Latest / Common Mystics / 158: Judy Garland and the Studio Drug Machine in Old Hollywood, CA

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158: Judy Garland and the Studio Drug Machine in Old Hollywood, CA · Common Mystics

• 0:01
  Speaker A: Hey guys, it's Jill. Jen and I wanted to give you a heads up about the content on today's episode. It may be triggering for more sensitive audiences. Refer to the show notes for more
• 0:10
  Speaker B: specifics and take care while you listen.
• 0:22
  Speaker A: On this episode of Common Mystics, we pull back the curtain on Hollywood's prescription drug machine and the heartbreaking story of Judy Garland, the young star caught in its grips. I'm Jennifer James.
• 0:39
  Speaker B: I'm Jill Stanley. Who are you?
• 0:43
  Speaker A: I'm Jennifer James.
• 0:44
  Speaker B: Okay, well, I'm Jill Stanley. For real though.
• 0:47
  Speaker A: All right, I'm glad we have that part figured out.
• 0:49
  Speaker B: This is a great start. I like this. Perfect.
• 0:52
  Speaker A: We're psychics.
• 0:53
  Speaker B: We're sisters.
• 0:55
  Speaker A: We are common mystics. We find extraordinary stories in ordinary places. And I am so, so excited to talk to you about today. When we were in Hollywood, it was fun. It was so fun.
• 1:10
  Speaker B: Why were we in Hollywood?
• 1:11
  Speaker A: Why were we in Hollywood? You know, we were, we were doing a self guided tour of, of some of the famous, the houses of famous people that we wanted to see.
• 1:28
  Speaker B: True. And we were sightseeing. We went to the observatory where Rubber without a Cause was filmed. Do you remember that?
• 1:36
  Speaker A: I do, I do.
• 1:37
  Speaker B: And we, we snuck in, we got
• 1:39
  Speaker A: kicked out twice, which is not easy to do. It's hard to get kicked out twice.
• 1:44
  Speaker B: We walked in with like a school, with like a school class.
• 1:49
  Speaker A: Okay, okay, let me just say it looked like it was open. Like, like the gates were open, the doors were opened and, and children were just walking in.
• 2:00
  Speaker B: So I knew what we were doing.
• 2:05
  Speaker A: So we followed a school group in and lo and behold, we were inside before it was open. It was an honest mistake. We weren't there long before it was all. Excuse me, excuse me, ma'. Am.
• 2:18
  Speaker B: We see we could have done one or two things. We could have went to the presentation that the students were going to, or we chose the second, the latter, we chose to walk around and enjoy the museum and the observatory, which is why.
• 2:31
  Speaker A: Conscious choice. Conscious choice, yes.
• 2:34
  Speaker B: Which is why we stuck out. If we would have just went and watched the thing with the kids, it would have been fine.
• 2:40
  Speaker A: Yes, that was the day. So we did that in the morning. Got kicked out of the observatory twice. And I say twice because the first time we got kicked out of the actual building. Fair, fair. And then we were legitimately trying to leave, but then all the gates were locked and that's when they started swarming us outside, which we don't look dangerous or anything, but they are all like, you need to leave. We're like we are trying to leave. And then, and then we had attitude and it turned into a thing.
• 3:10
  Speaker B: I think I look dangerous.
• 3:15
  Speaker A: You don't look harmless.
• 3:16
  Speaker B: I. I look like I could something up, you know what I mean? Like, don't test me. Don't make me come down on you like that.
• 3:23
  Speaker A: True, true. So we put together a little self guided tour because you and I are huge old movie fans. Well, I am. And you by, you know, you. Because I kind of made you kind of.
• 3:36
  Speaker B: Yes, I think that's fair. I'm a copycatter.
• 3:39
  Speaker A: You are a copycatter. And we were like, we don't need a tour group. We're just gonna get in the car, we're gonna use good old Google and we're gonna drive around some very exclusive neighborhoods.
• 3:52
  Speaker B: Remember, it was Siri that brought us to the Kennedy compound, which is really crazy. So we got to the Kennedy compound.
• 4:00
  Speaker A: I think Secret Service needs to talk to Siri because she is just telling people how to find some national treasures.
• 4:07
  Speaker B: Ain't that the truth?
• 4:08
  Speaker A: Okay, so we were looking for some different homes. Like, like what? Where are we trying to get Beauregard?
• 4:16
  Speaker B: Lucille Ball, Jimmy Stewart, Carrie, Grant Love.
• 4:20
  Speaker A: Yes.
• 4:21
  Speaker B: And of course our Judy.
• 4:23
  Speaker A: Of course our Judy. We love Judy. We grew up with Judy.
• 4:27
  Speaker B: She's cute.
• 4:28
  Speaker A: So I think, I actually think if this works, I might be able to show you us setting our intention in the car in the field. Would you like to see that, Jill?
• 4:38
  Speaker B: Oh my God, look at you, all high tech. I hope it works.
• 4:40
  Speaker A: Well, it's a little too early for that. Let's see if it does. Oh, it that link. Come on. Oh man, so freaking close. Okay, so the link worked.
• 4:53
  Speaker B: You hit set our intention button and it took you there.
• 4:56
  Speaker A: Yeah, it's taking me to the next scene is what it's doing. The link isn't working.
• 5:00
  Speaker B: Oh, it's okay. Okay, that's fine.
• 5:03
  Speaker A: Sorry. Oh, we had some good. We've got some really good stuff. So what you would have seen if that link would have worked is us in the car setting our intention.
• 5:15
  Speaker B: Right, and how does that usually goes?
• 5:17
  Speaker A: It usually goes something like. Spirits lead us to a verifiable story previously unknown to us that allows us to give voice to the voiceless. But here's the thing. We usually don't know where we're going. And on this day, we knew that we were going to these houses.
• 5:34
  Speaker B: Right.
• 5:35
  Speaker A: So we're like, we knew we were
• 5:37
  Speaker B: going to these houses. We didn't know that we were going to end up where we ended Up.
• 5:42
  Speaker A: That is true. That is true. So after we did our little tour of you know, the, the Bel Air and Brentwood and Beverly Hills which, and we did not get, we did not get arrested. Even though. Good. Yeah, good on us. Even though there was security around.
• 6:02
  Speaker B: There was security around. I believe we ended our self guided tour at Humphrey Beauregard's house. So we were somewhere in the south of more south than Brentwood.
• 6:15
  Speaker A: Right. And then where did we end up, Jill? Just by complete happenstance, we're driving around blind now.
• 6:22
  Speaker B: Then we find ourselves on the Hollywood Boulevard, driving along the walk of fame, completely by chance.
• 6:30
  Speaker A: Completely by chance.
• 6:31
  Speaker B: And it's. What's funny about that is that is not something that you and I wanted to do.
• 6:35
  Speaker A: We're like, you don't have to do the touristy things. Right, Exactly.
• 6:40
  Speaker B: So.
• 6:40
  Speaker A: Exactly. And so if you're looking at these slides, you see, you see a lot of Jill. Because I was taking pictures with my camera, but there are so many stars. I did not realize how far of a walk it is.
• 6:53
  Speaker B: Preach, my sister. I got, I got blisters.
• 6:57
  Speaker A: So many blisters on Jill. That's because you weren't wearing sensible shoes. But we didn't know that we were going to be walking around.
• 7:02
  Speaker B: Who knew? Who knew? I didn't know.
• 7:04
  Speaker A: I mean Grace Kelly, Errol Flynn. We had to get a picture with Errol Flynn star because my mom loved him. I mean so many. I see Mickey Rooney and we both really wanted to see Judy Garland's star and we couldn't find her.
• 7:21
  Speaker B: Yes. No, we, we couldn't find our Judy. First of all, when we found Judy's house, we couldn't find Judy's house. We saw only hedges and we were hedges. Judy.
• 7:32
  Speaker A: Judy, we're here.
• 7:33
  Speaker B: Judy. That's all we saw. So that was a bunk mission. So we will be God damned if we were going to leave the Hollywood walk of flame without finding Judy Garland star.
• 7:43
  Speaker A: Correct, correct. And we finally found it, didn't we Jill? We did, we did. We finally found it. And here's a visual. Ta da. Judy Garland star. We found it. And it happened to be right at the intersection of two pretty iconic streets, Hollywood and Vine. Hollywood and Vine. And so we find her start. And then we hovered there for a little bit because you in particular were feeling psychically this was an important place, this intersection.
• 8:15
  Speaker B: True that. It felt, it felt, it felt like a revolving door. Like people coming and going, coming and going, coming and going. And it felt, I was feeling the, the sensation or the loss of someone from A drug overdose.
• 8:31
  Speaker A: Mm, mm. Right. And I remember you saying drug overdoses in general, like. Right. And then from there, where did we go?
• 8:44
  Speaker B: We went looking for Marilyn Monroe's grave, actually.
• 8:49
  Speaker A: Yes, you're right. You're absolutely right. Keep going.
• 8:51
  Speaker B: So we go to the Hollywood Forever Cemetery, and we asked them to kind guard to if we can go looking for Marilyn Monroe's grave. And he said to us, you sure can, but you're not going to find it here. She's not here. So we're like, oh, well, we're here. So we're just going to look around anyway. So we go and we are. You know how we cemetery hounds. We walk around the cemetery and we find out that not only are we at the cemetery that our Judy is buried at, but she has her own pavilion.
• 9:25
  Speaker A: So we went to the Judy Garland Pavilion and she. I mean, it's beautiful. It's a. We spend a lot of time there.
• 9:34
  Speaker B: I signed the guest book.
• 9:35
  Speaker A: We signed the guest book. And you see. Do you see your. Your silhouette?
• 9:41
  Speaker B: Wow, that looks like the Pillsbury Doughboy.
• 9:46
  Speaker A: It's your silhouette in the light. I love that. That you caught your silhouette.
• 9:51
  Speaker B: Yeah, that looks like I'm gonna destroy New York City.
• 9:54
  Speaker A: You look like you like.
• 9:56
  Speaker B: Yeah, I look like stay puff. I look juicy and mean, but kind of cute. But kind of cute at the same time. Adorable.
• 10:04
  Speaker A: You look really adorable. There you are. And there's Judy Garland's crypt. And it was just beautiful. It was really nice. And I felt. I felt her when I was there. What do you think? Do you think it was my imagination or did you kind of feel her there too?
• 10:23
  Speaker B: You know, it was not your imagination. Not only did I feel her there, but I felt her throughout the day because we were calling her. Literally to us.
• 10:32
  Speaker A: We were. When we were driving in, I think it was Bel Air, we were yelling, judy. Judy. Yeah, you're right.
• 10:39
  Speaker B: You're right.
• 10:40
  Speaker A: Okay. So I took the lead.
• 10:43
  Speaker B: Yes, you did.
• 10:45
  Speaker A: On this research. And I really wanted to start at Hollywood and Vine because that was the. You know, I. I know a lot about Judy. To be honest, you guys, I had a dark period of my life where I did nothing but read about Judy Garland and watch her films. Why was really depressing.
• 11:07
  Speaker B: Why? Judy's so cute.
• 11:09
  Speaker A: Judy's wonderful. But Judy was. Judy was depressed. Judy was dark. You know, Judy had a hard life. So I know some stuff about Judy, but what I didn't know is, like, why is Judy coming up? And what does Hollywood and Vine have to do with it? You know, what I mean, yes. So I started with your hits of drug overdoses, Hollywood and Vine, all being significant. And I found some stuff.
• 11:36
  Speaker B: What'd you find?
• 11:37
  Speaker A: Okay, so first of all, I found that right at the intersection of Hollywood and Vine is a building, a historic building which we saw when we were there called the Taft Building.
• 11:52
  Speaker B: Are you going to show it? Oh, okay. So what we're looking at is a building that is like perfectly like a perfect rectangle.
• 12:03
  Speaker A: Like 3D, a little hat and a little hat on.
• 12:07
  Speaker B: Yeah, a little hat. A little preserver and a visor. Yeah, a little sun preserver. Little visor. It looks like from the picture of the taft building in 1925, it says something at the bottom that I can't very well make out. Can you make that out?
• 12:26
  Speaker A: Yeah, it's a drug company. We're going to have more pictures of that coming up.
• 12:29
  Speaker B: Okay. Okay. Okay.
• 12:31
  Speaker A: So the Taft Building. And do you see alfred Z. Taft Jr. Right there?
• 12:36
  Speaker B: He's handsome.
• 12:37
  Speaker A: I want to say he's very dapper, I would say. So. He, Taft purchased a church that was located on the intersection pre 1920. He purchased the church, he tore it down and he commissioned the Taft building to be built on that property instead. It took years. And the Taft building opened in 1924 and we're seeing it in 1925 here. It was the first high rise office tower in all of Los Angeles.
• 13:14
  Speaker B: Oh, that's cool. Yeah.
• 13:16
  Speaker A: So you have a high rise office tower in the middle of Los Angeles. And its primary tenants were of course, Hollywood movie studios and their executives. Every single major studio had an office in the Taft Building. The big ones, rko, Paramount, mgm, all on the Taft Building.
• 13:44
  Speaker B: So cool. That means that like if, that means like if Joan Crawford was going to get in a fight with Mayor, she would go to the executive offices in the building and be like, Mr. Mayor, I don't like this contract.
• 13:58
  Speaker A: You know, that's, that's an interesting thought. I wonder if Louis B. Mayer himself was in there or if he was on the MGM lot somewhere. I don't know.
• 14:07
  Speaker B: He had an office at both.
• 14:09
  Speaker A: Why, I bet he was all over the place.
• 14:11
  Speaker B: Yes.
• 14:13
  Speaker A: Also the Academy of Motion Picture Arts and Sciences, it had a office in the Taft building. Charlie Chaplin had an office there. Will Rogers had an office there. And also, as you can imagine, the different filmmakers and agents, casting company publicists, they were all there in the building. Also lawyers. Also lawyers had offices in the building. But now here's where, here's where it starts to be like, you know what? I Mean, you would expect all this. You, you would expect the studio.
• 14:50
  Speaker B: There's nothing unusual about what you just described in this building.
• 14:54
  Speaker A: Right.
• 14:54
  Speaker B: For this industry.
• 14:56
  Speaker A: Correct, Correct. But also there were medical offices in this building, dentists and actors. In fact, I want to tell you this, think you'll enjoy it. Clark Gable himself got his teeth done there. Well, his dentist. Yes, his dentist was in this building and his teeth were done. Now do you see?
• 15:20
  Speaker B: I am looking at a picture for our listeners of Clark Gable on the left. He looks like he's younger. He has a gap in his teeth. Still handsome, but he's not the Clark Gable. You know, at the right, on the right, it is Clark Gable looking with
• 15:38
  Speaker A: a perfect smile, looking like Clark Gable.
• 15:41
  Speaker B: Yes, yes. He's giving Clark Gable energy. And then all the way to the right, we have a picture of Vivien Leigh in his arms from the movie Gone with the Wind, which is iconic.
• 15:53
  Speaker A: Correct. So, fun fact, Clark Gable, his dentist office was in the Taft building.
• 16:01
  Speaker B: And I want you to know I did not read ahead. I knew it from this picture.
• 16:05
  Speaker A: Really?
• 16:06
  Speaker B: Yes.
• 16:06
  Speaker A: Good for you.
• 16:08
  Speaker B: You can tell his teeth were done and they did a great job.
• 16:11
  Speaker A: His teeth really don't look good in the first picture. Like, I don't think. Yeah, I think his smile is so much better. It. And his confidence is so much better after having the teeth done. Yeah. But he had horrible, horrible gum disease. Horrible gum disease. And that's why he lost most of the. Most of his teeth by the time he was 32 years old. And so they, they had old school dentist.
• 16:42
  Speaker B: What I said, brush my brother.
• 16:45
  Speaker A: Brush, floss, do it all. Yeah. And so he had the old school kind of dentures fitted for him and that's. They look good. You can see. Great. He's wearing dentures, as you know, Clark Gable, the way you're thinking, Clark Gable looks super handsome with a nice set of teeth, but they were not great. Like, at the time, dentures weren't great. And so you got bacteria and other nasties stuck underneath the dentures. And his leading ladies would complain, specifically, specifically Vivian Leigh in Gone with the Wind. Totally was okay. Like repelled. Repelled by the smell of his breath. And yes.
• 17:28
  Speaker B: I feel so bad. I feel so bad.
• 17:31
  Speaker A: What a good actress. Look, she looks like she's utterly in love.
• 17:37
  Speaker B: She. Okay, now that you tell me that it looks like she's holding it in.
• 17:43
  Speaker A: She's holding her breath.
• 17:45
  Speaker B: She's like, let this take last only a few seconds longer. No, but honestly, I feel bad because that would, that would Suck. If you had, you know, like, you did the best you could with your mouth and still it comes out snaggletooth and bacteria and all kinds of nastiness. That sucks.
• 18:01
  Speaker A: That would suck for him. Anyway, so, yes, dentists and doctors were located in the Taft Building. And then Jill. And then by 1939, the enormous owl Drug Company was occupying the ground floor corner of the taft Building at 6290 Hollywood Boulevard. And here we have it.
• 18:28
  Speaker B: Oh, that's. That's a very cool sign. Very art deco. Very. It's. Yeah, I love it. It's giving me. It's giving me It's a Wonderful Life almost vibes to it where George Bailey worked. But a drug company? Are they manufacturing drugs there? What are we talking about there?
• 18:48
  Speaker A: It's a pharmacy. So think Walgreens. It's a full blown pharmacy.
• 18:53
  Speaker B: Okay.
• 18:54
  Speaker A: Schwab's was another big one at the time. So it was. It was full service. But the doctors upstairs could write prescriptions for people to pick up downstairs, which is very convenient.
• 19:08
  Speaker B: Right? It's convenient. However, it's like. It's convenient if you're in a hospital. It's a little sus. If we're in an executive building for the entertainment industry.
• 19:18
  Speaker A: Right. And so under one roof, we've got movie industry offices upstairs, along with doctors who are seeing the stars, the actors and actresses, the talent, as well as other people in the movie industry, not just the actors and the talent. And then a major pharmacy downstairs. And this was happening precisely when prescription stimulants and sedatives were becoming part of Hollywood's notoriously demanding studio system. Why are you holding your breath?
• 20:03
  Speaker B: I am waiting for you to describe what that means because it sounds ominous as I saying it. Right? Ominous. Nominal. Yes.
• 20:14
  Speaker A: And it. And it was. Jill. Thank you. So let's talk about the prescription drug system or machine that was in place. Okay.
• 20:25
  Speaker B: First of all, I just want to say something before we go on. I think we should have a trigger warning because substance abuse is a real problem. But also I want to say that it's okay to take prescription drugs if you're taking them and not abusing them. If you're taking them for medicinal purposes that are given to you by a responsible doctor. I just want to say that. But that is not what we're going to talk about here. It does not. Seems like.
• 20:51
  Speaker A: No.
• 20:52
  Speaker B: Okay.
• 20:53
  Speaker A: No, absolutely not.
• 20:54
  Speaker B: Okay.
• 20:55
  Speaker A: Okay. So during the studio era, and by the studio era, I mean this was a time in history when the studios had all the power. They had all the power over the performers. The performers worked for the studios. The studios paid the performers. The studios could. They basically owned you. Okay. They lent you out to different projects. They allowed you to. To do different things or kept you from doing the work that you wanted to do. They could lend you to different studios. You were essentially a pawn. You know what I mean? You were an actor at the studio. And so during this era of time where the actors had very little onus
• 21:39
  Speaker B: over careers, if you didn't have a studio behind you, you literally didn't have a career.
• 21:45
  Speaker A: Correct, Correct. Okay. So during this era, performers were expected to work extraordinarily long days. Now they still are. I'm sure. I'm sure they still are. But back then, there were no protections for these actors who were working long days. And studios had enormous financial incentives, incentives to keep productions moving. When a production stops, they. They waste money. They lose money, I should say. Right.
• 22:16
  Speaker B: Costs money.
• 22:17
  Speaker A: Right. And so prescription drug use became one way of keeping exhausted performers and directors and producers going when they were tired so they could keep moving forward with production.
• 22:33
  Speaker B: Wow.
• 22:34
  Speaker A: Does that make sense?
• 22:35
  Speaker B: It makes sense, but it's. It's so unconscionable. You know what I mean? Like, we need to make a deadline. Go get them.
• 22:43
  Speaker A: Go get the crack.
• 22:45
  Speaker B: You know, that's. That's basically what it was.
• 22:47
  Speaker A: Well, it. No, it wasn't crack. It was not crack. We'll leave it in. But. But I'm redacting. No crack. They did not use no crack. No, no. They used amphetamines. Now, back in the 1930s, I think uppers or amphetamines. Yes, but, you know, are we really going to talk about crack? Cracks were not the same as prescri amphetamines.
• 23:13
  Speaker B: True. You cannot. You cannot get prescribed crack unless it's by your doctor Paulie on the street corner.
• 23:22
  Speaker A: Okay, so we're not talking about crack, Jill. Okay. We're talking about pills. Amphetamines, which I think came on the market around 1932. Okay, so 1930s. This is still new. Okay.
• 23:34
  Speaker B: Yeah.
• 23:34
  Speaker A: And doctors are looking at this as. As a good thing. Okay.
• 23:40
  Speaker B: For weight loss, for energy.
• 23:42
  Speaker A: For energy, for weight loss. Right. For mood. Right. So amphetamine was not regarded as an illicit drug at the time. It was brand new. And tablets were being prescribed for things like depression, narcolepsy, weight loss. And doctors really thought that they were useful medicines. Okay. Now, they were often called pet pills for obvious reasons. Right.
• 24:07
  Speaker B: Because you get peppy.
• 24:09
  Speaker A: Because you get peppy. And for actors who, you know Acting can be a very tiring, a very
• 24:18
  Speaker B: exhausting emotionally and physically.
• 24:23
  Speaker A: Absolutely.
• 24:24
  Speaker B: Back in the day, in the 30s, all those dance numbers. Think about.
• 24:28
  Speaker A: They did. Yes. Judy herself as well as. We'll talk about a lot of musical numbers with dancing and singing. Singing, right.
• 24:36
  Speaker B: Yeah.
• 24:36
  Speaker A: And multiple takes. Okay. So the pet pills could keep the actors awake. They could keep them going longer. They could make them look and feel more energetic. And also they kept the women specifically thin. Okay, but. But then you have a problem when the actor needs to go to sleep, right?
• 25:03
  Speaker B: Yeah.
• 25:04
  Speaker A: They're all wired.
• 25:06
  Speaker B: Yep.
• 25:07
  Speaker A: Yeah. And their body needs to shut down so they can do the same thing tomorrow. Because if you can't sleep, then you can't get up and do the same thing tomorrow. So then they were using downers to help them sleep.
• 25:18
  Speaker B: Oh.
• 25:19
  Speaker A: So, Jill, I. I have a little visual that I think you're going to enjoy.
• 25:22
  Speaker B: May I? Oh, so I am looking at a picture of cuddly kittens, five of them in a row, that are sleeping snug in a little. It's a little bug in a rug. And they're so cute.
• 25:38
  Speaker A: Yes.
• 25:38
  Speaker B: And then an evil pill with three or four hands.
• 25:43
  Speaker A: Oh, gosh. You know, I don't think my. My animations are going to work on this platform. But let me tell you, these little kittens, if they had work to do, you might give them a pep pill to get them peppy. And my animations did not work. And what you're not seeing in this visual right here is them dancing. Right.
• 26:08
  Speaker B: You need to figure out them visuals because that's cute.
• 26:11
  Speaker A: I know. I do need to figure it out. I'm a little disappointed in this platform that it didn't work because I spent a lot of time trying to do this. So essentially, yeah, it's a vicious cycle. It's a vicious cycle that is very easy to fall into once you see, start using. Using drugs to push your body where your body isn't ready to go. In other words, pushing yourself to do something that you know isn't good for you. If you need rest, you shouldn't be taking pep bills. Right, right, right.
• 26:43
  Speaker B: Well, I. I would say that it feels like a. A literal vicious cycle. And one like, where do you end it? Do you end it when you're a peppy or do you end it when you're exhausted? Like, even, like, as an actor, you would be like, where did. Where would be the best time to cut me off from these so I can regulate my own body?
• 27:02
  Speaker A: Right. And remember the constant pressure of filming and Being thin and being thin. Okay. So now I should also emphasize here that this wasn't like a written studio policy that we give our actors, you know, pills to keep them going and then pills to. To sleep. It wasn't. It wasn't official anywhere. Okay.
• 27:27
  Speaker B: It wasn't publicized. It wasn't talked about. It was a dirty industry secret.
• 27:33
  Speaker A: And it was part. It was bigger than just the studio secret. It was part of the entire culture of the entertainment industry.
• 27:39
  Speaker B: Right. Yeah.
• 27:41
  Speaker A: Okay. So it's not just specific to the studios.
• 27:44
  Speaker B: Okay.
• 27:44
  Speaker A: Anyone who wanted to. To become part of this system had to be peppy on demand. Right. And that can be difficult to do. Anyway, so the. One of the most famous, of course, and certainly one of the most vocal example of the prescription drug machine was Judy Garland. And Judy was unusual because she openly spoke about the drugs that she was provided by the studios at a young age. Damn, Judy. Let the tea spill girl.
• 28:21
  Speaker B: Okay, tell me about Judy Garland and Hollywood's prescription drug machine. Oh, she's cute. Okay, I'm looking. Let me tell the people that aren't on YouTube with us to get on YouTube to see these pictures. But they are little. The Gum sisters. They were a trio, Judy being the youngest of the Gum sisters. And they are posed in different positions, showing them as, like, a trio of vaudeville performers.
• 28:49
  Speaker A: Yeah, Vaudeville performers. Yes. They sang, they danced. Judy Garland. Well, her. Her name was Frances Gumm. Okay. Judy was born Frances ethel Gumm in 1922, and she was performing professionally with her sisters while she was a very small child. She was put up on stage at a very, very young age. Now, according to one of Judy's biographers, Gerald Clark, Judy said that her own mother, Ethel Gumm, was giving her pills before she was 10 years old so that she would be able to perform.
• 29:31
  Speaker B: Oh. Now, I'm looking at different shots of Judy as a young adult with her mother.
• 29:38
  Speaker A: And this middle one, I wouldn't say. I mean, yeah, I guess she would be a young adult. She's very young in that picture, maybe 13. So this means.
• 29:48
  Speaker B: Incredible.
• 29:49
  Speaker A: This means that MGM didn't necessarily introduce Judy to the concept of taking pills to control her body. Right. The idea was already part of her psyche. Like, this is what you do when you work. You take a pill to help you work. Right. To be a successful performer. This is what it takes. And she did it because the medication came from adults responsible for her welfare that she trusted.
• 30:15
  Speaker B: Right. Her mama.
• 30:16
  Speaker A: Her mama.
• 30:17
  Speaker B: And then.
• 30:18
  Speaker A: Yeah, yeah. And then later the studios. But she had no reason to think it was Dangerous. Especially because they were prescription pills coming from a doctor.
• 30:27
  Speaker B: Right, right.
• 30:29
  Speaker A: So for her, pills became synonymous with tools that she needed to help her do her job. Makes sense.
• 30:37
  Speaker B: It makes sense. It's sad, but it makes sense.
• 30:39
  Speaker A: H. But by 1935, okay, Judy scores a contract with the premier Hollywood studio, MGM Metro Goldwyn mayor. She was 13 years old and here she is holding her contract.
• 31:03
  Speaker B: You guys, I am looking at an adorable Judy Garland at 13 years old, her hair, some hair up, some hair down, holding a contract and the picture next to it. She is in a picture with two other stars. One I recognize as Mickey Rooney.
• 31:17
  Speaker A: Yes. And the other is Jane Withers. So these are different child actors together in 1935, the year that she got her contract with MGM. Now let's just remember, she was 13 years old. And suddenly she is going to be on film at 13 years old. Girl, Jill, can you tell the world? Maybe those who maybe don't know what
• 31:48
  Speaker B: it's like always bring it back to
• 31:50
  Speaker A: me to be a 13 year old. Do you know what I mean? And what, like where your mind is, where your confidence is, when your body is changing.
• 32:02
  Speaker B: I had a very different experience than the average 13 year old. So I don't know how to answer that question. I was smoking cigarettes, drinking coffee, like I was like, hi mom, good morning. Like, you know what I mean?
• 32:15
  Speaker A: I do, I do.
• 32:16
  Speaker B: So I had a very different experience.
• 32:18
  Speaker A: I think most women would say that it is the most awkward
• 32:23
  Speaker B: self.
• 32:24
  Speaker A: What's the word? Like development. Oh, it's the most awkward stage at all because you're literally changing and you're self conscious of everything that's happening and the emotions.
• 32:36
  Speaker B: Oh, Jesus.
• 32:37
  Speaker A: That's why I had hormones alone.
• 32:39
  Speaker B: The hormones alone.
• 32:40
  Speaker A: The hormones alone, exactly. So that is like the worst age possible that I can think of to have your body being scrutinized.
• 32:51
  Speaker B: Not only that, but your art. Like when you're on a stage and you're singing like, like performers. I notice even the performers that I love a lot will hide behind their instruments and almost look uncomfortable without the guitar or without the piano, you know? So to be like publicly thrown into the spotlight at such a young awkward age is hard.
• 33:13
  Speaker A: 100%. And. And Judy's body immediately presented a problem for the filmmakers.
• 33:22
  Speaker B: Tell me why.
• 33:22
  Speaker A: Because, well, she did not fit the typical starlet. Body shape, body type. She was short.
• 33:33
  Speaker B: First of all, she's cute.
• 33:35
  Speaker A: Most accounts I've seen say she was a half inch under five feet tall. She was four, eleven and a half. Which by the way, is Adorable. Like, if you're counting half inches, you know, you're short.
• 33:48
  Speaker B: I mean, that's really cute.
• 33:52
  Speaker A: But she also wasn't physically proportioned.
• 33:54
  Speaker B: So she.
• 33:56
  Speaker A: So for. For Hollywood executives, they were perplexed with, like, how do we dress? Like, how do we package this? Right. And they scrutinized her weight especially. And this is where the pharmaceutical piece becomes intertwined with Hollywood's beauty standards. Not just their production, but beauty. Judy didn't simply need energy. MGM wanted her to look thin and amphetamines accomplished both. I was reading stories about how when she was working for MGM she would go to the commissary, which is. Sounds like, I think, a cafeteria.
• 34:36
  Speaker B: Yeah, right.
• 34:36
  Speaker A: Where all the actors would go during break times to order. And whatever she ordered, say she ordered a hamburger and fries. They would bring her chicken soup. She ordered, like, a milkshake. They would bring her chicken soup. They had very specific directions about what to feed Judy. So it didn't matter what she ordered. The studio very strictly controlled what she could eat and drink. She was allowed super broth and coffee. And she was also allowed cigarettes. They didn't make her smoke the cigarettes, but she was allowed to have cigarettes. I don't know at what age.
• 35:16
  Speaker B: I can just say just thinking about this would cause me to have a temper tantrum. Like, full blown, like, I want some food, you know?
• 35:29
  Speaker A: You would not have been a good starlet in 1935.
• 35:33
  Speaker B: No, no, I would not have.
• 35:34
  Speaker A: You would not have made an excellent child star.
• 35:38
  Speaker B: I would be like the Godzilla of the 50s. Like the new.
• 35:43
  Speaker A: Of the Little Rascals.
• 35:45
  Speaker B: Yeah, like the new. The new Terror on the Block.
• 35:49
  Speaker A: You'd be the monster. So by the 1930s, Judy was one of a number of talented young actors under contract at mgm. And they figured out pretty early that young people liked to go to the movies. And so they were producing films for young people, with young people. And she was paired with teenager Mickey Rooney.
• 36:14
  Speaker B: Oh, she must have had such a crush on him. There they are together.
• 36:19
  Speaker A: Look how adorable she is. Judy Garland as Mickey Rooney. She really does. And they struck gold together. And the two of them became one of MGM's most popular and profitable young screen teens. Now, in the late 30s, early 40s, this was the era of the Mickey Rudy, Judy Garland vehicles. They worked together from 1937 through 1943, during their teenage years and early twenties. And they had some major films together, which I have here, 1937, Thoroughbreds don't cry. That was their first film together. Then 1938, love finds Andy Hardy, that was this whole Andy Hardy film franchise was a number of movies about this character, Andy Hardy, played by Mickey Rooney. Enormously, enormously successful. 1939. Babes in Arms. And this one was important because it was 1939, which was a stellar year in film, if you knew anything about film history. Gone with the Wind came out in 1939 and a bunch of other important classic movies. But also, this was the first year that they had a let's put on a musical show theme. And then after that, it was all, let's put on this musical show. So they became like sort of an Elvis thing. You know how you. You go into an Elvis movie and, you know he's going to be singing and dancing. Yeah, it turned into the singing and dancing movies for them. And so then they had several others through 1943.
• 38:06
  Speaker B: But what happened around 1939?
• 38:10
  Speaker A: Oh, my gosh. Well, 1939 changed everything for Judy because a little movie came out called, what,
• 38:19
  Speaker B: the wizard of Oz.
• 38:22
  Speaker A: Right. Which was humongous, along with, like I said, Babes in Arms. The first Mickey Rooney, Judy Garland are going to put a band together and do a bunch of musical numbers. And these successes propelled her into one of the top 10 box office stars for 1940. Judy ranked the 10th biggest box office draw in America and Mickey Rooney was number one. So together, the two of them, Mickey Rooney and Judy Garland, power couple, they were one of MGM's most valuable commodities. Right?
• 39:01
  Speaker B: Yeah.
• 39:02
  Speaker A: And according to Judy, when exhaustion threatened to slow them down, the studio gave them pills. Remember, they're teenagers. MGM doctors, of course, could prescribe Judy uppers to keep her energetic and alert so that she could perform. And they would also simultaneously suppress her appetite. Right, Right. And again, they closely monitored her weight. But the problem was that the stimulants, like we talked about with the kittens, prevented Judy from sleeping at night. And the downers were used to make her sleep. Now, it's very unusual for stars to talk about this in public, but Judy did. And she. There's an interview where she specifically discusses her and Mickey Rooney on set. Okay. And she talked about. This is a half quote. They'd give me and Mickey Rooney pills to keep us on our feet long after we were exhausted, she said. According to her biographer, Paul Donnelly, Garland said they were taken to the studio hospital then and given sleeping pills so that they could sleep for a few hours.
• 40:27
  Speaker B: And then, so not, okay, so sick.
• 40:30
  Speaker A: And then they would be woken up and given stimulants again. And by doing this, that allowed them to work extraordinarily long hours, up to 72 hours at a time.
• 40:43
  Speaker B: Oh, my God. And they're teenagers. They're kids.
• 40:47
  Speaker A: She said. Half of the time we were hanging from the ceiling, but it was a way of life for us. That's how. That's the way we got mixed up. She said. And here are some photos of the kind of work they were doing. I mean, again, these are stills from some of the musicals. But they are doing a lot of physical activity with the dancing and the singing and going back. Now, I've watched some of these movies. The amount of energy is ridiculous. I don't. I don't know if it's because I know that they were, you know, altered by stimulants or not. But they are beyond perky the way they are jumping around. It's crazy.
• 41:36
  Speaker B: I'll have to go back and watch, like, babe in arms.
• 41:42
  Speaker A: And, of course, we know there's a cost to this lifestyle.
• 41:48
  Speaker B: Right.
• 41:48
  Speaker A: Pushing yourself. Pushing yourself to perform on demand. By the 1940s, Judy's body had been repeatedly subjected to drugs that pushed her body in opposite directions. Up, up and then down.
• 42:05
  Speaker B: Right. Just legit dangerous.
• 42:08
  Speaker A: So dangerous. And then tolerance and dependency takes over. Right, Right. In other words, you need to take more and more of the stimulants to achieve the same effect after time because your body adjusts to the chemicals that you're giving it. So you're having to take more and more and more in both directions both to pep you up and to bring you back down. And of course, this is incredibly dangerous. And so pretty soon, the pills themselves were creating the problems for Judy and they were no longer solving the problem.
• 42:43
  Speaker B: Right.
• 42:45
  Speaker A: And that got her in trouble during productions in the late 1940s. Judy's pill, quote, unquote, addiction. Right. I guess it would be because she's dependent on these now just to function. Right, right. At such great levels. Was actually getting in the way of her work. Ironic.
• 43:04
  Speaker B: I mean, I don't think so.
• 43:07
  Speaker A: And she increasingly struggled with insomnia, anxiety, different illnesses. And of course, she was tardy to work and sometimes she just wouldn't show up. And so during production, the people around her noticed episodes where she was confused, sometimes hallucinating.
• 43:26
  Speaker B: Well, yeah, she's not sleeping.
• 43:27
  Speaker A: Right. And her inability to maintain MGM's production schedule deteriorated dramatically so that in 1950, she was fired from MGM.
• 43:41
  Speaker B: How old was she?
• 43:42
  Speaker A: 28. 20.
• 43:44
  Speaker B: 28 years old.
• 43:46
  Speaker A: Yep.
• 43:46
  Speaker B: Just. But of course, it out.
• 43:49
  Speaker A: Yeah, 100%. But of course, the pills didn't stop there because that was the only Way she knew to live, to perform, to keep making, you know, a living, which she did. But she needed the pills and that dependency went with her. She continued, of course, to struggle with prescription medication for the rest of her life until on June 22, 1969, she was found deceased in London at the age of 47. The cause, accidental overdose of barbiturates.
• 44:26
  Speaker B: Judy.
• 44:27
  Speaker A: Judy.
• 44:28
  Speaker B: I love my Judy.
• 44:30
  Speaker A: So here's my question for you and what I wanted to discuss. Could our voiceless really be Judy Garland?
• 44:39
  Speaker B: I do.
• 44:40
  Speaker A: You think so?
• 44:41
  Speaker B: I really do, yes.
• 44:43
  Speaker A: Because she's been talked about a lot. Why do you think Judy Garland wants a voice?
• 44:52
  Speaker B: I think that her. Her addiction and her demise overshadows the genuine talent she had.
• 45:04
  Speaker A: Wow, that's a powerful statement.
• 45:07
  Speaker B: Think about it. Whenever she would hate Judy, every time about Judy, we say, poor Judy. When you were depressed, you were all about the Judy. No, I'm serious. Yeah, I'm serious.
• 45:19
  Speaker A: I know, I know you're right. I know you're right. There's something, though, that I found out that's really going to piss you off.
• 45:26
  Speaker B: How much more is. How much more can I get?
• 45:28
  Speaker A: Well, all right. Okay. So you remember Mickey Rooney, Young co star, 1937, 1943, number one star in America.
• 45:34
  Speaker B: Yeah, yeah, yeah, yeah, yeah.
• 45:36
  Speaker A: Okay, well, remember how I said that Judy was all like, yeah, they would take me and Mickey and they would put us in a hospital bed and give us sleeping pills and wake us up and then work us for 72 hours. Remember that? Okay, let's put him up. 1981, rough. This is. He's an old man. He's an old man.
• 45:56
  Speaker B: I'm just saying he rough. That's all I'm saying.
• 45:58
  Speaker A: This is Mickey Rooney in 1981. So he is an old man, okay? And he gets like interview playing.
• 46:07
  Speaker B: It looks like he's playing a butcher on tv. Like Sam the Butcher from the Brady Bunch. That's what I'm looking at.
• 46:12
  Speaker A: This is a still from a movie that he was promoting in 1981. He kept working. He kept working. So he did an interview, 1981, with the United Press International. And he rejected the idea that MGM drugged or abused its young stars. Listen to this. He specifically talked about what Judy said and called it a quote, untruth. He basically said she lied. He said, regarding Judy, Rooney said, and this is a quote, I have read that Metro Goldwyn Mayer furnished her with pills. It just didn't happen. He said, not the first time.
• 46:57
  Speaker B: Not the first time Mickey Rooney broke her heart. Let's just Say that.
• 47:00
  Speaker A: Oh, he went even further to say that the allegation was very irresponsible. He said. Very irresponsible. Imagination, huh? And he maintained that the young stars weren't abused, but pampered. They were pampered. They weren't abused by the studio. And on another occasion, he went so far as to say that he insisted that nobody at MGM was responsible for Judy Garland's death. He said that she chose the path herself. Before you tell me intuitively this is two radically different recollections of that time frame by two people who were there. So who do you think was telling the, quote, truth or remembering it, quote, accurately? What are your thoughts?
• 47:55
  Speaker B: Judy Garland.
• 47:56
  Speaker A: Tell me.
• 47:57
  Speaker B: Why? Because I believe that Mickey Rooney was a product of abuse too. And that's really hard for a man especially to admit. And I think that he's covering it up so he didn't feel like a victim or looked at as like a victim or victimized.
• 48:13
  Speaker A: Interesting.
• 48:14
  Speaker B: Ain't gonna work.
• 48:16
  Speaker A: Interesting. The other thing that I read too, was. I mean, maybe his perception was different, do you know what I mean, at the time? Because they were calling him, like, drugs. They were calling him pet pills and vitamin shots. Do you know what I mean?
• 48:35
  Speaker B: I mean, either they were providing substances or not.
• 48:38
  Speaker A: I mean, well, luckily. Luckily we have other people who, around that time frame stepped up and corroborated what Judy said.
• 48:50
  Speaker B: Yeah, you do.
• 48:52
  Speaker A: So you remember adorable Debbie Reynolds?
• 48:55
  Speaker B: That's Carrie Fisher's mama.
• 48:57
  Speaker A: Yeah. From Singing in the Rain.
• 48:59
  Speaker B: Mm. She's adorable.
• 49:01
  Speaker A: During a 2011 interview with Joy Behar. She's on the View, right?
• 49:06
  Speaker B: Yeah. But not anymore. She's not on it anymore. I think they're gonna replace her back with Rosie o', Donnell, I think.
• 49:11
  Speaker A: All right, I don't. I don't want to get into the drama surrounding that, but in 2011, she was interviewed by Joy Behar, and Reynolds was specifically asked about MGM giving drugs to Judy and Mickey. And Reynolds responded, mickey would maybe deny that. So she was aware. She was aware that Mickey was saying it didn't happen. And then she went on and said that MGM having a hospital on the lot was true. They did. And that anyone could receive what was described as, quote, vitamin shots if they needed a little pick me up. Wow. Now, when asked by Joy Behar whether these were vitamins or were they amphetamines, Debbie Reynolds said, look, I don't know what was in them, but whatever it was, it sure picked them up. She said that she herself was never offered such shots and never sought them out. But she corroborated the hospitals on set and the fact that there were. There was something available to help pet people up. Now, there was another famous person who also corroborated Judy's account. Can you think of. Who would you name as the most famous child star of all time?
• 50:32
  Speaker B: Shirley Temple.
• 50:33
  Speaker A: Bam. Shirley freaking Temple.
• 50:37
  Speaker B: Yes. She's the cutest. Oh, look at that girl.
• 50:40
  Speaker A: In 1986, Shirley Temple Black gave an interview in which she actually said we all knew about MGM giving Judy speaker speed. She said it. She said it was common knowledge that they were giving Judy speed. She said it never happened to her. And I also will say that they didn't interact in the studio system. Shirley Temple was a little earlier in the 30s, right. So she would have never actually seen it. But the fact that she was part of this Hollywood machine and the fact that she was like, no, this was common knowledge. We all knew that they were giving Judy speed was, I think, also corroborates what Judy didn't.
• 51:27
  Speaker B: Didn't mayor call Judy his ugly duckling and would, like, always comment about the way that she looked and how much she weighed, like, just like on the reg. Because that's what I know of. Of that relationship. And I don't know where that comes from, but it's in my, My, my mind about Judy and the studio.
• 51:47
  Speaker A: He, He. I know he called her fat. I know that for a fact.
• 51:51
  Speaker B: Devastating for a girl.
• 51:54
  Speaker A: Devastating.
• 51:55
  Speaker B: Especially if you're on camera. Oh, my God, it's the worst.
• 51:59
  Speaker A: But you know what, Jill? I was just doing research for this yesterday, and I found an article that came out, like, on August 17th, I believe so just a few days ago. I know. An article came out. No, I, I might be remembering different. I, I might. Don't quote me on that. I might be remembering it wrong. But the point was, Judy was talking about how she was, like, accosted and, like, for. For sex by Louis B. Mayer himself. And apparently his thing was. I know. His thing was he would always say, she sings from the heart. And she would. He would always touch her left boob when he said it. He would be like, she sings from the heart and, like, touch her boob. And she was quoted as saying, I was always glad I didn't sing from a different anatomy part.
• 52:55
  Speaker B: Wow.
• 52:55
  Speaker A: Because he was always, like, touching your tit. I know. Anyway, that's just an aside. And I read. I know. I read it yesterday. I'm not sure when it came out. I know, I know.
• 53:07
  Speaker B: Yeah.
• 53:08
  Speaker A: I guess Judy was coming through. I do you Think that she was upset by this whole Mickey Rooney saying it didn't happen situation?
• 53:18
  Speaker B: Yes. I think it broke her heart. I do, too.
• 53:20
  Speaker A: I. I do too.
• 53:22
  Speaker B: Yeah, I do. Why do you think she was coming through to us?
• 53:27
  Speaker A: Well, I think that Judy loved the spotlight. And so her coming through, I just think is consistent with the spirit of who she was and her spirit now. I think she loves the fans still. She loves her fans. She always loved her fans.
• 53:43
  Speaker B: It's true.
• 53:44
  Speaker A: I, I also don't think it's. It's a coincidence that you and I were literally calling her.
• 53:50
  Speaker B: She's the only one we yelled for. I'm serious. The only one. We went to many different houses, but she was the only one we yelled for.
• 53:58
  Speaker A: You're right. And we were in that, that state of, you know, our psychic intuitive state, and we were yelling for Judy Garland. I think she showed up for us. But also, Jill, you shared something with me afterwards that she actually tell us.
• 54:13
  Speaker B: It's surreal. I was. It was after we got back from California, I had a dream that she was in costume and she was performing like a melody and a montage of like her famous songs. And she loved doing it and it was just magical. And I remember waking up being like, Judy Garland literally just performed for me. Literally just performed for me. And it was really special. Truly. I believe that.
• 54:42
  Speaker A: I believe that she came out of the.
• 54:44
  Speaker B: Yes. Not to say hello, not to say thank you, but to say you wanted a star.
• 54:50
  Speaker A: Here I am, and I will sing it for you.
• 54:54
  Speaker B: Like, literally, that's how it felt. I'm getting goosebumps just thinking about it. It was really special.
• 54:58
  Speaker A: I love that. So this was not a story that we didn't know about before. I'll just be really honest about that. But it was well here that she was coming through. Go ahead, Jill.
• 55:09
  Speaker B: We didn't know about the Taft building. We didn't know about the history, bitch ass. We didn't know about that intersection.
• 55:21
  Speaker A: No. Yes, that's true.
• 55:22
  Speaker B: Like we had. No, it's just. Yeah, yeah.
• 55:26
  Speaker A: And it was your hits at that particular intersection that brought together the studios, the, the medical industry and the pharmacy all in one place that really led us to this whole system that was really detrimental to a lot of people for a long time.
• 55:49
  Speaker B: Well, Judy, thank you for your life. Thank you for your time. Thank you for coming through. Thank you for countless entertainment that you had given us throughout the years and in my dreams. Ah.
• 56:01
  Speaker A: And let's remember that this problem isn't over. I mean, it's obvious. But I just want to go ahead and say that the, the studio system, we know it collapsed. The studios are no longer.
• 56:12
  Speaker B: But they're still gross. If we learned anything over the Me Too movement, it's still gross.
• 56:17
  Speaker A: It's still gross. But that whole pressure to be perfect, that whole pressure to perform when you're tired, that, that to push yourself in this entertainment industry, it just really moved from the studio system and that machine to private doctors. And we all have seen, like, watch Michael Jackson White, you know, watch Matthew Perry, those documentaries that are out. This is still happening, only now it's privatized by doctors who will give you what you want.
• 56:47
  Speaker B: Hell, jfk.
• 56:49
  Speaker A: Yeah. Based on. Based on, you know, the, the fee. Based on a fee.
• 56:55
  Speaker B: We are going to pivot. We. Are you ready to pivot? I'm ready to pivot first.
• 57:02
  Speaker A: Are you ready to pirouette?
• 57:04
  Speaker B: Pivot.
• 57:04
  Speaker A: I feel like I can't pirouette.
• 57:06
  Speaker B: No. Okay. All right, we'll pivot. No. Okay, continue. I want to say that I really appreciate our patrons. We had a wonderful time on our Sunday monthly end of the month call with a large group of people that we intuitively read for one another. And it was such a joy to interact with our people. So please, if you can, donate any amount of money to Common Mystics Patreon page and maybe sign up for Tier 4 to be a part of this lovely growing community, we would love that. Jennifer.
• 57:39
  Speaker A: We love. Well, we love all our listeners. Thank you so much for tuning in and listening to us. I'm sorry these, these links didn't work in my animations. I'm really bummed about that.
• 57:49
  Speaker B: Don't. Don't beat yourself.
• 57:51
  Speaker A: Keep tuning in and we'll figure it out.
• 57:53
  Speaker B: And yeah, you have reviews to read, honey.
• 57:56
  Speaker A: I do. I was wondering if you were setting me up for that. Okay, let's see.
• 57:59
  Speaker B: Yes. What do we got? I think there's two, but maybe one. Really? Did we do. Yeah. Did we do Missy? I think we missed Missy because we had someone on. Well, I think we have to do Missy and then we do Mary Lee Marley. Marley.
• 58:17
  Speaker A: Okay. Missy Ross one month ago. Love it, you two. Make me die laughing. I can't wait until the next episode every time. Would love for you to. To come to upstate New York. Keep it up, you two. Love the hits you get and the info it brings. A lot of the history, aside from being sad, is also very interesting. Thanks, Missy.
• 58:39
  Speaker B: Thank you so much. And we accept that invitation. We'll be back to upstate New York.
• 58:44
  Speaker A: And this is from Marley AJ Jennifer and Jill are so much fun to listen to. I love how they bring history into each series along with the fun and engaging conversations between these two lovely women. I actually took Jen's class last year and learned so much from her too. I highly recommend giving this a listen. Thank you for creating such fun and enjoyable episodes. Oh, that's sweet. Thank you, Marley. All right, thanks for that reminder. Anything else?
• 59:11
  Speaker B: Thank you guys. No, thank you guys. Check us out. We're doing readings. Spooky seasons coming up. We're doing mentorships. We are hosting a ghost walk in Potosi, Wisconsin. So email us for details. Check out our website, commonmystics.net and find a new bootleg shop merch section that I put together last minute for the lawyer for a trademark. Check it out. You can buy a mug. I'm waiting on my mug. It should be coming any day. You can buy a T shirt. So please check out some of the new merch. I'm working on it. I'm working on improving it. If you guys have suggestions, let me know. Jennifer, anything you want to announce?
• 59:51
  Speaker A: No. Thank you very much. Love you.
• 59:53
  Speaker B: Love you guys.
• 59:54
  Speaker A: Bye.
• 59:55
  Speaker B: This has been a common Mystics Media production editing done by Yokai Audio, Kalamazoo, Michigan.