1 00:00:00,000 --> 00:00:08,420 Schickely Mix is next. Are you ready, Peter? I refuse to answer that question on the grounds that it might incriminate me. Here's the theme. 2 00:00:24,080 --> 00:00:36,440 Hello there, I'm Peter Schickely, and this is Schickely Mix, a program dedicated to the proposition that all musics are created equal. Or as Duke Ellington put it, if it sounds good, it is good. 3 00:00:36,440 --> 00:00:45,140 Our bills, I'm glad to say, are paid by the Corporation for Public Broadcasting, and by this outstanding radio station right here on your dial, 4 00:00:45,260 --> 00:00:51,120 where my presence is put up with long enough for me to chalk up another milestone in musical enlightenment, 5 00:00:51,360 --> 00:01:03,920 which milestone is then, seemingly without effort, flung to the far corners by PRI, Public Radio International. Does one's name affect one's personality? 6 00:01:04,640 --> 00:01:16,340 Was Modeste Moussouris the one? Was Mussorgsky any more self-effacing than other Russian composers? Was Frank Bridge any more candid than other English composers? And how about Claude Debussy? 7 00:01:16,600 --> 00:01:27,520 Did he have any more scratch marks on his back than your average French composer? Well, be that as it may, Moussorgsky did write several of the most often played pieces in the classical repertoire. 8 00:01:28,100 --> 00:01:38,500 And one of the most often played of those pieces is Pictures at an Exhibition. And one of the most often played sections of that piece, is The Great Gate of Kiev. 9 00:01:39,700 --> 00:01:50,720 Moussorgsky, modest as he was, wrote it for piano. But it's probably best known in the orchestral version done by Ravel. In any case, it's big music. 10 00:01:51,120 --> 00:01:54,800 And it sounds great on the king of instruments, the organ. 11 00:02:52,830 --> 00:03:04,950 Well, I guess some of you have figured out that I was pulling your leg a bit there. But only a bit, really. I said that the Moussorgsky was going to be played on organ, 12 00:03:05,110 --> 00:03:15,750 but it was actually being played on accordion. Two accordions, to be absolutely truthful about it. They were played by James Crabb and Gerd Drogsvold. 13 00:03:16,230 --> 00:03:27,010 But see, the thing is that I wasn't lying completely. Because an accordion is an organ. I mean, it has metal reeds that are activated by a stream of air, 14 00:03:27,150 --> 00:03:37,930 exactly like many of the pipes on an organ. The main difference between the two instruments is that the typical accordion is more portable than the typical cathedral organ, 15 00:03:38,150 --> 00:03:50,690 which undoubtedly accounts for the accordion's greater popularity on the birthday party and bar mitzvah circuit. I remember one of my childhood birthday parties. There was a clown that my folks... 16 00:03:50,690 --> 00:04:03,070 What? What? That's the irrelevancy alarm. But I had just started the story. Okay, it printed out something. Let's see. Let's see what it says. Did the clown play accordion? 17 00:04:03,130 --> 00:04:11,230 Well, no, but... Oh, oh, all right. All right, okay. Now, the organ does have certain advantages of its own. 18 00:04:11,710 --> 00:04:23,750 An organist usually has more different sounds to choose from than an accordionist does. And an organist doesn't have to worry about the air supply. In the old days, the organ bellows was worked by choir boys 19 00:04:24,350 --> 00:04:34,630 in an egregious example of baroque child exploitation. And nowadays, electricity does the job. But if you're an accordionist, you have to do it all. 20 00:04:34,810 --> 00:04:47,670 Play the notes with your fingers, provide the air supply with your arms, and if you want to make anything in tips, walk around with your feet and smile at the diners with your mouth. Unless you're already singing with your mouth. 21 00:04:48,090 --> 00:05:00,990 If you have trouble walking and chewing gum at the same time, do not take up the accordion. I'm reminded of Albert the Alligator in the old comic strip Pogo. He recites an original poem, and when somebody asks him what it means, 22 00:05:01,150 --> 00:05:13,970 he's outraged. He says, I made it up. I made it rhyme. Now I gotta make it mean something? Hey, you can't expect one person to do everything. Unless, that is, he's an accordionist. 23 00:05:14,770 --> 00:05:26,830 On another edition of this program, we hear the noble squeezebox as a solo instrument and as part of small ensembles. But today is different. That's right. No more community rooms. 24 00:05:26,830 --> 00:05:36,410 No more rooms in church basements. No more dingy side street taverns. No more store openings at the mall. Today, ladies and gentlemen, 25 00:05:50,070 --> 00:05:51,830 accordion hits the big time. 26 00:05:52,370 --> 00:05:56,250 We're not talking rhythm section. We're talking orchestra. 27 00:05:57,450 --> 00:05:58,370 That's right. 28 00:05:58,490 --> 00:06:00,850 Great big groups with conductors. 29 00:06:06,170 --> 00:06:08,650 Accordion hits the classical big time. 30 00:06:23,730 --> 00:06:33,450 Yes, sirree. Today, the accordion, the instrument of the people, meets the symphony orchestra, the instrument of dead, white, overeducated European males. 31 00:06:33,810 --> 00:06:43,630 And I might as well tell you right now, folks, that the encounter is disappointing. Not because of the accordion. Lord love it. Brother of Lyle. 32 00:06:43,750 --> 00:06:50,610 But because of how little it was used by those guys. Our first suite is called Accordions in the Orchestra. 33 00:06:51,010 --> 00:07:02,410 And let me say, as I did on the other show, that I'm using the word accordion as a general term here. That is, I mean it to include close kin like the concertina and the bandoneon. 34 00:07:02,910 --> 00:07:09,990 So anyway, here are excerpts from three pieces by great European composers of the past. And in all three instances, 35 00:07:09,990 --> 00:07:20,930 the accordion is used quite consciously to conjure up the folk, simple and or everyday people. The first piece uses not one but four accordions. 36 00:07:21,130 --> 00:07:29,370 Their material is fast but elementary musically, almost to the point of parody. The second excerpt is from an opera. 37 00:07:29,650 --> 00:07:39,630 In the garden of an inn during a lull in the merrymaking, an idiot approaches the title character and says, Joyful, joyful, but I can smell blood. 38 00:07:39,990 --> 00:07:44,850 And last we'll hear part of a huge cantata celebrating the Russian Revolution. 39 00:07:45,250 --> 00:07:58,150 The text is from a speech by Lenin, exhorting the people to insurrection and instructing them in how to wage urban war. Accordions in the Orchestra lasts about five minutes. See you then. 40 00:13:39,440 --> 00:13:49,500 Man, that is some peace. That's part of the one movement. It's ten minutes long. It's got ten movements. It's Prokofiev. But let's go back. 41 00:13:49,820 --> 00:14:01,560 First, we heard part of the third movement, the Scherzo Burlesque, of Tchaikovsky's Suite No. 2 for orchestra, and that was Michael Tilson Thomas conducting the Philharmonia Orchestra. 42 00:14:02,060 --> 00:14:11,860 Then came the chilling moment in Act II of Wozzeck by Alban Berg when the idiot tells Wozzeck, who has not yet killed Marie, that he smells blood. 43 00:14:11,860 --> 00:14:21,080 Martin Van Tern was the idiot, Dietrich Fischer-Dieskau was Wozzeck, and Karl Böhm conducted the orchestra of the Deutsche Oper Berlin. 44 00:14:21,680 --> 00:14:34,520 The effectiveness of that accordion there is due not only to its non-classical associations, but also to the fact that it plays a simple and tonal kind of music within a piece that is largely very complex 45 00:14:34,520 --> 00:14:45,160 and without a clear home base tonally. Then last came an adrenaline-laced section from the, a cantata for the 20th anniversary of the October Revolution, 46 00:14:45,540 --> 00:14:54,300 a gargantuan piece that Prokofiev wrote but never heard. It wasn't performed until 13 years after the composer's death, 47 00:14:54,500 --> 00:15:03,140 and almost 50 years after the revolution it celebrates so luridly. Why wasn't it done in October of 1937? 48 00:15:03,720 --> 00:15:11,840 Well, according to the liner notes, Oleg Prokofiev, the composer's son, said, 49 00:15:11,860 --> 00:15:23,020 It surmises that by 1938 the political climate had become so hostile to artists, the notorious Pravda attack on Shostakovich's Lady Macbeth had taken place in 1936, 50 00:15:23,460 --> 00:15:36,040 that no one could know for sure what might or might not prove acceptable to the authorities, and putting a foot, even a toe, wrong might result in arrest, imprisonment, or even death. 51 00:15:37,140 --> 00:15:47,760 Ironically enough, by the time the piece was finally played, Stalin was dead and disgraced, so two movements that are based on his speeches were omitted. 52 00:15:48,640 --> 00:15:58,800 That decision was made, by the way, between the last rehearsal and the first performance, and one of the movements that was 86th was the finale, the 10th movement, 53 00:15:58,980 --> 00:16:10,820 and the 9th movement doesn't make a good ending, so they played the second movement again. And if you like your martini of fortune served with an ironic twist, here's a good one. Here's a good one. 54 00:16:10,840 --> 00:16:21,900 Prokofiev and Stalin died on the same day. Peter and the Wolf. That was the Philharmonia Orchestra again, this time with the Philharmonia Chorus, 55 00:16:21,900 --> 00:16:33,500 all under the direction of Nemi Yervi. Okay, now I've tried to avoid all the accordion jokes on this show. You know, accordionists get very tired of, 56 00:16:33,560 --> 00:16:44,700 Welcome to heaven, here's your harp. Welcome to hell, here's your accordion. All those easy laugh put-downs of, What is, let's face it, easily the most beautiful instrument there is 57 00:16:44,700 --> 00:16:57,240 that you have to strap on your shoulders. I mean, I'll take the accordion over the bass drum any day. But I can't help noticing that in the second number in our accordions in the orchestra suite, 58 00:16:57,400 --> 00:17:09,359 the excerpt from Wozzeck, it is true that the appearance of the accordion coincides with the appearance of, I can't help it, the appearance of the idiot. 59 00:17:10,140 --> 00:17:20,599 Okay, okay, okay, I take it back. All right, all right, just kidding, folks. I'm not even going to answer that. Some accordion player can't take a joke. 60 00:17:21,119 --> 00:17:33,340 Although I must say, whoever it was must have seen it coming, because that phone rang the second that I said, Oh, man. Well, I guess I might as well. 61 00:17:34,240 --> 00:17:43,700 I was just fooling around. I did not mean any serious disrespect to accordions. Say what? Oh, you're not in accordions. 62 00:17:45,570 --> 00:17:57,930 Okay, listen, no, I already have some. I have as much as I need, okay? No, not term. It's the other kind. You know, the kind that keeps its value or whatever it is. 63 00:17:57,990 --> 00:18:06,950 Is that whole life? Okay, well, look, I'm really not interested in more life insurance, okay? And as a matter of fact, I am kind of busy right now. 64 00:18:08,430 --> 00:18:14,610 Hey, tell you what, just send me the stuff, okay? And I'll take a look at it. Just, okay, just send it and carry the station. 65 00:18:16,590 --> 00:18:28,620 The name's Peter Schickely, and the program is Schickely Mix from PRI, Public Radio International. Accordion hits the big time. 66 00:18:29,080 --> 00:18:40,860 We've heard accordions in the orchestra. Now let's hear an orchestra of accordions. The name of our next suite is Too Much of a Good Thing. Now notice that there's a question mark at the end of that title. 67 00:18:40,960 --> 00:18:49,340 I'm not saying yay or nay here. It's up to you to decide. What I'm saying is that we've got a very high accordion. We've got a very high accordion count in this suite. 68 00:18:49,640 --> 00:18:59,860 Eight of them in the first number, six in the second, and a mere one in the last, just as a control group. Now these are all covers, as they say in the pop world. 69 00:19:00,040 --> 00:19:12,360 All three of these compositions were originally for other kinds, non-accordion kinds of ensembles. So it's interesting to hear how they sound on arm organs. I'll be back in about 11 and a half minutes. 70 00:19:12,600 --> 00:19:20,360 In the meantime, here's a nice big picture of freshly squeezed classics. Beginning with A Sizzler by Jimi Hendrix. 71 00:19:27,620 --> 00:19:39,660 All right. I dig it, baby. You don't care for me, I don't care about that. You like it like that. 72 00:19:40,200 --> 00:19:49,520 I have only one burning desire. Let me stand next to your fire. Let me stand next to your fire. Hey, let me stand next to your fire. 73 00:19:57,220 --> 00:20:10,120 Yeah, baby. Listen here, baby. Stop acting so crazy. You think your mommy, you know, it ain't my concern. Just don't play with me and you won't get burned. 74 00:20:10,840 --> 00:20:12,940 I have only one itching desire. 75 00:20:13,880 --> 00:20:16,000 Let me stand next to your fire. 76 00:20:16,660 --> 00:20:28,440 Let me stand next to your fire. Hey, let me stand next to your fire. Let me stand next to your fire. Oh, let me stand. Let me stand next to your fire. Let me stand. Let me stand next to your fire. Yeah, baby. 77 00:20:29,680 --> 00:20:37,230 Yeah, you know what I'm talking about. 78 00:20:41,710 --> 00:20:56,030 You know what I'm talking about. 79 00:20:57,810 --> 00:21:10,140 Think this. Listen, baby. You try to give me your money, you better save it, baby. Save it for your rainy day. 80 00:21:11,240 --> 00:21:16,380 I have only one burning desire. Let me stand next to your fire. 81 00:21:42,810 --> 00:21:43,890 Yeah, baby. 82 00:26:06,830 --> 00:26:18,830 Agent H. Would it satisfy you? Would it slide in by you? Would you think the boy is strange? Ain't it strange If I could win? If I could sing a love song so divine? 83 00:26:19,730 --> 00:26:31,590 Would it be enough for your jading heart? If I broke down and cried? If I cry- yoga Chef you said, Ah, no. It's only rock- and- roll. But I like it. 84 00:26:31,830 --> 00:26:43,550 Chef you said, Ah, no. It's only rock- and- roll. But I like it, like it, yes I do I really, really, really, really do-do-do-do Hey! Go, go slave ship out for cotton fields 85 00:26:43,550 --> 00:26:56,270 Sold in a market down in New Orleans Scarred old slaver knows you're doing all right Hear him whip the women just around midnight Brown sugar! How come you taste so good? 86 00:26:58,750 --> 00:27:01,610 Brown sugar! Just like a young girl should 87 00:27:09,670 --> 00:27:20,310 The day at the reception A glass of wine in her hand I knew she would need her connection 88 00:27:20,310 --> 00:27:32,490 At her feet was a foolish man You can't always get what you want You can't always get what you want You can't always get what you want But if you try sometimes 89 00:27:32,490 --> 00:27:44,300 You might need Honky Tonk Women Gimme, gimme, gimme 90 00:27:44,300 --> 00:27:56,260 The Honky Tonk Blues Yeah! Under my thumb The girl who Under my thumb 91 00:27:56,260 --> 00:28:08,220 The girl who once pushed me around It's done to me If it is the way she talks When she's smoking too Now to me The change has come 92 00:28:08,220 --> 00:28:20,830 She's under my thumb So goodbye Ruby Tuesday Who could hate you change 93 00:28:20,830 --> 00:28:24,550 With every new day Still I'm gonna miss you 94 00:28:34,030 --> 00:28:45,510 Allow me to introduce myself I'm a man of wealth and taste I've been around for a long long year So many a man's soul and faith 95 00:28:46,570 --> 00:28:52,630 Pleased to meet you Hope you get my name Cause the Quizzle and You 96 00:30:21,560 --> 00:30:42,250 Too much of a good thing? 97 00:30:42,770 --> 00:30:43,910 I think not. 98 00:30:43,910 --> 00:30:57,550 First, we heard Fire by Jimi Hendrix, performed with a complete lack of phony hipness, or any other kind for that matter, by Those Darn Accordions, eight squeeze boxes and a rhythm section. 99 00:30:58,110 --> 00:31:09,310 Then came a selection by another party animal, Wolfgang Amadeus Mozart. The overture to The Marriage of Figaro was performed by Ja der Merzhausener Accordionensemble. 100 00:31:10,310 --> 00:31:18,830 Ensemble is German for the French word ensemble, which means ensemble. Six players there, and a very tasty sound they produce. 101 00:31:19,730 --> 00:31:30,550 My friend Tom thinks that there's one place in that cut that sounds better than the original orchestra version by Mozart, but I think it's because that place in the original version has a bassoon solo. 102 00:31:30,850 --> 00:31:41,150 You know, I mean, next to accordionists, we bassoon it. Well, of course, they're always violists. Anyway, then finally, we heard what is, in the mind of this here North Dakota boy, 103 00:31:41,350 --> 00:31:52,650 one of the all-around finest pokémoners. It's the greatest poker track ever cut. Weird Al Yankovic's The Hot Rocks Poker, featuring, I guess it's about nine classic Rolling Stones songs, 104 00:31:52,850 --> 00:32:05,330 performed at last, as the Stones surely would have performed them, were Mick and Keith, not so vettie-vettie British. That's from the UHF soundtrack album. I never saw that movie. 105 00:32:05,590 --> 00:32:16,830 I think it's about a TV station, and I'm not really a big TV person. I'm more into radio. It's more relaxed. But like today, for instance, I was on the way to the station. 106 00:32:17,010 --> 00:32:26,970 I was walking, and I took a shortcut through a sort of mini mall, and, well, there was a dog who was not only very unfriendly, but also very untied up. 107 00:32:27,310 --> 00:32:36,890 And I ended up having to run through the car wash. So when I got here, I was soaking wet from head to toe. Now, on TV, that would have been a real problem. 108 00:32:37,010 --> 00:32:49,530 But on radio, well, I'm sitting here in front of this microphone, naked as the day I was born, and you can't even tell if I'm blushing. My clothes are draped over the vents and the lamps here, 109 00:32:49,650 --> 00:33:02,410 and it actually, it reminds me of a story from my college days. When I went to Swarthmore, way back there in the 1950s, not only were the dormitories completely segregated by sex, 110 00:33:02,610 --> 00:33:12,250 but there wasn't any intergender visitation allowed in the dorms whatsoever. And I do mean ever. Except, of course, on Parents' Day. 111 00:33:13,090 --> 00:33:25,230 Now, a guy I knew told me that his roommate forgot that it was Parents' Day, and he was walking down the hall to his room after taking a shower, stark naked, when he saw a bunch of parents at the other end of the hall coming towards him. 112 00:33:25,590 --> 00:33:37,370 He didn't even have a towel. All he had was a wash rag. So he did a very smart thing. He put the wash rag over his face and kept walking. Definitely a case where minimum embarrassment is achieved 113 00:33:37,370 --> 00:33:46,390 by letting the private parts be public and keeping the public parts private. I can't believe I got through that story without the irrelevancy alarm going off. 114 00:33:46,610 --> 00:33:57,790 It's probably because the water from my socks has finally seeped down into its innards. What a shame. Meanwhile, I don't have to worry about questions of propriety and embarrassment. 115 00:33:58,190 --> 00:34:09,429 I can just sit here in my birthday suit, look you straight in the eye, and say, my name is Peter Shickley, and the program is Shickley Mix from PRI, Public Radio International. 116 00:34:13,440 --> 00:34:25,380 All righty. We've heard accordions in the orchestra, and we've heard an orchestra of accordions. Now let's get the accordion in front of the orchestra. We're talking concerto here, the real classical big time. 117 00:34:25,940 --> 00:34:37,620 Now, it must be admitted that there are, well, fewer concertos for the accordion than there are for, say, the piano or the violin. But we've got a nice little two-movement jobby coming up here. 118 00:34:37,739 --> 00:34:44,460 We'll call it the New World Accordion Concertino, and it lasts about ten and a half minutes, give or take a second. 119 00:44:58,020 --> 00:45:07,100 Okay. If they were singing words there at the end, I can't quite make out what they're singing, but it's a great effect. The beginning of the New World Accordion Concertino 120 00:45:07,100 --> 00:45:17,420 was the first movement of Oster Piazzolla's Concerto for Bandoneon, with the composer playing the solo part and Lalo Schifrin conducting the orchestra of St. Luke's. 121 00:45:17,840 --> 00:45:29,800 The bandoneon has a bellows like an accordion, but instead of a mixture of buttons and keys, each playing only one note, it has only buttons, and each of them plays one of two notes, 122 00:45:29,920 --> 00:45:42,180 depending on whether the bellows is being expanded or contracted. In that way, it's like another metal reed organ, the harmonica. Piazzolla lived for years in Paris, but he was born in Argentina 123 00:45:42,180 --> 00:45:53,140 and grew up in New York, so I think we can call him a New World composer. The second movement of our New World Accordion Concertino was by a Canadian composer named Walter Buczynski. 124 00:45:53,840 --> 00:46:04,980 My apologies if I'm not pronouncing that correctly. It's spelled B-U-C-Z-Y-N-S-K-I. That was the last movement of a suite called Fantasy on Themes of the Past, 125 00:46:05,200 --> 00:46:14,240 and it's marked Square Steady Beat. Very nice piece. It was written for school concerts, that is, to be played for, not by, young people. 126 00:46:14,880 --> 00:46:26,980 By the way, the music for the accordion hits the big time fanfare early in the show came from the first movement of the Buczynski. Okay, Gary Kulesha was conducting the composer's orchestra, 127 00:46:27,120 --> 00:46:37,380 and the soloist was Joseph Massarolo. I'm assuming a North American English pronunciation of that name. And here's a good example of what accordionists have to put up with. 128 00:46:37,940 --> 00:46:49,560 According to the liner notes, when Massarolo went to England's Royal College of Music in 1970, armed with a Master of Arts degree in musicology from the University of Toronto, 129 00:46:49,840 --> 00:46:59,180 he was given an hour-long guided tour of the college by a senior librarian. Especially proud of his early success in having the accordion recognized, 130 00:46:59,700 --> 00:47:10,520 at the Royal Conservatory of Music in Toronto, he stated so, at which point the librarian terminated the dialogue with the curt remark, My dear boy, we haven't stooped so low. 131 00:47:12,460 --> 00:47:25,120 Well, now it's tidbit time, when we can stoop as low as we want and come up smiling. We're going to leave the big time here and listen to some chamber music. You know, during the 19th and 20th centuries, 132 00:47:25,680 --> 00:47:37,780 improvisation got rarer and rarer in classical music. But recently it's been coming back, in various ways, not only in cadenzas, but also in all the myriad kinds of crossover groups 133 00:47:37,780 --> 00:47:47,760 that straddle the worlds of classical, jazz, folk, pop and world music. Here's a well-known piece of classical music, first as written by the composer, 134 00:47:48,060 --> 00:47:53,620 then as performed by a group that doesn't worry about the sanctity of the printed page. 135 00:51:44,680 --> 00:51:57,180 The Devil's Dance from The Soldier's Tale by Igor Stravinsky. Played first by members of the Scottish Chamber Orchestra under Lionel Friend, and then by a group called Excelsior, 136 00:51:57,300 --> 00:52:06,780 which consists of accordion, electric violin, electric guitar and drums. I don't know what Uncle Igor would have thought, but it sounds good to me. 137 00:52:07,600 --> 00:52:19,820 This is from an album called Declassified, and you can get a pretty good clue to the group's aesthetic from their picture. Formal concert dress, except that the guitarist is barefoot, 138 00:52:19,960 --> 00:52:28,520 the violinist has work boots on, the drummer isn't wearing pants, and the accordionist has a T-shirt on under his jacket, 139 00:52:28,660 --> 00:52:39,400 and the jacket is open just enough for you to recognize Frank Zappa's face on the T-shirt. Nice album. Music of Shostakovich, Barber, Stravinsky, and Poulenc. 140 00:52:40,960 --> 00:52:51,750 Okay, now... What's that smell? Oh my... It's the smoke alarm. 141 00:52:52,270 --> 00:53:01,530 I had my wet shirt draped over that lamp by the door, and it's about to catch fire. Man, I gotta take care of this before the sprinkler system lets loose. Here, let me put on... 142 00:53:01,530 --> 00:53:11,650 Let me put on that accordion duo that we started the show with. Let me put them on doing... Uh, Patryska by Igor Stravinsky. And get over there to that shirt. 143 00:55:28,410 --> 00:55:41,310 Okay. I made it before the sprinkler system turned this studio into the Titanic. Uh, that's James Crabb and Geir Droegsvold playing Stravinsky's Patryska on two accordions. 144 00:55:41,470 --> 00:55:52,990 That beginning sounds just great, doesn't it? Uh, you know, there was a while there when Stravinsky was toying with a lot of different instrumentations for certain pieces, like Les Noces. I wonder if he ever thought of two accordions. 145 00:55:53,550 --> 00:56:04,970 Well, that's Sickly Mix for this week. Our program is made possible with funds provided by the Corporation for Public Broadcasting and by this radio station and its members. Thank you, members. 146 00:56:05,570 --> 00:56:17,430 Our program is 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 program with album numbers and everything. 147 00:56:17,430 --> 00:56:29,390 Just refer to the program number. This is program number 159. And this is Peter Sickly saying goodbye and reminding you that it don't mean a thing if it ain't got that certain je ne sais quoi. 148 00:56:29,710 --> 00:56:32,070 You're looking good. See you next week. 149 00:57:57,020 --> 00:58:07,580 If you'd like a copy of that playlist I mentioned, send a stamped self-addressed envelope to Sickly Mix. That's S-C-H-I-C-K-E-L-E, Sickly Mix. 150 00:58:07,580 --> 00:58:17,460 Care of Public Radio International, 100 North 6th Street, Suite 900A, Minneapolis, MN 55403. 151 00:58:18,620 --> 00:58:19,420 PRI.