1
00:00:00,370 --> 00:00:03,570
I hope you've got your party hat on. Here's the theme.

2
00:00:18,520 --> 00:00:27,380
Hello there, you party animal. I'm Peter Sickley, and this is Sickley Mix, a program dedicated to the proposition that all musics are created equal.

3
00:00:27,540 --> 00:00:39,140
Or as Duke Ellington put it, if it sounds good, it is good. And our bills, it's good to report, are paid by the Corporation for Public Broadcasting and by this fine radio station.

4
00:00:39,140 --> 00:00:47,380
Oops. What I do here is distributed far and wide by PRI, Public Radio International.

5
00:00:48,780 --> 00:00:59,120
I have to apologize, folks. I'm not quite as organized as usual here. I usually get some help from other members of the staff, you know, pulling CDs and stuff,

6
00:00:59,200 --> 00:01:08,600
but there is nobody around today. The place is like a morgue. I don't know why either, but anyway, that's my problem, not yours. I will try to...

7
00:01:09,140 --> 00:01:20,180
muddle through with at least a modicum of distinction. Okay. How good are you at recognizing a tune? I mean, even if it's embellished a bit.

8
00:01:20,740 --> 00:01:24,700
Like, can you tell me what song James Moody is playing here?

9
00:03:31,620 --> 00:03:40,700
So what is that song? Unfortunately, the whole cut is almost 11 minutes long. There's no way we can play all of it and still have room for what's coming up.

10
00:03:40,840 --> 00:03:44,940
But let's go to the end of it, where Moody plays the tune in tempo.

11
00:03:49,080 --> 00:04:39,400
All right, James Moody, take that lampshade off your head.

12
00:04:39,940 --> 00:04:52,640
James Moody playing the Beer Barrel Polka. Give yourself 10 points if you recognize... the tune from the intro. And 100 points if you knew that the sidemen were... Mark Cohen, Todd Kuhlman, and Akira Tana.

13
00:04:53,120 --> 00:05:03,000
And give yourself 500 points if you're wearing later hosin', folks, because today's show is about polkas. Those lively dances in duple time, usually 2-4.

14
00:05:03,440 --> 00:05:14,800
They're sometimes indistinguishable musically from marches and quick steps, but the polka world is... Well, it's like a whole way of life, especially in the part of the Midwest that I come from.

15
00:05:15,340 --> 00:05:27,160
Although, even there, it's perhaps not as widespread or as virulent as it once was. We're going to start off with a brief history, a very brief history of the polka. Just two numbers.

16
00:05:27,440 --> 00:05:38,820
The first, from old Polish folklore, played on peasant instruments. And the second, the kind of thing I heard a lot of on radio station WDAY in Fargo, North Dakota, as a teenager.

17
00:05:39,540 --> 00:05:48,580
This is the basic stuff. We'll call this sweetlet, Polkas to Dance To. And don't... Don't worry about getting pooped. It's only about four and a half minutes long.

18
00:07:26,180 --> 00:07:34,140
It used to be on Saturdays, I'd say, oh, oh, oh There was no one there to talk to, no one I could call

19
00:07:34,140 --> 00:07:38,160
And then one day a friend came by and found me out of bed

20
00:07:38,160 --> 00:07:42,180
He was going to a polka dance, and this is what he said

21
00:07:42,180 --> 00:07:54,180
Try it, you'll like it Try it, you'll like it Try it, you'll like it Try it, you'll like it I like it now, I play them every day

22
00:07:54,740 --> 00:08:06,180
Try it, you'll like it Try it, you'll like it Try it, you'll like it I'm hoping here to stay I had friends who had a band that would play rock and roll

23
00:08:06,180 --> 00:08:14,200
I told them about my polkas, and they said it had no soul I asked them, they never gave a fuck about the music and fun

24
00:08:14,200 --> 00:08:18,180
They said no, so I looked at them and gave them the straight line

25
00:08:18,740 --> 00:08:30,100
Try it, you'll like it Try it, you'll like it So they try it I like it now I play them every day

26
00:08:30,820 --> 00:08:41,900
Try it, you'll like it Try it, you'll like it Try it, you'll like it I hope they're here to stay Remember finger or heel That's fine

27
00:08:41,900 --> 00:08:50,090
I saw some dancers dancing through a symphony

28
00:08:50,090 --> 00:08:52,190
A group of stupid shots

29
00:08:52,190 --> 00:08:56,210
You know, they really broke their feet I heard them playing rock and roll

30
00:08:56,210 --> 00:09:08,790
I never went to a bolt and test. They said no, but I said, yeah, that's a test. Try it if you like it. Try it if you like it.

31
00:09:10,030 --> 00:09:22,510
So they tried it and they liked it. Now they play them every day. Try it if you like it. Try it if you like it. Try it if you like it. Now, folks, here's a tale.

32
00:09:22,510 --> 00:09:34,550
Friends out there in Houston land. Look at them, look at them and cry. Come on, two-dick lodges, and we'll stay away in line. The poker is the coming thing, so try it if you will.

33
00:09:34,730 --> 00:09:44,950
The happy shot of poker will give you quite a thrill. Try it if you like it. Try it if you like it.

34
00:09:46,110 --> 00:09:59,070
So they tried it and they liked it. Now they play them every day. Try it if you like it. Try it if you like it. Try it if you like it. Come on, two-dick lodges, and we'll stay away in line.

35
00:10:16,740 --> 00:10:25,860
Our two pokers to dance to were an old Polish polka played by the Mandel Quartet with Robert Mandel on hurdy-gurdy plus the Okros Group.

36
00:10:26,320 --> 00:10:38,220
The management takes no responsibility for its pronunciation of Middle European names. And the second one was called Try It, You'll Like It. I'll bet you figured that out. Done by Dick Rogers.

37
00:10:38,700 --> 00:10:49,880
That's from a CD called Polka Dance Party, Volume 2. It's got some bands I remember from my youthhood. Like Six Fat Dutchmen and Frankie Yankovic.

38
00:10:50,020 --> 00:11:02,480
And some bands I don't remember, like Whoopi John and Polka Padre. Now that's a great name for a band, Polka Padre. At WDAY, it was the best little band in the land.

39
00:11:02,760 --> 00:11:13,120
It was a nice little band. It was little, no tuba, unfortunately. I was maybe a little snooty about pokers in those days. But I loved hanging out at the studios just to be around the musicians.

40
00:11:13,960 --> 00:11:26,640
Can't remember many of their names now. Little Joe played violin. The laconic Harry Jennings on guitar, as I remember. Orville Nellermoe, a sweet and mellow guy and a terrific bass player.

41
00:11:27,100 --> 00:11:40,060
And of course, most of those guys also played in the country and western band and the dance band. In small time radio, you didn't have to change costumes. You just had to show up. Okay, now to go back in history a bit.

42
00:11:40,320 --> 00:11:52,680
You know what happens. It happens time and time again. You get something. You get some hot new dance going. And before you know it, the high-brow composers, the guys who know how to read music,

43
00:11:52,880 --> 00:12:05,440
they come along and co-opt the whole thing. Remember what they did to Sarah Bands? The Sarah Bands started out as a smoldering, sexy dance done by Spanish courtesans.

44
00:12:05,860 --> 00:12:12,520
But by the time you hear one in a Bach unaccompanied violin piece, hey, we're not even talking PG-13 here.

45
00:12:12,520 --> 00:12:21,700
But in their defense, I do have to say that the conservatory composers have not been out to squelch these dances as dances, qua-dances.

46
00:12:22,340 --> 00:12:28,900
If the Sarah Band was squelched as a dance, it was probably due more to the influence of the church than anything else.

47
00:12:29,380 --> 00:12:37,780
Certainly the waltz, the foxtrot, and the tango, to mention a few, were not squelched by being appropriated into so-called serious music.

48
00:12:38,500 --> 00:12:43,840
Here are three concert polkas of varying degrees of form. The first one is called The Fidelity to Their Roots.

49
00:12:44,220 --> 00:12:55,160
By the time we get to the third piece, I don't even think most listeners would think of it as a polka if the composer hadn't called it one. Polkas to Listen To, back in five.

50
00:17:35,620 --> 00:17:48,060
Polkas to Listen To began with the Village Bells polka by Stephen Foster, played by Joseph Smith. Then we hear the Military polka by Asher from the band book of the Harmony City, Pennsylvania.

51
00:17:48,060 --> 00:17:59,880
Played by the Chestnut Brass Company and friends on original 19th century brass instruments, which were a pretty motley lot and had their own ideas about intonation.

52
00:18:00,380 --> 00:18:12,880
Then finally came the polka in A by Bohuslav Martyniou from book one of his Etudes and Polkas, played by Radoslav Kvapil. Or is it Kvapil?

53
00:18:13,880 --> 00:18:23,420
It's basically a simple name, but to me it's harder to pronounce. It's more difficult to pronounce than Peter Schickley, the host of Schickley Mix from PRI, Public Radio International.

54
00:18:27,740 --> 00:18:35,660
Well, today we're having a polka party at Pete's Place. Nice little party, just you and me. Although I hope you dance better than I do.

55
00:18:36,040 --> 00:18:43,100
So if we're going to be spending an hour connecting the polka dots here, it might be nice to know where the name comes from.

56
00:18:43,480 --> 00:18:54,220
It does not, I can tell you this, come from Chico Marx trying to say a pig in a poke. But where does it come from? This sounds like a job for...

57
00:18:59,040 --> 00:19:01,240
Etymology can be fun.

58
00:19:04,610 --> 00:19:16,210
Yes, etymology can be fun. If you can remember whether it's about words or about bugs. It's about words. And...

59
00:19:21,240 --> 00:19:23,220
Etymology can be fun.

60
00:19:29,760 --> 00:19:39,440
According to Grove's dictionary, the origin of the term polka is uncertain. The dance originated in Bohemia. Which is now part of Czechoslovakia.

61
00:19:40,180 --> 00:19:52,760
The name may have come from the Czech word pulka, meaning half. Because of the short heel and toe half steps, which are characteristic of the dance. Or it may have come from pole, the word for field.

62
00:19:53,300 --> 00:19:58,200
But it's more likely that it comes from the Czech word for a Polish girl, polska.

63
00:19:58,580 --> 00:20:10,180
Which might have been shouted out during the dancing or perhaps, according to Groves, it might have been in reference to the Krakowiak dance song. Which the Bohemians adapted for their polka.

64
00:20:10,980 --> 00:20:21,520
That's a great word, isn't it? Krakowiak. Meaning, I presume, from Krakow. Or should it be Krakowiak? You know, like it's Moscow, but Muscovite.

65
00:20:22,140 --> 00:20:34,160
You could make it clearer that it's an adjective by adding I-A-N on the end. Krakowiakian. Now we're talking about a groove. Krakowiakian, Krakowiakian, Krakowiakian.

66
00:20:34,980 --> 00:20:44,300
There goes the irrelevancy alarm. I could probably argue that one. We are, after all, talking about the etymological origins of the subject of today's program.

67
00:20:44,600 --> 00:20:57,400
But these appeals are so costly, you know, in terms of time and money. So I'm going to let it go. I do, however, want to tell you about the results of my own research. And you're getting in on the ground floor on this.

68
00:20:57,520 --> 00:21:06,360
I haven't published it yet. Not many people know that the early European settlers on the eastern seaboard of America included some Bohemians.

69
00:21:07,100 --> 00:21:19,060
And a tragic incident occurred in 1594 when the Bohemians were showing off their dancing to a friendly tribe of Indians. A fight broke out and there were some people killed on both sides.

70
00:21:19,380 --> 00:21:32,300
And the Indians came to feel that they were haunted by the sound of the polka. Which is why their chief, Powhatan, named his daughter Pocahontas. The rest, as they say, is history.

71
00:21:35,060 --> 00:21:37,240
And that's today's edition of...

72
00:21:39,120 --> 00:21:41,000
Etymology can be fun.

73
00:21:41,620 --> 00:21:48,000
If you can remember whether it's about words or about bones. It's about words.

74
00:21:54,180 --> 00:22:03,040
I'm telling you, if this show were any more educational, we'd have to charge tuition. Okay, we started the show with a guessing game. Let's do another.

75
00:22:03,380 --> 00:22:12,340
You are about to hear a 16-second polka that constitutes the first variation of a set of variations on a very well-known song.

76
00:22:12,960 --> 00:22:22,540
But this is the kind of variation where the only thing it has in common with the theme is the harmonic structure. So this is worth, I'm going to say, 50 points.

77
00:22:39,660 --> 00:22:43,840
Okay, that's the variation. Here's the theme and the variation.

78
00:24:04,730 --> 00:24:14,790
The theme and first variation from the Old Folks at Home Variations by Stephen Foster. Once again, our pianist was Joseph Smith.

79
00:24:15,490 --> 00:24:25,690
Definitely music written to be playable by a genteel parlor pianist. Now let's listen to three more concert polkas, but this time the...

80
00:24:25,690 --> 00:24:31,210
Excuse me just a minute. Oh, wait a minute. I know what this is going to be.

81
00:24:33,490 --> 00:24:45,650
I did not mean to imply that Joseph Smith is a genteel parlor pianist. I just mean that I'll bet that's the market Stephen Foster had in mind when he wrote that piece.

82
00:24:47,030 --> 00:24:58,370
Man, I certainly wish the station manager would let me turn the phone off during the show. But the show must go on. And it's going to go on with three parody polkas.

83
00:24:58,810 --> 00:25:10,030
Three concert pieces that perhaps poke affectionate fun at the polka while nevertheless reveling in its spunky spirit. At least that's true of the first and last pieces.

84
00:25:10,270 --> 00:25:20,310
The middle one can't exactly be called affectionate. I call this suite Polkas to Smile or Grimace At. And I'll see you in about four and a half minutes.

85
00:28:42,290 --> 00:28:43,230
Come on. All right.

86
00:28:44,210 --> 00:28:47,030
All right. I've got to go now.

87
00:28:47,910 --> 00:28:57,050
Bye. Bye. Take care at the concert.

88
00:28:57,390 --> 00:29:02,010
The crystal does be great in his coat, with wheezing hurdy-gurdy of the marine wind,

89
00:29:02,170 --> 00:29:10,210
blows me to the tune of Annie Rooney's sturdy, over the sheafs of the sea, and bright as the season's pack-backed, with zinnias can be just chill,

90
00:29:10,430 --> 00:29:17,730
is Mrs. Merrigal's jacket, as she bakes at the indoor still, when at dawn in the box of the sailor, blue as the decks of the sea,

91
00:29:18,330 --> 00:29:29,230
Nelson awoke, crowed like the cocks, then back to the dust sank he, and Robinson, Russo, Russo, the bright and oxy beer, dear, but he finds fresh isles in an egress, smiles the poxy, doxy, dear,

92
00:29:29,390 --> 00:29:33,090
as they watch me dance the polka, said Mr. Wag Like a Bear,

93
00:29:33,350 --> 00:29:40,750
in Marta Patnum always says, let's tra-la-la-la-la-trap the bear, tra-la-la-la-la-la, tra-la-la-la-la-la, tra-la-la-la-la-la-la-la-la.

94
00:29:44,220 --> 00:29:56,960
Pokas to Smile and Grimace At The first was one of the three easy pieces by Igor Stravinsky, played by his son, Salima Stravinsky, and the second polka was the third movement of a strangely tough,

95
00:29:56,980 --> 00:30:06,580
titled work, The Little Requiem for a Polka, by the Polish composer, Henryk Gorecki. According to the liner notes of this beautifully played album,

96
00:30:06,860 --> 00:30:16,000
the composer has provided no clues as to the reason for the work's title. That third movement is the only one of the four that sounds polka-ish at all,

97
00:30:16,720 --> 00:30:27,460
polka-ish in a pretty vitriolic or desperate manner, to be sure. The performers were E. Fiaminghi, the Orchestra of Flanders, under the direction of Rudolf, and Rudolf Verton.

98
00:30:27,960 --> 00:30:40,440
And then the last piece was the polka from Facade, an entertainment with music by William Walton and poems by Edith Sitwell. Janet Bookspan was the speaker, and David Epstein conducted the six players.

99
00:30:41,020 --> 00:30:52,440
The line, See Me Dance the Polka, probably refers to a very popular 1886 song of that title. You know, I don't know what's going on at this station today.

100
00:30:52,720 --> 00:31:04,940
During that last suite, I tried to call a bunch of people here to find out about a musical that was going on, but I couldn't find anyone. I was waiting for a meeting tomorrow, and nobody is here. The building is empty. It's like a ghost town. The only person I could get was the receptionist,

101
00:31:04,960 --> 00:31:15,740
and she put me on hold for two and a half polkas. I finally gave up. Really weird. But look on the bright side. It's tidbit time at the old polka hall.

102
00:31:16,120 --> 00:31:26,940
Here are two selections from P. D. Q. Bach's monumental choral work, the Liebeslieder Polkas, for mixed chorus and piano five hands. This is the only one I've ever played.

103
00:31:26,940 --> 00:31:37,720
The only work I have so far discovered by the mini-meister of Weinam Rhein, in which he sets the poems of well-known poets, in this case Robert Herrick and Christopher Marlowe,

104
00:31:38,360 --> 00:31:46,880
although whatever respect he might have had for their eminence did not prevent him from interpolating lines of his own into their texts.

105
00:31:47,680 --> 00:31:57,360
So sue me, he said to a picture of Herrick in the book from which he took the poems, a tome entitled Seven Famous Poets, Each Deader Than Me. It's a great poem, but it's less than the last.

106
00:31:57,920 --> 00:32:03,400
We'll hear To the Virgins to Make the Much of Time and The Passionate Shepherd to His Love.

107
00:32:25,550 --> 00:32:30,610
The glorious lamp of heaven, the sun, the higher, he's a getty.

108
00:32:33,860 --> 00:32:38,700
The sooner will his race be won, the nearer he's to setting.

109
00:32:42,080 --> 00:32:47,780
That age is best, which is the first, when youth and blood are warmer.

110
00:32:48,380 --> 00:33:00,980
Being spent the worst and worst, time still succeeds the former.

111
00:33:02,000 --> 00:33:11,680
Then be not coy, but use your time, and while ye may go merry,

112
00:33:12,120 --> 00:33:28,360
He rose, but while ye may go, time is still applying.

113
00:33:30,460 --> 00:33:39,240
This same flower that smiles today, tomorrow will be dying.

114
00:33:47,560 --> 00:34:29,960
And we will sing upon the rocks, on the rocks, singing the shepherds, we the bobs, we the bobs, we the bobs, we the bobs, we the bobs, we the bobs, we the bobs.

115
00:36:47,160 --> 00:36:57,060
The Swarthmore College Chorus, under the direction of Peter Graham Swing, performing two of the Liebesleder Pokas, Schickeli No. 2-4 by P.D.Q. Bach.

116
00:36:57,840 --> 00:37:10,360
The accompaniment in that work is for piano five hands. And you know, that was very smart of P.D.Q., because it means that, with three people at the piano, there is always one hand available for turning pages.

117
00:37:11,340 --> 00:37:23,320
Brahms didn't think of that. The pianists, by the way, were Anne Epperson, David Wee, and Professor Peter Schickeli, who is extremely closely related to the Peter Schickeli who is the host of Schickeli Mix,

118
00:37:23,520 --> 00:37:33,240
from PRI, Public Radio International. It's a polka party at Pete's Place.

119
00:37:33,520 --> 00:37:46,020
And now we're going to take the polka right out to the edge. We're going to take it to the limit one more two-four time. We're going to enter the polka twilight zone, where no polka person has ever gone before.

120
00:37:46,700 --> 00:37:54,520
This suite is called Mondo Blast. It's called Polka, and it's three numbers last a little over ten minutes, after which I shall return.

121
00:45:11,870 --> 00:45:18,870
One, two, three, let's go. Polka Music

122
00:45:21,170 --> 00:45:30,950
You gave me some money from that old bell jar. You gave me some glamour juice, not from the start.

123
00:45:31,050 --> 00:45:35,590
You gave me a haircut, said this is so divine, and you showed me how to polka.

124
00:45:35,870 --> 00:45:39,610
Here's what I cried, that I don't want to polka with you no more.

125
00:45:39,850 --> 00:45:49,180
And I don't want to peewees, and I don't feel let's go.

126
00:45:50,720 --> 00:46:04,020
You gave me a sausage from your mommy's saloon.

127
00:46:04,180 --> 00:46:15,420
You gave me a boat ride to your favorite lagoon. You gave me a caramel with slimy swamp inside. You said this is your culture. Here's what I cried, that I don't want to polka with you no more.

128
00:46:17,120 --> 00:46:24,840
And I don't want to pee in your backyard. I don't want to march on your kiwis. And I don't want to cry for my wee-wee. Let's go.

129
00:47:27,950 --> 00:47:39,850
You gave me a better and a downer slimy swamp inside. You said this is your culture. Here's what I cried, that I don't want to polka with you no more.

130
00:47:40,010 --> 00:47:48,710
And I don't want to pee in your backyard. And I don't want to march on your kiwis. And I don't want to cry for my wee-wee.

131
00:47:54,980 --> 00:48:07,580
I'll go along with that. That suite was called Mondo Polka. It began with a bassoon quartet called Polka in Swing by Georg Terfert, played by the Gertzinnisch Fagot.

132
00:48:07,600 --> 00:48:18,940
Then we heard the Oa Poa Polka by Mary Ellen Childs, performed by the accordionist who commissioned it, Guy Klutschewsek. Terrific piece.

133
00:48:19,660 --> 00:48:28,040
That title, Oa Poa Polka, sounds as if it could be Hawaiian, you know, which bathes me in some very fond memories.

134
00:48:28,400 --> 00:48:37,580
But according to the composer, the title reflects the structure of the piece, which begins with a few scattered notes and gradually fills in the spelling.

135
00:48:42,000 --> 00:48:51,440
And the last section was I Don't Want a Polka by the Polka Dogs, a Canadian band consisting of banjo, free bass accordion,

136
00:48:52,080 --> 00:49:02,620
I thought free bassing was against the law, but maybe not in Canada, tuba, drums, and trombone. You know, it's your typical banjo, accordion, tuba, rock and roll band, my kind of group.

137
00:49:03,340 --> 00:49:11,340
Well, I guess that about wraps up. Excuse me. Hello? Oh, hello, sir.

138
00:49:13,600 --> 00:49:24,580
Well, I, you know, I am still on the air. Okay. Well, if it's really important, and it'll only take a minute. Okay.

139
00:49:24,640 --> 00:49:37,540
I'll put on a CD and come right down to your office. I'm surprised that you're here. Nobody else is. Okay. I'll be right there. Folks, I'm going to put on,

140
00:49:39,060 --> 00:49:49,680
I'm going to play you, a very attractive little selection here called The Papageno Polka by Ludwig Stassny. I wasn't originally going to play it

141
00:49:49,680 --> 00:50:00,520
because we don't have time to hear the various themes from Mozart's The Magic Flute to which it refers, but it's a cute piece, and I hope you'll enjoy it.

142
00:50:01,520 --> 00:50:04,500
And here it is, folks, The Papageno Polka.

143
00:52:31,800 --> 00:52:48,920
The door is locked.

144
00:52:49,200 --> 00:52:51,040
I can't get back into the studio.

145
00:52:51,180 --> 00:52:55,020
How could this happen? Hey, is anybody in there?

146
00:52:55,580 --> 00:53:06,920
If so, please open the door. Surprise! Hey, what is this? Come on, you guys. Oh, man, look at that cake.

147
00:53:07,580 --> 00:53:19,540
It's not my birthday. What's the story here? Hey, listen, besides, even if it were my birthday, I'm not, I mean, I may be old, but I'm not. One, two, three. Three, four, five, six, seven, eight, nine, ten.

148
00:53:19,720 --> 00:53:31,200
One, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen. I'm not 150 years old, believe me. Oh, wait a minute.

149
00:53:32,400 --> 00:53:45,080
This is sickly mix number 150, isn't it? Guys, that is so sweet. Tell you what. Why don't I put on the theme and do the closing credits,

150
00:53:45,300 --> 00:53:52,960
and then we can get down to some serious, just partying, okay? Blow out the candles! Yeah, right. Blow out 150 candles. Give me a break.

151
00:53:53,140 --> 00:53:55,640
Blow out the candles! Blow out the candles!

152
00:53:55,760 --> 00:53:56,940
Okay, okay, okay.

153
00:53:57,500 --> 00:53:58,580
Okay, everybody.

154
00:53:58,640 --> 00:54:11,620
I will endeavor to the best of my ability to blow out the candles. Make a wish! Yeah. Make a wish. Well, you know what I wish is that wishes would come true immediately if they're going to come true at all.

155
00:54:12,140 --> 00:54:24,200
And what happens with me is as time goes by, I forget what I wished for, so I don't know whether it came true or not. If a wish is going to come true, it should come true within a minute. That's right. That is it.

156
00:54:24,240 --> 00:54:29,620
But okay, I'll make a wish. Okay. All right, here goes.

157
00:54:30,480 --> 00:54:42,890
Go, go, go. Is this a windbag? Go, go, go. That's how it goes.

158
00:54:42,970 --> 00:54:49,010
Haven't I always said that? Go, go, go. Thank you. Thank you.

159
00:54:49,130 --> 00:54:56,030
Thank you very much. Okay, here comes the theme, folks. Everybody be quiet when I bring the mic back up for the credits.

160
00:54:56,230 --> 00:54:56,750
Got it.

161
00:55:15,170 --> 00:55:26,910
Oh, man. Hey, honey. That's a beautiful way. I like a woman who's not overdressed. What can I say?

162
00:55:28,070 --> 00:55:37,590
Well, I guess that's Chick-fil-A Mix for this week. Our program is made possible with funds provided by the Corporation for Public Broadcasting

163
00:55:38,210 --> 00:55:41,470
and by this radio station and its members.

164
00:55:41,570 --> 00:55:42,430
Thank you, members.

165
00:55:44,910 --> 00:55:51,830
And let's see. Hell, yeah. Our program is distributed by PRI, Public Radio International.

166
00:55:53,470 --> 00:56:01,630
Okay, 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.

167
00:56:02,470 --> 00:56:08,690
Just refer to the program number, and this is, as you know, program number 150.

168
00:56:12,070 --> 00:56:23,370
And this is Peter Shickley at a little beach on Lanai that I'm certainly not going to be able to see. I'm not going to tell you the name of. Saying goodbye and reminding you that it don't mean a thing

169
00:56:23,370 --> 00:56:29,070
if it ain't got that certain zenisequa. Man, you're looking good.

170
00:56:29,510 --> 00:56:30,750
See you next week.

171
00:56:37,000 --> 00:57:55,940
If you'd like a copy of that playlist I mentioned,

172
00:57:56,140 --> 00:58:06,040
send a stamped self-addressed envelope to Shickley Mix. That's S-C-H-I-C-K-E-L-E, Shickley Mix. Care of Public Radio International.

173
00:58:07,500 --> 00:58:13,840
North 6th Street, Suite 900A, Minneapolis, Minnesota, 55403.

174
00:58:15,180 --> 00:58:16,440
PRI. PRI.