i want to hear chops sing. [ as louis armstrong ] ? hello, dolly ? ? yes, hello, dolly ? ? it's so nice to have you back where you belong ? [ both scatting ] ? oh, yeah ? you can always tell when chops has had one too many -- root beer floats? eugene, uh, i have to talk to you now. i'm tired of being your doormat. i left my family all the way in chicago to come out here to see you, and i never see you. c'est la vie, baby. red of it. ugh! and i'm going back home. i'm tired of your phony dreams, too. 'cause i have dreams of my own. very funny. eugene, tell her truth. tell her now. but, yvonne, baby, this is our dream, right here in new orleans. it's gonna come true. it's right here in the palm of our hands. holding on to dreams that you can touch, eugene, are not the best kind of dreams to have. you know, my daddy once told me, "sometimes you have to reach for dreams "that nobody can see but you. dreams that will give you more than just a pat on your back from your friends." yeah. "those are the kind of dreams that will give you your future. and they're out there." they're ou

well, if you insist... [ imitates horn ] [ as louis armstrong ] thank you, baby. thank you. and i can't see a thing. but i'll be back to normal in a couple of hours. dad, you're never gonna guess what mork just did. do we have to notify next of kin? a policeman caught an escaped criminal, and mork just set him free. what? mm-hmm. a policeman caught an escaped criminal, and mork just set him free! well, why in the world would you release an escaped criminal? because he wanted me to! stop shouting. stop shouting. for goodness sakes. mork, this is serious. i don't know why everybody's so upset. he said he'd turn himself in tomorrow. mork, how could you believe that? i sense that you're mad at me. yes, you're getting warmer. oh, mork... i'm not mad at you. it's just that you're too trusting. why, that's a crime! his cohort got away, but one jailbird in the hand is worth -- where is he? oh, why, he got away. mork had nothin' to do with it. i can understand what you're trying to do. you're trying to protect me, but i can't let you take the coat for me. the wrap. your planet. i let

you got, you got louis armstrong for jazz, you got elvis presley for rock and roll, which, that couldrry, and you got kool herc for hip hop. >> anthony: feel good? >> kool herc: very good. >> lloyd: historically, from the last third of the 19th century into about 1920, the second language spoken in the bronx was german. from about 1930 to about 1960, the second language spoken in the bronx was yiddish. from about 1965 onward, the second language spoken in the bronx is spanish, and that's the way it is today. >> anthony: it's got a reputation as a tough place. crime, street gangs, a lot of which goes back to the way it was, and some of which, well, like i said, it's got a reputation as being tough. the bronx is, let's face it, a big blank space in a lot of people's minds. even people like me who live what, ten minutes away? we don't know anything about that big area between yankee stadium and the bronx zoo. what you should know is that the bronx is big, really big, and that it's a patchwork of ethnic enclaves. a cross-section of the whole world. every immigrant group you could think of

and the likes of duke ellington, cab calloway, count basie, and louis armstrong all took the stage ate ballroom and the alamo on farish street. what happened? where did it all go? >> geno: what killed farish street was immigration. once we were able to branch out of our own indigenous black-run businesses, the black-owned businesses died. >> anthony: right. >> geno: so great for the black race, but terrible for the black business. in fact, the only reason you're coming to farish street right now -- >> anthony: mm-hmm. >> geno: -- is we have two churches, two funeral homes, and the big apple inn. so you're gonna either die, worship, or come to my place to eat, and that's the only traffic we get. >> anthony: or all three, and that -- you know? >> geno: that's right. >> anthony: not in that order, but -- >> woman: how you doing? >> woman 2: one hot? how y'all doing today? >> anthony: back when things were hopping, geno lee's great grandfather juan "big john" mora moved to mississippi from mexico city, started a family with an african-american woman in jackson. he sold hot tamales out of

getting louis armstrong's trum pet, all these incredible things, obviously from celebrities but also learing from ordinary families about their voting slip that their grandmother gave them, things like that, which are really powerful, with so emotional to see. >> rose: probably one of the most powerful moments in the history of galleries, it's incredible in the museum now. >> so there is the history of pain and suffering. >> absolutely. >> rose: and there is also the history of celebration and achievement. >> exactly. >> i think it's really a full arc. i think the reason where we won the competition is that we relose-- refused to see the the african-american community through just one lens, the lens of slavery or oppression. they say it is also a story that is also remarkable, a celebration. it goes from the arc of pain, also to celebration. there is a lot to be done but also a lot has been achieved. >> rose: and the challenge of being on the mall, your next door is the washington monument, so what choices did you decide to make there? >> it was important that, you know, this incredi