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You're listening to FM 91.1, serving southeastern Idaho's public radio needs for over five years.

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This is KISU Pocatello.

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The clock has started. Here's the theme.

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Hello there, I'm Peter Schickele.

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And this is Schickele Mix, a program dedicated to the proposition that all musics are created equal.

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Or as Duke Ellington put it, if it sounds good, it is good.

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And speaking of good, our bills are paid by the good sports at this radio station,

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and the program is distributed to the various franchises by PRI, Public Radio International.

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Hey, basketball. I love basketball.

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That's true. No, I've been to a basketball game.

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I mean a pro basketball game. My daughter took me a few years ago.

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And I've been to a baseball game and a football game.

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In fact, I think I've been to two football games in my life.

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I'm still talking pro here.

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I'm not talking about when I played bassoon in the Fargo Central High marching band at halftime.

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And actually, you know, I never went out for teams or anything,

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but I played a lot of vacant lot softball when I was a kid.

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And even as a teenager, when I was practicing piano and bassoon every day,

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I often found time to go out and join a punishing game of touch football.

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But listen, a lot of musicians are real jocks, either as fans or even players.

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I don't know if it's still true, but there used to be very serious softball

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at the Aspen Music Festival in school in the summer.

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There was sort of an unspoken rule that a pitcher, for instance,

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might not try to snag a sizzling line drive that whistled by him.

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And he wouldn't worry about it since all his teammates knew that you need all 10 fingers

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to play the Brahms piano concertos.

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When I first met Itzhak Perlman, all he talked about was basketball.

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And I was at a Juilliard alumni dinner once.

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I was at a table with the president, Joseph Polisi and his wife,

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and some of the others. It was a long time ago.

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But Itzhak Perlman and a famous metropolitan opera baritone,

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and I don't remember who else.

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Anyway, at one point, Mrs. Polisi and I just sort of looked at each other.

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We were the only people there who couldn't talk sports.

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I mean, the rest of them weren't just saying, hey, how about those Mets?

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They were talking about, hey, they're crazy. They're trading pitchers.

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They can't do that. They don't have the depth.

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The singer said he'd just gotten off the phone with Dave Winfield,

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and believe me, he's just as upset about his injury as everybody else.

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Anyway, welcome to the show.

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Grab a six-pack, take off your shirt or your blouse,

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and hunker down for an hour of jocular banter.

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A little play on words there, jocular. Get it?

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Okay, everybody, it's a call-in show today.

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If you want to shoot your mouth off about something, let's hear from you.

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Give us a call at 1-900-273-9754.

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That's 1-900-Brewski, and we'll put up with you for a few seconds at least.

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But before I take any calls, you know,

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I listen to a lot of stuff to prepare these shows,

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and every once in a while I hear something that, well, that makes me say,

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whoa, wait a minute here, Peter.

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You're in the presence of something special.

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I heard a song a few days ago, a song of such moving profundity

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that it made me realize that not only is life a game,

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that's not a new thought, everybody says that,

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but that also a game is life.

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You know what I mean?

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And I think that when we forget that, we tend to lose sight of

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just exactly what it is that it is.

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Life, I mean, and games, too, both of them, what they are.

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It's sort of a Zen thing, really.

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I'm standing alone on the tee

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Wondering how this shot will be

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I think how I've played

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Shots that I've made

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Some were okay

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Some went astray, who knows why

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But as I set up and prepare

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Suddenly I become aware

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That possibly my next shot could be

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Truly magnificent

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A feeling begins to take hold

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It's not really new, it's not really old

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It just feels good to think that I could

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Possibly do something that's beautiful

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I take a deep breath and I sigh

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My shoulders are broad, my head is high

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The feeling is real

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And it feels truly magnificent

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Magnificent

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The feeling won't let go

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You know it's what I've always longed to be

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Magnificent

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Doesn't matter if I try and fail a hundred times

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My next time could be

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Maybe that's it, that's the game

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The game that I really want to play

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It's not near the pin where I win

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I realize now it's really the courage to allow

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For what I might do

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In everything my whole life through

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And it seems to me

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That would be

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Truly magnificent

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Magnificent

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Sung by either Beth Reynolds, Jeanette Sartain, or Connie Marshall

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I can't tell which

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On an album called Extraordinary Golf

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Songs of a Wonderful Game

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By Pete and Fred Shoemaker

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Definitely a hole-in-one

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Okay, let's take a call

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Now as you regular listeners know

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I'm usually here all by myself

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But a call-in show sort of needs a producer

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To, you know, screen the calls and everything

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So Mrs. Mudridge, the receptionist here at the station

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Is helping me out today

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So who's on deck?

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Mrs. Mudridge, can you hold

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Can you just slam the card down a little?

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The light's glaring on it

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Okay, we've got Fred on line one

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Hi Fred, you're on the air

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Uh, yeah, you know, it's really true

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Golf really is like the game of life

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How's that?

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Well, like the cup is your goal, you know

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What you want to achieve in life

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And the stroke, see, your swing

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Is how you're going to achieve it

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Achieve your goal

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So who's your favorite golfer, Fred?

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Well, I'd have to say Tiger Woods

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Okay, why Tiger Woods?

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Well, it's really because of his name

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Hey, he's a good player

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But there are a lot of great golfers out there

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Yeah, yeah, but see, I've always loved Tigers

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Because Corn Flakes is my favorite breakfast cereal

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Corn Flakes

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And, you know, Tony the Tiger

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They're great!

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Okay

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And then Woods, I mean, how neat is that?

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Having a last name that's, you know

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One of the, like, tools of your trade

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I never thought of that

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It's like if you had a tennis player named Rick Rackets

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Or a bowler named Lucille Ball

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I get it

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Or, hey, if Dennis Rodman was a fisherman

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Okay, Fred

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Oh, okay, speaking of basketball, here's a good one

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What if Larry had an aristocratic brother

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Who was a duck hunter

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And his name was Flip Da Bird?

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Now, that would be good

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Okay, thanks, Fred

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I think it's time for some more music here

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Although, actually, I don't know of an awful lot of music about golf

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But I do have a couple of things here

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The second one's a song

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But the first number in this little sweetlet

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Is a solo piano piece

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No words

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The reason we know it's about golf

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Is because it's called Golf

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And it's accompanied by a little programmatic note here

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The colonel is dressed in scotch tweed of a violent green

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He will be victorious

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His caddy carries the bags

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The clouds are threatening

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The holes are all trembling

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The colonel is there

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He's going to make his shot

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His club bursts into cheers

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And let me just add that this first piece was written years before Tea for Two

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Just had a lesson and I'm really psyched

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This game is easy if you do it right

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I got the perfect tips on how to hit the ball

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Now all I have to do is remember them all

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Imagine you're inside a great big wheel

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Play the ball off of your front heel

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Place your feet about a shoulder's width apart

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Put your knees and arch your back before you start

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Lean your weight towards the balls of your feet

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Pretend that you're about to take a knee

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Make sure your grip is not too tight

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With the bottom of the feet just slightly to the right

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That sure was easy, now I'm on my way

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I feel a little awkward, hey, but that's okay

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I got my stance and I remembered everything

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And now I'm ready for a real smooth swing

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Take the club back, low and smart

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Don't break your wrists until they have to go

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Rotate your weight and slightly bend your knees

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Don't drop your club by more than 90 degrees

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Lean with your hips on your way down

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Tuck in your elbow, take it inside out

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Release your wrists and bring your weight up too

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Don't lose your balance on the follow through

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Sway your shoulders to the line of flight

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I must have been lined up too far to the right

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Draw an arrow from the ball to look in

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Or maybe I was lined up left and coming outside in

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I've got the secret to this game at last

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I'm gonna turn my scores around real fast

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If I think of everything I really hit it great

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So all I have to do is concentrate

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Relight your elbow when you make the turn

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Make sure your weight shift is your main concern

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Don't regret when you're at the top

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Before your downswing have a half-second stop

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Keep your head down as you begin

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Rotate your shoulder, tuck it under your chin

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Make sure your swing plane is low and flat

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Hit the ball first, take the divot after that

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Keep your left arm straight going back

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One more little detail and I'll get back on the track

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Tuck in your elbow as you come through

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I can feel it coming cause I know what to do

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I've got directions from the tee to the cup

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I'm gonna make it, I'm not giving up

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Winners never quit and quitters never win

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So I'll be here tomorrow, now I'm walking on in

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Put your left foot in front of your right

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Flex your leg, don't keep your knee too tight

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Swing your arm out with the opposite leg

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Don't lean forward any more than you should

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Push your leg off and bring it through

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Place your heel just in front of you

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Shift your weight over through your hip

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Watch where you're going so that you don't slip

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Put your left foot in front of your right

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Flex your leg, don't keep your knee too tight

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Swing your arm out with the opposite leg

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This is an R at the end of mine, which is Peter

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As in Peter Schickele, the host of Schickele Mix

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From PRI, Public Radio International

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Schickele Mix Sports Radio!

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Alright, we're talking and we're talking sports

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And you know, these days when the salaries

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that players make are as much a part of the news

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as the games they play, I'd just like to

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tell you a nice little story about

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Sport et Divertissement

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that we just heard part of

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It was written in 1914

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and according to a note by Edward Cole here

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this set of 21 pieces were composed

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it seems to me that should be this set of 21 pieces

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was composed, but anyway

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composed to serve as a musical counterpart

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to a set of drawings by Charles Martin

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and I've seen that book by the way, it's really beautiful

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big oblong book, with the drawings as I remember

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on the left, and each piece by Satie

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none of them longer than one page on the right

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and I remember that the music had more than one color ink

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maybe red and black. Anyway, here's the part of the story I like

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Stravinsky originally had been requested to write the music

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but his fee was too high

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Satie was suggested as an alternate for the task

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and the publishers set the fee beforehand

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and it was much lower than Stravinsky's

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Satie replied that he felt it was enormous, far too much for the job

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00:16:01,000 --> 00:16:04,000
and several weeks of negotiations followed

259
00:16:04,000 --> 00:16:07,000
until the publishers lowered to a figure he found acceptable

260
00:16:07,000 --> 00:16:10,000
That's a great story

261
00:16:10,000 --> 00:16:13,000
but I would like to point out

262
00:16:13,000 --> 00:16:16,000
just in case you're thinking of using it

263
00:16:16,000 --> 00:16:19,000
as an idealistic commentary

264
00:16:19,000 --> 00:16:22,000
on the relationship between commerce and art

265
00:16:22,000 --> 00:16:25,000
I want to point out that most people, myself included

266
00:16:25,000 --> 00:16:28,000
consider Stravinsky by far the greater of the two composers

267
00:16:28,000 --> 00:16:31,000
so maybe you do get what you pay for

268
00:16:31,000 --> 00:16:34,000
although it's a terrific piece

269
00:16:34,000 --> 00:16:37,000
but anyway, listen, let's take another call

270
00:16:37,000 --> 00:16:40,000
We've got Bernard on the line

271
00:16:40,000 --> 00:16:43,000
Are you there Bernard?

272
00:16:43,000 --> 00:16:46,000
OK Bernard, what's on your mind?

273
00:16:46,000 --> 00:16:49,000
You see, you have just now told about Eric Satie

274
00:16:49,000 --> 00:16:52,000
that was very informative

275
00:16:52,000 --> 00:16:55,000
because you see, Stravinsky was not French

276
00:16:55,000 --> 00:16:58,000
he was Russian

277
00:16:58,000 --> 00:17:01,000
Satie, he was French

278
00:17:01,000 --> 00:17:04,000
and the French, they do not care about money

279
00:17:04,000 --> 00:17:07,000
they never think about it

280
00:17:07,000 --> 00:17:10,000
unlike, by the way, you Americans who think about nothing else

281
00:17:10,000 --> 00:17:13,000
you think about money all the time

282
00:17:13,000 --> 00:17:16,000
they never think about money, money, money

283
00:17:16,000 --> 00:17:19,000
Well, you know, Bernard

284
00:17:19,000 --> 00:17:22,000
You know, Bernard, there are times when I actually think you're right

285
00:17:22,000 --> 00:17:25,000
but I don't know that much about France

286
00:17:25,000 --> 00:17:28,000
No, no, it's really true

287
00:17:28,000 --> 00:17:31,000
I'm telling you, you couldn't pay me enough to move to America

288
00:17:31,000 --> 00:17:34,000
But you know, I must admit that I do love the sport

289
00:17:34,000 --> 00:17:37,000
the American pastime national

290
00:17:37,000 --> 00:17:40,000
the ball

291
00:17:40,000 --> 00:17:43,000
Bien sur, that's what I have said

292
00:17:43,000 --> 00:17:46,000
the ball, the ball

293
00:17:46,000 --> 00:17:49,000
I am hoping that you would play my favorite song

294
00:17:49,000 --> 00:17:52,000
of the ball, the ball

295
00:17:52,000 --> 00:17:55,000
Take me out to the ball game

296
00:17:55,000 --> 00:17:58,000
Do you know this song?

297
00:17:58,000 --> 00:18:01,000
Well, it is so charmant

298
00:18:01,000 --> 00:18:04,000
Take me out to the ball game

299
00:18:04,000 --> 00:18:07,000
Well, I'm glad you like baseball

300
00:18:07,000 --> 00:18:10,000
but I'm not going to do that particular song

301
00:18:10,000 --> 00:18:13,000
I've got some things that are a little bit more out of the way

302
00:18:13,000 --> 00:18:16,000
Our buzz-a-buzz suite has three numbers

303
00:18:16,000 --> 00:18:19,000
and the first is part of an opera about baseball

304
00:18:19,000 --> 00:18:22,000
called The Mighty Casey

305
00:18:22,000 --> 00:18:25,000
This excerpt is from the middle of the opera

306
00:18:25,000 --> 00:18:28,000
We'll hear the crowd in the stands

307
00:18:28,000 --> 00:18:31,000
and then the pitcher and the catcher of the opposing team conferring

308
00:18:31,000 --> 00:18:34,000
The second number is another solo piano piece

309
00:18:34,000 --> 00:18:37,000
called Some Southpaw Pitching

310
00:18:37,000 --> 00:18:40,000
Maybe the title explains the sometimes fierce activity in the left hand

311
00:18:40,000 --> 00:18:43,000
Then the last number is a vocal one again

312
00:18:43,000 --> 00:18:46,000
this time from a musical

313
00:18:46,000 --> 00:18:49,000
We'll call this suite Three Bass Hits

314
00:18:49,000 --> 00:18:52,000
And don't go away, sports fans

315
00:18:52,000 --> 00:18:55,000
I'll be back in about eleven minutes

316
00:18:55,000 --> 00:19:06,000
Some Southpaw Pitching

317
00:19:06,000 --> 00:19:20,400
We can, we can, we can, we can, we can.

318
00:19:50,400 --> 00:19:52,400
What a place! What a place!

319
00:20:00,400 --> 00:20:03,400
But will, but will it happen again?

320
00:20:04,400 --> 00:20:06,400
In silent, silent despair?

321
00:20:07,400 --> 00:20:08,400
There's hardly a breath.

322
00:20:09,400 --> 00:20:12,400
Your heart, your heart skips a beat.

323
00:20:13,400 --> 00:20:16,400
You're glued, you're glued, you're glued, you're glued to your seat.

324
00:20:16,400 --> 00:20:20,400
Before we wake, it's a decent break.

325
00:20:21,400 --> 00:20:27,400
The picture, the picture, the picture, the picture is grim, grim, grim.

326
00:20:28,400 --> 00:20:35,400
He's out, he's out, out, out, he's out on the limb, limb.

327
00:20:35,400 --> 00:20:57,400
It's a hit, hit, a hit, and that's it, and that's it.

328
00:20:57,400 --> 00:21:08,400
Sky, sky, sky, sky, sky, sky, sky, sky, we will never, never, never, never.

329
00:21:09,400 --> 00:21:13,400
We can't, we can't, we can't we can't we can't, no we must, we must, we must, we can't,

330
00:21:14,400 --> 00:21:20,400
we must, we must, we must, we can't, we can't we can't, we must, we need the heart.

331
00:21:20,400 --> 00:21:27,400
Sky, sky, sky, sky, we can't, no, we can't, but we must be proud.

332
00:21:27,400 --> 00:21:28,400
Yeah!

333
00:21:34,400 --> 00:21:37,400
Hey, when things work out,

334
00:21:37,400 --> 00:21:50,400
be a perfect team, a glorious team. Be a perfect team, a glorious team.

335
00:21:50,400 --> 00:21:54,400
Be like, be like, surprise, surprise, surprise, surprise.

336
00:21:54,400 --> 00:21:57,400
We can't, no, we can't, but we must believe our eyes.

337
00:21:57,400 --> 00:22:00,400
Don't make when things go in trouble.

338
00:22:00,400 --> 00:22:08,400
Be a perfect team, a glorious team.

339
00:22:08,400 --> 00:22:14,400
Neuro, be free, and glorious team.

340
00:22:14,400 --> 00:22:17,400
When, when, when, when things were trouble, trouble, trouble, trouble,

341
00:22:17,400 --> 00:22:19,400
he did, he did, he did, he did, he did,

342
00:22:19,400 --> 00:22:22,900
In a perfect game, a perfect game, a glorious game, a glorious game,

343
00:22:22,900 --> 00:22:25,400
In a perfect game, a glorious game, a glorious game.

344
00:22:25,400 --> 00:22:28,400
When things go in trouble, trouble, trouble, trouble, trouble,

345
00:22:28,400 --> 00:22:28,940
Eeyah!

346
00:22:29,000 --> 00:22:29,640
Eeyah!

347
00:22:29,700 --> 00:22:30,040
Eeyah!

348
00:22:30,100 --> 00:22:30,540
Eeyah!

349
00:22:30,600 --> 00:22:31,040
Eeyah!

350
00:22:31,100 --> 00:22:32,000
Eeyah!

351
00:22:32,080 --> 00:22:33,980
Squire Stebandard!

352
00:22:41,660 --> 00:22:51,860
rell

353
00:22:51,920 --> 00:22:55,520
You're doing fine, kid.

354
00:22:55,600 --> 00:22:57,660
Keep it up!

355
00:22:57,660 --> 00:23:01,660
And stand there nodding your head

356
00:23:01,660 --> 00:23:07,660
Like we're talking about something really important

357
00:23:07,660 --> 00:23:12,660
You remember the strategy

358
00:23:12,660 --> 00:23:18,660
The signal for a hide inside the ball

359
00:23:18,660 --> 00:23:20,660
That's right

360
00:23:20,660 --> 00:23:22,660
When I scratch my ear

361
00:23:22,660 --> 00:23:26,660
Now work easy

362
00:23:26,660 --> 00:23:30,660
Casey's edgy

363
00:23:30,660 --> 00:23:34,660
This delay

364
00:23:34,660 --> 00:23:37,660
Makes him edgy

365
00:23:37,660 --> 00:23:40,660
Now don't go wild on me, boy

366
00:23:40,660 --> 00:23:43,660
Don't go throwing him any out-curves

367
00:23:43,660 --> 00:23:46,660
And please, please

368
00:23:46,660 --> 00:23:47,660
Keep him away from his knees

369
00:23:47,660 --> 00:23:56,660
He can practically kick him out of the ground and murder him

370
00:23:56,660 --> 00:23:59,660
You're doing fine, kid

371
00:23:59,660 --> 00:24:01,660
Keep it up

372
00:24:01,660 --> 00:24:05,660
And act like it was in the bag

373
00:24:05,660 --> 00:24:07,660
Keep nodding your head

374
00:24:07,660 --> 00:24:11,660
Like we're talking about something real important

375
00:24:11,660 --> 00:24:15,660
Okay, boy, put this guy away

376
00:24:15,660 --> 00:24:19,660
And you get the biggest beer in town

377
00:24:19,660 --> 00:24:22,660
The biggest cheer in town

378
00:24:22,660 --> 00:24:25,660
That's right, get him, now we're gonna pitch to him

379
00:24:25,660 --> 00:24:29,660
Show him we got the Indian sign on him

380
00:24:29,660 --> 00:24:33,660
Burn it in, boy

381
00:24:33,660 --> 00:24:36,660
But work easy

382
00:24:36,660 --> 00:24:40,660
Just work easy

383
00:24:40,660 --> 00:24:44,660
Work easy

384
00:24:44,660 --> 00:24:51,660
Work easy

385
00:25:14,660 --> 00:25:19,660
Work easy

386
00:25:19,660 --> 00:25:24,660
Work easy

387
00:25:24,660 --> 00:25:29,660
Work easy

388
00:25:29,660 --> 00:25:34,660
Work easy

389
00:25:34,660 --> 00:25:39,660
Work easy

390
00:25:39,660 --> 00:25:44,660
Work easy

391
00:25:44,660 --> 00:25:49,660
Work easy

392
00:25:49,660 --> 00:25:54,660
Work easy

393
00:25:54,660 --> 00:25:59,660
Work easy

394
00:25:59,660 --> 00:26:04,660
Work easy

395
00:26:04,660 --> 00:26:09,660
Work easy

396
00:26:09,660 --> 00:26:14,660
Work easy

397
00:26:14,660 --> 00:26:19,660
Work easy

398
00:26:19,660 --> 00:26:24,660
Work easy

399
00:26:24,660 --> 00:26:29,660
Work easy

400
00:26:29,660 --> 00:26:34,660
Work easy

401
00:26:34,660 --> 00:26:39,660
Work easy

402
00:26:39,660 --> 00:26:44,660
Work easy

403
00:26:44,660 --> 00:26:49,660
Work easy

404
00:26:49,660 --> 00:26:54,660
Work easy

405
00:26:54,660 --> 00:26:59,660
Work easy

406
00:26:59,660 --> 00:27:04,660
Work easy

407
00:27:04,660 --> 00:27:09,660
Work easy

408
00:27:09,660 --> 00:27:14,660
Work easy

409
00:27:14,660 --> 00:27:19,660
Work easy

410
00:27:19,660 --> 00:27:24,660
Work easy

411
00:27:24,660 --> 00:27:29,660
Work easy

412
00:27:29,660 --> 00:27:34,660
Work easy

413
00:27:34,660 --> 00:27:39,660
Work easy

414
00:27:39,660 --> 00:27:44,660
Work easy

415
00:27:44,660 --> 00:27:49,660
Work easy

416
00:27:49,660 --> 00:27:54,660
When we met in 1938

417
00:27:54,660 --> 00:28:00,660
It was November

418
00:28:00,660 --> 00:28:05,660
When I said that I would be his mate

419
00:28:05,660 --> 00:28:10,660
It was December

420
00:28:10,660 --> 00:28:14,660
I reasoned he would be

421
00:28:14,660 --> 00:28:21,660
The greatest husband that a girl had ever found

422
00:28:21,660 --> 00:28:23,660
That's what I reasoned

423
00:28:23,660 --> 00:28:26,660
That's what I reasoned

424
00:28:26,660 --> 00:28:31,660
Then April rolled around

425
00:28:31,660 --> 00:28:33,660
Strike three, ball four

426
00:28:33,660 --> 00:28:35,660
Walk around, don't tie the score

427
00:28:35,660 --> 00:28:36,660
You're blinded, you're blinded

428
00:28:36,660 --> 00:28:38,660
You must be out of your mind

429
00:28:38,660 --> 00:28:41,660
Six months out of every year

430
00:28:41,660 --> 00:28:44,660
I might as well be made of stone

431
00:28:44,660 --> 00:28:47,660
Six months out of every year

432
00:28:47,660 --> 00:28:50,660
When I'm with him

433
00:28:50,660 --> 00:28:54,660
I'm alone

434
00:28:54,660 --> 00:28:56,660
Six months out of every year

435
00:28:56,660 --> 00:29:00,660
When I cook for them it never pays

436
00:29:00,660 --> 00:29:02,660
Instead of praising my goulash

437
00:29:02,660 --> 00:29:04,660
They're appraising the plays of Willie Mays

438
00:29:04,660 --> 00:29:05,660
He's out, he's out

439
00:29:05,660 --> 00:29:07,660
He's out, he's out

440
00:29:07,660 --> 00:29:08,660
Strike three, ball four

441
00:29:08,660 --> 00:29:10,660
Walk around, don't tie the score

442
00:29:10,660 --> 00:29:12,660
I might as well be wearing great

443
00:29:12,660 --> 00:29:13,660
And he's win again today

444
00:29:13,660 --> 00:29:17,660
By this, just another more to which I tie

445
00:29:17,660 --> 00:29:18,660
He's out, he's out

446
00:29:18,660 --> 00:29:19,660
He's out, he's out

447
00:29:19,660 --> 00:29:20,660
He's out, he's out

448
00:29:20,660 --> 00:29:21,660
You're blinded, you're blinded

449
00:29:21,660 --> 00:29:23,660
You must be out of your mind

450
00:29:23,660 --> 00:29:26,660
April, May, June, July, August, September

451
00:29:26,660 --> 00:29:29,660
April, May, June, July, August, September

452
00:29:29,660 --> 00:29:36,660
Six months out of every year

453
00:29:36,660 --> 00:29:37,660
He's out, he's out

454
00:29:37,660 --> 00:29:41,660
He's out, he's out

455
00:29:41,660 --> 00:29:45,660
He's out of the game

456
00:29:45,660 --> 00:29:47,660
Three bass hits, one by William Schumann,

457
00:29:47,660 --> 00:29:49,660
one by Charles Ives,

458
00:29:49,660 --> 00:29:51,660
and one by Adler and Ross.

459
00:29:51,660 --> 00:29:53,660
The excerpt from Schumann's one act opera

460
00:29:53,660 --> 00:29:56,660
The Mighty Casey was performed by Gregg Smith,

461
00:29:56,660 --> 00:29:58,660
conducting the Adirondack Chamber Orchestra

462
00:29:58,660 --> 00:30:02,660
and either the Long Island Symphonic Choral Association

463
00:30:02,660 --> 00:30:09,620
Association, or the Greg Smith Singers, or maybe both. The catcher was Richard

464
00:30:09,620 --> 00:30:16,160
Mewins. Alan Mandel played some Southpaw pitching by Ives, who as a student, by the

465
00:30:16,160 --> 00:30:21,380
way, played on the Yale baseball team. And finally, six months out of every year

466
00:30:21,380 --> 00:30:26,300
from Damn Yankees with Shannon Bolin and Robert Schaefer. That's from the

467
00:30:26,300 --> 00:30:32,540
soundtrack of the movie version. And now it's tidbit time here on Shickly

468
00:30:32,540 --> 00:30:37,380
Mixed Sports Radio. And I'll come right out and say it. I'm looking for a little

469
00:30:37,380 --> 00:30:44,380
help here, folks. Our tidbit today is based on da-da-da-dum-da-da-dum. And I

470
00:30:44,380 --> 00:30:48,020
heard recently somewhere that that snippet has something to do with

471
00:30:48,020 --> 00:30:53,220
baseball, but I don't know what. I myself associate it with some of the old Spike

472
00:30:53,220 --> 00:30:58,220
Jones recordings, but I've never known what it came from. So if anybody out

473
00:30:58,220 --> 00:31:07,180
there has a clue, all right, we've got a caller. Mrs. Mudridge, excuse me folks, our

474
00:31:07,180 --> 00:31:13,100
station receptionist is helping me out today, being my call-in coordinator. We've

475
00:31:13,100 --> 00:31:18,820
got this TV monitor set up with a camera in the lobby. Mrs. Mudridge, you have to

476
00:31:18,820 --> 00:31:23,980
hold the card up higher. It's behind the FICA tree. Okay, that's good.

477
00:31:23,980 --> 00:31:32,580
Denny. Denny is on line one. You're on the air, Denny. How you doing? Listen, that thing you sing is from a baseball song, and the words are,

478
00:31:32,580 --> 00:31:37,420
Over the Fence is Out, boys! Hey, well, thank you very much. You know, I've always

479
00:31:37,420 --> 00:31:53,820
wondered about- It's a baseball song, and I wrote it. Hey, wait a minute. What do you mean, you wrote it? The piece I'm about to play, which is based on that song, was written in the 19th century. I don't care. I wrote it. You play it, you pay me royalties. I don't believe this. There's no way- Hey, listen, pal.

480
00:31:53,820 --> 00:32:21,380
You play, you pay. Eh, wrong, buster. I'm not- Don't f**k me, you motherf**ker. Classical music f**ks. Money makes the f**king world go round. You don't f**king like it, you can f**k yourself. But you're not gonna f**k me, you f**king cafe latte drinking f**k. You f**k me, and you'll f**king wish you f**king never f**ked. F**k, f**k, f**k, f**k, f**k. You hear what I'm saying? I'll tell you what, I'm not hearing any more of what you're saying, you bellicose bum.

481
00:32:21,380 --> 00:32:32,380
Man. Hey, I gotta hand it to you, Mrs. Mudridge. You were really on top of it there with the cuss canceller. I've never seen such virtuoso bleeping.

482
00:32:32,380 --> 00:32:53,380
Whew. What's that? Hold it up. Bernard is on line one? Oh, all right. You're on the air, Bernard. You see, I told you so. Money, money, money, money. Thanks a lot, Bernard. Give me a call if you ever get low on euros. I might be able to tide you over. Okay, let's do our tidbit. Come what may.

483
00:32:53,380 --> 00:33:06,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

484
00:33:23,380 --> 00:33:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

485
00:33:36,380 --> 00:33:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

486
00:33:56,380 --> 00:34:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

487
00:34:16,380 --> 00:34:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

488
00:34:36,380 --> 00:34:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

489
00:34:56,380 --> 00:35:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

490
00:35:16,380 --> 00:35:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

491
00:35:36,380 --> 00:35:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

492
00:35:56,380 --> 00:36:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

493
00:36:16,380 --> 00:36:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

494
00:36:36,380 --> 00:36:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

495
00:36:56,380 --> 00:37:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

496
00:37:16,380 --> 00:37:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

497
00:37:36,380 --> 00:37:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

498
00:37:56,380 --> 00:38:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

499
00:38:16,380 --> 00:38:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

500
00:38:36,380 --> 00:38:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

501
00:38:56,380 --> 00:39:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

502
00:39:16,380 --> 00:39:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

503
00:39:36,380 --> 00:39:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

504
00:39:56,380 --> 00:40:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

505
00:40:16,380 --> 00:40:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

506
00:40:36,380 --> 00:40:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

507
00:40:56,380 --> 00:41:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

508
00:41:16,380 --> 00:41:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

509
00:41:36,380 --> 00:41:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

510
00:41:56,380 --> 00:42:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

511
00:42:16,380 --> 00:42:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

512
00:42:36,380 --> 00:42:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

513
00:42:56,380 --> 00:43:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

514
00:43:16,380 --> 00:43:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

515
00:43:36,380 --> 00:43:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

516
00:43:56,380 --> 00:44:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

517
00:44:16,380 --> 00:44:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

518
00:44:36,380 --> 00:44:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

519
00:44:56,380 --> 00:45:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

520
00:45:16,380 --> 00:45:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

521
00:45:36,380 --> 00:45:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

522
00:45:56,380 --> 00:46:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

523
00:46:16,380 --> 00:46:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

524
00:46:36,380 --> 00:46:56,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

525
00:46:56,380 --> 00:47:16,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

526
00:47:16,380 --> 00:47:36,380
This is by John Knowles Payne, a 19th century American composer, and it's based on Over the Fence is Out, Boys, but it's not your standard song setting.

527
00:47:36,380 --> 00:47:48,380
Dribble on down the road. We started with Shaquille O'Neal and No Love Lost. Then came Meadowlark, sung by the Harlem Globetrotters.

528
00:47:48,380 --> 00:47:58,380
I've always wanted to see them live. Their act is real vaudeville and I love it. And we ended with Babe the Blue Ox doing Basketball.

529
00:47:58,380 --> 00:48:10,380
Okay, I've got to put my cards on the table here. Truth in advertising. It's a good song, but aside from that, I had to play that song.

530
00:48:10,380 --> 00:48:18,380
Because the people mentioned at the top of the song... Here, let me just cue up that opening again.

531
00:48:18,380 --> 00:48:23,380
Matthew passed to Carla, and Carla passed to me.

532
00:48:23,380 --> 00:48:34,380
Well, that's my kids they're talking about there. Yeah, they've known Tim and Hannah and Rosalie for years and play basketball with them.

533
00:48:34,380 --> 00:48:46,380
Hey, I am so proud of my kids. You know, they've grown up so great, and they're both involved in music, and they really rock, but they're really nice too, you know what I mean?

534
00:48:46,380 --> 00:48:50,380
What's that, Mrs. Mudry? Carla's on line one? Hey, Carla.

535
00:48:50,380 --> 00:48:51,380
Dad!

536
00:48:51,380 --> 00:48:57,380
Okay, okay, I'll shut up. Let's take it on out here. This is something a little different.

537
00:48:57,380 --> 00:49:05,380
Another example of program music in which I don't think anybody could guess what it's about just hearing the music.

538
00:49:05,380 --> 00:49:15,380
But when you know that the piece is called Fencing School, you see that the composer was inspired by the subject to write things he might not otherwise have come up with.

539
00:49:15,380 --> 00:49:26,380
Here's the European Community Baroque Orchestra under Monica Huggett performing Fencing School by the 17th century composer Johann Heinrich Schmelzer.

540
00:49:45,380 --> 00:49:50,380
Fencing School by the 17th century composer Johann Heinrich Schmelzer

541
00:50:15,380 --> 00:50:20,380
Fencing School by the 17th century composer Johann Heinrich Schmelzer

542
00:50:45,380 --> 00:50:50,380
Fencing School by the 17th century composer Johann Heinrich Schmelzer

543
00:51:15,380 --> 00:51:17,380
Fencing School by the 17th century composer Johann Heinrich Schmelzer

544
00:51:47,380 --> 00:51:53,500
by Schmelzer and okay our clock is running out here so listen folks thanks

545
00:51:53,500 --> 00:52:02,380
for dropping in to Shake-A-League-Big Sports Radio and remember it ain't over

546
00:52:02,380 --> 00:52:06,500
till it's over we're gonna go out with Charlie Chaplin's music for the boxing

547
00:52:06,500 --> 00:52:12,620
match scene from City Lights great scene great movie played by Carl Davis in the

548
00:52:12,620 --> 00:52:18,060
City Lights Orchestra Chaplin obviously feels a connection between boxing and

549
00:52:18,060 --> 00:52:47,780
bullfighting

550
00:52:47,780 --> 00:52:49,780
Oh

551
00:53:17,780 --> 00:53:19,820
you

552
00:53:47,780 --> 00:53:49,780
you

553
00:54:17,780 --> 00:54:19,780
Oh

554
00:54:47,780 --> 00:54:49,780
Oh

555
00:55:17,780 --> 00:55:19,780
Oh

556
00:55:47,780 --> 00:55:49,780
Oh

557
00:55:49,780 --> 00:56:19,540
and that's sickly mix for this week our program is made possible by the

558
00:56:19,540 --> 00:56:23,700
with funds provided by this radio station and its members thank you

559
00:56:23,700 --> 00:56:28,540
members and not only that our program is distributed by PRI Public Radio

560
00:56:28,540 --> 00:56:33,140
International we'll tell you in a moment how you can get an official playlist of

561
00:56:33,140 --> 00:56:37,340
all the music on today's program with album numbers and everything just refer

562
00:56:37,340 --> 00:56:43,620
to the program number this is program number 164 and this is Peter sickly

563
00:56:43,620 --> 00:56:47,100
saying goodbye and reminding you that it don't mean a thing if it ain't got

564
00:56:47,100 --> 00:57:05,900
that certain zunus a qua you're looking good see you next week

565
00:57:09,540 --> 00:57:14,340
if you'd like a copy of that playlist I mentioned send a stamped self-addressed

566
00:57:14,340 --> 00:57:22,220
envelope to sickly mix that's SCH ICK ELE sickly mix care of Public Radio

567
00:57:22,220 --> 00:57:29,220
International 100 North 6th Street suite 900 a Minneapolis Minnesota five five

568
00:57:29,220 --> 00:57:44,780
four zero three PRI Public Radio International