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Speaker 1: Welcome to Stuff you Should Know, a production of I

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Speaker 1: Heart Radio. Hey, and welcome to the podcast. I'm Josh

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Speaker 1: chuckles Clark, there's Chuck Josh's chuckles. Bryant. Yeah, that would

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Speaker 1: have been way better. And there's Jerry just Jerry rolling

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Speaker 1: hanging out too, and that makes this stuff you should

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Speaker 1: Know about Vaudeville. Uh, my favorite day of the year

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Speaker 1: is today, Uh, Vaudeville Day. No, I mean, you can

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Speaker 1: never tell when it's gonna happen, and it will get

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Speaker 1: hot again. But it's that first whiff of fall. Oh,

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Speaker 1: I love that so much. It's so nice, isn't it.

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Speaker 1: It's one o'clock in Atlanta and it's seventy three degrees humidity,

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Speaker 1: which is for Atlanta that means zero humidity. Yeah, exactly,

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Speaker 1: a little cool breeze blowing. Yeah, it's beautiful out Those

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Speaker 1: leads are gonna start turning any second. No, we'll get

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Speaker 1: hot as hades again before October. It just does Yeah,

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Speaker 1: it does that, like it makes sure it's nice and

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Speaker 1: balmy and muggy on Thanksgiving for some reason. And then

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Speaker 1: in the winter it'll start to get nice, like you're like, okay,

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Speaker 1: spring is here, and then bam, they dumped you with

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Speaker 1: the only snowfall of the year in mid February. But

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Speaker 1: is an odd place at least for this one day

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Speaker 1: we get a little a little whiff of fall, a

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Speaker 1: little whiff of football in the air. Yeah, the stank

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Speaker 1: of football is in the air. So we're not talking

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Speaker 1: about football, although I'm sure somebody did a jokey football

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Speaker 1: routine at some point in the history of vaudeville, which

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Speaker 1: is what we're talking about. We're talking about vaudeville. Like

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Speaker 1: I just said, yeah, and this was an idea by

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Speaker 1: the very guy who wrote it for us, or old

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Speaker 1: pal Dave Ruse. He said, uh. He got very aggressive

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Speaker 1: and said, hey, Chuck, since it's your turn to pick one.

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Speaker 1: You know this thing on vaudeville or saw something on vaudeville.

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Speaker 1: It sounded interesting, And I said, all right, smarty pants,

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Speaker 1: good do it. He said, oh, you want me do it?

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Speaker 1: Huh huh. Very. I'm surprised we haven't done this before though,

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Speaker 1: because it's really cool and kind of I think it's

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Speaker 1: appropriate that it's uh, sort of nearby our sitcoms too,

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Speaker 1: for right, because this was like this was it, this

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Speaker 1: was TV baby before there was TV. Yeah, and there's

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Speaker 1: before we get started. I'm hoping you can help me

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Speaker 1: figure this out. But we have definitely talked about the

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Speaker 1: vaudeville circuit at length in another episode, and it's been

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Speaker 1: driving me bananas because I cannot think of what the

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Speaker 1: episode was. Was it freak Shows? No, I think it

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Speaker 1: was more recent than that, within the last year or

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Speaker 1: two it was. I don't think it was freak shows, man,

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Speaker 1: I really don't. But I looked. I was like, wait

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Speaker 1: a minute, have we done Vaudeville? But warm we definitely

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Speaker 1: have not, because we talked about the circuit on another

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Speaker 1: episode exactly. Yeah, that was so we talked about like

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Speaker 1: the Poconos, the borsched Belt and all that. Yeah. I

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Speaker 1: don't remember what we would have been talking. I don't

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Speaker 1: think it had anything to do with desert survival. Luckily,

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Speaker 1: we have a thousand people that listen to our show

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Speaker 1: every week, at the very least eight hundred. Uh. Yeah,

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Speaker 1: it's it's very familiar to me. I don't I don't

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Speaker 1: know unless we did. Boud Villain just spaced both of

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Speaker 1: us and didn't title it appropriately. We titled a podcast

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Speaker 1: to remember, so we are talking vaud Villain. I think

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Speaker 1: it's one of those things where even if you're gen Z,

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Speaker 1: even if you're a boomer, it doesn't matter. Everybody's at

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Speaker 1: least somewhat familiar cognizant that Vaudeville existed at some time

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Speaker 1: in the past and had to do with um jokes,

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Speaker 1: There were yucks involved. Um, it happened on stage. It

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Speaker 1: was deeply racist in a lot of places, and for

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Speaker 1: a lot of people that's like the sum total of

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Speaker 1: what they understand about Vaudeville. But it is not h

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Speaker 1: an overstatement to say that Vaudeville basically gave birth to

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Speaker 1: every form of entertainment that we know and love today.

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Speaker 1: It was a strange midwife between the theater and mass

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Speaker 1: um commercial media. Yeah, did you write that down? That

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Speaker 1: was good? I did. I didn't, but I'm like furiously

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Speaker 1: rubbing it off in my form. Uh. You know, it's

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Speaker 1: for sure deeply racist in some ways at times, which

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Speaker 1: we'll talk about, but also deeply inclusive and that uh,

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Speaker 1: all kinds of people performed Vaudeville. Everybody loved Vaudeville. I

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Speaker 1: mean it spanned every sort of demographic you could imagine,

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Speaker 1: from old to young and ethnic ethnicity to uh, wealthy

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Speaker 1: people to poor people because it didn't cost a whole lot.

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Speaker 1: You know, people would would literally save their pennies to

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Speaker 1: get into these cheap dime Uh I was about say

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Speaker 1: dime store, but whatever dime a ticket entry shows, right,

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Speaker 1: and it was family friendly too, as we'll see, which

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Speaker 1: was kind of revolutionary. Um and that actually established vaudeville

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Speaker 1: is like a like a genuine American phenomenon. Yeah, I

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Speaker 1: mean that was the deal. And you know, we were

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Speaker 1: sort of the Vaudeville of podcast fifteen years ago in

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Speaker 1: some ways because everyone else came out of the gate, say,

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Speaker 1: you know what, FCC doesn't care what we say, Phil Florence,

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Speaker 1: Phil foul And uh, looking back now, we were lucky

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Speaker 1: enough to have a I guess fortunate enough to have

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Speaker 1: a company at the time that was like you're not

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Speaker 1: allowed to cuss and stuff, Uh, I don't even try stuff.

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Speaker 1: We didn't and uh we we had to park our

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Speaker 1: notoriously foul tongues at the door. And I think that's

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Speaker 1: what helped our show out in a lot of ways,

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Speaker 1: is that people listen to it in classrooms and in

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Speaker 1: the car with their families and stuff like that. Right, absolutely,

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Speaker 1: and like to to think today like of just randomly

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Speaker 1: cursing casually and stuff. You should know. It's it seems weird.

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Speaker 1: We could now if we wanted to. I mean, I

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Speaker 1: don't want to chuck. Don't make me oh cus cuss nay. Instead,

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Speaker 1: let's talk about Vaudeville. And we're gonna keep it clean

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Speaker 1: and family friendly, just like Vaudeville. And we're gonna start

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Speaker 1: chuck with actually the word vaudeville, which it sounds French,

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Speaker 1: vaguely French, and um correctly so because it actually originates

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Speaker 1: in the French language. That's right, apparently. And this is

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Speaker 1: I think Dave was right on point. He says it

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Speaker 1: has a pretty interesting etymology as far as etymologies go,

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Speaker 1: this one seems to be kind of ironclad and interesting. Yeah,

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Speaker 1: it's rare, because yeah, it's very rare. So uh. In

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Speaker 1: the fifteenth century in France, it was a poet. His

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Speaker 1: name was, I guess you would say Olivier Bassilie. But

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Speaker 1: the ironic thing is he didn't know it. It took

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Speaker 1: me a half a beat to get that one. It did.

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Speaker 1: I was like, is there a latency here? Uh? And

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Speaker 1: he was a poet who wrote a satire. He was

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Speaker 1: I guess sort of like the Ray Stevens of his time.

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Speaker 1: That's something that gen Z will not get for sure.

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Speaker 1: God bless you for that, gen Z. And so what

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Speaker 1: was the deal that? Where was he from? He was

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Speaker 1: from the vau de Vie, which is the Vier Valley

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Speaker 1: in French. And so um, these kind of silly, folksy

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Speaker 1: country songs, often satirical, that you know, found their origination

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Speaker 1: in the fourteen hundreds in France came to be known

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Speaker 1: as chanson de vaudeville, so songs from the Vier Valley

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Speaker 1: and basically, yeah, that would have that would have absolutely

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Speaker 1: been a chanson de vaudevie. So um. Over time, I

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Speaker 1: guess in France, everybody's sick of, you know, putting the

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Speaker 1: Vier Valley on the map, and they just changed veer

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Speaker 1: to veal, which means town. So technically vaudeville means valley town,

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Speaker 1: which makes zero sense if you stop and think about it.

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Speaker 1: But it doesn't matter because it gets the point across,

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Speaker 1: because it's evolved to take on a different meaning over time. Yeah,

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Speaker 1: and these in France they had uh fiata du vaudeville,

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Speaker 1: which were these parody plays. And then when America, you know,

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Speaker 1: Vaudeville is a uniquely American thing. Uh. Well, not uniquely American,

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Speaker 1: because there were precedents in other countries, but Vaudeville itself

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Speaker 1: became very American, and you'll see why. But they basically

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Speaker 1: just said, hey, that sounds kind of fancy and French,

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Speaker 1: and that was at a time in America and when

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Speaker 1: they liked to name things fancy French things. Well, yes, also,

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Speaker 1: so one of the things about Vaudeville that it's important

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Speaker 1: to realize is that it was created for this burgeoning

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Speaker 1: middle class where there like a lot more there's people

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Speaker 1: had a little more spending money than they did before.

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Speaker 1: There weren't conditions stunk, as we'll see, but there was

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Speaker 1: a middle class developing and this was designed specifically to

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Speaker 1: target those people. And they wanted to differentiate themselves from

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Speaker 1: some of the predecessors, which were much bodier, much racier,

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Speaker 1: much more drunken um and Vaudeville was like, no, we're different,

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Speaker 1: even though it's a lot the same stuff. Yeah, England, Italy,

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Speaker 1: they all had these sort of body plays where people

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Speaker 1: would get hammered in the audience or and or on stage. Uh.

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Speaker 1: In America, even pre Civil War, the shows were um,

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Speaker 1: you know, they were very risque. They were kind of

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Speaker 1: burlesque in nature, or you might have like, you know,

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Speaker 1: sort of uh scantily clad. At the time, of course

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Speaker 1: there was nothing like you would see today, but like

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Speaker 1: a scantily clad uh ladies dancing, uh and then like

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Speaker 1: two guys bare knuckle boxing right afterward and everyone is

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Speaker 1: getting drunk. And I bet those were a lot of fun.

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Speaker 1: But uh, you know, it sounds a lot like a

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Speaker 1: Chelsea Handler show today. But a few gentlemen came along,

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Speaker 1: in particular in the United States that said, hey, why

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Speaker 1: don't we, like you said, open this up to the

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Speaker 1: middle class, make it for everyone, and make it where

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Speaker 1: families could come. Because they wanted to make money. I

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Speaker 1: don't think they're on a crusade to clean up America's act.

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Speaker 1: Is they wanted to get rich. No, but they were

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Speaker 1: the kind of strict um like I guess taskmasters that

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Speaker 1: that like, they had some really strange requirements as we'll see.

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Speaker 1: Well we'll get to that in a second. But um,

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Speaker 1: in addition to the variety shows, circuses were a thing.

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Speaker 1: I think they we've never done an actual circus episode,

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Speaker 1: have we. We've done a lot of the circus arts,

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Speaker 1: but I don't know that we've done a full like

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Speaker 1: circus apply. I think very us it's hilarious. So circuses

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Speaker 1: were kind of coming of age at the time. UM.

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Speaker 1: There were also side shows something called dime museums, which

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Speaker 1: is basically like a storefront um where people would pay

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Speaker 1: and just come look at some exhibits. And I saw

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Speaker 1: I found this amazing contemporary yes, reporting from the Saturday

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Speaker 1: Evening Post from June and it was basically UM an

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Speaker 1: article written by one of the big vaudeville producers at

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Speaker 1: the time, Percy G. Williams, and it was called Vaudeville

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Speaker 1: and the Vaudevillians, and he's talking about some of the

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Speaker 1: origins of vaudeville and he says that one of them

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Speaker 1: the three biggest people to establish vaudeville was Benjamin Franklin Keith,

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Speaker 1: and his first role as a manager was of a

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Speaker 1: store show that featured a fat baby as the main attractions.

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Speaker 1: Did that baby grow up to be? Is there a

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Speaker 1: great ending there? Then the baby grew up to be

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Speaker 1: DC Fields. Let's you should just say that everybody would

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Speaker 1: believe you? Sure, I know that's It wasn't as funny

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Speaker 1: because it was sobelievable. No, no, no, I love it.

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Speaker 1: So b F. Keith was one of the guys. A

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Speaker 1: guy named e F. Albie was another guy. They teamed

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Speaker 1: up um As Cohorts in Boston and opened up the

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Speaker 1: Bijou Theater and basically developed a and as you'll see,

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Speaker 1: kind of with vaudeville, it wasn't just like, hey, listen,

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Speaker 1: you know, we'll just do a show every now and then.

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Speaker 1: They developed these circuits in these systems, in these tours

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Speaker 1: and these basically management companies where they would just send

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Speaker 1: people out all over the country, and it really kind

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Speaker 1: of quickly became like a big, big business. Chuck asked

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Speaker 1: me again, who the fat baby grew up to be? He?

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Speaker 1: Is there a great ending like who that fat baby

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Speaker 1: grew up to be? Yeah? That fathe? Take three? Hey?

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Speaker 1: Yeah that who that fat baby? Take four? Hey, does

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Speaker 1: have a great inning here that that baby grow up

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Speaker 1: to be Tony Danza even better? Okay, that's Tony Dance

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Speaker 1: is a better punch line in almost every joke. Agreed, man.

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Speaker 1: And apparently Who's the Boss is having some sort of

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Speaker 1: reboot in I saw it on Entertainment tonight. So um

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Speaker 1: so it's true. So Tony Pastor was the guy who

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Speaker 1: supposedly coined the term vaudeville or adopted the term vaudeville

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Speaker 1: to describe this thing that was basically like those variety shows,

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Speaker 1: except no not body. Um there was no liquor on

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Speaker 1: the premises, which was a big one at the time. Um,

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Speaker 1: the skits and the performers were all family friendly. The

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Speaker 1: language was family friendly. It was like the kind of

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Speaker 1: thing that like the whole family, from the little kids

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Speaker 1: to the grandma and the parents could all go sit

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Speaker 1: down and enjoy this this show together. Right. Um. And

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Speaker 1: like I said, they had some really like strict requirements.

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Speaker 1: I saw BF Keith, Benjamin Franklin Keith particularly did not

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Speaker 1: like certain kinds of language. Um, he's he didn't like

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Speaker 1: it if you said slab okay, son of a gun,

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Speaker 1: holy g, which I think is maybe gali G. Yeah,

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Speaker 1: I don't get that one. That one's weird. And the

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Speaker 1: kuda gra chuck pants. Do not say pants around b F. Keith.

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Speaker 1: You better say trousers or else you're gonna get what

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Speaker 1: was referred to as a blue envelope. Right Yeah, and

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Speaker 1: here's where it gets, Um, the whole notion of blue comedy,

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Speaker 1: which is comedy that is got like foul language or whatever,

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Speaker 1: like if you're doing blue work or blue comedy. There

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Speaker 1: are a lot of different because you know, Dave said

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Speaker 1: in here, uh, and Dave didnt make this up, but

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Speaker 1: he saw that that may have been one of the

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Speaker 1: origins of some people think it's the origin of the

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Speaker 1: term working blue. We're doing blue comedy. And I looked

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Speaker 1: into it and there were there there are a lot

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Speaker 1: of different explanations. Um, I mean I saw like eight

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Speaker 1: or ten and they all sounded pretty realistic. Everything from

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Speaker 1: this one uh comedian named Max Miller who kept all

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Speaker 1: his adult jokes in a blue notebook. That's kind of

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Speaker 1: roundly been dismissed to In England after the Theater Act

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Speaker 1: of eighty three, they had to submit plays to the

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Speaker 1: Examiner of Plays like Capital the Capital p to audit

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Speaker 1: the scripts and then send them back and say you

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Speaker 1: can't get a permit with the script. And apparently they

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Speaker 1: would do that in blue pencil. That sounded really realistic.

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Speaker 1: But there were a bunch of different stories. But at

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Speaker 1: any rate, perhaps if you got a blue envelope from

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Speaker 1: Benjamin Franklin Keith that that could have been the origin

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Speaker 1: as well. Who knows. Yeah, because it meant like he

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Speaker 1: was sending you a note to say, like, you better

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Speaker 1: tone your act down or you're gonna get the boot. Basically,

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Speaker 1: that's right. And in addition to blue, a lot out

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Speaker 1: of the terms we used today came out of Vaudeville.

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Speaker 1: I saw um like killing them, killing them, not that

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Speaker 1: word I just made up, just killed on stage, Yes, exactly, headliner,

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Speaker 1: sure fire, lemon for like a bad thing, like a failure, um,

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Speaker 1: a bunch of different stuff that I had no idea of.

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Speaker 1: This just completely part of the common vernacular. Just came

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Speaker 1: out of the vaudeville world. It's the origins of origins

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Speaker 1: of popular entertainment. We're having a hard time today. I

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Speaker 1: don't know what's going on. I got marbles in my mouth.

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Speaker 1: I'm all excited about fall. Maybe just take a break, okay,

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Speaker 1: Oh yeah, let's do that, all right. I'm gonna get

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Speaker 1: these marbles out and we'll be right back. Okay. So

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Speaker 1: this is something we've talked a lot about in various

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Speaker 1: episodes over the years. But um, pre Civil War and

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Speaker 1: post Civil War America were very different in how people lived.

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Speaker 1: Pre Civil War about nine of Americans lived in the country.

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Speaker 1: Um by the you know, mid eighteen eighties or so. Um,

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Speaker 1: the industrial the Second Industrial Revolution comes around all of

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Speaker 1: a sudden, it is almost flip flopped. It's about half

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Speaker 1: and half of people living in cities and people still

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Speaker 1: hanging out in the country. And in those cities there

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Speaker 1: are obviously a lot of immigrants coming in like really

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Speaker 1: really quickly, especially in places like New York obviously, and

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Speaker 1: they were you know, didn't make a lot of money,

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Speaker 1: but they worked really really long hours and had very

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Speaker 1: little free time. And all of a sudden, there was

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Speaker 1: this thing that you could do with your very little

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Speaker 1: free time that costs like a nickel or a dime,

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Speaker 1: and you could go in there for a few hours

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Speaker 1: and kind of forget the drudgery of living in a

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Speaker 1: tenement building and working in a factory. Yeah, and so like,

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Speaker 1: not only did it bring like the people from the

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Speaker 1: neighborhood around, because like one vaudeville theater owner might own

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Speaker 1: ten theaters in one city like New York, so that

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Speaker 1: they were they catered to the neighborhood, so you don't

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Speaker 1: have to go very far. Um. Dave also points out

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Speaker 1: that through some of like the the most cringe e

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Speaker 1: and outright racist ethnic jokes and slurs that were part

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Speaker 1: of the acts of some of these not all the acts,

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Speaker 1: but enough of them that it was definitely a thing

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Speaker 1: that it wasn't meant to be mean spirited, um, at

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Speaker 1: least not in the vaudeville world that had definitely been

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Speaker 1: means spirited before. UM. But say like if you were

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Speaker 1: poking fun at Chinese immigrants and how they talked, or um,

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Speaker 1: Irish immigrants and how they talked, um, it was a

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Speaker 1: form of assimilation in a weird way because those very

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Speaker 1: people were out there in the audience laughing along with

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Speaker 1: everybody else. Or sometimes, as we'll see, um, people of

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Speaker 1: that ethnicity may have been playing those you know, over

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Speaker 1: the top stereotype versions of their ethnicity and and in

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Speaker 1: a weird way it does. It is kind of how

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Speaker 1: people came together and initially melted together when America was

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Speaker 1: just beginning to be a melting pot. Yeah, was the

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Speaker 1: initial melt right. Um. So let's talk a little bit

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Speaker 1: about how these things went down, because there was a

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Speaker 1: very kind of great motto for vaudeville, which was, if

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Speaker 1: you don't like this, wait a few minutes and that's

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Speaker 1: how it went down. They were variety shows in every uh,

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Speaker 1: every essence of that word. Um. We've done a few

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Speaker 1: variety shows over the years, and I definitely enjoy our

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Speaker 1: stuff you should know live, which, by the way, look

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Speaker 1: for some announcements soon for early next year. Yeah, West Coast,

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Speaker 1: Hint Antonia. I definitely prefer those. But early on we

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Speaker 1: did a few variety shows where we would have like

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Speaker 1: some music and it can median and someone you were

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Speaker 1: reading and uh, you know the someone uh interpretive dance.

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Speaker 1: That's the one thing we liked. But those are always

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Speaker 1: a lot of fun because I think we both enjoyed

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Speaker 1: that spirit of the variety show. When you're a kid

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Speaker 1: of the seventies and eighties, those were still very much

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Speaker 1: a part of television growing up. Um, and they they're

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Speaker 1: they're the you can draw a direct line from what

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Speaker 1: you saw on you know, the Mandrell Sister Show or

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Speaker 1: he haw right back to vaudeville. Uh. And the whole

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Speaker 1: idea was, if you don't like it, wait a few minutes.

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Speaker 1: They would have you know, maybe ten fifteen minute, twenty

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Speaker 1: minute at the longest, the thirty minute act and then

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Speaker 1: somebody completely different would come out next. Yeah, and um,

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Speaker 1: Percy Williams kind of put it pretty plainly in that

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Speaker 1: Saturday Evening Post article that like a vaudeville theater manager

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Speaker 1: is entirely different from what he called the legitimate theater

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Speaker 1: manager um in that every week you were coming up

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Speaker 1: with a new you like show of ten twelve acts

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Speaker 1: that you had to arrange just the right way to

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Speaker 1: keep the audience entertained. You lull them into like complacency

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Speaker 1: with a beautiful like ballet act, and then after that,

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Speaker 1: like two acrobats who may or may not have been

348
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Speaker 1: brothers came bounding out onto the stage, and after that

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Speaker 1: there was a comedian who would just slay everybody. Um Like.

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Speaker 1: It was very much laid out in the way that

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Speaker 1: um that it was supposed to be, and it was

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Speaker 1: all all vaudeville shows were laid out in the exact

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Speaker 1: same way, but they're the different kinds of acts. Dave

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Speaker 1: dug up a handbook from nineteen fourteen called how to

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Speaker 1: Enter Vaudeville Your Favorites, Yes, proceed though I'm marked down

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Speaker 1: five six seven. All right, Uh, well, my first favorite

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Speaker 1: was the first one on the list, a shadow list,

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Speaker 1: because those are just fun those are people who I

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Speaker 1: guess do like the hand shadows and things, right, that

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Speaker 1: would be my take on it too, Yeah for sure. Yeah. Um.

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Speaker 1: My first him was a hobo act. And the reason

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Speaker 1: why the reason why I chose hobo acts because I

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Speaker 1: saw that, Um, Benjamin Franklin Keith's shows at his theaters.

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Speaker 1: Even if you're doing a hobo act, you still had

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Speaker 1: to wear a clean shirt. That's pretty funny. Yeah, You're like, no,

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Speaker 1: but this is my outfit and said sorry sorry. The

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Speaker 1: next on my list was the human Calculator act. Okay,

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Speaker 1: I'd like that too. Yeah. Um, I've got one electrical act,

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Speaker 1: which I mean we're talking like the beginning of the

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Speaker 1: twentieth century, so electricity was really strange and exotic, and

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Speaker 1: there were people who would have different acts. So, um,

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Speaker 1: I found this site called uh Vaudeville America, and every

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Speaker 1: single Vaudeville act that ever performed would have a little

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Speaker 1: note card with like a little summation about their show,

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Speaker 1: how it was received by the audience, how long it ran, um,

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Speaker 1: and Vaudeville America has all of these things, and I

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Speaker 1: found him for electrical act. It was all over the place,

378
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Speaker 1: like it could be electricity used to trigger special effects

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Speaker 1: or um it could be like a scientist demonstrating different

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Speaker 1: things with electricity, or sometimes people took massive electrical shocks

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Speaker 1: to the body to perform, like that was what they

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Speaker 1: did as part of their electrical show. So that was

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Speaker 1: definitely one of my favorites too. Yeah, I mean there

384
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Speaker 1: were definitely some sort of Jim Rose Circus adjacent things

385
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Speaker 1: like sword swallowing and stuff like that. Um, but my

386
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Speaker 1: favorite my last two our statuary posing and uh paper tearing. Yeah,

387
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Speaker 1: paper tearing. It was like I don't know about that one.

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Speaker 1: I mean it must be well, I don't know. I

389
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Speaker 1: was gonna say it must be like ripping phone books

390
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Speaker 1: in f but it might not have been. Maybe it

391
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Speaker 1: was tearing paper like a reverse or a gami or something. Yeah,

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Speaker 1: that's what I would take it as for sure. It's

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Speaker 1: basically a vaudeville show. Was uh comp elation of stuff

394
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Speaker 1: that you would see today at halftime at NBA games.

395
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Speaker 1: You know, like there'd be a dude like balancing a

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Speaker 1: chair on his chin and on top of that or

397
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Speaker 1: eight other chairs and at the very top of that

398
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Speaker 1: is his wife. Like like that's the kind of stuff

399
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Speaker 1: that you would see at vaudeville, and then you'd also

400
00:24:18,040 --> 00:24:20,920
Speaker 1: see serious stuff too, Like there were tabloid plays where

401
00:24:20,920 --> 00:24:25,600
Speaker 1: they would distill like a three four act play down

402
00:24:25,600 --> 00:24:29,359
Speaker 1: into fifteen minutes, and it wasn't necessarily a comedy. It

403
00:24:29,359 --> 00:24:31,480
Speaker 1: could be a tragedy. And these people just figured out

404
00:24:31,520 --> 00:24:34,000
Speaker 1: how to do the reader's diegt version. So it was

405
00:24:34,160 --> 00:24:36,600
Speaker 1: all over the place, and they they were laid out

406
00:24:36,600 --> 00:24:39,640
Speaker 1: in just the right way by the vaudeville theater managers. Yeah,

407
00:24:39,680 --> 00:24:41,800
Speaker 1: that was a great quote from this. Did you watch

408
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Speaker 1: any of that PDS documentary? Yeah, it was very good.

409
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Speaker 1: It was good. Uh. The quote from there was there

410
00:24:47,040 --> 00:24:49,439
Speaker 1: was everything from a guy playing a piano to a

411
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Speaker 1: guy eating a piano. Did you see that agent who

412
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Speaker 1: described the guy who would eat a baby shark and

413
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Speaker 1: then throw it up back into like a are and

414
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Speaker 1: the shark would just swim around afterwards. It's I mean,

415
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Speaker 1: that was vaudeville, um, And you know, like you said,

416
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Speaker 1: they had to lay it out in such a way

417
00:25:08,760 --> 00:25:10,520
Speaker 1: it was. It wasn't just willy nilly, you know, it

418
00:25:10,560 --> 00:25:14,240
Speaker 1: was very intentional. And apparently the first act to be

419
00:25:14,359 --> 00:25:17,960
Speaker 1: the first act of the last act wasn't a great sign. Uh,

420
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Speaker 1: for you that well, probably what it probably meant is

421
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Speaker 1: that you were either brand new or just not very good,

422
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Speaker 1: and you didn't really have a great act. But they

423
00:25:26,680 --> 00:25:29,800
Speaker 1: needed somebody because the opening act would be kind of

424
00:25:29,800 --> 00:25:31,920
Speaker 1: the seating act, like people are still sort of getting

425
00:25:31,920 --> 00:25:33,960
Speaker 1: in their seats and doing their thing, but they wanted

426
00:25:33,960 --> 00:25:35,920
Speaker 1: to have something up there. I was about to say

427
00:25:35,960 --> 00:25:38,560
Speaker 1: on the screen on the stage. Um. And then the

428
00:25:38,640 --> 00:25:42,720
Speaker 1: last one, which is hysterical and goes counter to every

429
00:25:43,160 --> 00:25:45,359
Speaker 1: show biz rule now, which was like leave them with

430
00:25:45,400 --> 00:25:48,840
Speaker 1: something great. They wanted to purposely leave them with something

431
00:25:48,920 --> 00:25:51,320
Speaker 1: not so great so they could just turn the house

432
00:25:51,320 --> 00:25:53,240
Speaker 1: over and get people the heck out of there and

433
00:25:53,240 --> 00:25:56,919
Speaker 1: they wouldn't be like more and more so they would

434
00:25:57,320 --> 00:25:59,919
Speaker 1: It was like in Mexicali Grill in Athens when we

435
00:26:00,000 --> 00:26:03,520
Speaker 1: would uh, we would crank like you know Public Enemy

436
00:26:03,760 --> 00:26:06,560
Speaker 1: or you know, some really heavy metal or something at

437
00:26:06,560 --> 00:26:07,880
Speaker 1: the end of the night, just to get people out

438
00:26:07,920 --> 00:26:10,840
Speaker 1: of there. For sure, they called the last act on

439
00:26:10,880 --> 00:26:14,080
Speaker 1: the bill of the haircut act because that performer would

440
00:26:14,080 --> 00:26:16,520
Speaker 1: just see the back of everybody's heads on their way out.

441
00:26:16,880 --> 00:26:20,240
Speaker 1: To be clear, we loved Public Enemy. The people that

442
00:26:20,280 --> 00:26:25,040
Speaker 1: dined at Mexicali hated it. Sure, just wat chocolate and

443
00:26:25,080 --> 00:26:27,879
Speaker 1: public Enemy to get people out of there if you need.

444
00:26:27,920 --> 00:26:30,879
Speaker 1: The clientele at Mexicality, Rill and Athens in the mid nighties,

445
00:26:30,960 --> 00:26:34,280
Speaker 1: you know, yeah, some email are just just like yeah,

446
00:26:34,359 --> 00:26:39,320
Speaker 1: same draft. Um. So what that meant was that second

447
00:26:39,359 --> 00:26:41,400
Speaker 1: to the last act was is what you would look

448
00:26:41,440 --> 00:26:44,040
Speaker 1: at as sort of the the best act of the night.

449
00:26:44,560 --> 00:26:47,680
Speaker 1: And sometimes yeah, that could be like a really big name.

450
00:26:47,840 --> 00:26:50,240
Speaker 1: I mean it could be Harry Hudini on any given night.

451
00:26:50,280 --> 00:26:54,200
Speaker 1: It could be um, you know, Al Jolson for better

452
00:26:54,280 --> 00:26:57,480
Speaker 1: or for worse on any given night, like a huge,

453
00:26:57,760 --> 00:27:01,720
Speaker 1: massive star. Like these the people who were um, who

454
00:27:01,760 --> 00:27:04,520
Speaker 1: were the second to last act on a bill at

455
00:27:04,560 --> 00:27:08,600
Speaker 1: a big vaudeville theater in a big city were probably

456
00:27:08,760 --> 00:27:12,160
Speaker 1: the most famous people in the United States and Europe

457
00:27:12,240 --> 00:27:15,320
Speaker 1: in a lot of cases. Like they were as famous

458
00:27:15,359 --> 00:27:19,959
Speaker 1: as you can possibly get, legendary in their fields, beloved

459
00:27:19,960 --> 00:27:23,639
Speaker 1: by all, like and you could go spend ten or

460
00:27:23,800 --> 00:27:26,199
Speaker 1: twenty five cents, depending on how good the show was,

461
00:27:26,480 --> 00:27:29,080
Speaker 1: and see those people like in your neighborhood, you know,

462
00:27:29,160 --> 00:27:31,880
Speaker 1: depending on what city it was. Because like you said,

463
00:27:31,880 --> 00:27:35,800
Speaker 1: the um, the whole thing that kind of spread Vaudeville

464
00:27:35,800 --> 00:27:37,880
Speaker 1: far and wide was the fact that they created these

465
00:27:37,880 --> 00:27:41,240
Speaker 1: circuits and so you didn't even necessarily have to live

466
00:27:41,240 --> 00:27:43,879
Speaker 1: in a big city to see these people alive. Um,

467
00:27:44,000 --> 00:27:46,840
Speaker 1: because if you had a theater in your town that

468
00:27:46,920 --> 00:27:49,920
Speaker 1: was part of a circuit that originated in New York,

469
00:27:50,560 --> 00:27:53,199
Speaker 1: they might end up there performing as the second to

470
00:27:53,280 --> 00:27:55,720
Speaker 1: last act on the bill. And we'll, I mean, we'll

471
00:27:55,760 --> 00:27:57,560
Speaker 1: talk more about circuits in a minute, but I just

472
00:27:57,600 --> 00:28:03,320
Speaker 1: got very excited about that. Yeah, let's go back to racism. Yeah, okay,

473
00:28:03,400 --> 00:28:05,480
Speaker 1: So you know we made the point that um or

474
00:28:05,520 --> 00:28:07,840
Speaker 1: I don't know if we made this original point. Um,

475
00:28:08,200 --> 00:28:11,879
Speaker 1: when the someone was doing what you would call like

476
00:28:11,920 --> 00:28:16,880
Speaker 1: an ethnic dialogue act or a dialect act um, they

477
00:28:16,920 --> 00:28:21,080
Speaker 1: would go up there and do this racial ethnic stereotype

478
00:28:21,840 --> 00:28:24,879
Speaker 1: and it could be anything. It was like nobody was safe.

479
00:28:25,240 --> 00:28:27,680
Speaker 1: It could be a big Italitian guy doing this is

480
00:28:27,760 --> 00:28:31,080
Speaker 1: big spicy meatball thing. That's the only one I'm allowed

481
00:28:31,080 --> 00:28:32,520
Speaker 1: to do, so that's all I'm gonna do. No, it

482
00:28:32,560 --> 00:28:36,280
Speaker 1: could be like German, Irish, uh in any sort of

483
00:28:36,320 --> 00:28:39,880
Speaker 1: European immigrant. They could be making fun of Jewish people,

484
00:28:40,000 --> 00:28:44,280
Speaker 1: Chinese people, Native Americans who also had as we'll see,

485
00:28:44,320 --> 00:28:47,240
Speaker 1: their own circuit, and they would also make fun of themselves.

486
00:28:47,280 --> 00:28:50,000
Speaker 1: So it was interesting in that it was sort of

487
00:28:50,040 --> 00:28:54,520
Speaker 1: a uh, it was sort of the great leveling ground,

488
00:28:54,760 --> 00:28:59,760
Speaker 1: and that no one was really spared right right, And

489
00:29:00,760 --> 00:29:03,400
Speaker 1: in a lot of ways, it was because a lot

490
00:29:03,480 --> 00:29:06,440
Speaker 1: of the members of those same ethnic groups, like I

491
00:29:06,520 --> 00:29:10,760
Speaker 1: was saying, performed those dialect acts where they were really

492
00:29:10,800 --> 00:29:13,600
Speaker 1: hamming it up and really going over the top with

493
00:29:13,640 --> 00:29:18,360
Speaker 1: these stereotypes of their own ethnicity. Um. And even black face,

494
00:29:18,960 --> 00:29:24,240
Speaker 1: depending on the context was um depending on who is

495
00:29:24,280 --> 00:29:26,880
Speaker 1: doing it was anti racist because one of the overlooked

496
00:29:26,880 --> 00:29:30,040
Speaker 1: things about black faces as far as vaudeville is concerned,

497
00:29:30,320 --> 00:29:34,400
Speaker 1: there were a number of African American vaudeville performers who

498
00:29:34,480 --> 00:29:37,040
Speaker 1: did black face and actually preferred to do black face

499
00:29:37,320 --> 00:29:41,160
Speaker 1: because it changed everything. It said, we're in an alternate

500
00:29:41,280 --> 00:29:43,680
Speaker 1: universe here and the rules are kind of out the window.

501
00:29:44,400 --> 00:29:46,880
Speaker 1: And then they could all of a sudden do it

502
00:29:46,920 --> 00:29:50,840
Speaker 1: a take on a satire, let's say about the white

503
00:29:50,840 --> 00:29:53,680
Speaker 1: guy who's running the vaudeville show and get away and

504
00:29:53,680 --> 00:29:57,240
Speaker 1: get away with it, yeah, or make fun of the

505
00:29:57,280 --> 00:30:00,680
Speaker 1: idea of black face done by white people, like make

506
00:30:00,720 --> 00:30:04,480
Speaker 1: fun of black face acts as a black face act

507
00:30:05,280 --> 00:30:08,440
Speaker 1: performed by an African American, So yeah, it gave them

508
00:30:08,480 --> 00:30:11,280
Speaker 1: a lot more leeway to just kind of set things

509
00:30:11,320 --> 00:30:14,840
Speaker 1: straight a little more. But um, the history of black

510
00:30:14,840 --> 00:30:20,040
Speaker 1: faces terribly horribly racist. Um, but everything leading up to vaudeville,

511
00:30:20,120 --> 00:30:23,640
Speaker 1: and some vaudeville acts were still terribly racist. But um,

512
00:30:24,240 --> 00:30:29,840
Speaker 1: the stuff leading up to it was indisputably vilely racist. Yeah. Absolutely. Um.

513
00:30:29,920 --> 00:30:33,320
Speaker 1: One of the biggest stars in the early twentieth century

514
00:30:34,120 --> 00:30:39,040
Speaker 1: was a black man named Burt Williams. Very handsome, smooth,

515
00:30:39,080 --> 00:30:41,160
Speaker 1: cool looking dude. If you look at pictures of this guy,

516
00:30:41,800 --> 00:30:44,480
Speaker 1: he's like, he's like the Billy D. Williams of his time,

517
00:30:45,440 --> 00:30:48,560
Speaker 1: Billy D. Williams. Did I get that right? Yeah? Okay,

518
00:30:48,560 --> 00:30:50,320
Speaker 1: I don't know why that sounded wrong all of a sudden.

519
00:30:50,840 --> 00:30:54,440
Speaker 1: Do you ever do that? Yeah, and you're like what

520
00:30:55,440 --> 00:30:59,280
Speaker 1: it's called semantic satiation, really where you you do or say,

521
00:30:59,320 --> 00:31:03,960
Speaker 1: you're speak something so much that it just loses its

522
00:31:04,000 --> 00:31:06,640
Speaker 1: meaning and like doesn't look right spelled and all that stuff.

523
00:31:06,680 --> 00:31:08,240
Speaker 1: You know, I thought I got it wrong, actually just

524
00:31:08,240 --> 00:31:12,360
Speaker 1: figured out because in my head I had D as

525
00:31:12,520 --> 00:31:15,760
Speaker 1: D period like an initial and not D e E

526
00:31:16,840 --> 00:31:22,200
Speaker 1: like d Wallace, Billy D Wallace Williams anyway, Uh, he

527
00:31:22,280 --> 00:31:24,160
Speaker 1: kind of looked like Billy D a little bit, very

528
00:31:24,160 --> 00:31:27,440
Speaker 1: smooth looking guy. And he was the first black performer

529
00:31:27,520 --> 00:31:31,800
Speaker 1: to star to star in the Zike Field Follies, which was,

530
00:31:32,240 --> 00:31:34,479
Speaker 1: you know, one of the biggest vaudeville reviews in New

531
00:31:34,560 --> 00:31:37,800
Speaker 1: York City at the time. And he and also all

532
00:31:37,800 --> 00:31:41,200
Speaker 1: white too. Well, yeah, exactly. That's why it was important

533
00:31:41,200 --> 00:31:44,680
Speaker 1: that he was the first black performer. Sure, but he

534
00:31:44,800 --> 00:31:47,560
Speaker 1: was um. He did black face, of course, and he

535
00:31:47,960 --> 00:31:50,840
Speaker 1: was on record as saying, like he said, quote, it

536
00:31:50,880 --> 00:31:53,400
Speaker 1: was not until I was able to see myself as

537
00:31:53,440 --> 00:31:56,440
Speaker 1: another person, and I think he meaning black face, that

538
00:31:56,520 --> 00:31:59,080
Speaker 1: my sense of humor developed. So for him, I think

539
00:31:59,160 --> 00:32:01,120
Speaker 1: he said it a lot of to come out of

540
00:32:01,120 --> 00:32:05,400
Speaker 1: his shell sort of comedically. Fully. Yeah, there's um. They

541
00:32:05,440 --> 00:32:08,200
Speaker 1: covered him really well in that PBS documentary and there

542
00:32:08,280 --> 00:32:11,800
Speaker 1: was a quote from W. C. Fields. No word what

543
00:32:11,880 --> 00:32:15,240
Speaker 1: Tony Danza had to say, but W. C. Fields said that, um,

544
00:32:15,240 --> 00:32:18,320
Speaker 1: Burt Williams was the funniest man I ever saw and

545
00:32:18,400 --> 00:32:21,360
Speaker 1: the saddest man I ever met. And what he was

546
00:32:21,400 --> 00:32:24,240
Speaker 1: referring to is that Burt Williams is called the Jackie

547
00:32:24,360 --> 00:32:27,480
Speaker 1: Robinson of of vaudeville because he broke that color. Berrier

548
00:32:27,520 --> 00:32:29,680
Speaker 1: was the first one. But he also like seemed to

549
00:32:29,720 --> 00:32:31,800
Speaker 1: feel like the weight of history on his shoulders, and

550
00:32:32,160 --> 00:32:35,520
Speaker 1: he spent He just worked tirelessly to prove that he

551
00:32:35,640 --> 00:32:38,640
Speaker 1: was at least as good, if not better than any

552
00:32:38,680 --> 00:32:42,840
Speaker 1: white Carville performer, and supposedly, according to this PBS documentary,

553
00:32:42,880 --> 00:32:47,480
Speaker 1: essentially worked himself to death at age forty. Yeah, but

554
00:32:47,560 --> 00:32:50,560
Speaker 1: he was a great talent and um even even in

555
00:32:50,640 --> 00:32:53,760
Speaker 1: his time he was considered just a legendary star and

556
00:32:53,840 --> 00:32:58,120
Speaker 1: comedian but like beloved by all. Yeah, I'm gonna take

557
00:32:58,160 --> 00:33:00,640
Speaker 1: issue with PBS and if someone else right in saying

558
00:33:00,640 --> 00:33:04,000
Speaker 1: the same thing, I don't think you can say that

559
00:33:04,040 --> 00:33:07,240
Speaker 1: someone is said Jackie Robinson of something before Jackie Robinson

560
00:33:09,960 --> 00:33:12,680
Speaker 1: what people like to say, but like Jackie Robinson was

561
00:33:12,680 --> 00:33:15,720
Speaker 1: the Burt Williams of baseball if anything, very nice, very nice.

562
00:33:16,280 --> 00:33:19,880
Speaker 1: That's a great, great correction. Well, I think a lot

563
00:33:19,880 --> 00:33:21,840
Speaker 1: of people just use that term now, you know, like

564
00:33:22,480 --> 00:33:24,880
Speaker 1: somebody could say so and so is the Jackie Robinson

565
00:33:24,880 --> 00:33:29,160
Speaker 1: of cave People. It took took was the Jackie Robinson

566
00:33:29,160 --> 00:33:32,720
Speaker 1: of cave People. All right, I mean it still gets

567
00:33:32,800 --> 00:33:36,680
Speaker 1: the point across into a prescriptive no no, no, no no.

568
00:33:36,960 --> 00:33:40,440
Speaker 1: I'm moving on. Uh to al Jolson, who he mentioned earlier.

569
00:33:40,520 --> 00:33:42,600
Speaker 1: He was one of the biggest stars in the world

570
00:33:42,600 --> 00:33:46,560
Speaker 1: as well. He very famously uh don blackface. Uh. And

571
00:33:46,640 --> 00:33:49,360
Speaker 1: he is someone who went on to have a huge

572
00:33:49,400 --> 00:33:52,040
Speaker 1: career once movies came around. And won't you know, we'll

573
00:33:52,040 --> 00:33:54,640
Speaker 1: get to the effect movies had on all that. But

574
00:33:54,720 --> 00:33:57,800
Speaker 1: he started he was Jewish and he started the jazz singer,

575
00:33:58,120 --> 00:34:02,280
Speaker 1: which was the big sort of first huge feature length

576
00:34:02,320 --> 00:34:07,920
Speaker 1: talkie in n Yeah. And it's interesting that this vaudeville

577
00:34:07,920 --> 00:34:13,960
Speaker 1: star became the first um talkie star for movies because um,

578
00:34:14,040 --> 00:34:18,280
Speaker 1: that was that was a transition that that quickly took over. Actually,

579
00:34:18,320 --> 00:34:20,399
Speaker 1: as we'll see um and I say, we take a break,

580
00:34:20,520 --> 00:34:23,680
Speaker 1: chuck and come back to more vaudeville stuff about that.

581
00:34:23,800 --> 00:34:43,439
Speaker 1: Let's do it. So now finally we're onto that part

582
00:34:43,480 --> 00:34:47,240
Speaker 1: that I was so excited about. Circuits. Yeah, the circuit

583
00:34:47,360 --> 00:34:52,360
Speaker 1: was the business model basically, uh, that allowed everybody to

584
00:34:52,400 --> 00:34:55,680
Speaker 1: make a lot of money. Certainly the owners of these

585
00:34:55,719 --> 00:34:59,239
Speaker 1: theaters and the people who UM had lots and lots

586
00:34:59,280 --> 00:35:03,080
Speaker 1: of these performers signed up to exclusive contracts. Yeah, and

587
00:35:03,280 --> 00:35:06,720
Speaker 1: just as an aside about that big money, UM, I

588
00:35:06,800 --> 00:35:13,480
Speaker 1: put together Percy Williams Saturday Evening post information with our

589
00:35:13,560 --> 00:35:17,799
Speaker 1: friends at west Egg the inflation calculator. Some of the

590
00:35:18,040 --> 00:35:20,759
Speaker 1: some of the amounts that he was thrown out, like

591
00:35:20,880 --> 00:35:23,480
Speaker 1: three dollars a week was not out of the question,

592
00:35:24,320 --> 00:35:29,520
Speaker 1: um for a good like performer on vaudeville, and that

593
00:35:29,560 --> 00:35:32,200
Speaker 1: meant you automatically made half a million dollars a year.

594
00:35:32,920 --> 00:35:35,239
Speaker 1: But it just kept going up from there, like UM,

595
00:35:35,280 --> 00:35:38,319
Speaker 1: I think the highest paid that he mentioned, um was

596
00:35:38,360 --> 00:35:41,320
Speaker 1: a performer who pulled in three thousand dollars a week

597
00:35:41,600 --> 00:35:45,480
Speaker 1: a week, yes, which is forty seven grand a week today,

598
00:35:45,520 --> 00:35:49,240
Speaker 1: which is like over five million dollars in today's money

599
00:35:49,239 --> 00:35:55,759
Speaker 1: for a year. It's like mid level podcaster money, right. Uh,

600
00:35:55,960 --> 00:36:00,680
Speaker 1: the average American was making about bucks at the time.

601
00:36:01,360 --> 00:36:04,640
Speaker 1: So if you're making three fifty dollars a week, and

602
00:36:04,719 --> 00:36:07,200
Speaker 1: you know, it's the same today that the big entertainers

603
00:36:08,080 --> 00:36:10,520
Speaker 1: sort of have always made lots and lots and lots

604
00:36:10,520 --> 00:36:14,319
Speaker 1: of money because they could charge a lot or not

605
00:36:14,400 --> 00:36:16,120
Speaker 1: a lot of money, but they could charge a lot

606
00:36:16,160 --> 00:36:19,839
Speaker 1: of people money to buy to the cell tickets. Yeah,

607
00:36:19,880 --> 00:36:22,400
Speaker 1: and Percy Williams also said one of the other distinctions

608
00:36:22,440 --> 00:36:25,799
Speaker 1: between a legitimate theater house and a vaudeville theater house

609
00:36:26,160 --> 00:36:28,200
Speaker 1: is that that legitimate theater might be happy to have

610
00:36:28,280 --> 00:36:31,160
Speaker 1: five thousand patrons in a week, whereas on a really

611
00:36:31,160 --> 00:36:34,040
Speaker 1: good week with a really good bill of vaudeville house

612
00:36:34,120 --> 00:36:37,319
Speaker 1: might pull in thirty five thousand people in that week.

613
00:36:37,400 --> 00:36:38,840
Speaker 1: So that kind of gives you an idea of just

614
00:36:38,880 --> 00:36:41,799
Speaker 1: how popular it was because it wasn't high brow, it

615
00:36:41,840 --> 00:36:45,160
Speaker 1: wasn't high falutin, it was understandable, it was funny, it

616
00:36:45,239 --> 00:36:48,439
Speaker 1: was moving, um, and just about anybody could could tap

617
00:36:48,480 --> 00:36:50,440
Speaker 1: into it and get it and be moved by it.

618
00:36:50,560 --> 00:36:54,560
Speaker 1: So um. The The thing is, though, is if they're

619
00:36:54,640 --> 00:36:58,759
Speaker 1: charging ten cents apiece, that's still only thirty dollars. So

620
00:36:58,840 --> 00:37:00,759
Speaker 1: one of the ways these theaters made money is to

621
00:37:00,840 --> 00:37:04,319
Speaker 1: have really good performers that they just squeezed because three

622
00:37:04,360 --> 00:37:07,120
Speaker 1: hundred bucks a week was not the average, and apparently

623
00:37:07,120 --> 00:37:09,239
Speaker 1: there were plenty of performers who all they wanted to

624
00:37:09,239 --> 00:37:11,120
Speaker 1: do was perform, and if you could give them just

625
00:37:11,239 --> 00:37:14,000
Speaker 1: enough money to get to the next show and maybe

626
00:37:14,040 --> 00:37:16,440
Speaker 1: eat along the way, they would just keep doing it

627
00:37:16,600 --> 00:37:18,719
Speaker 1: year after year. And that's how they really made their

628
00:37:18,719 --> 00:37:20,680
Speaker 1: money was with those acts. Yeah, and they I mean

629
00:37:20,680 --> 00:37:26,000
Speaker 1: these people were performing, um, fourteen to twenty times a week,

630
00:37:26,440 --> 00:37:28,640
Speaker 1: you know, definitely two shows a day. Sometimes on the

631
00:37:28,640 --> 00:37:32,560
Speaker 1: weekend they would do three or more. And they were

632
00:37:32,600 --> 00:37:34,840
Speaker 1: you know, I'm not sure how much I guess the

633
00:37:34,840 --> 00:37:37,799
Speaker 1: bigger star you get, you know, leverage is always worked

634
00:37:37,800 --> 00:37:40,080
Speaker 1: the same way. You might have had a little more say,

635
00:37:40,160 --> 00:37:43,120
Speaker 1: but unless you got to that tippy top point, like

636
00:37:43,160 --> 00:37:45,400
Speaker 1: you were kind of doing what you were told and

637
00:37:45,440 --> 00:37:48,240
Speaker 1: you were getting paid handsomely for it. But these people

638
00:37:48,280 --> 00:37:51,680
Speaker 1: were working themselves to the bone on stage every day. Yeah.

639
00:37:51,760 --> 00:37:53,520
Speaker 1: And I also have the impression that if you're a

640
00:37:53,560 --> 00:37:58,640
Speaker 1: Volueville performer, even the top of the pile, uh, to

641
00:37:58,640 --> 00:38:01,919
Speaker 1: to act like a a normal star, like a theater star,

642
00:38:02,000 --> 00:38:05,840
Speaker 1: would be anathetical to the whole spirit of vaudeville. I

643
00:38:05,880 --> 00:38:09,000
Speaker 1: think even like the biggest stars were still like, you know,

644
00:38:09,560 --> 00:38:11,960
Speaker 1: work people, like they just got to work, and they

645
00:38:11,960 --> 00:38:14,040
Speaker 1: didn't they didn't put on airs. I guess you could

646
00:38:14,080 --> 00:38:17,760
Speaker 1: say is they would put it in Scotland, right, Uh,

647
00:38:17,800 --> 00:38:21,000
Speaker 1: there was a black vaudeville circuit that was fully its

648
00:38:21,040 --> 00:38:25,200
Speaker 1: own thing. Uh. Generally black owned theaters and there was

649
00:38:25,239 --> 00:38:28,680
Speaker 1: a booking circuit of vaudeville circuit um called the Theater

650
00:38:28,800 --> 00:38:33,239
Speaker 1: Owners Booking Association or TOBA t O b A. And

651
00:38:33,400 --> 00:38:35,919
Speaker 1: they were again they were, you know, grinding these people

652
00:38:35,960 --> 00:38:39,000
Speaker 1: through the entertainment grinder. Still paying them pretty well though

653
00:38:39,320 --> 00:38:42,800
Speaker 1: although it was less than people on the white vaudeville circuit.

654
00:38:42,800 --> 00:38:45,440
Speaker 1: We're getting paid and I think the theaters probably were

655
00:38:45,480 --> 00:38:49,040
Speaker 1: cheaper as well. Um, but the performers used to joke

656
00:38:49,080 --> 00:38:52,640
Speaker 1: apparently that t O b A uh stood for tough

657
00:38:52,760 --> 00:38:56,960
Speaker 1: on black asses. Yeah, because they really like put them

658
00:38:56,960 --> 00:39:00,200
Speaker 1: through the grinder, like you need to be here, and um,

659
00:39:00,239 --> 00:39:03,200
Speaker 1: the gigs were guaranteed and there was you know, good money,

660
00:39:03,200 --> 00:39:05,800
Speaker 1: like you said, but it was I get the impression

661
00:39:05,800 --> 00:39:08,200
Speaker 1: too that it was more grueling. They're also a little

662
00:39:08,200 --> 00:39:11,120
Speaker 1: bit looser, so you could get away with a little

663
00:39:11,239 --> 00:39:15,080
Speaker 1: less family friendly content, a little more sexual innuendo and

664
00:39:15,120 --> 00:39:18,680
Speaker 1: body humor. Um. There was one example they found called

665
00:39:19,280 --> 00:39:21,759
Speaker 1: It was a husband wife duo called butter Beans and

666
00:39:21,840 --> 00:39:26,840
Speaker 1: Susie and their big hit song was uh that Susie

667
00:39:26,840 --> 00:39:29,600
Speaker 1: saying was I want a hot dog for my role m.

668
00:39:29,960 --> 00:39:34,759
Speaker 1: So you know, just there you have it. One of

669
00:39:34,800 --> 00:39:37,759
Speaker 1: the other um stars of the Black vaudeville circuit was

670
00:39:37,840 --> 00:39:42,120
Speaker 1: Mom's Madly Isn't Madly? Or Maybely? Okay, that's what I

671
00:39:42,160 --> 00:39:46,000
Speaker 1: thought too. So Mom's maybe was a star UM into

672
00:39:46,040 --> 00:39:48,600
Speaker 1: the sixties and I think maybe even the seventies on

673
00:39:48,640 --> 00:39:51,399
Speaker 1: television with this one vaudeville character that she came up

674
00:39:51,400 --> 00:39:54,520
Speaker 1: with way back in the twenties, Um, and I saw

675
00:39:54,600 --> 00:39:57,239
Speaker 1: that she was a trailblazer in that she came out

676
00:39:57,280 --> 00:40:03,160
Speaker 1: as a lesbian in N one. Yeah, and they called

677
00:40:03,160 --> 00:40:05,080
Speaker 1: her Moms. Her real name was Jackie, but they called

678
00:40:05,080 --> 00:40:07,640
Speaker 1: her Moms because she was such like a maternal figure

679
00:40:07,920 --> 00:40:10,440
Speaker 1: to all of the other performers on the vaudeville circuit,

680
00:40:10,520 --> 00:40:13,160
Speaker 1: whoever she was on the bill with. You know, backstage,

681
00:40:13,160 --> 00:40:15,840
Speaker 1: she's had kind of a maternal presence, so everybody nicknamed

682
00:40:15,840 --> 00:40:18,799
Speaker 1: her Mom's and that led to that character that just

683
00:40:18,880 --> 00:40:21,759
Speaker 1: carried her for decades on. Yeah. I mean she if

684
00:40:21,800 --> 00:40:24,240
Speaker 1: you look up a picture of her, like I forture

685
00:40:24,280 --> 00:40:27,360
Speaker 1: saw her on television in the seventies, right, she definitely

686
00:40:27,360 --> 00:40:29,960
Speaker 1: looks familiar. So, um, did you see that there is

687
00:40:30,000 --> 00:40:34,320
Speaker 1: still a theater, a black owned theater from the black

688
00:40:34,600 --> 00:40:38,239
Speaker 1: vaudeville circuit? Um in Athens, still in operation today, the

689
00:40:38,239 --> 00:40:40,319
Speaker 1: Morton Theater. Did you know that I've been to a

690
00:40:40,320 --> 00:40:43,919
Speaker 1: play there. Yeah, so it started in nineteen and it's

691
00:40:43,960 --> 00:40:46,920
Speaker 1: still going. It's awesome. There's another one in make in

692
00:40:46,920 --> 00:40:50,399
Speaker 1: Georgia called the Douglas Theater. Uh. So it's it's cool

693
00:40:50,440 --> 00:40:53,319
Speaker 1: that these are still around. I love it. Yeah. Uh.

694
00:40:53,360 --> 00:40:56,440
Speaker 1: And then in addition to the Um Black Vaudeville Circuit,

695
00:40:56,480 --> 00:40:59,720
Speaker 1: there was also a Yiddih Vaudeville circuit Um which Fanny

696
00:40:59,760 --> 00:41:02,400
Speaker 1: b Ice, the inspiration for Funny Girl, came out of.

697
00:41:03,440 --> 00:41:05,600
Speaker 1: There was that Native American volb Will Circle that you

698
00:41:05,640 --> 00:41:09,080
Speaker 1: talked about. And I don't remember what episode we talked

699
00:41:09,080 --> 00:41:13,080
Speaker 1: about it, and maybe Geronimo, yeah, or the Apache Wars

700
00:41:13,160 --> 00:41:17,080
Speaker 1: episode we talked about how Geronimo joined Buffalo Bill's Wild

701
00:41:17,080 --> 00:41:20,560
Speaker 1: West Show. That would be an excellent example of native

702
00:41:20,680 --> 00:41:23,680
Speaker 1: Native American vaudeville from what I understand. Yeah, and they

703
00:41:23,680 --> 00:41:26,600
Speaker 1: would do you know, they would uh sort of play

704
00:41:26,640 --> 00:41:29,680
Speaker 1: up their ethnic stereotype as well for yucks, but then

705
00:41:29,719 --> 00:41:32,920
Speaker 1: also do stuff like, you know, show off some of

706
00:41:32,920 --> 00:41:36,920
Speaker 1: their their skills, like whether it's roping or dancing or

707
00:41:37,080 --> 00:41:39,960
Speaker 1: you know, shooting arrows and stuff like that. So you know,

708
00:41:40,360 --> 00:41:43,439
Speaker 1: it had something for everyone, and I think their audiences, um,

709
00:41:43,520 --> 00:41:46,560
Speaker 1: we're pretty much exclusively although that's not true. They would

710
00:41:46,800 --> 00:41:51,759
Speaker 1: perform for uh all kinds of audiences, right, yeah, I

711
00:41:51,800 --> 00:41:55,319
Speaker 1: think basically everybody that It wasn't a segregated performance from

712
00:41:55,320 --> 00:41:58,279
Speaker 1: what I understand, unless, of course, the theater was strictly segregated.

713
00:41:58,960 --> 00:42:02,200
Speaker 1: Good point, So I should also I think we should

714
00:42:02,200 --> 00:42:04,760
Speaker 1: point out, Chuck that when we're saying yuck's in this episode,

715
00:42:04,760 --> 00:42:08,080
Speaker 1: we're saying it without a seat, like not yuck, but

716
00:42:08,320 --> 00:42:11,120
Speaker 1: like a laugh, right, Just want to make sure everybody

717
00:42:11,120 --> 00:42:13,640
Speaker 1: knows that because we're always talking about yuck in somebody's

718
00:42:13,719 --> 00:42:16,920
Speaker 1: yum and they might be confused at this point. Oh yeah, yeah,

719
00:42:17,000 --> 00:42:22,520
Speaker 1: yuck like a comedic yuck. Yeah, uk, exactly. I guess

720
00:42:22,520 --> 00:42:25,600
Speaker 1: we can go over here towards the end some of

721
00:42:25,640 --> 00:42:29,040
Speaker 1: the bigger stars who came out of vaudeville. I mean,

722
00:42:29,080 --> 00:42:31,920
Speaker 1: it's sort of a a hit list of some of

723
00:42:31,960 --> 00:42:36,360
Speaker 1: the most famous people of early televised entertainment when that

724
00:42:36,440 --> 00:42:39,960
Speaker 1: came along, everyone from Jack Benny to Fred Astaire and

725
00:42:40,160 --> 00:42:43,440
Speaker 1: Will Rogers and Bob Hope. You know they you think, like,

726
00:42:43,520 --> 00:42:49,400
Speaker 1: were they old enough? They were generally child performers in vaudeville. Yeah,

727
00:42:49,640 --> 00:42:53,839
Speaker 1: um so uh. I Also I saw George Burns one

728
00:42:53,880 --> 00:42:56,040
Speaker 1: of them, and he apparently had been in vaudeville since

729
00:42:56,040 --> 00:43:00,800
Speaker 1: he was seven, and he finally met his wife, Gracie Allen,

730
00:43:01,160 --> 00:43:04,160
Speaker 1: and they became this amazing comic duo that went onto

731
00:43:04,239 --> 00:43:06,640
Speaker 1: the radio and went onto the TV. Like they followed

732
00:43:06,680 --> 00:43:11,080
Speaker 1: the trajectory that um that most like the the absolute

733
00:43:11,160 --> 00:43:15,800
Speaker 1: cream of the crop, most successful vaudeville performers followed um.

734
00:43:15,840 --> 00:43:19,719
Speaker 1: And for our younger listeners, George Burns played God in

735
00:43:19,840 --> 00:43:24,120
Speaker 1: the John Denver vehicle, Oh God and Joker more familiar

736
00:43:25,480 --> 00:43:28,160
Speaker 1: folk singer who you should listen to because he was

737
00:43:28,160 --> 00:43:32,840
Speaker 1: the best. Would you call him a folk singer? Yeah, singer, songwriter,

738
00:43:32,880 --> 00:43:39,160
Speaker 1: folk singer? What would you call him? Just called? I

739
00:43:39,160 --> 00:43:41,719
Speaker 1: mean he was kind of his own thing. It was yeah, yeah,

740
00:43:41,760 --> 00:43:44,279
Speaker 1: I mean he was definitely not like yacht rock or

741
00:43:44,280 --> 00:43:47,000
Speaker 1: anything like that, because he was a mountain lion sure,

742
00:43:47,480 --> 00:43:51,480
Speaker 1: who liked flying his plane high on cocaine. Was he

743
00:43:51,560 --> 00:43:54,640
Speaker 1: high on cocaine? Yes, but that's not why you crashed.

744
00:43:54,640 --> 00:43:56,279
Speaker 1: I think he ran out of gas. But they he

745
00:43:56,320 --> 00:43:58,680
Speaker 1: did have cocaine into the system when they did the autopsy.

746
00:43:58,880 --> 00:44:01,399
Speaker 1: That's sad. Uh. Quickly, I do want to mention Jack

747
00:44:01,400 --> 00:44:05,200
Speaker 1: Benny's story because it's kind of cool. Uh. He was

748
00:44:05,280 --> 00:44:10,160
Speaker 1: born Benjamin Kubelski and he was a violin prodigy. So

749
00:44:10,320 --> 00:44:13,239
Speaker 1: his act at first as a vaudevillian as a child

750
00:44:13,400 --> 00:44:16,000
Speaker 1: was a very serious sort of let me play my violin.

751
00:44:16,560 --> 00:44:20,160
Speaker 1: But as the story goes, he bombed really bad one

752
00:44:20,280 --> 00:44:23,200
Speaker 1: night and like cracked a really great one liner which

753
00:44:23,200 --> 00:44:26,520
Speaker 1: made everyone laugh really hard, and then started sort of

754
00:44:26,560 --> 00:44:28,640
Speaker 1: working jokes into his act, and before he knew it,

755
00:44:28,680 --> 00:44:32,720
Speaker 1: he was a comedian. Yeah. Yeah, I guess Will Rogers

756
00:44:32,800 --> 00:44:34,279
Speaker 1: had the same thing happened to him. He was a

757
00:44:34,400 --> 00:44:40,440
Speaker 1: rope trick roper, roper, sure, and um he failed at

758
00:44:40,480 --> 00:44:43,000
Speaker 1: some trick and made a joke and everybody laughed, and

759
00:44:43,040 --> 00:44:45,200
Speaker 1: he's like, maybe I should try adding jokes to my act,

760
00:44:45,239 --> 00:44:47,920
Speaker 1: and that kind of went from there. He became America's

761
00:44:47,920 --> 00:44:51,560
Speaker 1: most beloved humorous after a while. That's right. Uh, But

762
00:44:51,640 --> 00:44:54,920
Speaker 1: you teased earlier about movies, and I think I teased

763
00:44:54,920 --> 00:44:57,200
Speaker 1: it too, And I think everybody sees where this is

764
00:44:57,239 --> 00:45:02,240
Speaker 1: headed is movies came along, and movies throwing a movie

765
00:45:02,280 --> 00:45:04,080
Speaker 1: on a TV on a on a movie screen in

766
00:45:04,080 --> 00:45:06,920
Speaker 1: a theater as a heck of a lot easier than

767
00:45:06,960 --> 00:45:11,440
Speaker 1: booking eight or ten human animal acts every single day

768
00:45:11,440 --> 00:45:14,520
Speaker 1: of the week. Yeah, and um, apparently movies kind of

769
00:45:14,600 --> 00:45:17,479
Speaker 1: started out as a vaudeville act, like you might see

770
00:45:17,480 --> 00:45:20,680
Speaker 1: a ten or twenty minute short film as part of

771
00:45:20,719 --> 00:45:24,440
Speaker 1: the show. Um and Keith Benjamin Franklin Keith and his

772
00:45:24,600 --> 00:45:27,600
Speaker 1: partner Mr. Albi I don't remember his first thing. They

773
00:45:27,640 --> 00:45:30,120
Speaker 1: are aptly they were the first ones to actually start

774
00:45:30,160 --> 00:45:34,880
Speaker 1: showing movies at vaudeville shows. And then it started a transition, chuck,

775
00:45:35,280 --> 00:45:38,000
Speaker 1: because they would need time to cool down the projector

776
00:45:38,040 --> 00:45:42,600
Speaker 1: in between shows, and um, they would have vaudeville acts

777
00:45:42,680 --> 00:45:46,759
Speaker 1: in between movies. So it went from a movie is

778
00:45:46,880 --> 00:45:49,880
Speaker 1: just one part of a vaudeville bill to vaudeville just

779
00:45:49,920 --> 00:45:54,360
Speaker 1: getting narrower, narrower and smushed down into these lesser roles.

780
00:45:54,440 --> 00:45:56,680
Speaker 1: And then movies just kind of took off from there,

781
00:45:56,680 --> 00:45:59,720
Speaker 1: and vaudeville got left in the dust, left in the dust.

782
00:46:00,520 --> 00:46:03,640
Speaker 1: But again, if you look at early TV, uh, and

783
00:46:03,800 --> 00:46:08,239
Speaker 1: even again into the fifties, sixties and seventies, that those

784
00:46:08,239 --> 00:46:11,600
Speaker 1: were vaudeville shows. Heehaw and the man drell sisters and

785
00:46:12,520 --> 00:46:18,319
Speaker 1: uh solid gold maybe not solid gold, kind of still

786
00:46:18,440 --> 00:46:23,960
Speaker 1: dance focused. Yeah. What about Ed Sullivan? Yeah, probably so.

787
00:46:24,000 --> 00:46:26,839
Speaker 1: Supposedly when he was canceled in nine seventy one, he said,

788
00:46:27,239 --> 00:46:32,440
Speaker 1: Vaudeville has died at second death. Wow. Yeah, he dropped

789
00:46:32,440 --> 00:46:35,680
Speaker 1: his mind after that. I love it. This is good stuff.

790
00:46:36,800 --> 00:46:39,440
Speaker 1: You got anything else about Vaudeville? I got nothing else.

791
00:46:39,480 --> 00:46:42,799
Speaker 1: Go out and support your local Vaudeville theater, that's all right,

792
00:46:43,160 --> 00:46:45,879
Speaker 1: and then maybe see your roller Derby after that. Uh.

793
00:46:45,920 --> 00:46:48,719
Speaker 1: And since I said roller Derby everybody, of course, that

794
00:46:48,760 --> 00:46:53,319
Speaker 1: means it's time for listener mail. Al Right, what we're

795
00:46:53,320 --> 00:46:56,799
Speaker 1: gonna do today instead of listener mail is, uh, do

796
00:46:56,960 --> 00:47:01,520
Speaker 1: a way overdue plug for a couple of things. But

797
00:47:01,640 --> 00:47:05,480
Speaker 1: certainly our Kiva team, Um, many years ago, what year

798
00:47:05,640 --> 00:47:08,919
Speaker 1: was this, I'm trying to see you two two thousand

799
00:47:09,000 --> 00:47:11,560
Speaker 1: nine October two thousand nine, So this is close to

800
00:47:11,600 --> 00:47:15,560
Speaker 1: the anniversary actually of when we started this team in

801
00:47:15,600 --> 00:47:17,640
Speaker 1: the very early days of stuff. You should know. Kiva

802
00:47:17,760 --> 00:47:22,759
Speaker 1: is a micro lending organization who uh does great work.

803
00:47:22,800 --> 00:47:26,319
Speaker 1: Micro Lending organizations aren't perfect, but Kiva is a good

804
00:47:26,320 --> 00:47:29,120
Speaker 1: one and they do a pretty good job of getting

805
00:47:29,760 --> 00:47:32,720
Speaker 1: very small amounts of money sourced from around the world

806
00:47:32,719 --> 00:47:37,120
Speaker 1: into the hands of entrepreneurs and uh sometimes in America.

807
00:47:37,120 --> 00:47:40,799
Speaker 1: We usually in in developing countries who really need it. Right. Yeah,

808
00:47:40,840 --> 00:47:43,440
Speaker 1: it's like you said, it's a great organization. We've our

809
00:47:43,560 --> 00:47:47,440
Speaker 1: team has been going gangbusters for years. So let me

810
00:47:47,520 --> 00:47:50,080
Speaker 1: just update everyone with a couple of stats. If you

811
00:47:50,080 --> 00:47:53,319
Speaker 1: want to join, Kiva, doesn't cost anything to join, but

812
00:47:53,400 --> 00:47:55,920
Speaker 1: to make a donation. I think you can donate as

813
00:47:55,920 --> 00:47:58,440
Speaker 1: little as like twenty five bucks. Yeah, if you want

814
00:47:58,440 --> 00:48:00,160
Speaker 1: to just get the ball rolling. And the idea is

815
00:48:00,200 --> 00:48:02,880
Speaker 1: that these people pay the stuff back almost all the time,

816
00:48:03,320 --> 00:48:06,000
Speaker 1: and then you can re lend that money. And I've

817
00:48:06,040 --> 00:48:09,520
Speaker 1: been relending the same you know, from the same kitty

818
00:48:09,520 --> 00:48:12,319
Speaker 1: of money I started with years ago. But we have

819
00:48:12,440 --> 00:48:15,120
Speaker 1: now raised as a collective stuff you should know, team

820
00:48:15,160 --> 00:48:20,560
Speaker 1: over twelve million dollars, which is staggering, uh four hundred

821
00:48:20,560 --> 00:48:25,279
Speaker 1: and fifty five thousand loans uh plus you know and

822
00:48:25,440 --> 00:48:29,080
Speaker 1: change and then for an average of almost forty loans

823
00:48:29,680 --> 00:48:36,200
Speaker 1: per member and eleven thousand, five hundred and six team members.

824
00:48:36,719 --> 00:48:40,759
Speaker 1: That's fantastic. It's really congratulations to everybody on the Kiva team.

825
00:48:40,840 --> 00:48:43,520
Speaker 1: Keep it up and what else we got going, Well,

826
00:48:43,520 --> 00:48:45,320
Speaker 1: hold on one other thing about the Kiva team. I

827
00:48:45,400 --> 00:48:47,680
Speaker 1: always wanted to make sure to say, like, it's extremely

828
00:48:47,719 --> 00:48:51,680
Speaker 1: inclusive and they're always happy to let any new member joined,

829
00:48:51,760 --> 00:48:54,719
Speaker 1: so don't feel shy about it at all. And then

830
00:48:54,719 --> 00:48:56,799
Speaker 1: the other thing we just found out about recently we

831
00:48:56,840 --> 00:49:00,319
Speaker 1: didn't know is we have not one, but two Red

832
00:49:00,440 --> 00:49:03,680
Speaker 1: Cross blood donation teams Stuff you Should Know teams. I

833
00:49:03,719 --> 00:49:05,440
Speaker 1: didn't know. I didn't know that was a thing. I

834
00:49:05,480 --> 00:49:08,759
Speaker 1: didn't know there were blood donation teams at all. Now

835
00:49:08,840 --> 00:49:12,040
Speaker 1: you do. So if you donate blood to the Red Cross,

836
00:49:12,280 --> 00:49:14,799
Speaker 1: you can do it as a part of the stuff

837
00:49:14,840 --> 00:49:17,560
Speaker 1: you Should Know team if you want, we'll be happy

838
00:49:17,640 --> 00:49:21,879
Speaker 1: to support you anyway. We can't with T shirts, maybe UM,

839
00:49:21,920 --> 00:49:25,759
Speaker 1: small grants, UM or just you know, our thanks in

840
00:49:25,800 --> 00:49:29,520
Speaker 1: advance for being a good person. Let's go get a go,

841
00:49:29,640 --> 00:49:35,839
Speaker 1: donate some blood butters in our name, get your sweet cookies. God,

842
00:49:35,880 --> 00:49:39,080
Speaker 1: I love Nutter butters. Yeah they're great, but they're particularly

843
00:49:39,120 --> 00:49:40,839
Speaker 1: great when you're down a pine of blood in your

844
00:49:40,840 --> 00:49:42,520
Speaker 1: head swimming a little bit. That's the only time I

845
00:49:42,560 --> 00:49:44,040
Speaker 1: have I m I can't buy Nutter butters and keep

846
00:49:44,120 --> 00:49:46,480
Speaker 1: them in the house. You know. It's one of the

847
00:49:46,600 --> 00:49:50,680
Speaker 1: weird things of America is that there's two types of

848
00:49:50,760 --> 00:49:54,000
Speaker 1: Nutter butters and they're totally different. Have you noticed there's

849
00:49:54,040 --> 00:50:00,239
Speaker 1: like a wafer like there's a wafer e kindly, Yes, No,

850
00:50:00,600 --> 00:50:04,120
Speaker 1: it's square, it's very basic hashtag basic. But then there's

851
00:50:04,160 --> 00:50:07,440
Speaker 1: the peanut shaped one that's a cookie. It's got you know,

852
00:50:07,480 --> 00:50:13,080
Speaker 1: it's a cookie sandwich. This is like a filled wafer. Um. Yeah,

853
00:50:13,120 --> 00:50:16,480
Speaker 1: And they're both Nutter butters, same logo, same packaging, just

854
00:50:16,880 --> 00:50:19,759
Speaker 1: two different types of peanut butter cookies. Man, you know

855
00:50:19,800 --> 00:50:23,440
Speaker 1: how disappointed I would be if I bought the wrong package.

856
00:50:23,760 --> 00:50:26,560
Speaker 1: Hopefully this happening more than one person for sure, all right,

857
00:50:26,640 --> 00:50:30,200
Speaker 1: So pay attention at the cookie everyone. So if you

858
00:50:30,239 --> 00:50:32,839
Speaker 1: want to join our keyva team, go ahead. Uh it's

859
00:50:32,880 --> 00:50:36,120
Speaker 1: at kiva dot org slash team slash stuff you should Know.

860
00:50:36,160 --> 00:50:38,319
Speaker 1: If I'm not mistaken, or just go to kiva dot

861
00:50:38,400 --> 00:50:40,920
Speaker 1: organ search Stuff you should know. I'm quite sure you

862
00:50:40,960 --> 00:50:42,719
Speaker 1: can do the same thing on the Red Cross Blow

863
00:50:43,480 --> 00:50:47,359
Speaker 1: Good donation site. And you can also get in touch

864
00:50:47,400 --> 00:50:53,480
Speaker 1: with us at stuff Podcasts at iHeart radio dot com.

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00:50:53,600 --> 00:50:55,880
Speaker 1: Stuff you should Know is a production of iHeart Radio

866
00:50:56,360 --> 00:50:59,200
Speaker 1: For more podcasts my heart Radio, visit the iHeart Radio

867
00:50:59,280 --> 00:51:02,240
Speaker 1: app app podcasts, or wherever you listen to your favorite

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Speaker 1: shows h m hm