1 00:00:00,240 --> 00:00:29,340 This is Northeast Public Radio, WAMC-FM, 90.3 Albany, WAMK, 90.9 Kingston, WOSR, 91.7 Middletown, WCEL, 91.9 Plattsburgh, WCAN, 93.3 Canajoharie, WANC, 103.9 Ticonderoga, WAMQ, 105.1 Great Barrington, WAMC-AM, 1400 Albany, 88.9 Oneonta, 93.1 Troy, 107.7 Newburgh, 91.9 Southington, and online at wamc.org. 2 00:00:30,240 --> 00:00:34,200 If it sounds ready, it is ready. Whatever that means. Here's the theme. 3 00:00:49,260 --> 00:01:01,540 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 00:01:01,820 --> 00:01:13,040 And here's some good news. 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. 5 00:01:13,040 --> 00:01:24,180 And from this here radio station, which gives me this here studio space. And what gets concocted here then gets distributed by this here outfit, PRI, Public Radio International. 6 00:01:25,360 --> 00:01:35,680 Now before we get going today, the nature of today's show makes it necessary for us to have a special announcement by our staff announcer. 7 00:01:37,020 --> 00:01:47,180 Warning! The following program contains sound effects that may be considered disconcerting. For their own good. Listener discretion is advised. 8 00:01:49,080 --> 00:01:57,620 Boy, for a staff announcer, you have a pretty bad voice. That's because I have a staff infection. Oh, I see. Well, take care of yourself. 9 00:01:58,060 --> 00:02:04,180 Yes, folks, today's show is about sound effects. More specifically, sound effects and music. 10 00:02:04,840 --> 00:02:14,020 We've talked on other editions of Shickley Mix about program music, pieces that are meant to tell or illustrate a story, and we've talked about the fact that very often, 11 00:02:14,040 --> 00:02:26,060 perhaps usually, if you don't know the story before you hear the piece, you won't be able to figure it out from the music of course I'm talking about non-vocal music here. from the music alone. 12 00:02:26,680 --> 00:02:34,340 Well, even with sound effects, context is very important, like for instance, what is this sound? 13 00:02:46,670 --> 00:02:59,530 That is the sound of coffee percolating. Now, how many of you guessed that? Correctly? Raise your hands. I don't see anything. hands raised which just goes to prove my point here's another illustration and 14 00:02:59,530 --> 00:03:09,990 this one is a contest folks with a terrific prize donated by Jim and Judy LeVart of the LeVart travel agency their motto is we don't get you there and then 15 00:03:09,990 --> 00:03:20,850 forget you folks you don't want a beautiful vacation ruined by a poorly planned trip home so travel LeVart it's the same coming and going and are you 16 00:03:20,850 --> 00:03:31,250 ready for this the prize they have donated is an all expenses paid two weeks stay at the just this side of Paradise motel in Acapulco Mexico this 17 00:03:31,250 --> 00:03:40,610 luxury accommodation is just a few short leagues from the beach and your prize includes a complimentary my tie and after-dinner mints at a special reduced 18 00:03:40,610 --> 00:03:50,830 price so here's all you have to do folks figure out what well-known story is being illustrated by the sounds you're about to hear you'll get two chances 19 00:03:50,830 --> 00:04:01,590 chances. First, I'll play a piece of program music based on the story, and then you'll hear the story told in sound effects. Okay, have you got your ears plugged in and your gray matter in 20 00:04:01,590 --> 00:04:48,440 gear? Here's the program music. And here's the same story told in sound effects. Okay, now the 21 00:04:48,440 --> 00:04:54,560 first person to call in with the correct answer wins that vacation for two in Acapulco. And the 22 00:04:54,560 --> 00:05:05,260 special number to call is... Excuse me. Hello? Oh, hello, sir. No, I'm glad you're listening. 23 00:05:05,340 --> 00:05:14,440 Some station managers don't even bother to... Yes? Well, yes, Jack and Jill is the correct answer. 24 00:05:14,860 --> 00:05:23,800 But sir, you're not going to be accepting the prize, are you? I mean, you're an employee of the station, and we were discussing the show before I went on the... 25 00:05:23,800 --> 00:05:31,080 What? Well, yes. I mean, no. I mean, you're the boss. I mean, you're boss with me, sir. I'm mister. 26 00:05:31,620 --> 00:05:42,140 And, uh, well, okay. All right, folks, the prize has already been won by the person who just called. 27 00:05:42,300 --> 00:05:53,620 And, you know, I was thinking, as the sound effects version was being played, what would it be like to hear the music and the sound effects simultaneously? I think I can, 28 00:05:53,800 --> 00:06:01,500 too, then. Let me try punching it up here. Okay, now, remember, the story is Jack and Jill went up 29 00:06:01,500 --> 00:06:07,980 the hill to fetch a pail of water. Jack fell down and broke his crown, and Jill came tumbling after. 30 00:06:08,300 --> 00:06:37,440 Here we go. That's pretty neat, huh? The story of Jack and Jill told in music and sound effects. 31 00:06:37,980 --> 00:06:50,780 And sound effects in music is what we're interested in today. We'll start off with two pieces that are the same. Well, technically speaking, I guess it's a wind instrument. It's a sound associated 32 00:06:50,780 --> 00:07:01,220 with urban life, but the composer of the first piece isn't particularly interested in that aspect. He simply regards it as a unique instrument with a tone, color, and way of moving that is 33 00:07:01,220 --> 00:07:12,700 incapable of being duplicated by any ordinary orchestral instrument. In the second piece, however, the extra musical associations of the instrument are definitely being taken into consideration. 34 00:10:55,000 --> 00:12:56,620 I can't even think of her name, but it's funny now and then how my thoughts go flashing back again 35 00:12:56,620 --> 00:13:09,220 to my old flame. I've met so many who had fascinating ways of fascinating gaze in their eyes. 36 00:13:10,240 --> 00:13:13,740 Some who took me up to the skies, 37 00:13:14,840 --> 00:13:24,360 but their attempts at love were only imitations of my old flame. 38 00:13:25,260 --> 00:13:38,260 I can't even think of her name, but I'll never be the same until I discover what became of my old flame. 39 00:13:39,240 --> 00:14:03,620 My old flame. 40 00:14:03,620 --> 00:14:07,160 My old flame. 41 00:14:07,300 --> 00:14:08,140 My old flame. 42 00:14:08,780 --> 00:14:15,680 I can't even think of her name. I'll have to look through my collection of human heads, 43 00:14:15,920 --> 00:14:24,700 but it's funny now and then how my thoughts go flashing back again to my old flame. 44 00:14:27,100 --> 00:14:29,360 My old flame. 45 00:14:30,520 --> 00:14:37,340 My new lovers all seem so tame. They won't even let me strangle them. 46 00:14:37,340 --> 00:14:46,580 For I haven't met a girl so magnificent or elegant as my old flame. 47 00:14:48,620 --> 00:14:56,700 I've met so many who had fascinating ways, a fascinating gaze in their eye. 48 00:14:56,920 --> 00:15:01,100 I saw this eye, so I removed the other eye. 49 00:15:01,220 --> 00:15:05,800 That eye that kept winking and blinking at other men. 50 00:15:05,800 --> 00:15:12,660 It was me, I was, it, it was, it, it was. Some who took me up to the skies. 51 00:15:13,960 --> 00:15:22,120 But their attempts at love were only imitations of my old flame. 52 00:15:23,520 --> 00:15:27,000 I, I can't even think of her name. 53 00:15:27,200 --> 00:15:29,340 What, what, what was her name? 54 00:15:29,900 --> 00:15:33,820 Doris, Laura, Chloe, Manny, Moe, Jack. 55 00:15:34,300 --> 00:15:37,020 No. No. No. No. I wouldn't have been Moe. 56 00:15:37,100 --> 00:15:39,900 I can't stand it, I tell you. 57 00:15:39,940 --> 00:15:41,880 This is driving me sane. 58 00:15:43,400 --> 00:15:46,180 She would always treat me mean. 59 00:15:46,380 --> 00:16:00,970 So I poured a can of gasoline and struck a match to my old flame. 60 00:16:07,160 --> 00:16:12,620 Our first sweetlet was called Siren Songs. It began with an historic work. 61 00:16:12,620 --> 00:16:25,400 Ionization by Edgard Varese, almost but not quite the very first piece in the Western music tradition to be composed for percussion alone. The Varese was written in 1931. 62 00:16:25,740 --> 00:16:35,920 Somebody named Amadeo Roldan wrote one a year earlier, but the Varese is the one that's still played regularly. Actually, come to think of it, it's not really for just percussion. 63 00:16:36,080 --> 00:16:46,920 As I said earlier, the siren is actually a wind instrument. The sound producing chambers are activated. The wind is activated by turning a crank, and then the air goes through the chambers. 64 00:16:47,220 --> 00:16:56,440 But the percussion section of the orchestra has long been the home of offbeat sounds, even if they're not, strictly speaking, made by percussion instruments. 65 00:16:57,140 --> 00:17:09,160 Bird calls and train whistles, for instance, and, as we shall hear later, taxi horns. Varese liked the fact that the siren could move in large parabolic shapes without distinct 66 00:17:09,160 --> 00:17:18,060 pitch and rhythmic divisions. It's hard now to realize how revolutionary the idea of an all-percussion piece was in 1930 or 31. 67 00:17:18,800 --> 00:17:31,340 The performers on the Varese were the New Jersey Percussion Ensemble, under the direction of Raymond Desroches. Then we heard Spike Jonze's rendition of My Old Flame, with Paul Freese doing his Peter Lorre imitation, 68 00:17:31,700 --> 00:17:44,500 and an ending that seems inevitable, but also perhaps uncomfortable to some modern sensibilities. Although, man, compared to your... Freddy the 13th-type movies... Well, enough said. 69 00:17:44,880 --> 00:17:56,700 I wonder how they were doing the fire at the end. Sometimes they used to do it by crinkling paper. Well, here's another pair of pieces, excerpts this time, featuring a sound not usually thought of as musical, 70 00:17:56,820 --> 00:18:06,140 in spite of its poetic associations. The sound of wind. In both these pieces, the wind is definitely meant to have extra musical associations. 71 00:18:06,820 --> 00:18:17,380 But this suite-let illustrates one of the major developments in sound design, and the sound effects in the 20th century. In the last decade of the 19th century, when the first piece was written, 72 00:18:17,600 --> 00:18:30,320 the sound of wind was produced by a wind machine, usually a sort of a barrel with some slats missing, mounted as if it were on a spit. A piece of heavy silk or canvas is draped over the barrel, 73 00:18:30,460 --> 00:18:42,520 and when the barrel is turned by the crank, it rubs against the cloth, producing a pretty darn good imitation of wind. This device was used in theaters long before the 19th century, before it showed up in the symphony orchestra. 74 00:18:43,220 --> 00:18:54,140 But the second piece, uh, you know, I really shouldn't call it a piece. The second selection we'll hear has no use for a wind machine. 75 00:18:54,640 --> 00:19:06,480 With modern technology, anything can be recorded and played back with staggering fidelity. Why settle for a cranky barrel when you can have the actual sound of a storm at sea? 76 00:19:07,480 --> 00:19:16,840 Well, I think that the first composer we'll hear from would probably still prefer to use a wind machine. And the second composer? Hey, he wasn't even consulted. 77 00:26:20,810 --> 00:26:31,990 Okay, I call that sweetlet the wind section. And I don't mean the brasses and woodwinds, I mean the wind section. The first excerpt was from an alpine symphony by Richard Strauss, 78 00:26:32,070 --> 00:26:44,670 and I'll bet we all knew that that was a storm. Didn't we? Raindrops, thunder, wind. Andre Previn and the Vienna Philharmonic. And then, from an album called Classical Nature II, 79 00:26:45,810 --> 00:26:57,550 Beethoven's incidental music to a storm at sea, sometimes known as the Symphony No. 5 in C minor. C minor, get it? You know, there are scads of these albums around now. 80 00:26:57,890 --> 00:27:10,570 Great classics fortified with natural sounds. It's sort of like seeing the banquet scene from Macbeth, performed on a beach in Hawaii. It reminds me of Paul Hindemith's statement to the effect 81 00:27:10,570 --> 00:27:22,030 that it seems to be a part of the American psyche to feel that if the Grand Canyon is beautiful and the music of Wagner is beautiful, then watching the Grand Canyon while listening to the music of Wagner 82 00:27:22,030 --> 00:27:34,990 must be twice as beautiful an experience. Well, I guess I shouldn't snicker. I'm not a big fan of outdoor concerts, but I happen to know that at least one of my string quartets has been played in a national concert. 83 00:27:35,010 --> 00:27:46,510 It's a natural amphitheater at the bottom of the Grand Canyon. And I must say, I would have liked to have been there. Yes, sirree. The composer of that string quartet, by the way, was Peter Schickely, 84 00:27:46,650 --> 00:27:59,410 and the name of the show he does is Schickely Mix, from PRI, Public Radio International. Today's show is called SFX 1138, Sound Effects in Music. 85 00:28:00,250 --> 00:28:13,210 Okay, we've been pussyfooting around here. Let's have a real full-fledged suite of pieces that feature sound effects. I want to emphasize that the first selection from a longer work called The Peasant Wedding 86 00:28:13,210 --> 00:28:26,110 was written in the 18th century and is performed here precisely as indicated in the score. Let's call this suite The Hills Are Alive with the Music of Sounds. It has four movements, 87 00:28:26,270 --> 00:28:28,790 and I'll see you in about 13 and a half minutes. 88 00:31:39,700 --> 00:31:42,420 Hey, get on out of the way! What are you trying to do? 89 00:31:42,620 --> 00:31:47,980 Trying to knock the streetcar off the track? You're so dumb, you should belong to the Diff and Dump Society. 90 00:31:48,360 --> 00:31:50,860 I'm sorry, boss, but I got the sidewalk blues. 91 00:39:05,220 --> 00:39:09,560 The Lord remains in our sleeping hearts 92 00:39:11,720 --> 00:39:22,370 We got out of this house of cards Out of the sleeping 93 00:39:24,410 --> 00:39:35,620 We got out of this house of cards Out of the dreaming 94 00:40:04,920 --> 00:40:15,840 We got out of this house of cards Out of the sleeping 95 00:40:18,700 --> 00:40:38,180 We got out of this house of cards 96 00:40:38,180 --> 00:40:49,970 And we know too little, too much And our puzzle eyes have come all apart 97 00:40:51,450 --> 00:40:56,990 So we go back to bed with our sleeping hearts 98 00:40:59,250 --> 00:41:10,280 And we stay asleep in a house of cards 99 00:41:11,640 --> 00:41:20,180 And we stay asleep in a house of cards 100 00:41:20,180 --> 00:41:46,580 And the hills are alive with the music of sounds. 101 00:41:47,380 --> 00:41:55,760 We began with a piece by Leopold Mozart. It's called the Peasant Wedding. That was the first movement. It's a divertimento in D major. 102 00:41:55,960 --> 00:42:05,300 And the orchestra was the Capella Savaria led by Paul Nemet. And yes, the score really does call for celebratory gunpoint. 103 00:42:05,320 --> 00:42:10,540 And then Jelly Roll Morton, a tune called Sidewalk Blues. 104 00:42:11,060 --> 00:42:19,040 And the dialogue there was Johnny St. Cyr, the banjo player, and Jelly Roll Morton. 105 00:42:19,880 --> 00:42:30,800 A little politically incorrect humor there, but it shows just how close early jazz was to vaudeville. Then we heard the Anvil Chorus from Verdi's Il Trovatore. 106 00:42:30,800 --> 00:42:35,860 That was von Karajan conducting the orchestra and the chorus of La Scala. 107 00:42:36,580 --> 00:42:44,500 That was in terms of the opera sung by a bunch of gypsies up in the mountains industriously working away at the anvils. 108 00:42:44,720 --> 00:42:53,320 And then finally a song called House of Cards by Adrian Belew from his album Mr. Music Head. 109 00:42:54,400 --> 00:43:02,400 I was once called a human music box. I wonder where Herbert is now. I've also been called Peter Schickely. 110 00:43:02,740 --> 00:43:08,480 And this program has been called Schickely Mix from PRI, Public Radio International. 111 00:43:10,480 --> 00:43:22,060 Today's show is called SFX 1138. We're talking about sound effects in music. Which reminds me of a very nice story I heard recently from a conductor friend of mine. 112 00:43:22,340 --> 00:43:33,220 He was guest conducting in Russia. I can't remember which city it was. I think either Moscow or St. Petersburg. And naturally they expected him and he wanted to have something American on his program. 113 00:43:33,940 --> 00:43:40,480 But the piece that had been selected, something by Barber, turned out not to be available. They couldn't get it, at least not in time. 114 00:43:41,280 --> 00:43:49,940 So the conductor said to the representative of the orchestra, he said, well maybe you have something else in your music library, some American music. 115 00:43:50,500 --> 00:43:58,980 And they said, yes, we have a music library. And the conductor said, well could I go into it? And, oh no, no, no, you couldn't go into the music library. 116 00:44:00,440 --> 00:44:10,440 But we have a list of what's available in the music library. Oh, said the conductor, fine, well could I see that list? No, no, we can't let you see the list. But we'll read it to you. 117 00:44:11,080 --> 00:44:21,700 Now this just, this brings up images to me. Why would they read him the list but not show it to him? I mean, are there works that they wanted to omit when they were reading it? 118 00:44:21,700 --> 00:44:34,640 I mean, were there works there that they thought might be politically sensitive? Did somebody write a grand oratorio called We've Never Heard of Alger Hiss? Or was it perhaps a matter of western decadence? 119 00:44:34,980 --> 00:44:42,120 An overture to a decadent opera that takes place in a 1920s speakeasy, Boris Goodenough for Jazz? 120 00:44:42,960 --> 00:44:54,540 Or are there the pieces maybe that are blatant plagiarisms of American works, like Cacciatore and Spring? I mean, why wouldn't they let him see the list? Well, whatever reason, they wouldn't. 121 00:44:54,700 --> 00:45:06,720 So they started reading the list and they got to American in Paris by Gershwin. And the conductor said, fine, let's do that. Although, come to think of it, he said, I suppose the taxi horns might be a problem. 122 00:45:08,020 --> 00:45:16,960 Because American in Paris in the percussion section has to have some taxi horns of the kind used by Parisian taxis. Here's the beginning of An American in Paris. 123 00:46:24,050 --> 00:46:36,930 Percussionists like to collect instruments, collect various sound-making things. And an American percussionist would definitely want to have a set of taxi horns for An American in Paris. So the conductor said, I suppose this might be a problem. 124 00:46:37,070 --> 00:46:46,490 But the representative of the Russian orchestra said, no, no, no problem. Tomorrow morning rehearsal, we have taxi horn. So the conductor said, fine. 125 00:46:46,890 --> 00:46:52,110 Next morning at the rehearsal, he gets up on the podium and begins An American in Paris. 126 00:46:52,110 --> 00:47:28,850 Well, I guess my friend managed to keep himself from falling off the podium from laughter. 127 00:47:29,190 --> 00:47:39,310 If so, he's a better man than I am. I would have lost it, man. At least I would have been a foreigner. Otherwise, I'd probably end up conducting the upper tundra philharmonic. 128 00:47:40,290 --> 00:47:49,490 But let's get back to what might be called pure sound effects. Sounds that are not usually thought of as musical, but are used in a purely musical way. 129 00:47:50,210 --> 00:47:58,050 The 12-tone music of Schoenberg and his music for the piano. The musical progeny is based on the concept of a row, a succession of pitches, 130 00:47:58,230 --> 00:48:07,870 that may be used in the original order and in the inversion, that's upside down, and the retrograde, that's backwards, and in the retrograde inversion, 131 00:48:08,150 --> 00:48:20,190 which is, as the rocket scientists among you may have figured out, upside down and backwards. Now I'd like to play you an example of a noise row. And this is an eight-unit noise row. 132 00:48:20,370 --> 00:48:31,330 It's quite rare to have noise rows of that length. Used in a structural manner, I mean. We'll hear the row presented twice in its original order, and then in the retrograde order. 133 00:48:32,890 --> 00:48:45,390 Did I read somewhere, or am I making this up, that there's a disorder called retrolexia, which means, like if you ask a person with retrolexia to spell stun, they'll say N-U-T-S, 134 00:48:45,950 --> 00:48:55,990 which isn't very polite, but they can't help it. Anyway, retrograde statements are not usually easy to hear. But here are a couple of easy-to-spot retrogrades. 135 00:48:56,150 --> 00:49:08,610 The first is from a piano piece based on a tone row, and even the non-rocket scientists among us will be able to hear that the first eight notes are followed by the same eight notes in reverse order. 136 00:49:09,190 --> 00:49:20,970 In the second excerpt, the three statements of the eight-noise row, original, original, and retrograde, are separated by interludes, played by more traditional instruments. 137 00:49:20,970 --> 00:49:24,570 I call this pair of excerpts, forth and back. 138 00:50:16,420 --> 00:50:25,220 We heard the opening of Webern's piano variations, 139 00:50:25,540 --> 00:50:30,680 followed by Franz Liszt's Liebestraum, as performed by Spike Jonze. 140 00:50:31,280 --> 00:50:38,620 And I must say, I find Spike Jonze's use of the retrograde row rather more subtle than Webern's. 141 00:50:38,620 --> 00:50:51,060 I mean, Webern's is so in-your-face, whereas Jonze spreads it out. In other words, he asks the audience to make an effort. He doesn't just feed it to you with a baby spoon. 142 00:50:51,860 --> 00:51:00,240 If Jonze had wanted to pander to the lowest common denominator, as Webern did, if he had wanted to do all the work for his audiences, 143 00:51:00,300 --> 00:51:08,740 so that they could just passively sit there and let the music wash over them like a wave or a breeze or the Schoenberg-Woodwind quintet, 144 00:51:08,760 --> 00:51:13,700 he would have had the retrograde follow the original immediately, as Webern did. 145 00:51:32,710 --> 00:51:43,800 Okay, now actually, there is an interesting connection between the Varese piece, with which we opened the program, and the Spike Jonze excerpt. 146 00:51:44,180 --> 00:51:54,060 And that is, that they are the only pieces we've heard today in which the sound effects are not used to illustrate or indicate some extra musical situation. 147 00:51:54,780 --> 00:52:05,260 In other words, they're not sound effects, they're music. You can imagine Varese saying, I don't consider the siren to be a sound effect. To me, it's a musical instrument. 148 00:52:05,840 --> 00:52:17,080 And Spike Jonze felt the same way about pistols and hiccups. Nevertheless, I think... Sorry. Hello? Oh, hello, sir. 149 00:52:18,280 --> 00:52:31,240 Um, yeah. Yeah, I do have an extra pair of sunglasses. I'll be glad to loan them to you. Sure, what is it? Oh, the title of today's show, SFX 1138. Yeah. 150 00:52:31,340 --> 00:52:40,740 Well, in a movie script, FX means effects. And SFX means sound effects, as opposed to music effects or personal effects. 151 00:52:41,140 --> 00:52:51,480 And the number is just sort of a tribute to George Lucas' first movie, THX 1138. Yeah, I agree. I think he's an excellent director. 152 00:52:51,480 --> 00:53:04,000 I wish he would actually direct more of his movies himself. I mean, the ones he writes and produces. If you're a Lucas fan, sir, did you know that Star Wars was originally called Star War? 153 00:53:04,200 --> 00:53:12,960 It was originally just in the singular. But as he was finishing it up, a really terrible horror flick called Raw Rats was released. 154 00:53:13,320 --> 00:53:23,780 And Lucas realized that if someone whose job it was to put the letters up on the marquee were retrolexic, you know, they'd put up Star War and it would come out Raw Rats. 155 00:53:24,240 --> 00:53:33,940 And everybody would think it's that terrible horror movie. So, yeah, so that's why he changed it. I better go, sir. The show's almost over. Okay, bye. 156 00:53:35,500 --> 00:53:48,240 Well, the sand in the shickly mix hourglass is running out, folks. And I must say, I feel a little wired here, a little keyed up. What with all those car horns and anvils and gunshots. 157 00:53:48,240 --> 00:53:59,440 I need something to relax with. Um, okay, here's an album called Mozart Naturally. Let's check it out. 158 00:53:59,560 --> 00:55:16,700 That feels so good. 159 00:55:17,820 --> 00:55:28,440 And 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. 160 00:55:28,580 --> 00:55:41,520 With additional support from the National Academy of Recording Arts and Sciences, and from this radio station and its members. Our program is distributed by PRI, Public Radio International. 161 00:55:43,320 --> 00:55:53,960 That's the sound of PRI sending the program up to the satellite. 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. 162 00:55:54,260 --> 00:56:06,080 Just refer to the program number. This is program number 133. And this is Peter Shickley saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. 163 00:56:06,400 --> 00:56:08,660 You're looking good. See you next week. 164 00:58:15,530 --> 00:58:26,070 If you'd like a copy of that playlist I mentioned, send a stamped self-addressed envelope to Shickley Mix. That's S-C-H-I-C-K-E-L-E, Shickley Mix. 165 00:58:26,070 --> 00:58:35,970 Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, MN 55403. 166 00:58:37,530 --> 00:58:40,570 PRI Public Radio International