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169. The Mystery of Little Egypt · Who Did What Now With Katie Charlwood

0:00
Speaker 1: Hello, delicious friends, and welcome to Who Did What Now?
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Speaker 1: The history podcast That's not your history class with me,
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Speaker 1: your host Katie Charlewood, history harlot and reader of books.
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Speaker 1: So I got a really funny comment on like it
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Speaker 1: was my Instagram or Facebook or one of those, right,
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Speaker 1: And this person was like, Oh, I really wish you'd
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Speaker 1: get strayed into the history instead of talking about yourself
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Speaker 1: for five minutes. Anyway, I'm going to talk about myself
0:32
Speaker 1: for five minutes. So it was my birthday last week,
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Speaker 1: and as per usual, I keep forgetting how old I
0:38
Speaker 1: am and keep thinking I'm a year older, but I'm not.
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Speaker 1: I'm actually a year younger than I think I am
0:44
Speaker 1: every single year. And it was a good day. I
0:49
Speaker 1: was very busy. I was very busy because I'd booked off,
0:53
Speaker 1: thank goodness. But I had two parent teacher meetings that day,
0:57
Speaker 1: followed by an open evening at a secondary school. And
1:02
Speaker 1: I know, like quite a lot of my listeners are
1:05
Speaker 1: from the US, and you might be thinking, Jez Kerry,
1:07
Speaker 1: I didn't think any of your children were old enough
1:10
Speaker 1: to go to a secondary school. Well they're not anyway,
1:15
Speaker 1: But in the US you'll have like your elementary, your
1:19
Speaker 1: middle and then your secondary, so your high school. In
1:22
Speaker 1: the UK, it's like primary and secondary, and then in
1:24
Speaker 1: Ireland we have national school and secondary school. So national
1:28
Speaker 1: school has eight years, so you have junior infant, senior infants, first, second, third, fourth,
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Speaker 1: fifth and sixth. Those are your classes and once you
1:37
Speaker 1: complete those eight years, you go into secondary level education,
1:42
Speaker 1: which consists of five to six years depending on what
1:47
Speaker 1: you do. So in the secondary level you have first year,
1:53
Speaker 1: second year, third year which are and then you do
1:55
Speaker 1: a junior cet exam followed by a transition year in
2:00
Speaker 1: which you do a bunch of stuff, right, you do
2:03
Speaker 1: work experience, you do like trade things, you do coding
2:07
Speaker 1: and stem and all this arty, cool, fun, awesome stuff.
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Speaker 1: Because what it used to be is you would basically
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Speaker 1: go from three exam years into two exam years and
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Speaker 1: it would just be very difficult, and then people would
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Speaker 1: also be quite young going on to third level education
2:23
Speaker 1: to union college and stuff. Now, so you would have
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Speaker 1: a transition year, which is your fourth year. Some people
2:31
Speaker 1: who still don't do transition year and they just go
2:32
Speaker 1: straight to fifth and six year, but yes, you have
2:36
Speaker 1: fifth and six year, which then after which you have
2:38
Speaker 1: your leaving circle, which is the exam or the series
2:41
Speaker 1: of exams that get you into third level education. So
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Speaker 1: the secondary school. It was like having an open night
2:51
Speaker 1: with like workshops and stuff, and it brought in like
2:54
Speaker 1: not only people who were in six class who are
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Speaker 1: in their final year to enroll, but also children fifth
3:00
Speaker 1: class as well, to get them an idea of how
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Speaker 1: the place runs. You know, what's it like being there,
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Speaker 1: what the classes are like, the teachers are like. And
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Speaker 1: we went through i think several classrooms where we were
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Speaker 1: in like Spanish class, history, English science. My son held
3:17
Speaker 1: a pig heart in his hand after being quite tentative
3:22
Speaker 1: and like physically gripping onto me on the way in,
3:25
Speaker 1: Like he's only eleven and he was kind of really
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Speaker 1: nervous and freaking out. And then when he was in
3:31
Speaker 1: that environment, I have never seen him so mature and
3:34
Speaker 1: so thriving, like it was a practical application of education,
3:40
Speaker 1: and I think that's really going to be the kind
3:43
Speaker 1: of place for him. So I'm really really excited, and
3:45
Speaker 1: I'm going to be like ready, ready to go for
3:48
Speaker 1: next year. I'm going to be like next year, I'll
3:49
Speaker 1: be enrolling him for the following year. So it's it's
3:52
Speaker 1: exciting times, exciting times. So yeah, I was out of
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Speaker 1: the house most of the day and I was super super busy.
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Speaker 1: And then the following day I came home to a
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Speaker 1: bouquet of flowers waiting for me my lovely friend Seanna
4:08
Speaker 1: of She's the owner of sexuch Opaterity, so if you're
4:11
Speaker 1: looking for your ethical sex toys, that's the place to go.
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Speaker 1: So she sent me a bouquet of flowers and heartshaped
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Speaker 1: chocolates and a little card and everything. I love her
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Speaker 1: so much and I can't read to go see her again.
4:26
Speaker 1: She's like one of my absolute best days. She's just
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Speaker 1: so lovely. And my mom actually got me a laptop bag,
4:36
Speaker 1: but it's like a fancy one because she's like, well,
4:39
Speaker 1: you know, you're dressing in the sort of vintage uitar
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Speaker 1: you're leaning this way, so it doesn't really make sense
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Speaker 1: for me to have this other thing also in audition. Furthermore,
4:50
Speaker 1: I ordered equipment for stuff because there's a few things
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Speaker 1: I've been planning to do for a long time and
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Speaker 1: I just haven't been able to do it. But I
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Speaker 1: had some help getting the house a little bit more ready,
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Speaker 1: and so I'm working on a few bits at the minute,
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Speaker 1: and I'm really excited for his stuff to be coming soon.
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Speaker 1: But I know what you're thinking. You're thinking, Kerry, it's
5:13
Speaker 1: been five minutes quite your jibba dabba in fact me,
5:17
Speaker 1: in fact, July will. But first we've got to get
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Speaker 1: our source on. Our sources are Fantasies of Exposure, belly Dancing,
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Speaker 1: The Veil and the Drag of History by Juana Man's Bridge,
5:34
Speaker 1: Little Egypt, Huchikucci and Burlesque by A Keys, When Carol
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Speaker 1: met Main Street, Little Egypt, Salome Dancers and the World
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Speaker 1: Shares of eighteen ninety three and nineteen oh four by
5:50
Speaker 1: Charles A. Kennedy. Looking for Little Egypt by Donna Carleton.
5:59
Speaker 1: Egyptian Dance a contested Tradition by Janet Johnson and G. G. Tassei.
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Speaker 1: Horrible Prettiness for Lesque and American Culture by Robert clude Allen,
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Speaker 1: Stripping in Time, A History of Erotic Dancing by Lescinda Jarrett,
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Speaker 1: Flaubel In Egypt A Sensibility on Tour by Gustav Flaubel.
6:29
Speaker 1: Dance of the Seven Vales, The Revision of Revelation in
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Speaker 1: the Oriental Dance community by Andrea Degan, the history of
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Speaker 1: the Chemi Podcast with Bella Sin Egyptian Belly Dance and
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Speaker 1: Transition The Racks Shaky Revolution eighteen ninety to nineteen thirty
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Speaker 1: by Heather d Ward performing Little Egypt Ashiah Wabe and
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Speaker 1: the American Harlem Scenario by m Kogler abde I was
7:00
Speaker 1: it in comfortably good? Then let's begin. Well, delicious friends,
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Speaker 1: it is the final week of my birthday month, and
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Speaker 1: so of course naturally we are going to be discussing burlesque. Now.
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Speaker 1: Before we do get into all of that, I do
7:20
Speaker 1: want to say that I do have this goal, and
7:22
Speaker 1: the goal is to talk about burlesque, to have at
7:26
Speaker 1: least one burlesque episode per month. Like on the history
7:31
Speaker 1: of b lesque, people have involved in it small parts,
7:34
Speaker 1: big parts, like the movement itself, and this might mean
7:40
Speaker 1: this might mean a return of the Boittyso it's because
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Speaker 1: burlesque is an art form, one predominantly performed by women,
7:47
Speaker 1: and as such isn't as well documented as we would like,
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Speaker 1: and as a direct result of the patriarchal viewpoint, it
7:57
Speaker 1: can easily be dismissed. Represented are we surprised, No, we
8:03
Speaker 1: are not. So that being said, if any burlesque educators
8:08
Speaker 1: or enthusiasts want to chat. I would love to talk
8:10
Speaker 1: about it and help promote burlesque always, like anyone who
8:14
Speaker 1: wants to come on and talk about burlesque or their
8:16
Speaker 1: favorite burlesque performers, like who they were inspired by, who
8:22
Speaker 1: they think we should know about. And I want to
8:25
Speaker 1: talk about this everything from you know, the Burlesque Museum,
8:29
Speaker 1: which we really need to get funding for. And I
8:33
Speaker 1: know that I have some people who who are ready
8:36
Speaker 1: to chat, but we just need to organize time zones
8:39
Speaker 1: and schedules, so that is all in the works. But
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Speaker 1: I do want to keep promoting and talking about burlesque.
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Speaker 1: I just I do. And also I am determined to
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Speaker 1: perform a burlesque routine before I'm forty. Okay, this is happening.
8:55
Speaker 1: I don't know how. I don't know why I Am
8:57
Speaker 1: going to be hitting the gym because I might what
9:00
Speaker 1: between like six and ten klobles a day, but I'm
9:03
Speaker 1: not sure, Like my cardio is where it needs to be.
9:06
Speaker 1: I think I need to up this conditioning because I
9:09
Speaker 1: get tired doing like a boy band dance retain in
9:13
Speaker 1: my kitchen, so we need to like get us back anyway, Burlesque,
9:21
Speaker 1: like many art forms, was no stranger to appropriation. Sorry,
9:27
Speaker 1: I mean silly may inspiration. One such inspiration CoV was
9:36
Speaker 1: the belly dance. Now here's the thing, right, The belly
9:41
Speaker 1: dance wasn't new, It wasn't a new invention. It just
9:45
Speaker 1: didn't appear out of nowhere, absolutely not. It goes all
9:51
Speaker 1: the way back to ancient Mesopotamia. Now you've probably held
9:56
Speaker 1: of ancient Mesopotamia and oh sort of probably old movies
10:02
Speaker 1: and things that reference archaeology all that jazz. But if
10:08
Speaker 1: you don't know Mesopotamia because you know, old timey geography
10:12
Speaker 1: is tough, Okay. It's basically an area in a Raq
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Speaker 1: between the Tigris and the Euphrates rivers. I really hope
10:23
Speaker 1: that pronunciation is correct because I looked it up and
10:27
Speaker 1: that was all I could find. So I hope it's
10:30
Speaker 1: good because I have a feeling it was named by
10:32
Speaker 1: the Greeks, you know what I mean. It just feels
10:34
Speaker 1: like it was named by the Greeks, you know. So
10:37
Speaker 1: it's in this area. You've got bagh Dad right in
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Speaker 1: the middle Ish and it goes all the way down
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Speaker 1: to like like it's touching Qait so it's just down
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Speaker 1: the middle of Iraq, and so if you look it
10:50
Speaker 1: up it'll say something like West Asia. It's a raq okay,
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Speaker 1: Mesopotamia had barely dancing, like so did the Iberian Peninsula, Algeria,
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Speaker 1: the Romani they also had a form of belly dancing.
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Speaker 1: So like, culturally, it's been around a long time. So
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Speaker 1: why did it blow up in the Western world and
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Speaker 1: become such a prominent part of the early burlesque scene, Because,
11:25
Speaker 1: my good friends, of the Chicago World's Fair, which some
11:29
Speaker 1: of you may know only because it's allegedly the place
11:32
Speaker 1: where H. Holmes used a murder castle to kill visitors
11:38
Speaker 1: who said fair, which for the record is absolute bollocks.
11:45
Speaker 1: HEH J. Holmes was a con man who killed for
11:48
Speaker 1: convenience or money or sometimes both. If you want to
11:54
Speaker 1: know more about HH Holmes and the whole story behind
11:56
Speaker 1: the Devil in the White City, go listen to that episode,
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Speaker 1: because like, it's all there, it's all there, all the
12:03
Speaker 1: stuff he did. So the World's Fair, we don't really
12:08
Speaker 1: do we have those anymore? Eh ka kinda kinda, she says.
12:13
Speaker 1: So the Worldfare started effectively because of okay, Western colonialization,
12:21
Speaker 1: which rich white nations would invade and occupy another nation,
12:27
Speaker 1: typically non white, typically not Western, take it over and
12:32
Speaker 1: take this stuff they liked. This led to a rise
12:36
Speaker 1: in Orientalism, which is like Victorian China houses were printing
12:42
Speaker 1: out replica ming vases and willow pattern crockery. You've got tea,
12:49
Speaker 1: rhubarb coffee, curry, silk, you know, all the stuff that
12:55
Speaker 1: you know other people had been producing for years, things
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Speaker 1: that were cult truly relevant or significant, and then taking them,
13:04
Speaker 1: diluting them down and turning them into something palatable for
13:10
Speaker 1: Western tastes. So much Tiffan cidebar Okay. Yes, there was
13:19
Speaker 1: a period in the nineties where Indian culture was very popular,
13:25
Speaker 1: like it was a thing, right, so like rim Full
13:29
Speaker 1: of Asha was top in the charts. It is still
13:32
Speaker 1: one of my favorite songs. By the way, you had
13:36
Speaker 1: Indian movies were being made and everyone was wearing a
13:39
Speaker 1: bindi for some reason, like the TV show Goodness Gracious Me,
13:43
Speaker 1: like even had a sketch about it. So Goodness Gracious
13:46
Speaker 1: Me was a comedy show by British Indians and they
13:53
Speaker 1: they were just they would do these amazing sketches and
13:56
Speaker 1: one of them I loved was shmiitishmdten Showbiz Kitten. I
14:00
Speaker 1: love them so much. And they did this whole sketch
14:04
Speaker 1: about like this white guy dating an Indian girl and
14:08
Speaker 1: you ended up breaking up with her because like she
14:11
Speaker 1: was no longer trendy because she wasn't a denim clad
14:14
Speaker 1: Irish girl, which also became a trend. Like it was
14:19
Speaker 1: like when Bitch came out, Like it was such a
14:21
Speaker 1: trend to be like Irish, Like it was such a thing, right,
14:26
Speaker 1: So you had appropriation galore. And with the boom, we're
14:32
Speaker 1: back to talking about the world spare guys. With that
14:35
Speaker 1: boom from the Industrial Revolution and that speed in which
14:39
Speaker 1: the Western world was progressing, especially in like science, literature, art,
14:44
Speaker 1: et cetera, the World's Fair was established. This was to
14:48
Speaker 1: showcase the future of the world. And like there had
14:53
Speaker 1: been you know exhibitions, you know in like prag in
14:57
Speaker 1: Paris and Turin and no Yeah City, Genoa, Birmingham and
15:03
Speaker 1: all that, like, but these expositions they had occurred, but
15:09
Speaker 1: it was in London that the first World's Fairs occurred. Wildfairs, Worldfair,
15:16
Speaker 1: the just one. So this was organized by Prince Albert,
15:21
Speaker 1: who by all accounts was a very generous lover and
15:24
Speaker 1: had a penis piercing named after him. You're welcome. So
15:29
Speaker 1: Prince Albert was the husband to Queen Victoria, who ranged
15:33
Speaker 1: for sixty three years. You know. So this what was
15:38
Speaker 1: ended up being called as the first World's Fair, was
15:42
Speaker 1: called the Great Exhibition of the Works of Industry of
15:46
Speaker 1: All Nations, and it was held in the Crystal Palace,
15:49
Speaker 1: which was a temporary structure and fun fact, has a
15:53
Speaker 1: football team named after it. And this was in Hyde
15:56
Speaker 1: Park in London. It was in eighteen fifty one and
15:59
Speaker 1: it ran from May to October of that year, and
16:02
Speaker 1: it was basically a big exhibition of industry and culture,
16:06
Speaker 1: showcasing everything from music to flushing toilets. Right, and you
16:14
Speaker 1: may have heard of William Morris, the man with the wallpaper,
16:17
Speaker 1: like he refused to go because he didn't believe in it.
16:22
Speaker 1: So it's wild to see, like William Morris wallpaper be
16:27
Speaker 1: mass produced because he was so against that. He was
16:29
Speaker 1: pro artisan, he didn't believe in mass production. And you
16:34
Speaker 1: have like so many people were there at this, You
16:38
Speaker 1: had like the Bronze Sisters visited this, like everyone was here,
16:43
Speaker 1: you know. So since then, since that Worldfair, there had
16:49
Speaker 1: been several You had London, Paris, Vienna, Philadelphia, Melbourne, Barcelona,
16:58
Speaker 1: and in eighteen ninety three Chicago, also known as the
17:04
Speaker 1: World's Colombian Exposition, and this is where the belly dance
17:10
Speaker 1: was noticed and made headlines with a performance by a
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Speaker 1: dancer known as Little Egypt. There are whispers of this
17:24
Speaker 1: being earlier, of this being noticed earlier on, but this
17:30
Speaker 1: is the earliest, like we've managed to nail down like
17:34
Speaker 1: document and see. So at the Chicago World's Fair there
17:40
Speaker 1: were a selection of Oriental exhibitions, which is basically anything
17:47
Speaker 1: east of Germany and south of France to be honest, right,
17:51
Speaker 1: so I say south of France, south of Italy, yeah
17:57
Speaker 1: maybe kind of yeah, I'm gonna go. Yeah. So this
18:01
Speaker 1: collection of exhibitions was organized by Sal Bloom, who was
18:07
Speaker 1: an American songwriter, politician and showbiz guy, and he put
18:12
Speaker 1: on this show the Algerian dancers of Morocco. Right, so
18:20
Speaker 1: the women they would be like, it's very we kind
18:22
Speaker 1: of assumed that when we hear belly dance that they're
18:24
Speaker 1: gonna see stomachs, right, But the women were fully dressed.
18:29
Speaker 1: Their clothes were loose fitting and their skirts sat below
18:33
Speaker 1: their hips, so they might have had like flesh colored tops,
18:37
Speaker 1: but they didn't show skin. But they didn't wear a corset,
18:42
Speaker 1: which was like kind of scandalous of the time because
18:46
Speaker 1: it's the eighteen hundreds. Everybody is wearing a corset. Right,
18:51
Speaker 1: So saw Bloom he actually he vehemently denies that there
18:59
Speaker 1: was ever a little egypt dancer there. And it was
19:03
Speaker 1: actually the name of one of the camels in the
19:06
Speaker 1: streets in Cairo procession. I see this belly dance or
19:11
Speaker 1: the dance du vertre, which honestly sounds much fancier because
19:15
Speaker 1: it's in French. This choked up quite a lot of publicity, right,
19:22
Speaker 1: So the dance was witnessed by some very offended ladies,
19:27
Speaker 1: the Karen DuJour, if you will, and being shocked and appalled.
19:32
Speaker 1: The board of Lady Managers protested the performances and demanded
19:37
Speaker 1: that the fair, or at least the streets of Cairo
19:40
Speaker 1: exhibit be shut down for indecency. Now this, I know
19:46
Speaker 1: you're going to be surprised, backfired because the public condemnation
19:53
Speaker 1: all it did was peauk the interest of the newspapers,
19:57
Speaker 1: who then published the shocking of which then brought even
20:02
Speaker 1: more visitors to the fair right to come and see
20:05
Speaker 1: this scandalous performance. Right. So like the dancers, the dancers
20:13
Speaker 1: who performed in the sort of allegedly the Little Egypt Moniker,
20:18
Speaker 1: and there were several dancels, right, and they would dance
20:22
Speaker 1: like in in rotation, So there wasn't just one sort
20:27
Speaker 1: of belly dancer. There were several and a few of
20:30
Speaker 1: them had similar names. It's kind of complicated. But these
20:34
Speaker 1: dancers who performed under the Little Egypt Moniker, they were
20:38
Speaker 1: typically billed as you know, doing the Hutchi kutche or
20:43
Speaker 1: were just called kutch dancers. But why well, I'm glad
20:48
Speaker 1: you asked, because I'll tell you. So. There's a few theories, right,
20:54
Speaker 1: one being that it's from the couch Behar region of India, right,
20:59
Speaker 1: and that's where it's from. The other is that it's
21:02
Speaker 1: from the French world. Jogique meaning to shake the tail
21:08
Speaker 1: like this allegedly is originated in the French territory of Louisiana,
21:14
Speaker 1: which was then a thriving slave trade hub, and the
21:19
Speaker 1: dances of enslaved African people was reminiscent of the wagtail bird,
21:25
Speaker 1: which basically this is shaked its tail feathers, and so
21:33
Speaker 1: over the years it became a sort of generic term
21:36
Speaker 1: for any kind of dance that involved shaking the hips.
21:41
Speaker 1: So yeah, basically non white women shaking their hips. And
21:47
Speaker 1: also the inspiration for I'm going to assume the shake
21:51
Speaker 1: your Tale Fellow song, which was from Not Mistaken, was
21:53
Speaker 1: by Ray Charles, but I learned about it from the
21:57
Speaker 1: Blaze Brothers movie Okay, they were on a mission from God.
22:07
Speaker 1: Between the late nineteenth and early twentieth century, there were
22:10
Speaker 1: three women who were known as Little Egypt, Isshia Wabi,
22:15
Speaker 1: Threida Mazar Spiropolis and Fatima Jimmel. Now Isshia Wabi. She
22:24
Speaker 1: was actually born Catherine Divine in eighteen seventy one in Montreal, Canada,
22:31
Speaker 1: and she claimed to be the original Little Egypt. So
22:35
Speaker 1: she was of Algerian descent, and she would have been
22:39
Speaker 1: twenty one twenty two by the time the World's Fair
22:42
Speaker 1: was on, and so she allegedly was one of the
22:47
Speaker 1: dancers in the procession and she claimed to be you know,
22:50
Speaker 1: that Little Egypt, and so she's in this eighteen ninety
22:55
Speaker 1: three and three years later she would be catapulted into
23:01
Speaker 1: stardom by even more scandal. There was an event sometimes
23:09
Speaker 1: called the Awful Silly Dinner, other times referred to as
23:15
Speaker 1: the Dreadful Sealy Dinner. So this was a bachelor party
23:21
Speaker 1: at a restaurant called Sherry's in New York City. I
23:25
Speaker 1: will never stop, and it caused an absolute roucous in
23:31
Speaker 1: Gilded Age New York. Right. So the bachelor in question
23:37
Speaker 1: was Clintum Barnum Sealy and the party was hosted by
23:43
Speaker 1: his best man and brother, Herbert Barnum. Siay if you're thinking, wow,
23:49
Speaker 1: what an interestingly convenient middle name you have there, Yeah,
23:54
Speaker 1: these boys are the grandsons of the P. T. Barnum,
23:58
Speaker 1: who will eventually have his own episode. We'll get back
24:01
Speaker 1: to him at some point. So this bachelor party or
24:06
Speaker 1: the bachelor party as a general rule, was sort of
24:09
Speaker 1: like a secretive a fail with hush hush debauchery going on,
24:15
Speaker 1: and like there were so many things right. These bachelor
24:19
Speaker 1: parties were known what they were not known. They were
24:23
Speaker 1: secretive and they were well hidden unless you were in
24:27
Speaker 1: that sort of circle in society. So they would have
24:32
Speaker 1: mad parties and live sex shows, and they would have animals,
24:41
Speaker 1: they would watch animals have sex. It was listen listen,
24:45
Speaker 1: rich white men will do weird things, right, we all
24:48
Speaker 1: know that. And so Herbert he had hired Ashia to
24:54
Speaker 1: jump out of a cake completely nude, which I'll be
24:58
Speaker 1: honest with you see fairly tame. So like, here's the thing.
25:04
Speaker 1: I love that there was like a raid on this
25:06
Speaker 1: place because somebody held that something was going up. And
25:10
Speaker 1: my favorite part of this story is that she wasn't
25:14
Speaker 1: actually discovered straight away, Like she wasn't discovered getting undressed, right,
25:20
Speaker 1: because like as she was like performing, right, she was
25:29
Speaker 1: hidden in a cupboard for like a bit of it
25:32
Speaker 1: because the police took a wrong turn and they ended
25:37
Speaker 1: up in the dressing room of the dancers. So like
25:41
Speaker 1: because these kind of places you would have like shows
25:44
Speaker 1: on and like this would have been a private room
25:46
Speaker 1: in the place, right, So because they go in there,
25:49
Speaker 1: it causes such a commotion and gives her a trance
25:52
Speaker 1: to hide. And it's only like after the event, right
25:57
Speaker 1: that she goes and test of eyes to like the
26:01
Speaker 1: whole situation. And so she goes and she tells like
26:06
Speaker 1: the story and how she was expected to quote perform
26:12
Speaker 1: in the all together, which basically means dance in the nude, right,
26:17
Speaker 1: that's what she was hired to do. And this this
26:22
Speaker 1: scandal shook Gilded age New York, Like it was such
26:26
Speaker 1: a big deal. And this scandal skyrockets her to fame,
26:32
Speaker 1: to the point that Oscar Hammerstein, yes, him, he hired
26:38
Speaker 1: her to appear as herself in a parody of The
26:42
Speaker 1: Sailing Dinner, right, and she earned I shit you not
26:47
Speaker 1: one thousand dollars a week for this performance. Like that's
26:53
Speaker 1: that's then money. I didn't look that up now, right,
26:55
Speaker 1: So over the next twelve years, she like she owns
27:00
Speaker 1: a dance troupe. Like she is so savvy when it
27:03
Speaker 1: comes to finance, Like she invests in real estate, and
27:08
Speaker 1: like sheared homes in the US and in Canada, including
27:13
Speaker 1: like a summer house up in Nova Scotia. Like and
27:17
Speaker 1: at one point over the next twelve years, she gets married, right,
27:22
Speaker 1: but like he never publicly acknowledges their marriage because I
27:27
Speaker 1: don't know propriety or some bellghit. Like she married a banker,
27:32
Speaker 1: like sir, that is not the most honest profession. Like,
27:39
Speaker 1: so she's just living her life. You know, she's got
27:41
Speaker 1: a decent portfolio, and she's just existing being her right,
27:48
Speaker 1: But she ends up passing away on the fifth of
27:52
Speaker 1: January nineteen oh eight at her apartment on West thirty
27:56
Speaker 1: seventh Street in New York as a result of gas
27:59
Speaker 1: is fitiation. She's only like thirty six, thirty seven years old,
28:04
Speaker 1: and like she's discovered by her sister, right, And it
28:08
Speaker 1: was just one of those things where just the gas.
28:12
Speaker 1: There was a gas leak in her apartment. Like this
28:15
Speaker 1: is why you know, we need to make sure that
28:17
Speaker 1: we check our carbon monoxide alarms. Okay, everybody, let's just
28:22
Speaker 1: keep on top of that, shall we. So when she
28:27
Speaker 1: passed away, she had thirty thousand dollars in her bank
28:31
Speaker 1: account and two hundred thousand dollars in real estate holdings, right,
28:38
Speaker 1: And so when she died, her Yale educated wankers banker
28:44
Speaker 1: husband he swoops in and claims her estates because he can,
28:49
Speaker 1: even though he couldn't publicly acknowledge their marriage. Like for
28:53
Speaker 1: all we know, they could have been estranged or separated,
28:55
Speaker 1: but we won't know, and we will never know, And
28:59
Speaker 1: he may have just been an arsehole who just stole
29:02
Speaker 1: her stuff from her when she died. So that is
29:07
Speaker 1: our first little Egypt. Our second little Egypt is Farida
29:14
Speaker 1: Mazar Speropolis, who was a performer at the World Spare
29:19
Speaker 1: in Chicago, but she also was an Egyptian. She was
29:24
Speaker 1: Syrian so like she was born in Damascus as Farieda
29:29
Speaker 1: Bizar like also in eighteen seventy one. And so when
29:34
Speaker 1: she got to the US, she started performing at the
29:38
Speaker 1: Birdcage Theater in Tombstone, Arizona. Yes, that one, right, and
29:45
Speaker 1: so at the time she was billed as Fatima, right,
29:49
Speaker 1: that was her like stage name, and so because that
29:53
Speaker 1: was her stage name, it's quite often that she's mixed
29:57
Speaker 1: up with other performers, but it's a lot of work,
30:01
Speaker 1: but you find out which one she is, right, so right,
30:06
Speaker 1: because she's so small and petite. Right when she's performing
30:12
Speaker 1: in this in the Streets of Cairo procession, like, she
30:19
Speaker 1: ends up getting the nickname backstage as Little Egypt and
30:23
Speaker 1: the nickname sticks, right, So she ends up dancing to
30:30
Speaker 1: this song, which became known as the Snake Charmer song.
30:35
Speaker 1: You know the one you do? You know what I'm
30:37
Speaker 1: gonna do it and you're gonna be like, I do
30:39
Speaker 1: know that song? Oh my god, it sounds like I
30:48
Speaker 1: did it through a kazoo, doesn't it. I was like,
30:51
Speaker 1: I'll play it to my hand. That'll sound less weird
30:54
Speaker 1: than going well wow wow wow well wow wow wow
30:58
Speaker 1: wow wow wow wow. Yes, I did make that sound
31:02
Speaker 1: with my mouth. You're welcome. I got it myself. I'm
31:09
Speaker 1: just I'm the worst, okay. So so yes, that's that's
31:15
Speaker 1: the song. So she was seen as the originator like
31:21
Speaker 1: Freedom his Arm. She was seen as the originator of
31:24
Speaker 1: the shimmy and shake and so like. She ends up
31:27
Speaker 1: touring around the US a little bit and then over
31:32
Speaker 1: to Europe under the stage name of Little Egypt. Now,
31:37
Speaker 1: as she's touring, right, she absolutely abhors being compared to
31:42
Speaker 1: Iowa be Like, she cannot stand being compared to her.
31:47
Speaker 1: She's like absolutely not right, especially right especially after like
31:54
Speaker 1: the whole Sealy dinner scandal, because she's like, I'm not
31:58
Speaker 1: her or nothing alike. I'm a dancer, but I'm you know, respectful,
32:03
Speaker 1: I'm not courting scandal. I'm just doing my thing, right,
32:07
Speaker 1: And so she's living her life. She's dancing away, and
32:11
Speaker 1: as she's dancing, she catches the eye of the Greek
32:16
Speaker 1: restaurant tour Alexander s Baropolis like he had a Chicago restaurant, right,
32:22
Speaker 1: a Chicago restaurant, a kind of a restaurant, a Chicago one,
32:25
Speaker 1: like you had a restaurant in Chicago called the American's,
32:32
Speaker 1: but is almost as bad as the Chicago restaurant. So
32:35
Speaker 1: it's called the American What dishes did itself? I don't know,
32:40
Speaker 1: but I can guess. So, Like he is a native
32:45
Speaker 1: of Greece, by the way, he is a Greek Man
32:46
Speaker 1: who has emigrated to the US. And she's Syrian. And
32:50
Speaker 1: she's like, that's the man I want to marry. Also,
32:52
Speaker 1: I will always be fed, which is nice. So like
32:56
Speaker 1: they get married in nineteen o six, right, and so
33:00
Speaker 1: she's she's living her life. She's married. Now they don't
33:05
Speaker 1: have any kids out of this relationship, but you know,
33:08
Speaker 1: they're happy, they're together. And right, like she she does
33:13
Speaker 1: dance still a little bit, like so she's doing a
33:16
Speaker 1: few of the fairs and stuff. And in nineteen fifteen, right,
33:22
Speaker 1: she performed at the Panama Pacific Exposition in San Francisco
33:27
Speaker 1: and she did the little egypt dance. Right, And so
33:32
Speaker 1: again she's just living her life. She's married, she's settled down.
33:37
Speaker 1: And in nineteen thirty three, right, right, I fucking love
33:43
Speaker 1: this woman. Right at the age of sixty two, she
33:47
Speaker 1: performs the Little Egypt Dance at the Century of Progression
33:53
Speaker 1: in Chicago. Right, I fucking love her, right, like Door Larry,
33:59
Speaker 1: I love her so much? Right and then and then
34:05
Speaker 1: then a movie comes out three years later, like nineteen
34:11
Speaker 1: thirty six. This movie comes out called The Great Zigfield,
34:15
Speaker 1: which is like a movie up sort of sanitized version
34:19
Speaker 1: of the life of Florence Zigfield junior of Zigfield Follies.
34:22
Speaker 2: Right, and her name had been used in the movie,
34:28
Speaker 2: and she was like, I'm sorry, what and so she says.
34:33
Speaker 1: Fuck this for a game of Soldiers, right, And she
34:36
Speaker 1: sued Metro Golden Maya that the lom of the Lion
34:40
Speaker 1: as the logo, Yeah, that's the one. So she sues them,
34:45
Speaker 1: claiming that the producers did so like they used, you know,
34:50
Speaker 1: the idea of her without her consent. But she ends
34:54
Speaker 1: up like dying before like anything gets resolved, because she
35:00
Speaker 1: dies on the fifth of April nineteen thirty seven, so
35:05
Speaker 1: just the following year, and that is the last of
35:10
Speaker 1: Farida Mazzarsperopolis. Another of the Coney Island dancers was Fatima
35:23
Speaker 1: Jimmio Like. She was born in Bulgaria around eighteen seventy, right,
35:30
Speaker 1: So they're all these women are roughly the same age,
35:33
Speaker 1: So they're all in that sort of early twenties, twenty one,
35:36
Speaker 1: twenty two, they're all kind of a round about that
35:39
Speaker 1: age at the time. Right. So when she emigrated to
35:44
Speaker 1: the US, like she began working the vaudeville circuit, and
35:48
Speaker 1: she was doing this from like the mid eighteen eighties,
35:50
Speaker 1: so from when she was a teenager, and like by
35:54
Speaker 1: the eighteen like nineties, she's performing in Coney Island and
36:00
Speaker 1: she gets recruited as one of the dancers, and the
36:02
Speaker 1: rotation of exotic dancing under the guise of ethnography, right,
36:08
Speaker 1: But like, oh, we're totally appreciating this culture, are you?
36:14
Speaker 1: Are you really or are you just using it as
36:17
Speaker 1: an excuse to entertain and goggle up women? Perhaps? Perhaps? Okay? So,
36:26
Speaker 1: like that's the thing you see quite a lot in
36:29
Speaker 1: all of these exhibitions, expositions, so on and so forth,
36:34
Speaker 1: is that it's very much a colonial perspective on all
36:38
Speaker 1: of these different cultures and societies and how it views
36:45
Speaker 1: them as something sort of exotic and yet primitive. And like,
36:49
Speaker 1: where do you think her numbers come from? Right? Oh?
36:52
Speaker 1: My god, I think this is so wild, like so
36:54
Speaker 1: many like discoveries and inventions we have cidebar like a
37:00
Speaker 1: lot of it happened in like Turkey, Syria, Kyrgyzstan, Kazakhstan, Qwait, Iraq, Iran,
37:12
Speaker 1: you know, all over there, and it's like and we
37:15
Speaker 1: rename things to make it sound like curtor you know
37:19
Speaker 1: what I mean. We'll use older names for nations to
37:22
Speaker 1: make it seem different somehow, Like if you say Iraq,
37:26
Speaker 1: like there's an idea that the Western world has put
37:29
Speaker 1: in your head about it as opposed to something like Mesopotamia.
37:33
Speaker 1: Or if you say Iran, but then you say Persia,
37:38
Speaker 1: like there's a different vibe to that, and there's a reason,
37:44
Speaker 1: like it's almost like exoticized and fetishized, you know what
37:50
Speaker 1: I mean. Like there's a whole series, right, and a
37:55
Speaker 1: lot of the inventions from these places, like they were
38:00
Speaker 1: discovered like forever before, like people were using mold, like
38:06
Speaker 1: what we now know is penicillin is like that was
38:09
Speaker 1: being used for centuries, we just didn't use it in
38:13
Speaker 1: the Western world. Like Cesarean births were happening in the
38:19
Speaker 1: continent of Africa and people were surviving, like both the
38:25
Speaker 1: both the birthgiver and the infant. They were both surviving.
38:29
Speaker 1: But in sort of the Western world that wasn't happening
38:34
Speaker 1: because people didn't know how to wash their hands, right,
38:37
Speaker 1: Like washing hands even was such a thing that people
38:40
Speaker 1: didn't take into consideration, which is why so many, like
38:43
Speaker 1: white Western people freak out at the idea of people
38:47
Speaker 1: eating rice with their hands. It's like, buddy, you have
38:49
Speaker 1: thought forks were the work of the devil for years,
38:52
Speaker 1: Like chill out. So anyway, right, anyway, I say this
38:59
Speaker 1: as a I'm not going to go into a sidebar,
39:01
Speaker 1: which I am, right, So I spend a lot of time,
39:06
Speaker 1: like a lot of time researching Fatima right, like, which
39:12
Speaker 1: I'm fairly certain is not actually her real name. Also,
39:16
Speaker 1: but like I was looking into into this for a while,
39:19
Speaker 1: and it's why Little Egypt was one I've always wanted
39:22
Speaker 1: to talk about. But it's taken me this long to do.
39:24
Speaker 1: Like this was supposed to be in the original month,
39:27
Speaker 1: back in back in September, but trying to dig this
39:32
Speaker 1: information out was tough. So, Like, there were three things
39:36
Speaker 1: I discovered while trying to research Fatima right. One, she
39:41
Speaker 1: was often mixed up with Farida Mazars, Baropolis, like some
39:46
Speaker 1: people sort of conflate their stories. Two there is a
39:52
Speaker 1: fairly prominent theory that Fatima Jamil was actually a female
39:59
Speaker 1: impersonator right. And three there was a whole selection of
40:09
Speaker 1: performers called Fatima, one of which was a dancing bear,
40:15
Speaker 1: not the female in parisonitr right. I do have to
40:18
Speaker 1: tell you like what like one person said specifically about Fatima,
40:23
Speaker 1: because it's just so wild. I love this so much,
40:29
Speaker 1: so they're like Fatimah. A girl in blue doesn't prints
40:35
Speaker 1: up and down to the stage, or go into mad
40:37
Speaker 1: durations or try to kick a hole in the ceiling.
40:39
Speaker 1: She keeps time and timi little steps and occasionally sidles
40:43
Speaker 1: about the stage in slow gliding circles. It seems to
40:46
Speaker 1: be her pet ambition to disjoint herself at the hips.
40:49
Speaker 1: Her anatomy below the waist and the knees. Performs a
40:52
Speaker 1: series of violent tremmers, spasms, and contortions. A heavy footed
40:56
Speaker 1: and heavy featured girl takes a few short, labored steps,
40:59
Speaker 1: snaps fingers, and accomplishes a muscular contortion not unlike that
41:04
Speaker 1: of the Newfoundland. When afterward swim, he shakes his shaggy
41:08
Speaker 1: coat as to our eyes an absurd and ugly spectacle, right,
41:13
Speaker 1: Like there were all these like stories of this person
41:17
Speaker 1: being like because they were taller and broader than a
41:21
Speaker 1: lot of the other dancers. Like it's assumed that it's
41:24
Speaker 1: a male a female impersonator, and like there's stories of
41:28
Speaker 1: like twenty thirty years later, like of an old man.
41:32
Speaker 1: This is again such an allegedly such here say this
41:36
Speaker 1: part of like going on Coney Island and saying like
41:38
Speaker 1: I was little egypped, which I mean you probably have
41:43
Speaker 1: someone like on the other thing the street walking down
41:45
Speaker 1: and going I am the Lundenburg baby. You know it's yeah,
41:49
Speaker 1: you know, pinch of salt. But like the thing about
41:57
Speaker 1: like the performers Coney Island, right, is like they have
42:05
Speaker 1: this carnival. They're called a barker, right, and so they'd
42:09
Speaker 1: shout out things. And there's there's a thing by Ido
42:14
Speaker 1: McCullough of a good old Coney Island, which I'm also
42:18
Speaker 1: going to read to you in an accent because I
42:22
Speaker 1: think it's fun. Right, So this way for the Straits
42:27
Speaker 1: of Cairo one hundred and fifty Oriental beauties. Right, It's
42:32
Speaker 1: interesting to me because like when I was much younger,
42:37
Speaker 1: when I heard the word Oriental, I very much like
42:41
Speaker 1: made the connection to sort of like Eastern Asian, Like
42:46
Speaker 1: I assumed that it was a specific descriptor for sort
42:51
Speaker 1: of more Eastern Asian people, so Chinese, Japanese, Korean, Singaporean,
42:59
Speaker 1: so on, and so fourth, as opposed to like Western
43:02
Speaker 1: Asian or Southern Asian sort of India, Pakistan, all of
43:09
Speaker 1: those kind of spaces. Like that was the connection that
43:11
Speaker 1: I'd made. And I think that's to do with just
43:15
Speaker 1: a lot of like TV shows and stuff. But here,
43:18
Speaker 1: like Oriental well actually covered anything basically not in Europe
43:26
Speaker 1: or Africa, right, like US, Europe, Africa. It's like anything
43:30
Speaker 1: vaguely Asian came under sort of the Oriental banner. Right,
43:34
Speaker 1: So this way for the streets of Cairol, one hundred
43:38
Speaker 1: and fifty Oriental Beauties, the warmest spectacle on Earth, presenting
43:42
Speaker 1: Little Egypt, see her Prince, see her regal, see her
43:46
Speaker 1: dance the Huchikucci. Anywhere else but in the ocean breezes
43:51
Speaker 1: of Coney Island, she would be consumed by her own fire.
43:54
Speaker 1: Don't uh, don't crowd. Plenty of seats for all when
43:57
Speaker 1: she dances, every fiber and every tissue for her entire
44:00
Speaker 1: anatomy shakes like a jar of jelly from your grandmother's
44:04
Speaker 1: Thanksgiving dinner. Now, gentlemen, I don't say that she's hot,
44:08
Speaker 1: but I do say that she is as hot as
44:10
Speaker 1: a red hot stove on the fourth day of July
44:13
Speaker 1: and the hottest county in the state. I would assume
44:18
Speaker 1: that is fairly hot, one would assume, right. So Fatima,
44:25
Speaker 1: she ends up catching the attention of historical thief and
44:28
Speaker 1: ship bag Thomas Edison, right, so he likes her move
44:33
Speaker 1: so much that he puts him in a film, right,
44:36
Speaker 1: so he he's it's really funny because it's such an
44:40
Speaker 1: interesting like it's a censored film, but it's it's almost
44:46
Speaker 1: satirical in the manner in which it's censored. So she's
44:50
Speaker 1: performing the like a cutchie Huchikuchi dance right with like
44:57
Speaker 1: shoulder shemis and these horizontal blocks covering her chest and
45:03
Speaker 1: hips because it's also risky. It's almost as if right
45:08
Speaker 1: that they like covered her with a picket fence like
45:11
Speaker 1: or a ladder like that's the kind of blocking like
45:14
Speaker 1: lines across and down, but like you can still see
45:18
Speaker 1: like her bodies. So it's weird that it's like censored,
45:22
Speaker 1: like she's clothed, which is even funnier. Right, so it's
45:27
Speaker 1: very possible, right that these were made for the Kinetoscope
45:33
Speaker 1: peep show machine and like, and it's released in eighteen
45:36
Speaker 1: ninety seven, right, and she appears in like more films.
45:40
Speaker 1: I think it's by multi Scoper or something like that,
45:43
Speaker 1: and she's in more of these, and then I have
45:48
Speaker 1: another alleged lace for you. I have another alleged lace.
45:51
Speaker 1: I know, I you know I love an alleged lace. Right, So,
45:55
Speaker 1: like is someone who like spends so much time digging
46:00
Speaker 1: for like the correct history and historical misinformation and propaganda.
46:06
Speaker 1: I like a good story that cannot be corroborated because listen,
46:11
Speaker 1: we can all accept that it's an interesting piece of information,
46:16
Speaker 1: even if we all agree that it's not right. Right,
46:19
Speaker 1: we can go haha, what a funny myth. We can
46:22
Speaker 1: all agree to that, and that's fun, right, because no
46:26
Speaker 1: one's being hurt by this information. So let me tell
46:31
Speaker 1: you this allegedly is okay. So I'm so happy. Mark
46:39
Speaker 1: Twain was known to enjoy a good belly dance, and
46:44
Speaker 1: so he goes to see Fatima perform and her gyrating
46:49
Speaker 1: hips her movement sent him into such a tizzy that
46:55
Speaker 1: he had a heart attack. Allegedlies. That's like my favorite
47:01
Speaker 1: story about this. So she passes away, Fatomagimel. She passes
47:09
Speaker 1: away in nineteen twenty one after suffering a heart attack
47:14
Speaker 1: at just fifty one years old. The thing about a
47:18
Speaker 1: lot of these performers is a lot of the time
47:20
Speaker 1: they'll just appear and then fade into obscurity, And it's
47:26
Speaker 1: a lot of digging and fighting to find information of
47:30
Speaker 1: them because a lot of them either, you know, they
47:35
Speaker 1: didn't have a lot of family connections, especially those who
47:39
Speaker 1: would keep this information like alive. You know, a lot
47:44
Speaker 1: of a lot of these performers, their lives were seen
47:47
Speaker 1: as somewhat shameful, and so a lot of this information
47:51
Speaker 1: is just like buried over the years, and like it's
47:56
Speaker 1: it's so upsetting to me that lives the information about
48:01
Speaker 1: these people's lives. We're just lost. That's the thing about life,
48:07
Speaker 1: right Well, all you can do is love it. All
48:09
Speaker 1: you can do is love it. We're all skinsuts and
48:11
Speaker 1: we're all gonna die. I had a whole like existential
48:13
Speaker 1: quandary the other night again, which then propelled me into
48:17
Speaker 1: actually being productive because I need that in my life.
48:24
Speaker 1: So life is just is just for living. And to
48:28
Speaker 1: assume that people aren't relevant or important, like especially with
48:33
Speaker 1: regards to history, because like people are like, oh I met,
48:36
Speaker 1: and I say, complain about social history. Like we're somebody
48:39
Speaker 1: talking about social history that we're not talking about like war,
48:43
Speaker 1: Like we don't need to know about guns, We don't
48:45
Speaker 1: need to know about tanks. We don't need to know
48:47
Speaker 1: about all of the information. Right, we don't need to
48:50
Speaker 1: know specifically because their relevance only exists with regards to people. Right,
48:58
Speaker 1: That's that's why things exist because of people. If people
49:04
Speaker 1: didn't exist, neither would your fucking tank. Right, get over
49:08
Speaker 1: it anyway, Sorry, now, okay, I'm such such a bit
49:15
Speaker 1: for history. Now, Over the years, right, the stage name
49:20
Speaker 1: of Little Egypt would be used by a whole host
49:24
Speaker 1: of performers, many of which were using orielentialism and appropriation
49:29
Speaker 1: as provocation. Like many burlesque shows, they would have one
49:35
Speaker 1: such act least. It became a staple of the burlesque circuit. Right,
49:42
Speaker 1: but by what or ethnically ambiguous dances? Right? So even
49:50
Speaker 1: May West at one point had a variation of the
49:52
Speaker 1: Little Egypt routine and a Hutchi Kuci dance and this
49:56
Speaker 1: almost lost her manager because like they wanted to get
50:00
Speaker 1: rid of her for being too risquee in burlesque, and
50:06
Speaker 1: like like she does end up like having this little
50:09
Speaker 1: Egypt moment because it's referenced in her movie My Little Chickadee. Right,
50:15
Speaker 1: so she does get it back, right now, Burlesque, as
50:20
Speaker 1: discussed before, right, it evolves over time. It went from
50:24
Speaker 1: parody to shimmy and strip tease and the hoochie cootie dance.
50:27
Speaker 1: A little Egypt was a big part of it. And
50:34
Speaker 1: as the first wave of British and French colonialism came
50:37
Speaker 1: to an end, right, like that sort of Middle Eastern
50:42
Speaker 1: cultural appropriation like faded away from like the sideshow for example,
50:49
Speaker 1: but shadows of it remain on the burlesque stage and
50:54
Speaker 1: the movement and costumes from coined belt to bearded tops,
51:00
Speaker 1: preventing the allure of exotic mistake of the East like
51:04
Speaker 1: appropriation and fetish azing right there. I was gonna say fetishization,
51:10
Speaker 1: but that feels like the wrong word, right, So these
51:15
Speaker 1: still exist, right, they still exist, like we see it
51:18
Speaker 1: all the time, Like especially, oh my god, what men
51:23
Speaker 1: and their mail order bride, like we still see it
51:25
Speaker 1: in culture today. And then like there were so many
51:30
Speaker 1: parts of other cultures that like sort of Western society
51:36
Speaker 1: gets mad at, which is wild because like like you
51:42
Speaker 1: cannot be from a colonial nation and then get mad that,
51:47
Speaker 1: you know, parts of the culture of the very place
51:49
Speaker 1: that you stripped bear are on your doorstep, right, like
51:55
Speaker 1: you cannot have that you kept be like, oh, I'm
51:58
Speaker 1: really mad this is happening, and it's like, yeah, you
52:02
Speaker 1: invade the country and stole other shit. What do you
52:07
Speaker 1: think was gonna happen? And on top of that as well, right,
52:11
Speaker 1: because people who come from a place of like white privilege,
52:16
Speaker 1: from those colonial nations, they're so used to just being
52:20
Speaker 1: able to take what they want and doing with it
52:23
Speaker 1: what they will, and they've been doing this for like
52:26
Speaker 1: centuries at least, like because they've been doing this for
52:29
Speaker 1: so long that they're shocked when you know, they're finally
52:33
Speaker 1: told you're not allowed to do that, Like this is
52:37
Speaker 1: not a significant part of your culture. This is a
52:39
Speaker 1: part of our culture, and you don't get to steal
52:41
Speaker 1: it just because you feel like you don't have anything there,
52:45
Speaker 1: Like traditions exist, you just have to make them happen.
52:49
Speaker 1: I mean, if nothing else, right, if you think traditions
52:52
Speaker 1: take a long time to occur, elf on the fucking shelf. Right,
52:57
Speaker 1: this this is a new and vents right, this is
53:02
Speaker 1: less than twenty years old and it is already a tradition.
53:06
Speaker 1: You can just make traditions like you can create traditions
53:09
Speaker 1: in your culture without stealing them from other fucking people. Okay,
53:13
Speaker 1: other nations, other things that have nothing to do with you.
53:17
Speaker 1: You don't need to burn stage. There are five hundred
53:20
Speaker 1: others smelly plants that you can set fire to in
53:23
Speaker 1: your kitchen if you want to write, you don't have
53:27
Speaker 1: to take the one that is specifically related to an
53:31
Speaker 1: indigenous people. But yes, back to Little Egypt and the
53:41
Speaker 1: belly dance. It existed in many nations beforehand. It was taken,
53:47
Speaker 1: it was fetishized, appropriate, it used to sell tickets because
53:54
Speaker 1: they could. But it's really good to see like these
54:01
Speaker 1: come back and people claim these dances and for us
54:04
Speaker 1: to learn about it. Actually, but with that, I shall
54:11
Speaker 1: d you good evening. And so that being said, no
54:15
Speaker 1: I won't actually because it's recommendation time. So for listening,
54:20
Speaker 1: clearly it is shake your tail Feather by Ray Charles
54:24
Speaker 1: who for a second I was like, is that Cab
54:26
Speaker 1: Callawi And I was like, no, that's Many the Moucher,
54:29
Speaker 1: which I listened to the other day because sometimes I
54:33
Speaker 1: just want to listen to Cab Calloway. Right, I like it.
54:38
Speaker 1: I like I also love I need to give myself
54:41
Speaker 1: a record player, like a cute local record player, because
54:43
Speaker 1: I love the sound of that, just that little LP scratch.
54:48
Speaker 1: I like old things. None of you should be surprised,
54:51
Speaker 1: so watch it. You all should watch Easts East right.
54:56
Speaker 1: It's a very particular point in Indian British culture. Like
55:03
Speaker 1: it's it's an interesting one and for reading completely not
55:10
Speaker 1: related to anything at all. But Smoke Gets in your
55:12
Speaker 1: Eyes by Kitlin Doughty right, just because I'm reading it
55:17
Speaker 1: right now and I think you should too. And with
55:21
Speaker 1: that I will bet you good night. Adios au revoir
55:26
Speaker 1: of what is? Then, my friends, Bye bye,