Loyalty Freak Music

Longtime Ephemeral listeners may recognize the music of chameleon artist Rrrrrose Azerty, although it can be a little tricky. They use twenty different aliases, produce music in every genre, and have released over 200 albums in the last decade. And almost all of it has been given away for free. Further listening at LoyaltyFreakMusic.com

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:01):
Hey, everybody, is getting to be a pretty busy time
for the producers of this show. We still have a
lot of great episodes to share, but we're going to
slow down our publishing schedule for the year, airing a
new episode of Ephemeral the first Monday of each month,
so the next episode will be July four, then August one,
and so on. As always, thanks for listening. Ephemeral is

(00:25):
a production of I Heeart three D idea for Folxposure.
Listen with that phone. Today's guest is one of the
most prolific artists I've ever met. I'm subject to boredom.
I'm bord a lot, and I don't leave it well.

(00:47):
To avoid this boredom, I produce music. My name is Oz.
I'm a French producer of free music with a lot
of nicknames, a lot of different projects. If you've listened
to Ephemeral for a while, you've heard a lot of
Roses work. Usually I credit the artist one place here

(01:08):
and site the website loyalty freak music dot com, but
that's a little misleading. In the last eleven years or so,
Rose has released over two hundred albums under the guise
of almost twenty different pseudonyms. Why so many aliases. It's weird,
but I have a lot of good ideas of bond name.

(01:31):
Like you are at a party with friends, you are
super drunk, and like you have that must be the
new name of your band. I'm the person who takes
this as a true thing, Like you tell me this
is your new band name. Okay, I'll do the album tomorrow.
I wanted to do a lot of stuff, many many things.

(01:53):
I love recording music and I produced stuff fast, so
I had the feelings that I needed to create a
lot of nicknames because I wanted to separate a lot
of my music. My first one was Alphadre. My first
st album was called La dictator The Boredom Dictatorship. After

(02:16):
that I took the nickname of Montplasy to release like
a t album something like that. And after that I
embraised the name of Jose Aserti. It's like my name
on the internet right now. But I have also Comico
certain purious, said Don Frederic Clardon, come Jan anonymous for

(02:43):
twenty then splore his Lava a tape full of mistakest
Cikla Woman. And there's maybe a few others besides the
Sheer amount and variety of Roses music. The other thing
you should know about their project is that almost everything

(03:04):
rosemakes has been released for free without restrictions. The majority
of this music is available to everyone to adapt, remix,
and we use howeveryone wants. With such a staggering output,
you might wonder where Rose caught the musical bog that
would develop into this obsession. I feel like music was

(03:27):
kind of my scene. When I discover Dirty Album from
Sonic Hues and Lasting Stock from Talk Talk, I had
like really crazy moment with Affics Twin come to d
D e P And the Greatest Hit from Placebo. There
were a moment where I was like, okay, music is

(03:47):
haunting me. When I found the website radio blog dot Club,
there was users creating playlist with a lot of not
really legal music at this moment, but there was like
a laylists just blowing my mind with Jane Doe from
Converge like a really harsh metal core song. I didn't

(04:08):
listen to something so violent at this moment. It was like,
oh wow, something like this exists. And I listened to
my first moment of noise music with a remix of
Mogway Fast Saton by my Blude Valentine. It was like, Okay,
this is the stuff I want to live for creating music.

(04:28):
It was in high school. I was seventeen learning to
play drum for a band with my friends. I took
a guitar and tried to improvise with another friend, and
this is the moment I knew guitar was the instrument
I wanted to work on, and improvisation was I want
to do that for the rest of my borrowing days.

(04:53):
What instruments have you picked up since then? I mean,
I see a bunch of instruments behind you, and I
know your music is very collectic intranstence mutation. Right here,
you have several types of guitar, fretless, bass, tenor saxophone.
I know how to play guitar, but I play bassed
like a guitarist play bass, and I play saxophone like

(05:14):
a guitarist play saxophone. I have like a keyboard, toy
keyboards too. I've done a lot of music with this
keyboard right here. I've solder output check so I can
put ethics change with it, and it's like tasty. I
have like little percussions, a lot of flutes, recorder with

(05:37):
the big. I have a mixed table to do ash
noise and stuff like that, a lot of efex petals.
This is all my gear and I record everything on
a little table in the corner of my room. Everything
is done here between pokemon figurines and dust. This is

(05:58):
not really a good studio to record, but I don't
have the time on the money to wait for a
real studio to work on my music. I just want
to create stuff. The first time I recorded with the
mic of the laptop, we like to press the record

(06:20):
button and have no idea what to play, and it
was awful but so fun. I was like, I think
I can do other stuff. I had a new electric
guitar to a multi expertal I vote a fast track
Pro emodio fast track Pro, and I learned how to
use it. I think the first album I recorded it

(06:41):
in a month. I was really obsessed by this stuff,
but I didn't understand what I was doing. To mix
music is a job. You need to learn everything, and
there is a science behind all this stuff, and it's
how to improvise this. There is a huge gap between

(07:03):
my first album and the last one in terms of mixing.
I feel that it's not the same person doing this music.
It was like urge to produce this stuff, and I
didn't want to waste my time on the same idea.
And in the end, I need to produce more stuff
and be confronted to more music and more mixing, and

(07:26):
with multiple confrontation, I will learn more than putting three
or four more hours on the past music. We'll dive
deeper into this body of work after the break. Okay,
let's talk about some aliases, and I'll apologize again that

(07:48):
I will probably butcher every name. No problem, it's most
stylish when you say it with your accent. Outside today
album Alfredrai. In the first album, it's chaotic as he
The first tune is strict distorted over driven guitar playing

(08:10):
our pages. The second one is like a folk song.
The third one is like an ambient song. The fourth
one is the Battle Team, the fifth is the funk song.
After that there is a cheap hip hop instrumental, and

(08:33):
another chipipop instrumental and a folk song. It's like a
lot of stuff. There is like one link. It's the
bad recording and the guitar no real artistic direction. I
don't care about this a lot, but it was not
good to have albums with so many type of music.

(08:53):
It's not user friendly music. It's hard to use this
music to reuse and remix years past. Um. I'm on
a role playing game for UM, writing stories and stuff
with people, and I was like, Okay, I need to
do a soundtrack of this forum because I love the place.

(09:16):
And it was the first album from Comic Wo. It's
time for Adventure Colko twenty four albums. I use this
alias for the soundtrack and I continue to use because
it feels like it was another direction, another way to
produce music. It was more about imagining a place soundtrack

(09:41):
for a video game, tabletop or PG. I was like,
Comic Wo is for music you can use. Obviously. The
five first album of Comic Who is for one unique universe.
It's parodic music of role playing game situation with acoustic

(10:02):
instruments and there is like a loofy vibe on the recording.
After that, it's the next album of Comic Who. It's yes,
it's ultraped person. After that it's like for a video game,
a wacky Mega Man like video game where you destroy

(10:24):
capitalist standfascist with stones and slink shot. And after that,
I've done the Girl with the Baseball Bat. I watched
so many so bad, they're so good type of movies
like The Room or Samurai Cup. Okay, let's do a

(10:44):
soundtrack with that in mind. After that, I've done the
first Incredible Adventures volume, inspired by my plushes like Puppies.
Incredible Adventures. It's like a little plush of a little dog.
It was my inspiration to do a seventy tracks in

(11:07):
two weeks. I think I was unemployed at this moment
and I had a lot of free time, and I
was super inspired. Let's go do ten tracks a day.
After that, I have the Captain Gluglue Incredible Week soundtrack.
It's an actual game that exists. There is Alie Saw

(11:29):
Some Dance Adventure. It's not incredible, but it's at least awesome.
There is the Animal Summer Music Camp, a tape is
never forgotten. It's like the music I've done for a
video game that doesn't exist. The Adventure Goes On Volume
one and two. And The Fuzzy Trip in Drama exan
volume completely made with old time recordings and public domain

(11:54):
recordings Cluzy albums one Pleasy. It was more a de
facto name for a lot of type of project, guitar improvisations,
rock music, industrial songs, shoegaze songs, live music, soundtracks for

(12:20):
real games, soundtrack for movies. So yeah, at some point
I use it for a lot of stuff. Certain Furious
fifteen albums. Soft and Furious is born from the acquisition
of a Cold Cross synth keyboard. I had this keyboard

(12:41):
and I was, oh, nice, I can do like form
of synth wave or electronic music. The first album were
created with this keyboard, not the drums, but all the
other sounds. At this moment, I was really questioning my
gender identity. I'm a gender fred person, and this music

(13:02):
expressed it. I see my gender like a notion. I
can't really say what gender I was yesterday and what
I would be tomorrow. My identity is not the same.
I was in front of those questions and it d
me a lot to understand what I wanted to do
in these periods. I was like dopting of myself and

(13:25):
not in a good place. The stuff I wanted to
do is dive in in sound, and that was like, okay,
Soft and Furious is what I see for my gender.
The expression of this need to be in a notion
of sound, but it's mostly like am Beyond and sent

(13:46):
wave like music, but not aggressive cent wave. It's more
like soft than curious. Froteen happens both false really really
weird stuff. The first stuff I produced with this nickname
is dog Wave super called electro Technoe with dog screaming,

(14:11):
and I went, okay, the mother donor will be weird
stuff and mostly noisy stuff, and I don't like dog
wave too, and cut wave. After that, I'm Pigeon Wave. Also,

(14:32):
the next one will be print a Wave. Already a
lot of people told me this was like a nightmarish ivy.
I'm like, okay, I will do that. Peepout apples. Frederic
Clardon is a playworld with Frederic lrdon socialist French economists

(14:52):
and Lardon. It's bacon. It's for French city song I've
done with my friend La held me obviously play well
with low a Palmer from Twin Peaks. We gathered around
a keyboard and just press records and play stuff. It's
really bad music, but it's super fun. The first time

(15:16):
Frederick Clardon appeared is was for a website called Lomasument
The Weekly Maratton. You have to produce one song. Every
week for a period of time. You have to have
like a balance between makes something quick and make something good.

(15:37):
Also you have to make a banger. I've done an
album called music Music to make People Leave Your Place.
It's a lot of really really hard and allowed noises.
I don't recommend to listen to it, but it exists

(15:59):
if you need to make people leave your place. Contrast
sad apples. Rosin is a French politician and Come Jospine
is like a really weird joke I can't explain even
in French. It's a project I've done with my friend
Laura palm Me also, but it's a band. Come Jospin

(16:20):
is the band. The first album is called fair Music.
You can translate it do the music and the first
thing we've done is a cover of the Shags the
song Mapile Foot Foot. The next album from comp is
Champon Noel So Sing Christmas and it's a collection of

(16:44):
my friend and I singing French Christmas song with a
really really bad vibe like you lost everything but you
have a job and it's too sing Christmas song. There
is another one called Low Region. I have a guitar
with big Bill vibrato and I play like Stairwards Eaven

(17:06):
on the guitar and my friend plays the vibratto. So
I played the music and she just turned the cord
whenever she wants, and it's horrible. I love those bad stuff.
It's so full of energy, but it's really hard to

(17:29):
use as a free music analyst for twenty I imagine
you are familiar with trump wave, so I wanted to
do Macron wave. The problem is that trump wave is
music made to create propaganda around Trump, and I didn't

(17:50):
want it to do that. With mac Own. The motto
of Macron was the startup Nation. When it became president,
he ted to change France into a startup nation. So
it was like, okay, this dude is the spokesperson of
the new wave of capitalists. I wanted to use the

(18:12):
esthetic of the so called capitalist music, the one used
in branded industries. It's a music you will remix for
a video presentation, a power point, but you will not
listen to it as music. You don't go to shutter
Stock Music to listen to the playlist, and I had

(18:34):
an issue with them. I wanted to take this music
and to rebrand it, to remix it, to make it
music again. In particularly the first Anonymous for twenty Upstart
Nation was a favorite of one when we began this podcast.

(18:54):
It's all over the ephemeral trailer, including the track You're
Hearing Now. And I've done another album called Startup Kids,
which is a remix of the demo of this keyboard. Yeah,

(19:17):
uh sorry, I don't want you to be d m
C eight for visually you said do. It's a nickname
I use for my French songs about being queer. If
Anonymous for twenties like a soft and round over driven music,
this one is like poetic ash and really really loud.

(19:42):
I love our stuff. I don't know if you noticed that.
I do a feedback look into my mixed table on
the verge of feedback, and I've done a couples of
gigs of this project. It's always super hard to do
because I need four or five effects s pedal, the
mixed table, keyboard, a little drum, and I need to

(20:04):
like sing and scream. Loyalty Freak Music seventeen albums Loyalty
Freak Music, The World Player obviously on Loyalty Free Music.
When I have the idea like okay, I want to

(20:25):
have a library of groovy music of loffy music of
metal music. I will do like seven or eight try
of this type of music, and I will release the
album I didn't know at this time. It will become
the name of my website, Loyalty Freak music dot com.

(20:46):
Guess for me, this is a good name brand to have.
The first one is positive attitude to try to do
some happy stuff, and it's awfully hard to do positive
music not sounding like the other positive music existing. I
don't like music to chill and stay awake, low fi

(21:09):
good stuff, electro music like robot, dance, instrumental R and D,
beats to sing or wrap on. I've done Halloween music.
It was used a lot the podcast You're Wrong About
use one of the songs in this album. That's fun

(21:31):
when you listen to something and it's you dance for
data four albums. Lava is a project I really love
but don't find a lot of idea to work on.
I was really inspired by a song called Noise Girl
Discoopatology dance Floy's. Lava was created to try to do

(21:54):
some stuff like that. It's noise disco, industrial dance music
and catchy sensible at any teenage riot both as a
teen albums was a theft at first, was a gay

(22:18):
album about feelings. That's why I've written in the description
of the album it's mostly true. At first. It's French
song with a soft approach to rock music. I really
like the idea of using low quality software to record
music computer folk music. Rose Arty was born with this id.

(22:44):
It's mostly stuff I have the urge to create and
don't have a nickname in mind. A tape of mistakes.
Two albums, A tape full of mistakes. It's a band
with mon Plasier and the Ataway family plot. We sent
to each other piece of music and we remixed it,

(23:07):
put some more music into it and recreate an album.
It's avant garde noise music. Three albums, Wandering Dog, you
can call it. It's more about improvisation with the guitar,

(23:31):
like what I've done mostly with mont Plasier Press Records
and try something Clad Woman three albums CCLA Woman is
trying to do some experimentations written by the Fluxus movement,
inspired by Lamontition, Yoko no terr Tony, stuff like that.

(23:58):
So it was in this a roach. Okay, I got
at least two that you didn't say, oh what this
one's got about you? Because this seems like you to
quill a moon rise? Oh yes, I forgot to kill
a moon right, killing the nice one album. I have
this fake music genre called tropical good. This is fortunes

(24:23):
I've done with the keyboard of my rand mother, and
I think I didn't found a better album titles than
the one. I don't particular moon rise, which is I
hate myself and I want to tie and die. I
don't know if this is your either, but I thought
it was you Standifer, Yes, this is me too. For albums.

(24:45):
The first album is for the FOLM Challenge, the February
album writing months. While you have to liquored fourteen track
in one month, my challenge is to do it in
one day. But still I her became bound after that.
And it's small like Beastie Boys ash industrial like music.

(25:14):
The first one is domind and tomorrow is Canceled. It's
like rhythm box with guitar, bass and vocals with a
lot of feedback loops. An artist, anti capitalist, anti fascist
songs recorded in a studio. The only other one that
I've got on here that you didn't say. I'm not

(25:34):
gonna better say that Captain Glues glue Glow and Captain
Captain glue Glue is usually cla Maybe Captain Glue Creux
a socially clavier one album. So this is Captain glu
Glue the Little Alpaca. There are like a playlist of

(25:56):
videos of Captain glue Glue playing the keyboard. It was
just for fun. I don't think Captain Blue Blue will
play another album because the plush was like really really
sparkly and beautiful at the moment where I recorded the videos.
Now time passed by Captain Glue is grayer or now

(26:29):
how do you regiment your music production, your creativity? What's
your regiment like to get all this stuff done? Big
part of my discography was made during the PAIRD I
was unemployed like for two years. Now I have a
day job at the administration of a music school in
the evening, so I use the morning mostly to do

(26:51):
my music. I'm not a night bird. I was, but
I'm not now. I'm are a morning buld. I love morning.
You can do everything in the morning. Do you record
like every day? When I was un employed, I recorded
every day. Now I record like one or two times

(27:12):
a week. I'm so stressed by my day job and
the situation globally that I didn't add the space in
my head to think about music, to create a lot
of music. But also, this last ten years, I've produced
more than two Android album I'm a bit tired. How

(27:35):
much did you do in this last two years? A
ninety one album in this last two years. Yeah, it
doesn't sound like you had too much of a creative block.
I'm sorry your jay job is not like no stress
and the pandemic, but it does so. I mean, I
know a lot of artists that are working hard, but like,
I don't know anybody that's producing work like you. No, no, no,
I get I get where you say that too. And yeah, yes,

(27:57):
I'm saying in a nutshell, don't be so hard on yourself. Yes,
this is a problem. I know this is a problem.
I have a producing problem. Shouto. I wouldn't call it
a problem. I would call it a gift. You've tapped
into something in yourself that a lot of people dream of.

(28:19):
And I think a lot of times when you're in
the middle of something like that, like you apparently have
been for these ten years or whatever, and probably longer,
it's sort of hard to see the forest for the trees.
If if that expression translates, it can be hard to
appreciate when you're inside out of it. But yeah, that's
that's the muse, right, I mean, that's you've got. You've
got the mused by the collar. So whatever you're doing,

(28:42):
just like, don't mess it up, just you know, and
it will keep changing and maybe it make less albums,
maybe make one. You know, I'm sure it seems like
you have no shortage of ideas, but it is sort
of baffling amount of creativity located in an individual. I mean,
I think that's maybe part of why you have to
split into so many personalities. Yes, I need to have
some place where I can fit these ideas and processed

(29:04):
it because there's so many a way to produce music,
and I feel that I have a producing issue because
when I'm not producing, I'm hating myself. And you know,
it's like I have internalized capitalist pressure in me and
I don't like it. Some people struggled to just release

(29:28):
one song because they are like in a perfectionist way,
I don't care myself. I don't care to make the
perfect things. I just want to put it out of
my head and just okay, the idea is here, it
doesn't clip. Okay, let's release it if I wanted to clip.

(29:49):
There is no problem that the last two years I
struggled to find this producing muse. I'm still having like
a more productive way to work and other people. But
I feel I've lost the momentum. I've lost the flu.
You know. I gotta be in your own head that
just like the evidence does not suggest that. So I'm

(30:12):
not trying to be unsympathetic. But that's that's a hard
pill to swallow. Or maybe it's not the momentum, but
I think I've lost something this last two years. That's
why I produced less album this last year. Also, I'm
not as happy as before with my music. I'm less

(30:34):
in peace. But it's like my music as its own quality.
And yes, I think there is like good albums, maybe
even Bee. I'm too hard on myself and this is
just the problem. A lot of the time, I just
don't know what I'm doing. I'm on the computer and

(30:54):
I'm singing, and after that I'm tall Okay, this is
this will be the note. I is that trade that
you mean? Like singing out like the parts of song. Yeah,
This is a really good way to improvise stuff. I
have like tons of memo on my cell phone and
of me singing between the line of cars. This is

(31:16):
super how to listen. See, I think that a lot
of us have that, myself included. The difference is the
huge hay here and then you you so so much
of it gets through that it becomes a thing that's
and then not even that you just make it, but
that you actually put it out there and that you

(31:36):
and then you get it into people's ears and hands
and you let people do things with that, which I
want to talk to you more about two. But like
that's the difference. Yeah, it's differing difference. I mean those
things are almost opposite, right. And you know, when at
first I've produced like an album a year, it's bet
up with time. At some point a friend gave me

(31:57):
a challenge to produce like four Try in the weekend.
That was the first form February album writing months where
I've recorded the album Busy So Noa by mon Plasia
and I recorded this album in one day, you know,
twenty eight hour. And after that I kept this way
of producing music because I was at this period unemployed

(32:20):
and I had a lot of instruments and space to
create music. It became my routine after that. I used
Ripper to record my music, and it's like an extension
of me. I finished a track, I rendered it, and
after that I create a new project. Maybe I go

(32:41):
to the bathroom or something. Oh, I take a break
because my fingers are like a bit hurt because I've
played like five hours of guitar. But after that, I
just continue, even though I have no idea what I'm
going to do. I will finish the day with something.
In terms of when you start earning a project, do

(33:01):
you usually start with a a genre utility in mind?
Where do you sort of work in assignment? After the fact,
I think I'm more copy cards than anything. I tried
to copy things most of the time. If I found
something I really like, I tried to do it myself.
At some point, I was really into a male banana

(33:22):
Japanese artcore band, and I wanted to do art cores,
so I tried to do a noisy artcore stuff. It's
like in my early work. After that, I had a
fluxus period where I tried to reproduce the vibe of
the eternal theater of music. Are there any genres that

(33:44):
you have in mind that you would like to work in?
Genres or utilities uses that you haven't yet that you
that are like on your wish list? The printer wave
I want to do as a soundtrack of video games.
I love to work on this type of utilitarian music.
Right now, I'm doing some live on Twitch where I

(34:05):
compose music live for games that doesn't exist. But now
I'm more into thinking about not working on producing music,
but writing about music and mostly about philosophy of music.
Maybe we can talk about it more later because this
can be a big subject. So working in video games, film,

(34:29):
video stuff like that, do you do a fair amount
of composing specifically for other people's projects. Yes. I like
to do that and I want to do it more.
I've done couples of movie projects. The biggest one I've
done is American Dreams. I really is the soundtrack. In
two thousand eighteen. After that, I had a lot more

(34:53):
commissions for student projects. I had some soundtrack to do
for games. It's super fun to do. I really like
working on real game It's not the same, like I
can't imagine by myself all the situations you have to
be prepared and to understand how it works video game

(35:13):
and gint and it's like super interesting and give a
lot of opportunities with all this music. Why do you
give so much bet away from free? Because I can First,
I want a better world with a lot of public
domain stuff, and I want to contribute. But it's not
like the only reason the biggest argument for me to

(35:35):
put music into creative comments and for free is because
I'm really bad at communicating with people and advertise my music.
I don't like to do this and I don't want
to do this because I see what happens when people
do it most of the time. I don't like when
labels are bands are like really out publicly like yeah

(35:56):
this new album album. I'm just I don't like to
do that. Maybe people like to do it, but me
I don't want it. But if I can put my
music like remixable for everyone and share double and stuff
like that, maybe people will do this for me. And
it happened. Freeing the music allows you to have access

(36:20):
to spaces where people want music, like from the archive
or jamindo. People here sometimes for listening to the music
because there is like a ton of excellent music and
from music Archaive, But a lot of people come because
they work music for a placeholder for video games, movies,
podcast This is the place to be if you want

(36:43):
to have people wanting to listen to you. The way
I thought about it, it was like, Okay, I want
to share my music with people. I don't mind having
remixes of my music. It's like fun. I want to
to see when and where people can use my music.
I want to be the closest to the public domain
I can be, so you can use my music in

(37:05):
a non commercial way and in a commercial way too,
without attribution. Now I appear in all the layers of
the search engine in free music. You can't miss me
because I'm everywhere. What do you What do you think

(37:25):
about commercial use of your work? No problem with that.
People need music and want to commercialize their project. I mean,
we live in a capitalist society. We need to make money.
I really don't mind this use of my music. If
you can send me ten books at some point, I
don't mind too. But I don't mind if you don't.

(37:48):
I really like people using my music because I feel
like they love it and I'm happy. What's your relationship
with this music? Once you put it out there. I'm
a bit egotistick. I like to listen to my music,
mostly because the music I created the music I want
to listen to. Some albums I prefer another. But most

(38:13):
of the time I listened to an album I didn't
listen to and was thinking, Okay, this is not my
best day and the album is good. I'm not crying
over it, or I'm not like submerged by emotion, but
I'm like, Okay, you did the best you could at
this moment, and I hear it. Sometimes I listened to
my music and I'm not thinking that it's my music.

(38:35):
I've done a lot, so I don't remember everything. I
think this is why I have so many nicknames too.
When I listened to these old albums, I feel like
it's a part of me, but now it's not mine anymore.

(39:10):
This episode of Ephemeral was written and assembled by Alex Williams,
with producers Max Williams and Trevor Young, and additional editing
from Jesse Funk. Special thanks to Andy Reese for pronouncing
all those artists names for me. The work of Roses
are two and all their various pseudonyms can be found
at loyalty freak news dot com, including information about reusing

(39:33):
this music in your own projects or commissioning Rose for
original works. Our next episode will be out July four.
Until then, follow us on social media at Ephemeral Show,
and for more podcasts from I Heeart Radio, visit the
I Heart Radio app, Apple Podcasts, or wherever you listen
to your favorite shows h s