1 00:00:00,000 --> 00:00:04,700 Approaching the two o'clock hour in Shickley Mix, but first, I must remind you, 2 00:00:04,700 --> 00:00:10,060 this is WLRH Huntsville, with offices and studios located on the campus 3 00:00:10,060 --> 00:00:12,820 of the University of Alabama Huntsville. 4 00:00:12,820 --> 00:00:13,740 Shickley, 5 00:00:13,740 --> 00:00:14,820 are you ready? 6 00:00:14,820 --> 00:00:15,740 No, I'm not. 7 00:00:15,740 --> 00:00:17,660 Why don't you do the show today? 8 00:00:17,660 --> 00:00:33,900 Just kidding, here's the theme. 9 00:00:33,900 --> 00:00:37,260 Hello there, I'm Peter Shickley, and this is Shickley Mix, 10 00:00:37,260 --> 00:00:41,700 a program dedicated to the proposition that all musics are created equal, 11 00:00:41,700 --> 00:00:43,620 or as Duke Ellington put it, 12 00:00:43,620 --> 00:00:46,660 if it sounds good, it is good. 13 00:00:46,660 --> 00:00:50,460 Created equal is one thing, equally available is another. 14 00:00:50,460 --> 00:00:54,300 Fortunately, our bills are paid by the Corporation for Public Broadcasting, 15 00:00:54,300 --> 00:00:56,620 by the National Endowment for the Arts, 16 00:00:56,620 --> 00:01:01,020 and by this very radio station right here on this very dial. 17 00:01:01,020 --> 00:01:05,940 Once the show has been created equal, it is made equally available by PRI, 18 00:01:05,940 --> 00:01:09,340 Public Radio International. 19 00:01:09,340 --> 00:01:11,500 Okay, I'll admit it. 20 00:01:11,500 --> 00:01:13,220 In 1962, 21 00:01:13,220 --> 00:01:17,620 I complimented a woman I knew by saying she drove a car like a man. 22 00:01:17,620 --> 00:01:21,780 I now see the error of my ways, yes I do. 23 00:01:21,780 --> 00:01:25,300 But I guess I also do feel like defending myself a little bit 24 00:01:25,300 --> 00:01:26,700 by saying that even then, 25 00:01:26,700 --> 00:01:30,580 I didn't think there was necessarily any inherent difference, 26 00:01:30,580 --> 00:01:35,140 you know, a difference in the car driving genes of the two sexes. 27 00:01:35,140 --> 00:01:39,100 It was just that in those days, which was still almost the 50s, 28 00:01:39,100 --> 00:01:42,700 girls just didn't grow up driving as much as boys did. 29 00:01:42,700 --> 00:01:46,620 When a girl had a date, she was picked up by the guy in his car. 30 00:01:46,620 --> 00:01:51,580 In many cases, she didn't get much driving practice until she got married. 31 00:01:51,580 --> 00:01:53,420 Be that as it may or may not be, 32 00:01:53,420 --> 00:01:56,260 I also remember subscribing to the idea 33 00:01:56,260 --> 00:01:59,340 that the reason there were plenty of female writers around, 34 00:01:59,340 --> 00:02:01,380 but hardly any composers, 35 00:02:01,380 --> 00:02:06,580 was that women are most at home dealing with the specific and the concrete, 36 00:02:06,580 --> 00:02:09,940 while men like the general and the abstract, 37 00:02:09,940 --> 00:02:14,540 and music is more inherently abstract than the other arts. 38 00:02:14,540 --> 00:02:17,180 Thirty years later, I don't pretend to understand 39 00:02:17,180 --> 00:02:21,900 exactly how extensive the inborn differences between Dick and Jane are, 40 00:02:21,900 --> 00:02:24,980 but I'm certainly a lot more aware of just how thick the ice 41 00:02:24,980 --> 00:02:29,060 in the old glacier of social conditioning is. 42 00:02:29,060 --> 00:02:32,780 Since this is supposed to be a show about music, let's turn to music. 43 00:02:32,780 --> 00:02:35,860 In fact, let's turn to the authentic instrument here. 44 00:02:35,860 --> 00:02:41,700 Not a copy, folks, an original early 1990s Casio tone bank. 45 00:02:41,700 --> 00:02:44,660 In musical as well as poetical terminology, 46 00:02:44,660 --> 00:02:53,660 a phrase that ends on a strong beat of the measure 47 00:02:53,660 --> 00:02:56,220 is called a masculine ending, 48 00:02:56,220 --> 00:03:05,020 whereas one that ends on a weak beat 49 00:03:05,020 --> 00:03:07,740 is called a feminine ending. 50 00:03:07,740 --> 00:03:11,420 Now, I think most people my age, or at least most men my age, 51 00:03:11,420 --> 00:03:15,940 learned terminology like that in school without giving it much thought. 52 00:03:15,940 --> 00:03:19,900 My musicologist friend Leo Treitler has written, 53 00:03:19,900 --> 00:03:22,460 there is a backdrop in an ancient mythology 54 00:03:22,460 --> 00:03:24,780 that explains human consciousness 55 00:03:24,780 --> 00:03:28,900 as divided in two permanently antagonistic parts, 56 00:03:28,900 --> 00:03:33,420 a mythology in which reason and sensuality are mutually opposed, 57 00:03:33,420 --> 00:03:35,660 and that opposition is characterized 58 00:03:35,660 --> 00:03:39,140 as the duality of the masculine and the feminine. 59 00:03:39,140 --> 00:03:42,460 The linkage of the duality of the rational and the sensual 60 00:03:42,460 --> 00:03:44,740 with that of the masculine and the feminine 61 00:03:44,740 --> 00:03:48,820 is a fact embedded in Western tradition. 62 00:03:48,820 --> 00:03:51,540 Now, when I read that, my first thought is, 63 00:03:51,540 --> 00:03:56,180 well, it may be limiting to associate each of those qualities with one sex, 64 00:03:56,180 --> 00:03:59,140 but hey, I like reason and I like sensuality, 65 00:03:59,140 --> 00:04:01,340 and if they're both going to be involved in a work of art, 66 00:04:01,340 --> 00:04:03,420 what's the big problem? 67 00:04:03,420 --> 00:04:06,180 But it becomes clear that in the past, 68 00:04:06,180 --> 00:04:09,620 most theoreticians and historians, all of whom were men, 69 00:04:09,620 --> 00:04:13,620 regarded the masculine trait as superior to the feminine. 70 00:04:13,620 --> 00:04:16,740 The feminine is something to be resisted. 71 00:04:16,740 --> 00:04:21,100 Here's Boethius writing in the 6th century, 72 00:04:21,100 --> 00:04:25,100 ruder peoples delight in the harsher modes of the Thracians, 73 00:04:25,100 --> 00:04:28,340 civilized peoples in more restrained modes, 74 00:04:28,340 --> 00:04:31,380 though in these days this almost never occurs. 75 00:04:31,380 --> 00:04:34,500 Since humanity is now lascivious and effeminate, 76 00:04:34,500 --> 00:04:39,420 it is wholly captivated by scenic and theatrical modes. 77 00:04:39,420 --> 00:04:41,460 It's sort of comforting, isn't it, 78 00:04:41,460 --> 00:04:43,700 knowing that a millennium and a half ago, 79 00:04:43,700 --> 00:04:47,100 somebody was complaining about new music? 80 00:04:47,100 --> 00:04:52,300 Let the circle be unbroken... 81 00:04:52,300 --> 00:04:57,260 Anyway, moving on to the 20th century and back to Treitler's article, 82 00:04:57,260 --> 00:05:00,940 he says, okay, here is Bruno Stäblein, 83 00:05:00,940 --> 00:05:03,180 a preeminent German plainchant scholar, 84 00:05:03,180 --> 00:05:06,220 writing about old Roman chant. 85 00:05:06,220 --> 00:05:11,300 Endless streams of melody that overflow the boundaries of textual divisions, 86 00:05:11,300 --> 00:05:14,860 melodies that spread over their texts like a chain of pearls 87 00:05:14,860 --> 00:05:18,420 or a voluptuous gown, soft, elegant, charming, 88 00:05:18,420 --> 00:05:21,860 and graceful without sharp edges or corners. 89 00:05:21,860 --> 00:05:26,020 The Gregorian melodies, by contrast, are disciplined and ordered, 90 00:05:26,020 --> 00:05:28,420 a product of rational thinking. 91 00:05:28,420 --> 00:05:33,260 They are clear, sculpted configurations, systematically chiseled. 92 00:05:33,260 --> 00:05:36,820 A system of musical rhetoric reigns in them. 93 00:05:36,820 --> 00:05:41,940 They display a more perfect quality, perfectior scientia. 94 00:05:41,940 --> 00:05:45,500 Stäblein appends a list of attributes medieval writers 95 00:05:45,500 --> 00:05:48,260 had themselves found in Gregorian chant, 96 00:05:48,260 --> 00:05:55,260 strength, manliness, vigor, power, reason. 97 00:05:55,260 --> 00:05:59,700 Now, when I hear that, I want to say, hey, sing me some of that old Roman chant. 98 00:05:59,700 --> 00:06:03,580 I want to hear that chain of pearls, that voluptuous gown. 99 00:06:03,580 --> 00:06:07,620 But then I worry that Boethius will call me lascivious and effeminate, 100 00:06:07,620 --> 00:06:09,180 or Charles Ives. 101 00:06:09,180 --> 00:06:12,860 Here is how some of the residents of the musical hall of fame 102 00:06:12,860 --> 00:06:15,180 sounded to Ives. 103 00:06:15,180 --> 00:06:19,300 Mozart, Mendelssohn, early Beethoven, Haydn, Tchaikovsky, Gounod, 104 00:06:19,300 --> 00:06:22,260 Massinet, all emasculated. 105 00:06:22,260 --> 00:06:25,620 Ritchie Wagner is a soft-bodied sensualist. 106 00:06:25,620 --> 00:06:30,060 The three Bs, too much of the sugar plum for the soft ears. 107 00:06:30,060 --> 00:06:34,500 Chopin, one just naturally thinks of him with a skirt on. 108 00:06:34,500 --> 00:06:39,340 Debussy, sensual sensuousness, better if he had hoed corn or sold 109 00:06:39,340 --> 00:06:41,220 newspapers for a living. 110 00:06:41,220 --> 00:06:44,540 Sibelius, an emasculated cherry. 111 00:06:44,540 --> 00:06:49,700 But Franck, Dandy, and Elgar are praised for their wholesomeness, 112 00:06:49,700 --> 00:06:52,460 manliness, humility. 113 00:06:52,460 --> 00:06:56,660 In other words, it all boils down to the age-old question. 114 00:06:56,660 --> 00:07:01,420 Pickering, why can't a woman be more like a man? 115 00:07:01,420 --> 00:07:02,340 Yes. 116 00:07:02,340 --> 00:07:06,260 Why can't a woman be more like a man? 117 00:07:06,260 --> 00:07:11,620 Men are so honest, so thoroughly squared, eternally noble, 118 00:07:11,620 --> 00:07:17,300 historically fair, who when you win will always give your back a pat. 119 00:07:17,300 --> 00:07:21,300 Why can't a woman be like that? 120 00:07:21,300 --> 00:07:24,980 Why does everyone do what the others do? 121 00:07:24,980 --> 00:07:28,620 Can't a woman learn to use her head? 122 00:07:28,620 --> 00:07:31,700 Why do they do everything their mothers do? 123 00:07:31,700 --> 00:07:35,380 Why don't they grow up like their father instead? 124 00:07:35,380 --> 00:07:38,900 Why can't a woman take after a man? 125 00:07:38,900 --> 00:07:42,540 Men are so pleasant, so easy to please. 126 00:07:42,540 --> 00:07:46,140 Whenever you're with them, you're always at ease. 127 00:07:46,140 --> 00:07:48,980 Would you be slighted if I didn't speak for hours? 128 00:07:48,980 --> 00:07:49,660 Of course not. 129 00:07:49,660 --> 00:07:52,100 Would you be livid if I had a drink or two? 130 00:07:52,100 --> 00:07:52,860 Nonsense. 131 00:07:52,860 --> 00:07:55,780 Would you be wounded if I never sent you flowers? 132 00:07:55,780 --> 00:07:56,340 Never. 133 00:07:56,340 --> 00:08:00,420 Well, why can't a woman be like you? 134 00:08:00,420 --> 00:08:04,100 One man in a million may shout a bit. 135 00:08:04,100 --> 00:08:07,620 Now and then, there's one with slight defects. 136 00:08:07,620 --> 00:08:10,620 One, perhaps, whose truthfulness you doubt a bit. 137 00:08:10,620 --> 00:08:14,380 But by and large, we are a marvelous sex. 138 00:08:14,380 --> 00:08:17,820 Why can't a woman behave like a man? 139 00:08:17,820 --> 00:08:21,460 Men are so friendly, good-natured, and kind. 140 00:08:21,460 --> 00:08:25,020 A better companion you never will find. 141 00:08:25,020 --> 00:08:27,900 If I were hours late for dinner, would you bellow? 142 00:08:27,900 --> 00:08:28,580 Of course not. 143 00:08:28,580 --> 00:08:30,980 If I forgot your silly birthday, would you fuss? 144 00:08:30,980 --> 00:08:31,740 Nonsense. 145 00:08:31,740 --> 00:08:34,540 Would you complain if I took out another fellow? 146 00:08:34,540 --> 00:08:35,140 Never. 147 00:08:35,140 --> 00:08:37,900 Well, why can't a woman be like us? 148 00:08:40,900 --> 00:08:43,700 Mrs. Pierce, you're a woman. 149 00:08:43,700 --> 00:08:47,620 Why can't a woman be more like a man? 150 00:08:47,620 --> 00:08:51,220 Men are so decent, such regular chaps, 151 00:08:51,220 --> 00:08:54,820 ready to help you through any mishaps, 152 00:08:54,820 --> 00:08:58,420 ready to buck you up whenever you are glum. 153 00:08:58,420 --> 00:09:02,540 Why can't a woman be a chum? 154 00:09:02,540 --> 00:09:06,220 Why is thinking something women never do? 155 00:09:06,220 --> 00:09:09,660 Why is logic never even tried? 156 00:09:09,660 --> 00:09:12,820 Straightening up their hair is all they ever do. 157 00:09:12,820 --> 00:09:16,620 Why don't they straighten up the mess that's inside? 158 00:09:16,620 --> 00:09:20,020 Why can't a woman be more like a man? 159 00:09:20,020 --> 00:09:23,620 If I was a woman who'd been to a ball, 160 00:09:23,620 --> 00:09:27,220 been hailed as a princess by one and by all, 161 00:09:27,220 --> 00:09:30,740 would I start weeping like a bathtub overflowing, 162 00:09:30,740 --> 00:09:33,860 carry on as if my home were in a tree? 163 00:09:33,860 --> 00:09:37,460 Would I run off and never tell me where I'm going? 164 00:09:37,460 --> 00:09:45,420 Why can't a woman be like me? 165 00:09:45,420 --> 00:09:47,740 Rex Harrison singing, as it were, 166 00:09:47,740 --> 00:09:51,220 part of a hymn to him from My Fair Lady. 167 00:09:51,220 --> 00:09:53,860 Actually, you know, I did catch him singing a couple of notes 168 00:09:53,860 --> 00:09:54,340 there. 169 00:09:54,340 --> 00:09:55,460 You better watch it. 170 00:09:55,460 --> 00:09:57,820 When I was talking about this program to my wife, 171 00:09:57,820 --> 00:10:00,500 I said, you know, when Henry Higgins says, 172 00:10:00,500 --> 00:10:03,780 why can't a woman be more like a man, it gets a chuckle. 173 00:10:03,780 --> 00:10:06,340 But now there are a lot of feminists around who say, 174 00:10:06,340 --> 00:10:08,580 why can't a man be more like a woman 175 00:10:08,580 --> 00:10:11,460 and woe betide anybody who chuckles? 176 00:10:11,460 --> 00:10:13,300 And my wife said what has to be said 177 00:10:13,300 --> 00:10:15,420 to what I said, which is that it's 178 00:10:15,420 --> 00:10:18,260 easy to chuckle at Henry Higgins because no matter what 179 00:10:18,260 --> 00:10:20,020 happens, he'll come out on top. 180 00:10:20,020 --> 00:10:22,100 He's in the position of power. 181 00:10:22,100 --> 00:10:23,940 He may have a little problem of the heart, 182 00:10:23,940 --> 00:10:26,020 but he represents the status quo. 183 00:10:26,020 --> 00:10:29,540 The feminists are trying to change the status quo, 184 00:10:29,540 --> 00:10:32,820 which leads us into comparatively new territory, 185 00:10:32,820 --> 00:10:36,140 that of feminist musicology. 186 00:10:36,140 --> 00:10:38,980 Now, you know, I try to give the impression of being 187 00:10:38,980 --> 00:10:43,140 a real scholar on this program, but in point of fact, 188 00:10:43,140 --> 00:10:45,820 most of what I know I've learned from reading liner notes 189 00:10:45,820 --> 00:10:48,180 and composer trading cards. 190 00:10:48,180 --> 00:10:52,100 I don't really keep up with the musicological journals. 191 00:10:52,100 --> 00:10:54,180 I just don't have the time, especially 192 00:10:54,180 --> 00:10:57,300 since the pool hall opened up in my neighborhood. 193 00:10:57,300 --> 00:11:00,180 And I'd like to thank my friend Leo Treitler for sending me 194 00:11:00,180 --> 00:11:05,540 several articles from journals like 19th Century Music, 195 00:11:05,540 --> 00:11:08,020 you know, journals I'm not really 196 00:11:08,020 --> 00:11:12,900 apt to run across in the pile of magazines at the pool hall. 197 00:11:12,900 --> 00:11:16,740 You know, I own my own cue stick. 198 00:11:16,740 --> 00:11:18,420 It doesn't have my name printed on it, 199 00:11:18,420 --> 00:11:21,660 but if it did, it would say Peter Shickley, 200 00:11:21,660 --> 00:11:27,820 host of Shickley Mix from PRI, Public Radio International. 201 00:11:27,820 --> 00:11:31,060 A lot of these essays from academic journals and books 202 00:11:31,060 --> 00:11:33,100 are fascinating stuff. 203 00:11:33,100 --> 00:11:35,660 Susan McClary, perhaps the best known, 204 00:11:35,660 --> 00:11:37,540 or at least the most wave-making, 205 00:11:37,540 --> 00:11:40,260 of the feminist musicologists, says 206 00:11:40,260 --> 00:11:44,060 that the tonality that underlies Western concert music 207 00:11:44,060 --> 00:11:46,660 is strongly informed by a specific sort 208 00:11:46,660 --> 00:11:48,780 of erotic imagery. 209 00:11:48,780 --> 00:11:52,060 If music of earlier times presented models of stable 210 00:11:52,060 --> 00:11:53,980 order in keeping with the view of the world 211 00:11:53,980 --> 00:11:56,900 the church and courts wished to maintain, 212 00:11:56,900 --> 00:11:59,700 music after the Renaissance most frequently 213 00:11:59,700 --> 00:12:02,500 appeals to libidinal appetites. 214 00:12:02,500 --> 00:12:04,420 During the historical period in which 215 00:12:04,420 --> 00:12:07,000 the legitimation of culture, I'm not 216 00:12:07,000 --> 00:12:08,780 used to these journals, folks, moved 217 00:12:08,780 --> 00:12:11,660 from the sacred to the secular realm, 218 00:12:11,660 --> 00:12:14,940 the, quote, truth that authorized musical culture 219 00:12:14,940 --> 00:12:19,260 became expressly tied to models of sexuality. 220 00:12:19,260 --> 00:12:23,340 The principal innovation of 17th century tonality 221 00:12:23,340 --> 00:12:26,500 is its ability to instill in the listener 222 00:12:26,500 --> 00:12:31,020 an intense longing for a given event, the cadence. 223 00:12:31,020 --> 00:12:35,380 It organizes time by creating an artificial need. 224 00:12:35,380 --> 00:12:36,060 This is good. 225 00:12:36,060 --> 00:12:38,100 In the real world, there is no reason 226 00:12:38,100 --> 00:12:41,220 one should crave, for instance, the pitch D. 227 00:12:41,220 --> 00:12:45,060 Yet by making it the withheld object of musical desire, 228 00:12:45,060 --> 00:12:48,860 a good piece of tonal music can, within a mere 10 seconds, 229 00:12:48,860 --> 00:12:54,260 dictate one's very breathing, which is a good observation. 230 00:12:54,260 --> 00:12:56,700 You know that old joke about the diner in a restaurant 231 00:12:56,700 --> 00:12:59,100 who goes over to the blind piano player and says, 232 00:12:59,100 --> 00:13:01,860 do you know your dog is chewing my foot? 233 00:13:01,860 --> 00:13:04,820 And the piano player says, no, but if you hum a couple of bars, 234 00:13:04,820 --> 00:13:06,300 I'll play along. 235 00:13:06,300 --> 00:13:07,660 Now musically, that joke wouldn't 236 00:13:07,660 --> 00:13:10,300 have worked in the Renaissance, because basically, 237 00:13:10,300 --> 00:13:14,780 back then, any chord could go to any other chord of the scale. 238 00:13:14,780 --> 00:13:18,380 So no matter how much the guy hummed, 239 00:13:18,380 --> 00:13:19,820 I mean, forget about the joke now. 240 00:13:19,820 --> 00:13:21,280 I mean, say he wants to hum a tune. 241 00:13:21,280 --> 00:13:23,580 No matter how much the guy hummed, 242 00:13:23,580 --> 00:13:29,580 the pianist wouldn't know what to expect next. 243 00:13:29,580 --> 00:13:55,580 ["Toccata and Fugue in D Minor"] 244 00:13:55,580 --> 00:14:24,580 ["Toccata and Fugue in D Minor"] 245 00:14:24,580 --> 00:14:29,700 Josquin du Pré, Petit Camusette, the Hilliard Ensemble. 246 00:14:29,700 --> 00:14:33,580 But most of the pop tunes of the first half of the 20th century 247 00:14:33,580 --> 00:14:36,500 make strong use of the directionality 248 00:14:36,500 --> 00:14:38,380 of tonal harmony. 249 00:14:38,380 --> 00:14:45,700 If you hear, you can be fairly sure 250 00:14:45,700 --> 00:14:56,940 that what's going to follow is, there's 251 00:14:56,940 --> 00:14:59,540 the old story about a composer's friend sneaking 252 00:14:59,540 --> 00:15:07,540 into his house one night and playing this on the piano, 253 00:15:07,540 --> 00:15:08,620 and then leaving. 254 00:15:08,620 --> 00:15:11,540 And the composer has to trundle all the way downstairs 255 00:15:11,540 --> 00:15:17,180 and play before he can get back to sleep. 256 00:15:17,180 --> 00:15:21,820 We, on the other hand, will get back to Maclary. 257 00:15:21,820 --> 00:15:25,380 For most of the history of post-Renaissance Western music, 258 00:15:25,380 --> 00:15:28,300 and in virtually all of its critical literature, 259 00:15:28,300 --> 00:15:30,740 the sexual dimensions of its mechanisms 260 00:15:30,740 --> 00:15:36,140 have been shamelessly exploited and yet consistently denied. 261 00:15:36,140 --> 00:15:38,420 The principle of building to climax 262 00:15:38,420 --> 00:15:40,700 three quarters of the way through a piece 263 00:15:40,700 --> 00:15:43,740 is discussed in metaphors that almost always betray 264 00:15:43,740 --> 00:15:46,340 their underlying erotic assumptions, 265 00:15:46,340 --> 00:15:49,660 while at the same time, the climax principle 266 00:15:49,660 --> 00:15:52,980 has been transcendentalized to the status 267 00:15:52,980 --> 00:15:57,820 of a value-free universal form. 268 00:15:57,820 --> 00:16:01,580 Now, one of the ways that Maclary grabs your attention 269 00:16:01,580 --> 00:16:04,300 is by writing luridly. 270 00:16:04,300 --> 00:16:08,380 The sexual dimensions have been shamelessly exploited. 271 00:16:08,380 --> 00:16:11,380 One might almost take her for a Puritan. 272 00:16:11,380 --> 00:16:14,860 Elsewhere, speaking of the heroic climax 273 00:16:14,860 --> 00:16:18,260 of many a tonal composition, she says, 274 00:16:18,260 --> 00:16:21,260 this musical gesture appears prominently 275 00:16:21,260 --> 00:16:23,820 in many of our favorite repertories. 276 00:16:23,820 --> 00:16:27,460 It guarantees our identification with the music, 277 00:16:27,460 --> 00:16:30,540 for its buildup hooks us, motivating us 278 00:16:30,540 --> 00:16:33,100 to invest personally in sequences 279 00:16:33,100 --> 00:16:36,140 of seemingly abstract musical events. 280 00:16:36,140 --> 00:16:38,660 And we are rewarded for having thus invested 281 00:16:38,660 --> 00:16:40,700 in its patterns of yearning when they 282 00:16:40,700 --> 00:16:43,980 reach cathartic fulfillment, which mysteriously 283 00:16:43,980 --> 00:16:48,540 becomes our own experience of libidinal gratification. 284 00:16:48,540 --> 00:16:52,100 In rock concerts, this gesture is celebrated theatrically 285 00:16:52,100 --> 00:16:54,900 with the eruption of onstage flash pots 286 00:16:54,900 --> 00:16:59,140 and the vigorous wagging of guitars and mic stands. 287 00:16:59,140 --> 00:17:02,180 Later, she says about that same gesture, 288 00:17:02,180 --> 00:17:05,180 and the neo-tonality of John Adams and David Del 289 00:17:05,180 --> 00:17:08,740 Tredici has promoted its unembarrassed reassertion 290 00:17:08,740 --> 00:17:12,500 in compositions that once again give concert audiences what 291 00:17:12,500 --> 00:17:14,780 they want to hear. 292 00:17:14,780 --> 00:17:18,460 I guess she really thinks that John Adams and David Del 293 00:17:18,460 --> 00:17:23,820 Tredici should be embarrassed about writing tonal music. 294 00:17:23,820 --> 00:17:26,020 And then she says, the gesture is only 295 00:17:26,020 --> 00:17:28,260 slightly more graphic and literal 296 00:17:28,260 --> 00:17:33,140 in pornographic films, which in key structural moments, 297 00:17:33,140 --> 00:17:37,380 well, I really can't read the rest of that sentence 298 00:17:37,380 --> 00:17:39,500 on a family-oriented show like ours. 299 00:17:39,500 --> 00:17:42,340 But, well, you've got to take your hat off 300 00:17:42,340 --> 00:17:44,820 to someone who can look you straight in the eye 301 00:17:44,820 --> 00:17:47,980 and say that the neo-tonal gestures of the music of John 302 00:17:47,980 --> 00:17:50,380 Adams and David Del Tredici are only 303 00:17:50,380 --> 00:17:52,700 slightly less graphic and literal than those 304 00:17:52,700 --> 00:17:55,180 in pornographic films. 305 00:17:55,180 --> 00:17:58,100 McClary's book, by the way, is called Feminine Endings. 306 00:17:58,100 --> 00:17:59,100 Great title. 307 00:17:59,100 --> 00:18:01,980 Music, Gender, and Sexuality. 308 00:18:01,980 --> 00:18:04,740 I'm going to get us back to some music here. 309 00:18:04,740 --> 00:18:08,820 McClary says, when composers in the 17th century 310 00:18:08,820 --> 00:18:11,920 first turned to the invention of erotic metaphors, 311 00:18:11,920 --> 00:18:15,060 they drew upon two distinctly different versions. 312 00:18:15,060 --> 00:18:16,660 On the one hand, there were images 313 00:18:16,660 --> 00:18:20,740 of pleasure, a quality of timeless, sustained hovering. 314 00:18:20,740 --> 00:18:23,260 This quality could be produced through the popular device 315 00:18:23,260 --> 00:18:24,580 of ostinato. 316 00:18:24,580 --> 00:18:27,260 And ostinato, by the way, is a repeated figure, 317 00:18:27,260 --> 00:18:28,100 usually in the bass. 318 00:18:28,100 --> 00:18:31,620 So if you construct your piece over a constantly repeating 319 00:18:31,620 --> 00:18:34,460 figure, you create a situation in which, 320 00:18:34,460 --> 00:18:38,500 going back to McClary, each potential moment of closure 321 00:18:38,500 --> 00:18:41,980 is simultaneously the moment that guarantees continuation. 322 00:18:41,980 --> 00:19:10,060 When I am laid, am laid at last, may my wrongs 323 00:19:10,060 --> 00:19:21,060 create no trouble, no trouble in my breast. 324 00:19:21,060 --> 00:19:41,060 When I am laid, am laid at last, may my wrongs 325 00:19:41,060 --> 00:19:55,060 create no trouble, no trouble in my breast. 326 00:19:55,060 --> 00:20:23,060 Remember me, remember me, but ah, forget my fears. 327 00:20:26,060 --> 00:20:42,060 Remember me, but ah, forget my fears. 328 00:20:42,060 --> 00:21:05,060 Remember me, remember me, but ah, forget my fears. 329 00:21:05,060 --> 00:21:20,060 Remember me, but ah, forget my fears. 330 00:21:35,060 --> 00:22:03,060 Remember me, but ah, forget my fears. 331 00:22:03,060 --> 00:22:07,820 Dido's Lament, from Purcell's Dido and Aeneas, 332 00:22:07,820 --> 00:22:09,580 brings me to tears every time, especially 333 00:22:09,580 --> 00:22:14,660 when it's sung as beautifully as Emma Kirkby just sang it. 334 00:22:14,660 --> 00:22:20,740 By the way, Susan McClary amends her phrase, images of pleasure, 335 00:22:20,740 --> 00:22:26,260 to include pleasure pain, the erotic obsessions 336 00:22:26,260 --> 00:22:29,380 of Purcell's Dido. 337 00:22:29,380 --> 00:22:31,820 On the other hand, says McClary, there 338 00:22:31,820 --> 00:22:35,900 were images of desire, desire for the satisfaction of what 339 00:22:35,900 --> 00:22:39,500 is experienced as an intolerable lack. 340 00:22:39,500 --> 00:22:42,740 And that's where the new directional kind of tonality 341 00:22:42,740 --> 00:23:02,740 comes in. 342 00:23:02,740 --> 00:23:22,740 Up away, fellow sailors, come away, your hands can be weighed. 343 00:23:22,740 --> 00:23:25,740 Have a tie, and let things go delaying. 344 00:23:25,740 --> 00:23:29,740 Take a bow and shore to thee, for going in from the shore. 345 00:23:29,740 --> 00:23:33,740 Outside is the void without of returning, 346 00:23:33,740 --> 00:23:37,740 but never intending to visit them more. 347 00:23:37,740 --> 00:23:41,740 No, never intending to visit them more. 348 00:23:41,740 --> 00:23:47,740 No, never, no, never intending to visit them more. 349 00:23:47,740 --> 00:23:54,740 Up away, fellow sailors, come away, your hands can be weighed. 350 00:23:54,740 --> 00:23:57,740 Have a tie, and let things go delaying. 351 00:23:57,740 --> 00:24:01,740 Take a bow and shore to thee, for going in from the shore. 352 00:24:01,740 --> 00:24:05,740 Outside is the void without of returning, 353 00:24:05,740 --> 00:24:09,740 but never intending to visit them more. 354 00:24:09,740 --> 00:24:13,740 No, never intending to visit them more. 355 00:24:13,740 --> 00:24:21,740 No, never, no, never intending to visit them more. 356 00:24:21,740 --> 00:24:25,740 Come away, fellow sailors, from Purcell's Dido and Aeneas. 357 00:24:25,740 --> 00:24:30,740 Both those excerpts were performed by the Taverner Choir and Taverner Players, 358 00:24:30,740 --> 00:24:33,740 conducted by Andrew Parrott. 359 00:24:33,740 --> 00:24:38,740 Now, going back to the musicologist Susan McClary's essay, 360 00:24:38,740 --> 00:24:40,740 she says, 361 00:24:40,740 --> 00:24:45,740 Compositions that juxtapose the two qualities of being in time 362 00:24:45,740 --> 00:24:47,740 are perhaps most telling, 363 00:24:47,740 --> 00:24:50,740 for their dramatic effects depend on the listener's ability 364 00:24:50,740 --> 00:24:53,740 to distinguish between them in their respective meanings. 365 00:24:53,740 --> 00:24:58,740 Thus, Monteverdi's Altricanti d'amore, from Book Eight of the Madrigals, 366 00:24:58,740 --> 00:25:03,740 begins with one of the most luxuriant dissonance filled of ostinati, 367 00:25:03,740 --> 00:25:07,740 let others sing of love, the sweet caresses, the sighing kisses, 368 00:25:07,740 --> 00:25:13,740 and then breaks off abruptly to the most self-consciously masculine of styles 369 00:25:13,740 --> 00:25:16,740 for a musical staging of military valor, 370 00:25:16,740 --> 00:25:23,740 but I will sing of Mars. 371 00:25:46,740 --> 00:26:05,740 Altricanti d'amore, 372 00:26:05,740 --> 00:26:21,740 tenero, tenero argelo. 373 00:26:21,740 --> 00:26:43,740 Altricanti d'amore, 374 00:26:43,740 --> 00:26:56,740 tenero, tenero argelo. 375 00:26:56,740 --> 00:27:15,740 Dolci, dolci vezzi, 376 00:27:15,740 --> 00:27:32,740 dolci vezzia, 377 00:27:32,740 --> 00:27:54,740 cari caris velli. 378 00:27:54,740 --> 00:28:07,740 Cari caris velli e brava te fa 379 00:28:07,740 --> 00:28:28,740 quando dice due armi 380 00:28:28,740 --> 00:28:42,740 un solo insieme. 381 00:28:42,740 --> 00:28:58,740 Di Marte, O canto, 382 00:28:58,740 --> 00:29:05,740 of Mars, I sing. 383 00:29:05,740 --> 00:29:12,740 Of Mars, I sing. 384 00:29:12,740 --> 00:29:18,740 Of Mars, I sing. 385 00:29:18,740 --> 00:29:24,740 Of Mars, I sing. 386 00:29:24,740 --> 00:29:29,740 Of Mars, I sing. 387 00:29:29,740 --> 00:29:34,740 Of Mars, I sing. 388 00:29:34,740 --> 00:29:38,740 Of Mars, I sing. 389 00:29:38,740 --> 00:29:42,740 Of Mars, I sing. 390 00:29:42,740 --> 00:29:45,740 Of Mars, I sing. 391 00:29:45,740 --> 00:29:49,740 Of Mars, I sing. 392 00:29:49,740 --> 00:29:56,740 Oh, tell me all about it! 393 00:29:56,740 --> 00:30:00,740 Strip, strip and tear, 394 00:30:00,740 --> 00:30:03,740 and get us back in the game! 395 00:30:03,740 --> 00:30:06,740 And we'll be back! 396 00:30:06,740 --> 00:30:08,740 And we'll be back! 397 00:30:08,740 --> 00:30:10,740 And we'll be back! 398 00:30:10,740 --> 00:30:12,740 And we'll be back! 399 00:30:12,740 --> 00:30:14,740 And we'll be back! 400 00:30:14,740 --> 00:30:16,740 And we'll be back! 401 00:30:16,740 --> 00:30:23,740 And we'll be back! 402 00:30:46,740 --> 00:31:12,380 The first section of Monteverdi's Altricanti d'amore, performed by the consort of music 403 00:31:12,380 --> 00:31:17,480 under the direction of Anthony Rulli. I must say that I find the harmonies in the battle 404 00:31:17,480 --> 00:31:22,160 section pretty static. I mean, I love the music, but it's not very directional in its 405 00:31:22,160 --> 00:31:28,440 harmonies. Tonally, it's more like saber rattling than a strategically waged battle. But what 406 00:31:28,440 --> 00:31:35,000 do I know? I'm the lascivious Peter Shickley, and the program is Shickley Mix from PRI, 407 00:31:35,000 --> 00:31:38,500 Public Radio International. 408 00:31:38,500 --> 00:31:43,560 The name of today's show is Masculine Feminine, and we just heard Monteverdi's presentation 409 00:31:43,560 --> 00:31:49,620 of what musicologist Susan McCleary identifies as images of pleasure, followed by images 410 00:31:49,620 --> 00:31:55,500 of desire, that is, achievement of a goal. Now, by the time we get to Beethoven, a couple 411 00:31:55,500 --> 00:32:03,060 of centuries later, both tonal gesturing and McCleary have heated up considerably. As the 412 00:32:03,060 --> 00:32:08,620 thrusting impulse characteristic of tonality and the aggression characteristic of first 413 00:32:08,620 --> 00:32:14,100 themes were not enough, Beethoven's symphonies add two other dimensions to the history of 414 00:32:14,100 --> 00:32:20,340 style. Assaultive pelvic pounding, for instance in the last movement of the Fifth Symphony 415 00:32:20,340 --> 00:32:26,500 and in all but the passive third movement of the Ninth, and sexual violence. The point 416 00:32:26,500 --> 00:32:31,700 of recapitulation in the first movement of the Ninth is one of the most horrifying moments 417 00:32:31,700 --> 00:32:38,140 in music, as the carefully prepared cadence is frustrated, damning up energy which finally 418 00:32:38,140 --> 00:33:06,140 explodes in the throttling, murderous rage of a rapist, incapable of attaining release. 419 00:33:06,140 --> 00:33:29,780 Sexual Violence. 420 00:33:59,780 --> 00:34:25,860 The 421 00:34:25,860 --> 00:34:31,900 beginning of the recapitulation in the first movement of Beethoven's Ninth Symphony, heard 422 00:34:31,900 --> 00:34:40,940 by Susan McClary as the throttling, murderous rage of a rapist incapable of attaining release. 423 00:34:40,940 --> 00:34:48,280 She goes on to say that Adrienne Rich arrives at a remarkably similar reading of this composition 424 00:34:48,280 --> 00:34:55,020 in her poem The Ninth Symphony of Beethoven Understood at Last as a Sexual Message. 425 00:34:55,020 --> 00:35:00,380 A man in terror of impotence or infertility, not knowing the difference, a man trying to 426 00:35:00,380 --> 00:35:06,580 tell something, howling from the climacteric music of the entirely isolated soul, yelling 427 00:35:06,580 --> 00:35:12,660 at joy from the tunnel of the ego, music without the ghost of another person in it, music trying 428 00:35:12,660 --> 00:35:17,700 to tell something the man does not want out and would keep if he could, gagged and bound 429 00:35:17,700 --> 00:35:23,860 and flogged with cords of joy, where everything is silence and the beating of a bloody fist 430 00:35:23,860 --> 00:35:27,620 upon a splintered table. 431 00:35:27,620 --> 00:35:31,900 Now I have to register a couple of complaints here. 432 00:35:31,900 --> 00:35:37,980 That's a powerful poem, but a poem is a highly subjective testimony that tells the truth 433 00:35:37,980 --> 00:35:40,840 but not necessarily the whole truth. 434 00:35:40,840 --> 00:35:46,260 It tells us as much about the poet as it does, in this case, about the composer, obviously, 435 00:35:46,260 --> 00:35:49,580 since other people hear the piece quite differently. 436 00:35:49,580 --> 00:35:54,620 I happen to have read recently a bunch of Adrienne Rich's essays, and they're terrific 437 00:35:54,620 --> 00:36:00,260 because they're impassioned, but they're also reasoned presentations of a point of view, 438 00:36:00,260 --> 00:36:03,220 which is what an essay is. 439 00:36:03,220 --> 00:36:09,620 To imply that that poem is an explanation of Beethoven's symphony in any objective way 440 00:36:09,620 --> 00:36:12,780 is to skate on wafer-thin ice. 441 00:36:12,780 --> 00:36:19,420 Also, throughout McCleary's essay, she associates anger, frustration, and anxiety with the male 442 00:36:19,420 --> 00:36:24,300 and regards them as a bad thing, something that female composers should avoid getting 443 00:36:24,300 --> 00:36:26,060 involved with. 444 00:36:26,060 --> 00:36:32,180 And yet the anger and frustration in Adrienne Rich's poetry, the rage in many of her poems, 445 00:36:32,180 --> 00:36:34,240 is incandescent. 446 00:36:34,240 --> 00:36:36,540 So where does that leave us? 447 00:36:36,540 --> 00:36:39,700 I don't know, but let's get back to Beethoven. 448 00:36:39,700 --> 00:36:45,380 According to McCleary, the triumphal end of the symphony is likewise problematic, for 449 00:36:45,380 --> 00:36:51,700 how could any configuration of pitches satisfactorily ground the contradictions set forth over the 450 00:36:51,700 --> 00:36:55,040 course of this gargantuan composition? 451 00:36:55,040 --> 00:37:00,740 As the conclusion is approached, the promised, though by definition inadequate, cadences 452 00:37:00,740 --> 00:37:06,700 repeatedly are withheld at the last moment, and finally Beethoven simply forces closure 453 00:37:06,700 --> 00:37:10,340 by bludgeoning the cadence in the piece to death. 454 00:37:10,340 --> 00:37:15,260 For if death is inevitable in tonal music, and the reticence to resolve in this piece 455 00:37:15,260 --> 00:37:45,220 makes that connection quite pointedly, then one may as well make the most of it. 456 00:38:45,260 --> 00:39:12,780 The end of Beethoven's Ninth Symphony, with Carl Böhm conducting the Vienna Philharmonic 457 00:39:12,780 --> 00:39:25,220 on a lot of open mouths. 458 00:39:25,220 --> 00:39:30,100 I do want to get back to something that Susan McCleary, the musicologist we've been reading, 459 00:39:30,100 --> 00:39:44,020 said about cadences, by definition inadequate cadences, by whose definition? 460 00:39:44,020 --> 00:39:45,340 By hers, of course. 461 00:39:45,340 --> 00:39:48,180 A couple of pages earlier, she says, 462 00:39:48,180 --> 00:39:54,500 A significant factor that contributes to the violence of tonal procedures is that the actual 463 00:39:54,500 --> 00:40:00,740 reward, the cadence, can never be commensurate with the anticipation generated or the effort 464 00:40:00,740 --> 00:40:03,060 expended in achieving it. 465 00:40:03,060 --> 00:40:09,300 The cadence is, in fact, the most banal, most conventionalized cliché available within 466 00:40:09,300 --> 00:40:11,460 any given musical style. 467 00:40:11,460 --> 00:40:17,540 Moreover, its appearance always spells a kind of death, the cessation of the energy flow 468 00:40:17,540 --> 00:40:22,960 that up until that point in the piece had seemed to organize all subjectivity. 469 00:40:22,960 --> 00:40:29,980 At the end, the imaginary object of desire remains elusive, and attaining its cadential 470 00:40:29,980 --> 00:40:33,780 surrogate necessarily disappoints. 471 00:40:33,780 --> 00:40:40,740 But that surrogate is finally all that tonal music, for all its undeniable ability to arouse, 472 00:40:40,740 --> 00:40:42,980 has to offer. 473 00:40:42,980 --> 00:40:47,100 Well, speak for yourself, Joan Alden. 474 00:40:47,100 --> 00:40:51,460 In the first place, I think she sells cadences way short. 475 00:40:51,460 --> 00:40:57,860 Harmonically, they may be clichés, but how composers use them is endlessly inventive. 476 00:40:57,860 --> 00:41:15,500 Here's a cadence in the slow movement of a Mozart piano sonata. 477 00:41:15,500 --> 00:41:25,780 Now if you just play the chord structure of that, that's a cliché. 478 00:41:25,780 --> 00:41:27,460 But that's not what Mozart wrote. 479 00:41:27,460 --> 00:41:35,660 He wrote... 480 00:41:35,660 --> 00:41:38,540 What a beautiful sigh. 481 00:41:38,540 --> 00:41:45,540 Now as far as the cadential surrogate necessarily disappointing goes, I'd like to play the 482 00:41:45,540 --> 00:41:49,780 love death from Wagner's Tristan and Isolde. 483 00:41:49,780 --> 00:41:55,700 This is a piece that reminds almost everybody of making love, especially since that's what 484 00:41:55,700 --> 00:42:00,740 the two title characters come as close as possible to doing on stage. 485 00:42:00,740 --> 00:42:05,580 Now aside from the fact that this is some of the most sensual love music I've ever heard 486 00:42:05,580 --> 00:42:11,460 – there's no gross pelvis pounding here, and in fact, McCleary's description of early 487 00:42:11,460 --> 00:42:17,460 17th century images of pleasure comes to mind, a quality of timeless, sustained hovering 488 00:42:17,460 --> 00:42:23,620 – in spite of the obvious build-up and high points – that's plural, high points, by 489 00:42:23,620 --> 00:42:34,820 the way – aside from that, I find, now I know, I'm a man. 490 00:42:34,820 --> 00:42:41,220 But I find the aftermath in this piece ecstatically, blissfully satisfying. 491 00:50:04,820 --> 00:50:11,460 As far as I'm concerned, that ending is as good as a quiet cigarette. 492 00:50:11,460 --> 00:50:18,420 Sir George Schulte and the Chicago Symphony Orchestra playing the Liebestod, the love 493 00:50:18,420 --> 00:50:26,260 death from Tristan and Isolde by Richard Wagner, who according to one of the footnotes in one 494 00:50:26,260 --> 00:50:32,100 of these articles, regarded himself as androgynous. 495 00:50:32,100 --> 00:50:44,340 The feminist musicologist Susan McCleary, who has been one of the foci of today's 496 00:50:44,340 --> 00:50:50,300 show, goes on to discuss the role of a woman's voice, compositionally speaking, but that 497 00:50:50,300 --> 00:50:53,980 we'll have to wait for another program, we're out of time. 498 00:50:53,980 --> 00:50:58,500 You know, there is so much interesting stuff out there, articles that make you say not 499 00:50:58,500 --> 00:51:03,260 only, boy, I never knew that, but also, boy, I never thought of it that way. 500 00:51:03,260 --> 00:51:08,060 I guess the best you can do is have a musicologist friend who sends you stuff every once in a 501 00:51:08,060 --> 00:51:11,700 while, stuff you can base a radio program on. 502 00:51:11,700 --> 00:51:18,860 Friends like Leo Treitler – oh, no, wait a minute, man, I was supposed to call him 503 00:51:18,860 --> 00:51:27,300 before I started this show – folks, I try to avoid taking care of personal business 504 00:51:27,300 --> 00:51:30,660 during the program, but I really do have to call him. 505 00:51:30,660 --> 00:51:35,140 I hope – let's see, how do you work this thing? 506 00:51:35,140 --> 00:51:40,300 Oh, yeah, I remember, you put your index finger in one of the little round holes and sort 507 00:51:40,300 --> 00:51:42,300 of swivel it around. 508 00:51:42,300 --> 00:51:47,300 I hope I catch him. 509 00:51:47,300 --> 00:51:50,140 Hello, Leo? 510 00:51:50,140 --> 00:51:51,140 It's Peter. 511 00:51:51,140 --> 00:51:52,940 Hey, thanks for sending me the articles. 512 00:51:52,940 --> 00:51:54,540 It's fascinating stuff. 513 00:51:54,540 --> 00:51:57,020 Yeah, you're right. 514 00:51:57,020 --> 00:51:58,020 So are we on? 515 00:51:58,020 --> 00:52:01,020 Great, I'll see you there in about half an hour. 516 00:52:01,020 --> 00:52:03,660 No, no, they have cue sticks, don't worry. 517 00:52:03,660 --> 00:52:05,860 All you need to bring is your eagle eye. 518 00:52:05,860 --> 00:52:11,020 Hey, hey, listen, Leo, if I get there first, I'll be at the table way in the back. 519 00:52:11,020 --> 00:52:13,020 I think it's number 15. 520 00:52:13,020 --> 00:52:19,300 Well, I sort of like to be out of the way in case, you know, like if the cue ball jumps 521 00:52:19,300 --> 00:52:24,580 off the table when I make the break, it doesn't get into the way of people who don't like 522 00:52:24,580 --> 00:52:26,380 to be gotten in the way of. 523 00:52:26,380 --> 00:52:29,380 OK, see you there. 524 00:52:29,380 --> 00:52:45,700 Sorry about that, folks. 525 00:52:45,700 --> 00:52:47,460 And that's Sickily Mix for this week. 526 00:52:47,460 --> 00:52:48,820 I'm out of here. 527 00:52:48,820 --> 00:52:53,660 Our program is made possible with funds provided by the Corporation for Public Broadcasting, 528 00:52:53,660 --> 00:52:59,500 by the National Endowment for the Arts, and by this radio station and its members. 529 00:52:59,500 --> 00:53:05,740 Our program is distributionalized to both academic circles and the Hoi Poloi by PRI, 530 00:53:05,740 --> 00:53:08,100 Public Radio International. 531 00:53:08,100 --> 00:53:11,900 We'll tell you in a moment how you can get an official playlist of all the music on today's 532 00:53:11,900 --> 00:53:14,840 program with album numbers and everything. 533 00:53:14,840 --> 00:53:16,500 Just refer to the program number. 534 00:53:16,500 --> 00:53:19,740 This is program number 89. 535 00:53:19,740 --> 00:53:23,740 And this is Peter Sickily saying goodbye and reminding you that it don't mean a thing if 536 00:53:23,740 --> 00:53:26,620 it ain't got that certain je ne sais quoi. 537 00:53:26,620 --> 00:53:27,820 You're looking good. 538 00:53:27,820 --> 00:53:55,820 See you next week. 539 00:57:28,820 --> 00:57:36,820 If you'd like a copy of that playlist I mentioned, send a stamped, self-addressed envelope to 540 00:57:36,820 --> 00:57:38,460 Sickily Mix. 541 00:57:38,460 --> 00:57:43,220 That's S-C-H-I-C-K-E-L-E, Sickily Mix. 542 00:57:43,220 --> 00:57:50,620 Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 543 00:57:50,620 --> 00:57:51,620 55403. 544 00:57:51,620 --> 00:57:57,420 PRI, Public Radio International.