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Speaker 1: Hello, and Happy Saturday. I'm Tracy B. Wilson and I'm

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Speaker 1: Holly Frying. Not long ago, we read an email from

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Speaker 1: listener Ava, who was responding to our episode on the

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Speaker 1: Nutcracker and suggested we do something similar about the right

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Speaker 1: of Spring. I mentioned that former host of the show

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Speaker 1: had done one on the right of Spring riot, and

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Speaker 1: I was not sure how far it went beyond the

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Speaker 1: riot itself because I hadn't listened to it in a while.

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Speaker 1: Now I have listened to it. I think maybe I

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Speaker 1: had not listened to it ever, because a lot of

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Speaker 1: it felt like new information to me. The episode does

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Speaker 1: indeed talk about right of spring as a piece of music,

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Speaker 1: it's influences on both music and ballet. So we are

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Speaker 1: pulling it out for today's Saturday Classic. This is from

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Speaker 1: previous host Sarah and Bablina and it came out on June.

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Speaker 1: Welcome to Stuff You Missed in History Class, a production

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Speaker 1: of I Heart Radio. Hello, and welcome to the podcast.

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Speaker 1: I'm Fair Dowdy and I'm to bling a truck rebording

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Speaker 1: and today we're gonna be doing a listeners suggestion. So

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Speaker 1: dance teacher Emily wrote in to suggest that we cover

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Speaker 1: the ballet Ruth, and she said she couldn't guarantee us

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Speaker 1: an exhimation. She knows that's one of our favorite topics,

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Speaker 1: as it long has been. But she also said that

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Speaker 1: the material really sold itself. They're great dancers, they're great composers.

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Speaker 1: There's an influential impressario. Plus there are a lot of

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Speaker 1: scandals and mental breakdowns and some pretty salacious performances to

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Speaker 1: the Afternoon of the Fawn. I think that's all I

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Speaker 1: have to say there. If you you know about dance.

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Speaker 1: If you don't, you can go look that one up

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Speaker 1: on your on your own if you want. She's not

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Speaker 1: going to get into the details. But what we really

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Speaker 1: got drawn into was the promise of a riot here.

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Speaker 1: You know how we love those. On May there was

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Speaker 1: a riot during the debut of the Right of Spring.

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Speaker 1: And this was different from the last artistic riot that

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Speaker 1: we podcasted on. You may remember it, the Astra Place riot.

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Speaker 1: And that one wasn't about the work, which was Macbeth.

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Speaker 1: That the standard question. It was about the rivalry rather

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Speaker 1: between the two actors, about class conflict, and about Anglo

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Speaker 1: American intentions as well. Yeah, this one, though, is about

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Speaker 1: the work. It's the premier. It's about the dance and

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Speaker 1: the music and even the costumes get people in rage,

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Speaker 1: all shockingly and at the time disturbingly different and new

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Speaker 1: to the audience. That was what set them off in

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Speaker 1: the first place. But before we get to the people involved,

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Speaker 1: we're gonna be talking about a few of them, the composer,

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Speaker 1: the choreographer, the patron of the arts we mentioned, or

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Speaker 1: before we start talking about the work, just try to

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Speaker 1: imagine a piece of music and a dance that just

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Speaker 1: was so out side of the norm, so outside of

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Speaker 1: what you were used to, that and infuriated you to

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Speaker 1: the point of getting out of your plush red seat

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Speaker 1: and screaming at the stage and and getting really really upset,

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Speaker 1: yelling and causing a ruckus. I mean, just just try

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Speaker 1: to get in that mindset before we get going. Yeah,

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Speaker 1: and once you have that going, we'll start off with

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Speaker 1: a little bit of background. So when The Right of

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Speaker 1: Spring premiered, all indications suggested that it would be a

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Speaker 1: huge hit. First and foremost, it was written by young

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Speaker 1: superstar composer Igor Stravinsky. I'm sure many of you have

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Speaker 1: heard of him. It was choreographed by the beloved dancer

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Speaker 1: Vasilov Nijinski, and of course it was staged by the

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Speaker 1: hottest ballet company in Europe at the time, the Ballet

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Speaker 1: Russ a complete smash since Sergei diagle Of started it

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Speaker 1: five years before this. Yeah, and because he's the man

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Speaker 1: who founded the company, and because he brought together the

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Speaker 1: people who were involved in creating the Right of Spring,

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Speaker 1: it's only fitting we talked about him. I really think

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Speaker 1: that all three of those men we mentioned could be

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Speaker 1: their own podcast subchecks. They have very interesting lives. But

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Speaker 1: kind of condensed it a little because we're talking about

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Speaker 1: the riot, not everybody involved. But Diago Love was born

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Speaker 1: in Russia in eighteen seventy two. Two landed nobility, and

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Speaker 1: he had, I guess, kind of a sad start to life.

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Speaker 1: His mother died only a few weeks after he was born.

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Speaker 1: His father was a colonel, but his stepmother really was

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Speaker 1: an influential presence in his life. She encouraged his artistic

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Speaker 1: inclinations and he had a really happy, luxurious upbringing. The family,

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Speaker 1: for instance, had an apartment in St. Petersburg, a country

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Speaker 1: estate and a provincial twenty room mansion, and they were

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Speaker 1: really friendly and open. They hosted people they had folks

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Speaker 1: living with them. I think I saw in one account

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Speaker 1: the either the estate or the twenty room mansion had

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Speaker 1: an outdoor table, a porch table that seated fifty. So

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Speaker 1: you can imagine the kind of upbringing this this man had. Yeah,

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Speaker 1: and his family was really generous. But unfortunately that generosity

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Speaker 1: caught up to them. They went bankrupt and diego Lov

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Speaker 1: had to support them while studying law. But he also

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Speaker 1: indulged in his artistic side once in a while. He

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Speaker 1: started hanging out with a group of sophisticates he met

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Speaker 1: through his cousin slash boy friend, not something that you

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Speaker 1: think slash yeah. So this group made up some of

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Speaker 1: the core members of the eventual Ballet Ruse. So after graduation,

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Speaker 1: diego Lov decided he would become a composer instead of

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Speaker 1: a lawyer. He would follow his dreams through that artistic inclination.

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Speaker 1: And at this time one of the pre eminent Russian

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Speaker 1: composers was Nikolai Rimsky Korsakov, and classical music fans will

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Speaker 1: know him as one of the Five or the Mighty Handful,

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Speaker 1: a group of young composers who decades earlier had tried

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Speaker 1: to get Russian music back to its roots. They took

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Speaker 1: inspiration from throwing things like Russian folklore and fairy tales,

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Speaker 1: and they scored the Imperial ballets and operas. Yeah, so

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Speaker 1: diego Lov got this meeting with Rimsky Korsakov, who at

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Speaker 1: this point it is sort of the godfather of Russian music.

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Speaker 1: And he has his work completely dismissed by this this

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Speaker 1: old master, and he does sort of stick up for

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Speaker 1: himself a little bit. I think he Actually he's kind

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Speaker 1: of smart, he I mean, and I mean that in

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Speaker 1: a bad way. He I think he tells him, you're

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Speaker 1: going to regret what you said. It's going to be

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Speaker 1: printed in your biography someday and you'll be so embarrassed,

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Speaker 1: and by then it'll be too late to take it back.

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Speaker 1: So I mean just imagining this young man saying this

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Speaker 1: to the master. But he did stop composing, so I

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Speaker 1: guess he took the lesson to heart. Diaglev decided that

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Speaker 1: was not his career track, probably for the best, because

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Speaker 1: his true talent lay in management. He decided he'd become

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Speaker 1: a patron of the arts, not an artist, though of

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Speaker 1: course he had to. He had to be clever about

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Speaker 1: that because he was not a wealthy man anymore. If

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Speaker 1: you're going to be a patron of arts and not

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Speaker 1: have your own money, you've got to be resourceful. Yeah. So,

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Speaker 1: after a few years of staging artistic exhibitions in Russia

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Speaker 1: and a job at the then bureaucratic Imperial Theater, he

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Speaker 1: took his show on the road. For one thing, he

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Speaker 1: did this for a couple of reasons. For one thing,

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Speaker 1: he was patriotic. He wanted Europe to know his country.

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Speaker 1: But he also knew that just as all things French

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Speaker 1: were all the rage in Russia at the time, Parisians

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Speaker 1: were also in chant to by the idea of old Russia,

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Speaker 1: its opulence, its exoticism, and so he thought that it

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Speaker 1: would be an easy cell. Yeah, they had a romantic

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Speaker 1: idea of what Russia was or what it is still.

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Speaker 1: So in nineteen o nine, Diagolov pulled the best dancers

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Speaker 1: from Russia and formed the Ballet Ruth. And the company's

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Speaker 1: early years really capitalized on that perception of Russia as

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Speaker 1: exotic and romantic. And if you look up some pictures

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Speaker 1: from the costumes, for instance, at this point, you can

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Speaker 1: you can tell that the flyers they're very they're almost

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Speaker 1: erotic in some cases and um. The epitome of that aesthetic,

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Speaker 1: that romantic, exotic aesthetic, was the company's principal dancer, Voslav Najynski,

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Speaker 1: and he eventually became Diaglov's lover. And Najynski was the

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Speaker 1: son of dancers, so he had grown up in this environment,

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Speaker 1: and he was really famous for his leaps, almost like

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Speaker 1: he could fly. So when he debuted in in Paris

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Speaker 1: and in the rest of your up, it was unlike

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Speaker 1: anything people had ever seen before. And I mean the

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Speaker 1: same goes for many of the other dancers in the company,

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Speaker 1: but Nijinsky in particular really stood out. The third member

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Speaker 1: of our trio also came in near the beginning of

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Speaker 1: this whole story of the Ballet rouss. He was also

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Speaker 1: young and also obviously Russian, Igor Stravinsky. Now Stravinsky was

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Speaker 1: the son of a famous operatic bass and he had

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Speaker 1: grown up just behind the Imperial Theater, so kind of

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Speaker 1: an auspicious place to grow up if you're interested in music.

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Speaker 1: I guess he took piano and music theory, and his

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Speaker 1: house was filled with music and theater too, But still

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Speaker 1: when it was time for school, he studied law and philosophy.

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Speaker 1: That seems to be a theme here, the study of law.

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Speaker 1: These would be lawyer. But while at St. Petersburg University,

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Speaker 1: he showed some of his early works to someone that

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Speaker 1: we have heard of before, the father of a fellow student,

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Speaker 1: none other than Rimsky Korsikov. So Rimsky Korsikov gave him

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Speaker 1: a better reaction than he had given to Diaglov, and

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Speaker 1: actually took him on as a private student. So his

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Speaker 1: story turned out a little better there for him, definitely.

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Speaker 1: Will Stravinsky obviously displayed some more talent at composing, but

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Speaker 1: Rimsky Corskov also helped him get some gigs going too,

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Speaker 1: so he started having performances, started having his music performed,

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Speaker 1: And Diaglov came into the picture in nineteen o nine

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Speaker 1: when he attended one of these performances and heard Stravinsky's

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Speaker 1: music and decided he wanted to commission him right away

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Speaker 1: for the Balletrue summer season, so got some music for that,

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Speaker 1: and then for the nineteen ten season he commissioned The Firebird.

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Speaker 1: And I mean, of course, this is probably one of

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Speaker 1: the most famous ballets. It's it's absolutely one that's staged

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Speaker 1: by most companies I think pretty frequently, right, even my

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Speaker 1: ballet company I was in in Northeast Alabama when I

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Speaker 1: was growing up, did a production of the Firebird every year.

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Speaker 1: Were you in the Firebird? Know? I wasn't then at all.

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Speaker 1: I wasn't a nutcracker though, does that counting? Different composer,

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Speaker 1: completely different ballet, never mind moving on, But anyway, this

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Speaker 1: made Stravinsky blow up overnight, and then the next year

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Speaker 1: it was another hit for him and the ballet rous

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Speaker 1: with Petrushka, and in this one Nagynsky dance the lead.

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Speaker 1: But all the while, while Stravinsky is working on Petrushka,

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Speaker 1: he's also working on something else, something that has a

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Speaker 1: very modern sound, as we're going to learn, but something

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Speaker 1: that's ancient too, certainly has ancient roots. So we're gonna

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Speaker 1: have to go back again a little bit to to explain.

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Speaker 1: Stravinsky also wanted to make something uniquely Russian. He was

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Speaker 1: also patriotic, like Rinsky, Korsakov or Diogolov, and he really

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Speaker 1: liked fairy tales and Russian legends, especially so He had

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Speaker 1: grown up summering in a small village called Usta Lug,

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Speaker 1: and villagers would still come out and celebrate the harvest

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Speaker 1: and the planting during during his youth, and they'd celebrate

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Speaker 1: with festivals and dances, and they would sing songs with

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Speaker 1: their untrained voices and play homemade instruments and really just

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Speaker 1: have a good time. And it produced a very unique

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Speaker 1: sound that sort of captivated Stravinsky. So he wrote The

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Speaker 1: Right of Spring to try to capture that celebratory chaos,

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Speaker 1: even though in the ballet's case, it's not just harvest festival.

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Speaker 1: It's not it's not um an entirely happy occasion. It's

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Speaker 1: a pagan human sacrifice. Spoiler alert In case you you

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Speaker 1: didn't know what happened at the end of the Right

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Speaker 1: of Spring, we gotta mention it. The chosen One, who

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Speaker 1: is a young maiden, dances herself to death. So it's

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Speaker 1: a disturbing story of celebration. Yeah. And to achieve that haphazard,

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Speaker 1: distorted sound of the celebration, and to imitate the untrained

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Speaker 1: voices and the homemade instruments, Stravinsky knew he'd have to

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Speaker 1: manipulate the traditional instruments of the orchestra, so he paired

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Speaker 1: them up in odd combos. He would have one group

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Speaker 1: played triplets while the other one played quadruplets, and most memorably,

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Speaker 1: he moved some of the instruments so far outside of

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Speaker 1: their range they became unrecognizable. So those are just a

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Speaker 1: few things he did to achieve that really unique sound.

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Speaker 1: And here's what the Paris audience at the premiere first heard.

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Speaker 1: So that's a very unusual sound. And a composer who

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Speaker 1: was in attendance at the premier, Camille San San, basically said,

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Speaker 1: what is that? What instrument is that? And his seat

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Speaker 1: mate told him it's the bassoon, And Saint San was

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Speaker 1: supposedly so scandalized by this information he reportedly said, if

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Speaker 1: that is a bassoon, I am a baboon and walked out.

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Speaker 1: So he did not like hearing the bassoon played in

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Speaker 1: this eerie, unusual register at all. Well, and that wasn't

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Speaker 1: even the only instrument that people had trouble with. Were

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Speaker 1: some other strange sounding instruments that chimed in as well.

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Speaker 1: There was an English horn, and e flat clarinet, a

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Speaker 1: bass clarinet, and actually a contemporary San Francisco Symphony musician

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Speaker 1: has described the sound as a quote jungle, just to

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Speaker 1: give you an idea of what it what the impressions

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Speaker 1: might have been like. So people were hissing, they started

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Speaker 1: to yell somewhere cheering. A few folks liked it, they

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Speaker 1: wanted to keep hearing it. Then the first dance tableau

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Speaker 1: opened and the music made a kind of terrifying transition. Yeah,

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Speaker 1: so that's scary stuff. And you've just heard the music.

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Speaker 1: But we're going to talk about the dance to what

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Speaker 1: was going on on stage with this pounding, frightening music,

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Speaker 1: The dancers weren't gracefully pirouetting about. They were grouped in

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Speaker 1: a circle. They were jumping up and down with both

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Speaker 1: feet together. And it looks painful. It looks very violent.

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Speaker 1: An Ajinsky dancer later recalled quote, with every leap, we

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Speaker 1: landed heavily enough to jar every organ in us. And

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Speaker 1: it and it looks like that. It looks heavy and uncomfortable.

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Speaker 1: But because the dancers were also doing this move where

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Speaker 1: they rest their heads on their hands and switch hands

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Speaker 1: and pitch their heads back and forth, some people started shouting,

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Speaker 1: get them a dentist. So people were not only upset

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Speaker 1: by what they were hearing, the strange bassoon noise and

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Speaker 1: all of that, but what they were seeing. And a

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Speaker 1: third issue was the costumes. The dancers weren't wearing these

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Speaker 1: scanty form fitting costumes that you know, some people at

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Speaker 1: the time we're going to the ballet to see that,

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Speaker 1: you know, they wanted to see dancers and and see

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Speaker 1: the classical, the pretty, you know, the really beautiful costs.

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Speaker 1: Exactly that the two to kind of get up and um,

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Speaker 1: these folks were wearing tunics, they were wearing long fake braids,

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Speaker 1: they had padded lace legs, and and you can look

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Speaker 1: up these costumes as I mentioned, but the best way

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Speaker 1: to picture it is almost like buck skins. There. They

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Speaker 1: don't look graceful, they look very primitive. And people they

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Speaker 1: hated it. They did not like that aspect of it.

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Speaker 1: Stravinsky panicked at this point and he starts to head backstage.

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Speaker 1: Diaglov and for his part, flashes the house lights at

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Speaker 1: this point, trying to calm people down. But the orchestra

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Speaker 1: kept playing, and diag Lov must have guessed that something

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Speaker 1: like this would go down. He he hadn't mentioned that

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Speaker 1: fear to Stravinsky or Najynski at all, but he had

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Speaker 1: told the conductor, Pierre Monte, to keep playing no matter what.

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Speaker 1: So so the orchestra just keeps on playing the music,

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Speaker 1: which must have been difficult because there's some crazy rhythms

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Speaker 1: in the right of spring. I have to imagine it

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Speaker 1: would be tough to play if if you couldn't hear

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Speaker 1: what you were playing. But that wasn't the only problem. Yeah,

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Speaker 1: I mean what about the dancers. They couldn't hear either,

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Speaker 1: and it makes it pretty hard to dance if you

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Speaker 1: can't hear the beat of the music. So Najynski got

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Speaker 1: on a chair and leaned out to call off the

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Speaker 1: numbers he was from, basically chanting for them, and Stravinsky

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Speaker 1: held us coat tails to keep him from falling. He

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Speaker 1: was leaned that far out, and the police were of

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Speaker 1: course called in. And um, there's a really good quote,

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Speaker 1: I think from Harvard professor Thomas Kelly describing the effect

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Speaker 1: of the music on the audience. He said, the pagans

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Speaker 1: on stage made pagans of the audience. And I mean,

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Speaker 1: we have to wonder who were these people? What this

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Speaker 1: is now a classic piece of music, it's a um,

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Speaker 1: it's a ballet that was certainly influential. Who were the

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Speaker 1: people who just couldn't stand it? And it was long

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Speaker 1: assumed that they were just kind of old fogies, you know,

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Speaker 1: they wanted to see, Like we mentioned earlier, the classic

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Speaker 1: too Too and and the pirouetting, but people didn't go

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Speaker 1: to the ballet rous for that kind of experience anyway.

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Speaker 1: And recently, UM, one of the latest biographies on Diaglov,

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Speaker 1: has shaken up that assumption that that these were the

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Speaker 1: old fogies, said that they were actually the the avant garde,

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Speaker 1: the people who were at the head of trends. But

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Speaker 1: they felt like this piece of music, this dance, just

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Speaker 1: eclipsed even then. They didn't want to get left behind

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Speaker 1: so violently. They were one up to an edginess they were.

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Speaker 1: So of course, the right of Spring doesn't sound quite

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Speaker 1: so shocking now, and that's because a lot of later

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Speaker 1: twentieth century music was influenced by it. PBS actually hosts

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Speaker 1: this great series by the San Francisco Symphony called Keeping Score,

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Speaker 1: and Sarah and I both watched it, and the program

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Speaker 1: called Stravinsky's score an artistic revolution, something that redefined twentieth

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Speaker 1: century music, and one of the symphonies musicians even calls

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Speaker 1: it rock and roll. And I think why it doesn't

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Speaker 1: sound so shocking to us now is because it is

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Speaker 1: very familiar. You you'll recognize it in later classical music,

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Speaker 1: but in other music forms too. I mean, even if

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Speaker 1: you don't listen to it and I think that's rock

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Speaker 1: and roll, I mean, it clearly has an effect on

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Speaker 1: on where music went for the rest of the century.

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Speaker 1: And it certainly defines Stravinsky's work. I mean, a or

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Speaker 1: this the Firebird might have made him blow up overnight,

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Speaker 1: but this defined his career. And he did, of course

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Speaker 1: go on to enjoy a very long career, probably making

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Speaker 1: this even more impressive that he had something like this

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Speaker 1: so early on. He went on composing In the fifties

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Speaker 1: and sixties, he started composing twelve tone music, and he

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Speaker 1: lived until the nineteen seventies. Actually the recordings we heard

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Speaker 1: were conducted by Stravinsky. Yeah, and this work didn't just

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Speaker 1: influence music, it also influenced choreography as well. Uh, the

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Speaker 1: choreography of Nijynski here was really influential. I mean, if

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Speaker 1: you look at it, it it looks like modern dance. That's

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Speaker 1: what I thought when I first read about this. As

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Speaker 1: well as well when you see it, I mean, the costumes,

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Speaker 1: the movements, everything kind of reminds you of that. But

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Speaker 1: because The Right of Spring was only performed eight times,

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Speaker 1: and because Nijinsky had a mental breakdown at age twenty

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Speaker 1: nine and ended up spending the rest of his life

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Speaker 1: in and out of asylums. The choreography was until recently

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Speaker 1: presumed lost. Yeah, in nineteen seven, though, we have this

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Speaker 1: really interesting sort of forensic dance story. The Jeoffrey Ballet

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Speaker 1: restored the original choreography, and they brought in a dance

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Speaker 1: historian and an art historian, and those two drew from

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Speaker 1: reviews and from dancers quotes, and from drawings and photos,

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Speaker 1: and even from Stravinsky's notes on the stage direction, which

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Speaker 1: had sort of general instructions like there are this many

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Speaker 1: groupings on the stage, but not exactly what they were

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Speaker 1: doing to to get that information, they finally found this

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Speaker 1: score with choreographic notes, and it was discovered in nineteen

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Speaker 1: eighty two. And to me, the idea of reconstructing a

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Speaker 1: dance is so it's almost impossible for me to comprehend. Yeah,

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Speaker 1: it's one of those instances where history and art meet,

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Speaker 1: so clearly I think it's it's really fascinating. But when

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Speaker 1: watching the restored ballet, you also get a peek at

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Speaker 1: what the costumes would have looked like in action. They

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Speaker 1: were designed by Nicholas Rerick and they look primitive, but

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Speaker 1: all were really modern at the same time. And the

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Speaker 1: fact that people would go to such trouble to restore

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Speaker 1: a ballet really just speak to the effect and the

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Speaker 1: importance of the ballet Rouss On Dance. Yeah, after Diagal's

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Speaker 1: death in the ballet rouss disbanded, I think it almost immediately,

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Speaker 1: but his employees branched out across the world to start

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Speaker 1: some of the pre eminent companies of today, the American

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Speaker 1: Ballet Theater, New York City Ballet, San Francisco Ballet. They're

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Speaker 1: all direct descendants from the ballet routs as our companies everywhere.

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Speaker 1: So listener Emily, who we mentioned at the beginning of

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Speaker 1: this podcast, so that there would be no exhimation in

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Speaker 1: the story, but there actually is one of sorts. In

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Speaker 1: February of this year, the BBC reported that some footage

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Speaker 1: of the Ballet rous the only known footage that is,

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Speaker 1: had been discovered mislabeled in an online archive in Diego Love.

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Speaker 1: I mean, the reason there was no footage before is

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Speaker 1: because he had prohibited filming of the ballet since he

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Speaker 1: didn't think that it could do his movements justice. So

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Speaker 1: it's an art, a stick exclamation. There's no body involved,

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Speaker 1: but some dance, you know, close enough. I'm I was

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Speaker 1: pleased by by discovering this and getting to watch it.

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Speaker 1: It's a rehearsal, so it's it's not it's not the

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Speaker 1: Right of Spring. It it's it is the nice costumes

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Speaker 1: and it looks very proper, but still it's the ballet roofs,

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Speaker 1: and it's it's all we got. And I just want

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Speaker 1: to mention, even if you haven't ever seen this ballet,

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Speaker 1: or you don't really even go to ballet or listen

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Speaker 1: to classical music, you probably are familiar with the Right

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Speaker 1: of Spring because it is maybe most famously associated with

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Speaker 1: Walt Disney's Fantasia. There's of course a long extended sequence

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Speaker 1: of the Right of Spring with the dinosaurs, the you know,

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Speaker 1: it's it's kind of a sad part of Fantasia for sure.

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Speaker 1: I don't know if I've ever seen Fantasia. Oh no,

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Speaker 1: Share looks Sarah looks so shocked right now. I'm sure

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Speaker 1: I have like a VHS of it somewhere if you,

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Speaker 1: if you still have a va are put up, you

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Speaker 1: could look up. You could look at this part online.

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Speaker 1: I mean, it's it's not It's not the part that

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Speaker 1: you normally watch with Fantasia, like the Dancing Hippo or

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Speaker 1: Mickey and the Broom, but it's still a pretty pretty

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Speaker 1: memorable scene in Fantasia. By so much for joining us

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Speaker 1: on this Saturday. Since this episode is out of the archive,

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Speaker 1: if you heard an email address or a Facebook U

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Speaker 1: r L or something similar over the course of the show,

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Speaker 1: that could be obsolete now. Our current email address is

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Speaker 1: History Podcast at i heart radio dot com. Our old

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Speaker 1: health stuff works email address no longer works, and you

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Speaker 1: can find us all over social media at missed in History.

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Speaker 1: And you can subscribe to our show on Apple podcasts,

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Speaker 1: Google Podcasts, the I Heart Radio app, and wherever else

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Speaker 1: you listen to podcasts. Stuff You Missed in History Class

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Speaker 1: is a production of Art Radio. For more podcasts from

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Speaker 1: I heart Radio, visit the iHeart Radio app, Apple podcasts,

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