Latest / Who Did What Now With Katie Charlwood / 158. Liane de Pougy - Courtesan, Princess, Nun

Transcript

158. Liane de Pougy - Courtesan, Princess, Nun · Who Did What Now With Katie Charlwood

• 0:00
  Speaker 1: Hello, delicious friends, and welcome to Who Did What Now?
• 0:03
  Speaker 1: The history podcast. It's not your history class with me,
• 0:07
  Speaker 1: your host Katie Charlwood, History Harlot and reader of books,
• 0:12
  Speaker 1: and my, oh my delicious friends. Will we be leaning
• 0:14
  Speaker 1: into the history Harlot this month. I should probably slip
• 0:19
  Speaker 1: into some context here, so I know I've got a
• 0:23
  Speaker 1: lot of new listeners that have come from the Concentration
• 0:26
  Speaker 1: Camp series. Now the all these and Goldies, they've been here.
• 0:29
  Speaker 1: They know this at this point because I talk about
• 0:32
  Speaker 1: it at least once a year. So I have been
• 0:36
  Speaker 1: making social media content as long as I've had the podcast.
• 0:40
  Speaker 1: So I've been making history content to go along with
• 0:43
  Speaker 1: and run parallel to the podcast since its inception. Right,
• 0:48
  Speaker 1: the whole point was it was going to promote the podcast,
• 0:50
  Speaker 1: and then it just kind of turned into its own thing,
• 0:52
  Speaker 1: so it grew legs and ran. So I have been
• 0:58
  Speaker 1: doing that and I've been educating online for five years
• 1:03
  Speaker 1: give or take. And I have breasts. Oh no, that's
• 1:09
  Speaker 1: that's the problem. The problem is I have I have breasts. Right,
• 1:12
  Speaker 1: That is the issue. The amount of men. It's mainly men.
• 1:17
  Speaker 1: Some women that get enraged. Somebody even go as far
• 1:21
  Speaker 1: as to say Levid that I have a fulsom bosom
• 1:25
  Speaker 1: and that I don't work to hide it. Now it's
• 1:30
  Speaker 1: become such a thing, and so people would complain that
• 1:36
  Speaker 1: I couldn't have like a sweet, sweet rack and also
• 1:39
  Speaker 1: a brain allegedly, And so what would happen was is
• 1:44
  Speaker 1: people would complain about how I dressed, and I am
• 1:47
  Speaker 1: fueled by Spike, Like on a scale of zero to
• 1:51
  Speaker 1: all have Kiev, how vengeful are you? Okay, I am
• 1:56
  Speaker 1: a solid Catherine DIMADICI like I, I will play the
• 2:01
  Speaker 1: long game and I will come at you. But it's
• 2:04
  Speaker 1: it's there. It's there, It's always there. And so fueled
• 2:09
  Speaker 1: by Spiked, and so people would complain about how I dressed,
• 2:13
  Speaker 1: whether I was wearing something that was form fitting or
• 2:17
  Speaker 1: had like the tiniest whisper of a hint of cleavage,
• 2:20
  Speaker 1: and so I would then wear something that was slightly
• 2:24
  Speaker 1: smuttier every video I'm like I once I once had
• 2:29
  Speaker 1: a guy complain that all of my videos showed boob right,
• 2:33
  Speaker 1: And this was back when I only had like one
• 2:35
  Speaker 1: hundred or so videos up on Instagram. And I went
• 2:38
  Speaker 1: back through like the last seventy five and it was
• 2:42
  Speaker 1: like fifty nine of them. I was like fifty nine
• 2:46
  Speaker 1: or sixty one. It was like that kind of ratio.
• 2:49
  Speaker 1: Ratio is the wrong word, but yeah, it was fifty
• 2:51
  Speaker 1: nine or sixty one. I was covered up like I
• 2:54
  Speaker 1: was wearing T shirts, I was wearing high neck jumpers,
• 2:56
  Speaker 1: I was wearing blouses buttoned all the way up like
• 2:59
  Speaker 1: I was covered right, And it was only the remainder
• 3:02
  Speaker 1: that I was showing cleavy gin and partly the algorithm knows,
• 3:06
  Speaker 1: and so that's what he was focusing on because he
• 3:09
  Speaker 1: never went to my page and never looked to all
• 3:11
  Speaker 1: the other ones. So anyway, ha ha, pervert. So what
• 3:17
  Speaker 1: happened was is people started calling me a whoror for
• 3:22
  Speaker 1: how I was dressing. And here's the thing, and nothing
• 3:25
  Speaker 1: was that scandalous. I've never worn anything that scandalous in
• 3:30
  Speaker 1: a video, like never ever, and I would be called
• 3:33
  Speaker 1: a whore and I was like, how dare you? I
• 3:36
  Speaker 1: am not a whore, I am a harlot. And so
• 3:39
  Speaker 1: the history of Harlot was born out of alliteration and spite,
• 3:43
  Speaker 1: and there we are. But anyway, I know what you're thinking.
• 3:48
  Speaker 1: You're thinking, Katie, quit your Jebel Jabba. In fact, me.
• 3:53
  Speaker 1: In fact you I will, but first we've got to
• 3:56
  Speaker 1: get our source on I was. Sources are Paris, La
• 4:02
  Speaker 1: Belle Epoch by Richard Wires, Dawn of the bell Epoc,
• 4:08
  Speaker 1: The Paris of Monet, Zola, Bernard Ivel, Debussy, Clemens and
• 4:12
  Speaker 1: their Friends by Mary mccauloffe, The Belle Epoch, A Cultural
• 4:19
  Speaker 1: History Paris and Beyond by Dominique Khalifa, Leanne Debougie, Gordissant,
• 4:27
  Speaker 1: Princess a Saint by Jean Charmon. We have a series
• 4:36
  Speaker 1: of love letters from Latly Barney Clifford and Leanne Debouge.
• 4:42
  Speaker 1: We also have women Lovers of the Third Women by
• 4:48
  Speaker 1: Natalie Clifford, Barney Macaire, Blue My Blue Nopex, The Memoirs
• 4:56
  Speaker 1: of Leanne de Bouge, Sartorial Obsessions, beards Lay and Masquerade
• 5:04
  Speaker 1: by Lorraine Jansen Cuistre, The Evolution of the French Courtizan
• 5:13
  Speaker 1: novel from de Chabia to Collette by Courtney Sullivan, Pretty
• 5:19
  Speaker 1: Things by Liz Goodwin. La Belle Otelo by Arthur J. Lewis,
• 5:29
  Speaker 1: eros In La Belle Epoch by Patrick Wahlberg, Si Doctress,
• 5:37
  Speaker 1: Women who Ravished the World and their Lost art of
• 5:40
  Speaker 1: Love by Elizabeth Proulon. The Book of Courtesans, a Catalog
• 5:47
  Speaker 1: of their Virtues by Susan Griffin, The Mistress of Paris,
• 5:53
  Speaker 1: The nineteenth century courtizan who built an empire on a
• 5:56
  Speaker 1: secret by Catherine Hewitt, And of course we have our
• 6:01
  Speaker 1: old favorites Biography dot com and History dot com, iosding
• 6:07
  Speaker 1: comfortably good Limley, It's begin So given the heaviness of
• 6:15
  Speaker 1: last month's topic, I want to slip into something a
• 6:19
  Speaker 1: little lighter. And what better to share than my love
• 6:24
  Speaker 1: of burlesque. Like I love burlesque. I'm obsessed with burlesque.
• 6:29
  Speaker 1: It is one of those periods of time where it's
• 6:35
  Speaker 1: just it's beautiful and it's amazing, and there's a misrepresentation
• 6:42
  Speaker 1: of what it is or what it was, and I
• 6:46
  Speaker 1: feel like there's such disrespect to this art form. Like
• 6:51
  Speaker 1: if you've ever seen a Las Vegas showgirl perform like
• 6:57
  Speaker 1: that is that is amazing. It is beauty, it is humor,
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  Speaker 1: it is everything. Like one of my favorite performers, her
• 7:06
  Speaker 1: name is Charlie Quinn Starling, and I saw her on
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  Speaker 1: TikTok and she was one of the ostriches from Fantasia
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  Speaker 1: and that to me, that is the perfect burlesque thing
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  Speaker 1: I have ever seen. It is amazing. And so here
• 7:29
  Speaker 1: here's the thing. I am an old time old love
• 7:31
  Speaker 1: and burlesque girly, and I thought, if Taylor Swift is
• 7:37
  Speaker 1: going to go full show girl, then the least I
• 7:40
  Speaker 1: can do is try to provide a full portrayal of
• 7:43
  Speaker 1: these fabulous and interesting women, right, the majority of the
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  Speaker 1: performers or women. There will be some men that we
• 7:51
  Speaker 1: will mention like throughout the series, but predominantly these amazing women.
• 8:00
  Speaker 1: And before before we get into the story, right, we
• 8:06
  Speaker 1: because I want to do it justice, right, I want
• 8:08
  Speaker 1: to do these people justice. Everything I ever do is
• 8:13
  Speaker 1: about providing, you know, a well rounded, like fully informed story,
• 8:22
  Speaker 1: because that history is people. It's not machines and guns
• 8:27
  Speaker 1: and buildings and there. The buildings are pretty, let's not lie.
• 8:31
  Speaker 1: But people are what make history and it's a deservice
• 8:37
  Speaker 1: to not treat them appropriately. So I need to give
• 8:44
  Speaker 1: you the background. I need to give you the context.
• 8:46
  Speaker 1: But I am going to go cliff note style because
• 8:48
  Speaker 1: I'm going to go deeper into this in other times.
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  Speaker 1: So the burlesque scene really originates in France, born out
• 8:56
  Speaker 1: of yet another upheaval in the country. So the Second
• 9:00
  Speaker 1: French Empire had collapsed, the country had survived the Franco
• 9:04
  Speaker 1: Prussian War, when powers eight a zoo and the Third
• 9:08
  Speaker 1: French Republic was established, and burlesque it was born as
• 9:13
  Speaker 1: an alternative to theatre of the bourgeoiss. I mean, burlesque
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  Speaker 1: does come from the Latin word burlair b u r
• 9:22
  Speaker 1: l a r e. I I don't speak Latin. I
• 9:26
  Speaker 1: don't know how the the language alphabet works really, so
• 9:32
  Speaker 1: burlar it means to laugh, and that is where burlesque
• 9:37
  Speaker 1: comes from. And it it mixed high and low brow
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  Speaker 1: humor and it was somewhat accessible feast for the eyes.
• 9:48
  Speaker 1: So during La Belle epoch, which was the beautiful era,
• 9:53
  Speaker 1: I'm going to apologize for my French pronunciations and my
• 9:57
  Speaker 1: French accent now, but you are gonna have to suffer
• 10:02
  Speaker 1: through it again. Listen, the Germans had to listen to
• 10:06
  Speaker 1: me say words in the last four things I did,
• 10:09
  Speaker 1: and ah, yeah, they were more considerate than I expected.
• 10:15
  Speaker 1: I don't expect much from the French, I'm kidding. I'm kidding.
• 10:21
  Speaker 1: Seventy percent of the French people I've met have not
• 10:23
  Speaker 1: been terrible. I'm going to get in so much trouble
• 10:27
  Speaker 1: for this episode. Why didn't you hate the French? I don't.
• 10:30
  Speaker 1: I'm going to Paris at the end of September with work,
• 10:33
  Speaker 1: like as my day job, so I'm gonna be I'm
• 10:37
  Speaker 1: gonna be there, Okay. I love I love it. I'm
• 10:40
  Speaker 1: trying to convince my boss to go to the Milan Rouge.
• 10:44
  Speaker 1: I'm like, it'll be fun anyway. During La Belle epook
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  Speaker 1: the Beautiful Era, which is from about eighteen seventy one
• 10:52
  Speaker 1: to nineteen fourteen between wars, so you're between the Franco
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  Speaker 1: Prussian War and the Great War, which would go on
• 11:02
  Speaker 1: to become World War One. And this is a time,
• 11:06
  Speaker 1: you know, to quote the movie Milon Rouge, was a
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  Speaker 1: period of freedom, beauty, truth and love. You've got enlightenment, romanticism, innovation,
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  Speaker 1: colonialism because why are we surprised? And the explosion of
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  Speaker 1: art and creativity. Now I can talk about all of
• 11:27
  Speaker 1: the beauty and amazing, fabulous, wonderful stuff that happened during
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  Speaker 1: this era. However, it would be another disservice if I
• 11:35
  Speaker 1: didn't mention just the impact of colonialism on this whole
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  Speaker 1: time period, because it seeps in to all of these aspects,
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  Speaker 1: and I'll probably touch on that more in another episode.
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  Speaker 1: I think so yes, you have the fuly Belger, the
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  Speaker 1: first legitimate music hall in Paris. It opened in eighteen
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  Speaker 1: sixty nine, showing a variety of acts from trapeze artists,
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  Speaker 1: ballet singers, one act plays, operettas and even vaudeville acts
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  Speaker 1: and many of the great coursons of the era. They
• 12:17
  Speaker 1: had careers as performers at the Foley Belgeer, with their
• 12:22
  Speaker 1: acts designed to accentuate their talents. And this was a
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  Speaker 1: form of legitimacy for many courtesans, because you know, it
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  Speaker 1: was seen as this is what they're doing, this is
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  Speaker 1: what they're performing, and this ensured them also a long
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  Speaker 1: line of admirers because freedom, bury truth and love. They're
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  Speaker 1: obsessed with the beauty. They're obsessed with attainment, you know,
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  Speaker 1: keeping up with the Joneses, and they want the beautiful
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  Speaker 1: women on the stage, you know, and leon de Bouges
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  Speaker 1: was one such Demi Mondaine, and she was a courtesan.
• 13:08
  Speaker 1: And I chose Leanne because she's one of the earliest
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  Speaker 1: performers and she hits my personal trifecta of go guns
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  Speaker 1: and girls girls girls. So I again, listeners of this podcast, well,
• 13:27
  Speaker 1: no that I've done this. I talk about it all
• 13:30
  Speaker 1: the time. So when I was in La, I was
• 13:35
  Speaker 1: told about the whole thing about the three billboards in America,
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  Speaker 1: which are God, guns and girls, girls, girls, And I
• 13:42
  Speaker 1: managed to come across the only guns billboard in all
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  Speaker 1: of La. Right. I saw it. I saw guns. I
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  Speaker 1: saw a billboard about God, but I did not see
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  Speaker 1: one for girls, girls, girls, And I'm mad. I want
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  Speaker 1: to see a girl. I want to see the God
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  Speaker 1: guns and girls girls girls like I feel like that
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  Speaker 1: would be the American experience anyway. Leanne de Pougie she
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  Speaker 1: was born and Marie Charsine in La Fleche Serte in
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  Speaker 1: the west of France, on the second of July eighteen
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  Speaker 1: sixty nine, to Pierre bles Yogene Charssan and Emmy Lopez.
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  Speaker 1: Because her mother had the decency to have a shorter name,
• 14:31
  Speaker 1: or at least they didn't write it down, so her
• 14:34
  Speaker 1: dad was like French and French and her mum was
• 14:37
  Speaker 1: Spanish French, hence Lopez. So she was the second child
• 14:43
  Speaker 1: to the couple. She had an older brother, also named Pierre.
• 14:47
  Speaker 1: Because men can't help, but name people after them. France
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  Speaker 1: during this period is still fairly Catholic now. It used
• 14:56
  Speaker 1: to be super Catholic, but it had torn down just
• 14:59
  Speaker 1: a it. And like most French girls, she was sent
• 15:03
  Speaker 1: to a nunnery to be educated, and at this convent
• 15:07
  Speaker 1: school she learned manners or etiquette, reading, praying, writing, praying,
• 15:16
  Speaker 1: the devotion of saints, and of course praying. Clearly, the
• 15:22
  Speaker 1: convent life wasn't as sheltered as they hoped, because she
• 15:26
  Speaker 1: becomes pregnant at sixteen. At the age of sixteen, young
• 15:36
  Speaker 1: Anne Marie Elopse with the father of her fetus, the
• 15:42
  Speaker 1: naval officer Joseph Ahmand and Lee Burbe Bulp. Everyone's got
• 15:51
  Speaker 1: such long names here. Their son, Marc murray Edmund armand Pulp,
• 15:56
  Speaker 1: was born on the seventeenth of May eighteen eighty seven.
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  Speaker 1: And I mean, you could say at least he married her,
• 16:05
  Speaker 1: at least he was decent enough to do that. Well,
• 16:08
  Speaker 1: let's hold that applause for just a week second. So
• 16:14
  Speaker 1: she didn't quite take to motherhood. Her maternal instinct was
• 16:19
  Speaker 1: about as sharp as a brick. And like in her notebooks,
• 16:24
  Speaker 1: like her diary, she straight up admitted to being a
• 16:26
  Speaker 1: crappy mom. She even said that she wished she had
• 16:29
  Speaker 1: a girl so she could like dress her up in
• 16:31
  Speaker 1: little gowns and curl her hair, and that it was
• 16:35
  Speaker 1: like giving like a loving doll to a child, because
• 16:39
  Speaker 1: I mean, she grew up in a convent. It's fairly sheltered.
• 16:42
  Speaker 1: And then there's this naval dude, and you know, hormones,
• 16:49
  Speaker 1: and next thing you know, there you go, there's a baby.
• 16:54
  Speaker 1: And her husband not gray either, a misogynist in the past, groundbreaking.
• 17:06
  Speaker 1: He was violent and abusive, and she had a scar
• 17:10
  Speaker 1: on her chest from one of his beatings, a scar
• 17:13
  Speaker 1: that was so prominent that it was clearly seen throughout
• 17:18
  Speaker 1: her life. He even assaulted her on their wedding night,
• 17:25
  Speaker 1: and her diary she wrote that he took her violently,
• 17:29
  Speaker 1: but we know that that means rape. Like the words,
• 17:34
  Speaker 1: the manner in which events are phrasd is very very
• 17:39
  Speaker 1: important because the correct terminology, I think is very important
• 17:45
  Speaker 1: when it comes comes to talking about events in history
• 17:50
  Speaker 1: and in life, because if you're using the right terminology,
• 17:55
  Speaker 1: it is difficult to misinterpret that being said. As a
• 17:59
  Speaker 1: neurodivergent person, sometimes it doesn't matter how eloquently or accurately
• 18:05
  Speaker 1: you describe something, there will always be someone twisting it
• 18:10
  Speaker 1: and viewing it a different way. You know. So when
• 18:15
  Speaker 1: Armand's naval career took him to Marseille, his wife took
• 18:19
  Speaker 1: a lover, Charles Marie de Maron the fifth maruis of Eguay.
• 18:29
  Speaker 1: Anyone who doesn't speak French, or even people who speak
• 18:32
  Speaker 1: French are just like, what are those sounds coming out
• 18:34
  Speaker 1: of her mouth? She can do the look sound, but eh, yeah,
• 18:40
  Speaker 1: I'm sorry. This is my official apology to France. Armand
• 18:47
  Speaker 1: he arrives home one day unexpectedly and finds his wife
• 18:52
  Speaker 1: and her lover in bed together and completely not overreacting
• 18:58
  Speaker 1: in any way whatsoever, he shoots her with his revolver.
• 19:04
  Speaker 1: The end, I'm just kidding. I'm just kidding. Could you imagine?
• 19:09
  Speaker 1: And I was like, oh, twenty minutes in story done?
• 19:13
  Speaker 1: No no, no, no, Now, I don't know what possession
• 19:19
  Speaker 1: they were in, like the lovers, but whatever angle they
• 19:24
  Speaker 1: were at, he ends up like Armand, he ends up
• 19:28
  Speaker 1: shooting Anne Marie and the thigh right, he ends up
• 19:33
  Speaker 1: winding her wet. I say that I have read two
• 19:37
  Speaker 1: versions of this story. One is that he managed to
• 19:41
  Speaker 1: wind her thigh. The other is that he wounded her wrist.
• 19:46
  Speaker 1: Now here's the thing. Logically, logically, my brain goes, well,
• 19:52
  Speaker 1: surely the thigh has more fleshy bits and could take
• 19:57
  Speaker 1: like a bullet one way like Gray's a going through
• 20:01
  Speaker 1: sort of like some soft parts. And that makes more
• 20:04
  Speaker 1: sense to me other than the wrist, because like bones man,
• 20:07
  Speaker 1: there's this more likely to get you know. I just
• 20:10
  Speaker 1: feel like the wrist is more likely to get hurt,
• 20:13
  Speaker 1: you know, or damage to the point of not being
• 20:16
  Speaker 1: able to use it. And there are allegedlies. There's an
• 20:20
  Speaker 1: allegedlies that she would show the scar on her thigh
• 20:25
  Speaker 1: to her favorite lovers. Now that's I mean, maybe she did,
• 20:30
  Speaker 1: maybe she didn't, but I like that story better. So this,
• 20:37
  Speaker 1: you know, winding is the last straw. She says fuck
• 20:42
  Speaker 1: this for a game of soldiers and decides to leave
• 20:44
  Speaker 1: her husband. So she sells a rosewood piano for four
• 20:48
  Speaker 1: hundred flanks to some dude who was willing to give
• 20:51
  Speaker 1: her four hundred francs, and she gets the heck at
• 20:54
  Speaker 1: a dodge. She leaves their infant son with amand as
• 20:58
  Speaker 1: this is the past and legally he is under the
• 21:01
  Speaker 1: guardianship of his father. Right, even if she was a
• 21:07
  Speaker 1: good mum, even if she was the best mom in
• 21:11
  Speaker 1: the world and fill to the brim of motherly love, right,
• 21:17
  Speaker 1: she would not have a chance because if she left
• 21:20
  Speaker 1: with that infant, then Almand could basically do her for kidnapping,
• 21:26
  Speaker 1: right because he owned the baby. Right, So he gets
• 21:33
  Speaker 1: the baby, whom he swiftly sends to his parents and
• 21:38
  Speaker 1: the suers. He's like, I'm not going to deal with
• 21:41
  Speaker 1: a child. No. See France, it was actually fairly progressive,
• 21:49
  Speaker 1: like for the time period, so women had acquired very
• 21:55
  Speaker 1: very recently, like this is a very new turn of
• 21:58
  Speaker 1: events they had. Why are the right to a bank
• 22:01
  Speaker 1: account in their own name, not their husbands, the right
• 22:05
  Speaker 1: to own property and the right to divorce? Right, again,
• 22:10
  Speaker 1: this is all very very new, right, this is a
• 22:13
  Speaker 1: very new thing that's happened. And unlike other countries, Britain,
• 22:19
  Speaker 1: unlike other countries in the area, like this wasn't a thing.
• 22:23
  Speaker 1: I mean, I'm fairly certain Italy didn't have it at
• 22:25
  Speaker 1: this point, because I feel like that's like even more
• 22:28
  Speaker 1: religious than France. But I'd have to look it up. Actually,
• 22:33
  Speaker 1: so it's still a fairly conservative country because you know
• 22:39
  Speaker 1: all of the Catholicism, but she managed to get her divorce.
• 22:44
  Speaker 1: I'm going to assume because of the whole adulter very thing,
• 22:47
  Speaker 1: and so, you know, well, how else would I get
• 22:51
  Speaker 1: this in my thigh and dieu? So she gets the
• 22:57
  Speaker 1: train to Paris, a hot bed of creativity and debauchery
• 23:05
  Speaker 1: there and their Demimonde, the sort of half world right.
• 23:13
  Speaker 1: What is Demimondia It means half world right. So it
• 23:18
  Speaker 1: stretches from Mamatha to the place Madeline. It's filled with
• 23:23
  Speaker 1: cabaret halls, restaurants, bars, and smoky cafes. So anyone who
• 23:30
  Speaker 1: was born in the nineties, I should probably tell you
• 23:33
  Speaker 1: people used to smoke in restaurants. Smoking is when tobacco
• 23:39
  Speaker 1: is wrapped up in paper and people like it to
• 23:43
  Speaker 1: inhale the smoke of the burning leaves. My kids don't
• 23:50
  Speaker 1: know what smoking is, like they've never seen it. Like
• 23:53
  Speaker 1: they know what vaping is because they've seen it, but
• 23:55
  Speaker 1: they've never seen I don't think anybody in real life
• 23:58
  Speaker 1: smoke a cigarette. So I'm trying to watch old timey
• 24:03
  Speaker 1: movies and they're like, why is that baby holding a cigar?
• 24:10
  Speaker 1: You know what? Because he's stressed guys. He's stressed anyway.
• 24:16
  Speaker 1: So you have this, this this place where worlds collided.
• 24:25
  Speaker 1: La belle epoc Parie, the novouche, the bourgeoisie, the bohemians,
• 24:30
  Speaker 1: the artists, patrons, and the courtesans. Rich men kept women.
• 24:37
  Speaker 1: They showered them with jewels, katilla clothes and champagne dinnals.
• 24:41
  Speaker 1: And it is here where eighteen year old Anne Marie
• 24:44
  Speaker 1: finds herself. She lands in gay Paris and lodges with
• 24:48
  Speaker 1: a friend in the Rue de Chazelle, which is in
• 24:51
  Speaker 1: the Demimonde, which it's just this like explosion of just
• 25:00
  Speaker 1: art and performance and literature. It's just this amazing place.
• 25:10
  Speaker 1: And her apartment was opposite that of Madame Bardi Is
• 25:14
  Speaker 1: celebrated courtsons, and like coursons, for the record, weren't just
• 25:19
  Speaker 1: smoking hot babes. They were, of course stunning, and especially
• 25:25
  Speaker 1: stunning for the era because our modern perception of beauty,
• 25:30
  Speaker 1: the iPhone faces, that's a modern thing. But anyway, they
• 25:37
  Speaker 1: also had to be able to move within the circles
• 25:41
  Speaker 1: of the thinkers, the poets, the artists, and be able
• 25:44
  Speaker 1: to hold their own like you were shown off right,
• 25:49
  Speaker 1: And I think this is where part of my obsession
• 25:52
  Speaker 1: of coursons has come from ever since I learned about
• 25:54
  Speaker 1: them after watching the movie Moulin Rouge and then obsessively
• 26:00
  Speaker 1: fixated on Turn of the Century of Paris. AnyWho they
• 26:05
  Speaker 1: were celebrated and like I have never had sidebar, I
• 26:09
  Speaker 1: have never had a romantic partner like celebrate me, like,
• 26:15
  Speaker 1: not publicly in any way, Like it's never happened. It's
• 26:18
  Speaker 1: always been like I don't know, I don't want to
• 26:23
  Speaker 1: say shameful, Like I know I'm a lot. I know
• 26:26
  Speaker 1: I'm a lot, but I've never had someone be like, wow,
• 26:29
  Speaker 1: this is my person. Aren't they amazing? Even though that's
• 26:33
  Speaker 1: what I'm like when I really like someone, because obviously
• 26:37
  Speaker 1: they are amazing. Otherwise why would I like them? You
• 26:39
  Speaker 1: know what I mean? Anyway, And like that is the
• 26:43
  Speaker 1: bar I hold people too, because like my friends do that,
• 26:47
  Speaker 1: Like I have never had a romantic partner post me
• 26:52
  Speaker 1: on their Instagram with as much joy or love as
• 26:58
  Speaker 1: any of my friends have. Like in that that says
• 27:02
  Speaker 1: a lot about who I date. But anyway, back to
• 27:09
  Speaker 1: the courtesans who are not headden Away, and that is
• 27:13
  Speaker 1: what Anne Marie what she sees when she reaches Paris.
• 27:17
  Speaker 1: The elegant women, draped in high fashion and fancy jewelry,
• 27:21
  Speaker 1: leaving her home via a beautiful carriage and living a
• 27:25
  Speaker 1: life of luxury, heading out to operas and dinners and
• 27:30
  Speaker 1: all that jazz. And she's watching her and she's like,
• 27:33
  Speaker 1: I mean, she wants it. She's eighteen, and she's not
• 27:37
  Speaker 1: poor pooh, because you know, she's come from a fairly
• 27:41
  Speaker 1: decent life, but she wants the good life. She knew
• 27:49
  Speaker 1: that she wanted to be one of the denimms inn
• 27:52
  Speaker 1: the women of the underworld, Yes, that's what they call them,
• 27:57
  Speaker 1: which are mainly actresses and courtesis now. There is a
• 28:01
  Speaker 1: fine line between the two, and it's one of the
• 28:04
  Speaker 1: reasons why being on the stage was kind of seen
• 28:07
  Speaker 1: as being less reputable and sometimes CD so ballet performers, dancers, singers, actors.
• 28:17
  Speaker 1: That was all kind of seen as kind of, oh,
• 28:20
  Speaker 1: in order to get by in this life, you have
• 28:21
  Speaker 1: to be kept, you have to be paid for and
• 28:24
  Speaker 1: may isn't that what marriage was back in the day, Like,
• 28:27
  Speaker 1: it's the same thing. Don't don't get mad at one
• 28:31
  Speaker 1: except one has more security than the other. Right, if
• 28:36
  Speaker 1: you really wanted to be a Demi mon Dane you
• 28:39
  Speaker 1: needed charm and intelligence and oh did this woman radiate joy.
• 28:45
  Speaker 1: And this is when she transformed from Anne Marie Burpe
• 28:52
  Speaker 1: to Lianne de Pouge. She gluttered. She was sort of androgenous,
• 29:03
  Speaker 1: like in her style, which was emerging at the time.
• 29:06
  Speaker 1: It was this sort of more fluid sort of idea
• 29:11
  Speaker 1: as opposed to the stiff, rigid I want to say,
• 29:14
  Speaker 1: I don't want to say a Dwardian because we're in Paris,
• 29:16
  Speaker 1: but you know what I mean, the Victorian sort of stiffness.
• 29:19
  Speaker 1: And she was sort of Yeah, she was androgynist, but
• 29:24
  Speaker 1: that didn't stop her wearing jewels. Now, it wouldn't be
• 29:28
  Speaker 1: like what we would term as androgenists today. It was
• 29:31
  Speaker 1: more of a pushback towards traditional femininity. So it's one
• 29:38
  Speaker 1: of those things where when you see someone described as
• 29:41
  Speaker 1: more masculine in the past and their attire, like they
• 29:45
  Speaker 1: wouldn't be wearing men's clothes. They would be wearing a
• 29:49
  Speaker 1: mens a men's cut, like the way the collar was cut.
• 29:53
  Speaker 1: It would be a different style to what women would
• 29:58
  Speaker 1: traditionally be wearing, but it wouldn't men's clothing. And a
• 30:03
  Speaker 1: lot of period dramas, you know, they don't think. I
• 30:06
  Speaker 1: don't know whether they don't think that will translate or
• 30:09
  Speaker 1: they're just too lazy or cheap to do that in
• 30:13
  Speaker 1: their costuming, but kind of costumes stuff to work with guys. Anyway,
• 30:22
  Speaker 1: she was smart. She knew how to budget and manage
• 30:26
  Speaker 1: her finances. She knew how to smooth and hobnob, and
• 30:29
  Speaker 1: she knew how to draw a crowd. Well she would learn.
• 30:34
  Speaker 1: She didn't start off being good. She was under the
• 30:41
  Speaker 1: teaching the tutelage, if you will, of Countess Valde's de Labignie,
• 30:46
  Speaker 1: the premier aco design of Paris. She learned the ropes
• 30:51
  Speaker 1: and made a name for herself like Leanne. Actually when
• 30:56
  Speaker 1: she changes her name, she gets it from one of
• 30:59
  Speaker 1: her and it was either a compte or the Vicompte
• 31:04
  Speaker 1: de poge, and so she's like, I will be Land
• 31:06
  Speaker 1: de poge and nobody stopped her, which is amazing. So
• 31:15
  Speaker 1: she only goes up from here. But a courisons are
• 31:20
  Speaker 1: really fascinating, like when you take the core concept of
• 31:24
  Speaker 1: it right, men absolutely bankrupting themselves for the chance, the
• 31:31
  Speaker 1: chance to shag a beautiful woman because a lot of
• 31:35
  Speaker 1: the time they're literally paying for them to, you know,
• 31:39
  Speaker 1: have a drink with them to converse, you know, like
• 31:45
  Speaker 1: the way that etiquette was at the time, Like there
• 31:49
  Speaker 1: was no guarantee that your diamonds and your jewels were
• 31:54
  Speaker 1: going to get her into your bed. The diamonds and
• 31:57
  Speaker 1: the jewels were going to be a stepping stone because
• 32:01
  Speaker 1: you're giving diamonds and jewels, and so is the vagrant
• 32:04
  Speaker 1: down the street, and so is the owner of all
• 32:08
  Speaker 1: of these factories, and you know, you have all of
• 32:12
  Speaker 1: these men vying for these beautiful women's attention, and ah,
• 32:20
  Speaker 1: it's just wild. In the Vortest de la Bigne showed
• 32:25
  Speaker 1: her all the hot spots like restaurant magxiine and art noveau,
• 32:31
  Speaker 1: gilded mirrors, opulent, decadent restaurant where the high class and
• 32:37
  Speaker 1: the popular hungout. So you've got all of these like
• 32:41
  Speaker 1: poets and artists and you know, the wretch and the beautiful.
• 32:48
  Speaker 1: So you have people like La Belle Otero, who is
• 32:52
  Speaker 1: going to be Leane's main rival, right, But we'll get
• 32:58
  Speaker 1: back to her and away second, because the Valties is
• 33:01
  Speaker 1: basically aging out of the game, right, and she wants
• 33:04
  Speaker 1: Leanne to be her successor, and she's trying to get
• 33:08
  Speaker 1: her to like be the best corson she can be.
• 33:13
  Speaker 1: She encourages her to read more classical texts, poetry, and
• 33:17
  Speaker 1: she wants her to become more cultured right and leanne
• 33:22
  Speaker 1: bourget she isn't even twenty years old yet, and so
• 33:26
  Speaker 1: she thinks this is like a bit boring and gets
• 33:30
  Speaker 1: it's not fun or exciting. But she does take the
• 33:34
  Speaker 1: advice seriously. She becomes straight smart, and she cultivates an
• 33:38
  Speaker 1: image for herself, like she gets like a statement piece,
• 33:43
  Speaker 1: like at one point she wears one peril earring like
• 33:46
  Speaker 1: Vermeer's girl with a peril earring, like just one, and
• 33:50
  Speaker 1: that becomes like her thing for a while. And the
• 33:54
  Speaker 1: life of a corasant that like you get up at
• 33:57
  Speaker 1: mid day, like you're not getting up first thing in
• 33:59
  Speaker 1: the morning. Why would you? There was no purpose for that. Right,
• 34:03
  Speaker 1: you get up, you have you know, a light breakfast,
• 34:07
  Speaker 1: You get dressed, you promenade, you go to the shops,
• 34:12
  Speaker 1: you go here, you go there, you meet for tea
• 34:15
  Speaker 1: with some ladies, You go back home, you get dressed
• 34:18
  Speaker 1: for the evening, into your finery, and then you go
• 34:21
  Speaker 1: out again, you know, wind and dined and whatnot. Right,
• 34:27
  Speaker 1: And here's the thing, So her and the valtes. They
• 34:32
  Speaker 1: are like super close. They would dine together, they would
• 34:36
  Speaker 1: frequent Niice and Monaco together, and of course they would
• 34:41
  Speaker 1: have an apperative or two together. And it's this association
• 34:46
  Speaker 1: that leads her to be invited to headline at the
• 34:49
  Speaker 1: folly berger.
• 34:52
  Speaker 2: Ah the fully belgail well, the novoiche and the bourgeois
• 34:58
  Speaker 2: and the artiste and you know Joseph over there they can.
• 35:05
  Speaker 1: For was it, three four francs each can go and
• 35:09
  Speaker 1: enjoy the beautiful show in front of them, because like
• 35:14
  Speaker 1: the Folly Belgaier, it would have all manner of beautiful
• 35:20
  Speaker 1: women and dazzling costumes. It was I'm going to say
• 35:24
  Speaker 1: slightly more highbrow than the Mulon Rouge. The Mulon Rouge
• 35:27
  Speaker 1: was like like less sophisticated little cousin. It was just
• 35:33
  Speaker 1: a bit more raucous and a bit more out there.
• 35:38
  Speaker 1: And at this point as well, nobody ever got fully
• 35:42
  Speaker 1: nude on stage, Like this was not a time period
• 35:45
  Speaker 1: where you got naked. The laws didn't allow for that,
• 35:50
  Speaker 1: and so you'd have to be very careful about what
• 35:54
  Speaker 1: you were doing. So Leanne de Pouge, she was not
• 36:00
  Speaker 1: a great actress, That was not a talent. She possessed
• 36:05
  Speaker 1: and according to Sarah Bernard, yes the Great Sarah, she
• 36:11
  Speaker 1: would be better to keep her pretty mouth shut when
• 36:14
  Speaker 1: she was on stage because like she was brought in
• 36:17
  Speaker 1: to teach her how to act and again apparently not
• 36:24
  Speaker 1: something she was that good at. And oh there are
• 36:27
  Speaker 1: views of the fully Bergier. They were spectacles. They were
• 36:31
  Speaker 1: fabulous costumes, gorgeous performers and extravagant sets and fun fact,
• 36:38
  Speaker 1: this is also where Josephine Baker would perform in the
• 36:41
  Speaker 1: nineteen twenties. So after realizing acting not super leanne, she
• 36:50
  Speaker 1: kept acting in minor parts for a while, just long
• 36:54
  Speaker 1: enough for Albert Charles Pollitt. I think, isn't the English
• 36:58
  Speaker 1: Herbert Charles Poult to use Horra's inspiration for his drag performance. Yes, indeed,
• 37:07
  Speaker 1: he was known at the time as a female impersonator,
• 37:11
  Speaker 1: so he has this drag persona, Diane de Rouge like good.
• 37:18
  Speaker 1: You know. Here's the thing, though, if a drag queen
• 37:21
  Speaker 1: names themselves after you, you're an icon right, That's just how
• 37:27
  Speaker 1: it is. I don't make the rules, right, you have
• 37:29
  Speaker 1: to be iconic in some way for a drag queen
• 37:33
  Speaker 1: to name a persona after you. That's just how it is.
• 37:37
  Speaker 1: So anyway, my favorite part of this let me tell
• 37:41
  Speaker 1: you about the rivalry between Lerian de Pouge and LaBelle
• 37:45
  Speaker 1: or Tero so Otero. She was a Spanish dancer who
• 37:48
  Speaker 1: was one of the highest earners in the scene. So
• 37:53
  Speaker 1: I think she had like the richest patrons out of
• 37:56
  Speaker 1: all the other courtesans. And oh, although she did and
• 38:02
  Speaker 1: the most, she lost most of it by her favorite pastime, gambling,
• 38:08
  Speaker 1: just like contense man cire. It probably didn't help that
• 38:14
  Speaker 1: everybody was on drugs, like listen, listen, it's the eighteen
• 38:18
  Speaker 1: hundreds in Paris. Like everyone is on tonic wine. What's
• 38:25
  Speaker 1: the thing that's not tonic wine? That is the wrong
• 38:27
  Speaker 1: term for it. There's a sort of us like coca wine,
• 38:33
  Speaker 1: I believe it was. So there was wine with cocaine
• 38:35
  Speaker 1: in it, which was like all the rage, by the way,
• 38:39
  Speaker 1: and then you've got opium, you've got cocaine again. Honestly,
• 38:43
  Speaker 1: cocaine was everywhere. And you have absinthe, which is I
• 38:48
  Speaker 1: don't think you can legally purchase absinthe anymore. You get
• 38:52
  Speaker 1: stuff that says it's absinthe, but real absinthe because of
• 38:57
  Speaker 1: the chlorophyll in it. I'm fairly certain you cannot purchase
• 39:01
  Speaker 1: today if you happen to be some kind of I
• 39:05
  Speaker 1: don't know, spirits, Amelie. Feel free to correct me on
• 39:09
  Speaker 1: this now that I really drink much anymore anyway, but yeah, yeah,
• 39:15
  Speaker 1: there we go. So anyway, her and or Tero they
• 39:23
  Speaker 1: are Otero au Tero o Tero. No, that sounds more
• 39:28
  Speaker 1: racist if I say it like that. So between LaBelle
• 39:32
  Speaker 1: Otero and the Leande Puget, they're kind of like it
• 39:39
  Speaker 1: seems like a more fun rivalry for the most part,
• 39:42
  Speaker 1: although they did like embarrass each other every now and again,
• 39:48
  Speaker 1: so they would keep a tally on who had the
• 39:50
  Speaker 1: most joels because like people would give them like diamonds
• 39:53
  Speaker 1: and rubies and perils and like chokers and necklace and
• 39:59
  Speaker 1: diet and other pieces of jewelry that I don't know
• 40:04
  Speaker 1: the name of. And they would often try and outshine
• 40:07
  Speaker 1: each other literally because they were so bituled. Yeah I
• 40:14
  Speaker 1: did get a tailor'swift reference and blessen right, what can
• 40:20
  Speaker 1: I say? Some way? Can A hop I regret nothing?
• 40:23
  Speaker 1: I regret nothing. So like they were like sparkling and glittering.
• 40:28
  Speaker 1: A lot of the time. It was all about showing
• 40:30
  Speaker 1: it was about opulence and extravagance and showing what you had.
• 40:33
  Speaker 1: And so, being a sneaky, dicky little one, right, Leanne
• 40:38
  Speaker 1: de Bourget decided to flip the script. And one evening
• 40:42
  Speaker 1: she goes to the opera knowing that La Belle Otero
• 40:46
  Speaker 1: is going to attend, and so Leanne arrives in a
• 40:50
  Speaker 1: black velvet gown and a gasp a completely bare neck.
• 40:57
  Speaker 1: Her maid follows her with a selection of jewelry on
• 41:01
  Speaker 1: this like plush pillow, right, like just jewels and diamonds
• 41:06
  Speaker 1: and and like rings and just all this stuff on
• 41:09
  Speaker 1: this pillow, just like following her. Meanwhile, Otto has a
• 41:16
  Speaker 1: ring on each finger, she's got diamond necklaces, she's got bracelets,
• 41:20
  Speaker 1: one on each wrist, and she has a diadem on
• 41:25
  Speaker 1: and by comparison, she just looked vulgar because she's covered
• 41:33
  Speaker 1: in all of these adornments. And here walks in Leanne
• 41:37
  Speaker 1: de Pouge, not a scrap of jewelry on her. And really,
• 41:45
  Speaker 1: I mean that is a power play. Like that is
• 41:49
  Speaker 1: a power play. And of course Leander Poge, being a Cortizan,
• 41:54
  Speaker 1: being of the foy Bergel, she is she is heard
• 41:59
  Speaker 1: a pit pursued by many, many wealthy men, one of
• 42:06
  Speaker 1: what is one of the worst people ever to exist
• 42:10
  Speaker 1: in the world, Leopold the second of Belgium. If you
• 42:16
  Speaker 1: don't know who he is, feel free to look him up.
• 42:18
  Speaker 1: I will be covering him at some point because he
• 42:21
  Speaker 1: was the worst, Okay, like genuinely awful, awful gum in
• 42:27
  Speaker 1: And I've spoken about before on like on the socials,
• 42:31
  Speaker 1: but I haven't done like a full episode on him.
• 42:34
  Speaker 1: And her admirers were men of means. Now other ladies,
• 42:39
  Speaker 1: they were also pursued by kings and princes and diamond
• 42:43
  Speaker 1: mind owners and leanne. I mean, she might have had
• 42:48
  Speaker 1: you know, emperors crawling on their knees to her, but
• 42:51
  Speaker 1: she did have a decent, decent, you know, collection of
• 42:57
  Speaker 1: men who were willing to treat her well, you know.
• 43:02
  Speaker 1: And and unlike a lot of the other ladies, she
• 43:08
  Speaker 1: was much better at managing her money, right. She is
• 43:13
  Speaker 1: just careful and like one of the ways she makes
• 43:17
  Speaker 1: money is she gets put on a postcard. So like
• 43:21
  Speaker 1: her and Otero and other blessed performers, their image their
• 43:25
  Speaker 1: photo ends up on a postcard. And other blessed performers,
• 43:30
  Speaker 1: they had these sort of more risky images. They're a
• 43:32
  Speaker 1: little bit more like ooh, cheeky for the time, whereas
• 43:37
  Speaker 1: Leane's like they are these like quite lovely portraits, Like
• 43:42
  Speaker 1: they're very beautiful photos over and like she's so famous
• 43:47
  Speaker 1: that people are buying these postcards over and like that's
• 43:50
  Speaker 1: just another form of revenue for her, which is like,
• 43:53
  Speaker 1: good for you, girl, good for you. So one evening,
• 43:58
  Speaker 1: Leanne de Pouge she was seen performing at the Folly
• 44:02
  Speaker 1: Belgier by writer Natalie Clifford Barney, who then showed up
• 44:08
  Speaker 1: at Dipugi's home dressed as a page and announced that
• 44:12
  Speaker 1: she was a page of love sent by Sappho. Like
• 44:18
  Speaker 1: you have game if you do that to one of
• 44:21
  Speaker 1: the most famous women in France. I'm sorry. You can't
• 44:25
  Speaker 1: buy a woman a bouquet of flowers. She showed up
• 44:29
  Speaker 1: dressed as a page, a page of Sappho, Like, oh
• 44:34
  Speaker 1: my god, effort, effort, boys, anyway, to all the men
• 44:41
  Speaker 1: who listen to my podcast or to the women who
• 44:45
  Speaker 1: are playing this podcast in front of boyfriends who are
• 44:48
  Speaker 1: not doing enough. So yeah, so this is this is
• 44:55
  Speaker 1: such an extra story actually because like everyone the household
• 45:00
  Speaker 1: knew they were coming, so they test knew she was coming. Sorry,
• 45:05
  Speaker 1: Valdie's she knew she was coming. That made new Like
• 45:08
  Speaker 1: they had set this whole thing up right, and they
• 45:10
  Speaker 1: decide they're going to trigger. So Natalie Clever Barney, she
• 45:16
  Speaker 1: shows up at the door, says that she's like a
• 45:18
  Speaker 1: page of love set by Sappho, and the maid brings
• 45:21
  Speaker 1: her into a dimly lit room where there was a
• 45:23
  Speaker 1: figure lounging on a chaise, and so then she comes
• 45:29
  Speaker 1: kneels at the figure's feet and kisses their hand and surprise,
• 45:36
  Speaker 1: it's Valtes and Lehanne. She pops out from behind a
• 45:41
  Speaker 1: curtain dressed as this like dirophanous like gown. Right, It's
• 45:48
  Speaker 1: it's just so extra. And so they end up together
• 45:56
  Speaker 1: for at least a year after this, and Leanne de
• 45:59
  Speaker 1: Pouge she writes about their affair in her book Ideally Sefique,
• 46:04
  Speaker 1: which is published in nineteen oh one. So yeah, like
• 46:09
  Speaker 1: twelve months, thirteen months, sort of like down the line,
• 46:12
  Speaker 1: the relationship just kind of fizzles out, and yeah, so
• 46:17
  Speaker 1: she writes about it, and then Natalie writes about it,
• 46:20
  Speaker 1: and then their love letters to each other like they
• 46:23
  Speaker 1: are like discovered posthumously as well, So the thing about
• 46:29
  Speaker 1: adel Sefique the book, right, it wasn't the only one
• 46:32
  Speaker 1: she wrote. So she also wrote, I'm going to do
• 46:34
  Speaker 1: the English names for these ones because it's easier for me.
• 46:37
  Speaker 1: She wrote the Elusive one in eighteen ninety eight, Miriel
• 46:40
  Speaker 1: or the lesser portion the following year, and these books,
• 46:45
  Speaker 1: they are the subgenre of novels known as courtisan novels.
• 46:49
  Speaker 1: So like a subgenre like romanticy or some kind of
• 46:54
  Speaker 1: other subgenre, like I don't know, paranormal crime. Is that
• 47:00
  Speaker 1: a thing? Ghost crime? No? No, no, no, no, no, We're
• 47:03
  Speaker 1: will still have been crying. Oh that's just that's just grim.
• 47:06
  Speaker 1: Isn't it like the TV show anyway? Supernatural? No? Is it? No?
• 47:14
  Speaker 1: It was a bit though for a while. No sleepy Hollow,
• 47:19
  Speaker 1: I gotta stop sorry, I'm like, what is in this
• 47:22
  Speaker 1: sub genre? So a lot of these books came about
• 47:26
  Speaker 1: right during this era. It was very popular because you know,
• 47:30
  Speaker 1: these little books, and a lot of her books came
• 47:33
  Speaker 1: about because of the man who keeps showing up in
• 47:38
  Speaker 1: this history. I have mentioned him many times before, the
• 47:43
  Speaker 1: king of fan fiction, Alexandra Dumah, the man he wrote
• 47:50
  Speaker 1: fan fiction. I don't care what you say, right, the
• 47:54
  Speaker 1: Count of Monte Cristo fan fiction, right, because that's based
• 47:58
  Speaker 1: on it's based on sort of, it's based on a story.
• 48:03
  Speaker 1: You have the three Musketeers trying to tell me that's
• 48:07
  Speaker 1: not a thing. Queen Margot, Okay, yeah, egg zactly right,
• 48:14
  Speaker 1: egg zactly. So you have that going on. And he
• 48:18
  Speaker 1: writes this book Ladame or Camillia, which it's about a courtisan,
• 48:24
  Speaker 1: and she believes that this is harmful and unreliable, like
• 48:30
  Speaker 1: it's a harmful and unreliable portrayal of courtisans. And she
• 48:36
  Speaker 1: was like, no, this is nonsense. Let me fix it.
• 48:41
  Speaker 1: Because she did something that was incredibly shocking as well,
• 48:45
  Speaker 1: right in her books, is that when she wrote about
• 48:48
  Speaker 1: a courtisan, instead of having them like suffer and die
• 48:52
  Speaker 1: like in every single other novel ever, she let them
• 48:57
  Speaker 1: have a happy ending, which, ah, was so scandalous for
• 49:02
  Speaker 1: the time. How dare they a woman of ill repute
• 49:06
  Speaker 1: who knows so Leanne she would garner a female clientele
• 49:19
  Speaker 1: right after her relationship with Barney right now. Some people
• 49:24
  Speaker 1: say that she had it beforehand, but it's more noticed now.
• 49:31
  Speaker 1: And this really sets her apart in the scene because
• 49:36
  Speaker 1: like in France, right there, were no laws that forbade lesbianism, right,
• 49:41
  Speaker 1: like when it came to homosexuality, like what if you
• 49:45
  Speaker 1: did behind closed doors like sins and sins and sin
• 49:47
  Speaker 1: sodomy was against the law, right, there were no laws
• 49:52
  Speaker 1: against like lesbian sex, like there wasn't any, and so
• 49:58
  Speaker 1: like you had lesbian bar and powers, like my favorite
• 50:01
  Speaker 1: one is called La Mare, which is the dead Rat,
• 50:06
  Speaker 1: which is like, why is it called the dead rat?
• 50:08
  Speaker 1: Because apparently two female bar owners or like two women
• 50:15
  Speaker 1: of some kind, they were in a relationship. They were
• 50:19
  Speaker 1: getting down to the hanky pancake and a rat startle them,
• 50:23
  Speaker 1: and one of them kills the rat, and they're like,
• 50:24
  Speaker 1: let's name a bar after this, which is an allegedlies.
• 50:28
  Speaker 1: But it's an allegedlies. I'd like to believe it's Weird's
• 50:32
  Speaker 1: the thing. There was probably gay bars as well in Poarers,
• 50:35
  Speaker 1: they just weren't as celebrated, shall we say. So, yeah,
• 50:41
  Speaker 1: you have this new social scene in Powers happening as
• 50:44
  Speaker 1: well because the val Tess she likes to to like
• 50:48
  Speaker 1: just encourage growth in culture, you know. And there's this
• 50:53
  Speaker 1: whole thing called like the five o'clocks, which is like
• 50:56
  Speaker 1: an afternoon tea. But it's just for ladies to meet
• 50:59
  Speaker 1: and come without men. So these gatherings were seen as
• 51:05
  Speaker 1: a dangerous activity by the men folk because women were thinking,
• 51:11
  Speaker 1: all right, So they were worried that because women would talk,
• 51:16
  Speaker 1: and they would talk candidly, right, they would talk about men,
• 51:20
  Speaker 1: They would talk about relationships, they would talk about finances,
• 51:24
  Speaker 1: they would talk about the political state of the country
• 51:28
  Speaker 1: and the economy and the art scene, like like how
• 51:32
  Speaker 1: women have conversations about life the way men have conversations
• 51:38
  Speaker 1: about life. Because I don't know if you know this,
• 51:42
  Speaker 1: but women are people too anyway, Like this caused like
• 51:48
  Speaker 1: such a ruckus, like they were like, ah, it's dangerous.
• 51:51
  Speaker 1: The women are thinking again. And there was also a
• 51:55
  Speaker 1: legitimate scare about digestion. Medical dots were worried about women's
• 52:01
  Speaker 1: digestion because of an afternoon nibble. Right, I mean, these
• 52:06
  Speaker 1: are the same people that thought beards could prevent diseases.
• 52:10
  Speaker 1: So I feel like a pinch AsSalt with these doctors, right,
• 52:14
  Speaker 1: the Victorian era doctors, Like I don't know how it
• 52:16
  Speaker 1: was in France, right, but in the regency, right to
• 52:20
  Speaker 1: become a doctor you had I don't know, it was
• 52:24
  Speaker 1: like a kind of it was eight or thirteen, like
• 52:25
  Speaker 1: eight years or like, it was a fairly decent period
• 52:28
  Speaker 1: of time that you had to study to become a doctor.
• 52:32
  Speaker 1: And then in the Victorian era it was like four
• 52:36
  Speaker 1: or like two. It was like really short. I can't
• 52:39
  Speaker 1: remember exactly, but I do have it in a notebook
• 52:41
  Speaker 1: somewhere in my house. But it's such a tiny period,
• 52:46
  Speaker 1: like in you know, in England, it's like, oh, and
• 52:49
  Speaker 1: now you're a doctor. It's like what I just got here,
• 52:51
  Speaker 1: and it's like stamp approved. Like anyway, like these salons
• 52:56
  Speaker 1: like what they were, which is yeah, they're effectively like
• 53:01
  Speaker 1: a continuation of the sun laws that you would have
• 53:04
  Speaker 1: in sort of Renaissance or like the late Modern period,
• 53:08
  Speaker 1: like when that was coming into play, where you would
• 53:10
  Speaker 1: have gatherings and discussions between intellectuals and artists and the
• 53:17
  Speaker 1: rich the not rich people would discuss things together. And
• 53:23
  Speaker 1: that was kind of what this was, except this was
• 53:27
  Speaker 1: just for women, and men didn't like being excluded, because
• 53:30
  Speaker 1: apparently excluding one gender from things as bad. Hym to say, oh,
• 53:38
  Speaker 1: this sounds like such a men hating episode. Listen, some
• 53:43
  Speaker 1: of my best friends are men. Okay, so we're gonna
• 53:46
  Speaker 1: skip forward now to the nineteen tens, right, so we've
• 53:52
  Speaker 1: lived through that turn of the century era. We're coming
• 53:56
  Speaker 1: close to the end of La Belle epoch, and she's
• 54:01
  Speaker 1: in her forties. Leanne de Pouge, she's like forty something,
• 54:05
  Speaker 1: and she thinks maybe it's time to settle down, and
• 54:10
  Speaker 1: on the edge of June nineteen ten, she marries Prince
• 54:15
  Speaker 1: George Geeka, making our Princess and Marie Geeka of Moldovia. Yes,
• 54:23
  Speaker 1: Moldovia is a real place and you're welcome. So they
• 54:27
  Speaker 1: end up having a civil ceremony because she's not allowed
• 54:31
  Speaker 1: to get married in a church because she's divorced. That's
• 54:35
  Speaker 1: that's kind of like a whole Catholic thing. It's like, yeah,
• 54:38
  Speaker 1: you can't do that. So they end up having a
• 54:40
  Speaker 1: civil ceremony instead. So the day before her wedding, though,
• 54:46
  Speaker 1: because she wants to like make it good, she goes
• 54:50
  Speaker 1: to church for confession. For the non Catholics out there,
• 54:56
  Speaker 1: it's when you sit in a box, right, and you
• 54:59
  Speaker 1: would I met all the bad stuff you've done or
• 55:03
  Speaker 1: considered doing, because sometimes even thinking about it is a sin.
• 55:08
  Speaker 1: And you say this to a man behind a screen
• 55:12
  Speaker 1: in a box and then you say three oil Mary's
• 55:16
  Speaker 1: and and our father, and you're absolved of all your sins.
• 55:21
  Speaker 1: That's how that works. Now, No, no, sometimes you do
• 55:24
  Speaker 1: have to do an act of contrition. But yeah, so
• 55:28
  Speaker 1: she wants to start her life fresh, you know, and
• 55:32
  Speaker 1: so she confesses to everything apart from robbery and murder.
• 55:38
  Speaker 1: You're gonna have a line, you know, You're gonna have
• 55:41
  Speaker 1: a line you won't cross. So marriage number two is
• 55:47
  Speaker 1: much happier than marriage number one, but it's sort of,
• 55:53
  Speaker 1: I don't know, sort of peppered with tragedy. Right. So,
• 55:56
  Speaker 1: a month, one month after getting married, her dear friend,
• 56:01
  Speaker 1: her tutor, her possible one time lover, Valtie de l'abignie,
• 56:09
  Speaker 1: she passed away and she wrote her own death cards
• 56:14
  Speaker 1: right right. So, typically during this time period, when someone died,
• 56:19
  Speaker 1: a family member would send out a death card notifying like,
• 56:24
  Speaker 1: you know, other members of the family and all of
• 56:26
  Speaker 1: their friends and acquaintances. Right. However, Veltese, being the queen
• 56:35
  Speaker 1: that she is, when the doctors told her that she
• 56:38
  Speaker 1: hadn't much time left, She's like, I'm going to do
• 56:41
  Speaker 1: it myself. And so imagine getting a death card written
• 56:47
  Speaker 1: in your friend's handwriting about their own death, right. That's
• 56:52
  Speaker 1: that's going to be an experience because everyone wrote letters
• 56:57
  Speaker 1: back then, so you would recognize your friend's hide writing
• 57:01
  Speaker 1: because everybody wrote like That's how it is nowadays, most
• 57:06
  Speaker 1: people don't recognize anyone's handwriting. Whereas I can recognize my
• 57:12
  Speaker 1: grands my mom is, my dad's, my best friend from school.
• 57:15
  Speaker 1: I know exactly how they write exactly. My handwriting changes
• 57:21
  Speaker 1: depending on whether my hand gives up or not, like
• 57:27
  Speaker 1: I'm either big bubbles or just squiggly scratches that are
• 57:31
  Speaker 1: not dissimilar to hieroglyphics. But yeah, so she gets that,
• 57:36
  Speaker 1: and that's a shock. But it's one last sort of
• 57:39
  Speaker 1: ha ha from the Valtez. Now about the possible lovers thing,
• 57:44
  Speaker 1: there is a theory that the two of them were
• 57:47
  Speaker 1: romantically linked to one point, which could be true. I'm
• 57:51
  Speaker 1: not going to deny it, but it does seem like
• 57:54
  Speaker 1: a way to dismiss their their friendship a little bit
• 58:01
  Speaker 1: because they had They both had female lovers to my knowledge,
• 58:06
  Speaker 1: but you know it, not each other. So in nineteen fourteen,
• 58:13
  Speaker 1: she suffers another loss. Her son, Mark was a pilot
• 58:17
  Speaker 1: in the First World War and he died on a
• 58:20
  Speaker 1: reconnaissance mission over the song, and she wrote in her
• 58:24
  Speaker 1: diary that she did not love her son enough when
• 58:27
  Speaker 1: he was alive, and this this was a turning point
• 58:31
  Speaker 1: for her, and it's when she starts looking back at
• 58:36
  Speaker 1: her faith and she decides she's going to dedicate herself
• 58:41
  Speaker 1: to good work after this, right, good works. She's going
• 58:44
  Speaker 1: to try and be better. So another was it. Twelve
• 58:51
  Speaker 1: years after this, in nineteen twenty six, Prince George leaves
• 58:56
  Speaker 1: her for a younger woman. Like he just abscorne, Like
• 59:01
  Speaker 1: they don't divorce, they don't do anything. He just leaves.
• 59:05
  Speaker 1: He comes back a year later, right, it's like a
• 59:09
  Speaker 1: year or so later, and he's just like, honey, I'm home,
• 59:12
  Speaker 1: and we don't know, like the reasons for leaving, we don't, Well,
• 59:17
  Speaker 1: we know he left for a younger woman, we don't
• 59:20
  Speaker 1: know the reasons for his return. Right, So he comes
• 59:25
  Speaker 1: back and she takes him back. And in nineteen twenty eight,
• 59:31
  Speaker 1: the couple are driving in Savoy and they come across
• 59:34
  Speaker 1: this like run down convent, and by run down, I
• 59:37
  Speaker 1: mean like ruinous, like it's barely standing. And they decide
• 59:45
  Speaker 1: to investigate because apparently that's exactly what you do in
• 59:50
  Speaker 1: a you know, run down building in the middle of
• 59:53
  Speaker 1: the French countryside. So they go in and they just
• 1:00:00
  Speaker 1: discover that it is the Asylum of Saint Agnes, a
• 1:00:03
  Speaker 1: home for children with disabilities, and the nuns, the nuns
• 1:00:09
  Speaker 1: are actually doing their best to care for these children,
• 1:00:12
  Speaker 1: but they're nuns, they're not healthcare professionals. The place is
• 1:00:19
  Speaker 1: run down, like the nuns are struggling, the children are struggling,
• 1:00:26
  Speaker 1: and they're giving what they can to these children, but
• 1:00:30
  Speaker 1: they're nuns. They don't have a lot to give. I
• 1:00:35
  Speaker 1: mentioned this before, and the Nuns on the Run episode, right,
• 1:00:40
  Speaker 1: the Belgian Nuns. That is a fun episode if you
• 1:00:43
  Speaker 1: want to listen to it. That's full of fun things
• 1:00:45
  Speaker 1: that happen. And also Sacred Lesbians, which is everybody's favorite
• 1:00:48
  Speaker 1: plot twist. So nuns, when they become nuns, they have
• 1:00:54
  Speaker 1: to give an oath of poverty, so none and monks
• 1:01:01
  Speaker 1: they have to do it. Priests don't. Priests are allowed
• 1:01:05
  Speaker 1: to make a lot of money and own many things, right,
• 1:01:09
  Speaker 1: Nuns and monks they're supposed to not have any of that, right,
• 1:01:15
  Speaker 1: so they don't really have a lot to give, and
• 1:01:17
  Speaker 1: they are relying on alms they're relying on you know, donations. Yeah,
• 1:01:24
  Speaker 1: And Princess Geeka as she now is, she dedicates herself
• 1:01:30
  Speaker 1: to helping them, caring for and educating both the physically
• 1:01:35
  Speaker 1: and the mentally disabled children who are residents there. She
• 1:01:40
  Speaker 1: works to provide better care and to actually help, right.
• 1:01:46
  Speaker 1: And it's like this calling to her, like she's providing funding.
• 1:01:51
  Speaker 1: She's providing you know, medical care, like she's funding it.
• 1:01:55
  Speaker 1: Like she's not doing the nursing herself, but she's funding it. Right.
• 1:02:00
  Speaker 1: And when Prince George died, she decided that she didn't
• 1:02:06
  Speaker 1: want to be out with the Order anymore, and she
• 1:02:10
  Speaker 1: entered the Order of Saint Dominique as a tertiary lay sister,
• 1:02:16
  Speaker 1: which is she's like sort of a nun, like a
• 1:02:20
  Speaker 1: kind of nun, but not like a full nun, so
• 1:02:24
  Speaker 1: a territory lay member of any sort of religious group.
• 1:02:27
  Speaker 1: It's a third order. So the third orders were created
• 1:02:33
  Speaker 1: so that like ordinary people could like follow the spirituality
• 1:02:38
  Speaker 1: or the rules of groups like you know, the nuns
• 1:02:41
  Speaker 1: and the monks while still keeping like normal jobs, families,
• 1:02:44
  Speaker 1: and daily lives. So what this means is they're kind
• 1:02:49
  Speaker 1: of like an affiliate to the nuns, but not actually
• 1:02:54
  Speaker 1: like a fully fledged sort of nun, right. I know that,
• 1:03:01
  Speaker 1: like this is a thing in Roman Catholicism, and also
• 1:03:05
  Speaker 1: I think there's some Anglican and Lutheranism, if I'm not mistaken,
• 1:03:08
  Speaker 1: but I'm not fully up on those because I was
• 1:03:11
  Speaker 1: raised Catholic. And so they don't live like in like
• 1:03:18
  Speaker 1: the cloister. They're not on the religious community. They're not secluded,
• 1:03:21
  Speaker 1: they don't take full vows, right, so they don't you know,
• 1:03:25
  Speaker 1: live with the nuns and the nunnerway necessarily, they can
• 1:03:30
  Speaker 1: live wherever they want. They can live in secular society,
• 1:03:33
  Speaker 1: like some of these third orders are like diplomats and shit.
• 1:03:36
  Speaker 1: Like it's a whole thing, right, So she you know,
• 1:03:40
  Speaker 1: wears the habit, she can do all this stuff. But
• 1:03:45
  Speaker 1: you know, she can like doesn't have to do like
• 1:03:47
  Speaker 1: the whole vow poverty thing. So she can keep her
• 1:03:49
  Speaker 1: money and she can like give that to the convent
• 1:03:53
  Speaker 1: as and when she pleases, as opposed to some relative
• 1:03:58
  Speaker 1: taking it when she dies, you know, so she can
• 1:04:00
  Speaker 1: utilize it now, which makes sense because if she gives
• 1:04:05
  Speaker 1: a vow poverty, it kind of has to go to
• 1:04:07
  Speaker 1: the next person. Really, But anyway, I think I don't
• 1:04:10
  Speaker 1: know how French monetary law works really, especially not in
• 1:04:15
  Speaker 1: the early nineteen hundreds. Would it be Moldovian law because
• 1:04:20
  Speaker 1: she was married to Moldovian prince or would it be
• 1:04:26
  Speaker 1: Swiss law because she's living in Switzerland because Savoy was
• 1:04:30
  Speaker 1: it was Swiss territory at the time, so like now
• 1:04:33
  Speaker 1: the county is it's kind of shared by like France,
• 1:04:38
  Speaker 1: Switzerland and Italy and so. But Savoys in Switzerland at
• 1:04:43
  Speaker 1: this point, and if they're living in Switzerland, they're fairly
• 1:04:48
  Speaker 1: safe for what's about to happen next. So they're just continuing,
• 1:04:56
  Speaker 1: you know, to do this and live in Switzerland up
• 1:04:58
  Speaker 1: until nineteen forty f when Prince Geka dies, right, so
• 1:05:03
  Speaker 1: when he dies, like I mean, she still stays in Switzerland,
• 1:05:07
  Speaker 1: but she becomes like the third the third order. She
• 1:05:11
  Speaker 1: joins the third order, and she becomes Sister Anne Marie,
• 1:05:15
  Speaker 1: and she is like she does really well, right, She
• 1:05:19
  Speaker 1: is well liked by the other nuns and Mother Superior,
• 1:05:24
  Speaker 1: and like here's the thing, we all know. The woman
• 1:05:27
  Speaker 1: has charm, right, she had charmed on the streets of Paris.
• 1:05:30
  Speaker 1: She had charm here, okay, and she was well liked
• 1:05:35
  Speaker 1: by all the other nuns and by Mother Superior, like
• 1:05:39
  Speaker 1: she was doing great, right, and she really enjoyed her
• 1:05:46
  Speaker 1: life here. And here's the thing, Like there's speculation about
• 1:05:52
  Speaker 1: whether this was are rediscovery of her faith or whether
• 1:05:55
  Speaker 1: she was hoping to make good with you know, the
• 1:05:58
  Speaker 1: big man upstairs, you know, before she reached the pearly gates,
• 1:06:02
  Speaker 1: especially after a life of what some would call scandal
• 1:06:05
  Speaker 1: and sin. But she lived a life. She lived a life,
• 1:06:13
  Speaker 1: and she she was honest and frank about it, like
• 1:06:20
  Speaker 1: she wrote it in her diary, like she shared that information.
• 1:06:25
  Speaker 1: And then she made a different choice in life. And
• 1:06:31
  Speaker 1: so she becomes this Dominican territory, like this third order
• 1:06:38
  Speaker 1: Dominican sister. And for the next five years she just
• 1:06:46
  Speaker 1: becomes part of this order and she does what she
• 1:06:51
  Speaker 1: can to help. And we don't know whether this is
• 1:06:56
  Speaker 1: you know, her feel or her bargaining or whatever it is.
• 1:07:03
  Speaker 1: But we don't know, and we'll probably never know. And
• 1:07:09
  Speaker 1: the thing is, I think it might have been Saint Agnes,
• 1:07:12
  Speaker 1: which was the saint that was dedicated to in the
• 1:07:16
  Speaker 1: first convent she was in when she was growing up,
• 1:07:20
  Speaker 1: Like and if that's true, like I think that might
• 1:07:23
  Speaker 1: be true. I'm not entirely sure. I need to go
• 1:07:26
  Speaker 1: back and look at some very old notes, but it
• 1:07:29
  Speaker 1: would be lovely if that was like a full circle
• 1:07:31
  Speaker 1: for her, because like if you come out of Paris
• 1:07:37
  Speaker 1: and then like turn of the century and you don't
• 1:07:39
  Speaker 1: have cephalis, like, good for you. That's all I'm saying,
• 1:07:42
  Speaker 1: all right, ten out of ten, like that is a skill,
• 1:07:46
  Speaker 1: Like that is a skill and a miracle even But
• 1:07:50
  Speaker 1: she lived a full life and she was honest about it,
• 1:07:54
  Speaker 1: which I think is the most important part about it.
• 1:07:59
  Speaker 1: But she lived, she lived a full life. She kind
• 1:08:02
  Speaker 1: of came full circle, and she came through God. There
• 1:08:10
  Speaker 1: was guns, there was one gun, and there was girls, girls, girls.
• 1:08:16
  Speaker 1: And finally she passed away in Lausanne on the twenty
• 1:08:20
  Speaker 1: sixth of December nineteen fifty and she was buried in
• 1:08:26
  Speaker 1: the enclosure of the Sisters of the sand Agnier Asylum
• 1:08:30
  Speaker 1: in Saint Martin le Vignu in Lausanne, Switzerland. And so
• 1:08:39
  Speaker 1: ends the story of Lianne de Pougie. And the thing
• 1:08:45
  Speaker 1: is with a lot of the performers and the burlesque
• 1:08:50
  Speaker 1: stars and the Cabot performers, and the and the courtesans
• 1:08:53
  Speaker 1: of the era A lot of the information regarding them
• 1:08:58
  Speaker 1: as law, whether it was destroyed to shame or mismanagement
• 1:09:05
  Speaker 1: or whatever, it's just gone. And without people there is
• 1:09:11
  Speaker 1: in history, and I think it's a terrible shame to
• 1:09:15
  Speaker 1: not tell their stories. And so there is the story
• 1:09:20
  Speaker 1: of Leander Pougie. And if you liked the story and
• 1:09:24
  Speaker 1: didn't mind my terrible pronunciation, feel free to write in
• 1:09:26
  Speaker 1: review of five stars. If you don't want to write
• 1:09:28
  Speaker 1: a review of five stars, don't see anything at all.
• 1:09:31
  Speaker 1: You can catch me on social media. You can catch
• 1:09:33
  Speaker 1: me on the highway. That's not it. I feel like
• 1:09:38
  Speaker 1: there's a joke in there somewhere, But yeah, I am everhere.
• 1:09:42
  Speaker 1: I am doing the stuff. I have live show announcements
• 1:09:44
  Speaker 1: coming soon, and I suppose now would be a good
• 1:09:48
  Speaker 1: time for our recommendations. Okay, for watching, I think y'all
• 1:09:56
  Speaker 1: should watch Milan Everybody watching Milan Rush. Don't care watching
• 1:10:02
  Speaker 1: Milan Rush? Okay, don't care. Like if you aren't at
• 1:10:06
  Speaker 1: least like partially humming spectacular spectacular, then I don't know
• 1:10:11
  Speaker 1: what joy is in your life. Okay, no, no, no, no, no,
• 1:10:14
  Speaker 1: no no no no. So for for watching, that is that.
• 1:10:20
  Speaker 1: For reading, I am going to suggest a book that
• 1:10:24
  Speaker 1: was gifted to me for my birthday by a great comedian,
• 1:10:28
  Speaker 1: Darren Matthews, great Northern Irish comedian North of Ireland. Fabulous fella,
• 1:10:34
  Speaker 1: a very fun, very kind. Now he got me a
• 1:10:37
  Speaker 1: book called Pretty Things by Liz Goldwyn and it is
• 1:10:42
  Speaker 1: my favorite favorite book I have ever read about burlesque
• 1:10:48
  Speaker 1: in my life because there was so much love in
• 1:10:52
  Speaker 1: here for it and it is It's just an amazing book.
• 1:10:56
  Speaker 1: And listening any what, I was listening to my dear
• 1:11:00
  Speaker 1: friend Anne's podcast Vulgar History. It brings me such joy,
• 1:11:08
  Speaker 1: just the way she talks about women, and I feel
• 1:11:11
  Speaker 1: she says the word like an appropriate amount of times.
• 1:11:15
  Speaker 1: I actually had something similar actually a sidebar before the
• 1:11:18
  Speaker 1: end of the show. I had someone complain. They were
• 1:11:23
  Speaker 1: like the comment on Spotify with something like if you
• 1:11:27
  Speaker 1: like the word like said a million times in a podcast,
• 1:11:31
  Speaker 1: then this is the one for you. Yeah. It is
• 1:11:35
  Speaker 1: like get over yourself, bitch, like chill out. Man. It's
• 1:11:41
  Speaker 1: just the lexicon. It's how language evolves and filler words exist.
• 1:11:45
  Speaker 1: And if you don't like it, oh man, just go
• 1:11:48
  Speaker 1: suck on a frozen lemon. All right. I don't have
• 1:11:50
  Speaker 1: time for your negativity about life, which is why I
• 1:11:53
  Speaker 1: deleted the comment, and only people who stayed to the
• 1:11:56
  Speaker 1: very end heard about it. Da da da da da.
• 1:11:59
  Speaker 1: But yeah, tickets to the London show could be announced
• 1:12:02
  Speaker 1: fairly soon actually, so keep your ears peeled for that one.
• 1:12:08
  Speaker 1: But I shall oh yeah, oh yeah this this month
• 1:12:14
  Speaker 1: sidebar final, sidebar, wesper wesper whisper ps PBPs.
• 1:12:20
  Speaker 2: Yeah.
• 1:12:21
  Speaker 1: Effectively, I think what's gonna happen and this is gonna
• 1:12:24
  Speaker 1: be the complete opposite of what happened in the Concentration
• 1:12:27
  Speaker 1: Camp series is that in the videos I was getting
• 1:12:31
  Speaker 1: like just more disheveled as it went on, And I
• 1:12:34
  Speaker 1: think with this, I'm gonna get more glamorous and more smutty.
• 1:12:37
  Speaker 1: And if I managed to like follow this through the
• 1:12:41
  Speaker 1: whole way through, I'm gonna be so impressive myself. But anyway,
• 1:12:46
  Speaker 1: I am going to bid you good night, adios, ah
• 1:12:51
  Speaker 1: of way to send my friends bye bye.