Entertainment
How Donna Summer's 'I Feel Love' Changed Pop Music Forever
In this episode of the 500 Greatest Songs podcast, hosts Brittany Spanos and Rob Sheffield delve into Donna Summer's iconic track 'I Feel Love.' They explore its groundbreaking influenc...
How Donna Summer's 'I Feel Love' Changed Pop Music Forever
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The murder of an 18-year-old girl in Graves County, Kentucky,
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went unsolved for years. Until a local housewife, a journalist, and a handful of girls
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came forward with a story.
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Merger, y'all better work the hell up.
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Listen to Graves County on the I Heart radio app, Apple Podcasts, or wherever you get your podcast.
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I'm Jonathan Goldstein, and on the new season of Heavyweight, and so I pointed the gun at him and
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said this isn't a joke. A man who robbed a bank when he was 14 years old, and a centenarian
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rediscoveres a love lost 80 years ago.
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How can a 101-year-old woman fall in love again?
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Listen to Heavyweight on the I Heart radio app, Apple Podcasts, or wherever you get your podcasts.
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Introducing IVF Disrupted, the Kind Body Story, a podcast about a company that promised to
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Hey, I'm Jay Chetty, host of the On Purpose Podcast. I had the incredible opportunity to sit
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down with the one, the only Cardi B.
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My marriage, I felt the love dying. I was crying every day. I felt in the deepest depression
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Welcome to 500 Greatest Songs, a podcast based on Rolling Stones,
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hugely popular, influential, and sometimes controversial list. I'm Brittany Spanos.
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And I'm Rob Sheffield. We're here to shed light on the greatest songs ever made and discover
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what makes them so great. This week, we're diving into Donna Summer, I Feel Love.
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Absolute classic, a perfect song. The song that's hard to turn off. It's like, it should be
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a 30-minute song actually. The song can always go longer. It can always go longer.
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And the way it feels like it's been going ever since it came out.
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So I feel love ranked at number 52 on the 2021 list and it jumped from number 411 on the 2004 list.
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And it is, I mean, just like my absolute favorite. I love Donna Summer's entire catalog.
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We could have listed basically all of her singles on the list. And I would have been like,
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that's not even enough. But I mean, I think this one obviously takes the cake.
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Totally. A transformative song. It's amazing that it never sounds dated.
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Yeah. Always sounds alien. It always sounds futuristic.
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Yeah. I mean, it pretty much invented dance music as we know it.
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You know, it invented so much of house and techno. And I mean, just the way that,
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of course, like George Emmeroder produced this song. I mean, using the music synthesizer and kind
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of doing that repetitive synth hook on there that really just was the foundation of so much of
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club music until now. Yeah. It was number one on Rolling Stones list of the 200 greatest dance
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songs ever. It's a song that definitely cuts history in half. There's before and after I feel
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love in terms of dance music. Yeah. I mean, very appropriately, it was the last song on Donna's
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album. I remember yesterday. And the theme of that album was each song represented a different
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decade. And of course, the song represented the future and what better song to represent that.
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I mean, it's a song that sounds just as fresh today as it did when it came out. You know, it's still
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sounds like there are so many songs and mixes and remixes of songs that are just trying to emulate
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what Meroder was doing with that beat. What Donna was doing with her vocals. I mean, it was such a
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kind of unique vocal for her in terms of sort of that euphoric kind of like head voice that she
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was going for instead of that like chesty deep R&B sound that comes with so much of disco prior to
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I feel love coming out. Yes. But just that it was so mechanical, it was so filled with synthesizer
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and just totally dependent on the synthesizer. There's a human drummer. Everything else is synthesizer.
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And it was so bold in terms of just using that as the basis of the music. Yeah. I love a story that
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David Bowie had told about Brian Enoe hearing the song when they were working in Berlin together.
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And Brian running in and playing and saying this is the sound of the future and predicting that
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this would be the sound of what we would hear in the clubs for decades to come. And it absolutely
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is. I mean, it's a song that every time I go out I hear it. It's constantly playing. It's
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always in the mix. It's hard to not play it and see everyone absolutely lose their minds on the
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dance floor. And it is very much the sound of what the platonic ideal of a club music is.
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Totally. Just that sort of synthesized pulse. So many different types of international music come
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together in this song. Donna Summer such an eclectic kind of singer with so many different kinds
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of tastes. And she winds up in Germany making this futuristic robot disco record. Yeah. I think
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she's obviously becoming more and more of that sort of legend and icon in terms of people really
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giving respect to her music. Obviously her songs have always been a part of popular music.
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Canon constantly used in movies and TV shows. I mean, like on drag race. I think they've used
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like every single Donna Summer song possible for a lip sync for your life challenge. You know,
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but I think Donna has a figure and Donna has like a true pop diva is getting more and more recognition
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with every year because I mean, she is so foundational to so much of pop music and so much of what
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makes a great a great hit a great song. She was so innovative in terms of just all the different
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things that she did. She didn't think of herself as a soul singer or an R&B singer. She was really
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into Broadway tunes. She was trained on operetta. She was combining that with the sort of gospel
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Belter tradition. Yeah, she had moved to Munich to star in hair, right? That was the the musical
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she had moved for. Yeah, I mean, there was so much. I mean, even just in the songs that of course
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are kind of more classically disco than give like bad girl and sound like MacArthur's Park. Like
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there's so much of like a rock vocalist in there too. Like there's all these kind of meeting points
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of genre in the way that she presented herself. Yeah, her first hit. Love to love you, baby. Yeah,
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that's a classic. That vocal on that. I mean, just her as a singer is just like completely insane.
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I mean, her range is incredible. I mean, that performance is just like unique, especially for that
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time of just like what a female singer could do on a song like that. Obviously, it was like very
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shocking to a lot of listeners to kind of have this like super erotic performance on a disco song
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and I mean, just like an absolute banger. Yeah, it wasn't the first like orgasm vocal record,
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but it was definitely took it to an extreme. Yeah. And just with that Euro disco aesthetic that was
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so new, it just seemed to stretch out forever. Yeah, what was your relationship with like disco
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in the 70s? Because I feel like there's such a generational difference for how people view disco
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now versus, you know, obviously there's like the disco demolition and all that stuff. But like,
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what was that kind of, I guess the coolness range of disco when you were growing up for you and
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for your peers? Disco is always massive. It was always hit music that had started out as,
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you know, a cult sort of dance style. It was always in the air. And with something like I feel
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love, there's a real advance from the sort of live band disco. I mean, the 70s were just full
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of disco hits. Yeah. I'm casing the sunshine band to disco texts and the sexilettes. Yeah.
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Yet there was something about I feel love. It was so stark and so cold. It doesn't sound like
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a band playing because it isn't a band playing. It's a surprising way that there's a human drummer on
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it. It was definitely something that the first time you hear it, you know it's something different.
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Yeah. And hearing it, I couldn't believe my ears at how alien it sounded. It didn't sound like
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any other pop music I'd ever heard. Yeah. There's something about it. I mean, even in terms of how
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there's so much like house and techno that emulates it and is so inspired by it. There's still
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nothing that kind of captures exactly what Donna and and and Georgio kind of where we're creating
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on this type of song. I mean, so unique in so many ways. There's kind of, there's still this
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like absolute warmness to it too. Like I find in her vocals, like even with all that cultness of
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the synths and just kind of the way that all that combines and builds up over the course of the song.
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Like there's something really beautiful about what that brings to a any sort of like communal setting
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where it's being played. Like it really is just kind of that perfect communal song to experience.
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It's really communal, I guess, is the word. And yet it so she sounds like she's floating in space
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in a way. Yeah. I've been fascinated so much by kind of like the last decade of this Donna
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Renaissance and sort of the I feel love Renaissance and disco Renaissance has been happening where there
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are so many like people really gravitating to basically all of Donna's discography. Any sort of big
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disco hit from that era and any song that kind of comes from this like family of what Donna and
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Georgio were creating during this era because there's so many like disco parties and so many disco
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nights that are happening and is really fascinating how much that's become so repopularized and so
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important to people lately. And I mean like I love it. Every time I see like there's a you know
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Donna Summerana party flyer. I'm like see you there. You can hear it's influenced just everywhere
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in pop music. Yeah. It's wild how many hits that she packed into her run in the late 70s. Yeah.
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Especially in 78, 79. She was really evolving musically really fast. Like you said she was going
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for more of a rock sound with something like bad girls. Yeah. I mean, and I mean she has a great
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duet with Barba Strider too. I mean like she's like kind of was she was doing so much of this disco
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and kind of showing off her that vocal range and kind of doing these like and we're standard kind of
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soulful duets and standards and things like that. But there was so much that she was kind of exploring
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in her music and a pretty like now seemingly short time of kind of that major hit period that she
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had in her career. Yeah. What's your favorite Donna Summer hit? I feel love is definitely this it was
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on my my ballot for the 500 greatest songs but I'm a huge fan of MacArthur Park like I love her
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cover of that song. Wow. I love it. I mean I think just like the the scream the like howl that she
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does is so I absolutely adore that like I think that that howl is like one of my favorite moments
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in like in a song ever. Wow. Yeah. Yeah. I just like also that song is just so lyrically silly and I
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love it. Yeah. I think that that one's like a big one and bad girl probably would be another.
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Yes. The elemental tutu. Yeah. It's hard to step to that one. Dim all the lights. Yeah.
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It's a huge favorite of mine. I like the Donna Summer song so she begins with the ballot and then
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sort of kicks it in. I mean you mentioned MacArthur Park. Oh I love that one. Yeah. I just I love
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her vocals on that song. It's great. She is definitely going for that sort of witchy power. Yeah
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kind of that's you know sort of the vibe that I go for. Yeah. Yeah. And then all music is what's
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the most witchy a song that they have and that one for sure is the top one. Well I feel love
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teaming up with Georgioma Rotor and people lot. What was their influence on dance music? Yeah I mean
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so much of what we consider to be kind of great dance music Georgioma Rotor is so much a foundation
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of that and you know especially his partnerships with Donna like they kind of reinvented everything
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about the genre. I mean he was just like has like kind of that perfect sort of like Europop,
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Euro dance brain. Like so much of that is kind of what we would hear for the next several decades
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of of dance music like leading up especially kind of to the big boom of house music in the 90s.
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Like all that is so so much leaning on what Georgioma Rotor was was creating in the 70s.
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Yes such a sleek sound. Yeah. He worked with so many different types of artists. He made so
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many different kinds of records. One of my favorites is his David Bowie record Cat People from 1982
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version which is not as sleek and synthesized as Georgioma Rotor really usually comes off as but
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it's just a fantastic meeting of minds. Yeah I really love he did a version of Tom's Diner with
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Britney Spears like six or seven years ago. Great song. That sounds like a perfect storm of like
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stuff that you love. Yeah it's a it's a real fun one. But yeah it's a great combination. Yeah I
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think just kind of everything that I love about dance music that really slick melody and really
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really good sense of groove that Georgioma Rotor is so known for like that is everything that I
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I love about dance music and about kind of really great kind of club music and he's kind of he's
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very foundational to that. Absolutely. I love his blondie record so much. Yeah. Call me is such a
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banger. Yeah I mean I even think he'm just like how much he did on I feel love and how much
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I inspired so many artists like blondie and I know for this song like Kylie Manogue this is a big
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foundational song for musically. I mean there's so many artists that you kind of can pinpoint
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this particular song in this particular turning point musically for him and for Donna as a turning
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point for all these like artists who came after them. And just the idea of the synthesizer has not
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imitating another instrument but just the synthesizer in itself. It's well that this came out
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around the same time that craft work we're making. Yeah phenomenally innovative records in Germany.
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Yeah. I mean just kind of that I know there's like that sort of hypnotic nature of the song. It's
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just that kind of repetitiveness that doesn't grow tiring with it and it's kind of the way it builds
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up and keeps going and is again sort of that ideal of what you want from a really great kind of
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dance hit moment of creating that euphoria, creating that kind of like hypnotic moment of a kind
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of like really new and and I just like love the way that builds up and that's why I love like I
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the eight minute version of the song. It's just like really like I like it's really hard for me to
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listen to the like three or five minute versions because I really need the eight minute version is
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exactly as long as it's to me. That's what I guess that's part of the reason it works so well
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always on the radio or on the floor that you can fade it in, fade it out because it is so repetitive
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and because it is structured like a classical song. Yeah it's really it's kind of hard to turn off
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the song out only one time. It's like it's a real like I got a played on loop for a good couple
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hours and never want to be cut short when you hear it at like the club or something. Yeah it's
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impact on the Detroit techno sound. Yeah especially free filming. I feel love went everywhere and
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traveled everywhere in pop music. It's wild how much the sound of Detroit techno which is my favorite
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style of house. It was built so much on just that little I feel love synthesizer rhythm. Even just
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like yeah like everything that would come for the next day especially like specifically two decades
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after this song like leading in from like the Detroit techno into like Chicago House scene like
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just hearing this song be sort of replicated so much over the course of those two decades is like
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pretty insane how how much it kind of shifted like everything of what yeah people thought you could
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make from from a synthesizer and what could sound like. Yes all the English new wave groups like
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wanted to do it Durandoran began their career with the single planet earth which basically begins with
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that I feel love beat they worked with him on their last album it's still a fruitful partnership
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after all these years. Yeah I was also like I was shocked to I read a quote from the inventor of the
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MOOC synthesizer whose name I believe is Robert MOOG. MOOG. MOOG. Yes and he was very critical of the
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repetitive nature of that synth hook that Marauder uses on it like he was really he didn't like it
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which I'm really shocked that he wouldn't he wouldn't like the way this came out which is you know
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kind of this like really intoxicating song that exists and completely reinvented the use of it.
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Yeah but like it listened to something like that next to something like James Brown and it's clear
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that this is a real break with that sort of funk sound. The fact that it was with the human
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drummers always a little weird because it sounds so much like a drum machine it's key forci who
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is the producer did all those Billy Eidel hits in the 80s his most famous production is don't you
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forget about me. Oh wow. Simple man's but it's wild to even think that he was sort of the ghost
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in the machine for this song. Yeah I mean it's like I think especially with thinking about how
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like the longevity of the song and sort of the way that it's continued into this era of pop music.
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I feel love it's still really the standard of that sort of obsessive hypnotic as you said
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sort of sound that dance music still aspires to. Yeah so like I feel like I'm thinking so much
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with that sort of disco comeback of like 2020 2021 and hearing like Doja Cat on say so and
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like hallucinate by Deweleepa and songs from that kind of resurgence of disco like hearing
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artists emulate so much of like Donna Samar and so much of those like great disco vocalists and
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also that hypnotic nature of really great disco music in a song like I feel love I love kind of
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hear that hearing that come back and inspire so much. Yeah and a couple years later just two years
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after I feel love she's got bad girls which is a totally different kind of sound. I feel love
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such an innovative record. Yeah. I mean love to love you baby is one thing because there's a
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great tradition of dance records where it's just people moaning and groaning and ecstasy that's
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that goes way back before disco and for Donna Samar to make that her debut hit seemingly would
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have stereotyped her in that sort of direction but I feel love it's not a very difficult kind of record.
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Nobody's moaning or groaning she's sounding really kind of robotic. Yeah I mean it's just like
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so completely out of I think what anyone sort of anticipated she would follow that type of song with.
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They're so kind of continue with what she would do with her career and I mean I think allowed so
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much of what she's able to explore on her albums after that and be able to try new things and explore
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kind of that go back to that theater side try the rock side kind of do the the standards and things
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like that that she would continue doing for for the rest of her singing career. What do you sort of
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see happening with sort of Donna Samar's legacy and I feel love in the coming years like well the
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song shoot up in the next like version of this of this list will it kind of maybe crack the top
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10 15 or 20 well it's well that it never sounds dated it never has a quaint sort of quality I guess
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because it's so cold and sleek and hard and metallic it's very strange how it never does sound
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dusty or outdated in a way that so many records from that period have a very much a time capsule
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quality that's part of what's great about them but I feel love at the time and now very much
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almost disconnected from well it's not disconnected from disco but it's it's a record that stands
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out and just sort of stands out as beyond time. Yeah I feel like with each growing obviously this
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it jumped up a lot from the original list like I can very much see this song because it is so
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foundational to so much of dance music and so many genres that continue to kind of grow with
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popularity and kind of remain popular over over the years like I feel like I could see the song
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kind of jumping up on the next vote because it seems still so so relevant to everything that people
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love about really great pop music and dance music and just a really great song.
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All I know is what I've been told and that's a half truth is a whole lie.
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For almost a decade the murder of an 18 year old girl from a small town in Graves County,
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Bad things happens to good people in small towns. Listen to Graves County in the Bone Valley
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Bloomberg and I Heart Podcasts present. IVF disrupted the kind body story.
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Listen to IVF disrupted the Kind Body story. Starting September 19th on the I Heart Radio
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My marriage, I felt the love dying. I was crying every day. I felt in the deepest depression
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Radio app, Apple Podcasts or wherever you get your podcasts. At 19, Elena Sada believed she
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This season on Sacred Scandal, hear the full story from the woman who lived it.
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behind the cloth and the system that protected him. Even the darkest secrets eventually find their
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way to the light. Listen to Sacred Scandal, the mini secrets of Martial Masiel as part of the
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story. We are joined now by singer songwriter Bruce Udonno who is also the husband of the late
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great Donna Summer. Thank you so so much for joining us today. Hey Rob, hey Brittany, nice to be here.
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We really appreciate you joining us and I mean especially talking about this really great song
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that's on our five greatest songs list but also to talk to someone who I've read is the inspiration
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behind I Feel Love and I'm curious if you remember a little bit about hearing about those songwriting
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sessions that Donna had and kind of what led to to the song. I don't know about the validity of it
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being a song inspired by me but it did happen at a time when Donna and I had just met. We met in March
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of 1977 in Los Angeles. That was right around the time that she was recording the I remember yesterday
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album. I was in a group called Brooklyn Dreams and we had recently got signed through a label in
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New York called Millennium Records and we were recording our first album out in Irvine,
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California. On that first album Donna came out and sang on our album. We conversely sang on the
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I Remember Yesterday and this was the same album that I Feel Love was on and the I Remember yesterday
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album was kind of like you know Georgi O'Peat and Donna liked to do conceptual albums and I
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remember yesterday was kind of recollection of music through time and when they got to the future
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it was like what was the future going to be and this was at the beginning of synthesizers 1977
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and Georgi O'Peat together this track which was at the time was like what's that how cool
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but Pete and Donna got together and started working on the lyric for I Feel Love which was the
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song of to be of the future. You know I remember Donna telling me that you know they kept writing all
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these lyrics and at some point she just was like no this song has to be really really simple. It
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has to float over the track and it can't be a lot of words and so basically wrote the very beautiful
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but simple lines that became I Feel Love. It was exactly the right call because the way the melody
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and the simplicity of it but the potency of the message at the same time so it was both modern
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and forwards thinking and it had a sensuality to it and it became the godmother of EDM you know so.
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What do you recall of the song blowing up and kind of hearing that song begin to spread and you
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know sort of seeing it become popular at that time. You know at the time you know Donna kept having
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these songs that were started as ballads and then kick off into a dance song. I know that
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she and the record company wanted to have a song that was a ballad as a hit. So there was this
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song called can't we just sit down and talk it over which was also on the I remember yesterday
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record and that went out as the single and in those days there was an A side and a B side and
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I Feel Love was on the B side. So the stations went out the the the ball was the was the one that
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was supposed to play and a couple of weeks went by and the ballad was doing okay but it was kind
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of like just like lumbering along and then all of a sudden you know it got slipped over and I feel
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love just took on a life of its own you know and cast the blanker records it was an in a moment label
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you know headed by Neil Bogart but with a lean mean staff you know who were all creative and
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from the motion department to the marketing department to the art department I mean if you look
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at all Donna's album covers you know that they were really you know special each individual in
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their own way but anyway so quickly they realized that I feel love was moving and in a moment they
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jumped on it and it started flying and what do you recall of what Donna was like behind the scenes
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especially as someone who worked with her on this album and also then was beginning a relationship
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with her you know what what was sort of motivating her and driving her at that time Donna was a super
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creative person and she had a lot of energy and she was very positive and funny and felt that she
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was called to her career and she took it seriously and respected the gifts that she was given and worked
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very hard along with a team of a lot of people to create the career that she had but she was also a
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very complete person and we got married in 1980 we were married for 32 years until she passed away
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we raised three daughters I have nine grandchildren it was like not only a successful career but more
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importantly was to have a successful life so you know we navigated the balance of being super creative
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and having a great team you know like Georgian world of Pete Belady how are Fulta Meyer
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cast a blanket new ball guard all these people there's a certain chemistry that happens when magic
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happens that you know you can you can conceptually try to put a team together that you think it's
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gonna happen but when it happens it's really magic and things take on a life of their own and
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you just basically are along for the ride and try to stay out of the way what is the innovation
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and inspiration come from well this is you know you're dealing with super talented people and like I
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said earlier I remember yesterday was dealing in different genres of music over time and and I
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feel love was essentially in a way Georgio marauders musical take on maybe what the future would be
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Donna and Georgio and Pete were always wanting to push the envelope they they were not people that
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were in complacent in in doing what they had just done it's you know Donna was always excited about
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what's next and what's a new gadget we can incorporate and this was how their minds work so synthesizers
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were coming into play for the first time 1977 you know there was craft work doing things and it's
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interesting because a very underrated member of this team in my estimation is Jorgen coppers who
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was the engineer who engineered Donna's records from love to love you baby to four seasons of love
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and once upon a time and and then I remember yesterday bad girls and those records sounded as great
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as they sounded you know because Jorgen was so great and people don't mention him but as it
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applies to I feel love he was the one that put the slapback delay on that baseline that gave it that
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did a did a bouncing deal so you know inspired of what would the future be finding a melody that would
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float in it and work and a message that has a sensuality and a meaning to it so it's combination of
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greatness you know the the ability of the record company to adapt in the moment of you know it's
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the beside let's go let's with shifting gears now boom I'll bring it home and for many years last
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dance was a Donna's biggest song then she works hard for the money was what was a big song and
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MacArthur Park and I mean there's all these big songs but I feel love is the one that as I sit
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with the catalog is the one that continues to grow and it's power and it's importance you know
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has just did an interpolation I mean there's ongoing things you know as many stories of I feel
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love but it's the one that has continued to grow exponentially over time you talk about her as
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the godmother of EDM but in so many ways she and this record seemed like they basically invented
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modern pop it's an interesting evolution in the early days it was hard to get air play
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radio stations did not want to play disco music dance music was like not cool you know and I always
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struggled with the concept because I come out of folk music and rock music in the 60s and all that
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but I was never a snob there were corny things in dance music for sure but there was always things
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with great musicality great horn arrangements great string of main arrangements great rhythm
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arrangements all things musically working together in a very great and powerful way so
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there was great musicality in a lot of those records and that moment peaked and then it became
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I feel love and that became what dance music transitioned from because you know you had
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McArthur Park and you had last dance and these beautiful arrangements but dance music shifted
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right at that moment and you're saying pop music and you know then dance music became what radio
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was about so you know maybe it was I feel love that cracked the egg in that moment and created the
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transition from what pop radio was into what it was becoming there's been an countless number of
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albums that artists have released that are directly referencing not just I feel love but directly
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referencing Donna's discography and Donna has sort of this mother of disco and what has it been like
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for you and your family to kind of hear the longevity and influence and impact of her singing style
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of her music of her musicality of her creativity and of this very future forward thinking that she had
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with her with her songs that she released for us it's gratifying and in the sense bitter sweet
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you know because for all Donna's success there was always an underlying struggle for the recognition
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that she honestly deserved she had an amazing gift and not only is a single bit as a songwriter
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you know her sense of fashion you know there were so many pictures I've started collecting them now
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because I've forgotten you know all the different looks and all of that you know so when I see them
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online now I'm like making a file it's you know but she just influenced the culture in so many ways
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and you know these things take time because it takes a while for for history and time to go buy
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for people to look back and go like oh wow this defined the decade yeah thank you so much for
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joining us today we really really appreciate it happy to be here you are amazing thank you so much
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thanks Rob thanks for it me John thanks so much for listening to Rolling Stones 500 Greatest Songs
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this podcast is brought to you by Rolling Stone in iHeart Media Ryn and hosted by me
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Britney Spannos and Rob Sheffield executive produced by Gus Wenner Jason Fine Alex Dale and
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Christian Horde and produced by Jesse Cannon with Music Supervision by Eric Seiler
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the murder of an 18 year old girl in Graves County Kentucky went unsolved for years
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until a local housewife a journalist and a handful of girls came forward with a story
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murder y'all better work the hell up bad things happens to good people in small towns
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listen to Graves County on the iHeart Radio app apple podcasts or wherever you get your
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podcasts and to binge the entire season ad free subscribe to lava for good plus on apple podcasts
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i'm Jonathan Goldstein and on the new season of heavyweight and so I uh pointed the gun at him and
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said this isn't a joke a man who robbed a bank when he was 14 years old and a centenarian rediscoverers
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a love lost 80 years ago how can a 101 year old woman fall in love again listen to heavyweight on
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iHeart Radio app apple podcasts or wherever you get your podcasts introducing iVF disrupted the
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kind body story a podcast about a company that promised to revolutionize fertility care
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it grew like a tech startup while kind body did help women start families it also left behind
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a stream of disillusioned and angry patients you think you're finally like in the right hands
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you're just not listen to iVF disrupted the kind body story on the iHeart Radio app apple podcasts
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or wherever you get your podcasts hey i'm Jay Chetty host of the on purpose podcast i had the
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incredible opportunity to sit down with the one the only caribee my marriage i felt the love dying
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i was crying every day i felt in the deepest depression that i had ever had this was not given to me
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i worked my ass off for me listen to on purpose with Jay Chetty on the iHeart Radio app apple podcast
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or wherever you get your podcasts sacred scandal is back the hit true crime podcast that
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uncovers hidden truths and shattered faith for 19 years alayna sada was a nun for the legion of
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christ this season she's telling her story when i first joined the legion of christ i felt chosen
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i was 19 years old when marcia and mace the leader of the legionaries
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surviving meant hiding escaping took courage risking everything to tell her truth
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listen to sacred scandal the many secrets of marcia al mace on the iHeart Radio app apple podcasts
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or wherever you get your podcasts this is an iHeart podcast