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- [00:00]
A
Hi, it's Sarah. I'm the founder of Olive and June. And can I tell you the one thing that always makes my day better? A fresh manicure. But who has the time or the money to go to the salon every week? That's why we created the Olive and June gel mani system. It gives you that same mani that you get at a salon for so much less. It comes with everything you need. A pro level lamp, salon grade tools, our damage free gel polish that lasts up to 21 days. All you do is prep, paint, cure and you're good to go. And the best part, it's super easy and so affordable. Each mani breaks down to $2. So let's skip that $80 salon appointment and get the salon quality look at home for so much less. And on your schedule, head to olivenjune.com DIYgel20 and use code DIYgel20 for 20% off your first gel mani system. That's oliveanjune.com DIYgel20 code DIYgel20 for 20% OFF your first gel mani system. Foreign.
- [01:03]
B
Hello and welcome to a new episode of Legacy. I'm Peter Franker.
- [01:07]
A
Pen.
- [01:07]
B
I'm Afra Hirsch and this week we're diving into the Legacy inbox and I want to talk to AFWA about your recent experiences at the Chalk Valley History Festival, which is an absolute joy, and the sessions that you were talking about then. I didn't get a chance to go this year, but I saw lots on socials about you and your talk. Tell me, first of all, what were you talking about?
- [01:31]
C
Well, I know you are a friend of the Chalk Valley Festival, Peter, and I know this because everywhere I went people were talking about Legacy. They listened to our podcast and also they kept telling me wasn't annoying at all about how amazing you are and how every time you come it's like a sellout event and you're supposed to.
- [01:48]
B
What exactly did they say? I'm not straight from the airport.
- [01:51]
C
No, this is a true story. He always arrives, it's always touch and go. He gets it two minutes before his event, but then he's perfect. He rules everyone with his stories. He's so tireless, so sweet of you, and he whizzes off.
- [02:04]
B
This is not about me. I'd love to do the offer if you could tell me exactly what people said because I can write it down and then smile every time I fall asleep. Tell me about your session. Have you been to Chalk Valley before?
- [02:13]
C
I have, but I think it was 2018 when my first book came out, it was a completely new world to me then. It was maybe the first festival, book history festival I'd ever been to. So it's really interesting to go back. Now that I go to a lot more of these events, I could kind of see it through a slightly different lens. And it's a very funny one to have been my first because it's actually very unique. Now I've got more to compare it to. I realize how unusual it is. And by that I mean it's kind of history book festival, both fiction and nonfiction, meets history nerd cosplay event. There are people wandering around this festival dressed as Vikings, Celtic hornblowers, Stone Age craftsmen, colonial soldiers in pith helmets. And I have to say that was particularly disorienting when I was talking about empire and imperial looting and the return of colonial artifacts. But it is such a good natured event. And the thing that I like about it is you can go there with your prejudices. And I'm going to be really honest, I kind of did. It's not the most racially diverse audience because it's in Wiltshire. It's, you know, kind of on the border with Wiltshire and Somerset and Hampshire and this area, beautiful part of the English countryside. There's a lot of military activity in that part of the countryside as well. A lot of people I met were ex Navy, ex military, and so I wasn't sure how familiar they'd be with my work, how receptive they'd be to my message. They were so receptive. PETER what I love about chalk is it's people who genuinely love history, who read a lot about history, who are very curious to learn more, very receptive and open minded to new ideas and understanding histories that they hadn't been familiar with. And so when you present them with historical facts, with argument based on research, they are just really engaged and thoughtful. So I love that. And I can work with anyone who is curious, open minded and willing to go on a journey into areas that they might not have been that familiar with in the past. So it was actually a really lovely experience. And I also think I changed some people's minds, which is very and very heartening.
- [04:40]
B
We should, I mean, I. Chalk Valley is an amazing festival. I mean, it's a beautiful setting and it's a phenomenon. It's only history. There are, I think, more than 12,000 visitors who come and, you know, it's bursting with people wanting to hear the rich tapestry of whether it's, you know, how the engine of a German Panzer Mark 2 tank worked through to Ashanti Treasures and Gold. You know, there's a real appetite to listen. But tell me more about what you were talking about. Were you a panel or were you a solo talker?
- [05:10]
C
I had two events at Chalk and the first was in conversation with Barnaby Phillips. Barnaby is a longtime BBC journalist who has been a foreign correspondent for the BBC and wrote a book called Loot. You've got it right there. So this is his new book, the African Kingdom of Gold. So his first book was about the Benin Bronzes, these incredible artworks from the ancient kingdom of Benin that were taken by the British, stolen by the British during a colonial operation and currently highly disputed. Their ownership and their repatriation is highly disputed. And in his second book, the one you just showed us, the African Kingdom of Gold, Barnaby's return to the subject with a story that's even closer to home for me, the history of Ashanti and these gold pieces from the Ashanti kingdom in what's now modern day Ghana that are in various British institutions. Some in the British Museum, some in the va, some in the Royal Artillery Mess where they're not seen by any members of the public. And even Barnaby wasn't allowed to go see them when researching this book. And I was in conversation with him and the wonderful Channel 4 foreign correspondent Lindsay Hilson, who I have.
- [06:18]
B
Who's great love and years.
- [06:20]
C
She's wonderful. And then the second event I had was with Lyndall Roper, who is a
- [06:26]
B
colleague of mine and a joy.
- [06:27]
C
A colleague of Peter's, a remarkable historian. She is, yeah, very fun individual. I have so much time for Lyndall. She is just such an interesting human. Quirky, dynamic, funny, super smart.
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B
And Lindell, I should say, it's just to give her. Her, you know, she's Regis professor of History at Oxford. I mean that is the. She's the king. She's the king of the jungle. Queen of the jungle.
- [06:50]
C
She's a really big deal, but she's the most.
- [06:53]
B
She's a joy. Yeah.
- [06:54]
C
Unassuming, down to earth in a way. Normal. There's nothing normal about her because she's a genius, but she's just, you know, she, she, she'll come in her bike gear having just been on a cycling holiday around, I don't know, up and down some mountains. She's a very cool.
- [07:10]
B
What a great writer as well. I mean, she's a first class historian. I mean she's absolutely sensational. So lucky you.
- [07:14]
C
Yeah, well, I was a judge on the cundhill History Prize, which I know you've chaired in the past, Peter, which is a prize for literary non fiction history, and it's in Montreal at McGill University, but it's a global prize. And I was on the panel of judges last year when Lyndall Roper won it with her incredible book about the German Peasants War, the Summer of Fire and Blood. So that was really fun because when you're a judge on these prizes, you read so many books. We've talked about this before. You read so many books, you finally pick your winner. You. You have endless discussions about it, but you really don't get to spend much time with the author. You just see the author at the prize ceremony and they only find out right at the last minute that they've won. And it's all very emotional and a complete roller coaster. So I met Lyndell for the first time on the night that we told her she'd won in front of this audience. She was very moved and very surprised. I think I would say she was in shock, which was shocking, given how amazing she is. So it was just. Just lovely to actually sit down and talk to her in more detail about the book and the reasons for writing it and the experience and the story behind writing the book, which I didn't know.
- [08:27]
B
So tell me about that, because we did a couple of episodes on Martin Luther, and I know you were talking with Lyndal about German peasants and a new social order in the 16th century. Do you think that we should spend more time working on doing legacy episodes on things like that? Tell me how your conversation went with her, too.
- [08:46]
C
I didn't think that the German Peasants War would be something that I found deeply fascinating and compelling. It's just not my area of expertise at all. And I guess I was kind of so ignorant, I didn't know what I was ignorant of, if you know what I mean. And I know about Martin Luther, partly because of the research we did for our series on Martin Luther. But the German Peasants War was just very unfamiliar to me. And I now know that's because it is one of the most underrated episodes in European history. And it's actually the second most important social revolution in Europe after the French Revolution. So it was a huge omission. And I think many of us don't know about it because it hasn't really been widely taught or discussed. And so her book is such an important correction to that omission. But it's also just a brilliant book. It's so readable. She's so Good at getting into the detail and the texture and the feel of histories. And you really get a sense of what it meant to be a German peasant in that era and how radical this uprising and war was. And, you know, as somebody who is interested in class, in social injustice, in later movements against lack of freedom, like transatlantic enslavement, for example, there were a lot of parallels in the ways that German peasants were not in control of their property, their labor, or even their bodies and reproductive rights. So that was a big learning for me. I found it really fascinating. And, you know, I'm very interested in identities and how that history is fed into modern German identities, into ideas about Europe and feudalism and class was really cool. But the story behind the book involved Lindel on a lot of bike rides. And she had this amazing slideshow of her on her bike through various climates and inclines. And some of the most incredible finds were kind of accidents or serendipity. And I just love stories like that. It's one thing to put an incredible scholar on onto a subject, and they're in the archive and they're uncovering all this work. But then there's also just this element of life. Lifing and Lyndall being Lyndall and on her bike and meeting people and kind of careering around the German countryside. And it was very fun to see how that actually connected to the work.
- [10:55]
B
Well, I wonder if legacy listeners are interested. I think we should do some episodes on, you know, Talk me through your average day Afro. I know you don't really have one, but, you know, what is. What do you do when you're filming or when you're writing or when you're researching? Where do you do it?
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C
I.
- [11:09]
B
Are you. What's your Lindel Roper version of being on a bike in the German countryside? And also, how do you do the storytelling? Because, you know, one of the reasons why Lindell is great is the research is always immaculate, but she's very good at telling the story.
- [11:20]
C
She really is a storyteller. And this is, you know, for festivals. It's incredible to me that this was one of the hottest days of the year. People show up. I mean, hundreds show up to listen to a scholar talking about an area of history they don't know that much about. They do that. They show up because they're interested. But then when the historian and you're in this category, Vita is somebody who is just really fun to listen to. Very engaging, very charismatic, brings it to life, makes it really accessible without dumbing it down. And you know, that's what I love about chalk as well. The audience are sophisticated. They're people who are interested in history. They don't want to be patronized. They want the scholarly version. But they also are sitting there in a hot tent on a Saturday afternoon. They also want to be entertained. And you know, that's quite, quite a challenge to deliver. And I really admire and love working with people who can, who can rise to that challenge.
- [12:10]
B
Well, I don't want to stretch it too far, but we're recording this just after a Wimbledon season where people were fainting all over the court because it was a particularly hot, hot summer. There's more on that we could talk about too, but the idea of people fainting while listening to the German peasantry in the 1520s, that Lindel Roper is the kind of the Novak Djokovic or the, you know, the Yannick sinner of the, of the history world that people are willing to put themselves at life risk because they're so desperate to hit. Hear the latest research. Listen, when we come back up, I want to hear about the Asante gold and restitution conversation you had because I know that's both close to your heart but also something you have some views about. I want to particularly know what, how the reaction was at chalk from the listeners. But also first, maybe you can start us by telling us what you spoke about with Barnaby. That's when we come back.
- [12:58]
A
Hi, it's Sarah. I'm the founder of Olive and June and can I tell you the one thing that always makes my day better? I fresh manicure. But who has the time or the money to go to the salon every week? That's why we created the Olive and June gel mani system. It gives you that same mani that you get at a salon for so much less. It comes with everything you need. A pro level lamp, salon grade tools, our damage free gel polish that lasts up to 21 days. All you do is prep, paint, cure and you're good to go. And the best part, it's super easy and so affordable. Each mani breaks down to $2. So let's skip that $80 salon appointment and get the salon quality look at so much less and on your schedule. Head to OliveAndJune.com DIY Gel20 and use code DIY Gel20 for 20% off your first Gel Mani system. That's OliveAnJune.com DIY Gel20 code DIY Gel20 for 20% OFF your first Gel Mani system.
- [13:55]
D
Hello, I'm Monica Reinagle. Host of the Nutrition Diva podcast. Summer is here and with it the hot and sticky weather. A morning working in the garden or maybe on the golf course can leave you more depleted than you realize. And plain water isn't always the most efficient way to restore the balance. That's where Liquid IV comes in. Its science backed formula is clinically proven to hydrate faster than water alone. Whether you're exercising, playing outside, or simply surviving a summer heat wave, it's an easy way to stay hydrated. Shop now@liquidiv.com Liquid IV hydration that goes wherever life takes you.
- [14:31]
C
Foreign.
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B
So before we get going, I would just, just paint a quick picture about what the story is about the Asante Go. What is it? Why is it problematic? Where is it? How did it end up? I got to give you a bit of a clue now here.
- [14:49]
C
So the Ashanti are one of the most powerful and actually imperial kingdoms in Africa. I mean, they emerged right at the end of the 17th century in the central to northern part of what's now Ghana as this kind of forest kingdom who conquered and defeated other rival kingdoms. And so they were expansionists. One of the reasons Ghana is actually a relatively cohesive society is that the Ashanti conquered so much of what is now Ghana that a lot of southern Ghana is kind of assimilated into the Ashanti system. Speaks a version of Chi. The Ashanti language is part of the hierarchy of kings, chiefs, sub chiefs under that system, including my own family, which actually comes originally from the Ashanti heartland. So it's a history that I've always been very interested in. And I've also kind of experienced on a personal level, the contact between the Ashanti and other ethnic groups in what's now Ghana stretches back to the actual, actually the 15th century. It's one of the oldest stories. Contact with Europe. The Portuguese arrived in the late 1400s and there was this kind of conveyor belt of Europeans, the Danes, the Dutch, that eventually the British, through a series of wars and treaties, kind of emerged as the dominant colonizing power. And they went from being a trading partner because they were such a major player in transatlantic slavery, to wanting a more kind of formal colonial relationship where they wanted to colonize, own the land, control the resources, and install their own administrative system. And as they advanced that agenda, they came more and more into conflict with the Ashanti, which was a very organized and historically established by, for centuries, by the 19th century system. And the Ashanti weren't in a rush to capitulate to British administrative systems, to the English language to Christianity. They had their own civilization of which they're incredibly proud. So, unsurprisingly, that led to a series of wars. And there were quite a few wars over the 19th century, but there were two in particular, one in 1874 and one in 1899, which resulted in the British sacking the Ashanti capital, Kumasi. And on each occasion, they destroyed large parts of the heritage built environment, and they stole and looted lots of the sacred treasure. And part of that was kind of not the original agenda. In 1874, they actually kind of found themselves in Kumasi. The king had had fled into hiding. And so they kind of just helped themselves to everything and burned a lot of historic buildings down for good measure. So you have this, like, weird situation where soldiers were just looting stuff, and then they were keeping it, or they were selling it in London to auctioneers. Some of the military leaders would take it for themselves. Some of it was given to Queen Victoria. It was this, you know, it kind of filtered through the British elite and ended up in various stately homes, palaces and institutions like the British Museum and the VNA and in random private collections. And some of these objects are decorative, but some of them are incredibly important ceremonial pieces that have huge spiritual importance and value to people of Ashanti heritage. And the Ashanti kingdom still exists, and the system is still intact. And so they still have that. That role. And so the book is really about the history of how those items came to be stolen, but also what it means that they remain in British institutions.
- [18:21]
B
And did you get the impression that the audience knew about that when you told the story? And whether they do, they're very sharp with their questions. They're already on it. Did it seem controversial? Were people sort of threatened by it? Was it a kind of a look? This is what happen happens. Empires all collate. And somebody says, well, of course, the Ashanti were empire themselves, so they took things from other people. How did it kind of land when you talked about it?
- [18:45]
C
I think that there was a lot of that sentiment, because that's kind of how it's presented, and that's what people are used to hearing. But what I really appreciated was that when I broke down the reasons why it's wrong that it remains in these colonial British collections, people were really able to listen to and be persuaded by my arguments. So, for example, this isn't kind of the Ashanti never did anything harmful or that we should critique. This is these items come from a culture that created them through its spiritual outlook and worldview. If it wasn't for that culture and its genus, these items wouldn't exist. They didn't create them with a European mindset. And if they had a European mindset, they wouldn't have created them. They created them not to put them in a glass box in a museum, but to be part of their ritual, their culture, their expression, their communion with the ancestors and the gods. To steal them is wrong. And it's quite easy to communicate how that's wrong. For example, all I needed to say was, if some thieves came to London, broke into Buckingham palace and stole a bunch of the King's shit, would you think that if you found those things, they should be returned? And it was just so easy for people to say that, yes, that is wrong. And even if it took a hundred years for us to find them, we would want them back. And then you add insult to injury because some of these items, yes, they're on display in the VA or the British Museum, but some of them are in the basement. Some of them are gathering dust in boxes in places that will never be seen by the public. Some of them are sitting in storage facilities on the M4. And it wasn't hard to persuade people that it is nonsensical to argue that they're better off in, in the safekeeping of the responsible Brits in this storage facility off a motorway than they are with the people who created them. As to the argument that they're better off with Britain, I think people found it really easy to see how patronizing that is. If it was up to Britain, they would never have been created in the first place. So it's not really for Britain to dictate the terms of how they should be looked after. They should be used by the people who created them for the purposes that they want to use them for. And I think that, you know, you can trust the creators with the responsible use of, of their own creation. And what was really interesting was there's a piece of legislation that British institutions very comfortably hide behind that actually makes it illegal for the British Museum, for example, to repatriate objects that were stolen during the colonial period. So it allows these museum creators to say, we'd love to return them. We can see it's wrong. We can see they belong in their country of origin or the kingdom of origin. But, you know, our hands are tied because it would be a criminal offence for us to send them back. To which my response is, test it. I would love to see if the Crown Prosecution Service would prosecute the Director of the British Museum. For sending back an artifact that rightfully belongs somewhere else. I don't think it would meet the public interest test for prosecution. And I think that actually, if you want to get the public interested in these battles that are being waged, that means so much to people whose heritage has been stolen, or all you need to do is get a test case, get a brave curator or museum director to send something back to its rightful owner, and let's see what happens next, and let's see how anyone is going to justify prosecuting that person. And I think this obsolete law remains on the statute books because it's been too easy for people to hide behind it, and no one's been able to challenge it. And so that was my solution. And I'm very happy to say there were quite a lot of people in the room who are members of the British Museum, members of the cna, who were so riled up that by the end, they said that they were going to resign their membership in protest. And I said, don't do that. Stay a member. But pressure the director that he should be returning these objects and testing the criminal law to see whether prosecutors come after him. So it was just really. It was really encouraging to see how many people saw the reason in my arguments or my point of view as well, because the history is complex, and I'm not trying to say simplify it. And I think Barnaby's book does a good job of sharing the complexity, but I was able to share the cultural significance of these objects, the spiritual importance of them, and how colonial it is for British institutions to lecture people in Ashanti about how they should be used, how they should be displayed, how they should be kept. And I think that it's quite easy to grasp that that is the continuation of a power dynamic so colonial that it makes it difficult to say that this is all in the past. After.
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B
When we come back, let's. Let's wrap up with a few ideas about both the Ashanti legacy and what was going to happen to it. But I wonder whether it be, you know, to give a few thoughts on your ideas about the narrative of the victors, because it seems to me that the German peasants of the 1520s and the Ashanti treasures are two quite different topics. And yet they are both about propaganda. They're about how you tell a story and about how you change people's minds about things. Let's do that when we come back.
- [23:55]
A
Hi. Who here loves when their nails are perfectly done? Me. I'm Sarah Gibson Tuttle, and I started Olive in June, because let's be real, we all deserve to have gorgeous nails. But who wants to spend a fortune or half their day at the salon? And that's why I created the Mani system. So you can have that salon perfect manicure right at home. And guess what? The best part, each mani only costs $2. Yup, you heard me. $2.
- [24:21]
D
No more.
- [24:22]
A
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- [25:00]
B
Right, afwa, so before the break, we were talking about the Ashanti treasures and how you won people over. If you're. If you're a legacy subscriber, you won't be surprised by afwa's eloquence. No wonder you won everybody over and your legal training too. But what do you think happens next with these tragedies? Do you think that there is a chance of repatriation? Do you think some things get repatriated? Do you think that the Ashanti case, which is pretty open and closed, does that open the door to the British Museum? Everything going out the doors to other locations too? How do you see the Ashanti piece of that?
- [25:30]
C
There has been some movement, peter. So in 2024, the VA lent 17 objects back to the Ashanti kingdom, and the British Museum lent 15 pieces. You did hear me correctly. It was alone. And there's a lot of criticism in Ghana as to why the King of Ashanti, the Ashanti Heni, still a hugely revered, respected figure in the whole of Ghana, but especially in Ashanti, why he and the royal court was willing to accept the terms of that, that it was demeaning to accept a loan of things that are actually rightfully your own. The response of the Ashanti leadership was quite pragmatic. They were like, look, this is the deal on the table. It's better to get them here and respect the terms of the disagreement. And I think there was an element of kind of respectability, like, we'll show how responsible we are and how well, we can look after them and then they won't ask for them back. I think the reasons that some Ghanaians protested that was the symbolism of why should you need to persuade these people who stole your stuff that you're respectable, that you can look after them? If anything, they should be persuading you that they deserve to be forgiven for stealing them in the first place. So that's kind of an unresolved cultural dialogue. Meanwhile, those pieces are there, they are being looked after under the conditions that were agreed. And, you know, I think those conditions are quite problematic. For example, you have to buy this kind of glass. I think that's made in Belgium. The British Museum stipulated you have to keep it in this kind of case. That's made in Europe at this temperature, controlled by this equipment. And, you know, this is. These are the terms with which the Ashanti have dutifully complied. Obviously, when they created these objects and were using them for centuries, they weren't in Belgian glass. They were being used in rituals that have deep spiritual importance. So, anyway, that's happened. That's kind of a step, I guess some people don't think it's a step in the right direction, because it's legitimising this idea that Britain gets to dictate the terms of how these objects are looked after and where they get to be. Other people think it does symbolise a movement towards acknowledging these objects belong back in the cultures of their origin. I can see why British institutions are threatened by this, because imagine British institutions without the things that were looted during the colonial era. It's like, I don't know if you saw that picture of the England football team during the World cup where someone blacked out all of the faces, all of the figures of the England football team who are descended from immigrants, and you're left with, like, two players. You know, it's not a football team. So I think it's something similar with museums. If you were to black out every object that was taken from some kind of colonial village looting expedition, exploit unfair purchase or procurement, you would be left with severely diminished museum collections. And I'm not saying I want Britain to have diminished museum collections. I benefit from these collections like everyone else. But I think you can appreciate our museums without endorsing the unfairness and how these things were collected and welcoming a conversation about what a better arrangement would look like, honestly, because it feels so colonial and I just think it's incredible that we're still having conversations that, to me, feel so outdated. But, yes, I can see why many Museums and institutions are not thrilled by this direction of travel. But I think it would be great for countries like Ghana to have their own stuff and be able to use it and reconnect with their past and their heritage. Because it's hard to appreciate from here how many of the most precious things in these cultures reside in collections like the British Museum. And, you know, it's not just Ghana. If you look at Ethiopia. I mean, some of the most important relics of the Orthodox church are sitting in museum collections where they want to use them in their sacred services. And who can't relate to that?
- [29:11]
B
And Afra. Then just to sign off, I'm interested. These are two totally different topics, like I said, about the German peasantry in the early 1500s and Ashanti God. But they're both about fundamentally changing narratives and having conversations about the bits that have been missed out about why we think differently. That's what makes a really good. Not just a talk, but a good festival so exciting. What were your kind of takeaways about? About the ideas about how history gets written and some of the things we try to do in Legacy, of trying to spin the ball around and look at it from a different. Different perspective.
- [29:42]
C
Yeah, My main takeaway is that the stories that have been erased are so interesting. Just strip away the ideology. They are so rich, they are so entertaining and engaging that it's worth showing up on your weekend to listen to them. I mean, that's what I saw happening. And it. I think when I argue against the erasure of history, I'm partly doing it because I think it's, you know, wrong in principle, but it's partly because it. It impoverishes us all. And I think it's really sad for us to be told a kind of simplified or sanitized version of stories that are much more complex, rich, fascinating. And I'm really happy that historians like you, like Lyndall, are bringing these stories to a mainstream audience, because I just think it's really valuable and we all benefit. And, you know, I am not a scholar of Europe, not a scholar of the late Middle Ages or Germany or even class and feudalism in Europe at all. But I have learned so much from. From engaging with that history. And I think it's really, really wonderful when other people get the opportunity. And just the final thought, you know, we live in this age, obviously, social media, a lot of loneliness, people feeling more polarized than ever. These festivals, they might still be attracting minority, but they are really accessible. They do attract people from a cross section of the communities in which they're set. And when you go to them, you see how much people will show up for connection, for in person experience, for engaging with scholarship, for celebrating authors who write. It's like an AI free zone and it's so nourishing. And I think that sometimes we forget that people actually do really want that and they're willing to show up for it. And I don't think that's going to change anytime soon. And that really gives me hope.
- [31:33]
B
Afro, it's such a great festival. Like you said, I've been a fan for years of what they've created down there is amazing but lucky. Festival Ghost have had a chance to hear you. Maybe we should pitch next year and do another Legacy live show together.
- [31:44]
C
We're already doing it. It's already done. It's already done. So chalk next year guys.
- [31:49]
B
We'll see you there. Anyway, thank you all for listening to Legacy inbox. Don't forget to sign up for even more Legacy by coming to Legacy Plus. Just go to Legacy SupportingCast FM.
- [32:16]
D
Hello, I'm Monica Reinagle, host of the Nutrition Diva podcast. Summer is here and with it the hot and sticky weather. A morning working in the garden or maybe on the golf course can leave you more depleted than you realize. And plain water isn't always the most efficient way to restore the balance. That's where Liquid IV comes in. Its science backed formula is clinically proven to hydrate faster than water alone. Whether you're exercising, playing outside, or simply surviving a summer heat wave, it's an easy way to stay hydrated. Shop now@liquidiv.com, liquid IV, hydration that goes wherever life takes you.