1
00:00:01,320 --> 00:00:04,280
Speaker 1: Welcome to Stuff You Missed in History Class, a production

2
00:00:04,400 --> 00:00:14,120
Speaker 1: of iHeartRadio. Hello, and welcome to the podcast. I'm Holly

3
00:00:14,160 --> 00:00:17,640
Speaker 1: Frye and I'm Tracy V. Wilson. Oh. This one's been

4
00:00:17,640 --> 00:00:19,720
Speaker 1: on my list for a while. It was actually sent

5
00:00:19,760 --> 00:00:22,160
Speaker 1: to me a while back by my friends Amanda and Christina,

6
00:00:22,760 --> 00:00:24,599
Speaker 1: and it finally made it to the top of the

7
00:00:24,720 --> 00:00:27,320
Speaker 1: rotation because I finally got some time to seek out

8
00:00:27,320 --> 00:00:32,960
Speaker 1: some reading material around it. This is Vander Barbett, who

9
00:00:33,000 --> 00:00:34,960
Speaker 1: you will see as different names. He went by a

10
00:00:35,000 --> 00:00:38,120
Speaker 1: few different names in his life, but Barbette is the

11
00:00:38,120 --> 00:00:41,080
Speaker 1: one that he got famous with. He was a female

12
00:00:41,080 --> 00:00:45,479
Speaker 1: impersonator originally from Texas who became the toast of Paris

13
00:00:45,560 --> 00:00:48,080
Speaker 1: in the nineteen twenties. But of course that's kind of

14
00:00:48,200 --> 00:00:51,720
Speaker 1: only a small portion of the story. Barbette is an

15
00:00:51,760 --> 00:00:55,480
Speaker 1: example of someone who played really artfully with ideas of

16
00:00:55,560 --> 00:00:59,520
Speaker 1: sex and gender, and sometimes that performance was lauded for

17
00:00:59,560 --> 00:01:03,240
Speaker 1: its brillian Sometimes it was not so welcomed, but his

18
00:01:03,360 --> 00:01:07,640
Speaker 1: reputation for excellence enabled him to continue his career well

19
00:01:07,720 --> 00:01:09,640
Speaker 1: after he was done performing. So we are going to

20
00:01:09,640 --> 00:01:12,640
Speaker 1: talk about him today. As a brief heads up, there

21
00:01:12,720 --> 00:01:15,880
Speaker 1: is a mention of death by suicide late in this episode.

22
00:01:16,400 --> 00:01:20,080
Speaker 1: So Vander Clyde Broadway was born on December nineteenth, but

23
00:01:20,200 --> 00:01:24,880
Speaker 1: the year is a little less clear. Earliest year that

24
00:01:25,000 --> 00:01:27,919
Speaker 1: comes up is eighteen ninety seven, and then just about

25
00:01:28,040 --> 00:01:31,280
Speaker 1: every year between then and nineteen oh four has come

26
00:01:31,400 --> 00:01:35,360
Speaker 1: up in various accounts. His parents were Henry and Hattie

27
00:01:35,400 --> 00:01:39,160
Speaker 1: Wilson Broadway. He was born in Trickham, Texas, which is

28
00:01:39,200 --> 00:01:42,040
Speaker 1: in Coleman County, about one hundred and eighty miles southwest

29
00:01:42,080 --> 00:01:45,480
Speaker 1: of Dallas one hundred and fifty miles northwest of Austin.

30
00:01:46,480 --> 00:01:49,920
Speaker 1: Henry died when Vander was still a baby, possibly even

31
00:01:50,040 --> 00:01:52,960
Speaker 1: before he was born, and then Hattie moved around a

32
00:01:53,000 --> 00:01:55,760
Speaker 1: bit after that. She lived with relatives while earning money

33
00:01:55,800 --> 00:01:59,960
Speaker 1: as a milliner, then moved to Williamson County when she remarried.

34
00:02:00,240 --> 00:02:03,560
Speaker 1: That was to a man named Samuel C. Loving. Hattie

35
00:02:03,640 --> 00:02:06,640
Speaker 1: and Samuel had five children together, and Vander took the

36
00:02:06,720 --> 00:02:10,080
Speaker 1: last name Loving after they got married. I feel like

37
00:02:10,120 --> 00:02:12,720
Speaker 1: I should say he took a lot of last names.

38
00:02:12,760 --> 00:02:16,400
Speaker 1: I'm not sure he legally ever changed his name, but

39
00:02:16,520 --> 00:02:19,040
Speaker 1: he did go buy a few different names, and when

40
00:02:19,080 --> 00:02:21,720
Speaker 1: he was still a boy, Vander and his mother at

41
00:02:21,720 --> 00:02:24,760
Speaker 1: one point went to the circus while it was in Austin, Texas,

42
00:02:25,280 --> 00:02:30,320
Speaker 1: and Vander was completely entranced by it. He decided after

43
00:02:30,360 --> 00:02:32,480
Speaker 1: seeing that that he wanted to be a performer, and

44
00:02:32,520 --> 00:02:36,640
Speaker 1: specifically an aerialist, so he started to test out and

45
00:02:36,680 --> 00:02:41,239
Speaker 1: then develop his skills by walking on his mother's clothes line, or,

46
00:02:41,560 --> 00:02:44,040
Speaker 1: if you believe some lore, on the narrow rails of

47
00:02:44,080 --> 00:02:47,600
Speaker 1: the railroad tracks nearby. He also just went to the

48
00:02:47,639 --> 00:02:49,920
Speaker 1: circus as often as he could, and to pay for

49
00:02:50,000 --> 00:02:53,200
Speaker 1: his tickets, he took field work, mostly during the summers,

50
00:02:53,240 --> 00:02:56,560
Speaker 1: and specifically picking cotton. If you've ever picked cotton, that

51
00:02:56,680 --> 00:03:01,079
Speaker 1: is grueling. So he really wanted circus money. He wanted

52
00:03:01,080 --> 00:03:03,400
Speaker 1: to quit school and just run away and join the circus,

53
00:03:03,400 --> 00:03:05,840
Speaker 1: but his mother would not allow it. She made it

54
00:03:05,919 --> 00:03:08,520
Speaker 1: clear that he had to graduate before he could leave

55
00:03:08,560 --> 00:03:12,040
Speaker 1: home or do any such thing. His eagerness led him

56
00:03:12,040 --> 00:03:14,640
Speaker 1: to double up on classes, and he finished high school

57
00:03:14,680 --> 00:03:18,000
Speaker 1: at the age of fourteen through the Round Rock Institute,

58
00:03:18,080 --> 00:03:20,440
Speaker 1: which at the time was an offshoot of Round Rock

59
00:03:20,560 --> 00:03:24,400
Speaker 1: High School. Fourteen is pretty young, but this school only

60
00:03:24,440 --> 00:03:28,000
Speaker 1: went up to tenth grade at the time. Perhaps more

61
00:03:28,080 --> 00:03:31,919
Speaker 1: impressive is that despite taking on a heavier workload. Vander

62
00:03:32,000 --> 00:03:36,000
Speaker 1: also graduated valedictorian of his class. He later said of

63
00:03:36,040 --> 00:03:39,600
Speaker 1: this pretty hasty education quote, the chief thing I regretted

64
00:03:39,680 --> 00:03:42,840
Speaker 1: not going on with was Latin. I'd had only two

65
00:03:43,000 --> 00:03:46,480
Speaker 1: years of it. Once he had completed his education, Vander

66
00:03:46,520 --> 00:03:50,560
Speaker 1: wasted no time searching for an opportunity to make his

67
00:03:50,680 --> 00:03:54,000
Speaker 1: dreams come true, and when he saw an opening advertised

68
00:03:54,040 --> 00:03:58,040
Speaker 1: for an aerialist with the Alfaretta Sisters, he jumped on it.

69
00:03:58,440 --> 00:04:01,000
Speaker 1: That audition was more than one hundred twenty miles away

70
00:04:01,040 --> 00:04:04,320
Speaker 1: in San Antonio, but Vander got there and was hired.

71
00:04:05,160 --> 00:04:09,200
Speaker 1: The Alpharetta sisters were billed as world famous aerial queens,

72
00:04:09,280 --> 00:04:11,840
Speaker 1: and that meant that Vander was going to have to

73
00:04:11,920 --> 00:04:14,280
Speaker 1: dress as a girl. He was told it was more

74
00:04:14,320 --> 00:04:17,159
Speaker 1: dramatic for women to do wire acts, and he was

75
00:04:17,200 --> 00:04:20,200
Speaker 1: fine with taking on that stage persona, and so his

76
00:04:20,240 --> 00:04:24,400
Speaker 1: performing career began. Vander was replacing one of the two

77
00:04:24,440 --> 00:04:27,159
Speaker 1: sisters who had died, which may have been the real

78
00:04:27,240 --> 00:04:29,520
Speaker 1: reason he was asked to perform in disguise, kind of

79
00:04:29,560 --> 00:04:31,359
Speaker 1: like we want the act to go on as it

80
00:04:31,400 --> 00:04:35,640
Speaker 1: has already been. After working as an Alpharetta, Vander started

81
00:04:35,640 --> 00:04:39,800
Speaker 1: appearing with Erford's whirling sensations. This is a style of

82
00:04:39,839 --> 00:04:43,200
Speaker 1: act you've probably seen before. It involves several performers, in

83
00:04:43,200 --> 00:04:46,480
Speaker 1: this case three holding on to a twirling ring by

84
00:04:46,520 --> 00:04:48,839
Speaker 1: their teeth, which to me is one of the most

85
00:04:48,960 --> 00:04:53,000
Speaker 1: terrifying possibilities of all time. In the case of the Erfords,

86
00:04:53,040 --> 00:04:55,680
Speaker 1: they also dressed as butterflies for part of the act,

87
00:04:55,760 --> 00:04:58,720
Speaker 1: so it looked like several butterflies spinning through the air.

88
00:04:59,520 --> 00:05:02,000
Speaker 1: There was an other act that Vander had in mind

89
00:05:02,120 --> 00:05:05,000
Speaker 1: early in his performing career, and it was one that

90
00:05:05,040 --> 00:05:08,800
Speaker 1: played with the idea of performative gender. This was a

91
00:05:08,839 --> 00:05:12,120
Speaker 1: solo act which debuted at the Harlem Opera House in

92
00:05:12,240 --> 00:05:15,719
Speaker 1: nineteen nineteen. He would start out in the guise of

93
00:05:15,800 --> 00:05:19,479
Speaker 1: a woman, but once he had finished dazzling the audience

94
00:05:19,560 --> 00:05:22,400
Speaker 1: with all of his aerial tricks, he would take off

95
00:05:22,400 --> 00:05:25,760
Speaker 1: his wig and reveal himself to be a man. This

96
00:05:25,920 --> 00:05:28,359
Speaker 1: became a real hallmark of his act for the rest

97
00:05:28,400 --> 00:05:31,600
Speaker 1: of his performing career, although it changed and how he

98
00:05:31,640 --> 00:05:34,840
Speaker 1: performed the reveal over the years. It was during this

99
00:05:34,880 --> 00:05:38,320
Speaker 1: time that he also started using the name Barbette. This

100
00:05:38,480 --> 00:05:41,400
Speaker 1: is sometimes described as a selection that he thought of

101
00:05:41,640 --> 00:05:45,520
Speaker 1: as androgynists. But it's more that barbette could sound like

102
00:05:45,560 --> 00:05:49,680
Speaker 1: a woman's first name or anyone's last name. Yeah, it

103
00:05:49,720 --> 00:05:52,359
Speaker 1: does make it androgynist. But sometimes some people say because

104
00:05:52,400 --> 00:05:55,120
Speaker 1: barbette is androgynists. I know. When I first read that,

105
00:05:55,160 --> 00:05:58,800
Speaker 1: I was like, is it the But he intended it

106
00:05:58,839 --> 00:06:01,760
Speaker 1: to potentially be a last name as well. He later

107
00:06:01,839 --> 00:06:04,160
Speaker 1: stated that quote, I wanted an act that would be

108
00:06:04,200 --> 00:06:06,760
Speaker 1: a thing of beauty. Of course, it would have to

109
00:06:06,800 --> 00:06:10,159
Speaker 1: be a strange beauty. And part of the inspiration for

110
00:06:10,240 --> 00:06:13,480
Speaker 1: this act, he later said, were the many instances of

111
00:06:13,600 --> 00:06:17,960
Speaker 1: young men like actors disguising themselves as women to perform

112
00:06:17,960 --> 00:06:21,000
Speaker 1: in the plays of Shakespeare when the writer was writing them.

113
00:06:21,040 --> 00:06:24,679
Speaker 1: So those initial stagings at shakespeare plays where men played

114
00:06:24,720 --> 00:06:28,520
Speaker 1: women were what he said, was what inspired this. Vander

115
00:06:28,600 --> 00:06:32,040
Speaker 1: Clyde Broadway toured his act around Vaudeville in the early

116
00:06:32,160 --> 00:06:36,520
Speaker 1: nineteen twenties, and we should mention that his big reveal aside,

117
00:06:36,960 --> 00:06:41,640
Speaker 1: this act was considered very thrilling. He would frequently stage

118
00:06:41,760 --> 00:06:44,440
Speaker 1: sort of near misses, making it appear as though he

119
00:06:44,520 --> 00:06:49,479
Speaker 1: had fallen, but he always managed to catch himself and recover. Obviously,

120
00:06:49,560 --> 00:06:53,400
Speaker 1: audiences found this just very gripping. In the early years,

121
00:06:53,440 --> 00:06:55,560
Speaker 1: he'd take off his wing and show the audience that

122
00:06:55,600 --> 00:06:58,520
Speaker 1: he was a man. As part of his bow, he

123
00:06:58,600 --> 00:07:01,080
Speaker 1: would doff the wig in a way that a gentleman

124
00:07:01,320 --> 00:07:04,480
Speaker 1: might normally raise his hat. Yeah. One of the things

125
00:07:04,480 --> 00:07:06,600
Speaker 1: that I read over and over is about how in

126
00:07:06,640 --> 00:07:08,599
Speaker 1: these falls he would look like he had fallen, and

127
00:07:08,640 --> 00:07:10,920
Speaker 1: he would catch himself by one foot at like the

128
00:07:11,120 --> 00:07:15,080
Speaker 1: last second. Again to me terrifying, but people loved it.

129
00:07:15,960 --> 00:07:19,240
Speaker 1: The William Morris agency signed Vander and thought that his

130
00:07:19,280 --> 00:07:21,600
Speaker 1: act might be a hit in Europe. So he was

131
00:07:21,640 --> 00:07:25,239
Speaker 1: booked for shows in England and Paris and sent on tour,

132
00:07:25,320 --> 00:07:30,120
Speaker 1: and the agency was absolutely right. Paris in particular loved

133
00:07:30,160 --> 00:07:34,720
Speaker 1: the act, and Vander loved Paris. He later said, Paris

134
00:07:34,920 --> 00:07:37,480
Speaker 1: was the experience. As soon as I got to my

135
00:07:37,560 --> 00:07:41,080
Speaker 1: little hotel Maderne, near the Place de la Republique, I

136
00:07:41,120 --> 00:07:45,320
Speaker 1: felt that I'd found my city in Paris. Barbette was

137
00:07:45,360 --> 00:07:47,920
Speaker 1: initially booked at the Alhambra and from there went to

138
00:07:47,960 --> 00:07:52,200
Speaker 1: Casino de Paris. He fell in with some socialite expats

139
00:07:52,200 --> 00:07:54,760
Speaker 1: in the Paris art scene, and he met everyone from

140
00:07:54,840 --> 00:07:58,960
Speaker 1: royalty to the tastemakers of the day. In July of

141
00:07:59,040 --> 00:08:04,080
Speaker 1: nineteen twenty six, the periodical Nouvelle Revue Francaise featured an

142
00:08:04,240 --> 00:08:08,400
Speaker 1: essay by Jean Cocteau titled The numer Barbette. This has

143
00:08:08,440 --> 00:08:11,840
Speaker 1: come to be recognized is an important essay on art,

144
00:08:12,080 --> 00:08:15,000
Speaker 1: and Barbette later stated that quote, But of course the

145
00:08:15,040 --> 00:08:18,200
Speaker 1: most perceptive was Cocteau. He saw even more in the

146
00:08:18,240 --> 00:08:22,280
Speaker 1: act than I had realized was there myself. Coctau made

147
00:08:22,320 --> 00:08:25,480
Speaker 1: the case in this essay that Barbette's performance wasn't really

148
00:08:25,520 --> 00:08:28,560
Speaker 1: impersonating a woman and then revealing himself to be a man,

149
00:08:29,080 --> 00:08:31,880
Speaker 1: but that it was going from an extreme example of

150
00:08:31,920 --> 00:08:36,840
Speaker 1: femininity and grace and then an extreme example of performative manliness,

151
00:08:36,880 --> 00:08:39,880
Speaker 1: writing quote, imagine what a letdown it would be for

152
00:08:39,960 --> 00:08:42,439
Speaker 1: some of us if, at the end of that unforgivable

153
00:08:42,520 --> 00:08:46,400
Speaker 1: lie Barbette were simply to remove his wig. You will

154
00:08:46,400 --> 00:08:48,680
Speaker 1: tell me that after the fifth curtain call he does

155
00:08:48,800 --> 00:08:52,000
Speaker 1: just that, and the letdown takes place. There is even

156
00:08:52,000 --> 00:08:54,960
Speaker 1: a murmur from the audience, and some people are embarrassed,

157
00:08:55,000 --> 00:08:59,280
Speaker 1: in some blush. True, for after having succeeded as an

158
00:08:59,320 --> 00:09:03,320
Speaker 1: acrobat in causing some people almost to faint, he now

159
00:09:03,440 --> 00:09:06,880
Speaker 1: has to have his success as an actor, but watch

160
00:09:06,920 --> 00:09:10,560
Speaker 1: his last tour de force. Simply to re become a man,

161
00:09:10,760 --> 00:09:13,920
Speaker 1: to run the real backward is not enough. The truth

162
00:09:13,920 --> 00:09:17,400
Speaker 1: itself must be translated if it is to convince us forcibly,

163
00:09:17,840 --> 00:09:21,480
Speaker 1: as did the lie. That is why Barbette, the moment

164
00:09:21,559 --> 00:09:24,440
Speaker 1: he has snatched off his wig, plays the part of

165
00:09:24,480 --> 00:09:27,880
Speaker 1: a man, all of it to erase the fabulous, dying

166
00:09:27,920 --> 00:09:31,680
Speaker 1: swan impression left by the act. Coctau wrote of the

167
00:09:31,720 --> 00:09:35,360
Speaker 1: deception of Barbette's guise, using the dangerous backdrop of aerial

168
00:09:35,440 --> 00:09:39,360
Speaker 1: stunts as an art comparable to poetry, rather than just

169
00:09:39,400 --> 00:09:42,920
Speaker 1: some sort of gender stunt. He describes Barbett as reaching

170
00:09:42,920 --> 00:09:45,480
Speaker 1: a sort of transcendent sex that is not part of

171
00:09:45,480 --> 00:09:49,120
Speaker 1: the accepted binary of the day, but was the supernatural

172
00:09:49,160 --> 00:09:52,920
Speaker 1: sex of beauty. Of course, even as this writing was

173
00:09:53,000 --> 00:09:56,400
Speaker 1: quite unconventional for its time, it is based on outdated

174
00:09:56,440 --> 00:09:59,280
Speaker 1: ideas of sex and gender, and critiques note that Cocteau

175
00:09:59,440 --> 00:10:02,719
Speaker 1: is working with a binary idea of gender, even as

176
00:10:02,720 --> 00:10:05,760
Speaker 1: he strives to say that Barbette is outside of that binary.

177
00:10:06,400 --> 00:10:08,320
Speaker 1: And if you really want to dig into analysis of

178
00:10:08,320 --> 00:10:11,199
Speaker 1: the essay, there's a great piece written by Chase Dimmick

179
00:10:11,280 --> 00:10:14,520
Speaker 1: in twenty eleven titled The Surreal Sex of Beauty Jean

180
00:10:14,559 --> 00:10:18,040
Speaker 1: Cocteaux and Manray's Le Numero Barbette, and that was published

181
00:10:18,080 --> 00:10:20,160
Speaker 1: in As It Ought to Be magazine that will be

182
00:10:20,200 --> 00:10:22,080
Speaker 1: linked in the show notes, and it's quite a good read.

183
00:10:22,800 --> 00:10:26,480
Speaker 1: To accompany this essay, Coctau got visual artist Man Ray

184
00:10:26,640 --> 00:10:30,000
Speaker 1: to take a series of portrait photographs of Vander becoming

185
00:10:30,040 --> 00:10:35,079
Speaker 1: Barbette in preparation for a performance. The photos specifically include

186
00:10:35,120 --> 00:10:39,200
Speaker 1: the artist in androgynist states, showing both masculine and feminine

187
00:10:39,280 --> 00:10:43,480
Speaker 1: characteristics at once. The essay and accompanying photos have become

188
00:10:43,559 --> 00:10:47,439
Speaker 1: an important work in queer studies, showing this gender fluidity

189
00:10:47,520 --> 00:10:50,760
Speaker 1: in a way that celebrates it in the early twentieth century.

190
00:10:51,440 --> 00:10:54,480
Speaker 1: So even though Vander Barbette, as he came to be known,

191
00:10:54,600 --> 00:10:58,440
Speaker 1: identified as a man, he was also very willing and

192
00:10:58,559 --> 00:11:01,600
Speaker 1: extremely good at crosses any gender lines that were set

193
00:11:01,679 --> 00:11:04,720
Speaker 1: in place by social mores, and he did that in

194
00:11:04,720 --> 00:11:08,560
Speaker 1: a way that audiences really embraced for the most part. Yeah,

195
00:11:08,600 --> 00:11:11,320
Speaker 1: of course, this is a time way before the language

196
00:11:11,320 --> 00:11:15,640
Speaker 1: of non binary gender existed as it does today. He

197
00:11:15,800 --> 00:11:19,200
Speaker 1: might identify differently today, but that's sort of a matter

198
00:11:19,240 --> 00:11:21,800
Speaker 1: of speculation. We're going to talk a little bit more

199
00:11:21,840 --> 00:11:24,760
Speaker 1: about Barbett's act when we return from a sponsor break.

200
00:11:34,520 --> 00:11:37,400
Speaker 1: We mentioned that Barbett's act as it had evolved, had

201
00:11:37,440 --> 00:11:41,160
Speaker 1: really become one of gender extremes. So when he first

202
00:11:41,160 --> 00:11:43,959
Speaker 1: appeared to the audience, he was essentially in full drag,

203
00:11:44,080 --> 00:11:47,640
Speaker 1: often in a ball gown, fully accessorized with jewels and

204
00:11:47,679 --> 00:11:52,079
Speaker 1: ostrich plumes, and after the athletic feats and stunts were completed,

205
00:11:52,400 --> 00:11:55,480
Speaker 1: the fact that he was a man ended up being revealed,

206
00:11:55,559 --> 00:11:57,600
Speaker 1: not as part of a bow but through a sort

207
00:11:57,600 --> 00:12:00,840
Speaker 1: of stylized strip tease, as a former sat on a

208
00:12:00,880 --> 00:12:03,600
Speaker 1: sofa that was included as part of the set and

209
00:12:03,640 --> 00:12:07,160
Speaker 1: got undressed. Once it was shown that he was a man,

210
00:12:07,320 --> 00:12:11,280
Speaker 1: Barbette would then flex and pose muscleman style for the audience,

211
00:12:11,840 --> 00:12:14,319
Speaker 1: and then he would perform once again on the trapeze,

212
00:12:14,360 --> 00:12:18,640
Speaker 1: no longer pretending to be a woman. While early audiences

213
00:12:18,880 --> 00:12:22,080
Speaker 1: would have been surprised by the reveal, Barbett became pretty

214
00:12:22,080 --> 00:12:24,800
Speaker 1: famous rather quickly, so it's safe to say that a

215
00:12:24,800 --> 00:12:27,079
Speaker 1: lot of people were buying tickets for his show because

216
00:12:27,120 --> 00:12:30,280
Speaker 1: of the appeal of watching him move from one gender

217
00:12:30,320 --> 00:12:34,280
Speaker 1: expression to another, and this ability to glide between two

218
00:12:34,360 --> 00:12:38,280
Speaker 1: genders was something that Cocteau described as frightening. Because he

219
00:12:38,320 --> 00:12:40,720
Speaker 1: was so good at it, he was soon being billed

220
00:12:40,760 --> 00:12:43,360
Speaker 1: as Barbette the Enigma, and he could command as much

221
00:12:43,400 --> 00:12:47,360
Speaker 1: as two thousand dollars a show. As an aside, there

222
00:12:47,440 --> 00:12:52,040
Speaker 1: was already a connection between disrobing and the trapeze. Around

223
00:12:52,080 --> 00:12:56,000
Speaker 1: the same time that Vander was born, another performer, Lavery Velli,

224
00:12:56,200 --> 00:12:59,720
Speaker 1: performing under the stage name Charmian, had started to disrobe

225
00:12:59,760 --> 00:13:03,080
Speaker 1: why on the trapeze as part of her act. This

226
00:13:03,240 --> 00:13:06,000
Speaker 1: was recorded to film in nineteen oh one by Thomas

227
00:13:06,200 --> 00:13:09,959
Speaker 1: Edison and was released as the two minute movie Trapeze

228
00:13:10,040 --> 00:13:14,680
Speaker 1: Disrobing Act. Charmian's career, in some ways followed the path

229
00:13:14,760 --> 00:13:17,280
Speaker 1: that Barbette would take, finding a lot of success in

230
00:13:17,320 --> 00:13:20,640
Speaker 1: Europe and vaudeville. She'd make a great episode, and if

231
00:13:20,679 --> 00:13:23,000
Speaker 1: we can find enough information about her, we may want

232
00:13:23,040 --> 00:13:25,319
Speaker 1: to do one at some point, but we want to

233
00:13:25,360 --> 00:13:28,560
Speaker 1: make it clear that it wouldn't have been completely unheard

234
00:13:28,679 --> 00:13:31,760
Speaker 1: of by the time Barbette had come along. For an

235
00:13:31,840 --> 00:13:37,560
Speaker 1: aeralist to incorporate undressing as part of the act, Jean

236
00:13:37,640 --> 00:13:42,760
Speaker 1: Cocteau's fascination that we mentioned with Barbette is legendary. As

237
00:13:42,800 --> 00:13:46,920
Speaker 1: the aerialist and female impersonator traveled around Europe, Cocteau would

238
00:13:46,920 --> 00:13:49,560
Speaker 1: write friends in the various cities the tour was headed

239
00:13:49,600 --> 00:13:53,360
Speaker 1: to and encourage them to see the show, describing Barbette

240
00:13:53,400 --> 00:13:57,800
Speaker 1: as a great actor and angel. Cocteaux also told friends

241
00:13:57,800 --> 00:14:00,200
Speaker 1: how very smart Barbett was and that they should spend

242
00:14:00,240 --> 00:14:03,560
Speaker 1: time with him, adding quote, you won't be wasting your time.

243
00:14:04,640 --> 00:14:08,520
Speaker 1: The two men were romantically involved, at least briefly. Vander

244
00:14:08,600 --> 00:14:11,480
Speaker 1: recounted to an interviewer later in life that they sometimes

245
00:14:11,559 --> 00:14:15,320
Speaker 1: visited a brothel in Paris that showed pornographic films that

246
00:14:15,440 --> 00:14:19,520
Speaker 1: included homosexual content, although he also said that Cocteau usually

247
00:14:19,560 --> 00:14:22,800
Speaker 1: just spent the time critiquing the acting in them. As

248
00:14:22,840 --> 00:14:26,880
Speaker 1: for other romantic partners, there are certainly indications that Barbette

249
00:14:26,920 --> 00:14:31,200
Speaker 1: had relationships with other men, but he kept them entirely

250
00:14:31,320 --> 00:14:33,920
Speaker 1: under wraps. We really don't know if there was ever

251
00:14:34,000 --> 00:14:38,520
Speaker 1: anybody with whom he had like a serious, long term relationship.

252
00:14:39,240 --> 00:14:43,080
Speaker 1: In nineteen thirty, Barbette appeared briefly in Cocteau's first film,

253
00:14:43,160 --> 00:14:46,200
Speaker 1: Blood of a Poet. That project was bankrolled by the

254
00:14:46,280 --> 00:14:49,520
Speaker 1: Viccombe Charles de Noai, who had given Coctaux one million

255
00:14:49,520 --> 00:14:52,840
Speaker 1: francs to make it. The Vicomte also gave Salvador Dali

256
00:14:52,920 --> 00:14:55,840
Speaker 1: and Louis Bonnoeil a million francs for their film project

257
00:14:56,240 --> 00:15:01,120
Speaker 1: Laje d'Or. Both films were controversial bo kind of damaged

258
00:15:01,160 --> 00:15:04,480
Speaker 1: Noa's reputation, and in the case of Blood of a Poet,

259
00:15:04,600 --> 00:15:07,640
Speaker 1: the aristocrat and others made up an audience that was

260
00:15:07,680 --> 00:15:10,560
Speaker 1: filmed in a theater chatting and applotting. They were going

261
00:15:10,600 --> 00:15:13,120
Speaker 1: to be included in the film, but they did not

262
00:15:13,400 --> 00:15:15,520
Speaker 1: know that the scene that they were applotting, which was

263
00:15:15,560 --> 00:15:18,480
Speaker 1: filmed separately and then edited in, was a card game

264
00:15:18,840 --> 00:15:21,479
Speaker 1: that concludes with one of the players dying by suicide.

265
00:15:22,040 --> 00:15:24,680
Speaker 1: And it was because no I was so concerned about

266
00:15:24,720 --> 00:15:27,800
Speaker 1: being part of it that the audience section was reshot

267
00:15:27,840 --> 00:15:30,920
Speaker 1: and at that point Barbette was one of the audience members.

268
00:15:31,560 --> 00:15:34,560
Speaker 1: Barbette later said of the filming quote, Cocteau told me

269
00:15:34,640 --> 00:15:37,360
Speaker 1: that I was substituting for the vicomb test to no I,

270
00:15:37,920 --> 00:15:40,960
Speaker 1: whom I knew, but neither he, nor she, nor anybody

271
00:15:41,000 --> 00:15:44,200
Speaker 1: else told me why. Sitting in the box, I tried

272
00:15:44,200 --> 00:15:47,240
Speaker 1: to imagine myself a descendant of the Marquis de Sade,

273
00:15:47,440 --> 00:15:50,360
Speaker 1: of the Comtesse de Chevigne, who was one of Proust's

274
00:15:50,400 --> 00:15:53,600
Speaker 1: models for his Duchesse de Guillemont, and of a long

275
00:15:53,640 --> 00:15:56,640
Speaker 1: line of rich bankers, all of which the vicomtest was

276
00:15:57,360 --> 00:16:00,560
Speaker 1: for a boy from Round Rock, Texas that demand a

277
00:16:00,600 --> 00:16:03,680
Speaker 1: lot of concentration, at least as much as working on

278
00:16:03,720 --> 00:16:08,080
Speaker 1: the wire. Barbette was also quite chagrined when he discovered

279
00:16:08,320 --> 00:16:11,000
Speaker 1: what he was applauding in the film. He also had

280
00:16:11,040 --> 00:16:13,760
Speaker 1: not been told what the other part of the scene was,

281
00:16:14,280 --> 00:16:16,680
Speaker 1: but he didn't actually see the movie when it was released.

282
00:16:16,800 --> 00:16:19,760
Speaker 1: That movie wasn't released for two years until nineteen thirty two,

283
00:16:19,880 --> 00:16:23,440
Speaker 1: in part because of concerns about the content, and Barbette

284
00:16:23,440 --> 00:16:26,360
Speaker 1: didn't learn of the gruesome aspect of it for several years.

285
00:16:27,360 --> 00:16:30,400
Speaker 1: Barbette became a favorite at the Moulin Rouge and other

286
00:16:30,560 --> 00:16:34,440
Speaker 1: high profile theaters in Paris, and Vander also toured the

287
00:16:34,480 --> 00:16:38,200
Speaker 1: act throughout Europe, but he always felt like France was

288
00:16:38,240 --> 00:16:41,840
Speaker 1: his home, and noted that he believed that having chosen

289
00:16:42,000 --> 00:16:45,920
Speaker 1: a name that sounded French, had made French audiences kind

290
00:16:45,920 --> 00:16:48,480
Speaker 1: of feel like he was one of their own. As

291
00:16:48,520 --> 00:16:51,200
Speaker 1: he gained fame and was able to set rules and

292
00:16:51,280 --> 00:16:54,520
Speaker 1: boundaries about his setups. One of the things that Barbett

293
00:16:54,600 --> 00:16:57,640
Speaker 1: insisted on was that only two people were allowed to

294
00:16:57,640 --> 00:17:01,080
Speaker 1: be in the wings during his performances at thea his

295
00:17:01,320 --> 00:17:03,840
Speaker 1: maid on one side of the stage and the stage

296
00:17:03,880 --> 00:17:06,960
Speaker 1: manager on the other. He also did have a second

297
00:17:07,000 --> 00:17:09,000
Speaker 1: made to help the first because he had gotten to

298
00:17:09,000 --> 00:17:12,640
Speaker 1: the point where his traveling wardrobe Filder reported twenty eight trunks,

299
00:17:12,840 --> 00:17:15,240
Speaker 1: but made number two not allowed to be in the wings.

300
00:17:15,960 --> 00:17:19,080
Speaker 1: Barbett was aware of how exacting and fastidious he was

301
00:17:19,280 --> 00:17:22,200
Speaker 1: in his work in his life and later said quote,

302
00:17:22,240 --> 00:17:25,159
Speaker 1: since those years in Paris, I've never been able to

303
00:17:25,240 --> 00:17:29,600
Speaker 1: readjust to crudity. By the time Barbette returned as an

304
00:17:29,680 --> 00:17:32,399
Speaker 1: act to the US in the late nineteen twenties, he

305
00:17:32,520 --> 00:17:36,320
Speaker 1: was famous. A New York Times article about Barbette that

306
00:17:36,440 --> 00:17:40,760
Speaker 1: was published on February eighth, nineteen twenty seven, opens with quote,

307
00:17:41,040 --> 00:17:44,879
Speaker 1: the female impersonator known as Barbette, who some ten years

308
00:17:44,960 --> 00:17:48,359
Speaker 1: ago might have been found opening or closing shows and

309
00:17:48,440 --> 00:17:53,240
Speaker 1: the minor vaudeville houses with his wirewalking Specialties returned to

310
00:17:53,280 --> 00:17:57,280
Speaker 1: the Palace yesterday after an interval abroad and registered what

311
00:17:57,440 --> 00:18:02,000
Speaker 1: seemed to be an authentic success. That same write up

312
00:18:02,040 --> 00:18:05,320
Speaker 1: goes on to praise Barbette's work, writing quote, Barbette does

313
00:18:05,400 --> 00:18:09,200
Speaker 1: some really sensational stunts, not only on the slack wire,

314
00:18:09,280 --> 00:18:13,720
Speaker 1: but also on the flying rings and trapezes. Particularly, did

315
00:18:13,720 --> 00:18:17,320
Speaker 1: his ability to negotiate a cross between a summersault and

316
00:18:17,440 --> 00:18:21,640
Speaker 1: complete revolution on the flying rings Yesterday and press one

317
00:18:21,760 --> 00:18:26,520
Speaker 1: spectator usually anesthetic to the exploits of this sort. But

318
00:18:26,640 --> 00:18:29,200
Speaker 1: in that same paper, just five days later, a very

319
00:18:29,200 --> 00:18:32,280
Speaker 1: different review appeared. This one was written by New York

320
00:18:32,320 --> 00:18:35,359
Speaker 1: Times theater critic Jay Brooks Atkinson as part of his

321
00:18:35,480 --> 00:18:39,879
Speaker 1: survey of current theater events titled Songs, Dances and Costumes.

322
00:18:40,600 --> 00:18:43,240
Speaker 1: One thing that's apparent in Atkinson's writing is that the

323
00:18:43,320 --> 00:18:46,120
Speaker 1: gender bending nature of the show did not land well

324
00:18:46,160 --> 00:18:50,320
Speaker 1: with him. Every single time he mentions Barbette by name,

325
00:18:50,800 --> 00:18:53,639
Speaker 1: he puts the name in quotations with a question mark,

326
00:18:54,400 --> 00:18:58,000
Speaker 1: and his review is scathing, primarily because he seems to

327
00:18:58,040 --> 00:19:00,560
Speaker 1: feel he and the rest of the audience were duped

328
00:19:00,600 --> 00:19:03,480
Speaker 1: into thinking that this act was some sort of high

329
00:19:03,520 --> 00:19:09,760
Speaker 1: European culture Atkinson's review opens with quote when Barbette question Mark,

330
00:19:09,960 --> 00:19:14,159
Speaker 1: the sensational European novelty slack wire walker at the Palace

331
00:19:14,280 --> 00:19:17,119
Speaker 1: last week, removed a blonde wig after the fact and

332
00:19:17,200 --> 00:19:21,600
Speaker 1: became awkwardly male, the gum chewing dame of the row

333
00:19:21,760 --> 00:19:26,680
Speaker 1: in front exclaimed hotly, gone, ain't that awful. The review

334
00:19:26,720 --> 00:19:32,080
Speaker 1: then details how daintily and beautifully Barbette performed in womanly attire,

335
00:19:32,200 --> 00:19:36,320
Speaker 1: but how the woman who made the exclamation was responding

336
00:19:36,359 --> 00:19:40,280
Speaker 1: to the letdown that in removing the wig, the performer

337
00:19:40,400 --> 00:19:46,000
Speaker 1: quote became just a man. Atkinson points out that Broadway

338
00:19:46,240 --> 00:19:49,560
Speaker 1: Pedance noted that Barbette was a small timer on the

339
00:19:49,600 --> 00:19:52,680
Speaker 1: vaudeville circuit and now appeared back in the US having

340
00:19:52,760 --> 00:19:58,840
Speaker 1: quote glazed his gymnastic exhibition with stylized hocum and in

341
00:19:59,200 --> 00:20:01,199
Speaker 1: an a bit of a spe actually bad taste. The

342
00:20:01,400 --> 00:20:04,919
Speaker 1: critic concludes by saying that if Barbett falls and breaks

343
00:20:04,920 --> 00:20:07,199
Speaker 1: her neck, it would be quote a loss to the

344
00:20:07,280 --> 00:20:12,200
Speaker 1: crowned nitwits of Europe. Atkinson would later become a well

345
00:20:12,240 --> 00:20:16,040
Speaker 1: respected Pulitzer Prize winning war correspondent, but in this one

346
00:20:16,240 --> 00:20:20,280
Speaker 1: right up, he manages to insult Barbette and the gum

347
00:20:20,400 --> 00:20:25,200
Speaker 1: chewing Woman and any European whoever found this act entertaining.

348
00:20:25,320 --> 00:20:29,280
Speaker 1: So that's quite an accomplishment of insults. Yeah, I could

349
00:20:29,320 --> 00:20:31,399
Speaker 1: talk about how long it took me to pick apart

350
00:20:31,440 --> 00:20:33,440
Speaker 1: that review and figure out if he was really trying

351
00:20:33,480 --> 00:20:36,320
Speaker 1: to be mean to everybody or not. I concluded he was.

352
00:20:37,320 --> 00:20:39,960
Speaker 1: After we hear from the sponsors that keep the show going,

353
00:20:40,320 --> 00:20:42,959
Speaker 1: we will talk about the end of Barbette's performing career

354
00:20:43,240 --> 00:20:55,680
Speaker 1: and the new career that followed. In nineteen thirty eight,

355
00:20:55,960 --> 00:21:01,440
Speaker 1: Barbette's performing career ended when he fell. Maybe his retreat

356
00:21:01,440 --> 00:21:03,840
Speaker 1: from the trapeze and high wire acts that had made

357
00:21:03,920 --> 00:21:06,439
Speaker 1: him so beloved in Europe and quite popular on the

358
00:21:06,520 --> 00:21:11,280
Speaker 1: US vaudeville stage is sometimes reported as an accident, sometimes

359
00:21:11,320 --> 00:21:14,240
Speaker 1: as an illness. There are other accounts that say that

360
00:21:14,359 --> 00:21:18,040
Speaker 1: he fell and then caught pneumonia while convalescing. There is

361
00:21:18,080 --> 00:21:21,879
Speaker 1: even speculation that the culprit may have been polio. The

362
00:21:21,920 --> 00:21:25,760
Speaker 1: Texas State History Association states in its Barbett biography that

363
00:21:25,920 --> 00:21:28,920
Speaker 1: Vander had been performing at the Lowe's State Vaudeville Theater

364
00:21:29,040 --> 00:21:33,040
Speaker 1: in New York when he caught pneumonia. The version that

365
00:21:33,160 --> 00:21:37,400
Speaker 1: Barbett gave decades later in his sixties, noted that though

366
00:21:37,440 --> 00:21:41,720
Speaker 1: he had fallen on a number of occasions, those had

367
00:21:41,760 --> 00:21:45,400
Speaker 1: not caused his career to end, but he had occasionally

368
00:21:45,440 --> 00:21:49,920
Speaker 1: had to cancel shows. So his version supports this pneumonious

369
00:21:50,000 --> 00:21:53,800
Speaker 1: story and the nineteen thirty eight date, although other years

370
00:21:53,840 --> 00:21:57,280
Speaker 1: are listed in various sources. He stated that he had

371
00:21:57,400 --> 00:22:00,760
Speaker 1: left the Low's State Theater hot and sweaty, had caught

372
00:22:00,760 --> 00:22:03,000
Speaker 1: a chill when he walked out into the night air,

373
00:22:03,359 --> 00:22:07,520
Speaker 1: and woke up the next morning unable to move. His

374
00:22:07,720 --> 00:22:12,840
Speaker 1: bones and joints were, he said, deeply affected. It's entirely

375
00:22:12,880 --> 00:22:16,800
Speaker 1: possible that his illness was made more severe by various

376
00:22:16,920 --> 00:22:19,840
Speaker 1: injuries he had sustained over the years that he had

377
00:22:19,880 --> 00:22:23,680
Speaker 1: just performed through. Yeah, you'll even see dates as early

378
00:22:23,760 --> 00:22:26,280
Speaker 1: as nineteen thirty one as when he fell, and that

379
00:22:26,400 --> 00:22:29,040
Speaker 1: was the cause. He probably did fall in nineteen thirty

380
00:22:29,040 --> 00:22:31,400
Speaker 1: one at some point, and somebody has conflated them at

381
00:22:31,400 --> 00:22:35,840
Speaker 1: some point, but he says it is pneumonia. But whatever

382
00:22:35,880 --> 00:22:39,159
Speaker 1: the cause and whatever the moment, his act could not

383
00:22:39,280 --> 00:22:42,720
Speaker 1: go on. Vander was rendered unable even to walk for

384
00:22:42,760 --> 00:22:45,680
Speaker 1: a long time and had a long roadback from his illness,

385
00:22:46,000 --> 00:22:49,760
Speaker 1: reportedly needing eighteen months of rehab, during which he needed

386
00:22:49,760 --> 00:22:53,159
Speaker 1: to relearn how to walk. But even after that, the

387
00:22:53,200 --> 00:22:55,800
Speaker 1: performer was plagued by pain pretty much for the rest

388
00:22:55,840 --> 00:22:58,000
Speaker 1: of his life, and his body did not have the

389
00:22:58,040 --> 00:23:00,359
Speaker 1: strength and agility required for the work that he had

390
00:23:00,359 --> 00:23:03,480
Speaker 1: been doing for sixteen years. At that point, he had

391
00:23:03,480 --> 00:23:05,800
Speaker 1: to sell off property that he owned in Texas. He

392
00:23:05,880 --> 00:23:10,320
Speaker 1: later told reporters to pay for his extensive treatment. Once

393
00:23:10,359 --> 00:23:13,919
Speaker 1: his performing career was over, Barbette moved back to Texas

394
00:23:14,000 --> 00:23:17,240
Speaker 1: and another name change was made. From that point on,

395
00:23:17,359 --> 00:23:19,960
Speaker 1: it seems like he went by the name Vander Barbett,

396
00:23:20,280 --> 00:23:23,159
Speaker 1: presumably to make use of the name recognition that he

397
00:23:23,200 --> 00:23:27,399
Speaker 1: had achieved as a performer. He did stay in entertainment,

398
00:23:27,440 --> 00:23:30,239
Speaker 1: he worked as a choreographer and a consultant, so it

399
00:23:30,280 --> 00:23:33,440
Speaker 1: makes sense that he would want to keep that Barbette. Yeah,

400
00:23:33,480 --> 00:23:35,960
Speaker 1: so at that point, instead of just seeing him listed

401
00:23:35,960 --> 00:23:38,639
Speaker 1: as Barbette, he's pretty much always Vander Barbett when you

402
00:23:38,680 --> 00:23:41,240
Speaker 1: read about him in the paper. It was no longer

403
00:23:41,280 --> 00:23:44,480
Speaker 1: a first name. Now it was his last. Barbette found

404
00:23:44,600 --> 00:23:47,760
Speaker 1: work putting his expertise to use, first with the Ringling Brothers,

405
00:23:47,760 --> 00:23:50,199
Speaker 1: Barnum and Bailey Circus, where he was the aerial and

406
00:23:50,280 --> 00:23:54,240
Speaker 1: costume director. In June nineteen forty three, he was mentioned

407
00:23:54,280 --> 00:23:57,760
Speaker 1: in the Washington D c. Paper Evening Star, not for

408
00:23:57,800 --> 00:24:00,320
Speaker 1: his skills, though he is noted as the director of

409
00:24:00,320 --> 00:24:04,639
Speaker 1: aerial ballet. Unfortunately, this particular bit of news was about

410
00:24:04,720 --> 00:24:07,359
Speaker 1: him and a one hundred and fifty other people with

411
00:24:07,440 --> 00:24:09,800
Speaker 1: the circus. It was about one tenth of their full

412
00:24:09,840 --> 00:24:13,600
Speaker 1: staff getting food poisoning after eating a late afternoon meal

413
00:24:13,680 --> 00:24:17,639
Speaker 1: a filet of soul and chicken salad with mayonnaise. UH

414
00:24:17,800 --> 00:24:20,959
Speaker 1: nineteen forty eight write up in the San Francisco Examiner

415
00:24:21,160 --> 00:24:25,240
Speaker 1: was written by Paul Gallico and mentions the astounding artistry

416
00:24:25,320 --> 00:24:30,440
Speaker 1: often found at a circus that goes unappreciated by many attendees.

417
00:24:31,000 --> 00:24:35,320
Speaker 1: Galico's article mentions Barbette only in passing writing quote. A

418
00:24:35,400 --> 00:24:39,240
Speaker 1: matinee audience of grown ups and children were thrilling to

419
00:24:39,600 --> 00:24:43,480
Speaker 1: and obviously enjoying the work of the fabulous Alzanos on

420
00:24:43,520 --> 00:24:46,000
Speaker 1: the high wire. But as I stood down in the

421
00:24:46,040 --> 00:24:49,920
Speaker 1: arena with Vander Barbett, director of the Aerial Ballets, watching

422
00:24:50,000 --> 00:24:53,920
Speaker 1: Harold Alzana balanced on the wire beneath the garden roof

423
00:24:54,040 --> 00:24:57,399
Speaker 1: without aid of a balancing pole or safety net. I

424
00:24:57,440 --> 00:25:01,159
Speaker 1: wanted them to enjoy and appreciate it. Still more, I

425
00:25:01,200 --> 00:25:03,879
Speaker 1: thought they ought to be on their feet, cheering and

426
00:25:04,000 --> 00:25:06,720
Speaker 1: shouting because they were witnessing one of the great living

427
00:25:06,760 --> 00:25:10,720
Speaker 1: athletes of the world. While Paul Gallico may have admired

428
00:25:10,760 --> 00:25:13,840
Speaker 1: and appreciated the work of the performers, this is such

429
00:25:13,880 --> 00:25:16,320
Speaker 1: a great distance from the way that Barbette had been

430
00:25:16,320 --> 00:25:20,360
Speaker 1: written about twenty years earlier as an artist who transcended

431
00:25:20,440 --> 00:25:24,720
Speaker 1: known labels to become something new. Barbette later moved to

432
00:25:24,720 --> 00:25:28,080
Speaker 1: the Cole Brothers Circus in the late nineteen forties. An

433
00:25:28,119 --> 00:25:31,240
Speaker 1: April nineteen forty nine article about the circus preparing for

434
00:25:31,320 --> 00:25:35,400
Speaker 1: its opening mentioned Barbette for his great style. Quote, in

435
00:25:35,440 --> 00:25:39,359
Speaker 1: contrast with the general dishevelment of the practicing personnel, was

436
00:25:39,359 --> 00:25:43,400
Speaker 1: the immaculate Vander Barbett wearing a Hollywood beret and directing

437
00:25:43,440 --> 00:25:47,200
Speaker 1: the aerial ensembles in a rehearsal. Then just a couple

438
00:25:47,280 --> 00:25:49,639
Speaker 1: months later, in July, Barbett gave a quote to a

439
00:25:49,680 --> 00:25:53,479
Speaker 1: reporter about the Cole Brothers Circus and its emphasis on beauty,

440
00:25:53,480 --> 00:25:56,199
Speaker 1: which was touted in the headline of the article. The

441
00:25:56,280 --> 00:26:00,000
Speaker 1: opening line of this article includes the unfortunate quote, which reads,

442
00:26:00,200 --> 00:26:02,600
Speaker 1: quote It's just as easy to train pretty girls for

443
00:26:02,680 --> 00:26:05,080
Speaker 1: circus work as it is to work with those whose

444
00:26:05,080 --> 00:26:08,879
Speaker 1: physical attractions are negligible. This article then goes on to

445
00:26:08,920 --> 00:26:11,720
Speaker 1: say that vander Barbett is known as a quote famous

446
00:26:11,720 --> 00:26:15,800
Speaker 1: international trainer of circus girls for aerial work. The act

447
00:26:15,840 --> 00:26:19,560
Speaker 1: that he designed for the Cole brother Circus included two

448
00:26:19,680 --> 00:26:24,040
Speaker 1: dozen performers dressed as moths and included spinning while hanging

449
00:26:24,080 --> 00:26:27,040
Speaker 1: by their teeth. That's an act that sounds very much

450
00:26:27,160 --> 00:26:30,000
Speaker 1: like the show that he did with Erford's Whirling Sensations

451
00:26:30,040 --> 00:26:35,240
Speaker 1: in the nineteen teens. While he was working with various circuses,

452
00:26:35,359 --> 00:26:39,159
Speaker 1: Barbette also found work in theater and film. In nineteen

453
00:26:39,200 --> 00:26:42,160
Speaker 1: forty six, he was hired to stage a circus finale

454
00:26:42,280 --> 00:26:45,560
Speaker 1: in Around the World. That was a musical theater project

455
00:26:45,560 --> 00:26:49,359
Speaker 1: written by Orson Wells with music by Cole Porter. The

456
00:26:49,480 --> 00:26:52,760
Speaker 1: play was based on Jules Verne's book Around the World

457
00:26:52,760 --> 00:26:56,800
Speaker 1: in Eighty Days. This has so many names together that

458
00:26:56,920 --> 00:27:00,280
Speaker 1: make it seem like something I should have recogniz It's

459
00:27:00,400 --> 00:27:04,600
Speaker 1: already no. It only ran for seventy five days, Okay,

460
00:27:05,280 --> 00:27:08,480
Speaker 1: it wasn't super well reviewed, And to make it even

461
00:27:08,480 --> 00:27:11,879
Speaker 1: more confusing, there was a different project called Around the

462
00:27:11,920 --> 00:27:14,640
Speaker 1: World with Orson Wells, which was a series that came

463
00:27:14,640 --> 00:27:19,800
Speaker 1: out later. But this was a play's there's not much remaining.

464
00:27:20,840 --> 00:27:22,680
Speaker 1: I don't want to say evidence. That's not the right word.

465
00:27:22,720 --> 00:27:26,639
Speaker 1: There's not much remaining material from it. Orson Wells had

466
00:27:26,680 --> 00:27:30,760
Speaker 1: even like directed some film that was incorporated as part

467
00:27:30,800 --> 00:27:34,119
Speaker 1: of the play that's lost. We don't really know what

468
00:27:34,119 --> 00:27:37,919
Speaker 1: it was. It sounds potentially amazing. Yeah, we'll never know

469
00:27:39,119 --> 00:27:42,720
Speaker 1: what it could be for sure. Barbette was also the

470
00:27:42,800 --> 00:27:45,879
Speaker 1: obvious choice to train actor Gilbert Roland for the movie

471
00:27:45,960 --> 00:27:48,880
Speaker 1: Big Circus, which intended to create a true to life

472
00:27:48,920 --> 00:27:53,000
Speaker 1: reflection of the Circus. This was in nineteen fifty nine.

473
00:27:53,080 --> 00:27:56,440
Speaker 1: A write up about the pre production rehearsals noted quote Barbett,

474
00:27:56,560 --> 00:27:59,359
Speaker 1: a former high flyer of Ringling Brothers, Barnum and Bailey,

475
00:27:59,400 --> 00:28:03,720
Speaker 1: Renown is so distinctly continental one would never suspect. He

476
00:28:03,800 --> 00:28:07,720
Speaker 1: was born in Texas and named Vander Clyde Broadway, and

477
00:28:08,240 --> 00:28:12,239
Speaker 1: perhaps his most long lasting influence and entertainment when the

478
00:28:12,280 --> 00:28:15,200
Speaker 1: Billy Wilder film Some Like It Hot was in production

479
00:28:15,280 --> 00:28:18,359
Speaker 1: in nineteen fifty nine, it was Vander Barbette who was

480
00:28:18,480 --> 00:28:21,000
Speaker 1: hired to help Jack Lemon and Tony Curtis with their

481
00:28:21,040 --> 00:28:25,280
Speaker 1: performances as musicians who put on drag disguises to get

482
00:28:25,400 --> 00:28:29,600
Speaker 1: jobs with Sweet Sue in her society syncopaters. In nineteen

483
00:28:29,640 --> 00:28:32,639
Speaker 1: sixty three, Vander Barbett moved in with his half sister

484
00:28:32,720 --> 00:28:36,760
Speaker 1: Mary Cahill in Austin, Texas. He often returned to the

485
00:28:36,800 --> 00:28:39,440
Speaker 1: Austin area in between jobs, but he never seemed to

486
00:28:39,480 --> 00:28:43,280
Speaker 1: consider it home. In nineteen sixty nine, he was interviewed

487
00:28:43,280 --> 00:28:47,640
Speaker 1: by Jean Cocteau's biographer, Francis Stiegmuller, and that interview was

488
00:28:47,640 --> 00:28:51,000
Speaker 1: published in The New Yorker. This was an interview that

489
00:28:51,040 --> 00:28:54,320
Speaker 1: Barbette was initially reluctant to give and described it to

490
00:28:54,360 --> 00:28:56,960
Speaker 1: the person who connected the writer to him as quote

491
00:28:57,160 --> 00:29:02,280
Speaker 1: the arrival of the literary FBI. Steigmuller described Barbette as

492
00:29:02,320 --> 00:29:05,880
Speaker 1: looking like quote, a very trim older man fashion model,

493
00:29:06,360 --> 00:29:09,440
Speaker 1: although the writer also noted the stiffness of Barbette's movement

494
00:29:09,880 --> 00:29:12,560
Speaker 1: the lingering effect of the illness that had taken him

495
00:29:12,560 --> 00:29:16,920
Speaker 1: away from performing. While in recent years Barbette has been

496
00:29:17,040 --> 00:29:20,320
Speaker 1: honored by his hometown of Round Rock, Texas, which is

497
00:29:20,440 --> 00:29:24,320
Speaker 1: just a twenty minute drive north from Austin. He didn't

498
00:29:24,360 --> 00:29:27,239
Speaker 1: have kind things to say about the area. In that

499
00:29:27,360 --> 00:29:31,880
Speaker 1: nineteen sixty nine interview, He told Stigmuller quote, I'm living

500
00:29:31,920 --> 00:29:35,160
Speaker 1: temporarily with my sister here in Austin before joining a

501
00:29:35,160 --> 00:29:38,000
Speaker 1: big show a few months from now. I'll not be

502
00:29:38,080 --> 00:29:40,760
Speaker 1: a performer, of course, but a trainer trying to give

503
00:29:40,880 --> 00:29:44,640
Speaker 1: young present day acrobats some faint idea of what a

504
00:29:44,680 --> 00:29:48,000
Speaker 1: refined act can be. I have to say that, apart

505
00:29:48,000 --> 00:29:52,239
Speaker 1: from my family, everything about Austin offends me, and I

506
00:29:52,280 --> 00:29:54,640
Speaker 1: know I'll be lucky if, in return for my very

507
00:29:54,680 --> 00:29:59,120
Speaker 1: handsome salary, I succeed in persuading a few young trapezists

508
00:29:59,760 --> 00:30:04,480
Speaker 1: just not to chew gum during their act. Imagine, Yeah,

509
00:30:04,560 --> 00:30:09,800
Speaker 1: not really a hometown hero in the Eric kind of

510
00:30:09,840 --> 00:30:11,440
Speaker 1: like I tried so hard to get away from here.

511
00:30:11,480 --> 00:30:14,640
Speaker 1: Here I am again. As the nineteen sixties wound down,

512
00:30:14,720 --> 00:30:17,320
Speaker 1: Barbett worked less and less as his health had gotten

513
00:30:17,360 --> 00:30:20,560
Speaker 1: steadily worse. He worked on the touring show Disney on

514
00:30:20,640 --> 00:30:24,000
Speaker 1: Parade in nineteen sixty nine in preparation for its nineteen

515
00:30:24,120 --> 00:30:26,120
Speaker 1: seventy season. If you don't know what that is. That

516
00:30:26,240 --> 00:30:30,040
Speaker 1: was a touring stage show that Disney and NBC co produced,

517
00:30:30,400 --> 00:30:33,160
Speaker 1: and it had scenes from the various Disney movies performed

518
00:30:33,160 --> 00:30:36,640
Speaker 1: by live actors. It's kind of like Disney on ICE's precursor.

519
00:30:37,800 --> 00:30:42,440
Speaker 1: On August fifth, nineteen seventy three, Vander Barbett died by suicide.

520
00:30:42,920 --> 00:30:45,520
Speaker 1: His cause of death was listed as an overdose of

521
00:30:45,560 --> 00:30:49,720
Speaker 1: somniferous drugs. He was cremated and was buried in round

522
00:30:49,800 --> 00:30:52,880
Speaker 1: Rock Cemetery at the foot of his mother's grave. His

523
00:30:53,000 --> 00:30:56,280
Speaker 1: obituary in the papers didn't mention his cause of death,

524
00:30:56,400 --> 00:31:00,880
Speaker 1: sating simply quote Vander Barbett, a world run now trapeze

525
00:31:00,960 --> 00:31:04,040
Speaker 1: artist of the nineteen twenties and thirties, died Sunday at

526
00:31:04,040 --> 00:31:07,280
Speaker 1: his home here. He was sixty eight years old. It

527
00:31:07,360 --> 00:31:10,520
Speaker 1: also mentioned his sister Mary kay Hill and his brother

528
00:31:10,680 --> 00:31:15,080
Speaker 1: Sam Loving as his next remaining kin. Austin and round

529
00:31:15,200 --> 00:31:18,360
Speaker 1: Rock have in recent years really embraced Barbett as part

530
00:31:18,400 --> 00:31:21,960
Speaker 1: of the area's history, including adding a historical marker to

531
00:31:22,040 --> 00:31:26,320
Speaker 1: his final resting place, and presumably being okay with him

532
00:31:26,360 --> 00:31:30,480
Speaker 1: having talked pretty negatively about the area. I'm really curious about,

533
00:31:30,560 --> 00:31:33,960
Speaker 1: like what Austin was like at the time versus the

534
00:31:34,040 --> 00:31:38,240
Speaker 1: reputation of Austin in Ray world. I don't know the answer.

535
00:31:38,280 --> 00:31:40,880
Speaker 1: I have not looked into it. In August of twenty

536
00:31:40,920 --> 00:31:44,200
Speaker 1: twenty two, an exhibit opened at the Williamson Museum in

537
00:31:44,280 --> 00:31:48,000
Speaker 1: Austin dedicated to Barbette's life and career. As of this

538
00:31:48,080 --> 00:31:50,840
Speaker 1: recording in June of twenty twenty three, it should still

539
00:31:50,880 --> 00:31:54,280
Speaker 1: be open. According to an article from CBS Austin when

540
00:31:54,320 --> 00:31:56,880
Speaker 1: it launched, it's supposed to run into twenty twenty four.

541
00:31:57,760 --> 00:32:00,440
Speaker 1: It seems most fitting to end Barbett's store with a

542
00:32:00,520 --> 00:32:03,719
Speaker 1: quote about him by Jean Cocteaux, which read quote, he

543
00:32:03,760 --> 00:32:09,240
Speaker 1: walked tightrope high above the audience without falling above incongruity, death,

544
00:32:09,440 --> 00:32:16,000
Speaker 1: bad taste, indecency, indignation. And that is Barbette, who I

545
00:32:16,040 --> 00:32:22,040
Speaker 1: am super fascinated by. Yeah, very appreciative that friends put

546
00:32:22,120 --> 00:32:25,480
Speaker 1: him on my radar. So thank you, thank you. I

547
00:32:25,520 --> 00:32:28,160
Speaker 1: have listener mail which is not about history really at all,

548
00:32:29,680 --> 00:32:32,280
Speaker 1: but it's about one of my favorite things, which is

549
00:32:32,880 --> 00:32:35,960
Speaker 1: Disney Parks. This is from our listener Hannah, who writes, Hello,

550
00:32:36,360 --> 00:32:38,120
Speaker 1: So I've been a fan of the podcast for about

551
00:32:38,160 --> 00:32:40,120
Speaker 1: seven years. Now, But today I have a question for

552
00:32:40,160 --> 00:32:43,040
Speaker 1: Holly about Disney World. My boyfriend and I are planning

553
00:32:43,040 --> 00:32:45,280
Speaker 1: a trip to Disney, but we will likely only be

554
00:32:45,320 --> 00:32:48,160
Speaker 1: able to budget two and three quarter days time wise.

555
00:32:48,600 --> 00:32:50,880
Speaker 1: I have been to Disney in the past. He hasn't. Really,

556
00:32:51,400 --> 00:32:54,240
Speaker 1: I haven't been since Galaxy's Edge opened. I really want

557
00:32:54,280 --> 00:32:56,000
Speaker 1: to be able to spend a full day in Magic

558
00:32:56,080 --> 00:32:58,600
Speaker 1: Kingdom and a full day in Animal Kingdom, but he

559
00:32:58,640 --> 00:33:01,840
Speaker 1: thinks he needs a full day for Holliyllywood Studios, could

560
00:33:01,920 --> 00:33:03,840
Speaker 1: you do three quarters of a day there and do

561
00:33:03,960 --> 00:33:07,920
Speaker 1: everything in Galaxy's Edge, including the Lightsaber building experience. We

562
00:33:07,960 --> 00:33:11,120
Speaker 1: would only be doing Galaxy's Edge and one go on

563
00:33:11,160 --> 00:33:13,240
Speaker 1: the Tower of Terror. It's really cool hearing your take

564
00:33:13,280 --> 00:33:15,200
Speaker 1: on Disney and Star Wars stuff in the podcast, and

565
00:33:15,200 --> 00:33:19,640
Speaker 1: I'd love to hear your input. Hannah also sent pictures

566
00:33:19,880 --> 00:33:26,480
Speaker 1: of They're Orange kitties Marie and Thor and Phoebe, who

567
00:33:26,480 --> 00:33:31,280
Speaker 1: are adorable. I and Phoebe is is no longer with us,

568
00:33:31,360 --> 00:33:33,520
Speaker 1: and I hope she is in the best part she's

569
00:33:33,600 --> 00:33:35,680
Speaker 1: non orange, and I hope she is in the best

570
00:33:35,680 --> 00:33:37,680
Speaker 1: part of Kitty Heaven because she has a great expression

571
00:33:37,720 --> 00:33:40,479
Speaker 1: that's like the expression I love in cats where they

572
00:33:40,480 --> 00:33:43,120
Speaker 1: have had enough of you, but they're willing to tolerate

573
00:33:43,160 --> 00:33:46,400
Speaker 1: you for food. Galaxy's Edge, so this is a little

574
00:33:46,400 --> 00:33:51,320
Speaker 1: bit tricky because I can spend days in Galaxy's Edge. However,

575
00:33:51,920 --> 00:33:53,840
Speaker 1: if you are a person who doesn't want to like

576
00:33:53,920 --> 00:33:56,600
Speaker 1: sit and linger and people watch, you could totally knock

577
00:33:56,640 --> 00:33:58,680
Speaker 1: it out in three quarters of a day. In my opinion.

578
00:33:58,960 --> 00:34:02,680
Speaker 1: There are only two attractions really, so there's Smuggler's Run,

579
00:34:02,880 --> 00:34:04,880
Speaker 1: which is the Millennium Falcon ride, and then there's Rise

580
00:34:04,880 --> 00:34:11,160
Speaker 1: of the Resistance, which is an amazing, fabulous ride, and

581
00:34:11,880 --> 00:34:15,640
Speaker 1: the Lightsaber building experience lasts about twenty minutes. Also, this

582
00:34:15,680 --> 00:34:18,040
Speaker 1: is from not that long ago, a couple weeks, so

583
00:34:18,040 --> 00:34:20,359
Speaker 1: hopefully she still has time. You do want to make

584
00:34:20,360 --> 00:34:23,720
Speaker 1: a reservation for that lightsaber experience because those go pretty fast.

585
00:34:24,640 --> 00:34:26,359
Speaker 1: If you want to build a droid, you can kind

586
00:34:26,360 --> 00:34:28,920
Speaker 1: of get into that on a walk in usually, and

587
00:34:28,960 --> 00:34:30,960
Speaker 1: then mostly you want to do food and if you

588
00:34:31,000 --> 00:34:34,120
Speaker 1: want to get into Oga's the canteena, you definitely want

589
00:34:34,120 --> 00:34:39,040
Speaker 1: to make that reservation ahead of time. I think most

590
00:34:39,080 --> 00:34:42,239
Speaker 1: people feel like they can knock out galaxies Edge in

591
00:34:42,239 --> 00:34:45,520
Speaker 1: a half day, especially if you're like the kind of

592
00:34:45,520 --> 00:34:47,600
Speaker 1: person who gets there at rope drop in the morning.

593
00:34:47,920 --> 00:34:51,520
Speaker 1: You can absolutely do it all. Like I said, I

594
00:34:51,560 --> 00:34:54,759
Speaker 1: want to stay there constantly, so even when there's not

595
00:34:55,120 --> 00:34:57,040
Speaker 1: much more to do, I'm still happy to do it.

596
00:34:57,440 --> 00:34:59,520
Speaker 1: The only other thing that is a little bit of

597
00:34:59,520 --> 00:35:01,879
Speaker 1: a time, and I think if it's your first time

598
00:35:01,920 --> 00:35:03,759
Speaker 1: you don't want to mess with it is something called

599
00:35:05,480 --> 00:35:08,719
Speaker 1: Bounty Hunt, where you use your Magic Band Plus and

600
00:35:08,760 --> 00:35:12,960
Speaker 1: there's an interface over by the garage area that gives

601
00:35:13,000 --> 00:35:16,640
Speaker 1: you bounties to go hunting around the land. It's all digital,

602
00:35:16,640 --> 00:35:19,120
Speaker 1: it's not like you actually go interact with anything. You

603
00:35:19,200 --> 00:35:21,480
Speaker 1: find doors and scan them to see what might be

604
00:35:21,480 --> 00:35:23,680
Speaker 1: behind them. It's very fun for people that have been

605
00:35:23,719 --> 00:35:25,600
Speaker 1: a lot, but for first timers, I would say you

606
00:35:25,640 --> 00:35:27,680
Speaker 1: are fine to steer clear of it. You're not You're

607
00:35:27,719 --> 00:35:29,560
Speaker 1: not going to feel like you missed a big, cool thing.

608
00:35:29,600 --> 00:35:32,560
Speaker 1: It's more like in something that augments your experience there

609
00:35:32,600 --> 00:35:35,839
Speaker 1: if you go a lot. In my opinion, so that's

610
00:35:35,880 --> 00:35:38,240
Speaker 1: what I would do. I would knock out Rise first

611
00:35:38,239 --> 00:35:40,440
Speaker 1: thing in the morning because that line gets very very

612
00:35:40,480 --> 00:35:43,799
Speaker 1: long unless you buy Lightning Lane, which can you can

613
00:35:43,840 --> 00:35:48,280
Speaker 1: schedule a time. Smuggler's Run not usually as battle line,

614
00:35:48,320 --> 00:35:50,399
Speaker 1: and if you're willing to separate, you can do single

615
00:35:50,520 --> 00:35:52,920
Speaker 1: rider and that usually goes very fast. And then just

616
00:35:52,960 --> 00:35:57,240
Speaker 1: work that around your reservations for lightsaber building and ogas

617
00:35:57,280 --> 00:36:00,440
Speaker 1: if you do that. I will say, if you want

618
00:36:00,440 --> 00:36:03,360
Speaker 1: to get cocktails and you can't get in Ogu's reservation,

619
00:36:03,480 --> 00:36:07,239
Speaker 1: don't sweat it because in Florida, Galaxy's Edge is in

620
00:36:07,400 --> 00:36:10,040
Speaker 1: Hollywood Studios, which is an alcohol park, So you can

621
00:36:10,080 --> 00:36:12,960
Speaker 1: actually get drinks at like any of the food stands,

622
00:36:13,480 --> 00:36:15,600
Speaker 1: and the milk stand will do alcoholic versions of the

623
00:36:15,640 --> 00:36:18,600
Speaker 1: milk if that's your thing. Just in case you're like, oh,

624
00:36:18,600 --> 00:36:22,440
Speaker 1: but I wanted cocktails, you can get them anywhere that's

625
00:36:22,520 --> 00:36:25,799
Speaker 1: my thing. I would say to me, I don't know

626
00:36:25,840 --> 00:36:27,759
Speaker 1: that I need a full day in Animal Kingdom, so

627
00:36:28,000 --> 00:36:31,400
Speaker 1: your mileage may vary on that. It's amazing. There's a

628
00:36:31,440 --> 00:36:35,200
Speaker 1: lot of beautiful stuff, but uh, the big one there

629
00:36:35,280 --> 00:36:38,080
Speaker 1: is Flights of Passage, which is over in the Pandora area.

630
00:36:38,160 --> 00:36:40,440
Speaker 1: In terms of like amazing rides and if you just

631
00:36:40,480 --> 00:36:42,440
Speaker 1: love to look at animals, there's tons of great stuff,

632
00:36:42,480 --> 00:36:47,439
Speaker 1: but that's it. Also great restaurants, Yak and Yetti forever Man. Yeah,

633
00:36:47,480 --> 00:36:49,400
Speaker 1: I think the trick I learned from you for Animal

634
00:36:49,480 --> 00:36:52,320
Speaker 1: Kingdom is get there right when they open, b line

635
00:36:52,520 --> 00:36:56,920
Speaker 1: back to like the Safari ride, Yes, and then your

636
00:36:56,960 --> 00:36:59,399
Speaker 1: way work back. Oh have you changed your opinion? Well,

637
00:36:59,400 --> 00:37:02,880
Speaker 1: only because flights of passage get so busy, Okay, And

638
00:37:03,080 --> 00:37:07,080
Speaker 1: so that is it was when we were there. Yeah,

639
00:37:07,120 --> 00:37:09,160
Speaker 1: And it's not a thing because I've been back one

640
00:37:09,160 --> 00:37:11,520
Speaker 1: time since the time that we were there, and like,

641
00:37:11,600 --> 00:37:15,000
Speaker 1: I just did not It was not something that I

642
00:37:15,040 --> 00:37:17,640
Speaker 1: was into spending my time on. So the prior advice

643
00:37:17,880 --> 00:37:22,239
Speaker 1: of being lined to the Safari ride and work your

644
00:37:22,239 --> 00:37:26,760
Speaker 1: way back, I will say for the Safari the best

645
00:37:26,760 --> 00:37:29,560
Speaker 1: times and you've probably read this are first thing in

646
00:37:29,560 --> 00:37:32,560
Speaker 1: the morning and last thing in the day because in

647
00:37:32,600 --> 00:37:35,080
Speaker 1: the middle of the day it is so hot that

648
00:37:35,160 --> 00:37:38,040
Speaker 1: all the animals are like, I'm gonna go find shade. Yeah,

649
00:37:38,440 --> 00:37:43,640
Speaker 1: you don't see as much activity. So but that's the scoop.

650
00:37:43,760 --> 00:37:46,400
Speaker 1: So I hope, uh right back and send me pictures

651
00:37:46,440 --> 00:37:48,560
Speaker 1: and tell me how it all went. But I think

652
00:37:48,600 --> 00:37:51,399
Speaker 1: you can absolutely do. Three quarters is plenty of time

653
00:37:51,400 --> 00:37:54,680
Speaker 1: for Hollywood studios. There are lots of yummy places to

654
00:37:54,680 --> 00:37:56,960
Speaker 1: eat if you want to eat somewhere that's not Galaxy,

655
00:37:57,000 --> 00:38:01,719
Speaker 1: said brown Derby. One of the great things too, is

656
00:38:01,719 --> 00:38:04,640
Speaker 1: that they have gotten a lot better across all the parks.

657
00:38:04,680 --> 00:38:08,920
Speaker 1: If you are a plant based eater, at offering way

658
00:38:08,960 --> 00:38:11,640
Speaker 1: better options than there used to be. So there are

659
00:38:11,680 --> 00:38:16,000
Speaker 1: some really much more delicious opportunities than there used to

660
00:38:16,040 --> 00:38:18,960
Speaker 1: be for plant based folks. So Hannah, like I said,

661
00:38:19,000 --> 00:38:21,200
Speaker 1: report back please because I want to know, and also

662
00:38:21,239 --> 00:38:23,719
Speaker 1: it will sustain me until I get tickoback next and

663
00:38:23,760 --> 00:38:26,480
Speaker 1: I hope you have an amazing time. But also if

664
00:38:26,480 --> 00:38:28,880
Speaker 1: you want to Wed Jane Epcott, Guardians and Galaxy, the

665
00:38:29,320 --> 00:38:35,920
Speaker 1: Cosmic rewind. Basically, I want everyone to do everything. If

666
00:38:35,920 --> 00:38:38,360
Speaker 1: you would like to write us about doing everything, or

667
00:38:38,440 --> 00:38:41,560
Speaker 1: about your trips to Disney World or anywhere that's pretty fun,

668
00:38:42,120 --> 00:38:45,760
Speaker 1: you should do that at Historam podcast at iHeartRadio dot com.

669
00:38:45,880 --> 00:38:48,000
Speaker 1: You can also find us on social media as Missed

670
00:38:48,000 --> 00:38:50,640
Speaker 1: in History, and if you have not subscribed yet, you

671
00:38:50,640 --> 00:38:53,080
Speaker 1: can do that any iHeartRadio app or anywhere you listen

672
00:38:53,120 --> 00:39:00,840
Speaker 1: to your favorite shows. Stuck Fumous in History Class is

673
00:39:00,880 --> 00:39:05,239
Speaker 1: a production of iHeartRadio. For more podcasts from iHeartRadio, visit

674
00:39:05,280 --> 00:39:08,719
Speaker 1: the iHeartRadio app, Apple Podcasts, or wherever you listen to

675
00:39:08,760 --> 00:39:11,640
Speaker 1: your favorite shows,