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welcome back to "morning joe" on this thanksgiving morning. we hope you're having a wonderful day. and we continue this hour with some of our favorite conversations over the last two months. from the critically acclaimed director, writer and producer, cameron crow, to the legendary tv executive, dick ebersol, to singer song writer jewell. let's begin with quest love who made his debut as a fame maker with an incredible documentary, "summer of soul," overshadowed by another moment during the ceremony that we may all remember. before the academy awards, i talked to him about the significance of the 1969 harlem cultural festival that the film features. >> are you ready black people? are you really ready? are you ready to listen to all the beautiful black voices, the

beautiful black feelings? beautiful black waves moving in beautiful air? are you ready black people, are you ready? >> nobody ever heard of the harlem culture festival. nobody would believe it happened. ♪♪ >> six weekends of major artists. >> kids were sitting up on the trees. >> i was nervous. i didn't expect a crowd like that. something very important was happening. it wasn't just about the music. >> 1969 was a change of era in the black community. >> the styles were changing. >> music was changing. a revolution was coming together. >> we are a new people. we are a beautiful people. >> that concert took my life

from black and white into color. >> we wanted progress. we're black people and we should be proud of this. >> we were coming together to say this is our world and how beautiful it was. ♪♪ >> we believed in what we felt in here. so let's go. let's go do it. >> where has this been our whole life? why haven't we seen it before you put it out? . >> that was literally the question i had when i finally saw the footage, when i took the

meeting with my two producers, david dennerstein and robert. i wasn't fully convinced this happened because, you know, googled a little bit. there's nothing to look at or not internet in 2017. i called friends up, 300,000 people. and that's almost the common denominator of everyone we interviewed in this thing was like, finally people will believe me when i tell them this happened because no one -- this was the boogeyman. might as well have been the boogieman. i realized this isn't me making a music film than this is me restoring history, which brings on a new responsibility. often with like black stories, the story is never correct or told at all and suddenly now this is my responsibility. so the very beginning, i was really really nervous as a film

maker on whether or not i should be responsible to tell these stories because this is a chance to tell history. >> you talk about history. i thought this was going to be a music documentary. i've seen a million music documentaries. you've seen a million music documentaries. what i actually thought by the end was, if i could get a film and put it in a time capsule to try to explain what was going on in 1969, this would be a pretty remarkable film about a remarkable time. >> when i was showing to friends of mine or their kids, and i would show them the gospel section. they would laugh at the gospel section, like it was a cat video, you know what i mean, and i was like, maybe i should have some context to let people know that screaming is a therapeutic thing for black people. we're just now talking about mental, sort of dealing with mental trauma and dealing with the idea of going to therapy.

we're just starting to have that conversation right now, but i think for a lot of musicians and creatives like music was the only refuge and escape, so i thought it was really important to put that in context. >> well, and music starts in the church. it started in the church. >> it was therapy. >> for everything. there's a quote. i'm so glad you brought this up, because it brought up one of my favorite quotes from the film, and it was from the rev, reverend jackson. he said, we didn't know anything about therapists. we didn't know anything about lying on couches. but we did no mahali jackson. >> exactly. >> and i found that entire section to really did transcend. it was joy. it was a bleak time, a dark

time, but that was such a joyful festival. >> you know, often times, i think there were two main goals, really three goals with this film. one, to let artists know, you know, despite what charles barkley says in the nike commercial, we are role models, and we do -- when we have a platform, we should use it wisely. number two is often times when you see period pieces from this era, especially with civil rights, you never hear from the women's side, you know, we always -- our go-to speaking points are always about malcolm martin, motown, but never from like the women of that era. but most importantly, when you think of that period, you think of the bloodshed, the struggle, the pain, but i think that black joy is also an extremely

important part in telling our story. >> we talk about the church and music coming from the church, one thing i didn't realize even though i loved his music and thought he was crazy and out of his mind was sly. >> what's weird about the sly and family stone performance, what's so revelatory about it is this is the first time that black america is seeing a band wear their street clothes. >> it's like the temptations. >> because even before them, motown made sure that all of his artists crossed his t's, dotted has i's, spoke proper english, crossed their legs when doing interviews, shook hands, curtesy, bow, all of those things. you watch david roughin, it's the middle of august, and david has on a wool tuxedo to the detriment of his own comfort. he has to be professional. he was taught, you have to be professional first and not yourself. and sly's whole thing is i'm

coming out in my street clothes, this moment changes their lives and it's really amazing to see how just being yourself can change -- can change yourself. he didn't feel the need to wear a tuxedo in the middle of august because it was unnecessary, in the name of being nonthreatening. it's being sly. that was sly's existence. >> i remember looking at billy davis jr. and marilyn, it's like they're looking in a mirage, gladys knight, and they all said the same thing which somebody in the crowd had said that you interviewed, i never saw so many black people in one place, and gladys knight, she went out there, oh, my god, the people. and we heard that from one performer after another performer, it was a life changing experience. >> like, we take for granted now

festivals. like there's coe which he will -- coachella. before the anyone of lollapalooza, '91. before then, besides live aid and foreign aid, and your occasional jazz festival, we can talk about dylan going electric at newport or whatever, but really if it's not folk music, if you're a black performer, if you're a motown, you're kind of doing the post vaudeville thing, barry, steve, diana, smokey. if you're james brown, who has his own singers and comedians, you could travel, but sort of like a revised version of ma rainey's traveling tent. but for a lot of black performers, if they're touring, like your madison square garden is the apollo or the regal in chicago or the uptown in philly, the howard in d.c.

those four venues. if you're not doing those four, someone's barnyard gets turned into a concert stage or someone's makeshift gas station gets turned into, like those are the conditions. so the idea of doing a festival or playing more than 10,000 people is -- that's unbelievable for them. so for a lot of these acts, this is the first, like we see it now and just say, oh, it's a festival like coachella. but that's the first time that you're really seeing of that magnitude. ten days before woodstock of people gathering in those record numbers. >> talk about the guy who put it all together. where he's up there, and you know, he's a hustler, but he's a hustler of the best kind. he promised something to somebody he couldn't deliver and leveraged that off of somebody else.

it almost sounded like, you know, someone that's doing a start up in silicon valley now, but he somehow got it together. >> i joke that when i first saw turning lawrence, i joke that if uncut gems were about music and set 50 years earlier and done the right way, it would have been tony lawrence. you could go to stevie wonders people, will you do it, oh, sure. that's basically, like he would rob peter to pay paul to sort of get these acts to agree to it. but, yeah, he pretty much was a people person, and for me, editing and cutting this film together, it finally hit me that this entire project is one leap of faith, and me as a first time director, tony lawrence as someone who had the nerve and the gumption to say, you know what, i bet you i can heal the

community with music and healing by gathering them all together for this festival. like who dreams that big. if anything, i would just say, like, hey, get these acts to play the apollo theater and have at it, but he had bigger dreams, dreams that weren't even thought of. >> i think one of the things where you're talking about putting in context what was happening, i love the section about stevie playing on the day neil armstrong walked on the moon because for 85% of america, for 90% of america, it was like, yeah, we beat the russians, like austin powers, we beat the russians. >> this one too. >> right. and in this case, stevie gets up and he's doing this extraordinary performance. by the way, i should have known stevie wonder was incredible on the drums as well. >> to see it -- >> you show that right off the bat, but to see him flying the

way he was, was incredible. actually when he talked about apollo 11, the audience booed. you put that into perspective. >> we heard those boos, that was really the moment where we thought, okay, this might be much more than just put 17 songs together, and making a movie. we might have to have context, i want to know where these boos are coming from, and sure enough, we found the footage. we accidentally got sent the footage of the black reaction to the apollo mission. which is basically them saying like, you know, that's cool and all, but we still have problems here on earth. we have joblessness, homelessness, forget the moon. help us down here. >> as much as i studied history and was obsessed with music, there's so many new things that i learned in it and the back story. for instance, fifth dimension, what a crazy story about the

wallet, age of aquarious. talk about that. >> one of the things, nerdy things, creatively how do things happen, and there's a moment where billy davis gets out of the taxicab, leaves his wallet in the cab and whoever gets in the cab after him gets the wallet, figures out that maybe the person came from this hotel that i'm staying at, and then they contact billy davis to say we have your wallet and as a tradeoff, hey, well, thank you, come see us perform. we're here at the -- whatever tonight, and not knowing they were the producers, the person that had the wallet, came to fifth dimension and we produce hair, and hair was red hot at the time. >> billy davis said i've been

trying to get into see hair. >> no one had seen people get naked on hair. hair was the hamilton of its day. >> our thanks to questlove, and do yourself a favor, stream "summer of soul" right now on hulu. and there's a lot more ahead on this holiday edition of "morning joe." coming up next, cameron crowe on bringing his smash hit movie "almost famous" to broadway. t f. on the number one gift this holiday season. blendjet 2 portable blender gives you ice-crushing, big blender power on-the-go. throw in your favorite ingredients and blend up a delicious smoothie anytime, anywhere. blendjet 2 even cleans itself. just add water, a drop of soap, and blend. recharge quickly with any usb port. order now from blendjet.com and get our best deal ever! the virus that causes shingles is sleeping... in 99% of people over 50. and it could strike at any time. think you're not at risk?

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look, you should be happy for me. you don't know what he says to me in private. maybe it is love. as much as it can be -- >> who sold you to humble pie for 50 bucks and a case of beer. i was there. i was there.

i'm sorry. what kind of beer? >> a scene from the classic 2000 film "almost famous," a semiautobigraphical movie, written and directed by cameron crowe, following a teenage journalist from rolling stone who embeds with an unand coming rock band to an effort to get his first cover story published. the film is adapted to a musical, headed to broadway following a successful run on the west coast, and joining us now, academy award winning writer, director, and producer, cameron crowe. >> cameron, this is so exciting. one of my favorite movies ever, but what i love so much about it

is how personal it is, and how actually the first draft really wasn't that personal. one draft to another to another, your story moved to the forefront, and what an extraordinary story. we're now going to get to see it on broadway. >> thanks, joe. such a fan of the show. so great to be here, because you guys are big music fans, and we are too, you know, it's really -- i never thought about doing a sequel or a follow up to much of anything i have done. this is one story that people kept talking to me about, and music fans would just be the people that wanted to, like, talk more about the movie, and the feeling that the movie gave them, so at a certain point, my friend leah came to me and said let me make broadway comfortable for you to tell this story in a theater where people could feel the same thing from the ovie in a live setting, and it's been a thrill to do it.

>> you could have gone the easier route, turned this into a cheesy jukebox sort of musical that, you know, all the tours we flood into and see, but your standards were set much higher. talk about that an talk about the need to stay true to the original movie. >> well, i wanted to have some of the main songs that people remember, tiny dancer, elton john and the wind, cat stevens, we have ramble on from led zeppelin and the show, but also with tom kit, the composer, we have been able to like craft songs that are in the spirit of those songs from 1973. so that you can play a little bit of a game with the show of, is that an obscure elton john song i never heard. is that a led zeppelin song. i kind of like that it's a stew of new stuff, so we're looking forward as well as looking back, and it's a very cool thing that

happens in the audience because we get some of our, you know, big time theater goers along with people that have never come to a broadway show before, and by the end of it, you know, they're all singing fever dog together, which is the craziest, most fun thing. >> so, joe, cameron crowe's life is about jump starting his career. he skipped kindergarten. he skipped two grades in elementary school. so he's kind of young, a little bit of an outcast, graduating from high school. at 15 years old, you graduated from high school, which is amazing. he went professional for writing. at 13 years old, writing for the san diego door, and then you became the youngest ever contributor to rolling stone. like, in some ways it's a challenge to be so young but such a savant. >> i kind of owe it to my mom, by the way. the greatest joe and mika fan of

all time. >> oh, wow. >> but she was such a, you know, she passed away a couple of days before our first performance with an audience of the play, but the play was her dream that we could tell this story in the theater, and she was such a strict person. francis mcdormand played her truthfully in the movie, and eva, that's my mom up there. the fact that she toured with black sabbath, and led zeppelin at age 15 was a huge sacrifice for her as a protective parent, but she saw that i had the dream, and i was going to go and follow that dream and so she, you know, bit her nails and wanted me to call her every night and tell her how i was doing. and the play and the movie both are all true. it's all true. these stories all happened. and she did get on the phone with a rock star or two and gave

them her piece of mind, and re every night on sage, i can tell you that. >> that's amazing. >> jonathan lemire. >> yes, sir. >> you know, joe, one of the things i wanted to say, you have always understood this really basic thing about so much of the music from then and now, it just, the thing that we all hold together is the power of songs. as the great glenn fry of the eagles used to have this t-shirt that said song power. it's all about songs, and you celebrate the songs and the music on the show, and i just think it's a great thing. >> yeah, you know, it's -- i will tell you at times, because we do what we do, at times i struggle with the fact, and i have heard musicians actually really great accomplished musicians talk about them sort of struggling with what do i do,

what am i doing, how important is what i'm doing. i've heard musicians talking about that. for me it's just, as a fan, i sit here getting close to 60 and i go, this is kind of weird how much i've focused on the beatles, the rolling stones, dylan, elvis costello through all the years, how important it's been to me, and i think it's just because like you i have been surrounded by it so much. i'm like is this just like a weird pastime, like playing with toy soldiers in the basement that i'm still doing all these years later. and i heard fran leibowitz talking, and she was being interviewed, and she said i can figure out a lot of things, but i can't figure out -- she was telling martin scorsese, about writing songs, that's the greatest gift. it takes you back to a moment. it takes you back to a time, and i sat there, and i said, you

know what, she is right, it is this extraordinary gift that all of these people that we love and follow, you know, it makes sense. i'm really proud of the fact that i have wasted my life listening to the beatles and dissecting every melody and every baseline that paul mccartney ever did. >> he knows everyone, every single one. >> or knowing -- it's worth -- it's been worth every second. it really has. explain that. >> totally, and look at the power of joanie mitchell who's at her peak now. these are songs that will be communicated to us decades upon decades. >> cameron, on the topic of staying power, "almost famous" is a personal story, but it has resonated for so many people for so long at this point, and now

in a new form, what is it like to have your story to mean so much to other people. >> it tells me there's power in telling a personal story. "almost famous" is a little movie we got to make because jerry mcguire had done well. let's tell this story about loving music in my family, and over time, that's the one that seems to resonate the most, and it makes me feel like if you tell something that's true and authentic, and almost too embarrassing to share, that's the thing people will want to talk about, and feel the power of. so the personal is kind of the universal, and i'm just lucky i got a chance to make the movie of almost famous, which rolled into the opportunity to take the story to the stage, and, you know, audiences of all ages are feeling the power of the music, and my family, so i get kind of emotional, and thrilled every night at jeremy haren, our

director's work and the work of this amazing cast. >> "almost famous" is running eight shows a week on broadway at the bernard jacobs theater in new york city. up next, mr. "saturday night live," and mr. sunday night football, the nbc legend, dick ebersol on an extraordinary four decades in television. we'll get to that when "morning joe" returns. that when "mornin joe" returns

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live from new york, it's saturday night. >> the white bronco that you see on the freeway going right on your screen contains o.j. simpson, a fugitive at large, charged with two counts of murder. >> 21 months have passed since michael jordan last played competitive basketball. for 21 months, the nba was without its supreme artist. >> it's muhammad ali.

>> what a buzz in this stadium tonight as the new york giants get ready to take on peyton manning and the indianapolis colts on nbc sunday night football. >> wow, those are just some of the most famous moments in television history over the past four decades. what do they all have in common, in one way or another, they involve a man once named the most powerful person in sports, dick ebersol, former chairman of nbc sports, joins us now, out with a new memoir entitled "from saturday night to sunday night 40 years of laughter, tears and touchdowns" a legend, not just in this building, but in television. so great to see you. >> thank you. >> so those moments right there, and by the way, that's the tip of the iceberg, we can go back to the olympics in '68 and '72. you have been there through all of this. why did you decide to do this?

your life and sit-down and review and tell the stories. >> my oldest son charlie and my wife susan ganged up on me in a little italian restaurant in the upper east side, enough is enough, you've got to write this book. i started it myself, and after a bunch of months they sat me down again, and said, this is nonsense, you have to put something into it, find somebody to work with you, and i said to charlie, who do you think i should talk to. he said, talk to aaron, and aaron cohen was someone who had written all of, for example, bob costa's openings of every olympics, written the track for many many of the documentaries we made during our coverage of all of those olympics. and together, with me mostly living on maui and him back here sending stuff back and forth, it emerged and we were lucky enough to have it end up on the desk of the most prominent agent, book agent there is in the country. >> i'm interested in how it

began for you because you really learned the business early on anyway from another icon from ru nalridge, how did that start for you? how did you hop into those olympics. >> as a killed in the mid-50s, i fell in love with the beginning of television sports, and that for me was wide world of sports, a show that roone arledge, got us into the olympics. i was lucky enough to be there as a teenager, 18, 19 years old, as all of this was happening, culminated by munich. and i was lucky enough to have arledge as a mentor, who kept pushing me forward. eventually i left, to come up with a show to replace johnny carson's weekend repeats. johnny was very smart. he was always looking for

another night off. in any case, i just, my career ran from there. and one day while i was looking for somebody who really had a comedy background. i didn't. in my estimation, i was a damn good producer, but i was not a comedy writer. i was sitting outside a famous agent's office in l.a. when this young man came out the door. we literally almost bumped into each other. that was loren michaels, which led to a cup of coffee, which led to dinner, which led to one of the most bizarre coincidences of my life. let's go see this show, this comedy review, we went to see it with this woman, turned out she was his wife, never introduced her that way. in any case, we went to the famous polo lounge at the beverly hills hotel, and i happened to live in the hotel at that point, nbc paid for an apartment that i lived in there

when i was in california. anyway, i walked into the doorway with loren and he said isn't that your father figure over there, and i looked, and there was roone sitting there with his wife. i walked across the room, and roone stood up with a huge smile on his face, threw his arms around me, and that relationship was renewed and lasted until roone died, and i was a pal bearer at his funeral. >> it was a remarkable, extraordinary life, and dick, i didn't know whether you talked about teddy in this book. whether you talk about the tragedy, you know, every time, i drive to the ballpark, i see teddy ebersol's park there, and i always think about you, and you said something that i think could help people so much. you said that the most important thing you can do when you lose a

child is not to push it aside, not to obsess about how he died, but to obsess about how he lived and to celebrate and talk about it, and that's exactly what you do in this book. it's beautiful. tell us about that. >> well, first of all, almost all of that comes from susan, my wife. she gathered all of us up after the crash, and got us back home to lichfield, connecticut. we have a big old colonial house, and we had all the kids there and a few other people, and we lived with each other for several months, and every day we talked about teddy, what he had meant in our lives, and he was sort of the spark plug of the family. he was a character and a half. he thought nothing of being at a red sox game and walking over to the general manager at the time and suggesting trades throughout the whole game. the last time he was at a game several months before he died

near the end of the season, he said, i know you're not going to be able to re-sign veratek unless you have a really good idea of what his value is, and teddy you got to give him four years at 11 million a year, and several months or a month and a half later, the red sox signed him for that amount of money, and the leadership of the team called the house. they had been phenomenal through everything. they knew teddy was a golden red sox fan. they signed to say they signed him for exactly what teddy told them to do. >> as joe mentioned, teddy ebersol field lies on charles drive, it's a wonderful tribute to you and teddy and the entire family. the core of your family, it would seem to me, and i have seen teddy in the box, and your wife susan. talk about your wife's strength, and your wife's role in keeping your family together and moving

your family forward. >> susan was the only person, one of the only people in our family who wasn't on the plane when it crashed. she had gotten off in this town of montrose, because telluride was snowed in, and she was halfway to telluride when a guy who worked for us somehow got a call through all of those huge mountains, and she drove back, you know, filled with dread that she was going to find out that teddy was gone. when she got back there, she immediately discovered that that was true. and from that moment on, her strength just grew and grew and grew, and holding us all together. none of the kids went back to college. all of them were college age at that time, except for teddy, and we all stayed at home, talked about it, talked often about just what he had given to our family. not what we were missing, what he was missing. and it was a wonderful time, and she drove willie all the way

back across country to usc, and she's a phenomenal human being, many people think of her as a television show star. she had kate and alley, but she never ceased to be the perfect mother and a great wife, ever. >> she's wonderful. and those two boys, one of them with you today, charlie and willie, not too bad either. >> not at all. >> we showed the moment at the '96 olympics, mohammad ally lighting -- muhammad ali, lighting the torch, you helped orchestrate that, how did it come together. >> it's the favorite moment of my entire career in television. i would usually ask the head of the organizing committee of any olympics, whether it's the united states or china or some company in europe. i had asked several months out from the game, have you chosen someone in your country to light

the caldron on the opening night of the olympics. and the surprising answer was i hadn't given it any thought at that point, and a week later i got a phone call, they said that they thought they would go with the local fellow named evander holyfield who has been an olympic champion, as well as ali, but was not the worldwide charismatic that ali was, to not have the reputation that existed in every country on the face of the earth. i would say at that time ali was the most beloved citizen other than the pope, and i set out to really educate them as to who ali was because their feeling was that he was a draft dodger. ics, no, he wasn't a draft dodger. he risked everything. he risked money earning years. he risked losing his license to box going forward. he risked everything because he believed the war in vietnam was

terrible. and he stood for it. so in any case, he finally said to me, well, maybe you're right. do you think that ali guy would be available. i said, do you think i've wished this all the time, i've talked to him. he lit up like a christmas tree. i wasn't in the room, i don't know if they said christmas tree, but he really lit up. he never rehearsed it with the flame moving by and everything else. the night of the opening ceremony, if you look at it, you can see that he was so committed to doing it, and doing it right that the flames were coming back and licking the backside of his hands and everything like that, and he held on until he was sure that it was lit, and the rocket that was going to carry the fire all the way up to the caldron got going. >> i'm so glad you made that moment happen. it didn't take place during the games itself but it was to me top five most extraordinary moments in olympic history, and it happened at the opening

ceremony. >> yep. >> it's just one of the stories in the new memoir called "from saturday night to sunday night my 40 years of laughter tears and touch downs in tv" former chairman of nbc sports, dick ebersol and so much more to this place and industry. thank you so much, congratulations on the book. good to see you. >> thank you. we'll be right back with more "morning joe." you we'll be right back with more "morning joe." ever wonder why they call it the american dream... and not the american goal? announcer: derek jeter ...or plan? maybe... it's because in dreams, you can do anything. in dreams... you can hold your entire world in the palm of your hand. and turn time inside out... again and again. and you can do it all with your eyes wide open.

i had no idea how much i wamy case was worth. c call the barnes firm to find out what your case could be worth. we will help get you the best result possible. ♪ call one eight hundred, eight million ♪

after my car accident, ♪ call owondnder whahatmy c cas. eight million ♪ so i called the barnes firm. i'm rich barnes. youour cidedentase e woh than insurance offered? call the barnes firm now to find out. yoyou ght t beurprpris mental health is a key issue for so many candidates in the midterm lexes with anxiety, suicide rates at historical

highs. it is something we talk about a lot on this show. nearly half of all americans don't have access to the mental health resources and tools they need and with the holiday season upon us it can add to the isolation and loneliness. this thanksgiving there's a new resource that we want to tell you about. earlier this month grammy nominated and multiplatinum singer/songwriter jewel stopped by to talk about the not alone challenge to raise awareness and given proven tools for mental health in the season and to inspire people to create short videos sharing support and advocacy for mental health and then challenge and tag two friends to do the same thing. there's also an online auction with funds going to support jewel's nonprofit organization the inspiring children

foundation. she told us how mental health is a universal problem. >> everybody's touched by it. every age group and socio economic background. part of the not alone challenge is to have resources tailored to the specific communitys. you need people that look like you and talk like you that care. >> i appreciate what you are doing for children. >> we are the inspiring children foundation. doing this for 20 years. but the good news is we have cultivated a tool kit that really works. we're free. >> we are lucky to have jewel perform "no more tears" from the latest album "free wheeling woman." >> heart break is like the

weather ♪ ♪ it's been ravaging my soul ♪ ♪ but i know it's moves on ♪ ♪ when storms will follow by the most beautiful blue sky ♪ ♪ so i will keep carrying on ♪ ♪ they say god only gives you what you're strong enough to handle ♪ ♪ then i must be pretty gosh darn strong ♪ ♪ if we are to survive is acknowledging i am alive ♪ ♪ so i will keep carrying on ♪ ♪ you see love love is a mystery ♪ ♪ but i still see its shining

face ♪ ♪ there are no more sad songs just blue skies ♪ ♪ and no more no more tears to cry ♪ ♪ lord knows you can't lose all the time ♪ ♪ so drive those pretty eyes ♪ ♪ lift that proud face because i still see a beautiful place ♪ ♪ there for you and i ♪ ♪ you see love love is a mystery ♪ ♪ but i still see its shining face ♪ ♪ there are no more sad songs just blue skies ♪ ♪ and no more tears to cry ♪ ♪ as long as there's a child's

laughter and a starry sky and a beating in my chest there's a willingness to try ♪ ♪ as long as i see poetry in ordinary things ♪ ♪ you know i will i will i will i will see love ♪ ♪ love's shining face there are no more sad songs ♪ ♪ just blue skies ♪ that's where people usually clap because that was pretty amazing. thank you. ♪ there are no more tears ♪

♪ no more tears ♪ ♪ there are no tears ♪ >> hey, everybody! jewel. ♪♪ >> thank you. >> that does it for us this hour. thank you so much for joining us. more news on msnbc right after the break. have a great thanksgiving.

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happy thanksgiving, everybody. live at msnbc