1
00:00:00,820 --> 00:00:04,000
And now, Shickley Mix. Ready, Mr. Shickley?

2
00:00:05,960 --> 00:00:12,640
As James Joyce wrote in his now-classic book, Ulysses, yes, here's the theme.

3
00:00:28,240 --> 00:00:39,860
Hello there, I'm Peter Shickley, and this is Shickley Mix, a program dedicated to the proposition that all musics are created equal, or as Duke Ellington put it, if it sounds good, it is good.

4
00:00:40,360 --> 00:00:51,960
Our bills, I'm happy and grateful to say, are paid by the Corporation for Public Broadcasting, by the National Endowment for the Arts, and by this radio station, to which you are tuned right now,

5
00:00:52,140 --> 00:01:01,100
which gives me the space to expand my ideas, after which they ooze out all over the place, thanks to PRI, Public Radio International.

6
00:01:04,150 --> 00:01:15,250
Once upon a time, many, many, many years ago, a caveman named Andmer Plumdrews woke up very early and couldn't get back to sleep. It was a very, very, very, very, very, very, very,

7
00:01:15,250 --> 00:01:27,430
It was still dark in the cave, but when he went outside, he marveled at what he saw, for the sky was light and clear and full of strange and beautiful colors, but the sun was nowhere to be seen.

8
00:01:28,050 --> 00:01:39,890
The fact is that Andmer's cave was so deep and dark that he had never in his life been up before sunrise. He climbed to the top of a nearby promontory and watched in wonder

9
00:01:39,890 --> 00:01:50,590
as the sun, in all its splendor, climbed slowly into the sky from beyond the sky. beyond the horizon. So moved was he by the beauty of the scene before him

10
00:01:50,590 --> 00:02:01,310
that he expressed his feelings aloud, speaking, of course, in cave. Og, og, Ogmebo, Ogmebo to Bobo.

11
00:02:02,730 --> 00:02:14,930
The next morning, having invented a primitive device that dropped a rock on his head at 5 a.m., Andmer woke up his aging father and helped him up to the promontory. His father, too,

12
00:02:15,250 --> 00:02:26,370
was moved by the sunrise and expressed himself with the same words as his son, but his voice was pitched differently, so that a kind of harmony was produced when they spoke.

13
00:02:27,330 --> 00:02:40,150
Og, og, Ogmebo, Ogmebo to Bobo. The next morning, Andmer brought his father, his wife, and both their kids up to the promontory. And when the sun rose,

14
00:02:40,490 --> 00:02:47,610
and they all expressed their amazement, each in a distinct voice, the world heard its first chorus.

15
00:02:48,670 --> 00:02:52,570
Og, og, Ogmebo, Ogmebo to Bobo.

16
00:02:53,750 --> 00:03:06,450
Soon the whole clan was gathering on the promontory to greet the sun. By now, Andmer Plumdrew's initial reaction had become an incantation, spoken simultaneously by everyone,

17
00:03:06,690 --> 00:03:17,070
each in his or her own range, the moment the sun appeared. Little did these beetle-browed but gentle folk, realize that they were inventing harmony.

18
00:03:18,030 --> 00:03:27,230
Og, og, Ogmebo, Ogmebo to Bobo. Today, thousands and thousands of years later,

19
00:03:27,710 --> 00:03:37,890
and in spite of vast evolutionary changes in language, that same incantation can still be heard when the descendants of those simple cave people

20
00:03:38,370 --> 00:03:42,570
come together on the promontories of what we now call Austria.

21
00:03:44,490 --> 00:03:56,370
The hills are alive with the sound of music With songs they have sung

22
00:03:57,150 --> 00:04:05,970
for a thousand years The hills fill my heart

23
00:04:08,210 --> 00:04:20,029
That's right folks, and remember you heard it first on Shickly Mix. Harmony was invented in Austria, sometime between the last two years, in the late 19th and early 20th centuries, by the ancestors of Julie Andrews and Christopher Plummer.

24
00:04:20,529 --> 00:04:30,630
And the musical world hasn't been the same since. On another edition of this program, we talk about how, in a melody plus accompaniment situation,

25
00:04:31,090 --> 00:04:41,750
the accompaniment is usually quite distinct from the melody, in order to make the melody stand out. Specifically, the accompaniment is often very different rhythmically from the melody.

26
00:04:42,310 --> 00:04:47,870
The accompaniment may be a simple beat, that is soft, slower than most of the notes in the melody,

27
00:04:49,970 --> 00:05:11,160
or the accompaniment may be fancy guitar and banjo picking,

28
00:05:11,360 --> 00:05:14,260
whose notes are faster than those of the melody.

29
00:05:15,120 --> 00:05:25,680
Get down boys, go back home, back to the girl you love Here I never wrong, now, now

30
00:05:29,560 --> 00:05:41,040
In both those cases, and in many, many, many, many other cases, the rhythm of the accompaniment is completely different. Now the one common kind of accompaniment

31
00:05:41,040 --> 00:05:53,140
that does not follow the principle of rhythmic differentiation from the melody, is what we'll call harmonizing. Protestant hymns and doo-wop singing are two bastions of harmonizing,

32
00:05:53,220 --> 00:06:05,700
which term I'm using to mean music that has at least two voices, but all the voices have the same rhythm. The melody, in as much as it stands out at all, usually stands out simply because it's on top.

33
00:06:06,420 --> 00:06:18,380
Our first suite today contains four great examples of harmonizing. Now, composers are not out to write textbook examples. They feel no didactic need to stick to one technique throughout a piece.

34
00:06:18,900 --> 00:06:30,520
But I'll be sticking pretty close to the truth if I say that in these four works, all the parts have the same rhythm as the melody. The first number features two women singing mostly in unison,

35
00:06:30,580 --> 00:06:41,860
but every once in a while they sort of drift apart, which I suppose is one of the ways that harmonizing works. The three women in the second piece, and the six men in the third,

36
00:06:42,080 --> 00:06:52,560
sing pretty consistently in harmony. In fact, it's usually harmony in parallel or similar motion. That is, if the melody goes up, all the other voices go up, too, and vice versa.

37
00:06:53,240 --> 00:07:02,500
This kind of harmonization can often be improvised, as Antmer Plumdrews and his clan demonstrated. Then the last number is a Protestant hymn,

38
00:07:02,620 --> 00:07:15,120
but believe me, it's not the kind they sang at the first concert, but it's a congregational church in Fargo, North Dakota, up there on North Broadway. The Your Rhythm is Good Enough for Me Suite lasts about 12 minutes.

39
00:07:15,360 --> 00:07:16,420
I'll see you then.

40
00:07:46,880 --> 00:07:59,720
¶¶ ¶¶ ¶¶ ¶¶ ¶¶ ¶¶

41
00:08:05,420 --> 00:08:12,460
¶¶ you are a homo rega ven, you are a homo rega ven, saho shleven rishonim.

42
00:11:12,810 --> 00:11:15,030
Thank you.

43
00:12:23,540 --> 00:12:24,140
Thank you.

44
00:13:18,170 --> 00:13:19,110
Thank you.

45
00:13:48,170 --> 00:14:01,050
This warning says that you must be aware of the deceivers he or she attracts you with something like touch, touch and kiss, kiss.

46
00:14:01,210 --> 00:14:12,050
Get away from those who want to touch, touch and kiss, kiss. Thereafter, they leave you alone. You.

47
00:14:12,810 --> 00:14:23,050
This warning is for you and you and you too. And for everybody. Come back, Paulina, come back.

48
00:14:23,610 --> 00:14:34,550
Come back, Paulina, come back. I feel so rude. Come back, Paulina, come back. I saw tears from your face. Come back, my love, come back. I've fallen like waterfalls.

49
00:14:34,830 --> 00:14:46,750
Come back, my love, come back. Remember me. Remember your promise. Come back, come back, come back. Remember your promise. I feel so rude. Come back, Paulina.

50
00:14:47,130 --> 00:14:59,050
I am lonely Come back, Paulina I saw tears from your face Come back, my love Falling like waterfalls Come back, my love, come back Come back

51
00:14:59,630 --> 00:15:12,470
Remember your promise, remember Come back, come back, come back Remember your promise, remember Listen to me, Paulina Come back, Paulina, come back Listen to me, Paulina Paulina, come back

52
00:15:17,130 --> 00:15:50,180
Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu, Chululu

53
00:15:50,180 --> 00:16:02,860
I feel sorrow I saw tears on your face Come back my love Hold me like waterfall Come back my love Why don't you come back

54
00:16:02,860 --> 00:16:14,900
Remember your promise Remember, come back, come back Remember your promise Remember, come back, come back Remember your promise Please Paulina

55
00:16:14,900 --> 00:16:18,420
Please Paulina Come back to him

56
00:16:18,420 --> 00:16:31,380
He loves you, he wants to marry you, get away from those who want to touch, touch, and kiss, kiss, thereafter they leave you alone.

57
00:16:31,380 --> 00:16:48,690
Lord, Lord, what wondrous love is this, O my soul, O my soul.

58
00:16:48,770 --> 00:16:56,130
What wondrous love is this, O my soul.

59
00:16:58,090 --> 00:17:02,910
What wondrous love is this.

60
00:17:03,910 --> 00:17:19,380
What wondrous love is this, O my soul, O my soul.

61
00:17:20,460 --> 00:17:41,700
When I was sinking down, sinking down, sinking down.

62
00:17:41,700 --> 00:17:50,820
When I was sinking down, sinking down. When I was sinking down, sinking down.

63
00:17:51,520 --> 00:18:12,480
When I was sinking down, beneath God's righteous crown, Christ laid aside his crown for my soul.

64
00:18:12,680 --> 00:18:25,120
To the sky His crown, warm my soul.

65
00:18:27,660 --> 00:18:39,340
To God and to the world sing, I will sing.

66
00:18:40,000 --> 00:18:48,680
To God and to the world sing.

67
00:18:48,680 --> 00:19:01,920
To God and to the world sing, is the great I am.

68
00:19:04,770 --> 00:19:14,450
Me and Jonathan, I will sing, I will sing.

69
00:19:15,430 --> 00:19:23,970
I am me and Jonathan. I will sing.

70
00:19:28,670 --> 00:19:37,370
Very good indeed. The, your rhythm is good enough for me, sweet. We began from a sampler album called the Heart of the Gales.

71
00:19:37,850 --> 00:19:44,470
A group called, and I don't know how to pronounce, you know, Gaelic stuff.

72
00:19:44,550 --> 00:19:56,050
So it's, the group is called Sileus, or Silius, which consists of Patsy Seddon and Mary McAllister. They're both singing here. Apparently they also play harp. I'd, I'd love to get that whole album.

73
00:19:56,270 --> 00:20:07,630
Anyway, that's called Pertibull, or something like that, mouth music. Then the second piece was from the Anonymous Fours album, An English Lady Mass.

74
00:20:07,870 --> 00:20:20,490
That was an anonymous Gloria, medieval Gloria. Then from an album called the Best of Ladysmith Black Mambazo, a tune called Pauline, which you probably figured out.

75
00:20:21,030 --> 00:20:30,830
Great number. And then finally. That, that incredibly rousing sound at the end is from an album called White Spirituals from the Sacred Harp.

76
00:20:30,870 --> 00:20:39,370
The Sacred Harp is this terrific collection of old folk hymns in three and four part arrangements and shape note singing.

77
00:20:39,550 --> 00:20:48,510
This was taped at the Alabama Sacred Harp Convention in 1959 by Alan Lomax. The hymn was called Wondrous Love.

78
00:20:48,790 --> 00:21:00,810
And those hundred people or so were all sight readings. Somebody calls out a hymn, they give the pitches, and they all go to it. Sometimes apparently people bring in new ones and everybody just sight reads.

79
00:21:01,170 --> 00:21:09,450
It sounds like a tremendously emotional thing. I would love to be there for one of those conventions. I don't know if an outsider would feel at home, but I'd love to be there.

80
00:21:10,510 --> 00:21:22,870
Now if you say hymn style harmonization, everyone will assume a style in which the parts, usually four, soprano, alto, tenor, bass, all share basically the same rhythm. But that is not adhering to the rhythm.

81
00:21:22,870 --> 00:21:33,510
It's adhered to strictly. And in fact Bach, who made dozens of chorale harmonizations, often gives a fair amount of rhythmic independence to the lower three voices, but only up to a point.

82
00:21:33,750 --> 00:21:45,210
They're never as independent as they would be in a fugue, for instance. Sometimes a lot of busy harmonic activity can actually obscure the melody. Here's a setting by P.D.Q.

83
00:21:45,310 --> 00:21:54,870
Bach of a hymn he identifies as mündlich, that is, orally. It sounds more like a medication instruction than a hymn title.

84
00:21:54,990 --> 00:22:00,910
Anyway, we will hear it performed on the organ of the King Congregational Church in Fayray, North Dakota.

85
00:24:06,470 --> 00:24:14,550
If you're wondering how P.D.Q. Bach, who according to the world's greatest authority lived in the 18th century, could

86
00:24:14,550 --> 00:24:23,970
have made a setting of an Elvis Presley song, let me point out that the melody of Love Me Tender comes from an old, old song about a girl named Orville.

87
00:24:27,490 --> 00:24:38,530
The organist in that performance is also the host of this radio program. The name of both of them is Peter Shickley, and the name of the show is Shickley Mix from PRI, Public Radio International.

88
00:24:42,280 --> 00:24:53,620
Today's show is called, Harmonically, please. We started with one of the most basic kinds of harmonization,

89
00:24:54,320 --> 00:25:03,780
one chord for every melodic note. And now we continue with another one of the most basic kinds of harmonization, one chord for every group of melodic notes,

90
00:25:04,550 --> 00:25:15,940
which brings us back, by the way, to the norm of rhythmically differentiated accompaniments. The technique of simply plonking down a chord every measure, or every half measure, or every other measure,

91
00:25:16,060 --> 00:25:24,040
can get very tedious when employed by an amateur who can do nothing else, like when there used to be a piano in the school cafeteria.

92
00:25:40,060 --> 00:25:52,320
But it can be very effective as a contrast to more florid kinds of accompaniment. It's very rarely used for a whole piece, which is why this next suite begins with an excerpt.

93
00:25:52,760 --> 00:25:58,040
I call the pair Simplicity Itself, and I'll be back in less than four minutes.

94
00:29:47,720 --> 00:29:55,400
Simplicity itself. The first of those two numbers was the beginning of the lament on the death of Sor Blanca Maria

95
00:29:55,400 --> 00:30:01,820
with the terrific fiddle player Bonnie Rideout, and that was Sue Richards playing the Celtic harp.

96
00:30:02,690 --> 00:30:15,340
And then we had Dietrich Fischer-Diskau and Alfred Brendel from Schubert's Winterreise der Greise Kopf. These words sound so modern in a way.

97
00:30:15,420 --> 00:30:22,540
The frost had spread a white glow over my head. Then I thought I was an old man already and was very glad. But soon it thawed away.

98
00:30:22,760 --> 00:30:31,760
I have black hair once more, so that I shudder at my youthfulness, how far it is yet to the grave. Do a punk rock number on that.

99
00:30:32,580 --> 00:30:40,120
Now, the thing about pianos and harps is that when you play a chord, it decays. There's no way you can keep it going without playing it again.

100
00:30:40,860 --> 00:30:52,140
But if you transfer this simplicity itself technique to instruments that can sustain notes, it's a whole new ball. As we hear in the next sweetlet called Hold That Chord.

101
00:30:52,520 --> 00:30:57,220
It has two movements and holds forth for about six minutes. Till then.

102
00:30:57,500 --> 00:31:13,410
The ruler lives up the stairs

103
00:31:15,030 --> 00:31:18,670
And four doors down the hall

104
00:31:21,950 --> 00:31:28,780
And knows that

105
00:31:31,890 --> 00:31:40,030
Except for linens When the family comes to call

106
00:31:41,510 --> 00:31:51,970
The room nobody lives in

107
00:31:54,830 --> 00:32:01,610
Is always empty Inculately clean

108
00:32:01,610 --> 00:32:10,380
And all is softly silent

109
00:32:14,020 --> 00:32:17,520
Except for buzzings

110
00:32:18,540 --> 00:32:23,700
Eyes between the screen And all is softly silent Except for buzzing eyes between the screen

111
00:32:23,720 --> 00:32:30,920
But there's a feeling

112
00:32:32,200 --> 00:32:41,360
Even breathing in the air Like there's someone

113
00:32:42,920 --> 00:32:46,820
When there's no one even there

114
00:32:50,780 --> 00:32:59,940
And I'm hearing the cheers for the heroes Of scenes going down in this room

115
00:32:59,940 --> 00:33:01,680
And I'm hearing the cheers for the heroes Of scenes going down in this room And I'm hearing the cheers for the heroes Of scenes going down in this room

116
00:33:01,680 --> 00:33:12,840
For so many years But now nobody goes

117
00:33:16,970 --> 00:33:20,070
For forty years or so

118
00:33:20,070 --> 00:33:22,510
This room has been alone

119
00:33:23,130 --> 00:33:36,110
And starving for a moment Completely human

120
00:33:36,950 --> 00:33:41,150
Completely all her own

121
00:33:41,150 --> 00:33:56,880
Who is up the stairs

122
00:35:45,430 --> 00:35:46,750
Who is up the stairs

123
00:36:38,170 --> 00:36:47,370
Hold that chord The first number was John Sebastian singing his song The Room Nobody Lives In and pumping away at the harmonium.

124
00:36:47,670 --> 00:36:56,210
And then from an absolutely gorgeous album called La Dolce Vita with the King's Singers and a group called Tragicomedia. Tragicomedia.

125
00:36:56,550 --> 00:37:02,650
That was a fantasy by a new composer to me, Alonso Mudara.

126
00:37:03,420 --> 00:37:16,370
And according to the liner notes, Mudara's Fantasia for Vioella imitates the improvising style of Ludovico, the great Spanish harpist of the previous generation. I would have loved to have heard him play.

127
00:37:17,490 --> 00:37:25,990
Okay, my name is still Peter Schickley, just as it was earlier in the show. And that of the show is still Schickley Mix from PRI, Public Radio Indoors.

128
00:37:26,010 --> 00:37:37,390
international. Have you heard about the composer who liked dissonant chords so much he ate them for breakfast? When people asked him what he had for breakfast, he said, harmony grits.

129
00:37:43,040 --> 00:37:55,720
We're talking about basic harmonic accompaniments to melodies here, and we're having a swell time doing it. Now, you see, the trouble with the hold that chord technique is that after a while,

130
00:37:55,720 --> 00:38:01,820
it can get to sounding pretty lugubrious. How can you keep the same chord going without being

131
00:38:01,820 --> 00:38:08,920
mistaken for a zombie? Easy. Repeat the chord. Repeat it again. And keep repeating it until you

132
00:38:08,920 --> 00:38:21,820
feel the sap starting to flow. Our last suite contains five examples of accompaniments featuring repeated chords, and it covers a lot of territory. Let's call this suite Once Is Not Enough.

133
00:38:22,420 --> 00:38:30,520
And here we go. A one, one, one, a two, two, two, two, a one, one, a two, two, a three, three, a four, four.

134
00:40:56,210 --> 00:40:56,730
Hallelujah.

135
00:41:08,980 --> 00:41:15,120
A one, one, one, a two, two, three, a four, four, five.

136
00:41:15,120 --> 00:41:34,390
A one, one, one, a two, two, two, a one, one, a three, two, three, a four.

137
00:41:35,110 --> 00:41:57,820
A one is the best for a four time over.

138
00:42:02,850 --> 00:42:04,970
Now, it's time to get a grade for engagements with par Backanne.

139
00:42:04,970 --> 00:42:06,830
macamico투 лоџ 19 оу coincide

140
00:43:16,240 --> 00:43:16,680
preclude delle или

141
00:45:20,910 --> 00:45:38,660
Say hi, don't do it, man.

142
00:48:27,710 --> 00:48:35,330
Someday, yeah, this boy wants you back again.

143
00:48:39,490 --> 00:48:48,450
That boy isn't good for you.

144
00:48:49,310 --> 00:48:54,960
He may want you too.

145
00:48:54,960 --> 00:49:01,540
Ooh, this boy wants you back again.

146
00:49:05,850 --> 00:49:35,220
Oh, and this boy, this boy,

147
00:49:40,800 --> 00:49:53,520
always feel the same. If this boy gets you back again.

148
00:49:59,650 --> 00:50:13,720
This boy, this boy, this boy, this boy.

149
00:50:16,620 --> 00:50:26,220
Once is not enough, a fine collection of repeated chords. We began with a song by Amy Beach, the American composer.

150
00:50:26,240 --> 00:50:38,700
This was called Uni, June, written in 1903. American composer, but German poem. Oh, June days in the sunshine, flooding, and cloudless, richly flowered meadows and blossoming wine.

151
00:50:38,840 --> 00:50:51,720
And in the gardens throughout the world, hearts ease and roses. Poem by Erich Janssen. And then we had from one of my favorite albums, a 10-inch LP, Music of Africa series number 11.

152
00:50:53,040 --> 00:51:05,580
That was a song called Utando Kwabanyé, a song with zither accompaniment by Enoch Matawu, who is from the Debele branch of the Zulu family. It's a song about a man who's been in the world for a long time, but who's been in the world for a long time.

153
00:51:05,580 --> 00:51:13,320
It's about the possession of cattle with which to pay the bride price. The cattle demanded of a young man who wishes to marry. Recorded in 1953.

154
00:51:14,240 --> 00:51:24,780
Then the wonderful group Muzikash with Marta Sebastian singing. That's a mezuzeg dance. And I don't think I'll even try to give the title,

155
00:51:24,860 --> 00:51:37,380
but the name of the album is Marta Sebastian. And that instrument that keeps repeating the chord, in addition to the string bass, is a three-chord, and it's a 3-chord. It's a three-string violin with a flat bridge,

156
00:51:37,620 --> 00:51:50,600
so that the bow hits all three strings at once. And that instrument just plays chordal accompaniment, repeating it like that. Then we heard the famous E minor prelude from Opus 28 of Chopin,

157
00:51:50,720 --> 00:52:03,280
played by Russell Sherman. And then finally, the Beatles, this boy. It's just, to me, it's fantastic how they take what is basically a rather trite kind of figure and a trite kind of harmonic progression,

158
00:52:03,520 --> 00:52:13,640
and turn it into a fantastic, a fantastic song because of the harmonization, and also because of that great bridge. Meanwhile, the guitar is going chung, chugga, chung, chung, chung, chung, chung, chugga, chung, chung,

159
00:52:13,640 --> 00:52:21,260
one of the great cliches of repeated chords. Hey, we've got time for tidbit time. And speaking of repeated chords,

160
00:52:21,620 --> 00:52:29,740
this is a cautionary tale about some of the occupational hazards that can befall a repeated chord player.

161
00:52:35,580 --> 00:52:48,180
Huh? Oh yes, I'm the great pretender. Ooh, ooh. Pretender. But just a moment, please. You're on the piano.

162
00:52:48,540 --> 00:52:49,440
What are you doing?

163
00:52:50,040 --> 00:52:59,780
Well, man, I just play a little ooh-bah-bah-doo, like ooh-bah-bah, ooh-bah-bah-bah. See, I think it's a mistake on my part. I got the same chord over and over, like a clink, clink, clink, clink, clink, clink.

164
00:52:59,940 --> 00:53:00,940
That's right. That's right.

165
00:53:01,320 --> 00:53:04,420
You want me to play the same thing all through the song? You catch on fast.

166
00:53:05,240 --> 00:53:16,760
Wow. My need is such, I pretend too much. I'm lonely, but no one can tell.

167
00:53:18,160 --> 00:53:21,520
Oh, oh, man, you scared me, don't do that.

168
00:53:21,800 --> 00:53:31,920
Oh, oh, yes, I'm the great pretender. Ooh, ooh. I drift in a world of my own.

169
00:53:32,200 --> 00:53:44,820
Watch it, that's better, I'll play the game. And you'd better play it, too, for we're getting a new piano man. That's all right with me.

170
00:53:45,320 --> 00:53:56,600
To real is this feeling of make believe. Ooh. To real what I feel, what my heart can't conceal.

171
00:53:56,960 --> 00:54:00,180
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, yes.

172
00:54:00,700 --> 00:54:03,280
I am the great pretender.

173
00:54:07,040 --> 00:54:18,480
Ooh, ooh. Just laughing and gay like a clown. My hand is falling off and I seem to be what I'm not.

174
00:54:18,480 --> 00:54:25,860
You see, I'm wearing my heart like a crown. Wow, what a drag.

175
00:54:26,860 --> 00:54:29,960
Pretending that you're still around.

176
00:54:30,640 --> 00:54:33,060
Just a moment. Just a moment, please.

177
00:54:34,200 --> 00:54:42,420
I thought you were through. No, no. I don't want to play that lick no more, man. I come from a different school, like Shearing, Erick Garner, Stone and Tick, man. Hold it.

178
00:54:43,540 --> 00:54:46,500
That's not going to sell the records. Man, don't bug me.

179
00:54:46,560 --> 00:54:48,000
I don't want to play that cling, cling, cling jazz.

180
00:54:48,340 --> 00:54:51,400
You play that cling, cling, cling jazz or you won't get paid tonight.

181
00:54:54,300 --> 00:55:05,580
Well, all right. To real is this feeling of make believe. Ooh. To real what I feel, what my heart can't conceal.

182
00:55:08,680 --> 00:55:20,660
Oh yes, I'm a great. You see how lovely that turned out now. That's the darling part. Appreciate it. And gay like a clown. Ooh. I seem, hold it.

183
00:55:20,760 --> 00:55:24,100
I seem, slow down. I seem, retard.

184
00:55:24,640 --> 00:55:25,660
Don't stop me now, man.

185
00:55:25,740 --> 00:55:29,460
I got to where I like it. Stop it. Stop it, I say. I'm getting out of here.

186
00:55:31,640 --> 00:55:35,560
He ruined the ending. One of the loveliest parts in the whole film.

187
00:55:36,900 --> 00:55:37,620
Peace!

188
00:55:40,350 --> 00:55:42,770
The whole piece!

189
00:56:05,650 --> 00:56:17,090
Stan Freeberg's classic version of The Great Pretender brings Chickalimix to a close for this week. Our program is made possible with funds provided by the Corporation for Public Broadcasting,

190
00:56:17,250 --> 00:56:30,230
by the National Endowment for the Arts, and by this radio station and its members, whom I now thank. Thank you, members. Not only that, our program is distributed by PRI, Public Radio International.

191
00:56:31,830 --> 00:56:42,510
We'll tell you in a moment how you can get an official playlist of all the music on today's program with album numbers and everything. Just refer to the program number. This is program 104.

192
00:56:43,650 --> 00:56:52,770
And this is Peter Shickley saying goodbye and reminding you that it don't mean a thing if it ain't got that certain genocide. You're looking good. See you next week.

193
00:57:51,480 --> 00:58:02,120
If you'd like a copy of that playlist I mentioned, send a stamped self-addressed envelope to Chickalimix. That's S-C-H-I-C-K-E-L-E, Chickalimix.

194
00:58:02,640 --> 00:58:11,980
Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403.

195
00:58:13,260 --> 00:58:16,620
P.I.P. R.I. Public Radio International.