1 00:00:00,800 --> 00:00:11,200 And time now on WFMT for Schickely Mix with Peter Schickely. Ready, Peter? Uh, Peter? All set? 2 00:00:12,680 --> 00:00:14,780 Peter, we're getting a little concerned. 3 00:00:17,320 --> 00:00:21,080 Don't worry. I say, don't worry. Here's the theme. 4 00:01:03,460 --> 00:01:11,780 I say, this fine radio station, which puts up with me and then puts out what I come up with, 5 00:01:11,960 --> 00:01:19,720 which is, when all is said and done, distributed far and wide by PRI. I say, PRI, Public Radio International. 6 00:01:20,800 --> 00:01:32,160 You've probably noticed that I seem to be repeating myself today. And that's because I've been thinking about Echo. I don't mean the Italian author. Umberto Echo. 7 00:01:32,560 --> 00:01:44,600 Although maybe he does repeat himself a lot. I don't know. I've never read one of his books. You know, come to think of it, isn't the title of his most famous book, The Name of the Rose is a Rose is a Rose by Any Other Name? 8 00:01:45,100 --> 00:01:57,140 That's pretty repetitious in an almost palindromic sort of way. But what I'm talking about is when you're in the mountains or canyon lands and you shout out something and hear it come back to you. 9 00:01:57,760 --> 00:02:10,460 Usually the terrain is complicated enough so that you can't hear it. Sometimes you hear multiple echoes bouncing around. But sometimes the lay of the land is such that you get just one echo or one strong echo. 10 00:02:10,900 --> 00:02:19,300 Like if you're standing on the rim of a very sheer canyon, one that doesn't have a lot of little tributary canyons at right angles to the main one, 11 00:02:19,440 --> 00:02:26,580 and what you shout out goes all the way across the canyon and comes all the way back. 12 00:02:32,100 --> 00:02:35,840 Hello! Hello! 13 00:02:39,700 --> 00:02:51,920 Now I'm talking about natural canyons here. It's not necessarily the same if the canyons are created by skyscrapers, for instance. One of the greatest things to do in New York City 14 00:02:51,920 --> 00:03:03,360 is to go down to the Wall Street area on a sunny Sunday morning. There's practically nobody around, and the streets are very narrow, and the buildings are very high, 15 00:03:03,540 --> 00:03:12,020 and it really is like wandering around in a network of canyons. But of course, being New York City, 16 00:03:12,540 --> 00:03:21,290 the physics, that is, the laws of acoustics, are somewhat different. Hello! 17 00:03:23,450 --> 00:03:25,630 I don't want to get involved! 18 00:03:29,750 --> 00:03:40,350 Today's show is called Sonic Boomerangs. We're going to talk about echo techniques in music, beginning with some pieces in which the natural phenomenon of echo 19 00:03:40,350 --> 00:03:52,230 is quite realistically reproduced. This charming, if somewhat limited, idea goes way back in European music, but it became especially popular in the 17th century, 20 00:03:52,450 --> 00:04:03,490 and it has remained with us right up to the present day, at the very least, if not earlier, in fact, more or less. I say more or less. But before we hear these works, 21 00:04:03,650 --> 00:04:12,590 let me remind you that if you shout out something longer than hello, the echo may start returning before you've finished what you're saying. 22 00:04:12,590 --> 00:04:16,790 For instance, here we are back on the rim of that canyon. 23 00:04:18,990 --> 00:04:27,450 The Massachusetts Institute of Technology Alumni Association! The Massachusetts Institute of Technology Alumni Association! 24 00:04:30,220 --> 00:04:40,680 So when that happens, all you hear clearly of the echo is the end of what you said. And two of the three pieces in our first suite make use of that phenomenon. 25 00:04:41,600 --> 00:04:51,440 The overlapping part of the echo is not reproduced by these composers. That could get a little bit too chaotic harmonically for your pre-20th-century composer. 26 00:04:52,040 --> 00:05:04,720 But we hear the clear part of the echo at the end, and it's delightfully evocative. I call this the simulated real thing echo suite, and I'll be back in less than seven minutes. 27 00:05:51,950 --> 00:06:00,070 Now we won't, because it's too late for what? 28 00:06:01,430 --> 00:06:12,910 We shall never tell you, then be still, then be still, you noisy thing. 29 00:06:13,530 --> 00:06:25,270 All right, we've had enough. Good-bye now. Good-bye now. 30 00:06:25,290 --> 00:06:26,610 Good-bye now. 31 00:06:34,520 --> 00:06:35,640 Peaceful. 32 00:06:37,960 --> 00:06:39,320 Poshna. 33 00:06:41,560 --> 00:06:54,500 Oh, the silent sun. 34 00:07:11,120 --> 00:07:17,620 Oh, secher schalt! Is meine Heimat. 35 00:07:18,660 --> 00:07:31,240 Hier bin ich zu Haus. Los mein Jodler raus. Wo das Alpen glüht. Noch den Abend füllt. 36 00:07:31,640 --> 00:07:36,820 Wo der Handschlag und das Wort noch etwas gilt. 37 00:07:38,880 --> 00:07:41,740 Holale, jo, jo. 38 00:07:42,530 --> 00:07:44,360 Wo secher schalt. 39 00:07:44,360 --> 00:07:48,020 Holare, jo, jo. 40 00:07:48,400 --> 00:07:50,880 In der Felsenwand. 41 00:07:51,500 --> 00:07:54,820 Holare, jo, jo. 42 00:07:55,360 --> 00:07:57,580 Wo secher schalt. 43 00:07:58,180 --> 00:08:01,120 Holare, jo, jo. 44 00:08:01,480 --> 00:08:03,940 In der Felsenwand. 45 00:08:04,360 --> 00:08:16,520 Wenn ich die Welt ansehe. Wo ich auch geh und steh. Sag ich doch immer nur. Der Heimatschwur. 46 00:08:18,180 --> 00:08:30,700 Wo secher schalt. Ist meine Heimat. Hier bin ich zu Haus. Los mein Jodler raus. 47 00:08:31,300 --> 00:08:43,080 Wo das Alpen glüht. Noch den Abend füllt. Wo der Handschlag und das Wort noch etwas gilt. 48 00:08:43,080 --> 00:08:54,420 Holare, jo, jo. Wo secher schalt. Holare, jo, jo. 49 00:08:54,620 --> 00:08:57,100 In der Felsenwand. 50 00:08:57,620 --> 00:09:07,220 Holare, jo, jo. Wo secher schalt. Holare, jo, jo. 51 00:09:07,640 --> 00:09:10,100 In der Felsenwand. 52 00:09:10,100 --> 00:09:22,720 Hör ich das Alp von dann. Wird mir ums Herz so warm. Sie wie der Adlerkreis. Zum Himmel weist. 53 00:09:24,420 --> 00:09:26,620 Wo secher schalt. 54 00:09:27,020 --> 00:09:39,760 Ist meine Heimat. Hier bin ich zu Haus. Los mein Jodler raus. Where the Alpine glow 55 00:09:39,760 --> 00:09:42,700 Still fills the evening 56 00:09:43,500 --> 00:09:46,120 Where the hand-shake 57 00:09:46,120 --> 00:09:58,380 And the word still something goes May the God of wind Inspire 58 00:09:59,560 --> 00:10:12,500 The sacred night To bear the part And the blessed heavenly work Show the outpost of her word 59 00:10:34,060 --> 00:10:46,010 While echo While echo Shall in sound remote 60 00:10:46,470 --> 00:10:48,910 Repeat each note 61 00:10:48,910 --> 00:10:51,610 Repeat each note 62 00:10:51,610 --> 00:11:01,560 Each note Each note Once more Once more Once more 63 00:11:01,560 --> 00:11:13,720 And pepper Burn in And pepper Come in And pepper 64 00:11:13,720 --> 00:11:15,020 Burn in 65 00:11:15,020 --> 00:11:16,580 And pepper 66 00:11:16,580 --> 00:11:18,920 Quran Quran Quran 67 00:11:56,880 --> 00:12:09,460 The simulated real thing, Echo Suite, began with Orlando de Lasso's Echo Song, sung by the American Boy Choir under the direction of James Lytton. 68 00:12:10,060 --> 00:12:18,860 Then we heard Friedrich Neuninger, J-U-N, it says after, I guess that's Junior? I don't know. Anyway, he's singing, 69 00:12:26,060 --> 00:12:37,920 I guess another translation of that title might be, Be that as it may or may not be, 70 00:12:38,020 --> 00:12:47,020 Henry Purcell, closed out the suite with an excerpt from Act II of The Fairy Queen, a trio beginning May the God of Wit Inspire, 71 00:12:47,600 --> 00:12:56,700 with Nicholas Harnoncourt conducting Michael Chance, Lawrence Dale, Anthony Michaels-Moore, and the Consentus Musicus Wien. 72 00:12:57,380 --> 00:13:09,040 Looks like English singers accompanied by a German-speaking group with a Latin name, if you'll pardon my French. Yes, and I am Peter Schickele, and the program is... 73 00:13:10,060 --> 00:13:22,920 Peter Schickele Mix, from PRI, Radiosus Publicus Internationalis. Our program today is called Sonic Boomerangs. 74 00:13:23,080 --> 00:13:33,080 We're dealing with the phenomenon of echo in music. You know, I was thinking that an echo is the audio equivalent of a mirror image, 75 00:13:34,100 --> 00:13:43,140 except that the time delay involved in an echo is replaced by the remove in space between an object and its reflection. 76 00:13:43,960 --> 00:13:54,340 No, no, no, no, wait a minute, wait a minute, scratch that, I've got that all wrong. Wait, okay, okay, there's the, okay, come on, that's the sloppy thinking alarm. 77 00:13:54,540 --> 00:14:04,480 Hey, at least I realized it before the alarm went off. No, the truth is, folks, that both, of course, both an audible echo and a visible reflection 78 00:14:04,480 --> 00:14:15,220 involve a remove in space and a delay in time, right? Because light, like sound, travels at a certain speed. I mean, it's not instantaneous. 79 00:14:15,760 --> 00:14:28,100 Light travels at 186,281 miles per second. Everybody knows that. And what that means, I never thought about this before, what it means is that when you look at yourself in the mirror, 80 00:14:28,260 --> 00:14:39,880 the you you see in the mirror is actually a tiny fraction of a second younger than you are when you see it. In fact, what did I do with my calculator? 81 00:14:40,280 --> 00:14:49,650 No, I just had it. Oh, oh, here it is. Okay. Okay. Now, here we go, 186,281. 82 00:14:49,830 --> 00:14:53,990 Okay, carry the three. 83 00:14:56,550 --> 00:15:06,230 Okay, now, now disregarding the time it takes for the information to get from your eyes to your brain, you get into ontological problem there. 84 00:15:06,810 --> 00:15:14,890 Disregarding that, if you stand in front of a mirror and you're ten feet away from it, you are actually .00011. 85 00:15:16,170 --> 00:15:23,910 0, 0, 0, 0, 0, 0, 5, 0, 8, 1, 4 seconds older than the image in the mirror. 86 00:15:24,350 --> 00:15:36,730 The you in the mirror is 50,814 trillionths of a second younger than you are. How about that? But hey, like I say every week, you're looking good. 87 00:15:37,290 --> 00:15:49,350 No, no, no, I mean it. Hey, come on, believe me. I am not kidding when I say that I would never have guessed that you are one bit older than that person in the mirror. Really? 88 00:15:50,390 --> 00:16:02,370 Oh, man. Okay, look, let's listen to some more music here. Maybe that'll take your mind off it. Here's another pair of echo pieces, pieces that in their natural state, in the situations for which they were written, 89 00:16:02,490 --> 00:16:13,490 would involve real spatial separation between, in the first case, two solo instruments, and in the second, not two. Not three, but four orchestras. 90 00:16:13,910 --> 00:16:26,770 Four small orchestras, maybe each one in a different corner of a huge ballroom, or maybe even in different rooms of the palace. We'll call this Son of the Simulated Real Thing Echo Suite. 91 00:16:26,990 --> 00:16:29,070 I'll see you in about seven and a half minutes. 92 00:17:57,100 --> 00:18:22,700 Thank you. 93 00:20:37,370 --> 00:20:40,170 Thank you. 94 00:23:55,450 --> 00:24:01,710 Son of the Simulated Real Thing Echo Suite. It was really a sweetlet, I guess. 95 00:24:01,910 --> 00:24:12,730 But anyway, it began with Echo Taps, played by members of the United States Air Force Tactical Air Command Band. And then we heard the first movement of Mozart's. 96 00:24:12,870 --> 00:24:23,870 Noturno in D, K-286, played by the Academy of St. Martin in the Fields, under Sir Neville Mariner. Four orchestras, but apparently only one Sir Neville. 97 00:24:25,250 --> 00:24:35,350 You know, I've been thinking about the fact that echoes and mirror images are both reflections. And another thing that audio and visual reflections have in common 98 00:24:35,350 --> 00:24:46,650 is the loss of energy that takes place between the source and the point of reflection, and then in the process of reflection, and then again, going back to the source. 99 00:24:47,310 --> 00:24:59,330 When I shouted out, hello, at the canyon edge, the echo was not only later, but softer. And the pieces we've heard incorporate that. In fact, that's part of what makes them sound like echo pieces. 100 00:25:00,130 --> 00:25:11,350 Now, in a good mirror, you don't usually notice the equivalent loss of energy. It might be said that the reflection looks just as loud as you do. But three nights in a row, you can hear the echo. 101 00:25:12,370 --> 00:25:18,950 in one of those hotels, it was in Duluth if you must know, where the wall that you face when 102 00:25:18,950 --> 00:25:25,470 you're standing at the bathroom sink is a mirror and the bathroom door opens behind you and has a 103 00:25:25,470 --> 00:25:32,770 mirror on it so you can create that endless tunnel of reflections effect. When I got the angle just 104 00:25:32,770 --> 00:25:39,970 right, I could count 14 reflected images before they veered out of the frame, arranged in pairs, 105 00:25:39,970 --> 00:25:52,070 front and back view. And in that situation, when you look at the last reflection or two, it is noticeably darker than the first. Most of that loss of brightness occurs, 106 00:25:52,190 --> 00:26:04,590 I assume, at the actual points of reflection. Anyway, the fact that an echo sounds the same as the source but softer became the basis of an extremely common Baroque practice that might be 107 00:26:04,590 --> 00:26:16,190 called stylized echo. Whenever a phrase was repeated or even a whole long, long section, it was commonly played more softly the second time. This was such a standard 108 00:26:16,190 --> 00:26:28,890 technique that composers often didn't even indicate it, which created a lot of good fodder for arguments among 20th century musicians. We get into that aspect of Baroque music more on 109 00:26:28,890 --> 00:26:39,090 other editions of this show, but here are some examples of stylized echo, stylized in various ways. For instance, when the echoes happen is often inconsistent. 110 00:26:40,030 --> 00:26:50,830 Sections are repeated that are much too long to be echoed in nature without any overlap. And then the echo is often different from the source in more or other ways than just loudness. 111 00:26:50,970 --> 00:27:03,450 It might be a different tonal color or in a different octave or both. In one of these pieces, passages sung by women are answered an octave lower by men. The highly stylized echo suite 112 00:27:03,450 --> 00:27:07,950 has three numbers and lasts about eight and a half minutes. I'll see you then. 113 00:30:44,950 --> 00:30:50,830 EWTN EWTN 114 00:30:58,270 --> 00:31:05,590 EWTN EWTN 115 00:32:33,250 --> 00:33:11,020 Thank you. 116 00:33:44,780 --> 00:33:45,860 Thank you. 117 00:34:23,620 --> 00:34:24,820 Thank you. 118 00:35:00,960 --> 00:35:58,800 The highly stylized echo suite. 119 00:35:59,240 --> 00:36:12,020 Gabrielli, Svelink, and Scheidt. The Empire Brass and some of their friends played Giovanni Gabrielli's Canzon 13 from 1615. Gustav Leonhardt was the organist 120 00:36:12,020 --> 00:36:23,880 in that excerpt from Svelink's Echo Fantasy No. 12. And the Cambridge singers, under the direction of John Rutter, sang Samuel Scheidt's Sir Exit Pastor Bonus, 121 00:36:24,100 --> 00:36:36,920 The Good Shepherd is Risen. Now, excuse me if I repeat myself here, but as Echo said to Narcissus, if it's worth saying, it's worth saying again. My name is Peter Shickley, 122 00:36:37,060 --> 00:36:49,410 and the program is Shickley Mix from PRI, Public Radio International. Sonic boomerangs. We're talking echo here. And we've been talking about 123 00:36:49,410 --> 00:37:01,950 how the echo is later and softer than the source. But here is a sort of reverse echo effect. The softer, more distant-sounding voice is first, and the louder, more present voice answers. 124 00:37:02,430 --> 00:37:12,630 It's not kept up consistently, but it's pretty nifty. The opposite order is so common that turning it around creates a rather strange feeling. 125 00:37:13,210 --> 00:37:14,790 piano plays 126 00:37:24,370 --> 00:37:34,890 Standing by the well Wishing for the rain Standing by the well 127 00:37:34,890 --> 00:37:38,170 Wishing for the rain 128 00:37:38,750 --> 00:37:49,080 Raging clouds remain 129 00:37:52,280 --> 00:37:54,380 Drifting in a day 130 00:37:58,220 --> 00:38:12,900 Is that an empty house 131 00:38:13,440 --> 00:38:22,280 In the cold, cold summer I will wait until they are gone 132 00:38:22,440 --> 00:38:34,940 Part of Whispering Pines by the band. You know, only they could pull that off. I don't mean the reverse echo. I mean, only the band 133 00:38:34,940 --> 00:38:47,780 could manage to have a song called Whispering Pines and still be considered cool. Okay, now let's get back to the classical guys. The highly stylized kind of echo, 134 00:38:47,920 --> 00:38:52,960 often with a bit of overlap, was a favorite developmental technique of Brahms. 135 00:38:53,140 --> 00:38:54,160 piano plays 136 00:39:06,080 --> 00:39:18,520 piano plays piano plays piano plays piano plays piano plays piano plays piano plays piano plays piano plays piano plays piano plays 137 00:39:18,520 --> 00:39:24,080 piano plays piano plays piano plays piano plays piano plays piano plays 138 00:39:30,310 --> 00:39:36,430 piano plays movement of Brahms' Piano Quintet in F minor, one of this particular fellow right here's favorite 139 00:39:36,430 --> 00:39:43,430 pieces in the whole wide world. That was Rubinstein and the Guarneri Quartet. And we'll round this part 140 00:39:43,430 --> 00:39:51,030 of the show off with an extremely sophisticated echo. Extending the audio-visual comparisons we've 141 00:39:51,030 --> 00:40:03,450 been indulging in, this reflection is like what you might see in a funhouse mirror, or better yet, a camera obscura, which is a really neat thing going back hundreds of years. It's a darkened, 142 00:40:03,470 --> 00:40:10,190 usually freestanding room, and there's a small hole, with or without a lens, in one of the walls, 143 00:40:10,370 --> 00:40:23,310 and the view outside that wall appears as if projected on the inside of the opposite wall, but because of the laws of optics, it's upside down. I've seen one of those, it's just terrific, 144 00:40:23,890 --> 00:40:33,310 completely natural. Anyway, here are two musical phrases of four notes each, which are presented and then echoed, but backwards. 145 00:40:46,590 --> 00:40:57,290 That's the beginning of Webern's piano variations, played by Maurizio Pollini, stretching the concept of echo, perhaps to the breaking point. I'm going to play it for you. 146 00:40:57,310 --> 00:41:03,470 Sorry to play so little of that, but that's one of the clearest examples of retrograde that's really 147 00:41:03,470 --> 00:41:10,530 audible, that I know. You know, actually, it's interesting to think of straight repetition as 148 00:41:10,530 --> 00:41:17,530 echo without the loss of energy. In the late 1940s, when tape recorders became easily available, 149 00:41:17,830 --> 00:41:28,390 people started experimenting with the idea of making tape loops to achieve an hypnotic sort of repetition, like a non-verbal repetition, or a non-verbal repetition, or a non-verbal repetition. I'm sure only a three-spaced sheet can round this note to the on-decaying echo. 150 00:41:29,210 --> 00:41:32,850 Here's Henry Jacobs in the mid 1950s. 151 00:41:39,120 --> 00:41:47,320 The sound you're hearing in the background is a loop of tape. A loop approximately 152 00:41:49,840 --> 00:41:59,280 eight inches in perimeter, recorded at seven and a half inches a second, spliced end to end, and then baked spoil over to the surface of tape. 153 00:41:59,300 --> 00:42:08,760 going through a tape recorder. The purpose of this little tape demonstration is to 154 00:42:09,340 --> 00:42:21,200 give an idea of the overall evolution of my particular approach to synthetic 155 00:42:21,200 --> 00:42:33,660 rhythms. Henry Jacobs was obviously a pioneer, but I'd be willing to wager my autographed Blossom Deary LP that he was never awarded the Billy Graham Prize in 156 00:42:33,660 --> 00:42:43,980 Oratory. He goes on to demonstrate some of the drum and other sounds he used as basic building blocks and describes how you need at least two tape recorders, one 157 00:42:43,980 --> 00:42:50,400 to play the loops and another to record the result. And the rest, as they say, is 158 00:42:50,400 --> 00:43:01,400 editing. So we'll start with Sonata for Loudspeaker, which used some of the aforementioned instruments. As well as vocal sounds. 159 00:44:50,210 --> 00:44:57,130 Well that was Sonata for Loudspeaker in three parts, using a variety of drums and 160 00:44:57,130 --> 00:45:04,050 vocal sounds. And that was Henry Jacobs back in the pre-Cambrian era of tape 161 00:45:04,050 --> 00:45:16,790 music. Okay now, stick with me on this. We're talking about really old technology here. If you're old, you probably won't even know what I'm talking about. But I want to give you the concept here. 162 00:45:16,990 --> 00:45:26,870 If you're sitting at a tape console, and the tape is moving from left to right in front of you, and in front of your left hand there's a recording head to record sounds on the 163 00:45:26,870 --> 00:45:36,370 tape, and in front of your right hand there's a playback head that plays what's on the tape, but instead of feeding the playback head to speakers, 164 00:45:36,690 --> 00:45:49,510 you wire it so it feeds right back to the record head. Then you also feed a microphone into the record head. So what happens when you turn that puppy on, is that everything you do in 165 00:45:49,510 --> 00:45:59,830 front of that microphone will be not only recorded, but constantly re-recorded with the time interval determined by the speed the tape is going, and the distance 166 00:45:59,830 --> 00:46:11,050 the tape travels from the record head to the playback head. Now if you make the volume, the loudness setting, on the playback head lower than that of the record head, 167 00:46:11,250 --> 00:46:17,530 the signal will always be softer when it gets back to the record head, which means that everything you 168 00:46:17,530 --> 00:46:25,050 record will not only repeat, it will decay as it repeats. Which means that 169 00:46:25,050 --> 00:46:37,030 we're right back with our old friend Echo, the lovely nymph who pined away for Narcissus, who was himself in love with his own reflection in the water, his own 170 00:46:37,030 --> 00:46:43,070 visual Echo. She pined away until nothing was left but her voice. 171 00:48:04,480 --> 00:48:16,920 Platymyr Usachevsky's underwater waltz. Tape recorder music from the early 1950s. In this case, based on piano sounds. By the way, in case any of you women listening 172 00:48:16,920 --> 00:48:28,340 are in love with Narcissus type guys, it might be some consolation for you to know that when When Narcissus leaned over to kiss his own reflection, he fell into the water and drowned, 173 00:48:28,640 --> 00:48:34,940 which is pretty satisfying, and which, incidentally, makes the fact that Ussachevsky's 174 00:48:34,940 --> 00:48:43,440 piece is called Underwater Waltz serendipitously appropriate. But that was long ago. I don't mean 175 00:48:43,440 --> 00:48:49,660 Narcissus, although he was. I mean Ussachevsky. The techniques for sound manipulation are now 176 00:48:49,660 --> 00:48:56,880 so sophisticated as to be truly mind-boggling. Not only what they can do with sound, 177 00:48:57,060 --> 00:49:05,960 but how little space they can do it in. We'll go out with Terry Riley playing a Yamaha YC45D 178 00:49:05,960 --> 00:49:13,180 electric organ tuned in just intonation and modified by computerized digital delay. 179 00:49:13,840 --> 00:49:19,040 This is part of a piece called Desert of Ice from the Shree Camel album. 180 00:49:19,660 --> 00:49:27,120 Now, I want to emphasize that Terry Riley is playing live, in real time, and all by himself 181 00:49:27,120 --> 00:49:34,140 here. This section is full of echoes, but the nature of the echo never stays the same for long. 182 00:52:49,950 --> 00:52:58,450 Heavenly Echoes, produced by Terry Riley, playing a Yamaha electronic organ modified by computerized 183 00:52:58,450 --> 00:53:09,530 digital delay. You know, when I was a kid, one of the groups you heard on the radio was Phil Spitalni and his all-girl orchestra, featuring Evelyn and her magic violin. 184 00:53:10,410 --> 00:53:22,990 Well, this is Terry and his magic... Oh, never mind, never mind. Let's, you know, this is a beautiful cut. Let's go back to the beginning of it for... You know, the music for my closing spiel. This is Desert of Ice. 185 00:53:53,950 --> 00:54:04,650 That's Shickly 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, with 186 00:54:04,650 --> 00:54:15,230 additional support from the National Academy of Recording Arts and Sciences, and from this radio station and its members. Thank you, members. And not only that, our program is 187 00:54:15,230 --> 00:54:23,990 distributed by PRI, Public Radio International. We'll tell you in a moment how you can get an official playlist of all the music on today's 188 00:54:23,990 --> 00:54:36,310 program with album numbers and everything. Just refer to the program number. This is program number 128. And this is Peter Shickley saying goodbye and reminding you that it don't 189 00:54:36,310 --> 00:54:42,810 mean a thing if it ain't got that certain je ne sais quoi. Like I said before, you're looking good. See you next week. 190 00:55:29,030 --> 00:55:29,810 Thank you. 191 00:56:25,810 --> 00:56:37,450 If you'd like a copy of the playlist that Peter Schickely mentioned, send a stamped self-addressed envelope to Schickely Mix. That's S-C-H-I-C-K-E-L-E, Schickely Mix. 192 00:56:37,810 --> 00:56:48,430 Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403. 193 00:56:48,710 --> 00:56:54,950 This is program number 128, and the name of it, Sonic Boomerangs.