph and memorialized

for whatever future it would have.

Romantically, the photograph that intrigues me the most

is the one of the two soldiers laying on a cot

and they're embracing and you can just barely

make out outline of one guy's cheek,

a little bit mysterious, but very romantic.

(calm piano music)

It's almost like a candle shot.

I mean, it's gorgeousness, sepia tones in it,

so it makes you feel like you're kind of stepping

into an intimate setting.

Yeah, feels like we shouldn't be looking at this.

(laughing)

(calm piano music)

(camera shutters)

[Narrator] "Love you.

(calm piano music)

Taken in Hollywood, his name is Sandy.

Love me?"

(calm piano music)

"Dutie and I on one of my little trips home.

Oh, what a time we had."

(calm piano music)

There's a couple of the postcard photos

that we have that I think people tend to mimic movies

because they see something that's fun or playful

and in those too, that we have where there's one person

in the photo that's like putting his finger up to his mouth

and going, I like you, kind of a sweet.

[Hugh] That was a gesture that was like around the turn

of the century and I think lasted into silent films.

It's cute, and some great photos.

I think one of the photos that is most mysterious to me,

there's these two guys that are up on this column

and they are like in a dancing pose.

The column has to be probably 20 foot off the ground.

And so you're wondering, I mean, they look so calm

and just so relaxed, big smiles on their face

and there is nothing around that says,

we got up here this way, or how did they get down?

It's just an amazing shot.

(calm piano music)

[Narrator] "The two sad sacks from Texas.

Up on the Alps at Kitzbuhel, Austria 45."

[Neal] John and Dariel,

one of the most touching photographs in the collection.

These are two soldiers from World War II, American soldiers,

and they were stationed in Germany originally.

And you can't make this up, this is so crazy.

They belong to the 42nd infantry division.

Their nickname was the rainbow division.

(calm piano music)

[Narrator] "A German painting a rainbow

on one of our office buildings at Palling, Germany, May 45."

(calm piano music)

[Hugh] In 1945, they were just getting across Germany

and they came to the town of Dachau.

And as they were about to enter the town of Dachau,

they were intercepted, they were told,

"Don't go into the town, follow this road into the forest."

It was the concentration camp there,

and so they liberated Dachau concentration camp

on April 29th, 1945.

Seven or eight days later, Germany surrendered

and the war in Europe was over.

[Narrator] "Penny for your thoughts Burns.

Oh, wouldn't you like to know Johnny boy?"

And a couple of days or weeks, we don't know exactly,

but it's May, 1945, they hiked up into the Alps

and put on the rings that they had exchanged

with one another and a bracelet and a watch,

and they just posed the most romantic pose,

I think in the book, together.

[Narrator] "Kitzbuhel, Austria, May, 1945.

PFC Dario Burns, Johnny, in the snow up on the Alps."

[Hugh] We know the story of John,

the one soldier in the front.

It's a wonderful story, it's a beautiful story,

and it had some sort of a tinge of sadness to it

because John, after World War II,

he was diagnosed with muscular dystrophy,

confined to a wheelchair for the rest of his life.

[Narrator] "Burns and I, swimming at the Nat,

in Salzburg, Austria, Summer of 45.

Fancy swim trunks eh?"

(chuckles)

"Burns and myself, Kitzbuhel, Austria, May, 45."

Very beautiful lake and nice for swimming.

His nephew imparted to us about 150 photographs

of his uncle and what we know is from the nephew is that

his uncle, who was a gay man, closeted,

he would periodically take out the shoe box

that he had hidden in his house and in the shoe box,

were all these photographs of him and his boyfriend

from World War II and he would just go through them

and remember their relationship and the love

that they shared.

It's hard to fathom what that would be like for someone.

There are less question marks regarding John and Dariel

than there are anybody else in the collection of all 3,200.

We actually know some very significant parts of their story,

which is just absolutely amazing.

And that ring that John is wearing is worn to this day,

by his nephew, every day.

(calm piano music)

(camera shutters)

[Narrator] "My boyfriend pushing Shirley and I

in the wheelbarrow.

Some picture."

(calm piano music)

"Edward and his chum."

(calm piano music)

"This is my boyfriend and I."

Taken on their last trip to the moon, June 11th, 1915.

(calm piano music)

(camera shutters)

[Hugh] Two men laying on the lawn.

It looks like a manicured lawn actually.

And they're embracing and it looks like

they've been sunbathing

And so the camera is up hive from where their perch is

and they're looking up into the camera

and they just have the most joyful smiling expressions

on their face that you can imagine.

And the embrace is very tight, they're almost melting

into one another.

And then you see these beautiful smiles and sparkling eyes,

and it just makes your heart sing, when you look at it.

(calm piano music)

(camera shutters)

[Narrator] "This is my boyfriend, again."

[Neal] One of the photos that we got pretty early

in the collection, it's two guys, they're kind of rockabilly

and just the way he's leaning back into his friend,

his boyfriend, the person he looks like he's in love with.

At first view of the photo, you don't really notice it,

but they position this car that they're on in a certain way.

I mean, even the name on the hubcap is positioned perfectly,

but it just pulls you into that photo

and it just gives you a very warm feeling,

because here's two guys out on a farm and it's just adorable

it's so sweet.

[Hugh] Their eyes are just electric.

[Neal] And you just see it in their eyes,

and that's something we talk about a lot

because that's something that pulls us to the photos.

There's that unmistakable look that you have

when you're in love.

And to us, when you look at that and you look

in those two guys, eyes, it's just there.

[Hugh] The other aspect of it is that they're

on the hood of a car.

I'm not this way, Neil's not this way,

we're not all about cars, but guys are,

generally speaking about cars and I don't know what that is,

but it's a thing.

And so here's this couple, maybe it's a status symbol

or something, especially the car was a big deal,

even back then, for somebody their age.

For them to pose that way in such a dramatic,

romantic embrace on the hood of the car,

and it's such a big photo and it's a full image,

head to toe with both of them,

something about it's really grand.

(playful music)

[Narrator] "Two of a kind, Red And Frank,

just a remembrance."

(playful music)

"My darling, 1949."

(playful music)

"Love in a car."

(playful music)

I think if we could slip into a photo

and I'll let you talk about, because I think

we both have the same one, so you tell me what you think.

The couple on the hood of the car?

- Yes. - Yeah.

[Neal] I think it's these two guys, they're so cute,

they're on the hood of a car, one's sitting kind of over

the tire on one side, the other one has lounged over

and has his arms just wrapped around

with the most beautiful smile and just hugging this guy

from behind.

He's got his head laid on the guy's back

and they're just, I hate to overuse the word,

but they're just melting into one another.

And if I was going to melt into somebody,

I'd melt into you on that car.

I'd melt back into you too.

(playful music)

(camera shutters)

I think the picture that draws my attention

and moves me the most and makes me the most curious

about the subjects is, we've nicknamed them,

Clive and Morris.

It's two men from probably the 1870s,

they're very well-dressed, they have identical jewelry,

cuff links, and this is a very old photograph.

So in order to take this photograph,

I had to sit very still for a long time.

And it's where one man is gazing into the other man's eyes

and the other one's turning his head away,

just a little bit in shyness, but it's all staged.

It makes you wonder what the relationship was really like.

The photograph is beautiful, absolutely stunning.

And they are a couple, one man is sitting

on the other's lap, so there's that.

But they did create a mood with that particular photograph

and I just wonder, when the camera was off,

what were they like, how did they talk to each other?

And what was the relationship in fact, truly like?

(calm piano music)

(camera shutters)

[Narrator] "John, David, Eddy, 1915."

David shared Eddie's feelings for another kind of love.

(calm piano music)

Woody and Bob 1922.

"Woody is shy, but he likes when I hold him.

I think he might consent."

"Palsies, more than Bowsie's."

In our collection, we have several photographs

of one of the couples, or both of the couples,

where they take a photograph, but they turned the backs

of their heads towards the camera.

They know they're in the shot,

they know that there are a couple,

but they didn't want to risk the possibility

that someone might come across the photograph

and they would be somehow punished for it.

Couple, standing on a railroad track with the train

in the background, and the conductor is standing

at the back of the train, pointing at something,

we're not sure what, and they're embracing full frontal,

very tightly with each other and it's a very strong embrace,

but one of the men said, appears that he said,

"I'll be in this photograph, but I need to turn my head away

from the camera, so that only the back of my head

is showing."

The other man is looking right into the camera

and he's just absolutely loving the moment.

I think they're probably both loving the moment,

one had higher level of comfort than the other one did.

(camera shutters)

Picture that makes me laugh out loud,

the two sailors are out in the park.

I mean, they're laying there, they're kinda wrestling

a little bit, but they're in a loving embrace

and they have these big smiles on their face.

And it's something to like written on the back.

[Narrator] "Ice cream is good on a hot day.

Smith and Wade still in love?"

[Neal] But it's just adorable and they're not afraid

to express themselves and everyone's kind of looking around

at them like, "Hey, that's who they are."

But it just makes you happy.

[Narrator] "Joe and I talking over some things

which we do quite often at noon."

(calm piano music)

"Harry and Ernie."

(calm piano music)

"Lars, Pitt, 1943."

(calm piano music)

"Harley P Humphrey, and I.T Huff, on the lock in Bremerton,

Washington, with all my love, Harley."

(calm piano music)

We have a photograph in the collection,

which was astonishing to come across.

It's two men, and we didn't understand exactly

what we were looking at at first,

and what we realized looking closer,

is that they have a camera sitting, it looks like

on a dresser and it's pointed into the mirror,

they're standing behind the camera,

and we did a little bit of research after we noticed

that one guy was holding something in his hand.

And as early as 1902, you could take your own photograph,

a selfie.

So what they're using is called the Ferry's shutter tripper.

It's a rubber hose that connects to the camera

at the end of the hose on your end is a rubber ball,

and when you squeeze the ball, it pushes air through

the hose and causes the camera shutter to trip.

And so these men took, we're gonna say,

the first documented selfie of a romantic male couple

and wrote below it.

[Narrator] "In the mirror."

(calm piano music)

[Neal] There's one photo that we had and we call it

the first gay wedding, because they're actually

giving each other rings.

And so the one guy has his hand up,

he's sliding the ring on, they have an umbrella behind them,

and then there's the minister in the photo,

but they're exchanging jewelry there.

And when we've zoomed into a lot of the photos,

when we scan them in, we found that

there's matching pinky rings or that they may have jewelry

like matching bracelets that that are shared.

We didn't even realize the umbrella in it at first,

then we found another one with an umbrella,

it's probably three or four into it that we actually thought

there's some kind of theme going on here.

(calm piano music)

[Hugh] Then we can't find any scholarship on this,

so this is just us talking about our collection

of what's crystal clear to us is that, two men between

the 1860s and the 1920s posing together with an umbrella,

was an indication that they were a couple

and you could take the umbrella away and you could still see

that there were a couple,

but the umbrella was sort of an added, I don't know,

it's like the rainbow flag or something at the time.

[Neal] It looks like protection or security

and keeping them close together,

because you have to get closer to be under an umbrella.

And there's the one photo of the two guys sitting

on the beach with the three girls behind them,

so they're holding the umbrella

and it's holding them close together

and then there's the three ladies that are

their security guards behind them.

And what our collection revealed to us,

which was very unexpected is that between like the 1890s

and the late 1920s, there was a much more open and accepting

and embracing community.

A lot of these couples had friends and family and siblings

and so forth in the photographs with them

and their expressions of love for one another

were way more effusive than any time before or after that.

(calm piano music)

[Narrator] "Here are your uncle Bill with his friend, Jim.

They met when they were in the Navy.

After the Navy, they moved to San Francisco around 1938

and lived together until uncle Bill died.

Your father said they were queer as a duck.

Uncle Bill had a couple of horses he rode in parades."

(calm piano music)

"Klinger and I, in our home, April 15th, 1955."

(bouncy music)

"My beloved darling, Andre.

A little darling, sweeter than he looks."

(bouncy music)

Davis and JC.

[Hugh] Our collection has over 3000.

And over the last 20 years, we have collected

every single photograph of an African-American couple

or a biracial couple and that number is about 30.

African-Americans in this country

had been disenfranchised historically and includes

every facet of life in the United States.

And it goes on to this day, still.

Photography was as unavailable to them

as everything else was.

[Neal] So, this is one of African-American couples

that we have.

We're guessing it's New York, we wanna think it's New York.

And the two guys on the roof,

but just in the cute little rocking chair

and a little playful but sitting in each other's lap.

(bouncy music)

[Neal] It was amazing to us that male couples who were

in love with each other, would have their photograph taken.

That's a risk, that's the first tier of our collection

and that's the majority of the collection.

And that's pretty rare in and of itself.

That's amazing.

(calm piano music)

And then there's a higher level of intimacy

when you're on the beach wearing a bathing suit,

because your skin is exposed

and if you touch your skin to the person next to you,

that is an indication that there is a relationship there.

There are many photographs where in fact,

one in particular I'm thinking of, is a couple

that is laying on a dock.

I think it's at a lake and they're embracing in a manner,

they're wearing bathing suits of course.

They're embracing in a manner that could very well have

taken place in a bad and embracing in a very intimate,

beautiful way and expressing through their eyes,

their love for one another.

[Narrator] "Marty and Blakey, June 2nd, 1935,

Lake Michigan."

(calm piano music)

[Neal] And then there's that second photo on the beach,

that the two guys under the blanket, it says reserve

on the blanket, but I mean, they're very close,

so it's like they are under the sheets of a bed

in a playful way, that it's just cute as can be.

[Hugh] One of the photos that amuses me the most is,

they're two sailors, it appears to be around World War II,

possibly a little bit earlier and they're on the ship's deck

and they're wearing very small bathing suits

and they're posed together, one arm is around

the other guy's arm and one of the subjects is sitting.

One of the men is sitting on a stool next to his boyfriend

and they have this very mischievous look in their eyes

and the boyfriend sitting on the stool has his hand reached

over and on his boyfriend's thigh.

(calm piano music)

[Narrator] "A couple of GI's."

(calm piano music)

"Braun and Leo M."

(calm piano music)

[Neal] And then the next tier you get to

is couples fully clothed, in bed together.

(calm piano music)

[Narrator] "Note my haircut, it looks like in the slums.

See how sad I look?

Haha."

(calm piano music)

[Hugh] And then of course, the highest tier

is to kiss one another and have that photograph taken,

that erases any plausible ambiguity

about what the photograph is about.

[Neal] The first photo of the kiss was probably the fourth

or fifth photograph that we found.

And it was two guys in front of a house.

[Hugh] Very middle-class suburbia, 1920s, probably.

That's a really passionate kiss out in the open,

in front of the neighbors and everybody.

[Neal] It's something about that photograph

that there they're expressing their love

and didn't look like there was any hesitation

for them to do so, that they were definitely proud

of who they were and it wasn't like,

well, let's kiss really quick in this photograph.

It wasn't something that looked like there was a hesitation.

Rocky Nook, Labor day, 1910.

Rocky Nook is right outside of Santa Barbara, it's a park.

Here's two guys up on a rock for all the world to see,

the ocean behind them and a beautiful embrace and kissing.

[Hugh] The highest tier, the kissing photographs

and not just kissing, but as Neil said, we wanna be up

on the top of the rock, higher than anything else,

closer to the sky and have our picture taken.

[Neal] And then this one just showing that they were out

to their friends, I guess you could say,

because they have the three ladies behind them.

And obviously they cared deeply for these two guys,

because they're, showing that their support

and just kind of securing them while they do their kiss.

(calm piano music)

[Narrator] "Lee and Hank, Easter."

(calm piano music)

"My sweetheart."

(calm piano music)

(calm piano music)

[Hugh] To take these photographs and to choose that moment

to be with someone that you love,

that people don't approve of during that time, it's amazing.

For these photographs to have survived beyond their lives

for decades and end up in our collection is just kind of,

some kind of a miracle I think.

[Neal] We keep them in a nice little safe in the corner,

to make sure that nothing happens to them,

because it's something that's lasted that long,

we wanna make sure it can last 170 years.

[Hugh] What this collection is,

is a love letter to the world.

(calm piano music)

(camera shutters)

[Narrator] "I send you a photo that probably will raise

the curtain of a little part of my life."

(uplifting piano music)

[Hugh] Anyone looking at these photographs,

gets a strong sense that these people mattered

to each other, they loved one another very much.

[Neal] My hope is that people understand that love is love

no matter what.

[Hugh] I think if this collection says anything,

it says, this is absolutely real, it's even real,

under really difficult circumstances.

And in the end, it's just universal.

(bright piano music)

♪ Rainy day, go away, come back when I'm old and gray ♪

♪ Love arrives up with tide, ♪

♪ Jump right in and take the ride ♪

♪ The sun will shine, it's just in time ♪

♪ Get that bubba spinach fine ♪

♪ Let's go and play, we'll sail away ♪

♪ Wonderful, wonderful life ♪

♪ So free and easy ♪

♪ Wet and breezy ♪

♪ All that you have got to do ♪

♪ Is love me for a while ♪

♪ So step right up fill your cup ♪

♪ Make sure that you got enough ♪

♪ Forget the blues, I'll sing them news ♪

♪ Darling I'm in love with you ♪

(bouncy instrumental music)