1 00:00:01,070 --> 00:00:08,130 And now, Shickley Mix. Ready, Mr. Shickley? Need you ask? Here's the theme. 2 00:00:23,470 --> 00:00:36,290 Well, 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. 3 00:00:36,890 --> 00:00:49,230 Be that as it may or may not be, one thing is certain. Our bills are paid by the Corporation for Public Broadcasting, by the National Endowment for the Arts, and by this farsighted radio station, 4 00:00:49,370 --> 00:01:01,110 which provides me with this fine studio, a sort of home base, from which I can spew my message of love and enlightenment, not only to you, but to the populace at large, 5 00:01:01,350 --> 00:01:12,100 thanks to the distributory efforts of PRI, Public Radio, International. Let's face it. Italians are weird. 6 00:01:12,880 --> 00:01:25,420 Okay, put that phone down, Luigi. I don't want any calls. Listen to what I mean. I do not mean that I don't like Italians. My parents lived in Rome for 11 years, and I spent four summers over there and had a great time. 7 00:01:26,080 --> 00:01:38,100 I was just out of my teens, and I remember the high school-age boy next door had learned some of Elvis Presley's songs phonetically, and I tried, in my hopeless Italian, to give him some of the songs that I had learned. 8 00:01:38,100 --> 00:01:50,680 I had no idea of what the words meant. I mean, what is the Italian for hound dog or all shook up? You know, Italian has been the lingua franca of classical music for over 200 years. 9 00:01:51,380 --> 00:02:01,440 Composers of many different nationalities have used Italian terms in their scores, especially for tempo indications. Allegro, andante, lento, vivace. 10 00:02:01,640 --> 00:02:12,960 And I suppose I'm not the only foreign composer who associated those terms solely with music. It's very interesting to go to Italy and realize that they're all just regular words. 11 00:02:13,620 --> 00:02:25,700 A fermata, for instance, is a place in the music where you stop the beat and hold the note or rest as long as you want. Well, in Italy, a fermata is also a bus stop. Fermata la autobus. 12 00:02:26,240 --> 00:02:37,480 And legato. Legato indicates that a passage should be played very smoothly, as if the notes were tied to one another. Well, if an Italian were to say, I've got a goat tied up in the backyard, 13 00:02:37,480 --> 00:02:47,580 the word for tied would be legato. I once read a story somewhere about a Russian string quartet who had a few days off in a resort town in the south of Russia, 14 00:02:47,700 --> 00:02:58,000 a town that had a very fancy restaurant in it. Now, in those days, fancy places in Russia were only for foreigners. Russians couldn't get in unless they were high up in the party. 15 00:02:58,240 --> 00:03:11,100 So this quartet had a friend along, a fifth person, and he presented himself to the maitre d' of the restaurant as the manager of this world-famous restaurant. And it worked. It got them in, 16 00:03:11,200 --> 00:03:23,740 because the members of the quartet stood around spouting musical terms to each other. Allegro, legato, tempo primo, pianissimo, fortissimo, con molto, staccato, poco, poco, eh? 17 00:03:26,960 --> 00:03:37,120 Pizzicato. Another interesting thing about my visits to Rome were that I had studied French and German in school, but never Italian. And it's very different. 18 00:03:37,120 --> 00:03:48,340 learning a language on your feet, as it were, as opposed to studying it. The first word I learned over there was the word for garbage, because the morning after I got there, the garbage man came 19 00:03:48,340 --> 00:04:00,740 around yelling, Mondizia! I think that's what it was, Mondizia. It's been a long time, and I... There goes the irrelevancy alarm. I guess it's time to get back to the subject, 20 00:04:00,740 --> 00:04:13,600 which was Italians, not in general, no problem there, but 19th century Italian composers had some pretty weird ideas about what kind of music should accompany tragic words. 21 00:04:14,460 --> 00:04:41,920 Listen to this snippet from a representative 19th century Italian opera. Okay, first you've got 22 00:04:41,920 --> 00:04:50,720 boom chick chick, boom chick chick. Then you've got those two trumpets playing in thirds. I said to my friend Eric, is that Mariottes? I said, no, it's not Mariottes. It's a little bit of a 23 00:04:50,720 --> 00:05:03,000 music or what? He said, you're right, it's Herb Alpert. So, between the boom chick chick and the Tijuana Brass there, you'd think that the words would be, well, maybe a nostalgic sentiment like 24 00:05:03,000 --> 00:05:19,610 this. There's a small pension called Il Duccio, where my sweetheart and I used to smoocho. 25 00:05:23,370 --> 00:05:29,630 But no. You want to know what they're singing about? Here, let me get the booklet. Track eight. 26 00:05:30,450 --> 00:05:36,690 Okay, so it's a bunch of people confronting Lucretia Borgia, and they say, while the 27 00:05:36,690 --> 00:05:44,130 orchestra goes boom chick chick, boom chick chick, Mafio Orsini, madame, am I, whose brother you 28 00:05:44,130 --> 00:05:51,450 murdered in his sleep. Vitale, I, my uncle, on your orders, was killed within the castle you 29 00:05:51,450 --> 00:06:01,370 purloined. I, Amapiano's nephew, he, betrayed, was slain by you in vile imprisonment. Petrucci, I, 30 00:06:01,490 --> 00:06:08,110 cousin to the count, whose estate in Siena you appropriated. I am related to one you oppressed, 31 00:06:08,470 --> 00:06:21,290 who you caused to be drowned in the Tiber. Whom you caused to be drowned in the Tiber. I will let that go. Anyway, you know, this is all over boom chick chick, boom chick chick. Give me a break. 32 00:06:21,450 --> 00:06:30,310 What is this? Lucretia Borgia goes to Disneyland? And you know, in the words of Signor Dave Berry, I'm not making this up. 33 00:08:08,350 --> 00:08:19,610 Part of the prologue to Donizetti's opera Lucretia Borgia, sung by Joan Sutherland, Marilyn Horne, and a bunch of guys, conducted by Richard Bonning. 34 00:08:20,410 --> 00:08:27,530 Now, seriously folks, even though I find it quite alien to my temperament, I am aware of the special 35 00:08:27,530 --> 00:08:38,330 use of trivial and trite material in 19th century music. As usual, one of the people you can trace it back to is Beethoven. I mean, as usual, he started so many of these pieces, and I'm not 36 00:08:38,330 --> 00:08:49,130 going to go into too much detail about the many things that flowered in the 19th century. I'm talking about when he brought that seemingly incongruous marching band music into the exalted finale of the Ninth Symphony. 37 00:08:50,240 --> 00:08:57,790 And at the other end of the century, there's Mahler knowingly flirting with the trashy. We should do a show on that one of these days. 38 00:08:58,780 --> 00:09:07,970 But there's something about these Italian operas or certain places in them that feels like a very peculiar kind of naivete. A kind of 39 00:09:07,970 --> 00:09:20,150 childlike presentation of turbulent emotions. It must be remembered, by the way, that the scene we just heard part of takes place on a terrace of a palace in which a party is going on. 40 00:09:20,450 --> 00:09:31,410 So I guess there's an intentional irony going on between the boom-chick-chick accompaniment and limpid melody on the one hand, and the vitriolic feelings expressed by the characters 41 00:09:31,410 --> 00:09:41,570 on the other. Still, well, anyway, let's talk about boom-chick-chick. Or to put it in its most basic form, boom-chick-boom-chick. 42 00:09:42,150 --> 00:09:49,170 If I use the term for that figure preferred by some scholars, umpah, umpah, you'll probably think of a German polka band. 43 00:09:49,530 --> 00:09:59,810 But I'm going to use both terms to mean the basic accompaniment technique consisting of usually a single bass note followed by at least one chordal note. 44 00:10:00,630 --> 00:10:12,090 bass chord, bass chord, bass chord, bass chord. Or in a waltz, bass chord, chord, bass chord, chord, bass chord, chord, bass chord, chord. This is one of the most common accompaniment procedures in Western music, 45 00:10:12,690 --> 00:10:22,870 and a complete survey of it would span a lot of different genres and a lot of different emotional states. Here's a small but tasty sprinkling of them. 46 00:10:23,050 --> 00:10:28,570 Our first suite is called Basic Boom Chick, and it lasts a little under eight minutes. 47 00:11:04,190 --> 00:11:08,210 Lederhosen ist vermass, und schon geht's jodeln los. 48 00:11:25,210 --> 00:11:33,750 Das Jodeln ist mein größtes Freu, zum Jodeln hab' ein jederzeit. Gejodelt wird zu jeder Jahreszeit. 49 00:11:33,890 --> 00:11:36,150 Es ist beliebt auf der ganzen Welt. 50 00:11:37,150 --> 00:11:41,530 Gejodelt wird zu jeder Jahreszeit. Es ist beliebt auf der ganzen Welt. 51 00:12:21,200 --> 00:12:25,780 Gejodelt wird zu jeder Jahreszeit. Gejodelt wird zu jeder Jahreszeit. 52 00:12:26,780 --> 00:12:36,820 Gejodelt wird zu jeder Jahreszeit. 53 00:13:45,000 --> 00:13:55,340 Standing in the kitchen drinking coffee in your morning gown. Standing in your morning gown. 54 00:13:56,900 --> 00:14:02,900 I was looking out the window. Thinking about leaving staring at the puddles on the ground. 55 00:14:03,660 --> 00:14:12,240 And the rain was coming down. Mama, I don't want to go. In your house I feel at home. 56 00:14:12,720 --> 00:14:15,520 You know I hate to leave you. Won't you write a note or telephone? 57 00:14:17,660 --> 00:14:19,920 The years go by like minutes. 58 00:14:20,600 --> 00:14:23,520 Soon I'll be a grown man with a job and children of my own. 59 00:14:24,240 --> 00:14:36,320 With a family of my own. standing in the doorway early every morning as i leave the kitchen i will moan to my honey i will 60 00:14:36,320 --> 00:14:46,880 moan baby i don't want to go outside so mama if you love me just as one time let me stay at home 61 00:14:48,940 --> 00:14:55,560 you know i hate to leave you just as one time let me stay at home Mama, if you love me say it, so can let me stay here. 62 00:15:40,460 --> 00:15:54,420 That you have been covered, you lie in the sand, stretched out. 63 00:15:54,460 --> 00:16:15,410 On a pointed stone, the name of your love, hour and day. 64 00:16:15,910 --> 00:16:27,750 The day of the greatest joy. The day. The day I gave to you. 65 00:16:28,110 --> 00:16:37,950 From all of us there is a broken ring. 66 00:16:39,170 --> 00:17:03,460 My Lord, in this wake you now recognize your face. 67 00:17:04,380 --> 00:17:11,640 On the bottom of his ring. Where else? Oh, Rhine. 68 00:17:15,660 --> 00:17:48,470 Oh, for all so nice and sweet, my hands, oh, for all so nice and sweet. 69 00:17:50,610 --> 00:18:00,770 Oh, for all so nice and sweet. Oh, for all so nice and sweet. 70 00:18:20,480 --> 00:18:32,960 Our suite called Basic Boomchick, and certainly covering a lot of emotional territory. We began with some great tuba playing, a very small tuba, maybe a baritone or something, 71 00:18:33,020 --> 00:18:44,080 but whatever it is, it sure sounds funky. Tune is called A Lederhosen ist so fein, A Lederhosen ist so fein, and that's the Original Nackernquintett. 72 00:18:44,080 --> 00:18:51,760 From an album called Die schönste Jodler der Berge, The Most Beautiful Jodlers of the Mountains. 73 00:18:52,140 --> 00:18:59,140 Then we had from an old LP that I love by the Boscovsky Ensemble, Creampuffs aus Wien. 74 00:19:00,320 --> 00:19:13,000 Beautiful waltzes, mostly waltzes and lendlers, polkas and gallops from the late 18th century and the 19th century. And like the one you heard, it was just two violins and guitar. 75 00:19:13,000 --> 00:19:22,440 A lot of these waltzes we're so used to hearing in very overblown arrangements now. Eugene Ormandy and the Philadelphia Orchestra doing the beautiful Blue Danube Waltz. 76 00:19:23,470 --> 00:19:34,420 A lot of these pieces sound wonderful with very modest instrumentations. Most of these are not just two violins and guitar, they're small orchestras or small ensembles. 77 00:19:34,540 --> 00:19:42,980 Anyway, that was a waltz, I guess it just says Dances of Old Vienna by Vincenz Stelzmüller, of whom I have never heard. 78 00:19:43,780 --> 00:19:56,460 Then, a really nice song by a group called Drink Me, a group that my kids turned me on to and I'm very grateful. It's basically just two guys, Mark Ampft and Winn Evans, and then they sometimes have some 79 00:19:56,460 --> 00:20:05,580 backing up people on their albums. And finally, from Winterreise, Franz Schubert's great song cycle, Dietrich Fischer-Dieskau 80 00:20:05,580 --> 00:20:12,960 and Alfred Brendel doing Auf dem Fluss, On the River, I'll just read a few of the verses, You Who Backed Me. 81 00:20:25,660 --> 00:20:35,680 The last verse is, My heart, in this stream, do you now recognize your image? Under its crust, could it perhaps be surging so violently too? 82 00:20:37,780 --> 00:20:49,640 Okay, you know, I keep forgetting that the authentic instrument here, has, you know, it has drum stuff on it as well as other instruments and everything. Let's see what we've got here. 83 00:20:52,400 --> 00:21:05,020 With a boom and a chick and a boom chick chick, I'm Peter Schickly, you can call me Schick. If you want to get your oompah oompah fix, you can get it right here on Schickly Mix, from PRI, Public Radio International. 84 00:21:10,260 --> 00:21:19,700 Today's show is called Boom Chick and Beyond, or to use the layman's term, oompah and beyond. You know, it's true. Musicians usually say boom chick and beyond. There's no such thing as boom chick and beyond. 85 00:21:19,900 --> 00:21:30,720 Anyway, there are plenty of variations to the boom chick formula. Back when I was in high school, and there was a piano in the cafeteria. There were three piano duet favorites. 86 00:21:30,940 --> 00:21:42,020 One of them, of course, being chopsticks. But I preferred one that used mostly black keys. It used your basic boom chick pattern. Let me swing around to the authentic instrument here. 87 00:21:43,180 --> 00:21:53,720 I'm going to make sure it's set on piano. I usually prefer the 99. foot black and decker okay this is the way this thing went i don't know if it had a name if it 88 00:21:53,720 --> 00:22:05,380 did i don't remember it went like this you know and then you usually got somebody else preferably 89 00:22:05,380 --> 00:22:15,420 a girl to do the knuckles on the black keys part on top actually i was never as good in the knuckle 90 00:22:15,420 --> 00:22:21,200 part anyway then the other one used a variation of the boom chick formula that had two booms and 91 00:22:21,200 --> 00:22:36,780 two chicks and then you got somebody to do heart and soul on the top you know went on and on and 92 00:22:36,780 --> 00:22:45,280 on as long as lunch period lasted okay swinging back here there are all sorts of other variations to this formula 93 00:22:54,140 --> 00:23:00,180 we'll hear some other variations yet in this next suite which is called advanced boom chick 94 00:23:00,180 --> 00:23:07,660 one piece uses boom chicka boom chicka boom chicka boom chicka boom and one uses an uneven form boom 95 00:23:07,660 --> 00:23:15,400 chick boom chick boom boom boom chick boom boom now whatever you think of the donizetti piece we heard at the beginning of the program 96 00:23:15,420 --> 00:23:28,060 the schubert song we heard in the first suite certainly showed how serious an oompa piece can be but nevertheless it's very obviously oompa especially since the notes are short 97 00:23:29,340 --> 00:23:38,460 when they're not short it can feel quite different if you know the first number in this suite check 98 00:23:38,460 --> 00:23:50,340 it out with new ears you might never have thought of it as an oompa piece but if you listen to the strings that's exactly what they're doing if you listen to the strings that's exactly what they're doing see you in about 12 minutes so 99 00:25:03,400 --> 00:25:16,380 so so so so so so so so so so so so so 100 00:25:16,380 --> 00:25:22,140 so so so so so so 101 00:35:58,230 --> 00:36:10,250 Okay, advanced boom chick. We began with Dove Sono from Mozart's Marriage of Figaro, and that was sung by Kiri Takanoa. 102 00:36:10,970 --> 00:36:21,850 James Levine was conducting the Metropolitan Opera Orchestra. The beautiful, very just serene um cha, um cha in the strings. 103 00:36:22,050 --> 00:36:31,210 And later we had another form of the formula there, the boom chick, chick, chick, boom chick, chick, chick, boom chick, chick, chick in the strings. Then the second number was from an album called Georgian. 104 00:36:31,230 --> 00:36:40,410 Shearing in Dixieland, a wonderful Dixieland arrangement of Paul Desmond's tune Take Five. Um cha, um cha, um, um, um cha, um chum. 105 00:36:40,750 --> 00:36:50,470 Then one of the most beautiful boom chicks ever written from Peter and the Wolf. Prokofiev, that was UL Levy conducting the Atlanta Symphony Orchestra. 106 00:36:51,270 --> 00:37:00,510 And then finally, from a terrific album called the Jaino, I guess you say that, Jaino Music of Peru and Our Huli Album, Volume 2. 107 00:37:01,230 --> 00:37:06,970 That was Akel Molilacito, played by the Banda Philharmonica Adahina. 108 00:37:08,030 --> 00:37:20,710 Terrific coming together of European instruments with that very characteristic kind of tune that is famous from the tune that Paul Simon borrowed, El Condor Pasa. 109 00:37:22,190 --> 00:37:31,210 And it's tidbit time at the old boom chicory. But actually, we're going to eschew um pas almost completely at this time. Um. Um. 110 00:37:31,230 --> 00:37:43,870 A favor to an instrument whose only association in many people's minds is um pas. And I refer, of course, to the tuba. Here's some pretty impressive um pas-less tuba playing. 111 00:39:21,330 --> 00:39:48,120 The Romanian dance number two by Dimitru. 112 00:39:48,120 --> 00:39:58,080 From an album called Tuba Libera. The tuba player was Roger Bobo. The pianist was Marie Condamine. And like I said earlier. 113 00:40:00,270 --> 00:40:13,070 With a boom and a chick and a boom chick chick, I'm Peter Shickley, you can call me Schick. If you want to get your um pa um pa fix, you can get it right here on Shickley Mix. From PRI, Public Radio International. 114 00:40:18,140 --> 00:40:28,920 Don't go away, folks. We've got a special treat on today's show. I'm going to be playing. I'm going to be playing the Pachelbel Canon a little bit later. That's right, folks. This is a Shickley Mix first. 115 00:40:29,540 --> 00:40:41,600 Now, I know that some people think that the Pachelbel Canon has been played enough. Or played too much. Played to death, even. But I still get requests for it. And I thought that the time has come. 116 00:40:42,040 --> 00:40:54,740 I hate it when this happens. Hello? Well, yes. I guess it qualifies as a war horse. Yes, that's true. And movie. 117 00:40:54,740 --> 00:41:03,400 And movie theaters. For a while there, you couldn't go into an art movie house without hearing the Pachelbel Canon. But, uh, hey, calm down, sir, huh? 118 00:41:03,720 --> 00:41:15,700 Look, I'm sorry you're sick of it, but I must reserve the right to play what I want on my program. Okay? Bye. Man. I mean, I'm all for listener feedback, but there are limits. 119 00:41:17,420 --> 00:41:27,960 Okay, where were we? Oh, yes. The name of today's show is Boom Chick and Beyond. So far, we've been dealing with the Pachelbel Canon. We've been dealing with Oom Chick and Boom Pa. Now we're ready for the Beyond. 120 00:41:28,440 --> 00:41:35,100 Our last suite deals with an accompaniment figuration that might be thought of as an exploded Oom Pa. 121 00:41:35,500 --> 00:41:46,300 That is, the bass note is still there, but instead of following it with the notes of a chord played simultaneously, they're played one after another, in what's called an arpeggio. 122 00:41:46,800 --> 00:41:59,680 In other words, we've still got a bass note followed by a chord, but, well, if we think of the bass note as a woman's voice, a woman's neck, the chord, instead of being a brooch, is a string of pearls. 123 00:42:00,900 --> 00:42:07,580 We'll call this suite Beyond Boom Chick. It has three movements and lasts about eight and a half minutes. I'll see you then. 124 00:43:44,000 --> 00:43:52,800 Will you stay, said he, forever match? 125 00:45:06,800 --> 00:45:19,360 Ah, because the world is round, it turns me on. 126 00:45:24,960 --> 00:45:31,940 Because the world is round. 127 00:45:39,140 --> 00:45:49,060 Ah, because the wind is high, it blows my mind. 128 00:45:54,180 --> 00:46:03,760 Because the wind. Is high. Ah. 129 00:46:07,490 --> 00:46:13,050 Love is new. 130 00:46:15,570 --> 00:46:19,050 Love is all. Love is you. 131 00:46:23,770 --> 00:46:31,030 Because the sky is blue, it makes me cry. 132 00:46:36,450 --> 00:46:40,740 Because the sky is blue, it makes me cry. 133 00:50:34,680 --> 00:50:47,560 The Four Folk Song Upsettings, sung by Dana Kruger, mezzanine soprano, and performed on the piano by Peter Lurie, with your humble host playing the devious instruments in this work, in this 134 00:50:47,560 --> 00:50:55,040 case, the tuba mirum, which consists of a plastic tube, I use a plastic tube, you put 135 00:50:55,040 --> 00:51:06,060 wine in it, and you hold it in sort of a U-shape, and the higher you hold one end, the higher the pitch goes, and the lower the pitch the other, and you have to sort of do it. 136 00:51:06,060 --> 00:51:17,680 That was the third of the songs, He Came From Over Yonder Ridge. And then our second number was the Beatles tune, Because, from Abbey Road, and the last 137 00:51:17,680 --> 00:51:30,620 one, another number from the Marriage of Figaro of Mozart, this was Voi che se pete, sung by Carabino, who was played by Anna-Sophie von Otter, that again was James Levine conducting 138 00:51:30,620 --> 00:51:40,060 the Metropolitan Opera Orchestra. Which brings us, ladies and gentlemen, to the end of this week's episode of The Beatles. Welcome to the Pachelbel Canon, a long-awaited moment for some of you, I'm sure. 139 00:51:40,660 --> 00:51:53,540 And the reason I'm playing it now is that the pizzicato arpeggios in this famous arrangement, they're not in the original score, sound very much like the plucked arpeggios in Mozart's 140 00:51:53,540 --> 00:52:05,760 Voi che se pete that we just heard. I don't know who made this arrangement, but I wonder if that's a coincidence. In any case, it's a good example of the technique we've been talking about, in addition to being 141 00:52:06,040 --> 00:52:09,280 a, let's face it, an irresistible piece. 142 00:52:18,110 --> 00:52:18,690 Hey! 143 00:52:45,300 --> 00:52:45,880 What? 144 00:52:46,660 --> 00:52:58,880 Man! That was, that was, somebody seems to, there he is! Wait a minute! He's on the roof of the building across the street! But he's obviously running away, I can't see him anymore. 145 00:52:59,360 --> 00:53:10,440 Man! He shot out the CD player from across the street! I wonder if that's the same guy who called earlier. I'll bet it is. I mean, it's gotta be, right? 146 00:53:11,660 --> 00:53:19,380 Hey, I ought to report this to the police. But in the meantime, luckily I've got another CD player here. 147 00:53:19,480 --> 00:53:32,240 Of course, it's a portable one my wife uses when she jogs, but I'm sure I can patch it in here. There. That ought to do it. Gotta calm down here. 148 00:53:33,300 --> 00:53:38,720 Man! I call that censorship. Well, what are you gonna do? 149 00:53:53,830 --> 00:54:01,690 And that's Sickly Mix for this week. Our program is made possible with funds provided by the Corporation for Public Broadcasting, 150 00:54:02,150 --> 00:54:14,130 and by the National Endowment for the Arts, and by this radio station, and its members. Thank you, members. And not only that, our program is distributed by PRR, 151 00:54:14,150 --> 00:54:27,140 Public Radio International. 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. 152 00:54:27,300 --> 00:54:39,480 This is program 105. And this is Peter Shickley, glad to be alive, saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. 153 00:54:40,080 --> 00:54:42,320 You're looking good. See you next week. 154 00:55:59,670 --> 00:56:00,470 Bye. Bye. 155 00:56:14,810 --> 00:56:15,450 Bye. 156 00:56:56,390 --> 00:57:08,580 If you'd like a copy of that playlist I mentioned, send a stamped self-addressed envelope to Sickly Mix. 157 00:57:09,040 --> 00:57:20,860 That's S-C-H-I-C-K-E-L-E, Sickly Mix. Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 158 00:57:22,720 --> 00:57:23,360 55403. 159 00:57:23,880 --> 00:57:28,000 Bye. Bye. Bye. P-R-I, Public Radio International.