Speaker 1: Welcome to Stuff You Missed in History Class from how
Speaker 1: Stuff Works dot com. Hello, and welcome to the podcast.
Speaker 1: I'm fair Dowdy and I'm to bling a Chruck reporting
Speaker 1: and today we're gonna be doing a listener suggestion. So
Speaker 1: dance teacher Emily wrote in to suggest that we cover
Speaker 1: the ballet Ruth, and she said she couldn't guarantee us
Speaker 1: an exhimation. She knows that's one of our favorite topics
Speaker 1: as it long has been. But she also said that
Speaker 1: the material really sold itself. They're great dancers, they're great composers,
Speaker 1: there's an influential impresario. Plus there are a lot of
Speaker 1: scandals and mental breakdowns and some pretty salacious performances to
Speaker 1: the Afternoon of the Fawn. I think that's all I
Speaker 1: have to say there. If you you know about dance.
Speaker 1: If you don't, you can go look that one up
Speaker 1: on your on your own if you want. She's not
Speaker 1: going to get into the details. But what we really
Speaker 1: got drawn into was the promise of a riot. Here
Speaker 1: we you know how we love those. On May there
Speaker 1: was a riot during the debut of the Right of Spring,
Speaker 1: and this was different from the last artistic riot that
Speaker 1: we podcasted on You may remember it the Astra Placed Riot,
Speaker 1: and that one wasn't about the work, which was Macbeth,
Speaker 1: that's your question. It was about the rivalry rather between
Speaker 1: the two actors, about class conflict, and about Anglo American
Speaker 1: intentions as well. Yeah, this one, though, is about the work.
Speaker 1: It's the premier. It's about the dance and the music
Speaker 1: and even the costumes get people in rage, all shockingly
Speaker 1: and at the time disturbingly different and new to the audience.
Speaker 1: That was what set them off in the first place.
Speaker 1: But before we get to the people involved, we're gonna
Speaker 1: be talking about a few of them, the composer, the choreographer,
Speaker 1: the patron of the arts we mentioned, or before we
Speaker 1: start talking about the work, just try to imagine a
Speaker 1: piece of music and a dance that just was so
Speaker 1: out side of the norm, so outside of what you
Speaker 1: were used to that and infuriated you to the point
Speaker 1: of getting out of your plush red seat and screaming
Speaker 1: at the stage and and getting really really upset, yelling
Speaker 1: and causing a ruckus. I mean, just just try to
Speaker 1: get in that mindset before we get going. Yeah, and
Speaker 1: once you have that going, we'll start off with a
Speaker 1: little bit of background. So when The Right of Spring premiered,
Speaker 1: all indications suggested that it would be a huge hit.
Speaker 1: First and foremost, it was written by young superstar composer
Speaker 1: Igor Stravinsky. I'm sure many of you have heard of him.
Speaker 1: It was choreographed by the beloved dancer Voslav Nijinsky, and
Speaker 1: of course it was staged by the hottest ballet company
Speaker 1: in Europe at the time, the Ballet Rouss a complete
Speaker 1: smash since Sergei Diagle have started it five years before this. Yeah,
Speaker 1: and because he's the man who founded the company, and
Speaker 1: because he brought together the people who were involved in
Speaker 1: creating the Right of Spring, it's the only fitting we
Speaker 1: talked about him. I really think that all three of
Speaker 1: those men we mentioned could be their own podcast subjects.
Speaker 1: They have very interesting lives. But kind of condensed it
Speaker 1: a little because we're talking about the riot, not everybody involved.
Speaker 1: But Diego Love was born in Russia in eighteen seventy
Speaker 1: two to landed nobility, and he had, I guess, kind
Speaker 1: of a sad start to life. His mother died only
Speaker 1: a few weeks after he was born. His father was
Speaker 1: a colonel, but his stepmother really was an influential presence
Speaker 1: in his life. She encouraged his artistic inclinations and he
Speaker 1: had a really happy, luxurious upbringing. The family, for instance,
Speaker 1: had an apartment in St. Petersburg, a country estate, and
Speaker 1: a provincial twenty room mansion, and they were really friendly
Speaker 1: and open. They hosted people, They had folks living with them.
Speaker 1: I think I saw in one account the either the
Speaker 1: estate or the twenty room mansion had an outdoor table,
Speaker 1: a porch table that seated fifty. So you can imagine
Speaker 1: the kind of upbringing this this man had. Yeah, and
Speaker 1: his family was really generous. But unfortunately that generosity caught
Speaker 1: up to them. They went bankrupt and diego Love had
Speaker 1: to support them while studying law, but he also indulged
Speaker 1: in his artistics. It had once in a while he
Speaker 1: started hanging out with a group of sophisticates he met
Speaker 1: through his cousin slash boyfriend, not something that you think
Speaker 1: slash yeah. So this group made up some of the
Speaker 1: core members of the eventual ballet rus So after graduation,
Speaker 1: diego Lov decided he would become a composer instead of
Speaker 1: a lawyer. He would follow his dreams through that artistic
Speaker 1: inclination and at this time, one of the pre eminent
Speaker 1: Russian composers was Nikolai Rimsky Korsakov, and classical music fans
Speaker 1: will know him as one of the Five or the
Speaker 1: Mighty Handful, a group of young composers who decades earlier
Speaker 1: had tried to get Russian music back to its roots.
Speaker 1: They took inspiration from throwing things like Russian folklore and
Speaker 1: fairy tales, and they scored the Imperial ballets and operas. Yeah,
Speaker 1: so Diego Loov got this meeting with Rimsky Korsakov, who
Speaker 1: at this point it's sort of the godfather of Russian music,
Speaker 1: and he has his work completely dismissed by this this
Speaker 1: old master, and he does stick up for himself a
Speaker 1: little bit. I think he actually is kind of smart.
Speaker 1: He I mean, and I mean that in a bad way.
Speaker 1: He I think he tells him, you're gonna regret what
Speaker 1: you said. It's going to be printed in your biography
Speaker 1: someday and you'll be so embarrassed and by then it'll
Speaker 1: be too late to take it back. So I mean
Speaker 1: just imagining this young man saying this to the master.
Speaker 1: But he did stop composing, so I guess he took
Speaker 1: the lesson to heart, Diaglev decided that was not his
Speaker 1: career track, probably for the best, because his true talent
Speaker 1: lay in management. He decided he'd become a patron of
Speaker 1: the arts, not an artist, though of course he had to.
Speaker 1: He had to be clever about that because he was
Speaker 1: not a wealthy man anymore. If you're gonna be a
Speaker 1: patron of arts and not have your own money, you've
Speaker 1: got to be resourceful. Yeah, So, after a few years
Speaker 1: of staging artistic exhibitions in Russia and a job at
Speaker 1: the then bureaucratic Imperial Theater, he took his show on
Speaker 1: the road. For one thing, he did this for a
Speaker 1: couple of reasons. For one thing, he was patriotic. He
Speaker 1: wanted Europe to know his country. But he also knew
Speaker 1: that just as all things French were all the rage
Speaker 1: in Russia at the time, Parisians were also enchanted by
Speaker 1: the idea of old Russia, its opulence, it's exoticism, and
Speaker 1: so he thought that it would be an easy cell. Yeah,
Speaker 1: they had a romantic idea of what Russia was or
Speaker 1: what it is still. So in nineteen o nine, Diaglav
Speaker 1: pulled the best dancers from Russia and formed the Ballet
Speaker 1: Ruth and the company's early years really capitalized on that
Speaker 1: perception of Russia as exotic and romantic. And if you
Speaker 1: look up some pictures from the costumes, for instance, at
Speaker 1: this point, you can you can tell that the flyers
Speaker 1: they're very they're almost erotic in some cases. And um,
Speaker 1: the epitome of that aesthetic, that romantic, exotic aesthetic was
Speaker 1: the company's principal dancer, Boslo Nadjynski, and he eventually became
Speaker 1: Diagla's lover. And Najynski was the son of dancers, so
Speaker 1: he had grown up in this environment and he was
Speaker 1: really famous for his leap, almost like he could fly.
Speaker 1: So when he debuted in in Paris and in the
Speaker 1: rest of Europe, it was unlike anything people had ever
Speaker 1: seen before. And I mean the same goes for many
Speaker 1: of the other dancers in the company, but Nijinsky in
Speaker 1: particular really stood out. And the third member of our
Speaker 1: trio also came in near the beginning of this whole
Speaker 1: story of the Ballet russ He was also young and
Speaker 1: also obviously Russian, Igor Stravinsky. Now Stravinsky was the son
Speaker 1: of a famous operatic bass and he had grown up
Speaker 1: just behind the Imperial Theater, so kind of an auspicious
Speaker 1: place to grow up if you're interested in music. I
Speaker 1: guess he took piano and music theory, and his house
Speaker 1: was filled with music and theater too. But still, when
Speaker 1: it was time for school, he studied law and philosophy.
Speaker 1: That seems to be a theme here, the study of law.
Speaker 1: These would be lawyer. But while at St. Petersburg University
Speaker 1: he showed some of his early works to someone that
Speaker 1: we have heard of before, the father of a fellow student,
Speaker 1: none other than Kikorsikov. So Rimsky Korsikov gave him a
Speaker 1: better reaction than he had given to Diagolov, and actually
Speaker 1: took him on as a private student. So his story
Speaker 1: turned out a little better there for him, it definitely
Speaker 1: will Stravinsky obviously displayed some more talent at composing, but
Speaker 1: Rimsky Corskov also helped him get some gigs going too,
Speaker 1: so he started having performances, started having his music performed,
Speaker 1: and Diaglov came into the picture in nineteen o nine
Speaker 1: when he attended one of these performances and heard Stravinsky's
Speaker 1: music and decided he wanted to commission him right away
Speaker 1: for the Balletrous summer season, so got some music for that,
Speaker 1: and then for the nineteen ten season he commissioned The Firebird.
Speaker 1: And I mean, of course, this is probably one of
Speaker 1: the most famous ballets. It's it's absolutely one that's staged
Speaker 1: by most companies, I think, pretty frequently. Right, Even my
Speaker 1: ballet company I was in in Northeast Alabama when I
Speaker 1: was growing up, did a production of the Firebird every year.
Speaker 1: Were you in the Firebird? No? I wasn't then at all.
Speaker 1: I was in a Nutcracker though does that counting different composers?
Speaker 1: Completely different? Ll at never mind moving on, But anyway,
Speaker 1: this made Stravinsky blow up overnight, and then the next
Speaker 1: year it was another hit for him and the ballet
Speaker 1: Rous with Petrushka, and in this one, Nazynski dance the lead.
Speaker 1: But all the while, while Stravinsky is working on Petrushka,
Speaker 1: he's also working on something else, something that has a
Speaker 1: very modern sound, as we're gonna learn, but something that's
Speaker 1: ancient too, certainly has ancient roots. So we're gonna have
Speaker 1: to go back again a little bit to to explain.
Speaker 1: Stravinsky also wanted to make something uniquely Russian. He was
Speaker 1: also patriotic like Rinsky, Korsakov or Diaglev, and he really
Speaker 1: liked fairy tales and Russian legends especially, so he had
Speaker 1: grown up summering in a small village called the Stulug,
Speaker 1: and villagers would still come out and celebrate the harvest
Speaker 1: and the planting during during his youth, and they'd celebrate
Speaker 1: with festivals and dances, and they would sing song with
Speaker 1: their untrained voices and play homemade instruments and really just
Speaker 1: have a good time. And it produced a very unique
Speaker 1: sound that sort of captivated Stravinsky. So he wrote The
Speaker 1: Right of Spring to try to capture that celebratory chaos,
Speaker 1: even though in the ballet's case, it's not just harvest festival.
Speaker 1: It's not it's not an entirely happy occasion. It's a
Speaker 1: pagan human sacrifice. Spoiler alert In case you you didn't
Speaker 1: know what happened at the end of the Right of Spring,
Speaker 1: we gotta mention it. The chosen One, who is a
Speaker 1: young maiden, dances herself to death. So it's a disturbing
Speaker 1: story of celebration. Yeah, And to achieve that haphazard distorted
Speaker 1: sound of the celebration, and to imitate the untrained voices
Speaker 1: and the homemade instruments. Stravinsky knew he'd have to manipulate
Speaker 1: the traditional instruments of the orchestra, so he paired them
Speaker 1: up in odd combos. He would have one group played
Speaker 1: triplets while the other one played quite druplets. And most memorably,
Speaker 1: he moved some of the instruments so far outside of
Speaker 1: their range they became unrecognizable. So those are just a
Speaker 1: few things he did to achieve that really unique sound.
Speaker 1: And here's what the Paris audience of the premiere first heard.
Speaker 1: So that's a very unusual sound. And a composer who
Speaker 1: was in attendance at the premiere, Camille San San, basically said,
Speaker 1: what is that? What instrument is that? And his seat
Speaker 1: mate told him it's the bassoon, And Saint San was
Speaker 1: supposedly so scandalized by this information he reportedly said, if
Speaker 1: that is a bassoon, I am a baboon and walked out.
Speaker 1: So he did not like hearing the bassoon played in
Speaker 1: this eerie and you usual register at all. Well, and
Speaker 1: that wasn't even the only instrument that people had trouble with.
Speaker 1: There were some other strange sounding instruments that chimed in
Speaker 1: as well. There was an English horn and e flat clarinet,
Speaker 1: a bass clarinet and actually a contemporary San Francisco Symphony
Speaker 1: musician has described the sound as a quote jungle, just
Speaker 1: to give you an idea of what it what the
Speaker 1: impressions might have been like. So people were hissing, they
Speaker 1: started to yell somewhere cheering. Yeah, a few folks liked it.
Speaker 1: They wanted to keep hearing it. Then the first dance
Speaker 1: tableau opened and the music made a kind of terrifying transition. Yea, yeah,
Speaker 1: so that's scary stuff. And you've just heard the music,
Speaker 1: but we're going to talk about the dance to what
Speaker 1: was going on on stage with this pounding, frightening music.
Speaker 1: The dancers weren't gracefully pirouetting about. They were grouped in
Speaker 1: a circle and they were jumping up and down with
Speaker 1: both feet together. And it looks painful. It looks very violent,
Speaker 1: and Ajinsky dancer later recalled quote, with every leap, we
Speaker 1: landed heavily enough to jar every organ in us and
Speaker 1: it and it looks like that. It looks heavy and uncomfortable.
Speaker 1: But because the dancers were also doing this move where
Speaker 1: they rest their heads on their hands and switch hands
Speaker 1: and pitch their heads back and forth. Some people started shouting,
Speaker 1: get them a dentist. So people were not only upset
Speaker 1: by what they were hearing, the strange bassoon noise and
Speaker 1: and all of that, but what they were seeing. And
Speaker 1: a third issue was the costumes. The dancers weren't wearing
Speaker 1: these scanty, form fitting costumes that you know, some people
Speaker 1: at the time we're going to the ballet to see that,
Speaker 1: you know, they wanted to see dancers and and see
Speaker 1: the classical, the pretty, you know, the really beautiful costume
Speaker 1: exactly that the two too kind of get up and um,
Speaker 1: these folks were wearing tunics, they were wearing long fake braids,
Speaker 1: they had padded lace legs, and you can look up
Speaker 1: these costumes as I mentioned, but the best way to
Speaker 1: picture it is almost like buckskins. There. They don't look graceful,
Speaker 1: they look very primitive. And people they hated it. They
Speaker 1: did not like that aspect of it. Stravinsky panic at
Speaker 1: this point. He starts to head backstage. Diaglov and for
Speaker 1: his part, flashes the house lights at this point, trying
Speaker 1: to calm people down. But the orchestra kept playing, and
Speaker 1: diag Lov must have guessed that something like this would
Speaker 1: go down. He he hadn't mentioned that fear to Stravinsky
Speaker 1: or Najynski at all, but he had told the conductor,
Speaker 1: Pierre Monte, to keep playing no matter what. So so so
Speaker 1: the orchestra just keeps on playing the music, which must
Speaker 1: have been difficult because there's some crazy rhythms in the
Speaker 1: right of spring. I have to imagine it would be
Speaker 1: tough to play if if you couldn't hear what you
Speaker 1: were playing. But that wasn't the only problem. Yeah, I
Speaker 1: mean what about the dancers. They couldn't hear either, and
Speaker 1: it makes it pretty hard to dance if you can't
Speaker 1: hear the beat of the music. So Najynski got on
Speaker 1: a chair and leaned out to call off the numbers
Speaker 1: from basically chanting for them, and Stravinsky held his coat
Speaker 1: tails to keep him from falling. He was leaned that
Speaker 1: far out, and the police were of course called in.
Speaker 1: And uh, there's a really good quote I think from
Speaker 1: Harvard professor Thomas Kelly describing the effect of the music
Speaker 1: on the audience. He said, the pagans on stage made
Speaker 1: pagans of the audience, And I mean, we have to
Speaker 1: wonder who were these people? What this is now a
Speaker 1: classic piece of music. It's a um it's a ballet
Speaker 1: that was certainly influential. Who were the people who just
Speaker 1: couldn't stand it? And it was long assumed that they
Speaker 1: were just kind of old fogies, you know, they wanted
Speaker 1: to see, like we mentioned earlier, the classic two two
Speaker 1: and and the pirouetting, but people didn't go to the
Speaker 1: ballet roots for that kind of experience anyway. And recently, UM,
Speaker 1: one of the latest biographies on Diaglov, has shaken up
Speaker 1: that assumption that that these were the old fogies, said
Speaker 1: that they were actually the avant garde, the people who
Speaker 1: were at the head of trends. But they felt like
Speaker 1: this piece of music, this dance, just eclipsed even then
Speaker 1: they didn't want to get left behind so violently. They
Speaker 1: were one up to an edginess they were. So of course,
Speaker 1: the Right of Spring doesn't sound quite so shocking now,
Speaker 1: and that's because a lot of later twentieth century music
Speaker 1: was influenced by it. PBS actually hosts this great series
Speaker 1: by the San Francisco Symphony called Keeping Score, and Sara
Speaker 1: and I both watched it, and the program kolstro Vinsky's
Speaker 1: score and artistic revolution, something that redefined twentieth century music
Speaker 1: and one of the symphonies musicians even calls it rock
Speaker 1: and roll. And I think why it doesn't sound so
Speaker 1: shocking to us now is because it is very familiar.
Speaker 1: You you'll recognize it in later classical music, but in
Speaker 1: other music forms too. I mean, even if you don't
Speaker 1: listen to it and think that's rock and roll, I mean,
Speaker 1: it clearly has an effect on on where music went
Speaker 1: for the rest of the century. And it certainly defines
Speaker 1: Stravinsky's work. I mean, after this the Firebird might have
Speaker 1: made him blow up overnight, but this defined his career.
Speaker 1: And he did, of course go on to enjoy a
Speaker 1: very long career, probably making this even more impressive that
Speaker 1: he had something like this so early on. He went
Speaker 1: on composing in the fifties and sixties, he started composing
Speaker 1: twelve tone music, and he lived until the nineteen seventies.
Speaker 1: Actually the recordings we heard were conducted by Stravinsky. Yeah,
Speaker 1: And this work didn't just influence music, It also influenced
Speaker 1: choreography as well. The choreography of Nijynski here was really influential.
Speaker 1: I mean, if you look at it, it it looks like
Speaker 1: modern dance. That's what I thought when I first read
Speaker 1: about this. That well as well, when you see it,
Speaker 1: I mean, the costumes, the movements, everything kind of reminds
Speaker 1: you of that. But because The Right of Spring was
Speaker 1: only performed eight times, and because Nijynski had a mental
Speaker 1: breakdown at age twenty nine and ended up spending the
Speaker 1: rest of his life in and out of asylums, the
Speaker 1: choreography was until recently presumed lost. Yeah. In nineteen though,
Speaker 1: we have this really interesting sort of forensic dance story.
Speaker 1: The Jeoffrey Ballet restored the original choreography, and they brought
Speaker 1: in a dance historian and an art historian, and those
Speaker 1: two drew from reviews and from dancers quotes, and from
Speaker 1: drawings and photos, and even from Stravinsky's notes on the
Speaker 1: stage direction, which had sort of general instructions like there
Speaker 1: are this many groupings on the stage, but not exactly
Speaker 1: what they were doing to to get that information. They
Speaker 1: finally found this score with choreographic notes, and it was
Speaker 1: disc ever in nineteen eighty two. And to me, the
Speaker 1: idea of reconstructing a dance is so it's almost impossible
Speaker 1: for me to to comprehend. Yeah, it's one of those
Speaker 1: instances where history and art meet so clearly. I think
Speaker 1: it's it's really fascinating. But when watching the restored ballet,
Speaker 1: you also get a peek at what the costumes would
Speaker 1: have looked like in action. They were designed by Nicholas Rerick,
Speaker 1: and they look primitive but also really modern at the
Speaker 1: same time. And the fact that people would go to
Speaker 1: such trouble to restore a ballet really just speak to
Speaker 1: the effect and the importance of the ballet roosts on dance. Yeah,
Speaker 1: after Diagolev's death in ninety nine, the Ballet Routs disbanded,
Speaker 1: I think it almost immediately, but his employees branched out
Speaker 1: across the world to start some of the pre eminent
Speaker 1: companies of today, the American Ballet Theater, New York City Ballet,
Speaker 1: San Francisco Ballet. They're all direct descendants from the Ballet Routs,
Speaker 1: as our companies everywhere. So listener, Emily, who we mentioned
Speaker 1: at the beginning of this podcast so that there'd be
Speaker 1: no exhamation in the story, but there actually is one
Speaker 1: of sorts. In February of this year, the BBC reported
Speaker 1: that some footage of the Ballet rous the only known
Speaker 1: footage that is had been discovered mislabeled in an online
Speaker 1: archive in Diagolov. I mean, the reason there was no
Speaker 1: footage before is because he had prohibited filming of the
Speaker 1: ballet since he didn't think that it could do his
Speaker 1: movements justice. So it's an artistic exclamation. There's no body involved,
Speaker 1: but some dance, ye know, close enough. I'm I was
Speaker 1: pleased by by discovering this and getting to watch it.
Speaker 1: It's rehearsal, so it's it's not it's not the Right
Speaker 1: of Spring. It it's it is the nice costumes and
Speaker 1: it looks very proper, but still it's the ballet roufs,
Speaker 1: and it's it's all we got. And I just want
Speaker 1: to mention. Even if you haven't ever seen this ballet,
Speaker 1: or you don't really even go to ballet or listen
Speaker 1: to classical music, you probably are familiar with the Right
Speaker 1: of Spring because it is maybe most famously associated with
Speaker 1: Walt Disney's Fantasia. There's of course a long extended sequence
Speaker 1: of the Ride of Spring with the dinosaurs, the you know,
Speaker 1: it's it's kind of a sad part of Fantasia for sure.
Speaker 1: I don't know if I've ever seen Fantasia. Oh no,
Speaker 1: share looks Sarah looks so shocked. Right now, I'm sure
Speaker 1: I have like a VHS of it from where if
Speaker 1: you if you still have a VCR you can for
Speaker 1: you could look up you could look up this part online.
Speaker 1: I mean, it's it's not it's not the part that
Speaker 1: you normally watch with Fantasia, like the dancing Hippo or
Speaker 1: Mickey and the Broom, but it's still a pretty pretty
Speaker 1: memorable scene in Fantasia. All right, Well, I'm going to
Speaker 1: head to the video store apparently and um pick up
Speaker 1: a copy of Fantasia. If anyone has anything else to
Speaker 1: add to this podcast, any stories that we missed. Obviously,
Speaker 1: Sarah said, we could have done an individual podcast on
Speaker 1: any of these characters, so I'm sure there's lots of
Speaker 1: details of their lives that we haven't covered yet. Maybe
Speaker 1: we will in the future. Or if you have any
Speaker 1: great performances stories that you want to share with us,
Speaker 1: because I don't know, I've been to some pretty good ones,
Speaker 1: have been to some pretty good ballets and some you know,
Speaker 1: there's some really interesting interpretations and stuff happens that at
Speaker 1: theater and ballets. For sure, it really does so give
Speaker 1: us a give us an email. It's about to say
Speaker 1: give us a call, but you can't call us. Just
Speaker 1: send us an email at history podcast, how stuff Works
Speaker 1: dot com or you can look us up on Twitter
Speaker 1: at Miston History or on Facebook. Yeah, and I have
Speaker 1: one last cool fact for you. It's kind of a
Speaker 1: fun fact. That's why we didn't included in the body
Speaker 1: of the podcast. But the final four notes of the
Speaker 1: base part in the sacrifice means at the very end
Speaker 1: of the right of spring coincidentally spell D E A D.
Speaker 1: We're gonna leave you on that spooky musical note. It's
Speaker 1: the coincidence Trumancy was Russian. He wasn't trying to work
Speaker 1: English codes into the composition. But or was he? Perhaps
Speaker 1: we'll never know now. So I'm all on that for
Speaker 1: a little bit. And uh, check out the blogs while
Speaker 1: you're at it. We're at www dot how stuff Works
Speaker 1: dot com. Be sure to check out our new video podcast,
Speaker 1: Stuff from the Future. Join how Stuff Work staff as
Speaker 1: we explore the most promising and perplexing possibilities of tomorrow.
Speaker 1: The How Stuff Works iPhone app has a rise. Download
Speaker 1: it today on iTunes.