1 00:00:00,000 --> 00:00:12,640 This is IPR Music Radio. I'm Bruce Van Buskirk, your host for Afternoon Classics. Thanks for joining me this Tuesday afternoon here on WIAA Interlochen, 88.7 FM 2 00:00:12,640 --> 00:00:24,960 and WICV East Jordan Charlevoix, 100.9 FM, a broadcast service of the Interlochen Center for the Arts. Lots of great music still to come on Shickley Mix 3 00:00:24,960 --> 00:00:28,500 from the top and performance today here on IPR Music Radio. 4 00:00:44,440 --> 00:00:52,480 Hello there, I'm Peter Shickley, and this is Shickley Mix, a program dedicated to the proposition that all musics are created equal. 5 00:00:52,840 --> 00:01:00,800 Or as Duke Ellington put it, if it sounds good, it is good. And that's all well and good, but how about the bills? 6 00:01:01,240 --> 00:01:14,120 Well, the good news is that our bills are paid by the Corporation for Public Broadcasting and by the National Endowment for the Arts with additional support from the National Academy of Recording Arts and Sciences and the National Academy of Recording Arts and Sciences. And by the National Endowment for the Arts and Sciences. 7 00:01:14,140 --> 00:01:25,960 And also from this fine radio station, where I can have anything I want. At least, I think that's what they mean when they say, boy, are you going to get it. Anyway, after all is said and done, 8 00:01:26,100 --> 00:01:36,940 the result is lofted into the ether by PRI, Public Radio International. My piano teacher, when I was a teenager in Fargo, North Dakota, 9 00:01:37,140 --> 00:01:48,680 was a wonderful woman named Virginia Jensen. She figured out pretty early on that I was more interested in music than in practicing. The fact that she noticed that and went with it 10 00:01:48,680 --> 00:02:01,660 probably didn't help my piano playing much, but it certainly broadened my horizons as a composer. Musically, I was not an early bloomer. Well, you could say that I was a prodigy, 11 00:02:01,660 --> 00:02:13,280 if you could say that Attila the Hun was a pacifist. Hey, until I was 12 years old, my only interest in music was imitating Spike Jones. And I never developed any real facility at the piano, 12 00:02:13,400 --> 00:02:26,020 because when it came to practicing, I was a walking, or rather a sitting, cliché. I couldn't wait to get out and play softball. But when Virginia, I guess I must have called her Mrs. Jensen then, 13 00:02:26,120 --> 00:02:37,980 when she gave me pieces that turned me on by turning me loose in brand new pastures, I spent more time at the piano. Some of the things I remember working on were Bear Dance by Bartok, 14 00:02:38,480 --> 00:02:49,180 some of the Prokofiev Vision Fugitive, parts of Mio's The Household Muse, William Schumann's... three score set, and the Little Suite by Roy Harris. 15 00:02:51,460 --> 00:03:02,880 Now I must admit, you don't have to spread this around, you know, let's just keep it entre-nou. But I will confess that I had a bit of a crush on my piano teacher. She was beautiful. 16 00:03:03,660 --> 00:03:14,500 I mean, she wasn't exactly a babe. How could she be? She was my mother's age. In fact, they were friends. But she was beautiful. And she was smart. And she was mischievous. 17 00:03:14,500 --> 00:03:27,100 And I can't pretend that I wasn't pretty pleased when she said that she was very impressed at how well I played the third movement of the Harris. You see, the meter, the time signature of that movement, is a bit unusual. 18 00:03:27,640 --> 00:03:35,280 At least for then and there. Let's face it, in Fargo around 1950, you didn't hear an awful lot of music in seven-eight time. 19 00:04:04,720 --> 00:04:16,940 Richard Zimdars performing Children at Play, the third movement of Roy Harris' Little Suite. Now, that's not a hard piece to play, in fact, it's pretty easy, as long as you're not thrown by odd meters. 20 00:04:17,700 --> 00:04:28,380 Seven-eight time means that there are seven-eighth notes in each measure, or the equivalent thereof. Now, seven is a prime number. It can't be divided evenly by anything but one. 21 00:04:28,840 --> 00:04:40,360 So what that means is, here, let me swing around to the authentic instrument. Let's see, I'll set it on good piano. Oh, that's right. There are several of them. 22 00:04:40,380 --> 00:04:51,820 Okay, I'll choose the Black & Decker Concert Grand. Now, here's the repeated figure in the left hand that recurs throughout most of the Roy Harris piece. 23 00:04:53,200 --> 00:04:58,760 Now, let me play that a little bit more slowly. 24 00:05:05,060 --> 00:05:11,220 The notes fall into three groups. Two, plus two, plus three. 25 00:05:13,200 --> 00:05:24,280 So you could say that each measure has three large beats, as opposed to the eighth note pulse. But the beats are uneven. The third is one-and-a-half times as long as each of the first two. 26 00:05:25,080 --> 00:05:34,790 One, two, three. One, two, three. Okay, let me swing back here. 27 00:05:35,470 --> 00:05:46,350 Now, let's compare that with four-four time, which is, not without reason, often called common time. Four-four time has eight-eighth notes to the bar. 28 00:05:46,530 --> 00:05:58,160 I'm going to do a little Bobby McFerrin here and use my body. But if you drink decaf coffee, you can't tell the difference. You can't tap your foot that fast. So you tap on every other note. 29 00:06:00,000 --> 00:06:05,740 One, two, three, four, one, two. So the beats are all the same length. 30 00:06:06,080 --> 00:06:13,300 But with seven-eight time, if you tap the groupings, which in this piece are two plus two plus three, 31 00:06:13,500 --> 00:06:25,160 you get the beats are uneven. 32 00:06:25,580 --> 00:06:35,400 Which means you can't just set your toe to tapping evenly and stay with the music. Which is why musicians, unless they're from Bulgaria or Greece, really have to concentrate. 33 00:06:35,660 --> 00:06:46,740 They have to stay on their toes, their tapping toes, when performing music like this. There's an old musician's joke. Hey, who says seven-eight is hard to count? It's easy. 34 00:06:46,960 --> 00:06:54,160 One, two, three, four, five, six, seven. One, two, three, four, five, six, seven. One, two, three, four, five, six, seven. 35 00:06:54,820 --> 00:07:03,040 Now, when I referred to seven-eight as an odd meter, I meant it in more ways than one. Not only is seven an odd number, 36 00:07:03,040 --> 00:07:12,760 but because of that, meters like five-eight and seven-eight have uneven larger beats if you subdivide the measure. You can't subdivide the measure evenly. 37 00:07:13,220 --> 00:07:21,640 And that feels odd to most people, unless they're from Bulgaria or Greece. And because of that, such meters are statistically odd. 38 00:07:22,200 --> 00:07:30,980 Worldwide, they occur much less frequently than duple and triple time. Three, by the way, is in a category by itself. It is an odd number, of course. 39 00:07:30,980 --> 00:07:42,380 But two and three are the basic building blocks of metrical organization. You can't subdivide either one of them into groups without getting at least one group of one. And one isn't a group. 40 00:07:43,080 --> 00:07:56,060 I know it sounds like we're talking about atomic physics here, but take my word for it. In metrical music with a feeling of pulse, it's very hard to imagine situations in which a single pulse doesn't feel like it's part of a group of two or three. 41 00:07:56,840 --> 00:08:06,080 So for the purposes of this program, when I say odd meters, I mean meters in which the number of pulses is an odd number higher than three. 42 00:08:07,960 --> 00:08:19,480 By the way, before we go on, I'd like to give you a little bit of advice. Here again, this is just between you and me in the lamppost. But if you can possibly help it, 43 00:08:20,120 --> 00:08:31,600 don't develop a crush on your piano teacher. It'll only lead to grief. As I mentioned, Virginia Jensen was a friend of the family. And many years later, when I was not on the piano, not only grown up, 44 00:08:31,620 --> 00:08:43,419 but also becoming a fairly well-known musician, I was visiting her. And the subject of the Roy Harris piece came up, and I said that I still remembered that third movement, and I played it. And you know what she said? 45 00:08:44,059 --> 00:08:55,920 She said that she thought I played it better when I was a teenager. I'm telling you, that hurt. I mean, do you think she could have been right? I very much doubt it. 46 00:08:56,400 --> 00:09:05,920 You know what I think? I think that she had higher expectations of an adult than of a teenager. You know what I mean? I'm sure I played it just as well. 47 00:09:07,380 --> 00:09:18,860 Hey, also, by the time of that visit, like I said, I was getting to be a little famous, and I think she may have just had a bit of a chip on her shoulder. Well, anyway, let's get back to odd meters here. 48 00:09:19,380 --> 00:09:31,940 We're not going to be talking about quintuple meters at this point, because we deal with them on another... Besides, I hadn't played the Harris for years when I visited her, whereas when I was studying the piece as a teenager, 49 00:09:32,120 --> 00:09:41,340 I was playing it every day. I think you have to take that into account. Man, I'd like to hear her play a piece she'd hardly touched for 20 years or whatever it was. 50 00:09:44,220 --> 00:09:56,460 Well, sorry about that. What I was going to say was that I couldn't think of a single standard pop song in quintuple time, but Paul Desmond's Take Five comes close. It's certainly a jazz standard. 51 00:09:56,720 --> 00:10:09,420 And similarly, I can only think of one tune in 7-4 that you might be able to call a standard. Actually, it's not all in 7-4, but it mostly is. It's from a musical, and it has words, 52 00:10:09,640 --> 00:10:20,940 but it, too, is best known as an instrumental melody, as it appears in the overture. The tempo here is a bit slower. One, two, three, four, five, six, seven. 53 00:10:21,000 --> 00:10:25,300 One, two, three, four, five, six. So you can tap your foot to it. 54 00:11:19,590 --> 00:11:31,370 From the Overture to Candide by Leonard Bernstein. Original cast album. Pretty fast, huh? And even though the tempo is slower, so you can tap each pulse, you'll notice that the grouping... 55 00:11:31,370 --> 00:11:42,950 One, two, one, two, one, two, three. One, two, one, two, one, two, three. The grouping is two plus two plus three, the same as in the Roy Harris piece. 56 00:11:44,850 --> 00:11:54,990 You know, she had quit teaching by then, so her piano probably wasn't as in good shape, either. That can make a big difference, you know. Especially in a fast piece like that. 57 00:11:55,950 --> 00:12:08,770 Hey, I'm sorry to keep harping on that thing. Let's get on to the first suite here in this program. Here are four pieces in septuple time, if there is such a word, and I've arranged them in the order of increasing speed. 58 00:12:09,450 --> 00:12:20,410 The tempo of the first number is about... One, two, three, four, five, six, seven. One, two, three, four, five, six... 59 00:12:20,410 --> 00:12:28,870 And by the time you get to the last piece, it's one, two, three, four, five, six, seven. One, two, three, four, five, six, seven. One, two, three... In some of the trade magazines, 60 00:12:29,170 --> 00:12:40,710 a bullet by a title means that the song is on its way up the charts and fast. So I call this suite Seven with a Bullet. If you're still tapping your foot to the pulse eight minutes from now, 61 00:12:40,870 --> 00:12:43,450 you need to talk to your doctor about Prozac. 62 00:16:44,160 --> 00:16:46,920 Seven with a Bullet. 63 00:20:49,330 --> 00:20:57,930 We heard pieces by Ibert, Moondog, Don Ellis, and Bartok. The first one, the very North African sounding one, 64 00:20:57,990 --> 00:21:08,790 was from Escale, or Ports of Call, by Jacques Ibert. That was the second movement marked Tunis-Nephtha. I think he actually heard that oboe theme in Nephtha. 65 00:21:09,090 --> 00:21:21,150 That was Jean Martinon conducting the Orchestre National de l'ORTF. Then came a lovely round by Moondog called My Tiny Butterfly, 66 00:21:21,350 --> 00:21:32,790 performed by the composer's daughter, June Harden, plus some instrumentalists. Varying divisions of the measure in that one. Number three was Don Ellis and his band doing Tears of Joy. 67 00:21:33,110 --> 00:21:43,510 You know, in some of the early examples of jazz in odd meters, the tune might be in five or seven, but as soon as the improvising started, it would slip into good old straight 4-4 time. 68 00:21:43,810 --> 00:21:55,930 But Don Ellis and his guys on this album, also called Tears of Joy, they're right there with it, all the way. Then came Bela Bartok playing his Microcosmos No. 149, 69 00:21:56,030 --> 00:22:08,430 dance in Bulgarian Rhythm No. 2. You think that's fast. Just wait. You ain't heard nothing yet. My name is Peter Schickely, and the show is Schickely Mix from PRI, Public Radio International. 70 00:22:10,350 --> 00:22:22,450 Today's show is called My, That's an Odd Meter, and right now we're talking about music in seven. I think I already told you this story on some other show, but hey, what are friends for, right? 71 00:22:23,130 --> 00:22:35,970 Radio station WDAY in Fargo, late 1940s, my brother and I are hanging out just to be around the band, live musicians in those days. And they've had a contest, and the winner is a young guy from some little farm town 72 00:22:35,970 --> 00:22:44,310 who plays electric guitar, and he's really good. And Frank Scott has made an arrangement of Lover that goes about like... . 73 00:22:49,110 --> 00:23:01,590 And they're rehearsing it, and the kid's guitar is smoking. And after they've run the chart down, Scott sticks his head out of the control room and says, okay, let's take it up to tempo. And that's what we're going to do now. 74 00:23:01,750 --> 00:23:12,210 We're going to take it up so far that if you had one of those old-fashioned, pyramid-shaped pendulum metronomes, you couldn't get the weight low enough to check out this tempo. 75 00:23:13,070 --> 00:23:24,390 I made some cracks earlier about Bulgaria and Greece. They aren't the only places in the world in which odd meters flourish. But Bulgaria has got to be one of the regions 76 00:23:24,390 --> 00:23:35,310 with the most seismic activity, metrically speaking, and the highest readings on the Richter Tempo Scale. The number that we're about to hear starts out faster 77 00:23:35,310 --> 00:23:45,470 than the bar talk that ended the last suite. It's already virtually impossible to count the pulses out loud. You just can't say the words that fast. And then they pick it up. 78 00:23:46,110 --> 00:23:58,130 Frank Scott must have stuck his head out of the control room because they pushed the tempo up to a point where the dancers' feet must never touch the ground. Hey, guys, Frank was kidding. It's a joke. 79 00:23:58,690 --> 00:24:01,490 Too late. Pegasus is out of the barn. 80 00:24:09,070 --> 00:24:09,570 . 81 00:32:21,110 --> 00:32:32,110 Okay, got to wring my shirt out here a little. An ecstatic slice of Balkan delirium by Ivo Popasov and his orchestra, the king of Bulgarian wedding bands. 82 00:32:33,260 --> 00:32:45,130 That was the fast section from Ivo's Rusinitsi, which is a dance in 7-8 time. The division, as in certain pieces by Roy Harris, 83 00:32:45,350 --> 00:32:56,770 is 2 plus 2 plus 3. But if you could keep track of that throughout, you're a better Balkan than I am. The notes go by faster than a bat out of hell in the first place, 84 00:32:56,910 --> 00:33:05,770 and then they put ornamentation on them. There are several sections in the middle there where the band just plays two large beats per measure. . 85 00:33:07,690 --> 00:33:19,790 It almost sounds like long, short, long, short in 3-4 time. You know, 1-2-3, 1-2-3, or counting eighths. 1-2-1-2, 1-2-1-2, 1-2-1-2, 1-2-1-2. But not quite. 86 00:33:20,170 --> 00:33:30,970 It's just a little askew. A very important little askew. And that's because they're still in 7-8 time. 3-4 has 6 eighths per bar, but 7-8, of course, has 7. 87 00:33:31,250 --> 00:33:42,450 And the first beat, what I'm calling a beat, since the pulse is too fast to beat, the first beat is 4 eighths long, and the second is 3 eighths long. I have to slow this down to count it. 88 00:33:42,830 --> 00:33:53,740 1-2-3-4, 1-2-3, 1-2-3-4, 1-2-3, 1-2-3-4, 1-2-3. It is so close to 3-4. 1-2-1-2, 1-2-1-2, 1-2-1-2. 89 00:33:56,210 --> 00:34:08,690 It ain't 3-4. According to my stopwatch calculations, at Ivo's tempo, the second note is about 75 hundredths of a second longer than it would be in 3-4 time. 90 00:34:26,080 --> 00:34:35,760 Now Bartok, who came from that same part of the world, he was Hungarian, he uses this kind of rhythm. Comparatively long notes in a very fast odd tempo, 91 00:34:35,920 --> 00:34:40,699 so it almost sounds like an even tempo, but not quite. 92 00:35:24,480 --> 00:35:36,800 That was part of the trio of the scherzo of Bartok's 5th string quartet, played by the TakÑcs Quartet. My name, on the other hand, is Peter Schickely, and that of the program is Schickely Mix, 93 00:35:37,260 --> 00:35:48,840 from PRI, Public Radio International. My, that's an odd meter. We've been talking so far about music in 7, which in my limited experience, 94 00:35:49,180 --> 00:36:00,920 is most often, but certainly not always, divided 2 plus 2 plus 3. Now let's take a look at music in 9. 9-8 is the most common of the meters involving 9 pulses. 95 00:36:01,240 --> 00:36:11,080 The thing about 9 is, it's an odd number, alright, but it's not a prime number. It is, of course, divisible by 3, which means that you can have 96 00:36:11,080 --> 00:36:22,700 3 large even beats of 3 pulses each. 1-2-3-2-2-3-3-2-3 1-2-3-2-2-3-3-2-3 Here's one of the most famous examples 97 00:36:22,700 --> 00:36:26,180 of what we might call traditional 9-8 time. 98 00:37:06,080 --> 00:37:06,780 🎡 Dreamer 🎡 99 00:37:06,780 --> 00:37:16,120 🎡 Queen of my song 🎡 🎡 Lest while I woo thee 🎡 🎡 With soft melodies 🎡 100 00:37:16,120 --> 00:37:24,450 🎡 Of life's busy throng 🎡 101 00:37:24,450 --> 00:37:29,630 🎡 Beautiful dreamer, awake unto me 🎡 102 00:37:29,630 --> 00:37:37,820 🎡 Beautiful dreamer, awake 🎡 103 00:37:38,940 --> 00:37:51,610 🎡 Beautiful dreamer 🎡 🎡 Beautiful dreamer 🎡 104 00:37:51,630 --> 00:37:59,670 Dreamer, out on the sea, mermaids are chanting the wild aureole. 105 00:38:02,090 --> 00:38:12,790 Over the stream let vapors are born, waiting to fade at the bright coming dawn. 106 00:38:12,790 --> 00:38:28,020 Oh, beautiful dreamer, beam on my heart, in as the moon and the stream let and see. 107 00:38:29,300 --> 00:38:41,040 Then will all clouds of sorrow depart, beautiful dreamer, awaken to me. 108 00:38:43,560 --> 00:38:45,040 Beautiful dreamer. 109 00:39:09,230 --> 00:39:14,850 That was Sue Harmon, at least if it was a soprano, it's Sue Harmon. 110 00:39:14,990 --> 00:39:26,550 If it was a mezzo, it's Nancy Bliss, singing Beautiful Dreamer by Stephen Foster with Luann Neal on harp. The overall group on this LP is the American Music Consort. 111 00:39:27,410 --> 00:39:39,330 I have to say, I'm not a huge Stephen Foster fan, but that is a lovely song. That's one of my favorites. But there's no law. That's the law. It says that you have to divide 9-8 into three equal beats. 112 00:39:39,870 --> 00:39:48,410 You could divide it into, oh, say, four beats. Two plus two plus two plus three. 113 00:39:49,710 --> 00:39:55,550 Gee, I wonder if anybody else has ever thought of that. I'll see you in about eleven and a half minutes. 114 00:40:20,850 --> 00:40:28,370 We are your family And I come every night Every night 115 00:40:28,890 --> 00:40:31,110 Out of your house 116 00:40:50,560 --> 00:40:53,660 Oh you are a poor boy 117 00:40:54,200 --> 00:40:55,060 Poor boy 118 00:40:55,680 --> 00:41:04,600 And I am a poor child I will kiss you I will kiss you 119 00:41:04,600 --> 00:41:07,180 And I will go to prison 120 00:41:13,560 --> 00:41:33,060 Oh you are a poor boy 121 00:41:33,060 --> 00:41:42,840 Oh you are a poor boy My little boy 122 00:41:42,840 --> 00:42:04,060 You are a poor boy 123 00:42:05,080 --> 00:42:06,120 You are a poor boy 124 00:42:06,680 --> 00:42:08,600 And I am your slave 125 00:42:11,700 --> 00:42:15,520 Take me to your throne To your throne 126 00:42:16,040 --> 00:42:17,360 Your little bed 127 00:47:26,810 --> 00:47:30,560 Thank you. 128 00:50:31,820 --> 00:50:32,660 Thank you. 129 00:50:58,280 --> 00:51:47,010 I call that suite A Stitch in Time, and it began with a song called Basarkana, sounds like a town in the Ozarks, sung by Christos Tsitsimakis, and it's from an album called Musical Travel, Greece. 130 00:51:48,290 --> 00:51:59,770 Interesting, the divisions in that one, because it is 2 plus 2 plus 2 plus 3, but the drum accents make it sound like 2-4 plus 5-8. Well, never mind. Take my word for it. 131 00:51:59,770 --> 00:52:16,210 Then we heard Mr. Bartok again, playing his Microcosmos No. 152, Dance in Bulgarian Rhythm No. 5, and finally, the Dave Brubeck Quartet with Blue Rondo a la Turk, Paul Desmond, Eugene Wright, and Joe Morello. 132 00:52:16,890 --> 00:52:26,630 Mostly 2 plus 2 plus 2 plus 3, but sometimes 3 plus 3 plus 3. Also, an example of going into straight time for the choruses. 133 00:52:26,830 --> 00:52:38,800 I don't know if I should. You know. I hate to admit it. I mean, I know it's immature and everything, but... 134 00:52:40,460 --> 00:52:52,880 Well, I'm still ticked off about my old piano teacher telling me I played that Harris piece better when I was a teenager than when I saw her, you know, when I visited her later. I mean, I just can't believe she was right about that. 135 00:52:53,460 --> 00:53:03,620 In fact, I'll bet I can still play it better than I could when I was 15. And listen, folks, that was 45 years ago. There's life in the old digits yet. 136 00:53:03,620 --> 00:53:14,660 And the old gray matter hasn't given up either. The porch light is still on, folks. I was thinking about it during that last suite, and I think I remember the piece pretty well. 137 00:53:15,280 --> 00:53:25,980 And, you know, it's not a good idea to let these things fester and build up inside you until you go out and do something that makes the NRA have to gear up their lobbying machinery again. 138 00:53:26,240 --> 00:53:35,260 So, with your permission, I'm going to swing around to the authentic instrument here. Let's see. It's still on a piano setting. 139 00:53:36,140 --> 00:53:48,440 And, ladies and gentlemen, I would like to perform for you the third movement of the Little Suite by Roy Harris. This movement is entitled Children at Play. 140 00:53:54,990 --> 00:54:07,230 Hello. Oh, hi, Fred. Now, don't worry. The mic's not open. In fact, my listeners think I'm playing the piano, but I'm actually just playing a CD I used earlier in the show. But I've got to be quick. What's up? 141 00:54:07,890 --> 00:54:19,360 Okay. Will do. Bye. Okay. Now I'll turn the mic up. 142 00:54:20,540 --> 00:54:31,080 Oh. Hello, everybody. Okay. Well, that was Roy Harris' Little Suite, the third movement. 143 00:54:31,780 --> 00:54:42,160 And it was played for the first time by the composer's wife, Johanna Harris, soon after its composition in 1938. 144 00:54:44,140 --> 00:54:56,520 Oh, yes. That. That movement is called Children at Play. The other movements, which we didn't hear, are called Bells, Sad News. 145 00:54:56,840 --> 00:55:09,100 That's quite bleak, that one. And Slumber. I studied with Roy Harris. 1954. 146 00:55:24,960 --> 00:55:35,520 And that's Chickly Mix for this week. Our program is made possible with funds provided by the Corporation for Public Broadcasting and by the National Endowment for the Arts, 147 00:55:35,520 --> 00:55:44,640 with additional support from the National Academy of Recording Arts and Sciences and from this radio station and its members. Thank you, members. 148 00:55:45,680 --> 00:55:50,000 Our program is distributed by PRI, Public Radio International. 149 00:55:51,380 --> 00:56:03,440 We'll tell you in a moment how you can get an official playlist of all the music on today's program with program numbers and everything. Just refer to the program number. This is program number 125. 150 00:56:05,520 --> 00:56:16,560 And this is Peter Chickly saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. You're looking good. See you next week. 151 00:57:46,270 --> 00:58:13,870 If you'd like a copy of that playlist I mentioned, send a stamped self-addressed envelope to Chickly Mix. 152 00:58:14,370 --> 00:58:20,830 That's S-C-H-I-C-K-E-L-E, Chickly Mix. Care of Public Radio International. 153 00:58:20,830 --> 00:58:28,670 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403. 154 00:58:30,030 --> 00:58:33,310 PRI, Public Radio International. 155 00:58:41,460 --> 00:58:53,000 Thanks for listening to IPR Music Radio. WIAA Interlochen, 88.7 FM and WICV, East Jordan Charlevoix, 100.9 FM. 156 00:58:53,180 --> 00:58:56,620 A broadcast service of the Interlochen Center for the Arts.