1 00:00:01,080 --> 00:00:04,000 Speaker 1: Welcome to Stuff You Missed in History Class from how 2 00:00:04,080 --> 00:00:13,000 Speaker 1: Stuff Works dot com. Hello, and welcome to the podcast. 3 00:00:13,039 --> 00:00:16,760 Speaker 1: I'm Holly from and I'm Tracy B. Wilson. And then, uh, 4 00:00:16,760 --> 00:00:19,480 Speaker 1: today we're going to talk about one of my pet subjects. 5 00:00:19,640 --> 00:00:23,320 Speaker 1: Is it ballet? Is I know this because I I 6 00:00:23,360 --> 00:00:25,480 Speaker 1: see what we're talking You have all the notes. We've 7 00:00:25,520 --> 00:00:27,680 Speaker 1: discussed it already well, and we've had a lot of 8 00:00:27,680 --> 00:00:30,920 Speaker 1: people who have asked us to talk about some various 9 00:00:30,920 --> 00:00:34,720 Speaker 1: aspects of dance. We've gotten really a lot of dance requests. Yeah, 10 00:00:35,000 --> 00:00:37,960 Speaker 1: so I'm excited. And I studied dance many many years ago, 11 00:00:38,320 --> 00:00:40,960 Speaker 1: and I love it still. And my my dance study 12 00:00:41,000 --> 00:00:45,159 Speaker 1: was never as dance formal as years was, because you 13 00:00:45,159 --> 00:00:47,680 Speaker 1: you really studied dance, and I studied dance in the 14 00:00:47,680 --> 00:00:50,239 Speaker 1: context of drum corps. So yeah, No, I was in 15 00:00:50,360 --> 00:00:54,480 Speaker 1: a dance program in college. Uh. And I prior to that, 16 00:00:54,560 --> 00:00:58,360 Speaker 1: I had studied fairly seriously bally for a while. There 17 00:00:58,400 --> 00:00:59,640 Speaker 1: was a time in my life where I thought I 18 00:00:59,680 --> 00:01:02,720 Speaker 1: was going to pursue ballet as a career, and then 19 00:01:02,800 --> 00:01:04,520 Speaker 1: I went through puberty and it kind of messed that 20 00:01:04,600 --> 00:01:06,760 Speaker 1: up because it turned out my body type was really 21 00:01:06,760 --> 00:01:09,479 Speaker 1: not going to work. And that's evolved a little since 22 00:01:09,520 --> 00:01:14,480 Speaker 1: there's a little more um room for variance in body 23 00:01:14,520 --> 00:01:16,480 Speaker 1: type than there certainly was when I was coming up. 24 00:01:16,480 --> 00:01:20,080 Speaker 1: But even so, once you kind of get a bus 25 00:01:20,120 --> 00:01:24,280 Speaker 1: line and hips, it's turns get tricky. Everything kind of changes. Well, 26 00:01:24,319 --> 00:01:26,479 Speaker 1: And and the story we're gonna talk about today kind 27 00:01:26,520 --> 00:01:28,880 Speaker 1: of is it has a little bit of that to 28 00:01:29,000 --> 00:01:32,200 Speaker 1: it because we're talking about compensations for a body. Yeah, 29 00:01:32,319 --> 00:01:34,680 Speaker 1: and we're going to talk about very famous to anybody 30 00:01:34,680 --> 00:01:38,640 Speaker 1: who knows anything about dance, Marie Talione, who was a 31 00:01:38,800 --> 00:01:42,319 Speaker 1: very famous dancer. She's really considered the ballerina of the 32 00:01:42,440 --> 00:01:47,360 Speaker 1: Romantic era, and she's often credited with revolutionizing ballet, restyling 33 00:01:47,400 --> 00:01:50,400 Speaker 1: it redefining dance. But her father was really a pretty 34 00:01:50,400 --> 00:01:54,080 Speaker 1: significant part of all of those achievements. Uh. And she 35 00:01:54,120 --> 00:01:56,320 Speaker 1: came from a ballet family, So I mentioned her father, 36 00:01:56,440 --> 00:01:59,960 Speaker 1: but also her grandfather, Carlo Talione, was a theatrical dancer 37 00:02:00,120 --> 00:02:03,680 Speaker 1: and a choreographer. Her uncle, Salvatore was a prominent dancer. 38 00:02:03,800 --> 00:02:07,720 Speaker 1: Her mother was a Swedish ballerina named Headvig Sophie Carston, 39 00:02:07,840 --> 00:02:10,639 Speaker 1: although she did not go by head Big, but her 40 00:02:10,680 --> 00:02:14,480 Speaker 1: father Felippo Talioni was really the biggest influence on her 41 00:02:14,520 --> 00:02:17,080 Speaker 1: life and her career. And Filippo was a dancer and 42 00:02:17,080 --> 00:02:20,960 Speaker 1: a choreographer. He was very successful and he's credited with 43 00:02:21,040 --> 00:02:23,000 Speaker 1: much of the development of what we now refer to 44 00:02:23,040 --> 00:02:26,440 Speaker 1: as the romantic ballet style. So Marie had danced in 45 00:02:26,480 --> 00:02:30,200 Speaker 1: her blood like genetically she should have been primed, but 46 00:02:30,280 --> 00:02:34,200 Speaker 1: it didn't really play out that way initially. No. In 47 00:02:34,280 --> 00:02:38,080 Speaker 1: eighteen oh three, Filippo took a job as principal dancer 48 00:02:38,160 --> 00:02:41,040 Speaker 1: in ballet master in Stockholm, Sweden, and that's where he 49 00:02:41,120 --> 00:02:44,120 Speaker 1: met and married Sophie Carston, which is the name she 50 00:02:44,200 --> 00:02:46,320 Speaker 1: used her middle name instead of her first name, which 51 00:02:46,360 --> 00:02:50,080 Speaker 1: was head Big. They started a family right away. Marie 52 00:02:50,160 --> 00:02:54,079 Speaker 1: was born on April eighteen o four in Stockholm. Her 53 00:02:54,080 --> 00:02:58,079 Speaker 1: brother Paul was born four years later, and Filippo accepted 54 00:02:58,120 --> 00:03:01,120 Speaker 1: a post in Vienna when Marie was still an infant. 55 00:03:01,639 --> 00:03:03,880 Speaker 1: And Felippo did some training with his children when they 56 00:03:03,919 --> 00:03:07,240 Speaker 1: were very young, but when they were school age, he 57 00:03:07,360 --> 00:03:10,800 Speaker 1: moved them to Paris to pursue additional dance training. But 58 00:03:10,919 --> 00:03:14,040 Speaker 1: despite being the daughter of two accomplished answers and having 59 00:03:14,040 --> 00:03:17,080 Speaker 1: a pedigree that went back even further than that, Marie 60 00:03:17,120 --> 00:03:20,440 Speaker 1: really did not impress the ballet masters in the French capital. 61 00:03:21,080 --> 00:03:27,040 Speaker 1: According to Paris opera director Louis Baron's memoir, Jean Francois Coulan, 62 00:03:27,160 --> 00:03:30,080 Speaker 1: who was the Parisian teacher who had trained Filippo, once 63 00:03:30,160 --> 00:03:34,000 Speaker 1: famously said this about Marie, when will that little hunchback 64 00:03:34,160 --> 00:03:37,960 Speaker 1: ever learn to dance? Yeah? I think he said it 65 00:03:38,000 --> 00:03:40,720 Speaker 1: more forcefullly and loudly. Probably he sounded like he was 66 00:03:40,800 --> 00:03:42,880 Speaker 1: really not one to hold back. Well, and I don't 67 00:03:42,920 --> 00:03:45,280 Speaker 1: want to call a young girls hunchbacks. I think that's terrible. 68 00:03:45,440 --> 00:03:48,960 Speaker 1: So yeah, it's a that's a brutal that's the brutal 69 00:03:48,960 --> 00:03:51,520 Speaker 1: world to grow up in sometimes well, and especially when 70 00:03:51,560 --> 00:03:55,200 Speaker 1: you're you're trying to do something that is difficult and 71 00:03:55,320 --> 00:03:58,920 Speaker 1: require skill. Yeah, we uh, we don't know a lot 72 00:03:58,960 --> 00:04:01,120 Speaker 1: about like sort of her mindset at the time, but 73 00:04:01,160 --> 00:04:04,320 Speaker 1: I can't imagine what it must have been like to 74 00:04:04,440 --> 00:04:08,240 Speaker 1: be the daughter of two well known dancers, put in 75 00:04:08,360 --> 00:04:13,360 Speaker 1: a you know, pretty important ballet school and struggling. Yeah, 76 00:04:13,720 --> 00:04:16,080 Speaker 1: that's not talked about very much, but it's an interesting 77 00:04:16,080 --> 00:04:20,760 Speaker 1: thing to think about. But despite Coulon's comment, when Marie 78 00:04:20,760 --> 00:04:23,800 Speaker 1: debuted in Vienna two years later. In two she was 79 00:04:23,839 --> 00:04:29,080 Speaker 1: received two generally positive reviews. So something interesting happened in between. Yeah, 80 00:04:29,120 --> 00:04:31,359 Speaker 1: I kind of love this story too. It's a little 81 00:04:31,400 --> 00:04:34,719 Speaker 1: wild to think about. So, while Marie and her brother 82 00:04:34,800 --> 00:04:38,039 Speaker 1: Paul were training with Koulon and Paris, they lived with 83 00:04:38,080 --> 00:04:41,320 Speaker 1: their mother, and Filippo worked in various cities and toured 84 00:04:41,320 --> 00:04:45,680 Speaker 1: around Europe. So throughout this time, their mom sent him 85 00:04:45,760 --> 00:04:49,120 Speaker 1: letters telling him how well they were all doing, which 86 00:04:49,200 --> 00:04:52,440 Speaker 1: was kind of an embellishment because Marie was not actually 87 00:04:52,520 --> 00:04:54,839 Speaker 1: doing very well. She was a teenager at that point 88 00:04:54,960 --> 00:04:58,039 Speaker 1: and she she was not an awesome dancer. Struggling Paul 89 00:04:58,080 --> 00:05:02,880 Speaker 1: did okay, but um, Marie really was not doing great. 90 00:05:02,880 --> 00:05:05,240 Speaker 1: I mean she was being called a hunchback by her teachers. Yeah, 91 00:05:05,279 --> 00:05:07,159 Speaker 1: but but you know, mom was telling dad that it 92 00:05:07,200 --> 00:05:10,560 Speaker 1: was all great, and Felippo was so delighted to hear 93 00:05:10,600 --> 00:05:14,240 Speaker 1: about how well the children were progressing. Did in one 94 00:05:14,320 --> 00:05:17,440 Speaker 1: he arranged for Marie's stage debut, which was going to 95 00:05:17,480 --> 00:05:19,920 Speaker 1: be a little bit more than a year later, because 96 00:05:19,960 --> 00:05:23,239 Speaker 1: he wanted to have time to make preparations. And this 97 00:05:23,680 --> 00:05:27,120 Speaker 1: announcement of his really set off a flurry of panic 98 00:05:28,080 --> 00:05:31,800 Speaker 1: because the jig was up at that point. Once Sophie 99 00:05:31,920 --> 00:05:35,600 Speaker 1: learned of Filippo's planned public turnout for their daughter, she 100 00:05:35,800 --> 00:05:39,400 Speaker 1: talked to Kalon for advice, and allegedly his reply was, 101 00:05:39,600 --> 00:05:43,240 Speaker 1: you wish for my advice, you have it, Madame. You 102 00:05:43,279 --> 00:05:46,440 Speaker 1: should make your daughter an embroiderous where she will never 103 00:05:46,480 --> 00:05:49,600 Speaker 1: be an answer. And she really did like embroidery. Yeah. 104 00:05:49,680 --> 00:05:53,640 Speaker 1: It turns out there's a great site will link to 105 00:05:53,720 --> 00:05:56,560 Speaker 1: in the show notes that has a kind of an 106 00:05:56,640 --> 00:06:00,280 Speaker 1: archive of various things of Marie Tallions, and one of 107 00:06:00,320 --> 00:06:02,560 Speaker 1: them is like a scarf she knitted for a friend, 108 00:06:02,640 --> 00:06:05,560 Speaker 1: and she apparently really enjoyed needlework her entire life, but 109 00:06:06,160 --> 00:06:09,640 Speaker 1: she did not become an improgress. So when Filippo sent 110 00:06:09,680 --> 00:06:12,000 Speaker 1: for Maria to come to him in Vienna so he 111 00:06:12,040 --> 00:06:15,039 Speaker 1: could um, you know, assess her dancing and make preparations 112 00:06:15,040 --> 00:06:18,920 Speaker 1: for her debut, she was a little dismayed with what 113 00:06:19,000 --> 00:06:22,600 Speaker 1: he saw. He then realized how completely inaccurate the accounts 114 00:06:22,600 --> 00:06:25,760 Speaker 1: he had been getting about Marie's progress were, but he 115 00:06:25,800 --> 00:06:29,240 Speaker 1: did not cancel the debut. Instead, he just decided that 116 00:06:29,320 --> 00:06:31,640 Speaker 1: she was going to have to work constantly on her strength, 117 00:06:31,720 --> 00:06:34,240 Speaker 1: on her technique and that he would be her sole 118 00:06:34,320 --> 00:06:37,080 Speaker 1: teacher during this time. And it sounds like he ran 119 00:06:37,120 --> 00:06:40,120 Speaker 1: her through a rather grueling training program and also sort 120 00:06:40,120 --> 00:06:43,679 Speaker 1: of a grueling lifestyle. Yeah, he kept her completely out 121 00:06:43,680 --> 00:06:47,839 Speaker 1: of the public eye. Um, he allegedly kept her dancing 122 00:06:47,960 --> 00:06:51,279 Speaker 1: for six hours or more every day, always working to 123 00:06:51,360 --> 00:06:55,560 Speaker 1: correct these weaknesses and to kind of compensate for this 124 00:06:55,760 --> 00:06:58,080 Speaker 1: unique body type that she had. There's been a lot 125 00:06:58,120 --> 00:07:01,400 Speaker 1: of speculations about exactly what was going on, whether her 126 00:07:01,400 --> 00:07:04,719 Speaker 1: back was deformed by a hunch or a curved spine. 127 00:07:05,600 --> 00:07:09,960 Speaker 1: He insisted that she embodied lightness and be in ethereal 128 00:07:10,040 --> 00:07:13,360 Speaker 1: while dancing, and his goal was to never hear her dancing. 129 00:07:13,560 --> 00:07:18,200 Speaker 1: So this plain girl with a round back and like it, 130 00:07:18,440 --> 00:07:22,360 Speaker 1: kind of gangly limbs had to really work diligently to 131 00:07:22,400 --> 00:07:25,000 Speaker 1: meet these goals that her her father had set up 132 00:07:25,040 --> 00:07:28,760 Speaker 1: for her. And allegedly the six hours of training were 133 00:07:28,800 --> 00:07:32,000 Speaker 1: broken into three blocks of two hours. The first block 134 00:07:32,080 --> 00:07:35,560 Speaker 1: was all about muscular exercises and strengthening the foot, The 135 00:07:35,600 --> 00:07:39,440 Speaker 1: second was for practicing adagio exercises and balanced work on 136 00:07:39,440 --> 00:07:41,920 Speaker 1: one foot at a time, and then the third block 137 00:07:42,120 --> 00:07:45,200 Speaker 1: was for practicing jumps and Marie did eventually become quite 138 00:07:45,240 --> 00:07:47,960 Speaker 1: famous for her jumps, so that third block was really 139 00:07:48,000 --> 00:07:50,320 Speaker 1: paid off in the long run, although really you could 140 00:07:50,360 --> 00:07:53,800 Speaker 1: say all of it did. When Marie took the stage 141 00:07:53,800 --> 00:07:57,360 Speaker 1: for her debut in a piece called La reception dun 142 00:07:57,440 --> 00:08:00,720 Speaker 1: June nymph a la cour de terpsicari which is Reception 143 00:08:00,720 --> 00:08:03,600 Speaker 1: of a young Nymph in the Court of chirp sigrey 144 00:08:03,840 --> 00:08:08,200 Speaker 1: Uh in June of the reviews were actually good, not sensational, 145 00:08:08,400 --> 00:08:11,840 Speaker 1: but even so the successful performance really launched her career, 146 00:08:12,480 --> 00:08:14,680 Speaker 1: and you know they had dodged the bullet of embarrassment 147 00:08:14,720 --> 00:08:18,240 Speaker 1: and she began performing regularly on stages throughout France, Italy, 148 00:08:18,320 --> 00:08:22,400 Speaker 1: Austria and other places throughout Europe. At this time, the 149 00:08:22,400 --> 00:08:26,160 Speaker 1: epitome of balotic achievement and the goal that Filippo always 150 00:08:26,200 --> 00:08:30,200 Speaker 1: had for his daughter was appearing at the Paris Opera. 151 00:08:30,320 --> 00:08:33,360 Speaker 1: And despite the fact that Marie's popularity as a performer 152 00:08:33,480 --> 00:08:36,240 Speaker 1: was growing all over Europe, she was still seen by 153 00:08:36,240 --> 00:08:39,560 Speaker 1: the gatekeepers of the Paris stage as unattractive and unappealing. 154 00:08:40,559 --> 00:08:44,600 Speaker 1: So as reviews of her appearances grew more and more glowing, 155 00:08:44,800 --> 00:08:49,199 Speaker 1: public demand for a Paris appearance started to grow as well. Finally, 156 00:08:49,440 --> 00:08:54,040 Speaker 1: five years after she debuted in Vienna, on July seven, 157 00:08:54,360 --> 00:08:57,200 Speaker 1: she ascended to that highest of heights and appeared for 158 00:08:57,240 --> 00:08:59,680 Speaker 1: the first time at the Paris Opera and a version 159 00:08:59,720 --> 00:09:03,360 Speaker 1: of the opera Let's Just Silly. In Her contract with 160 00:09:03,400 --> 00:09:06,040 Speaker 1: the Paris Opera included a provision that she would only 161 00:09:06,160 --> 00:09:10,480 Speaker 1: dance her father's choreography. And something sort of interesting happened 162 00:09:12,200 --> 00:09:16,240 Speaker 1: among Parisian reviewers when she started dancing there. They often 163 00:09:16,280 --> 00:09:19,520 Speaker 1: spoke of her dancing as being effortless, even to the 164 00:09:19,520 --> 00:09:23,520 Speaker 1: point of being artless. The perception was that her dancing 165 00:09:23,559 --> 00:09:27,080 Speaker 1: just sprang from nature rather than training. But of course, 166 00:09:27,280 --> 00:09:30,360 Speaker 1: of course nothing was further from the truth. She had been, 167 00:09:30,400 --> 00:09:32,480 Speaker 1: you know, working all of those hours with her father, 168 00:09:32,880 --> 00:09:35,839 Speaker 1: and they had effectively created this illusion as she had 169 00:09:35,840 --> 00:09:39,840 Speaker 1: a natural talent rather than this skill that was born 170 00:09:39,880 --> 00:09:43,880 Speaker 1: of just this ceaseless dedication and constant training. Just kind 171 00:09:43,880 --> 00:09:46,880 Speaker 1: of interesting. I mean, you always hear about in any 172 00:09:46,920 --> 00:09:50,000 Speaker 1: sort of artistic endeavor that you wanted to look effortless, 173 00:09:50,440 --> 00:09:53,800 Speaker 1: but they kind of, um they almost did it so 174 00:09:53,840 --> 00:09:55,640 Speaker 1: well that no one really gave her credit for how 175 00:09:55,679 --> 00:10:01,080 Speaker 1: hard she worked. The composer barely, oh, just ribbed Marie 176 00:10:01,120 --> 00:10:05,600 Speaker 1: like this, Mademoiselle Talione is not a dancer. She's an 177 00:10:05,600 --> 00:10:10,920 Speaker 1: air spirit ariel personified daughter of the heavens, which is 178 00:10:10,960 --> 00:10:15,679 Speaker 1: interesting when you think about the early Coulon commentary about her. 179 00:10:15,679 --> 00:10:18,880 Speaker 1: She was kind of a clunky hunchback. It's pretty interesting. 180 00:10:19,360 --> 00:10:21,920 Speaker 1: And for the next ten years after her Parisian debut, 181 00:10:21,960 --> 00:10:24,760 Speaker 1: Marie stayed at the Paris Opera. She really gathered a 182 00:10:24,840 --> 00:10:27,600 Speaker 1: very devoted following. She was, you know, basically a rock 183 00:10:27,600 --> 00:10:30,160 Speaker 1: star in the world of ballet, always with her father 184 00:10:30,200 --> 00:10:33,280 Speaker 1: as her teacher. Uh And in eighteen thirty so, a 185 00:10:33,320 --> 00:10:35,800 Speaker 1: few years after she had debuted in Paris, she signed 186 00:10:35,840 --> 00:10:39,000 Speaker 1: a new really lucrative contract with the Paris Opera, and 187 00:10:39,040 --> 00:10:41,439 Speaker 1: included in that contract is the same provision that she 188 00:10:41,480 --> 00:10:44,480 Speaker 1: would only dance solos choreographed by Filippo and that he 189 00:10:44,600 --> 00:10:47,160 Speaker 1: was to be engaged as the ballet master there. And 190 00:10:47,240 --> 00:10:49,360 Speaker 1: one thing that doesn't really get questioned or come up 191 00:10:49,400 --> 00:10:53,440 Speaker 1: a lot that I think is just worth mentioning, is 192 00:10:53,480 --> 00:10:56,560 Speaker 1: that we really don't have a good sense of that 193 00:10:56,840 --> 00:11:00,320 Speaker 1: father daughter relationship. Some people have kind of a did 194 00:11:00,360 --> 00:11:03,360 Speaker 1: that he may have been manipulating her into. You know, 195 00:11:03,400 --> 00:11:07,280 Speaker 1: these contracts that really benefited him, but he really did 196 00:11:07,320 --> 00:11:10,360 Speaker 1: also make her a star. So it's a little unclear 197 00:11:10,480 --> 00:11:14,160 Speaker 1: if their relationship had any animosity or weirdness, or if 198 00:11:14,200 --> 00:11:16,760 Speaker 1: they were just in it together and you know, pursuing 199 00:11:16,800 --> 00:11:19,240 Speaker 1: this career as a pair. Well. And I kind of wonder, 200 00:11:19,840 --> 00:11:24,320 Speaker 1: given that he was dedicating so much effort to making 201 00:11:24,920 --> 00:11:29,480 Speaker 1: making choreography that that worked with her body. I wonder 202 00:11:29,520 --> 00:11:31,880 Speaker 1: whether she would have had the same success with the 203 00:11:32,000 --> 00:11:35,000 Speaker 1: choreography or choreographer who did not have that as his 204 00:11:35,040 --> 00:11:39,199 Speaker 1: objective thinks she would not. Yeah, I can't know for sure, 205 00:11:39,280 --> 00:11:44,800 Speaker 1: but that speculation on our part. On March twelfth, two, 206 00:11:45,000 --> 00:11:48,760 Speaker 1: her father's ballet Last to Feed debuted at the Paris 207 00:11:48,800 --> 00:11:52,640 Speaker 1: Opera with Marie starring. The ballet was choreographed to show 208 00:11:52,679 --> 00:11:55,400 Speaker 1: off Marie's talents to the best effect, and it's often 209 00:11:55,480 --> 00:11:58,600 Speaker 1: sided is the moment that truly rush ushered in the 210 00:11:58,720 --> 00:12:03,400 Speaker 1: Romantic era of ballet a. This rounded oval framing created 211 00:12:03,520 --> 00:12:05,400 Speaker 1: by the port of bra which is the carriage of 212 00:12:05,440 --> 00:12:11,040 Speaker 1: her arms that Marie popularized, was really a danced historians 213 00:12:11,040 --> 00:12:14,640 Speaker 1: believe created by her father, as we were talking about before, 214 00:12:14,679 --> 00:12:19,080 Speaker 1: to compensate for her oddly shaped back. Yeah, allegedly, if 215 00:12:19,120 --> 00:12:22,280 Speaker 1: she just stood kind of in a neutral pose, her 216 00:12:23,000 --> 00:12:26,320 Speaker 1: oddly shaped back that hunched a bit became obvious. But 217 00:12:26,360 --> 00:12:28,400 Speaker 1: if she was forced to lift her arms over her 218 00:12:28,440 --> 00:12:31,160 Speaker 1: head and in the oval position, it kind of lifted 219 00:12:31,160 --> 00:12:34,040 Speaker 1: her breastbone up and it compensated for that, so it 220 00:12:34,080 --> 00:12:37,160 Speaker 1: wasn't as obvious that she had kind of awkward posture. 221 00:12:37,920 --> 00:12:40,280 Speaker 1: But even the costume that Marie wore is the Sylph, 222 00:12:40,280 --> 00:12:42,760 Speaker 1: which was a fitted bodice with a floaty tool skirt 223 00:12:43,360 --> 00:12:47,400 Speaker 1: that um cut between the knee and the ankle and 224 00:12:47,480 --> 00:12:51,160 Speaker 1: was designed by Eugene Lammy, really became about an iconic 225 00:12:51,320 --> 00:12:54,560 Speaker 1: ballet image. The long floaty skirt is still seen in 226 00:12:54,600 --> 00:12:58,280 Speaker 1: ballet today and it's actually called a romantic to tu lasso. 227 00:12:58,400 --> 00:13:01,120 Speaker 1: Feed is also often side it as the first ballet 228 00:13:01,200 --> 00:13:04,720 Speaker 1: which featured Marie dancing on point. This is something that 229 00:13:04,760 --> 00:13:07,400 Speaker 1: happens all over the place in ballet. Now, if you 230 00:13:07,440 --> 00:13:09,320 Speaker 1: go see the ballet, you will see d answers on point. 231 00:13:09,400 --> 00:13:12,360 Speaker 1: It's much more rare to see a ballet choreograph that 232 00:13:12,440 --> 00:13:15,240 Speaker 1: does not involve point work. This was not the case 233 00:13:15,320 --> 00:13:18,480 Speaker 1: at the time. Their engravings and lithographs of her on 234 00:13:18,559 --> 00:13:22,280 Speaker 1: point that predate this ballet, but only by a few months. Um, 235 00:13:22,320 --> 00:13:25,839 Speaker 1: we've seen several that are so it's possible that those 236 00:13:25,880 --> 00:13:29,480 Speaker 1: were promotional, even though um some feature her in a 237 00:13:29,559 --> 00:13:33,280 Speaker 1: costume from a previous ballet. Yeah, we do know a 238 00:13:33,280 --> 00:13:35,480 Speaker 1: lot of the foot strengthening work she was doing in 239 00:13:35,520 --> 00:13:39,880 Speaker 1: those big six hour bucks was probably, um, you know, 240 00:13:40,480 --> 00:13:43,440 Speaker 1: leading up to this that Filippo had this vision quite 241 00:13:43,480 --> 00:13:46,800 Speaker 1: a while before they actually are credited with premiering it. 242 00:13:47,440 --> 00:13:50,160 Speaker 1: And this version of dancing on toe if you go 243 00:13:50,200 --> 00:13:52,439 Speaker 1: to the ballet today, it's very different from what you 244 00:13:52,480 --> 00:13:55,720 Speaker 1: would see now to what Marie was doing. It was 245 00:13:55,840 --> 00:13:59,880 Speaker 1: much more delicate and restrained than modern point technique, largely 246 00:14:00,000 --> 00:14:01,640 Speaker 1: you to the fact that at that time the shoes 247 00:14:01,679 --> 00:14:03,480 Speaker 1: had no blocking. If you look at point shoes now, 248 00:14:03,520 --> 00:14:06,200 Speaker 1: they're very hard at the front. Uh, there's a lot 249 00:14:06,240 --> 00:14:09,079 Speaker 1: of resin and they, you know, are are a pretty 250 00:14:09,120 --> 00:14:11,600 Speaker 1: firm shape. They eventually get broken down and molded to 251 00:14:11,640 --> 00:14:14,360 Speaker 1: the dancer's foot and every dancer has a different kind 252 00:14:14,360 --> 00:14:17,000 Speaker 1: of way they like them done. But uh, these were 253 00:14:17,040 --> 00:14:20,920 Speaker 1: completely soft, like just like a regular soft ballet shoe 254 00:14:21,240 --> 00:14:23,960 Speaker 1: that a child would wear, you know when they're learning nowadays, 255 00:14:24,280 --> 00:14:25,840 Speaker 1: And it had a little bit of darning at the 256 00:14:25,880 --> 00:14:29,240 Speaker 1: toe to add a slight stiffness, but again created just 257 00:14:29,280 --> 00:14:32,000 Speaker 1: with thread. There was no resin involved, so the toes 258 00:14:32,040 --> 00:14:33,760 Speaker 1: and the ankles and the feet of the dancer had 259 00:14:33,800 --> 00:14:36,640 Speaker 1: to be extremely strong to rise up on point at 260 00:14:36,680 --> 00:14:40,520 Speaker 1: that point. Yeah, and there wasn't a lot of times 261 00:14:40,560 --> 00:14:43,440 Speaker 1: spent on point. It was used more as a change 262 00:14:43,440 --> 00:14:46,600 Speaker 1: of levels to create this illusion of floating and gliding 263 00:14:46,640 --> 00:14:49,640 Speaker 1: over the stage. And it's worth noting that there were 264 00:14:49,680 --> 00:14:53,400 Speaker 1: other dancers experimenting with point work. Uh Taliani got the 265 00:14:53,400 --> 00:14:56,040 Speaker 1: most publicity because of the prominence of her position with 266 00:14:56,040 --> 00:14:59,640 Speaker 1: the Paris Opera, and even though she's generally credited, if 267 00:14:59,680 --> 00:15:01,600 Speaker 1: you look any like quick History of Ballet, it will 268 00:15:01,640 --> 00:15:03,640 Speaker 1: always give her credit for being the first to appear 269 00:15:03,680 --> 00:15:06,160 Speaker 1: on point. But there were other dancers kind of playing 270 00:15:06,160 --> 00:15:10,200 Speaker 1: with this concept. The popularity of the costume design and 271 00:15:10,280 --> 00:15:14,000 Speaker 1: the dance technique repeated in other ballets at the time, 272 00:15:14,240 --> 00:15:18,680 Speaker 1: ushered in an arrow where dancers were seen as ethereal, idealized, 273 00:15:18,760 --> 00:15:21,920 Speaker 1: and almost otherworldly creatures, which I think is really continued 274 00:15:22,000 --> 00:15:26,160 Speaker 1: until today. Yeah. The other big popular ballet other than 275 00:15:26,240 --> 00:15:29,280 Speaker 1: Las Self Feed that was came a little bit later 276 00:15:29,400 --> 00:15:34,000 Speaker 1: was um Chazelle, which is again performed frequently nowadays. It's 277 00:15:34,080 --> 00:15:36,680 Speaker 1: very popular, and it too features like this woodland creature 278 00:15:36,760 --> 00:15:40,080 Speaker 1: kind of story and you know, this mystical almost fairy 279 00:15:40,120 --> 00:15:44,400 Speaker 1: like thing and uh, generally costumed exactly the same fitted bodice, 280 00:15:44,400 --> 00:15:47,120 Speaker 1: floaty tool skirts. So it really the Romantic era really 281 00:15:47,200 --> 00:15:50,960 Speaker 1: was about these kind of white dresses of floaty other 282 00:15:51,080 --> 00:15:55,440 Speaker 1: worldly creatures. And through her younger years, Marie was seen 283 00:15:55,520 --> 00:15:58,440 Speaker 1: as very chaste, She was undistracted by love. She was 284 00:15:58,480 --> 00:16:01,680 Speaker 1: the epitome of purity, and some of that characterization was 285 00:16:01,720 --> 00:16:04,560 Speaker 1: really fueled by these long white dance costumes that she 286 00:16:04,640 --> 00:16:07,400 Speaker 1: became known for, as well as her dedication to her 287 00:16:07,440 --> 00:16:09,880 Speaker 1: career and probably the fact that her father tended to 288 00:16:09,960 --> 00:16:14,640 Speaker 1: keep her away from other people, uh, you know, focused 289 00:16:14,640 --> 00:16:18,800 Speaker 1: on dance, no time for boys. Twelve years into her career, though, 290 00:16:18,840 --> 00:16:22,560 Speaker 1: she gave up single life and she married Gilbert Comte 291 00:16:22,600 --> 00:16:26,200 Speaker 1: Devoisant in London in eighteen thirty four. They had a 292 00:16:26,280 --> 00:16:29,600 Speaker 1: child together in eighteen thirty five, but their marriage didn't last. 293 00:16:30,200 --> 00:16:32,960 Speaker 1: They were separated in eighteen thirty five, but they didn't 294 00:16:32,960 --> 00:16:36,320 Speaker 1: divorce until eighteen forty four. There was another child in 295 00:16:36,360 --> 00:16:40,720 Speaker 1: eighteen forty three, which did get his last name. It's 296 00:16:40,720 --> 00:16:43,320 Speaker 1: pretty likely that it was not from the marriage. Yeah, 297 00:16:43,360 --> 00:16:46,240 Speaker 1: it's one of those things that was never particularly clear. 298 00:16:46,960 --> 00:16:51,280 Speaker 1: Interestingly enough, the rumors at both times that Murray was pregnant. 299 00:16:51,320 --> 00:16:55,840 Speaker 1: She actually reportedly had a knee injury and so stepped 300 00:16:55,840 --> 00:16:57,640 Speaker 1: away from the stage for that reason. But then of 301 00:16:57,680 --> 00:17:01,160 Speaker 1: course they just kind of kept her her private life. 302 00:17:01,320 --> 00:17:04,320 Speaker 1: He didn't even exist. It was really all about the 303 00:17:04,359 --> 00:17:08,040 Speaker 1: image and this ballerina. Yeah. I feel like that's like 304 00:17:08,080 --> 00:17:12,400 Speaker 1: the the eighties sitcoms where whatever actor was pregnant would 305 00:17:12,560 --> 00:17:16,000 Speaker 1: have like a dust duster in front of them or 306 00:17:16,040 --> 00:17:20,320 Speaker 1: like sharing something so you didn't see. In eighteen thirty seven, 307 00:17:20,920 --> 00:17:24,000 Speaker 1: Marie and her father accepted contracts with the Russian Imperial 308 00:17:24,040 --> 00:17:27,960 Speaker 1: Theater in St. Petersburg, and preceding her arrival, a pamphlet 309 00:17:28,080 --> 00:17:31,600 Speaker 1: that was titled The Biography of Marie Tellioni was circulated 310 00:17:31,640 --> 00:17:33,560 Speaker 1: in the city, and by the time she reached St. 311 00:17:33,560 --> 00:17:37,480 Speaker 1: Petersburg there was like this complete hubbub of excitement about her. 312 00:17:38,440 --> 00:17:40,920 Speaker 1: Her first appearance at the Bullshoit Theater was sold out, 313 00:17:40,960 --> 00:17:44,320 Speaker 1: and she enjoyed an extremely successful several years of dancing there. 314 00:17:45,160 --> 00:17:48,399 Speaker 1: She last performed in Russia in eighteen forty two. And 315 00:17:48,440 --> 00:17:51,880 Speaker 1: then there's a wacky story about that. So gross. There's 316 00:17:51,880 --> 00:17:55,560 Speaker 1: this apocryphal story. Uh, it's a supper that happened after 317 00:17:55,600 --> 00:17:58,200 Speaker 1: her last Russian performance, at which a pair of her 318 00:17:58,200 --> 00:18:01,520 Speaker 1: shoes purchased for two d roubles were cooked and eaten 319 00:18:02,240 --> 00:18:05,040 Speaker 1: with a sauce by a group of her most devoted fans, 320 00:18:05,080 --> 00:18:13,040 Speaker 1: which is simultaneously disgusting and probably not true. Yeah. Gross, Yeah, 321 00:18:13,640 --> 00:18:16,800 Speaker 1: I uh, it's entirely I have a suspicion. Again, this 322 00:18:16,920 --> 00:18:21,280 Speaker 1: is all speculation that possibly her shoes would have been purchased, 323 00:18:21,880 --> 00:18:26,560 Speaker 1: you know, almost as a like collectors. Yeah. And then 324 00:18:26,560 --> 00:18:28,880 Speaker 1: I think the dinner thing that I don't know where 325 00:18:28,880 --> 00:18:31,320 Speaker 1: it would have sprung from, But that seems extreme and 326 00:18:31,400 --> 00:18:36,719 Speaker 1: bizarre and again gross. Having danced a lot, I know 327 00:18:36,760 --> 00:18:40,080 Speaker 1: how disgusting dance shoes get. It's kind of like if 328 00:18:40,080 --> 00:18:41,800 Speaker 1: you would eat a hockey glove. I mean, it's a 329 00:18:41,840 --> 00:18:45,399 Speaker 1: similar level of grossness. It does not sound palatable or 330 00:18:45,440 --> 00:18:51,280 Speaker 1: delightful in any way. No, After her time in St. Petersburg, 331 00:18:51,400 --> 00:18:54,000 Speaker 1: she continued to tour Europe and she performed for several 332 00:18:54,040 --> 00:18:59,000 Speaker 1: more years, but finally in eight Tallani retired from dance 333 00:18:59,000 --> 00:19:01,959 Speaker 1: after twenty six years on stage. The life of a 334 00:19:01,960 --> 00:19:04,600 Speaker 1: professional dancer, which was always on the road. It was 335 00:19:04,640 --> 00:19:07,560 Speaker 1: exhausting training. It was really starting to catch up to 336 00:19:07,600 --> 00:19:09,679 Speaker 1: her because she was in her mid forties at that point. 337 00:19:10,320 --> 00:19:13,840 Speaker 1: She's not a spring chicken anymore. No, and her retirement 338 00:19:13,920 --> 00:19:17,000 Speaker 1: was kind of cut short by mismanagement of her finances. 339 00:19:17,119 --> 00:19:19,640 Speaker 1: So in eighteen fifty nine she went back to Paris 340 00:19:19,720 --> 00:19:23,359 Speaker 1: to the Opera, this time as the Inspectory, still a dance. 341 00:19:24,400 --> 00:19:27,560 Speaker 1: While she was holding this position, she instituted the company's 342 00:19:27,560 --> 00:19:31,119 Speaker 1: exam system, and while teaching there she met her protege, 343 00:19:31,520 --> 00:19:36,240 Speaker 1: Emma Livery. And Marie actually choreographed only one ballet in 344 00:19:36,240 --> 00:19:38,080 Speaker 1: her life, and that was in eighteen sixty and it 345 00:19:38,119 --> 00:19:41,000 Speaker 1: was for Livery, and it was entitled Le Papillon, which 346 00:19:41,000 --> 00:19:44,080 Speaker 1: means the Butterfly, and the story involves a woman who 347 00:19:44,160 --> 00:19:47,520 Speaker 1: was changed into a butterfly and then flies too close 348 00:19:47,560 --> 00:19:51,080 Speaker 1: to a flame and burns its wings. And this uh 349 00:19:51,119 --> 00:19:55,000 Speaker 1: sadly turned out to be somewhat prophetic. While she would 350 00:19:55,040 --> 00:19:58,240 Speaker 1: likely have gone on to a great career by virtue 351 00:19:58,560 --> 00:20:03,560 Speaker 1: of Talian sing and teaching, Livy's life ended tragically in 352 00:20:03,640 --> 00:20:07,359 Speaker 1: eighteen sixty two or possibly eighteen sixty three see different 353 00:20:07,560 --> 00:20:11,840 Speaker 1: differently in different sources. Um, she brushed against a gaslight 354 00:20:11,880 --> 00:20:14,480 Speaker 1: while rehearsing for an upcoming production, and her too, she 355 00:20:14,600 --> 00:20:17,440 Speaker 1: caught fire and she died from her burns. Yes, so 356 00:20:17,520 --> 00:20:21,200 Speaker 1: only a couple of years after her her ballet by Talione. 357 00:20:21,200 --> 00:20:24,800 Speaker 1: So she really died very young and quite tragically. Uh. 358 00:20:24,800 --> 00:20:28,280 Speaker 1: But after eighteen seventy talionis next career move was in 359 00:20:28,320 --> 00:20:30,840 Speaker 1: a completely different avenue of dance. So she had been 360 00:20:30,840 --> 00:20:33,040 Speaker 1: at the Paras Opera for a while, but she then 361 00:20:33,080 --> 00:20:36,480 Speaker 1: moved to London and taught ballroom dance, which she did 362 00:20:36,560 --> 00:20:41,359 Speaker 1: for about ten years. And interestingly enough, Filippo Talioni, her father, 363 00:20:41,560 --> 00:20:45,000 Speaker 1: died in eighteen seventy one, so around this time it 364 00:20:45,080 --> 00:20:48,000 Speaker 1: was like all of her ties to ballet really ended. 365 00:20:48,520 --> 00:20:52,280 Speaker 1: And whether that was coincidental or not, or if she 366 00:20:52,400 --> 00:20:54,720 Speaker 1: just decided that as her father was reaching the end 367 00:20:54,760 --> 00:20:56,160 Speaker 1: of his life, she was just going to be done 368 00:20:56,160 --> 00:20:59,640 Speaker 1: with ballet and decided to pursue ballroom. Some reports say 369 00:20:59,680 --> 00:21:02,119 Speaker 1: that ball and was just a more lucrative option. I 370 00:21:02,160 --> 00:21:06,119 Speaker 1: can imagine that uh, and she did continue to have 371 00:21:06,200 --> 00:21:10,159 Speaker 1: some money struggles. Um, so, yeah, it's just kind of 372 00:21:10,160 --> 00:21:13,240 Speaker 1: that's the end of ballet for her. In eighteen eighties, 373 00:21:13,280 --> 00:21:15,639 Speaker 1: she moved to Marseilles with her son, and she died 374 00:21:15,680 --> 00:21:21,199 Speaker 1: four years later on April four. Now, initially Marie was 375 00:21:21,240 --> 00:21:24,120 Speaker 1: buried in Marseilles, but she was later moved to Jubert 376 00:21:24,200 --> 00:21:29,160 Speaker 1: de Bois Saint's family plot in Pere la Chaise in Paris. However, 377 00:21:29,920 --> 00:21:32,440 Speaker 1: there has actually been a good bit of confusion through 378 00:21:32,480 --> 00:21:37,320 Speaker 1: the years about her resting place. Um. I imagine some 379 00:21:37,400 --> 00:21:40,439 Speaker 1: of our traveled listeners that have been to Paris and 380 00:21:40,440 --> 00:21:43,879 Speaker 1: been to montmart have possibly seen what many believed for 381 00:21:43,920 --> 00:21:46,520 Speaker 1: a long time to be her grave. But it is not. 382 00:21:46,960 --> 00:21:49,320 Speaker 1: It is, in fact the grave of Marie's mother, Sophie, 383 00:21:49,680 --> 00:21:52,000 Speaker 1: who died in eighteen sixty five, and it's there in 384 00:21:52,040 --> 00:21:54,880 Speaker 1: the famous montmart and it is marked in a way 385 00:21:54,920 --> 00:21:59,119 Speaker 1: that caused some confusion. It's marked Marie TAIONI assam bienna 386 00:21:59,200 --> 00:22:03,000 Speaker 1: me and it really means Marie Talione to her beloved mother. 387 00:22:03,560 --> 00:22:05,959 Speaker 1: And I presume that because Marie was a star, her 388 00:22:06,040 --> 00:22:08,720 Speaker 1: name appeared on this placard rather than her mother's name. 389 00:22:09,280 --> 00:22:12,720 Speaker 1: But it's always been a little unclear. Uh. But Unfortunately, 390 00:22:12,760 --> 00:22:16,040 Speaker 1: that has led to Sophie's grave being mistaken as Marie's. 391 00:22:16,080 --> 00:22:19,520 Speaker 1: And so if you look up pictures of it online, 392 00:22:19,840 --> 00:22:22,840 Speaker 1: it's usually just covered in dancer shoes that go to 393 00:22:22,920 --> 00:22:27,119 Speaker 1: kind of pay homage and you know, pay their respects 394 00:22:27,119 --> 00:22:30,399 Speaker 1: to this famous ballerina. And they're in various stages of decay, 395 00:22:30,480 --> 00:22:32,520 Speaker 1: a lot of them are blackened from having sat out 396 00:22:32,520 --> 00:22:36,159 Speaker 1: there for so long. But it's not at the right site, unfortunately. 397 00:22:36,200 --> 00:22:38,320 Speaker 1: And if you go to Marie's actual grave, they're like 398 00:22:38,359 --> 00:22:42,640 Speaker 1: two pair. Yeah, people haven't the people who did their research. Yeah, 399 00:22:42,680 --> 00:22:46,880 Speaker 1: there there's been some um work done in the last 400 00:22:46,920 --> 00:22:49,399 Speaker 1: five or so years on the part of dance historians 401 00:22:49,440 --> 00:22:51,720 Speaker 1: to try to get that corrected, like on maps of 402 00:22:51,760 --> 00:22:55,240 Speaker 1: the city. And I think there is even a placard 403 00:22:55,280 --> 00:22:58,000 Speaker 1: at the front of Montmart that might be incorrect now 404 00:22:58,240 --> 00:23:02,080 Speaker 1: that was put up later um and I'm not sure 405 00:23:02,119 --> 00:23:04,040 Speaker 1: what the status of it is as of now when 406 00:23:04,160 --> 00:23:08,040 Speaker 1: recording which is but I was looking at tourism brushers 407 00:23:08,119 --> 00:23:10,760 Speaker 1: from last year from that even still said she was 408 00:23:10,760 --> 00:23:16,280 Speaker 1: in Marmart. So there's some confusion still being um populated 409 00:23:16,280 --> 00:23:19,360 Speaker 1: out there in the world, when in fact it's not accurate. 410 00:23:20,400 --> 00:23:24,880 Speaker 1: All of Filippo's choreography is lost to us. Unfortunately, we 411 00:23:25,000 --> 00:23:28,720 Speaker 1: do have notation of a recreation by August Bourne on 412 00:23:28,840 --> 00:23:32,760 Speaker 1: view for the Royal Theater of Copenhagen in three six 413 00:23:33,359 --> 00:23:36,920 Speaker 1: after he had seen Talioni in the role. There's also 414 00:23:36,960 --> 00:23:41,360 Speaker 1: a speculative reconstruction by a choreographer named Pierre Lecotte in 415 00:23:41,480 --> 00:23:45,040 Speaker 1: nineteen seventy two. Yeah, but we just don't have the notations. 416 00:23:45,080 --> 00:23:48,119 Speaker 1: A lot of other ballets from history were notated so 417 00:23:48,160 --> 00:23:50,560 Speaker 1: well that even when you see them performed in the 418 00:23:50,600 --> 00:23:54,040 Speaker 1: modern era, it's basically the same steps being done. But 419 00:23:54,160 --> 00:23:58,320 Speaker 1: we really don't have any Filippo's unfortunately. But Marie's impact 420 00:23:58,359 --> 00:24:01,560 Speaker 1: and consequently Filippo's on the dance world is still certainly 421 00:24:01,560 --> 00:24:04,280 Speaker 1: felt today whereas she was, you know, one of only 422 00:24:04,320 --> 00:24:06,159 Speaker 1: a few dancers is a time to go on point. 423 00:24:06,200 --> 00:24:09,640 Speaker 1: Now it's really do rigor for any serious dancer. I mean, 424 00:24:09,680 --> 00:24:11,560 Speaker 1: you couldn't have a career in ballet and not dance 425 00:24:11,600 --> 00:24:13,639 Speaker 1: on points. Yeah. I cannot think of a ballet I 426 00:24:13,640 --> 00:24:16,720 Speaker 1: have seen that has not included point work. Yeah, some 427 00:24:16,800 --> 00:24:19,480 Speaker 1: of them are modern ones that kind of bridge the 428 00:24:19,520 --> 00:24:22,639 Speaker 1: gap between ballet and modern will not always go on 429 00:24:22,680 --> 00:24:26,239 Speaker 1: point but for the most part, uh, you're looking at 430 00:24:26,240 --> 00:24:31,199 Speaker 1: point work, which is its own whole thing. Yeah. I 431 00:24:31,240 --> 00:24:33,800 Speaker 1: remember I talked briefly to my sports pediatrist about it 432 00:24:33,840 --> 00:24:35,360 Speaker 1: and he kind of made this face like I don't 433 00:24:35,359 --> 00:24:38,920 Speaker 1: want to get into this. Well, and when I was young, 434 00:24:39,640 --> 00:24:42,440 Speaker 1: I really really wanted to take ballet, and I had 435 00:24:42,560 --> 00:24:45,959 Speaker 1: a childhood friend who was a dancer and she was 436 00:24:46,160 --> 00:24:51,760 Speaker 1: very gifted, and my dad educated me on the trials 437 00:24:51,840 --> 00:24:55,560 Speaker 1: of ballet dancing on your feet. Yeah, I don't think 438 00:24:55,560 --> 00:24:57,239 Speaker 1: he was actually trying to talk me out of it. 439 00:24:57,280 --> 00:24:59,280 Speaker 1: I think he was trying to help me understand what 440 00:24:59,359 --> 00:25:02,520 Speaker 1: I was wanting to get into. I did not pursue it, 441 00:25:02,720 --> 00:25:04,800 Speaker 1: and that turns out to probably be pretty good because 442 00:25:04,800 --> 00:25:09,760 Speaker 1: I am so tall that uh, I was taller than 443 00:25:09,840 --> 00:25:14,520 Speaker 1: most of the male lovely lines though. Yeah. Yeah, it 444 00:25:14,600 --> 00:25:17,359 Speaker 1: was also extremely inflexible. That's a problem that would have 445 00:25:17,359 --> 00:25:20,879 Speaker 1: been a lifelong, difficult struggle. I will say once I 446 00:25:20,920 --> 00:25:25,119 Speaker 1: quit dancing, uh, probably about four years after I quit dancing, 447 00:25:25,160 --> 00:25:27,960 Speaker 1: on point my feet suddenly grew a whole bunch like 448 00:25:28,000 --> 00:25:30,160 Speaker 1: all of the impacting that had been done since I 449 00:25:30,200 --> 00:25:33,840 Speaker 1: was you know, eleven or twelve up into my early twenties. 450 00:25:34,720 --> 00:25:37,240 Speaker 1: Once that stopped in my foot spread out. I went 451 00:25:37,280 --> 00:25:38,959 Speaker 1: from like a size five to now I wear an 452 00:25:38,960 --> 00:25:41,800 Speaker 1: eight and a half. Wow. I mean that didn't happen overnight. 453 00:25:41,800 --> 00:25:43,840 Speaker 1: That happened over several years. But my feet did go 454 00:25:43,920 --> 00:25:47,480 Speaker 1: through a growth spurt after I stopped doing point work. 455 00:25:48,800 --> 00:25:50,960 Speaker 1: Do you also have some listener mail? I do. I 456 00:25:51,000 --> 00:25:52,719 Speaker 1: have kind of a grab bag today. I have a 457 00:25:52,720 --> 00:25:55,280 Speaker 1: few brief ones because I feel bad. We tend to 458 00:25:55,400 --> 00:25:58,400 Speaker 1: pick really meaty ones, usually to read, but we often 459 00:25:58,400 --> 00:26:01,159 Speaker 1: get really short but very fun one. So I have 460 00:26:01,320 --> 00:26:03,720 Speaker 1: three of those. Uh. The first is from our listener 461 00:26:03,840 --> 00:26:07,200 Speaker 1: Randall and he it's about the Anti Kithrough podcast. He says, 462 00:26:07,200 --> 00:26:09,080 Speaker 1: I just listened to the Anti kithro A podcast while 463 00:26:09,080 --> 00:26:11,560 Speaker 1: cooking dinner. There was a quote by someone about how 464 00:26:11,560 --> 00:26:13,720 Speaker 1: there were no false starts or mistakes in it. I 465 00:26:13,800 --> 00:26:16,360 Speaker 1: make and repair clocks and love to read about clockmakers. 466 00:26:16,760 --> 00:26:19,320 Speaker 1: I read a book about John Harrison's first marine clock 467 00:26:19,440 --> 00:26:21,919 Speaker 1: that was by Rupert Gold and he restored it and 468 00:26:21,960 --> 00:26:24,000 Speaker 1: talks about all of the odd gears and parts that 469 00:26:24,080 --> 00:26:26,200 Speaker 1: do nothing that Harrison just left as he was trying 470 00:26:26,200 --> 00:26:28,600 Speaker 1: to figure out the mechanism. So I have to agree 471 00:26:28,680 --> 00:26:31,119 Speaker 1: this cannot have been a one off. Somewhere there was 472 00:26:31,119 --> 00:26:33,280 Speaker 1: a shop full of mistakes and oops, kind of like 473 00:26:33,440 --> 00:26:36,520 Speaker 1: my shop. It's very cool, so it's good to have 474 00:26:36,560 --> 00:26:39,639 Speaker 1: a clockmaker back us up. Yeah, and I mean the 475 00:26:39,760 --> 00:26:42,240 Speaker 1: quote came from a person of knowledge, but it thought 476 00:26:42,359 --> 00:26:44,919 Speaker 1: nice to get a second and third opinion. Uh. The 477 00:26:45,000 --> 00:26:48,640 Speaker 1: next one is an email from our listener Terry, after 478 00:26:48,720 --> 00:26:52,800 Speaker 1: listening to our Flannon Isles Lighthouse podcasts, and she says, 479 00:26:52,840 --> 00:26:54,520 Speaker 1: I'm writing because I wanted to tell you about my 480 00:26:54,600 --> 00:26:57,960 Speaker 1: husband's job. For context, in that podcast, Tracy mentioned that 481 00:26:58,000 --> 00:27:00,320 Speaker 1: it sounded like a Graham job to be able to 482 00:27:00,320 --> 00:27:04,480 Speaker 1: hang out so low in a lighthouse for weeks on end. Uh. 483 00:27:04,600 --> 00:27:07,520 Speaker 1: But Terry's husband, she says, works for a railroad and 484 00:27:07,560 --> 00:27:10,240 Speaker 1: his job as a bridge tender. He man's the bridge 485 00:27:10,280 --> 00:27:12,800 Speaker 1: either forty eight or seventy two hours at a stretch. 486 00:27:13,200 --> 00:27:15,160 Speaker 1: He lifts the bridge for boat traffic when they can't 487 00:27:15,160 --> 00:27:18,320 Speaker 1: fit under the bridge. Currently, he has a twenty foot clearance, 488 00:27:18,359 --> 00:27:21,919 Speaker 1: which most pleasure craft can get under thanks to modern technology. 489 00:27:22,040 --> 00:27:25,080 Speaker 1: He has a computer, television, and other distractions to keep 490 00:27:25,160 --> 00:27:27,520 Speaker 1: him busy on his two to three days shift. My 491 00:27:27,560 --> 00:27:29,840 Speaker 1: son is also a bridge tender on the same bridge. 492 00:27:30,160 --> 00:27:32,600 Speaker 1: It's not as exciting as the idea of tending a lighthouse, 493 00:27:32,600 --> 00:27:35,000 Speaker 1: but it's a great job. Nonetheless, I don't know that 494 00:27:35,080 --> 00:27:37,440 Speaker 1: it's not as exciting as tending a lighthouse, and it 495 00:27:37,520 --> 00:27:40,000 Speaker 1: could be pretty neat. I kind of like maritime stuff 496 00:27:40,040 --> 00:27:44,560 Speaker 1: in general. That sounds pretty fun. Uh. And our third 497 00:27:44,600 --> 00:27:47,280 Speaker 1: one is actually from Facebook and it's from our listener, Anthony, 498 00:27:47,320 --> 00:27:49,480 Speaker 1: and he says, I love the Oyster Wars podcast. I 499 00:27:49,520 --> 00:27:51,840 Speaker 1: work in the oyster biz on the other coast and 500 00:27:51,880 --> 00:27:55,360 Speaker 1: it really brought home how oyster farming worked before farming. 501 00:27:56,160 --> 00:27:58,880 Speaker 1: Now we grow in bags from seed that we grow 502 00:27:58,920 --> 00:28:01,680 Speaker 1: and it keeps disease down own and natural beds intact, 503 00:28:02,200 --> 00:28:06,000 Speaker 1: quality and ease of productions up. Not to mention accountability. 504 00:28:06,119 --> 00:28:08,760 Speaker 1: For the recipe book, he suggests deep fried oysters with 505 00:28:08,880 --> 00:28:11,439 Speaker 1: rice flour instead of wheat flour for a crispy, light 506 00:28:11,520 --> 00:28:14,199 Speaker 1: oyster and a bit of paprika and chili powder to 507 00:28:14,200 --> 00:28:17,320 Speaker 1: add a nice flavor. That sounds delicious. I know that 508 00:28:17,400 --> 00:28:19,359 Speaker 1: was a brand new email. We just got that this morning. 509 00:28:19,880 --> 00:28:24,960 Speaker 1: I love a fried oyster. Oh yeah, well, and I yeah, 510 00:28:25,000 --> 00:28:27,719 Speaker 1: we didn't talk at all about how farming of oysters 511 00:28:27,760 --> 00:28:30,320 Speaker 1: has progressed since the time of the oyster War, So 512 00:28:30,359 --> 00:28:33,199 Speaker 1: I was super glad to get that one. Yeah. Like 513 00:28:33,200 --> 00:28:36,120 Speaker 1: I said, it's always really cool to get um notes 514 00:28:36,160 --> 00:28:38,040 Speaker 1: from people. I didn't even realize I was steaming this 515 00:28:38,200 --> 00:28:40,040 Speaker 1: of people that work in the professions we were talking 516 00:28:40,040 --> 00:28:42,560 Speaker 1: about in this podcast. Yeah, I put a theme group 517 00:28:42,600 --> 00:28:45,800 Speaker 1: together without realizing it. Uh, if you would like to 518 00:28:45,800 --> 00:28:49,400 Speaker 1: write to us if you are a ballerina or a 519 00:28:49,440 --> 00:28:51,720 Speaker 1: member of the core, because you know, ballerinas are the stars, 520 00:28:51,800 --> 00:28:55,120 Speaker 1: not everyone who dances ballets ballerina. I did not know 521 00:28:55,240 --> 00:28:59,000 Speaker 1: this really. Yeah, oh yeah, it really makes um dancers 522 00:28:59,040 --> 00:29:01,120 Speaker 1: angry when people say, oh, this is my friend so 523 00:29:01,200 --> 00:29:03,400 Speaker 1: and so she's a ballerina. It's it's kind of like 524 00:29:03,440 --> 00:29:05,240 Speaker 1: when people say that people that work in a library 525 00:29:05,320 --> 00:29:08,640 Speaker 1: or librarians when they're not all because they're not Uh, 526 00:29:08,680 --> 00:29:11,640 Speaker 1: they don't always have the library science degree. It's the 527 00:29:11,720 --> 00:29:15,800 Speaker 1: same thing, basically cool, like only like really the stars 528 00:29:15,880 --> 00:29:19,360 Speaker 1: the high level, it's like a place of prominence. So yes, 529 00:29:19,440 --> 00:29:22,040 Speaker 1: if you are a ballerina or a dancer of any level, 530 00:29:22,240 --> 00:29:24,000 Speaker 1: feel free to write us about this one. I wonder 531 00:29:24,000 --> 00:29:26,400 Speaker 1: if you're a costumer you want to talk about ballet costumes. 532 00:29:26,600 --> 00:29:29,240 Speaker 1: I've made some ballet costumes. That's where I've learned some 533 00:29:29,320 --> 00:29:31,920 Speaker 1: good costuming tricks for the through the years is helping 534 00:29:31,920 --> 00:29:36,880 Speaker 1: out with ballet companies. I have some really good tricks. Um. 535 00:29:37,000 --> 00:29:39,240 Speaker 1: But if you can write to us in history podcast 536 00:29:39,280 --> 00:29:42,000 Speaker 1: at Discovery dot com. You can also connect with us 537 00:29:42,000 --> 00:29:44,680 Speaker 1: on Twitter at missed in History, gives it us on 538 00:29:44,720 --> 00:29:48,360 Speaker 1: Facebook dot com, slash history class stuff at missed in 539 00:29:48,440 --> 00:29:50,640 Speaker 1: History dot tumbler dot com, and you can find us 540 00:29:50,640 --> 00:29:52,920 Speaker 1: on Pinterest. And if you want to learn a little 541 00:29:52,960 --> 00:29:54,680 Speaker 1: bit more about what we talked about today, you can 542 00:29:54,680 --> 00:29:56,719 Speaker 1: go to our website and type in the word ballet 543 00:29:56,800 --> 00:29:59,080 Speaker 1: in the search bar and you will get a number 544 00:29:59,120 --> 00:30:00,960 Speaker 1: of articles, one of which I really love called the 545 00:30:00,960 --> 00:30:04,280 Speaker 1: ten most Important Ballet Terms. And you can learn about 546 00:30:04,560 --> 00:30:06,880 Speaker 1: ballet or almost anything else you have an interest in 547 00:30:07,080 --> 00:30:13,640 Speaker 1: at our website, which is how stuff Works dot com 548 00:30:13,680 --> 00:30:16,120 Speaker 1: for more on this and thousands of other topics because 549 00:30:16,120 --> 00:30:29,479 Speaker 1: it has staff works dot com. Netflix streams TV shows 550 00:30:29,520 --> 00:30:32,640 Speaker 1: and movies directly to your home, saving you time, money, 551 00:30:32,760 --> 00:30:36,000 Speaker 1: and hassle. As a Netflix member, you can instantly watch 552 00:30:36,080 --> 00:30:40,240 Speaker 1: TV episodes and movies streaming directly to your PC, Mac, 553 00:30:40,360 --> 00:30:42,880 Speaker 1: or right to your TV with your Xbox three, sixty 554 00:30:43,120 --> 00:30:46,560 Speaker 1: p S three or Nintendo we console, plus Apple devices, 555 00:30:46,760 --> 00:30:49,920 Speaker 1: Kindle and Nook. 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