WEBVTT - Caught Between Two Postage Stamps

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<v Speaker 1>Why Ozzy Media productions. History books are filled with big

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<v Speaker 1>names and big events, but sometimes the most influential people

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<v Speaker 1>are behind the scenes, in the shadows across the dining

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<v Speaker 1>room table. Sometimes just one chance encounter or one broken

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<v Speaker 1>heart can change the course of history. I'm Sean Braswell

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<v Speaker 1>and this is the thread of podcast from Azzi Media.

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<v Speaker 1>This season, we pulled the thread on the death of

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<v Speaker 1>rock star John Lennon and actually connected back to the

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<v Speaker 1>communist leader Vladimir Lenin. Here's a quick recap of our

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<v Speaker 1>thread so far, but please listen to the previous episodes

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<v Speaker 1>if you haven't already. John Lennon is dead, shopped several

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<v Speaker 1>times by young American as he was going into his

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<v Speaker 1>home in New York. December eight, Mark David Chapman fired

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<v Speaker 1>five bullets at John Lennon in front of the Dakota

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<v Speaker 1>A building in New York. Police have a suspect and custody,

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<v Speaker 1>whom they describe only as a local screwball. Chapman was

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<v Speaker 1>a disturbed loner, and he was obsessed with the classic

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<v Speaker 1>American novel The Catcher and the Rye by J. D. Salinger.

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<v Speaker 1>Chapman believed that he embodied the book's main character, Holden Caulfield,

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<v Speaker 1>and he railed against the phonies and hypocrites he saw everywhere,

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<v Speaker 1>including John Lennon. Here's Mark David Chapman describing the morning

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<v Speaker 1>of the murder to see an end's Larry King. I

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<v Speaker 1>bought a copy of The Catcher in the Rye, signed

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<v Speaker 1>it to Holding Caulfield from Holding Caulfield and wrote underneath

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<v Speaker 1>that this is my statement. Why would a character like

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<v Speaker 1>Holding Caulfield speak to Mark David Chapman. The answer has

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<v Speaker 1>to do with the author, J. D. Salinger. For one thing,

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<v Speaker 1>Salinger's great novel was shaped by his own dark and

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<v Speaker 1>traumatic experiences as a soldier in World War Two. But

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<v Speaker 1>the other part of the story has to do with

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<v Speaker 1>the beautiful girl that helped inspire The Catcher in the

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<v Speaker 1>Rye and then broke Salinger's heart before he shipped off

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<v Speaker 1>for war. That girl was Una O'Neill. Without Una, there

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<v Speaker 1>might never have been a world of phonies for Holding

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<v Speaker 1>Caulfield and then Mark David Chapman to rail against. So

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<v Speaker 1>today we find out what's the big deal with Una O'Neill.

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<v Speaker 1>When you were sitting in the bunker, did you have

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<v Speaker 1>a wonder about it catching all Charlie's eye. Don't worry

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<v Speaker 1>in body, Jerry, which he made you carry turned you

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<v Speaker 1>into one hell of a guy. So tell me what's

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<v Speaker 1>the big deal Falcon alone, what's the big deal about Una? One?

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<v Speaker 1>Una O'Neil Chaplin is the fulcrum of our story, the

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<v Speaker 1>strand holding our thread together. And yet UNA's influence is

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<v Speaker 1>often lost in the shadow of the great men whose

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<v Speaker 1>lives and works she helps shape. I was walking on

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<v Speaker 1>I want to say, Madison Avenue in New York, and

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<v Speaker 1>there was a headline and it said wife of Charlie Chaplin,

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<v Speaker 1>daughter of Eugene O'Neill, dead at sixty six. And what

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<v Speaker 1>I was struck by was, as I remembered the headline,

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<v Speaker 1>it didn't mention her name. This is Jane Scoville, writer, playwright, biographer,

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<v Speaker 1>and the woman she was reading about that day on

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<v Speaker 1>Madison Avenue was Una O'Neil Chaplin. I would describe her

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<v Speaker 1>as the daughter of the postage stamp and the wife

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<v Speaker 1>of a postage stamp. In other words, she was in

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<v Speaker 1>the middle of two great men. When we last heard

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<v Speaker 1>from Una, she had left J. D. Salinger behind heartbroken.

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<v Speaker 1>Salinger spent more than a year of his life pursuing

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<v Speaker 1>the attracted debutante. He paid for dinners and dates he

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<v Speaker 1>could and afford. Salinger would write Una, long, beautiful, effusive letters,

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<v Speaker 1>and then totally switched tax and pretend he didn't like

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<v Speaker 1>her at all. Here's UNA's daughter, Annie Chaplin, reading from

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<v Speaker 1>one of those letters. I've seen the folly of my ways,

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<v Speaker 1>and never again will I shovel heavy and more into

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<v Speaker 1>your pretty ear. In the future, I shall be gay.

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<v Speaker 1>I shall right up and down Park Avenue on a

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<v Speaker 1>white horse, throwing bottles of champagne at blind beggars. But

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<v Speaker 1>the relationship wasn't meant to be. America entered the Second

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<v Speaker 1>World War, Salinger was drafted and reported to boot camp. Una,

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<v Speaker 1>who would soon break his heart, moved to Hollywood in

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<v Speaker 1>pursuit of stardom. Una O'Neil biographer Jane Scoville. There's a

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<v Speaker 1>charming screen test of her. She was supposed to be

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<v Speaker 1>a Russian peasant. She's got a babusha on she she

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<v Speaker 1>looks about as Russian as more Rena O'Hara. I mean,

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<v Speaker 1>this is not a Russian face. She speaks in the

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<v Speaker 1>screen test, and it's all very Park Avenue This screen

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<v Speaker 1>test is just over a minute long. Una looks a

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<v Speaker 1>bit lost. She has an unsure smile, her eyes sparkling

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<v Speaker 1>as she tries to follow the director's instructions to look

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<v Speaker 1>this way and that. We'll never know if Una O'Neill

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<v Speaker 1>could have been a movie star, but this screen test

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<v Speaker 1>is a haunting glimpse of what might have been if

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<v Speaker 1>fate did not have other plans for Una in Hollywood. J. D.

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<v Speaker 1>Salinger was just one in a long list of well

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<v Speaker 1>known men who were infatuated with Una O'Neill. Another man

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<v Speaker 1>on the list Orson Wells, the famous actor and director,

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<v Speaker 1>took Una out for a night on the town when

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<v Speaker 1>she first moved to Hollywood, in the back corner of

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<v Speaker 1>some literary nightclub, Wells took her hand and offered to

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<v Speaker 1>read her poem. He traced her love line, looked her

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<v Speaker 1>in the eyes, and told her that it led directly

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<v Speaker 1>to an older man. But it wasn't him. There was

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<v Speaker 1>someone else, someone even more famous screen legend, Charlie Chaplin.

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<v Speaker 1>Years later, Wells described the night in an interviews exactly

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<v Speaker 1>the girl that would be happy with with Charlie, I suppose,

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<v Speaker 1>and instead of thinking maybe you will meet him. I

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<v Speaker 1>just twtted I lose. I said you're gonna marry him?

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<v Speaker 1>And she did. Una met Charlie Chaplin just as Orsen

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<v Speaker 1>Wells predicted. Chaplin described encountering Una for the first time

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<v Speaker 1>in his autobiography, I became aware of a luminous beauty

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<v Speaker 1>with a sequestered charm and a gentleness that was most appealing.

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<v Speaker 1>Chaplin had a reputation as a womanizer. He once bragged

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<v Speaker 1>that he had slept with two thousand women by the

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<v Speaker 1>age of fifty. He had also gone through three wives,

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<v Speaker 1>each of them significantly younger than himself. After a brief courtship,

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<v Speaker 1>Una became wife number four in nineteen forty three. She

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<v Speaker 1>was eighteen, he was fifty four. J. D. Salinger read

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<v Speaker 1>about the wedding and the papers while at boot camp.

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<v Speaker 1>He was devastated. Many were skeptical the marriage would last,

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<v Speaker 1>but Charlie and Una proved them wrong. Una gave up

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<v Speaker 1>any chance of a film career to focus on Charlie

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<v Speaker 1>and their growing family, and they eventually had eight children together.

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<v Speaker 1>Their house was a social gathering point for celebrities, artists,

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<v Speaker 1>and intellectuals, from Dylan Thomas to Albert Einstein. Biographer Jane

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<v Speaker 1>Scovel one went to see Charlie and one came away

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<v Speaker 1>remembering Una. As the years went by, Charlie was pursued

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<v Speaker 1>by the US government and j Edgar Hoover's FBI. Like

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<v Speaker 1>many artists of his time, they wrongly accused him of

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<v Speaker 1>being a communist. This is the biggest joke in the world. Charlie,

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<v Speaker 1>each Applin. Nobody loved capitalism or money more than than Charlie.

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<v Speaker 1>The Chaplains decided to leave America behind. They set sail

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<v Speaker 1>for England in nineteen fifty two. They eventually settled in Switzerland,

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<v Speaker 1>where they would remain together for the rest of Charlie's life.

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<v Speaker 1>And he just doated on her. She was beautiful, she

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<v Speaker 1>was smart. So it worked. It worked for a while

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<v Speaker 1>for you know, quite a while. But uh, like all

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<v Speaker 1>good things, it came to an end. Their problem basically

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<v Speaker 1>was not love. It was time. The age difference between

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<v Speaker 1>Charlie and Una started to take its toll. As he

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<v Speaker 1>got older, he became very feeble, very feeble, and he

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<v Speaker 1>demanded that Una be with him constantly, never let her

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<v Speaker 1>out of his sight, and she didn't try to get

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<v Speaker 1>out of it. But at the same time, This is

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<v Speaker 1>no way to live. Meanwhile, Una struggled against a long

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<v Speaker 1>term demon that plagued the O'Neill family, alcoholism. She drank alone,

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<v Speaker 1>often locking herself in her room, and Una was I

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<v Speaker 1>think literally pouring the booze into teacups so that Nolby

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<v Speaker 1>would know, but everybody knew. Charlie Chaplin died on Christmas Day,

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<v Speaker 1>v s Una was devastated, isolated, and lost an alcohol

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<v Speaker 1>her life spiraled. She would sometimes take one of Chaplin's

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<v Speaker 1>white gloves and hold it in her hand as if

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<v Speaker 1>still holding his. One night in Switzerland, Una was quite drunk.

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<v Speaker 1>She turned to a friend and asked, Charlie was a

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<v Speaker 1>great man, wasn't he? Then all of a sudden Una

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<v Speaker 1>burst out, what the did I do with my life?

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<v Speaker 1>And in a way, it's a it's a very good

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<v Speaker 1>question because this woman she wrote beautifully, she read, read

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<v Speaker 1>read a lot, and she wouldn't allow herself to be

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<v Speaker 1>the center of attention. She just served and that you

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<v Speaker 1>don't get medals for that. Most of UNA's life centered

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<v Speaker 1>around Charlie Chaplin, but in her teenage years she was

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<v Speaker 1>the center of attention. Up next, we go back back

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<v Speaker 1>to when Una was sixteen and had all of New York,

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<v Speaker 1>including Salinger, wrapped around her finger. The thread is brought

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<v Speaker 1>to you by Ausi fest. Azzi Fest brings together incredible music,

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<v Speaker 1>provocative ideas, laugh out loud comedy, and mouthwatering food in

0:10:54.640 --> 0:10:57.679
<v Speaker 1>New York City's Central Park. Check it out at aussi

0:10:57.800 --> 0:11:03.640
<v Speaker 1>dot com slash AUSI Fest. J. D. Salinger developed his

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<v Speaker 1>famous allergy to phoniness at Una O'Neill's side. Una and

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<v Speaker 1>her two best friends, Carol Marcus and Gloria Vanderbilt, were

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<v Speaker 1>Manhattan it girls, all from wealthy, upper class families. They

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<v Speaker 1>were the gossip girls of their day. These essentially were

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<v Speaker 1>three fatherless girls, and when they got together their main

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<v Speaker 1>activity I think was dating. They were out all the time.

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<v Speaker 1>Another literary giant and eyewitness to UNAH's life was the

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<v Speaker 1>author Truman Capodi. The three girls, Marcus, Vanderbilt, and O'Neill

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<v Speaker 1>inspired Holly Goo lightly the heroine of his classic story

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<v Speaker 1>Breakfast at Tiffany's, the one played by Audrey Hepburn in

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<v Speaker 1>the film. Una was popular, but shy. The sunny exterior

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<v Speaker 1>seemed to mask a deep sadness. She was intelligent but

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<v Speaker 1>didn't really apply herself, says biographer Jane Scoville, she was kind,

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<v Speaker 1>always kind, very sympathetic, very loving, but very bright. By

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<v Speaker 1>the time she was a teenager, her parents largely left

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<v Speaker 1>her to her own devices, and like any teenager, Una

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<v Speaker 1>acted out, albeit on a much grander scale than most.

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<v Speaker 1>At night, she became the queen of New York's Cafe Society,

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<v Speaker 1>and her home away from home was the Stork Club.

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<v Speaker 1>You see, the Stork Club is the mecca for celebrities

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<v Speaker 1>from all over the world. They come here to eat, see,

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<v Speaker 1>and be seen as part of our audience. They attract

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<v Speaker 1>an audience. Get it, Oh, no, I do. When you

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<v Speaker 1>talk about the Stork Club. It was the most famous

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<v Speaker 1>nightclub in all of New York. This is Ken Slowinski

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<v Speaker 1>who told us about Salinger's story. Only the rich and

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<v Speaker 1>famous content. You know, who's here with who, what's going on?

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<v Speaker 1>And it would all be in the columns the next

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<v Speaker 1>day in the paper. When own new, it was like

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<v Speaker 1>an old time movie premiere, with the photographers flashing lights

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<v Speaker 1>and everyone calling her name. She was treated like a queen.

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<v Speaker 1>She was voted the number one New York debutante at

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<v Speaker 1>the Store Club for Una appeared in newspapers and magazines

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<v Speaker 1>across the country. One night, a reporter asked how her

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<v Speaker 1>father felt about her winning Debutante of the Year. She said,

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<v Speaker 1>I don't know, and I'm not going to ask him.

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<v Speaker 1>He'll find out for himself. And that infuriated her father.

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<v Speaker 1>But by that point Una was fed up. She had

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<v Speaker 1>been chasing the love and attention of her father, a

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<v Speaker 1>tempestuous playwright, her whole life. UNA's father, Eugene O'Neill, probably

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<v Speaker 1>shouldn't have been a parent in the first place. O'Neil

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<v Speaker 1>always said he didn't want children, and he was right.

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<v Speaker 1>This is a guy who could have gotten a Nobel

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<v Speaker 1>Prize for bad parenting. Jane Scoville again. The only thing

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<v Speaker 1>he said that would make it bearable is if it

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<v Speaker 1>were a girl, and if she were pretty. And she

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<v Speaker 1>was a girl, and she was pretty, and that was Una.

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<v Speaker 1>Una was born in Bermuda in nineteen the daughter of

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<v Speaker 1>two artists, O'Neill and his wife, the writer Agnes Bolton.

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<v Speaker 1>It seemed like an ideal life, but as pretty as

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<v Speaker 1>little Una was, she was no match for the brooding

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<v Speaker 1>playwrights real children the characters in his plays. Una was

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<v Speaker 1>really a daddy's girl. She worshiped him, and then when

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<v Speaker 1>she was two years old, he walked out on them.

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<v Speaker 1>In nineteen Eugene O'Neil abandoned his family and married his mistress,

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<v Speaker 1>the actress Carlotta Monterey. Little Una was confused and hurt.

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<v Speaker 1>Una was absolutely just. She didn't know what to make

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<v Speaker 1>of it. She'd see a picture of her father and

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<v Speaker 1>she'd start jabbing it with her fingers, a daddy, Daddy, daddy.

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<v Speaker 1>And then one time she got so hysterical she just

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<v Speaker 1>broke down crying, and she could not be consoled. And

0:15:21.960 --> 0:15:25.080
<v Speaker 1>yet Eugene couldn't bring himself to leave the picture completely.

0:15:25.600 --> 0:15:28.360
<v Speaker 1>His guilty conscience kept the young Una on a thread.

0:15:29.080 --> 0:15:31.960
<v Speaker 1>He wrote her loving letters periodically, saying he missed her

0:15:31.960 --> 0:15:35.080
<v Speaker 1>a lot. In one he enclosed some pictures of himself

0:15:35.200 --> 0:15:38.040
<v Speaker 1>and into the letter by saying, I love you very much,

0:15:38.480 --> 0:15:43.920
<v Speaker 1>don't forget me. UNA's mother, Agnes or Aggie Bolton, wasn't

0:15:44.000 --> 0:15:48.120
<v Speaker 1>much comfort either. Aggie was better, but she also was

0:15:48.160 --> 0:15:51.760
<v Speaker 1>a writer, and she was busy with her work, and

0:15:52.040 --> 0:15:56.480
<v Speaker 1>so Aggie was not exactly a hands on mother. She

0:15:56.960 --> 0:16:00.160
<v Speaker 1>may mean, I wanted to say she was there, but

0:16:00.320 --> 0:16:04.000
<v Speaker 1>she wasn't. As Una grew up, she longed to see

0:16:04.000 --> 0:16:07.080
<v Speaker 1>her father. Aside from a short visit when she was six,

0:16:07.560 --> 0:16:10.600
<v Speaker 1>Una didn't see Eugene O'Neil again until she was fourteen.

0:16:11.080 --> 0:16:13.400
<v Speaker 1>She kept writing, can't I come to see you? Can't

0:16:13.440 --> 0:16:17.360
<v Speaker 1>I come to see you? Uh? And finally he agreed

0:16:17.400 --> 0:16:21.400
<v Speaker 1>to let her come out to visit. And he was

0:16:21.520 --> 0:16:26.200
<v Speaker 1>working all the time, but he they had meals together

0:16:26.520 --> 0:16:29.960
<v Speaker 1>and he gave her an hour in the afternoon. We're

0:16:30.040 --> 0:16:33.320
<v Speaker 1>just the two of them were together, and he would

0:16:33.320 --> 0:16:42.000
<v Speaker 1>play her his jazz records. She returned to New York

0:16:42.120 --> 0:16:44.960
<v Speaker 1>and he returned to his work, and despite UNA's best

0:16:45.000 --> 0:16:47.760
<v Speaker 1>efforts to stay in touch, he pretty much ignored her.

0:16:48.960 --> 0:16:51.240
<v Speaker 1>She didn't have much adult supervision in her life, but

0:16:51.360 --> 0:16:54.240
<v Speaker 1>Una seemed to gravitate to the adults who did pay attention.

0:16:54.720 --> 0:16:59.200
<v Speaker 1>The adults the Stork Club. Eugene O'Neil was not happy

0:16:59.240 --> 0:17:02.840
<v Speaker 1>about the public that his daughter was getting. Una announced

0:17:02.840 --> 0:17:06.200
<v Speaker 1>she was going to Hollywood instead of college. A reporter

0:17:06.280 --> 0:17:10.080
<v Speaker 1>asked if her father approved. Una replied, he's my guardian

0:17:10.160 --> 0:17:12.960
<v Speaker 1>until I'm eighteen, adding with a twinkle in her big

0:17:13.000 --> 0:17:16.520
<v Speaker 1>brown eyes. The reporter wrote, I'll be eighteen next May.

0:17:16.680 --> 0:17:20.120
<v Speaker 1>A girl ought to earn her own living. O'Neil wrote

0:17:20.160 --> 0:17:24.280
<v Speaker 1>a blistering letter to his daughter in response. All I

0:17:24.320 --> 0:17:26.560
<v Speaker 1>know of what you have become since you blossomed into

0:17:26.600 --> 0:17:30.480
<v Speaker 1>the nightclub racket is derived from newspaper clippings of your interviews.

0:17:30.520 --> 0:17:33.240
<v Speaker 1>He wrote. All the publicity you have had is the

0:17:33.280 --> 0:17:36.200
<v Speaker 1>wrong kind unless your ambition is to be a second

0:17:36.280 --> 0:17:41.080
<v Speaker 1>rate movie actress of the floozy variety. The relationship whn't

0:17:41.080 --> 0:17:44.680
<v Speaker 1>even further downhill until Eugene cut all ties with Una.

0:17:45.200 --> 0:17:50.520
<v Speaker 1>That was it. She never saw him again. I could

0:17:50.520 --> 0:17:54.920
<v Speaker 1>read you just a little bit from the final letter

0:17:55.040 --> 0:17:58.000
<v Speaker 1>that he ever wrote her. This is Robert Dowling, Eugene

0:17:58.000 --> 0:18:01.640
<v Speaker 1>O'Neill biographer. Here's open you change as you grow out

0:18:01.640 --> 0:18:04.240
<v Speaker 1>of the callows stage. I had hoped there was the

0:18:04.280 --> 0:18:07.840
<v Speaker 1>making of a fine, intelligent woman in you which would

0:18:07.880 --> 0:18:11.800
<v Speaker 1>remain fine in whatever she did. I still hope. So

0:18:12.200 --> 0:18:15.679
<v Speaker 1>if I am wrong, goodbye. If I am right, you

0:18:15.720 --> 0:18:18.359
<v Speaker 1>will sometimes see the point in this letter and be

0:18:18.440 --> 0:18:22.520
<v Speaker 1>grateful in which case or of war. That was their

0:18:22.600 --> 0:18:25.919
<v Speaker 1>last correspondence, and then she went on to marry a

0:18:25.960 --> 0:18:29.760
<v Speaker 1>man more than twice her age. You know it's it's

0:18:30.359 --> 0:18:37.520
<v Speaker 1>Penny Anti psychological whatever. But if ever anyone was looking

0:18:37.560 --> 0:18:43.120
<v Speaker 1>for a father, it was Una Jane Scoville. Again, let's

0:18:43.119 --> 0:18:50.680
<v Speaker 1>put it this way. O'Neill was cold and distant. Charlie

0:18:50.960 --> 0:18:55.440
<v Speaker 1>was worn and distant, but he was there far more

0:18:56.240 --> 0:19:01.200
<v Speaker 1>then O'Neill ever was for his kids. So she worshiped

0:19:01.280 --> 0:19:06.440
<v Speaker 1>him as she worshiped her father. And UNA's marriage drove

0:19:06.440 --> 0:19:14.760
<v Speaker 1>her father crazy. He was furious, furious. Charlie was one

0:19:15.320 --> 0:19:20.920
<v Speaker 1>year younger than Eugene o'hell, and he was a hundred

0:19:21.040 --> 0:19:26.400
<v Speaker 1>times more famous. Una O'Neil Chaplin had a certain gravity,

0:19:26.920 --> 0:19:29.399
<v Speaker 1>a gravity that held the brightest minds in art and

0:19:29.480 --> 0:19:34.399
<v Speaker 1>literature in her orbit. Unfortunately, UNA's intelligence, her grace, and

0:19:34.440 --> 0:19:37.159
<v Speaker 1>in the end, her entire life was eclipsed by the

0:19:37.200 --> 0:19:41.000
<v Speaker 1>men that surrounded her. In the same way Una holds

0:19:41.000 --> 0:19:44.639
<v Speaker 1>our thread together. She introduced J. D. Salinger to the

0:19:44.720 --> 0:19:48.560
<v Speaker 1>dazzling and frivolous world of New York's cafe society. She

0:19:48.680 --> 0:19:51.440
<v Speaker 1>helped inspire his greatest novel, the one that in turn

0:19:51.520 --> 0:19:55.720
<v Speaker 1>inspired Mark David Chapman to murder John Lennon. But would

0:19:55.720 --> 0:19:58.240
<v Speaker 1>Salinger have become the writer he did if he had

0:19:58.320 --> 0:20:01.320
<v Speaker 1>landed the girl of his dreams. What if Una hadn't

0:20:01.359 --> 0:20:04.199
<v Speaker 1>left him for someone like Charlie Chaplin, a man that

0:20:04.240 --> 0:20:07.480
<v Speaker 1>she could worship like she worshiped the father that abandoned her.

0:20:12.359 --> 0:20:15.680
<v Speaker 1>In our next episode, we continue our thread with UNA's father,

0:20:15.960 --> 0:20:20.040
<v Speaker 1>Eugene O'Neil. He's been called America's Shakespeare and the poet

0:20:20.119 --> 0:20:24.520
<v Speaker 1>Laureate of gloom. He almost single handedly transformed American theater

0:20:24.600 --> 0:20:28.440
<v Speaker 1>from vaudeville to riveting drama. But o'neia lived his life

0:20:28.440 --> 0:20:31.120
<v Speaker 1>on the stage in his mind and could only really

0:20:31.160 --> 0:20:34.520
<v Speaker 1>connect with his family and his lovers through the world

0:20:34.520 --> 0:20:45.080
<v Speaker 1>of his plays. The Threat is produced by Meredith hot Nutt,

0:20:45.119 --> 0:20:49.000
<v Speaker 1>Libby Coleman, and me Sean braswell. Our editors are Carlos

0:20:49.000 --> 0:20:52.520
<v Speaker 1>Watson and samir Rao. Meredith Hotnot engineered our show with

0:20:52.600 --> 0:20:56.320
<v Speaker 1>mixing and sound design from James Rowland's special thanks to

0:20:56.359 --> 0:21:00.360
<v Speaker 1>Cindy Carpian, David Boyer, Tracy Moran, Sean Cole, Agan, Sun,

0:21:00.440 --> 0:21:05.800
<v Speaker 1>Jeeve Tandon, Cameo, George, and k A. Lw. This episode

0:21:05.840 --> 0:21:08.960
<v Speaker 1>featured the song Una O'Neil by Lindsay and Russell John.

0:21:09.720 --> 0:21:12.040
<v Speaker 1>Check us out at ausy dot com. That's o z

0:21:12.400 --> 0:21:16.080
<v Speaker 1>y dot com. Or on Twitter and Facebook. To learn

0:21:16.080 --> 0:21:19.159
<v Speaker 1>more about the thread, visit ausy dot com, slash the

0:21:19.240 --> 0:21:22.919
<v Speaker 1>thread all one word, and make sure to subscribe to

0:21:22.960 --> 0:21:26.520
<v Speaker 1>the thread on Apple Podcasts. If you love surprising and

0:21:26.520 --> 0:21:30.280
<v Speaker 1>engaging stories from history like this one, look no further

0:21:30.359 --> 0:21:34.840
<v Speaker 1>than the flashback section of AZZI. Thanks for listening. What's