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From the Vault - Polly Nichols - The Ripper's First Victim · Who Did What Now With Katie Charlwood

0:00
Speaker 1: Well, hello, they're delicious friends, and welcome to who I'd
0:03
Speaker 1: Want Now, the history podcast That's not Your History class
0:06
Speaker 1: with me, your host, Katie Charlwood, History Harlotte and reader
0:10
Speaker 1: of books. You might be perceptive enough to check my
0:14
Speaker 1: tone and be like, she sounds weird. I am, as
0:17
Speaker 1: the French call it, lay sick, and because I'm so
0:21
Speaker 1: wonder the weather, I'm just not fit for a coordinate
0:24
Speaker 1: full episode. And I have great plans, and this story I.
0:29
Speaker 2: Think deserves all of my attention and everything I can give,
0:33
Speaker 2: and it would be disrespectful to not share it properly.
0:36
Speaker 2: So in the meantime, I am rarely sing from the
0:40
Speaker 2: vault the five canonical victims of Jack the Ripper episodes,
0:45
Speaker 2: because people have been annoying me again lately, and another
0:50
Speaker 2: of those theories has come up, which conveniently points I
0:53
Speaker 2: a Jewish immigrant. I wonder why suddenly, in today's current
0:58
Speaker 2: political climate, that that's happening. Anyway, I hope you enjoy,
1:04
Speaker 2: which is a terrible way to phrase it. The first
1:08
Speaker 2: canonical victim, the story of Pollie Nichols. Well, Mary An
1:14
Speaker 2: Nichols and Polly do have friends, but Polly was her
1:17
Speaker 2: chosen name, and as such, we're gonna call her that
1:19
Speaker 2: because she deserves it, unlike the history she's been given.
1:22
Speaker 1: And bear in mind that this is a few years old.
1:25
Speaker 1: The audio might not be the same that you're used to,
1:28
Speaker 1: but I.
1:28
Speaker 3: Hope you can enjoy it anyway, Thank you, and I
1:33
Speaker 3: will say you in the next episode. The five victims,
1:37
Speaker 3: the five canonical victims of Jack Therebber the five that
1:41
Speaker 3: have been definitely absolutely attributed to him, although I have
1:47
Speaker 3: I have opinions about one of them, but we'll discuss
1:49
Speaker 3: that later. They are only important to the only matter.
1:55
Speaker 3: The only reason anybody wants to hear anything about them
1:59
Speaker 3: is because they were victims of a serial killer, a
2:03
Speaker 3: serial killer that you know has never been unmasked, and
2:09
Speaker 3: people care more about their death than they cared about
2:12
Speaker 3: their lives. And that's why I'm here, because I feel
2:18
Speaker 3: that it's important to understand who these women were, why
2:24
Speaker 3: they all ended up where they were, and why is
2:29
Speaker 3: the information that has been continuously regurgitated about them, Why
2:37
Speaker 3: is it incredibly incorrect? And why have we been sold
2:43
Speaker 3: this for years? Why have we been falsely told this narrative? Like?
2:50
Speaker 3: Why and why is it such an issue when we
2:53
Speaker 3: want to correct the story and provide the right information
2:59
Speaker 3: and tell their lives, because the lives of five women
3:06
Speaker 3: should not be less important than the man who murdered them.
3:11
Speaker 3: Like It's one of the reasons why I prefer historical crime,
3:15
Speaker 3: historical true crime, to modern true crime. And it's because
3:20
Speaker 3: with modern true crime, because of this wave of popularity,
3:24
Speaker 3: because we tend to have an obsession with the macab
3:28
Speaker 3: in the dark, and especially as a woman, it is
3:32
Speaker 3: a way of protecting yourself because you are aware of
3:36
Speaker 3: everything that can happen to you. It is a very strange.
3:39
Speaker 3: It's a very strange situation, but it is what it is.
3:43
Speaker 3: But the issue is that survivors and the families of
3:48
Speaker 3: victims have to relive trauma and rehear the tales and
3:52
Speaker 3: have people dissect everything, and people who don't want their
3:57
Speaker 3: stories out there, people who have suffered. It's alsoeen as
4:01
Speaker 3: fair game for like a lot of people and especially
4:05
Speaker 3: individuals who have no proper training or knowledge within like criminology, psychology, sociology,
4:12
Speaker 3: things like that, and they have this love passion interest,
4:20
Speaker 3: if you will, in true crime, and so they feel
4:22
Speaker 3: that they have a right to discuss it. You know,
4:27
Speaker 3: at least with historical true crime. You know, everybody has
4:32
Speaker 3: been dead for a while, so I generally don't need
4:34
Speaker 3: to worry about hurting anybody's feelings. And it's a little
4:39
Speaker 3: bit easier to take a critical look when going through
4:43
Speaker 3: documents and understanding information of the time and understanding the
4:47
Speaker 3: bias within it. But I know what you're thinking. You're thinking, geez,
4:53
Speaker 3: it's been twelve minutes, Kerry, quit your gibber jabber in
4:56
Speaker 3: fact me, in fact you, I will. But first we've
5:00
Speaker 3: got to get our source on. Our sources are Life
5:05
Speaker 3: and Labor of the People in London, Religious Influences and
5:09
Speaker 3: The Trades of East London by Charles Booth, The London
5:13
Speaker 3: Metropolitan Archives, including the Lambeth Board of Guardians and the
5:18
Speaker 3: Lambeth Prince's Road Workhouse, Admissions and Discharges, The Five by
5:24
Speaker 3: Halley Ribbinholt, Jack the Repper Just the Facts by Paul
5:28
Speaker 3: Beck and In Shadows The Dark Side of the Victorian
5:31
Speaker 3: City by Drew Gray. The Complete History of Jack the
5:37
Speaker 3: Repper by Philip Suckton. Jack the Repper The Definitive Casebook
5:42
Speaker 3: by Richard Whittington Egan. We also have police reports and
5:49
Speaker 3: new super articles we have the Strand, we have the
5:51
Speaker 3: Evening News, we have The Times, we have the Guardians.
5:54
Speaker 3: We also have our old favorites, history dot com and
5:58
Speaker 3: biography dot com. Now I was it uncomfortably good?
6:05
Speaker 4: Then let's begin.
6:07
Speaker 3: Pollie Nichols, as she would come to be known, came
6:11
Speaker 3: into this world as Mary Ann Walker on the twenty
6:14
Speaker 3: sixth of August eighteen forty five. She is the second
6:18
Speaker 3: child that I know of, of Catherine and Edward Walker.
6:24
Speaker 3: She has an older brother, and then I think about
6:27
Speaker 3: three years later, four years later, maybe she has a
6:29
Speaker 3: younger brother. So when where in why she started being
6:33
Speaker 3: called Polly, I'm not sure, but it seems to be
6:37
Speaker 3: just very much how it was. So we're just gonna
6:39
Speaker 3: accept that because that's what she called herself, when we're
6:41
Speaker 3: gonna move on.
6:43
Speaker 4: So she's the second child and.
6:45
Speaker 3: They live just off of Fleet Straight. So Fleet Straight
6:49
Speaker 3: is basically where all the printing happened. And her father
6:52
Speaker 3: was a blacksmith, Edward he was a blacksmith, right, and
6:56
Speaker 3: he was the one who made, you know, the bits
6:59
Speaker 3: for the printing. So it was a very I wouldn't
7:03
Speaker 3: say like a high I mean it is a high
7:04
Speaker 3: skill because smithing is a very complicated skill. So you know,
7:09
Speaker 3: he earned more money than he would if he was
7:11
Speaker 3: like like a dock worker or working in a warehouse
7:16
Speaker 3: anything like that, so you'd skilled labor, you know. But
7:20
Speaker 3: you know money is still tight because it's fucking Victorian London.
7:25
Speaker 3: And they live in a one room.
7:28
Speaker 4: I don't want to say a house.
7:29
Speaker 3: It's like apartment, a one room building. They have a
7:34
Speaker 3: fireplace in it where they do their cooking. They all
7:37
Speaker 3: sleep in the same area, and there's probably a chamber
7:41
Speaker 3: pot in the corner, so they have a pot to
7:44
Speaker 3: piss in at least, and so everything happens together. They're
7:48
Speaker 3: in a small room. It's not really that big in fairness,
7:52
Speaker 3: especially for a family of five.
7:54
Speaker 4: You know, it's cramped.
7:56
Speaker 3: People didn't really know too much about hygiene at the time.
7:59
Speaker 3: You know, it's ah and everyone would get sick. This
8:03
Speaker 3: isn't it time where everyone was just ill. You had
8:06
Speaker 3: like cholera and dysentery and tuberculosis, which is going to
8:12
Speaker 3: become important in a few minutes. It would have been
8:14
Speaker 3: called consumption at the time. So Polly growing up, she's
8:20
Speaker 3: right off of Fleet Street. And even though they're from
8:23
Speaker 3: the lower class. It's not even working classes. I mean
8:26
Speaker 3: it is working class because is what it is, but
8:29
Speaker 3: it's the lower working class. They're very, very poor. But
8:33
Speaker 3: because of where they were, and because you know, the
8:38
Speaker 3: church is around doing the teaching thing, both Polly and
8:43
Speaker 3: her brother were sent to school, and schooling doesn't become compulsory.
8:48
Speaker 3: I think to like the nineteen seventies or something like that.
8:50
Speaker 3: It's a long time before kids actually legally have to
8:53
Speaker 3: go to school, especially girls like you know boys. Sure,
8:58
Speaker 3: so unlike a lot of people the time, or a
9:00
Speaker 3: lot of girls at the time, we should say Polly
9:03
Speaker 3: could read and write, which is massive, you know, it's
9:08
Speaker 3: it's a skill, a life skill. But it wasn't everybody
9:13
Speaker 3: who was in her social class would have. So she
9:17
Speaker 3: learns to read and write. It's all good, and she's
9:19
Speaker 3: in school for a good while. But when she turned
9:22
Speaker 3: seven years old, Polly ends up becoming the woman of
9:28
Speaker 3: the house. She has to run the household because her
9:32
Speaker 3: mum gets sick, starts off as a cough. And as
9:37
Speaker 3: we know now many of us who have survived a pandemic,
9:40
Speaker 3: as if it's gone away, hasn't. It's still around us.
9:43
Speaker 3: But you know, sometimes a cough is indicative of something
9:47
Speaker 3: much worse. And this was because what started off is
9:51
Speaker 3: regular coughing turned into coughing blood because Katherine Walker had
9:58
Speaker 3: consumption otherwise known as tuberculosis, and again people didn't really
10:05
Speaker 3: know how it spread. So her younger brother, who I
10:08
Speaker 3: think was about three at the time, not long after
10:13
Speaker 3: their mom dies, her younger brother dies too. Because women,
10:19
Speaker 3: you know, they were the primary caretakers. Men were supposed
10:21
Speaker 3: to go out and work, that was their job, like
10:24
Speaker 3: their purpose was to provide for the family, and the
10:26
Speaker 3: women were supposed to take care of the household. That
10:29
Speaker 3: was their full purpose. So they go and do that,
10:33
Speaker 3: and well, the mom's looking after the wee fella. They
10:38
Speaker 3: both die I think within a very short period of
10:42
Speaker 3: each other. I think it's only a few months if
10:44
Speaker 3: I remember correctly. So Polly Pollie ends up having to
10:49
Speaker 3: be the woman of the household.
10:50
Speaker 4: She has to do the cooking, the.
10:51
Speaker 3: Cleaning, the darning, you know, all the general stuff. But
10:56
Speaker 3: here's the funny thing. She doesn't have to just do
11:00
Speaker 3: that because she's basically looking after her dad and her
11:05
Speaker 3: older brother. But she is still sent to school, So
11:10
Speaker 3: she still gets schooling up until I think maybe eleven twelve,
11:15
Speaker 3: so she's still getting an education as much as her
11:18
Speaker 3: brother is. Now as she gets older, she really has
11:23
Speaker 3: to take on more Judy's home I mean, not that
11:25
Speaker 3: she hasn't already done them, but she's running the household.
11:30
Speaker 3: And then when she turns eighteen, she catches the eye
11:36
Speaker 3: of a handsome round faced printer's machinist.
11:41
Speaker 4: Mechanist, machinist.
11:44
Speaker 3: One of those is correct.
11:46
Speaker 4: I'm not sure which one.
11:48
Speaker 3: Sometimes I read words and I don't know how to
11:50
Speaker 3: pronounce them, so someone will correct me. I'm not sure how.
11:54
Speaker 3: So they get married. He proposes, what was it December
11:59
Speaker 3: eighteen sixty so it's just before Christmas. He proposes to her,
12:03
Speaker 3: so clearly they've been courting for a while because it's
12:06
Speaker 3: the dne thing. You can't just randomly marry. I mean,
12:09
Speaker 3: you could randomly marrio person, I suppose, but it was
12:11
Speaker 3: a dune thing to court and to you know, ask
12:14
Speaker 3: permission from the father. So he proposes, she says yes,
12:19
Speaker 3: and then they get married in January eighteen sixty four,
12:22
Speaker 3: and they have two witnesses to their wedding. You know,
12:26
Speaker 3: simple affair. They get married, it's all good, and then
12:30
Speaker 3: he moves in to their family home, so Polly she's
12:36
Speaker 3: looking after the household.
12:38
Speaker 4: And then you have three adult.
12:39
Speaker 3: Men who are working and bringing an income in. So
12:43
Speaker 3: they're actually doing pretty well. I mean, not amazing because obviously,
12:48
Speaker 3: you know, but they're they're working, you've got income coming in,
12:52
Speaker 3: and she's you know, doing her bit. But it doesn't
12:56
Speaker 3: really stay the four of them for long. So what
12:59
Speaker 3: was it, like a couple months into getting married, she
13:02
Speaker 3: falls pregnant, like pretty quickly, and like, for all intents
13:07
Speaker 3: and purposes, this is a very very typical Victorian family
13:11
Speaker 3: set up. They get married, you know, there's in laws
13:15
Speaker 3: at one point, the brother gets married and moves away,
13:20
Speaker 3: and so it's just Polly, her dad and her husband
13:25
Speaker 3: and fairly quickly, you know, especially when you consider you
13:30
Speaker 3: know that you know, biologically it's not actually that easy
13:35
Speaker 3: to get pregnant. It's not easy. You're only fertile for
13:38
Speaker 3: like so many days. And when you consider, you know,
13:42
Speaker 3: the health issues that they would have in that era,
13:45
Speaker 3: you know, silent miscarages were a thing or our thing
13:48
Speaker 3: that we just don't really talk about either. But yeah,
13:51
Speaker 3: so then in a few months of getting married, she's pregnant,
13:55
Speaker 3: and she gives birth to their first son, first child,
14:00
Speaker 3: Edward John, and that's the following year. Unfortunately, as is
14:07
Speaker 3: the way with many many infants in this time period,
14:13
Speaker 3: he only lives to be I think a year and
14:15
Speaker 3: nine months and he passes away, which I don't care
14:19
Speaker 3: who you are. Infant, lost child, loss of any kind
14:24
Speaker 3: is fucking horrific. And something that we actually have absolutely
14:29
Speaker 3: no information of is Polly's mental state. So we don't
14:34
Speaker 3: know if she suffered from post natal depression or anything
14:38
Speaker 3: like that, which very well could be the case when
14:41
Speaker 3: you consider her actions later on. So but we know
14:48
Speaker 3: that way back when, or even as far as ten
14:50
Speaker 3: twenty years ago, nobody was discussing this, or at least
14:56
Speaker 3: no people in authority were discussing this.
15:00
Speaker 4: She wasn't accepted, it wasn't allowed to be discussed.
15:04
Speaker 3: You know, as far as Polly was concerned, her duty
15:09
Speaker 3: as a Victorian woman, her duty as a woman at all,
15:14
Speaker 3: was to marry and have children. She was supposed to
15:19
Speaker 3: raise a family. She was supposed to get married, fall
15:22
Speaker 3: in love, have babies, raise those babies. That was her duty,
15:26
Speaker 3: that was what was expected of her. She was to
15:29
Speaker 3: do that for her husband and to God and to
15:31
Speaker 3: everything else in between, and to not be that it
15:37
Speaker 3: was basically sin incarnate, which is absolutely disgusting, but it
15:43
Speaker 3: is what it is. So over time their family grows,
15:50
Speaker 3: so they have I think.
15:54
Speaker 4: Four more children.
15:57
Speaker 3: Yeah, no, I'm wrong, three more children.
16:00
Speaker 4: So they have three more children, and.
16:03
Speaker 3: With each child, the two wedge packets that are coming
16:07
Speaker 3: in are ra They're getting pretty slamb.
16:11
Speaker 5: They're getting just thiner and thinner over the years. And
16:16
Speaker 5: again we have absolutely zero fucking information about Polly's mental
16:22
Speaker 5: state throughout this. So they have three more children Percy
16:28
Speaker 5: George in eighteen sixty eight, Alice Esther in eighteen seventy,
16:34
Speaker 5: Eliza Sarah in eighteen seventy seven, So three children together,
16:42
Speaker 5: and I can only assume. I can only assume that
16:46
Speaker 5: in the years between eighteen seventy and eighteen seventy seven
16:51
Speaker 5: that there was definitely miscarriage is happening, because for a
16:57
Speaker 5: married couple, especially in Victoria Era, to go seven years
17:02
Speaker 5: without producing any children, there's got to be something it
17:05
Speaker 5: could have been.
17:07
Speaker 3: There could be a number of reasons. Really, it could
17:09
Speaker 3: be their health for either party. It could just be
17:15
Speaker 3: that she started to become aware of when she was fertile.
17:18
Speaker 3: She could have studied it up hymns to say, but
17:23
Speaker 3: it's just a very strange thing that they weren't conceiving
17:29
Speaker 3: during this time. I mean, there could be there's a
17:31
Speaker 3: bunch of reasons why people don't conceive. You know, a
17:34
Speaker 3: lot of people don't have their periods because of an
17:38
Speaker 3: entire sm Morga's board of reasons, including but not limited to, stress, malnutrition,
17:46
Speaker 3: ll health. You know, all of these are factors. And
17:51
Speaker 3: let's face it, you're a woman in Victorian London, chances
17:56
Speaker 3: are you're gonna be a way best stress. I mean,
18:03
Speaker 3: you have a pot to piss in, but it's in
18:04
Speaker 3: the corner of the room. So like.
18:08
Speaker 4: They are stretched in.
18:10
Speaker 3: But luckily for them, a lifeline is on the way.
18:14
Speaker 3: So there was this American philanthropist, we'll say philanthropist. He
18:17
Speaker 3: was a businessman and basically things hadn't gone too well
18:22
Speaker 3: for him. There was a situation we call it the
18:25
Speaker 3: Trent disaster. I'll cover it in another episode, but with
18:30
Speaker 3: regards to Britain, he wasn't really popular due to this situation,
18:38
Speaker 3: and he also, you know, felt like he wanted to
18:41
Speaker 3: give something back coincidentally to his adopted City of London,
18:47
Speaker 3: and his board of trustees, who were also suffering from
18:51
Speaker 3: the Trent affair, agreed with this. So when he passed away,
18:56
Speaker 3: he had this agreement because he had no heirs and
19:00
Speaker 3: there was nobody to contest, there was nobody to you know,
19:02
Speaker 3: take the money. He wanted to invest and build these
19:06
Speaker 3: properties in London for the poor, to house the poor.
19:10
Speaker 5: You know.
19:11
Speaker 3: So how did I put this? You know, the poor,
19:15
Speaker 3: but people who weren't like too poor, but people that
19:17
Speaker 3: were like uh poor ish and who were like good poor,
19:24
Speaker 3: like low class, but were they of you know, better treatment,
19:31
Speaker 3: the deserving poor. Okay, The Peabody Buildings were this lifeline,
19:38
Speaker 3: this step, this opportunity for a better life for the nickels.
19:44
Speaker 3: So in order to get you know, into the Peabody Buildings,
19:49
Speaker 3: in order to be allowed entry into them, you had
19:52
Speaker 3: to be you know poor, but you had to be working.
19:55
Speaker 4: You had to earn.
19:56
Speaker 3: Money but not too much and not too little. You
19:58
Speaker 3: had to be able to afford to still live there.
20:01
Speaker 3: You had to have a family, but not too big
20:03
Speaker 3: a family because you had to be responsible, even though
20:06
Speaker 3: they don't believe in birth control, because they're all like
20:09
Speaker 3: relying to Jesus and stuff.
20:12
Speaker 4: But whatever, it's fine.
20:15
Speaker 3: You had to be clean and helpful and kind and
20:18
Speaker 3: respectable and sober. So like if you were, you know,
20:24
Speaker 3: doing dodgy dealings on the side, if you had any
20:27
Speaker 3: criminal history, you know, you would automatically be like nope,
20:31
Speaker 3: you would get inspected. So somebody would show up at
20:34
Speaker 3: their house, which they would. Then they would have cleaned
20:36
Speaker 3: up and they would have had themselves all dressed all nice,
20:39
Speaker 3: probably in their Sunday best because like they probably only
20:44
Speaker 3: had like one good out for each If that the
20:47
Speaker 3: Peabody people they would come in, they would have a
20:50
Speaker 3: chat with them. They would look at this shack. I say, shack,
20:55
Speaker 3: it's not a shack. It's a fucking building. But it's
20:57
Speaker 3: you know, one room and there's a hearth. It's not great.
21:01
Speaker 4: You know.
21:01
Speaker 3: Well, I think at this point they're like in a
21:03
Speaker 3: two room building or whatever. So when they get accepted
21:08
Speaker 3: and they get moved into the Peabody buildings, which is
21:11
Speaker 3: like a lab of luxury in comparison, so they went
21:15
Speaker 3: from living in this just very less than hygienic sort
21:22
Speaker 3: of option to living in a building which had a.
21:26
Speaker 4: Stove, so no more kicking on the fire.
21:29
Speaker 3: It had working toilets, which again used to pissing a
21:34
Speaker 3: pot in the corner, you know, so you don't have
21:37
Speaker 3: the smell of urine and feces like wafting through the air.
21:42
Speaker 4: They had several rooms.
21:45
Speaker 3: It meant that parents didn't have to share room with
21:48
Speaker 3: their children. People could get like a wee bit of privacy,
21:51
Speaker 3: which is nice. It's nice. So when they moved into
21:55
Speaker 3: the Peabody buildings, they were paying I think.
21:57
Speaker 4: What was it five shilling nine pers.
22:01
Speaker 3: Like that was the rent, which you know, I wouldn't
22:04
Speaker 3: mind paying that now, to be honest, a buyer's market anyone. No,
22:09
Speaker 3: it's fine. So anyway they move into the p Body
22:13
Speaker 3: buildings and there's rules. You know, you can't have the
22:16
Speaker 3: children running through the corridors. There can't be like lariness, loudness.
22:21
Speaker 3: Everyone has to act with some decorum. Everyone has to
22:24
Speaker 3: have like a high level of cleanliness. Everybody's going to
22:28
Speaker 3: be clean, everyone's going to be respectful. And so they
22:31
Speaker 3: had they had baths downstairs and I think the basement
22:36
Speaker 3: of the buildings, and I mean they were called baths,
22:39
Speaker 3: but they could wash every single day if they wanted. Now,
22:44
Speaker 3: some enterprising young person might think, hmm, I can make
22:48
Speaker 3: some money out of this and do some like laundry
22:50
Speaker 3: work out of these baths. But if you were caught
22:54
Speaker 3: doing that, you would be kicked out of the Peabody buildings.
22:59
Speaker 3: And in these ten buildings for the Peabody Worthies, there
23:02
Speaker 3: would be a superintendent. So the superintendent would keep a
23:05
Speaker 3: watchful eye and a watchful ear out that's right eriewigs
23:09
Speaker 3: and the way barb right, you know, just to make
23:12
Speaker 3: sure everybody was following the Peabody rules. So if you
23:17
Speaker 3: were well as a fucked on the reasons, you would
23:20
Speaker 3: get kicked out, right. So if you were dirty, like
23:24
Speaker 3: if your hygiene wasn't at an appropriate level that they deemed,
23:27
Speaker 3: you know, out you go. If you were having improper relations,
23:32
Speaker 3: if your circumstances changed, if you decorated your like rooms
23:40
Speaker 3: like some some of the Peabody buildings had like little
23:42
Speaker 3: rails so that you could hang pictures like on them,
23:46
Speaker 3: but like most of them, you weren't allowed to put
23:49
Speaker 3: pictures up. You weren't allowed to decorate.
23:52
Speaker 1: In any way.
23:52
Speaker 3: I mean, I know these people are poor, but poor
23:55
Speaker 3: people are still allowed to have nice things. You know,
23:58
Speaker 3: if you were caught doing like eye businesses. If you
24:02
Speaker 3: were you know, doing any dodgy dealings, if you were drunk,
24:07
Speaker 3: like if if members of your family died, you could
24:12
Speaker 3: be moved or you could be kicked out. Like there's
24:15
Speaker 3: just a Smorger's board of issues. So they move into
24:19
Speaker 3: the four room tenement building. And again they've got a stove,
24:25
Speaker 3: they've got toilets, they've got baths, like they could wash
24:28
Speaker 3: every single day if they want to. I mean, the
24:30
Speaker 3: water was cold, but it is just several like it's
24:34
Speaker 3: not even steps, it's a fucking ladder above where they were,
24:38
Speaker 3: you know, so you know, things are strained obviously because
24:44
Speaker 3: you know there's a woman looking after the family. Chances
24:50
Speaker 3: are I mean, if this is a traditional Victorian family,
24:53
Speaker 3: he's not really helping out. I mean, let's just call
24:58
Speaker 3: a spade a spade. All of the childcare that's being
25:01
Speaker 3: thrown on Polly because her purpose as a Victorian woman
25:07
Speaker 3: was to take care of the children. And William his
25:12
Speaker 3: whole thing was to provide financially, like that's his job
25:18
Speaker 3: as a husband, right. But over the years things get
25:24
Speaker 3: strained because they have how many kids? Now they have
25:28
Speaker 3: their three kids, and I still something is going on
25:32
Speaker 3: that they did not have kids for seven years. Right,
25:34
Speaker 3: I'm just saying, clearly there was already some issues there.
25:38
Speaker 3: I don't know what they were. Was it malnutrition, was
25:41
Speaker 3: it illness?
25:42
Speaker 4: Was it hmm?
25:45
Speaker 3: Whatever it was?
25:46
Speaker 5: Right?
25:47
Speaker 4: Was it him? Was he out doing stuff he shouldn't
25:50
Speaker 4: have been doing?
25:51
Speaker 3: Hymns to say, but for seven years they don't have kids,
25:56
Speaker 3: but they've got three now. And over their time there
26:00
Speaker 3: in the Peabody buildings, you know, they're struggling with what
26:05
Speaker 3: they have, and Polly becomes pregnant again, so they have
26:11
Speaker 3: to move because they're just like it's just not working
26:14
Speaker 3: for them financially. They need to downsize. So they end
26:19
Speaker 3: up downsizing and moving into a three room tenement next
26:24
Speaker 3: to the Viddler family. So the Widdlers are a widow
26:27
Speaker 3: and I think her four daughters, one of whom is married,
26:31
Speaker 3: Like they're all teenagers, I think at this point. And Rosetta,
26:36
Speaker 3: her oldest daughter, she married a ship's cook who sailed
26:40
Speaker 3: from Glasgow and was like, don't worry, it won't be long.
26:45
Speaker 4: Ah, it was long.
26:48
Speaker 3: So Rosetta is married, but her husband's off somewhere else,
26:51
Speaker 3: so she's estranged, and maybe she's lonely maybe, you know,
26:57
Speaker 3: married life isn't what it's meant to be. And her
27:00
Speaker 3: and her mother they're both working as charming women, which
27:03
Speaker 3: is like just grueling work. So when their neighbors move
27:09
Speaker 3: in and Polly needs assistance with you know, being heavily
27:13
Speaker 3: pregnant and having several small children, the Fiddler step into help.
27:18
Speaker 3: And it's very much you know, community, it's very much family.
27:24
Speaker 3: I mean, isn't it good to have such kind kind neighbors,
27:28
Speaker 3: So like they're helping out.
27:30
Speaker 4: You know, the.
27:30
Speaker 3: Doors are always open. You know, there's movement between these two,
27:35
Speaker 3: a little bit too much movement, if you will, because Rosetta,
27:40
Speaker 3: this young, you know, forlorn just young women, is spending
27:46
Speaker 3: quite a lot of time with William Nichols. And hmmm,
27:53
Speaker 3: and the Nichols marriage starts to break down. Now William
27:56
Speaker 3: says it's because of Polly's drinking, but Polly's father says
28:04
Speaker 3: it's because he William was having an affair with Rosetta. Now,
28:14
Speaker 3: her father also says that William had an affair previously,
28:19
Speaker 3: but William denies this obviously because he's a respectable Victorian man.
28:23
Speaker 4: And hmm, was.
28:26
Speaker 3: Pollie drinking quite possibly, quite probably was William having an affair.
28:33
Speaker 3: Oh no, he was definitely having an affair. He says
28:35
Speaker 3: that the affair didn't like the relationship, didn't occur until
28:38
Speaker 3: after they had separated. But mm hmm, it's m hmm sure, sure, honey, sure.
28:46
Speaker 3: So the way I see it is, two things can
28:49
Speaker 3: be true at once. You know, if there was an affair,
28:52
Speaker 3: if there was a relationship burgeoning between you know, your
28:55
Speaker 3: husband and this young you know neighbor. You know you're struggling.
29:02
Speaker 4: You're the main caretaker.
29:05
Speaker 3: For these children, and for all we know, she had
29:08
Speaker 3: some form of depression, and she is supposed to shut
29:11
Speaker 3: up and just deal with it, right. And so, in
29:16
Speaker 3: a twist that will surprise absolutely fucking nobody, Polly and
29:21
Speaker 3: William they start having marital spats, like things aren't going
29:25
Speaker 3: well in the home, to the point that their arguments
29:28
Speaker 3: cause her to leave. So she leaves, and she would
29:32
Speaker 3: head over to her brother or her father, who would
29:36
Speaker 3: then tell her to basically suck it up and go
29:39
Speaker 3: back because like, you're a wife, you're a mother, this
29:42
Speaker 3: is your responsibility. Off you go, right, and off she
29:47
Speaker 3: would go, returning back to her unfaithful husband. Now imagine this, like,
29:53
Speaker 3: you have worked hard to be the epitome of what
29:57
Speaker 3: you're supposed to be. You're supposed to be a wife,
29:59
Speaker 3: You're supposed to be a you have spent your life
30:02
Speaker 3: caring for family. You've cared for your father and your brother,
30:05
Speaker 3: and your husband and your children, and now your husband
30:09
Speaker 3: is shagging the next door neighbor and you have gone
30:13
Speaker 3: to the only family you have left asking them for help,
30:18
Speaker 3: and they tell you to go back to the situation
30:21
Speaker 3: where you are suffering. Let's take that into consideration for
30:26
Speaker 3: a moment, because she is in a very unhappy home life.
30:31
Speaker 3: She is being treated like shit, and we don't know
30:35
Speaker 3: if she was suffering postnatal depression or any kind of
30:37
Speaker 3: post partum issues. We don't know if she had any
30:41
Speaker 3: physical issues, like if she had cuts or stitches or
30:45
Speaker 3: anything like that. We know none of it because why
30:50
Speaker 3: would women's health need to be recorded? Mm hmm, yeah,
30:54
Speaker 3: why the fuck? So she is suffering. She she's in
31:00
Speaker 3: a horrific situation, and it gets to the point where
31:04
Speaker 3: she just can't take it anymore, and she does the
31:07
Speaker 3: only thing she can do, which is leave the Peabody
31:10
Speaker 3: buildings for good, which means not only is she leaving
31:15
Speaker 3: her husband, but she has to leave her children. And
31:19
Speaker 3: this is the thing like Victorian times, just because the
31:23
Speaker 3: way the divorce laws were just so fucking cruel, it
31:28
Speaker 3: was very difficult, if not impossible, for women to get
31:31
Speaker 3: a divorce. Like men could get divorced if well one,
31:35
Speaker 3: if they could afford it. It's all about, you know,
31:38
Speaker 3: if you're rich. Fine, And men could get a divorce
31:45
Speaker 3: on the grounds of adultery alone, just once, just one
31:49
Speaker 3: count of adultery, right, their wife could just have one
31:51
Speaker 3: dalliance and done. Women, on the other hand, needed adultery
31:58
Speaker 3: and another thing. There needs to be adultery plus abuse,
32:03
Speaker 3: adultery plus bestiality, you know, like there's yeah, like there
32:09
Speaker 3: had to be this plus this because it had to
32:12
Speaker 3: be more difficult for women, because of course it did,
32:15
Speaker 3: of course it did. And under you know, Victorian law,
32:21
Speaker 3: she did not have custody, guardianship, ownership, if you will,
32:25
Speaker 3: of the children. The children belonged to the husband. So
32:29
Speaker 3: even if she had taken them with her, he could
32:31
Speaker 3: claim them back. Like and even if she had taken
32:36
Speaker 3: her children with her, how would she support them if
32:39
Speaker 3: it was an option, how could she support them? She
32:42
Speaker 3: relied on William's income, and yeah, wage gap. Of course
32:48
Speaker 3: there was a fucking wage cap. Of course there was.
32:50
Speaker 4: So during this.
32:52
Speaker 3: Era, it all work was deliberately was deliberately designed to
32:57
Speaker 3: pay women less than men so that could become, you know,
33:02
Speaker 3: part of the household to be good wives and mothers,
33:05
Speaker 3: and men could do the earning. Like that was it.
33:08
Speaker 3: So even if she was busting her ass, you know,
33:12
Speaker 3: out working, she wouldn't have earned enough to support all
33:15
Speaker 3: of her children. And we do have to take into
33:18
Speaker 3: consideration the fact that she might have a drinking problem.
33:21
Speaker 3: Probably does have a drinking problem, because you know, it's
33:26
Speaker 3: a depressing era, you're struggling. Alcohol is a crutch, and
33:29
Speaker 3: alcoholism is a fucking disease. So yeah, you know it's
33:34
Speaker 3: it's not the best way of things, you know. So
33:39
Speaker 3: she does the only thing she can do, which is
33:41
Speaker 3: enter the Lambeth Workhouse. Now, the workhouse exists basically as
33:47
Speaker 3: a last resort. No one wants to enter a workhouse,
33:51
Speaker 3: and everything surrounding the workhouse just amplifies that, like it
33:57
Speaker 3: is designed to humiliate and embarrass and everything else that
34:03
Speaker 3: goes with that. Like when she comes in, she's questioned,
34:06
Speaker 3: like she's asked if her children are legitimate, which is
34:09
Speaker 3: designed to just upset and embarrass her, like that's the point.
34:14
Speaker 3: It's supposed to make her feel like absolute shit, because
34:17
Speaker 3: apparently going into the workhouse isn't bad enough. Sorry for
34:21
Speaker 3: this turn of phrase, but they felt like sticking the
34:23
Speaker 3: knife in and twisting it. So she had to go
34:26
Speaker 3: to the workhouse in order to receive maintenance from William
34:30
Speaker 3: because she had to go and claim that she was
34:31
Speaker 3: a deserted wife. And one of the things she claims
34:35
Speaker 3: is that her husband had an affair. And the way
34:39
Speaker 3: it works is, you know, the Guardians, the Lambeth Guardians,
34:43
Speaker 3: So she's in the Lambeth Workhouse and the Lambeth Guardians,
34:46
Speaker 3: you know, they would pay her maintenance and then they
34:48
Speaker 3: would go to William and go give us the five
34:51
Speaker 3: shillings or whatever, right me, get me, gim me, So
34:55
Speaker 3: he would be forced to do that. But he is,
34:59
Speaker 3: you know, he he's raising the children. Well, he's got
35:02
Speaker 3: Rosetta now doing the physical raising. She's there and you know,
35:06
Speaker 3: financially things aren't great. And then on top of that,
35:12
Speaker 3: due to the situation, William was forced to move out
35:16
Speaker 3: of the Peabody buildings and into like another like abode.
35:20
Speaker 3: He moves somewhere else, right, him, Rosetta and the kids,
35:24
Speaker 3: And I think him and Rosetta going to have their
35:26
Speaker 3: own children after this as well, which are fun fact illegitimate,
35:32
Speaker 3: and they start acting, you know, they start acting like
35:35
Speaker 3: man and wife, but you know, legally they're not because
35:39
Speaker 3: they cannot remarry because he's not divorced. You know, it's
35:42
Speaker 3: not an option. And yeah, Victorian society really did not
35:49
Speaker 3: look favorably upon that type of relationship because it's not
35:54
Speaker 3: you know, it's not under God, it's not like legal,
35:58
Speaker 3: it's just just dog round. It's eighteen eighty one and
36:03
Speaker 3: Polly is in the Lambeth Workhouse and then by May
36:07
Speaker 3: of that year she leaves because she's getting her maintenance
36:10
Speaker 3: from William, so she's staying in like boarding houses things
36:14
Speaker 3: like that. But in eighteen eighty two, like early eighteen
36:18
Speaker 3: eighty two, she is back through the gates of Lambeth
36:21
Speaker 3: Workhouse and it's not long after her return there that
36:26
Speaker 3: William seizes his payments to her. So, I mean, let's
36:30
Speaker 3: face it, he's got his you know, his new wife,
36:34
Speaker 3: ish wife, light, diet wife, whatever you want to call her.
36:37
Speaker 3: He's a new partner who has then taken over the
36:40
Speaker 3: caretaking juties of raising his children, maybe having a few more.
36:45
Speaker 3: So he is, you know, supporting that household. But he
36:48
Speaker 3: Alwaso has to pay his five shillings for Mary Ann Nichols, Polly,
36:54
Speaker 3: his estranged wife. He doesn't want to do that, so
36:57
Speaker 3: he hires a private investigator, like these were all over
37:01
Speaker 3: the papers of the day, right, and their whole job
37:04
Speaker 3: was to you know, prove that the wife was doing
37:09
Speaker 3: something illicit and therefore he no longer had to pay,
37:12
Speaker 3: like that was the thing. And so he follows Polly
37:16
Speaker 3: and he says that you know that she's she's in
37:20
Speaker 3: a relationship with a man. So this private investigator, this spy,
37:25
Speaker 3: he reports that she's living with George Crosshaw and I think,
37:28
Speaker 3: like the eighteen eighty one census also backs us up.
37:32
Speaker 3: So like he's like a scavenger. She's working in a laundry,
37:35
Speaker 3: like that's their whole thing, that's what they're doing. And well, yeah,
37:40
Speaker 3: so the relationship does fizzle out and she ends up
37:44
Speaker 3: returning to the workhouse in eighteen eighty two. Now, the
37:48
Speaker 3: thing about this is this is considered adultery because even
37:53
Speaker 3: though you know they're separated, they're not legally divorced. So
37:58
Speaker 3: because she's not legally divorced from William, the fact that
38:01
Speaker 3: she is residing with another man is considered adultery. And
38:07
Speaker 3: even though William is living with another woman and treating
38:12
Speaker 3: her as his wife, his common law wife, that's not
38:17
Speaker 3: taking into question here at all. But because this is
38:20
Speaker 3: seen as adulteress, he no longer has to pay, because
38:25
Speaker 3: she is seen as a moral because women always get
38:28
Speaker 3: judged more harshly than men. Kills the praise. It's almost
38:32
Speaker 3: if some things haven't actually fucking changed. So William he
38:37
Speaker 3: sees his payments and the guardians are like, why are
38:41
Speaker 3: you not paying money anymore? And he gets called forth
38:45
Speaker 3: and he tells them, you know she's doing this, she's
38:46
Speaker 3: doing that, she's living with a man. Paully comes forward,
38:49
Speaker 3: she goes, I'm not living with anybody because I'm in
38:52
Speaker 3: the workhouse, Like I am here. How could I be
38:58
Speaker 3: with someone when I am in a work like? What
39:00
Speaker 3: if I was living with someone? Why the fuck? When
39:03
Speaker 3: I come back here? I mean she probably said it
39:05
Speaker 3: nicer than that, but yeah, but you know this is
39:09
Speaker 3: a man. His word obviously, carries more weight than hers does,
39:13
Speaker 3: so they go, yeah, sure, absolutely, no problem, William, you're correct.
39:17
Speaker 4: You don't have to pay her any money anymore.
39:20
Speaker 3: So she's in the workhouse for the rest of the year,
39:25
Speaker 3: and then leaves in about eighteen eighty three and she
39:28
Speaker 3: goes and lives with her father, who is no longer
39:31
Speaker 3: living with her brother. He's in his own place, so
39:34
Speaker 3: she moves in with him. And Polly Pollie's drinking right,
39:41
Speaker 3: and she's got some friends and she kind of gets
39:45
Speaker 3: away bit aggressive because alcohol exacerbates things in us, it does.
39:49
Speaker 3: So she's hanging out with friends and she can get
39:51
Speaker 3: loud and larry and aggressive. But she's not going around
39:57
Speaker 3: with any men. Like, that's not a thing she's doing.
40:00
Speaker 3: There's no reports of her being with men. There's no
40:03
Speaker 3: instances of her looking for, you know, male company in
40:07
Speaker 3: any aspect, whether just for her own comfort or like
40:12
Speaker 3: business wise. Nothing, nothing at all but her drunkenness and
40:20
Speaker 3: her dependency on alcohol and her aggression. It all comes
40:25
Speaker 3: to a head where she has a fight with her
40:27
Speaker 3: dad and she just leaves. She goes out the door
40:32
Speaker 3: wit no, no, no. She moves and with her dad
40:34
Speaker 3: in eighty three and moves out in eighty four, and
40:37
Speaker 3: when she leaves, she basically goes from.
40:39
Speaker 4: One man to another.
40:42
Speaker 3: And it sounds bad, but it's like she leaves her
40:44
Speaker 3: father's household and she moves in with a widower, Tommy
40:48
Speaker 3: Stuart Drew. So he's lost his wife. He requires someone
40:52
Speaker 3: to care for his children. Enter Polly. And for the
40:58
Speaker 3: next couple of years, things seem to be going pretty
41:01
Speaker 3: well for Polly. You know, there's no reports of drunkenness
41:04
Speaker 3: or aggression or abuse or anything. You know, she seems
41:09
Speaker 3: in a fairly stable relationship. She's not you know, using
41:13
Speaker 3: alcohol as a crutch as far as we know. I mean,
41:16
Speaker 3: she might still be, but you know, she's definitely you know, healthier,
41:20
Speaker 3: she's cleaner. You know, there's nothing going on, and I
41:26
Speaker 3: mean there's probably a wee bit of that. I want
41:28
Speaker 3: to call it Christian Victorian guilt, because you know, she's
41:31
Speaker 3: technically living in sin, which is probably not great for
41:35
Speaker 3: either of them, but it is what it is, and
41:38
Speaker 3: it's you know, at least comfortable for the two of them.
41:43
Speaker 3: But then as as as the way, tragedy strikes and
41:49
Speaker 3: her brother dies in May eighteen eighty six, and what
41:54
Speaker 3: I can only describe as a freak accident, you know,
41:59
Speaker 3: a paraffin He goes to like put it out and
42:01
Speaker 3: it just explodes and he burns to death. Her brother,
42:07
Speaker 3: Edward is just flombait. Now. I don't know if you've
42:14
Speaker 3: ever seen a burnt body, it is a very unpleasant sight.
42:21
Speaker 3: And if they did have an open casket, like hmm,
42:25
Speaker 3: that's gonna cause that's gonna cause some nightmares for just
42:29
Speaker 3: everybody involved. And on top of that as well, you
42:33
Speaker 3: have to consider the fact that for most of her life,
42:37
Speaker 3: since she was seven years old, she helped care for
42:40
Speaker 3: her brother like they were close. Her brother's death hits
42:46
Speaker 3: Polly really fucking hard. And even though she had been
42:50
Speaker 3: managing her drinking, she had been you know, controlling her
42:54
Speaker 3: condition to the best of her abilities. Once her brother's
42:58
Speaker 3: untimely demise happens, yeah, she hits the bottle hard and
43:05
Speaker 3: she's drinking. She is fighting, you know, and her relationship
43:09
Speaker 3: with Thomas Drue just crumbles in Bye November. I'm not
43:14
Speaker 3: sure if she leaves or he kicks her out, but
43:16
Speaker 3: their relationship.
43:17
Speaker 4: Is no more.
43:19
Speaker 3: But the very next month he gets married. The widower
43:24
Speaker 3: finds a new bride because That's just how things go,
43:28
Speaker 3: isn't it. Like Thomas gets himself a legal wife, so he's,
43:35
Speaker 3: you know, legally fine, and also, you know, according to God,
43:38
Speaker 3: doing okay because he's not living in sin. And Polly, well,
43:44
Speaker 3: she has nowhere else to go. I mean, she she
43:48
Speaker 3: could have gone back to her dad, but he's grieving.
43:52
Speaker 3: She is grieving, and maybe we're turning back just wasn't
43:59
Speaker 3: an option for her mentally. And yet again, November eighteen
44:05
Speaker 3: eighty six, she steps through the gates of the Lambeth Workhouse.
44:09
Speaker 3: Luckily for Polly though she was only really there a
44:12
Speaker 3: month before she was quote unquote discharged for service to
44:15
Speaker 3: where who the hell knows. We don't have that information.
44:20
Speaker 3: Guess it wasn't important. So, like a lot of places,
44:23
Speaker 3: they would hire women out from the workhouse because you know,
44:28
Speaker 3: they had transferable skills. They could clean things, they could
44:31
Speaker 3: sew things. Then you had to look after babies, and
44:34
Speaker 3: a lot of employers would you know, pay the least
44:36
Speaker 3: amount possible and would overlook the fact that these were
44:39
Speaker 3: the scum of society, if you will, because you know,
44:44
Speaker 3: that's where the Victorians saw people from the workhouse. This
44:48
Speaker 3: is you know, the unworthy, good thing. We don't treat
44:51
Speaker 3: people like that now, huh mmmm. So yeah, she ends
44:56
Speaker 3: up leaving, going into some kind of service, which was
45:00
Speaker 3: it was initially a thing they used to do for
45:02
Speaker 3: the younger girls, but at some point the middle aged
45:04
Speaker 3: people were sitting too, probably just because they wanted them
45:08
Speaker 3: out and you know, money people just like money and
45:14
Speaker 3: probably thought these women were down on their luck. You know,
45:17
Speaker 3: they're more likely to take the crappier options, which you know,
45:22
Speaker 3: not entirely incorrect. And between then in May eighteen eighty seven,
45:27
Speaker 3: we don't know anything about where Polly was or what
45:31
Speaker 3: she was doing, but she just cannot be dealing with
45:34
Speaker 3: the workhouse. She just can't go through it again. I mean, remember,
45:37
Speaker 3: it's designed to be awful, it's designed to be humiliating.
45:41
Speaker 3: And she decides her best option is to sleep rough
45:47
Speaker 3: and so she becomes a vagrant, a tramp if you will,
45:50
Speaker 3: shares a tramp. Glad we love her. And so she's out,
45:55
Speaker 3: you know, doing what vagrants did in the day. They
45:59
Speaker 3: would get day war, they would get you know, pittance,
46:02
Speaker 3: they would beg like the amount of beggars like in
46:07
Speaker 3: London at the time compared to other like logged criminal pursuits.
46:13
Speaker 3: Shall we say, like there were like four or five
46:17
Speaker 3: six times the amount of beggars than anything else. But
46:21
Speaker 3: because of police attitudes at the time, really you say,
46:25
Speaker 3: police attitudes being adverse to human existence. Perhaps you know
46:32
Speaker 3: anyone who was deemed, you know, one of the l's
46:36
Speaker 3: of society, They could be labeled anything. It was up
46:39
Speaker 3: to the officer to just decide up until the point
46:42
Speaker 3: where they accused the wrong person, and then they had
46:45
Speaker 3: to be a teeny reedy bit more careful, you know,
46:48
Speaker 3: not unlike the cops having to wear body cams today.
46:50
Speaker 3: But I'm just saying, so she ends up sleeping rough
46:54
Speaker 3: and well she gets known, she gets arrested in Trafalgar Square.
47:02
Speaker 3: So basically there's this beg you know, clear out. They
47:05
Speaker 3: want to get rid of all the tramps, the vagrants,
47:07
Speaker 3: the beggars, they want to get rid of everything, because
47:09
Speaker 3: this is the respectable area in London. We can't be
47:12
Speaker 3: having that. So there's this massive attempt to clear out
47:16
Speaker 3: and obviously a riot happens. There's a brawl, and one
47:19
Speaker 3: of the worst people in it is Polly. Polly. Polly
47:24
Speaker 3: does not go willingly to the cells like she gets
47:28
Speaker 3: referred to as like the worst woman on the square
47:30
Speaker 3: because she's aggressive, right, that's why. So over time, like
47:38
Speaker 3: all of Polly's sort of noted like police encounters. It's
47:45
Speaker 3: all to do with like drunken, disorderly, you know, herlen abuse,
47:49
Speaker 3: being aggressive, it's all it's like asbo. She's like got
47:53
Speaker 3: an asbo, you know, that's what she's doing consistently. Polly's
47:58
Speaker 3: got an asbo.
47:59
Speaker 5: Right.
48:00
Speaker 3: There is no record of her soliciting, like there are
48:07
Speaker 3: no records of her selling her body, there are no
48:11
Speaker 3: reports of her prostituting herself. Polly the prostitute doesn't exist. Nothing,
48:21
Speaker 3: nothing is there. So she ends up back in the
48:24
Speaker 3: workhouse in December because you know, London is bloody cold,
48:29
Speaker 3: there's snow in ice, and you know nobody wants prostbite.
48:32
Speaker 3: So she ends up having to go back into the workhouse,
48:34
Speaker 3: which you know, not super fun because there's barely enough
48:38
Speaker 3: food to survive on. You know, it's not exactly clean.
48:43
Speaker 3: People are often attacked by rats in the workhouse, which
48:48
Speaker 3: is supposed to be the safe place, and they're being
48:50
Speaker 3: eaten by one part of the perpetrators of the plague.
48:57
Speaker 3: But I digress. That being said, if you run to
48:59
Speaker 3: Whitechapel now, I'll actually see rats in all the alleyways.
49:03
Speaker 3: I speak from personal experience, but that's just London and
49:06
Speaker 3: it like I think, technically in any city you're no
49:09
Speaker 3: less than like three meters away from any rat as
49:13
Speaker 3: far as I know, Like there's always one around, not
49:16
Speaker 3: always within one mouse of a rat. But Pauli spends
49:20
Speaker 3: Christmas at the workhouse and then gets sent away because
49:23
Speaker 3: they're like, we're not really sure if you're part of
49:25
Speaker 3: this parish, so m bye. So she gets sent to
49:30
Speaker 3: the Holeborn Workhouse, who then send her back to Lambeth.
49:35
Speaker 3: They're like, no, no, this is your problem. So when
49:38
Speaker 3: she does go back to the Lambeth workhouse, she is
49:41
Speaker 3: presented with another work opportunity because a middle class family
49:45
Speaker 3: I need of a maid. The Kaudres were Baptists, they
49:50
Speaker 3: were good Christian people and they believed in helping the
49:53
Speaker 3: less fortunate, so they applied to get a maid from
49:56
Speaker 3: the workhouse and this would be the only survey they had.
50:01
Speaker 3: But they were a respectable couple and they were teetotal.
50:06
Speaker 3: So for Polly, she felt like this was a better
50:08
Speaker 3: opportunity for her because there was no alcohol, and you know,
50:14
Speaker 3: if there isn't the temptation there, then maybe things will
50:18
Speaker 3: work it better for her. So she gets hired in
50:21
Speaker 3: like May, and because she is hired by a respectable,
50:24
Speaker 3: middle class family, she is given bonnets and dresses and
50:29
Speaker 3: a change of outfit, because you know, your maid can't
50:31
Speaker 3: always wear the one same thing, you're respectable.
50:34
Speaker 4: She might have even had.
50:35
Speaker 3: Two changes of clothes, which was just like a lot
50:39
Speaker 3: for Polly at this point. She would have had aprons
50:42
Speaker 3: and shoes and all the other stuff that goes with it, right,
50:47
Speaker 3: she would have had all that. But she is the
50:50
Speaker 3: only servant for this couple, and they weren't always at
50:55
Speaker 3: this abode. But when they were there, she was accompanying
50:59
Speaker 3: them to Mass in church, and she was studying the Bible,
51:03
Speaker 3: and she was writing to her father, with whom she
51:06
Speaker 3: had not really spoken to I think since her brother's
51:09
Speaker 3: funeral as far as I know. And she is hopeful
51:13
Speaker 3: for this opportunity. She thinks things are gonna go well
51:16
Speaker 3: for her. But she spends two months there and she
51:22
Speaker 3: is lonely. She has no one to talk to, She
51:27
Speaker 3: has nothing and no offense. But consistently reading the Bible
51:33
Speaker 3: doesn't really seem like a super fun time. And by
51:38
Speaker 3: July Polly abscorns she gets the heck at a dodge.
51:44
Speaker 3: Polly says, fuck this for game of soldiers, and she
51:47
Speaker 3: leaves with her like her bonnets in her dresses and
51:50
Speaker 3: a bunch of stuff that she could pawn, like goods
51:54
Speaker 3: like candlesticks and all that kind of shit. She takes it,
51:57
Speaker 3: and she gets she gets out, she's gone, and she
52:00
Speaker 3: ends up back in London, and it's eighteen eighty eight
52:04
Speaker 3: and she's staying in boarding houses lodging houses, but she
52:09
Speaker 3: is staying in women's only lodging houses, like she tends
52:15
Speaker 3: to split a double bed with I think Nelly, her
52:19
Speaker 3: name is the only person whom you could consider a
52:22
Speaker 3: friend to hurt this point. And according to the women
52:26
Speaker 3: she's sharing a room with, Polly is still pretty fond
52:29
Speaker 3: of drink, right she is. It's her crutch. She's an alcoholic.
52:34
Speaker 3: And they sold gin by the pint the pint. Imagine
52:39
Speaker 3: drinking a pint of gin. Also gin makes girls cry,
52:42
Speaker 3: so like m says me, who loves gin? Fucking love gin?
52:47
Speaker 3: So Over the course of the next few months, Polly's
52:51
Speaker 3: money is running thin, and by the thirtieth of August.
52:56
Speaker 3: She doesn't have what was it, the whatever, the four shillings,
53:00
Speaker 3: however it much it was to stay in the in
53:03
Speaker 3: the boarding house. So Pollie had been at the pub
53:08
Speaker 3: and she goes to try and get her room at Wilmets,
53:12
Speaker 3: but she doesn't have the money, and so she gets
53:14
Speaker 3: sent away. And according to you know, the person who
53:18
Speaker 3: ran the lodging house, she states that Polly, you know, said,
53:23
Speaker 3: of course I'll get my doss money. What a jolly
53:25
Speaker 3: bonnet I have or you know, I'm paraphrasing, but that's
53:28
Speaker 3: basically it. And it is this phrase which people use
53:32
Speaker 3: to kind of, you know, ascertain that Polly was a
53:36
Speaker 3: process shit, right, you know, even though it's more likely
53:40
Speaker 3: that either a she was planning to pawn the bonnet
53:44
Speaker 3: or b she was looking to beg and just seemed
53:48
Speaker 3: like a more worthy beggar because she had such a
53:49
Speaker 3: pretty bonnet. Right. So Polly is worse for wear, and
53:55
Speaker 3: probably in about half two in the morning, she is
53:58
Speaker 3: seen by Nelly. She tries to convince her to come
54:01
Speaker 3: home with her, but Polly is absolutely slashed and she's
54:07
Speaker 3: not going anywhere. Now, let's take a few things into
54:11
Speaker 3: consideration before we continue this, tell this is a woman
54:18
Speaker 3: who up until this point has had zero reports of
54:22
Speaker 3: soliciting zero. She specifically stayed in women's boarding houses. She
54:30
Speaker 3: didn't lodge in the mixed ones. She deliberately tried to
54:33
Speaker 3: stay places that were women only, so she wasn't exactly
54:39
Speaker 3: searching for male company. On top of that, if she
54:44
Speaker 3: was out looking to sell sex, if she was doing
54:49
Speaker 3: this on a regular basis, why the fuck was she
54:52
Speaker 3: staying in a boarding house. Why would she be struggling
54:55
Speaker 3: to cover that money? Because if you're doing this on
54:58
Speaker 3: the regular, I have more money. On top of that,
55:05
Speaker 3: one of the things they would do at the time
55:07
Speaker 3: is there was like like a motel. You could rent
55:09
Speaker 3: a room and women would often find a john and
55:13
Speaker 3: go stay there, so they had a warm bed for
55:14
Speaker 3: the night. So by two o'clock in the morning, that's
55:17
Speaker 3: where she should have been. Her being out on the
55:20
Speaker 3: street doesn't make sense if she was slustiting. Also, in addition, furthermore,
55:27
Speaker 3: the fact she's in Whitechapel like that in itself is
55:33
Speaker 3: it just doesn't fucking add up. There is no money
55:36
Speaker 3: in Whitechapel. If she was looking to to like sell herself.
55:41
Speaker 3: Why would she be in the empty streets in the
55:43
Speaker 3: middle of the night. Why wouldn't she be in the
55:46
Speaker 3: busy areas where you know, wealthy men are out looking
55:51
Speaker 3: for a fun time, Like, why isn't she there? It
55:54
Speaker 3: doesn't doesn't add up, none of it makes sense. But
55:59
Speaker 3: there she is a woman who is used to sleeping
56:03
Speaker 3: rough and as drunk as a fucking skunk. So Nellie
56:08
Speaker 3: tries to convince her to go home with her. She's like,
56:10
Speaker 3: oh no, is very nerd. Bye right all she pops.
56:15
Speaker 3: Nellie gives up and goes, goes, goes home, goes to
56:19
Speaker 3: the lodging house, goes to be safe for the night
56:22
Speaker 3: because Polly is convinced that Wilmots aren't gonna let her in,
56:25
Speaker 3: and Nelly, you know, she offers to cover the cost,
56:28
Speaker 3: but Polly, Polly isn't used to consideration or kindness, and
56:35
Speaker 3: she's just stubborn at this point, I think, because when
56:37
Speaker 3: you're drunk and you have an idea in your head,
56:40
Speaker 3: you're you're kind of there. You know, there's no real
56:43
Speaker 3: pushing one way or the other with it, And Wilmots
56:47
Speaker 3: was the only place she wanted to be anyway. She
56:49
Speaker 3: didn't want to have to go and stay in a
56:50
Speaker 3: mixed place, which she didn't feel comfortable. She didn't like
56:55
Speaker 3: being in a a mixed area for her to sleep
56:59
Speaker 3: in because I mean it, let's face, it wasn't the safest.
57:04
Speaker 3: It wasn't for her. She preferred to be with women
57:07
Speaker 3: and just be you know, protected and safe and not
57:11
Speaker 3: have to deal with men for whatever we's in. She
57:15
Speaker 3: just didn't want to be dealing with that. I get it,
57:19
Speaker 3: I get it. But she is drunk as a skunk,
57:21
Speaker 3: She is slushed, she is pie eyed, and she just
57:26
Speaker 3: she must just be exhausted at this point. So at
57:30
Speaker 3: some point during the night off she walks well of
57:35
Speaker 3: of she stumbles actually down towards Whitechapel Road, and as
57:41
Speaker 3: she goes she ends up in bucks Row and there's
57:46
Speaker 3: like the gated stable entrance. Because poly not a stranger
57:52
Speaker 3: of sleeping rough, finds herself a corner in which to rest,
57:57
Speaker 3: back braced against the wall, curled down, scrunched over. Like
58:02
Speaker 3: anyone who's ever had to sleep rough, they'll tell you
58:05
Speaker 3: there are ways to make it, I mean, not comfortable,
58:08
Speaker 3: but less awful. Also, she is fulogen sill. It's less
58:15
Speaker 3: sleeping and more being unconscious, all she needs is somewhere
58:20
Speaker 3: for her body to just shrink down and rest. Plus,
58:23
Speaker 3: she's only five foot two, you know, she's small. She
58:26
Speaker 3: doesn't take up a lot of space. And this is
58:29
Speaker 3: where the crime of opportunity occurs. Someone comes up behind
58:37
Speaker 3: her slits Polly's throat the early hours of the thirty
58:45
Speaker 3: first of August. After reading through criminologist reports and the
58:51
Speaker 3: autopsy notes, and this is someone who has obsessively like
58:58
Speaker 3: wanted to be a ripparologist, like that was a thing
59:00
Speaker 3: as a child, I was like, I need to be this.
59:03
Speaker 3: Although I don't know what person thought, hey, let's let
59:05
Speaker 3: a child read about these creepy, gruesome murders. That's a
59:09
Speaker 3: good idea, gentle listener, and was not a good idea.
59:14
Speaker 3: But yes, I have been obsessing over this for literal
59:17
Speaker 3: decades decades, and after just reevaluating all of the information,
59:24
Speaker 3: it makes more sense that she was unsuspectingly got from
59:29
Speaker 3: behind because whoever did this to her did not want
59:34
Speaker 3: a fight. Because this is a hardy Victorian woman and
59:38
Speaker 3: as we know, Polly Paul is not one to be
59:42
Speaker 3: a shrinking violet. Polly will punch you in the face
59:46
Speaker 3: you know, she's wee, but she will come at you.
59:50
Speaker 3: She is a pocket rocket and she will she will
59:53
Speaker 3: beat you like.
59:54
Speaker 4: You owe her money.
59:55
Speaker 3: Right, So whoever did this deliberately chose a sleeping woman
1:00:01
Speaker 3: and then did horrifically grewsome things to her body. I'm
1:00:06
Speaker 3: not going to describe the attack on her because you know,
1:00:11
Speaker 3: you can look that up anywhere. You can find how
1:00:14
Speaker 3: many stab wounds you can find out, where you can
1:00:17
Speaker 3: find out the way in which she was gutted, which
1:00:20
Speaker 3: honestly appears more like a butcher just with the quickness
1:00:26
Speaker 3: it would have had to have been, because you know
1:00:29
Speaker 3: the timeframe, it's this is this is a quick a
1:00:33
Speaker 3: quick goal. And then her body was displayed in a
1:00:39
Speaker 3: manner to humiliate, because that's that's what that kind of
1:00:45
Speaker 3: killer does. It was about humiliation. But Polly definitely wasn't
1:00:53
Speaker 3: the first victim, because this is this is an escalation.
1:00:58
Speaker 3: Nobody starts off with, you know, disemboweling like that is
1:01:02
Speaker 3: not the first step you lead up to disemboweling. But
1:01:06
Speaker 3: because violence against women wasn't really seen as a big
1:01:09
Speaker 3: deal in the Victorian era, and some could argue even
1:01:12
Speaker 3: now that it wasn't either reported or acknowledged and this
1:01:20
Speaker 3: like this is definitely not the first one, and there
1:01:24
Speaker 3: she was, So who came before? What led to this?
1:01:31
Speaker 3: Like there's no signs of actual like sexual assault on Polly,
1:01:36
Speaker 3: Like there's none of that. So whoever did this did
1:01:39
Speaker 3: this because they wanted a murderer women because again, literally
1:01:45
Speaker 3: no evidence to suggest that she was a sex worker.
1:01:50
Speaker 3: Literally none. It's only when the police officer was called
1:01:55
Speaker 3: forward and he's standing or confortable or whatever the fuck
1:01:58
Speaker 3: he was standing over her body, goes, yep, definitely a prostitute.
1:02:06
Speaker 3: When William Nichols is brought forward, he comes forth and goes, yeah,
1:02:10
Speaker 3: my wife was never a prostitute, a stranger, no adulteress. Perhaps, yes,
1:02:16
Speaker 3: obviously that's why I didn't bear her money, But soliciting, no,
1:02:21
Speaker 3: not a thing. Like no one suggests this. It's here's
1:02:28
Speaker 3: the thing as well. I just want to add this in.
1:02:31
Speaker 3: It's like the deputy who you know, sent her away
1:02:35
Speaker 3: from the lodging house, the boarding house, like they've had
1:02:39
Speaker 3: the police show up and go you set this woman away,
1:02:44
Speaker 3: and now this woman has been murdered in this very violent,
1:02:48
Speaker 3: very horrific, this ripper way. Because at the time that
1:02:53
Speaker 3: kind of like slaying was referred to as like a
1:02:58
Speaker 3: ripper killing because you ripped through the skin, like that
1:03:01
Speaker 3: was you ripped through the flesh. That's that was just
1:03:05
Speaker 3: the term at the time anyway. So she had been
1:03:11
Speaker 3: slain in this again worst possible way ever, and you
1:03:19
Speaker 3: sent her away, you know, is you know, and obviously
1:03:23
Speaker 3: you're gonna try and say things to big up yourself
1:03:25
Speaker 3: and make yourself seem like the respectable person and make
1:03:28
Speaker 3: her seem like a less than worthy victim. You know.
1:03:34
Speaker 3: I remember reading all of these sort of notes and
1:03:39
Speaker 3: stay away from the chatterms and read it and everything,
1:03:43
Speaker 3: and it's all like she brought this upon herself. She
1:03:47
Speaker 3: did this.
1:03:48
Speaker 4: And it's this concept of like the less dead.
1:03:51
Speaker 3: So like the lower down the wrongs of society, you
1:03:53
Speaker 3: are the less worthy you are as a human and
1:03:56
Speaker 3: as a result, your death is irrelevant. I mean, that's
1:04:00
Speaker 3: how Jeffrey Dahmer got away with stuff for so long,
1:04:02
Speaker 3: because his victims were seen as the less dead. But
1:04:06
Speaker 3: I digress. So it seems to me that this whole
1:04:10
Speaker 3: jolly bonnet statement, I mean, it could be true, it
1:04:14
Speaker 3: could have been taken out of context, but it seems
1:04:17
Speaker 3: to me that it exists as a way of just exonerating,
1:04:22
Speaker 3: like the deputy of you know, sending this one away
1:04:27
Speaker 3: to her death, and to vilify and degrade and demean
1:04:35
Speaker 3: Polly Mary Ann Nichols. Polly Nichols was murdered on the
1:04:44
Speaker 3: thirty first of August eighteen eighty eight, and her body
1:04:50
Speaker 3: was put on display for what reason. There could be
1:04:56
Speaker 3: any number of reasons, and her truly awful day, it
1:05:01
Speaker 3: is just the culmination. It is the result of a
1:05:04
Speaker 3: full lemony snicket. I mean, this is a full series
1:05:08
Speaker 3: of unfortunate events which led to this from society's perception
1:05:14
Speaker 3: of women, because she was seen as less than worthy,
1:05:16
Speaker 3: because she was a woman who was not with a husband,
1:05:20
Speaker 3: wasn't taking care of her kids like she had been
1:05:24
Speaker 3: to the workhouse, she had lived on the streets. So
1:05:28
Speaker 3: clearly she wasn't acting in a manner befitting the proper
1:05:33
Speaker 3: Victorian lady. She was unworthy, she was less dead, and
1:05:40
Speaker 3: it is one policeman's assumption which has led to, you know,
1:05:48
Speaker 3: just the demeaning, integrading, and the vilifying and misrepresentation of
1:05:54
Speaker 3: all of these victims, starting with Polly, and for whatever reason,
1:06:03
Speaker 3: nobody ever wants.
1:06:04
Speaker 4: To discuss that.
1:06:05
Speaker 3: No one wants to go back into that and maybe
1:06:08
Speaker 3: assess why this perception was the way it was, or
1:06:12
Speaker 3: why we so full wholeheartedly agree with it, and why
1:06:16
Speaker 3: when that's challenged, like people are up in arms about it.
1:06:25
Speaker 3: Paully Nichols lived a difficult, fucking hard life, like so
1:06:35
Speaker 3: many women in the Victorian era, which resulted in her
1:06:40
Speaker 3: being in the wrong place at the wrong time and
1:06:44
Speaker 3: being slaughtered for it. Because apparently destroying her life wasn't enough,
1:06:52
Speaker 3: the papers, the police Victorian Society decided to destroy her
1:06:57
Speaker 3: character as well. I'm not saying she was a perfect
1:06:59
Speaker 3: human by any stretch of the imagination. It doesn't mean
1:07:03
Speaker 3: that she deserves the label that was put upon her
1:07:05
Speaker 3: after death. And again, as I've said before and I'll
1:07:13
Speaker 3: say it again, I don't see why the lives of
1:07:17
Speaker 3: five women are deemed as less important than the mystery
1:07:22
Speaker 3: man who ended them, and so ends the tale of
1:07:27
Speaker 3: Polly Nichols. If you jeez, I hate saying this. If
1:07:31
Speaker 3: you liked this episode, please rate and review five stars.
1:07:37
Speaker 4: It's just you can say anything.
1:07:39
Speaker 3: It doesn't matter what you say in like Apple podcast, Spotify,
1:07:42
Speaker 3: anything like that. It doesn't matter what you say, Like,
1:07:45
Speaker 3: you could say anything. You could tell me your favorite recipe,
1:07:47
Speaker 3: or your favorite superhero, or your favorite woman in history
1:07:52
Speaker 3: you know, or why you don't care who Jack the
1:07:56
Speaker 3: Ripper was. You can say any of that, or if
1:07:59
Speaker 3: you want, you can just say nice things, compliments. I mean,
1:08:02
Speaker 3: I could say it's not about ego, but you know
1:08:06
Speaker 3: it's it wouldn't heart. I'm just saying. But yeah, you
1:08:10
Speaker 3: can follow me on social media as well. I am
1:08:12
Speaker 3: on Facebook, I'm on Instagram, I'm on TikTok, I'm on Twitter.
1:08:16
Speaker 3: All of the links are down below. If you haven't
1:08:18
Speaker 3: done the advertising survey, I know it's really annoying, but
1:08:21
Speaker 3: can you just it's in the show links.
1:08:23
Speaker 5: Go do that.
1:08:24
Speaker 3: If you're an advertiser and you want to advertise with
1:08:27
Speaker 3: me host ran Ads. Also link is in the description
1:08:31
Speaker 3: down below. Now back to the important serious stuff. Also,
1:08:36
Speaker 3: I am playing a gig this month in Letter Kenny.
1:08:39
Speaker 3: So if you are in Donegal or Ireland and you
1:08:41
Speaker 3: want to come see me, tickets run event right link
1:08:44
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1:08:47
Speaker 3: almost as if it's consistent. If you are, you know,
1:08:52
Speaker 3: in the middle of I need to get a map
1:08:55
Speaker 3: and look at it because I'm going to be in
1:08:57
Speaker 3: Kansas for the Heartland Pagan Festival. I'm going to be there.
1:09:02
Speaker 3: It's going to be awesome. I'm doing workshops and talks
1:09:05
Speaker 3: and a live episode woo hoo. Also there's going to
1:09:10
Speaker 3: be more stuff happening on Patreon again down below show notes.
1:09:15
Speaker 3: It's all there. I really need to upgrade my website,
1:09:18
Speaker 3: but finding time with everything else has been difficult.
1:09:21
Speaker 4: But I will get to it.
1:09:22
Speaker 3: I promise everyone.
1:09:23
Speaker 4: I promise.
1:09:24
Speaker 3: And my laptop has almost died three times while recording this.
1:09:29
Speaker 3: So Patreon dot com slash who did what now pod,
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Speaker 3: I'm fairly certain is it. It's in the description, and
1:09:38
Speaker 3: don't worry about it. Go like, but yes, I am
1:09:41
Speaker 3: in Kansas, And if you want to come to the
1:09:43
Speaker 3: Heartland Pagan Festival and see me, I am doing a
1:09:47
Speaker 3: giveaway for a ticket worth one hundred and fifty dollars.
1:09:51
Speaker 3: So all you have to do is go on to
1:09:54
Speaker 3: my Instagram. There is going to be a post on
1:09:58
Speaker 3: Monday the twentieth. I think it's going to be about
1:10:02
Speaker 3: nine am Eastern Standard time, just because I wanted to
1:10:07
Speaker 3: try and get it at a point of the day
1:10:08
Speaker 3: where a lot of people could could get to it
1:10:11
Speaker 3: and what I want you to do. I'm letting you
1:10:14
Speaker 3: know in advance because the people who listen to the podcast,
1:10:18
Speaker 3: you know you. I make this for you and I
1:10:21
Speaker 3: would love you to come see me and if you're
1:10:23
Speaker 3: in the area, it would be amazing. But yes, the
1:10:27
Speaker 3: post is going to go up Monday, nine am Eastern
1:10:30
Speaker 3: Standard time, and it's going to be the giveaway post.
1:10:33
Speaker 3: I'm letting you know in advance because you guys deserve
1:10:36
Speaker 3: to know first. So yes on Instagram nine am Monday,
1:10:41
Speaker 3: the twentieth of March. I forgot which month it was
1:10:45
Speaker 3: at nine am Eastern Standard time. And it's going to
1:10:48
Speaker 3: be like and comment. I mean you can see if
1:10:51
Speaker 3: you like. I wouldn't say no because it's always good
1:10:53
Speaker 3: for exposure, but like comment, and it's going to be
1:10:56
Speaker 3: like your favorite woman from history, but for a podcast followers,
1:11:02
Speaker 3: for my podcast followers, you're gonna get a double dip
1:11:05
Speaker 3: into the draw because anyone who adds the code word
1:11:10
Speaker 3: five into their sentence, they will be sent and they
1:11:15
Speaker 3: will get a double dip into the draw. So you're
1:11:16
Speaker 3: gonna get two chances to win. And I'm gonna say,
1:11:20
Speaker 3: you know, listeners of the podcast will know just to
1:11:24
Speaker 3: give you the extra opportunity because you deserve it, because
1:11:27
Speaker 3: I love you and you're amazing, and I suppose it should.
1:11:31
Speaker 3: I should actually get to the end of this because
1:11:33
Speaker 3: it's been over an hour of me ranting Yes, okay,
1:11:37
Speaker 3: So we have our recommendations, my recommendations because it's all me.
1:11:44
Speaker 3: So I'm gonna recommend reading, listening, watching for reading. For reading,
1:11:51
Speaker 3: we have Bad Bridget and it's based off a podcast
1:11:55
Speaker 3: that I haven't actually listened to. But the book is
1:11:59
Speaker 3: very good. It's about Irish diaspora and Irish immigrants over
1:12:02
Speaker 3: in America. Women by the Way, and it's it's fab
1:12:06
Speaker 3: because it is Women's History Month after all, and also
1:12:09
Speaker 3: Irish American Heritage Month. So go read on that. For listening,
1:12:14
Speaker 3: I am gonna recommend any of the Kaiser Chiefs album.
1:12:19
Speaker 3: I've been re listening to the Kaiser Chiefs and ah man,
1:12:22
Speaker 3: I've forgot how good learned My lesson Well was like
1:12:27
Speaker 3: I was, I couldn't sleep and I started listening to
1:12:29
Speaker 3: it with my earbuds in at like.
1:12:31
Speaker 4: Nine am this morning.
1:12:33
Speaker 3: Oh it was so good. Just everything about it just
1:12:39
Speaker 3: filled me with I don't know, not quite joy, but
1:12:43
Speaker 3: something good was very fun and for watching you know what,
1:12:49
Speaker 3: if you haven't seen everything everywhere all at once, which
1:12:53
Speaker 3: I saw on the cinema and then had to try
1:12:55
Speaker 3: and explain to a bunch of girls who were also
1:12:57
Speaker 3: in the cinema because they didn't get it, and I'm like,
1:13:00
Speaker 3: it's not a difficult concept, but that's not the point. Honestly,
1:13:04
Speaker 3: watch it. It's it's fucking amazing. It deserves all the
1:13:07
Speaker 3: wards at one. It's fabulous. And with that, I'm going
1:13:10
Speaker 3: to bid you adieu. So au revoir, Arios of waiters
1:13:16
Speaker 3: er my friends, Bye bye.