Hey, Tracy, before we get into the show today, do you want to do a little bit of thrilling housekeeping? I sure, do we have. We have adventures on the horizon. We do, we do. It's very exciting. Yeah. Do you want to tell everybody where we are going for our stuff? You missed in history class? Trip? This year? We are going to Barcelona. I feel like I said that like I was saying a new car bar Salona. I mean, it feels like getting a new car. It's very exciting. We're going from November second to the ninth this year, twenty twenty three, which should be an absolutely beautiful time. Yeah, if you live in the US, which I'm guessing most of the folks who might come with us would be, that does follow over election day. I'll just be voting ahead of time so that i can go to Spain. This is through Defined Destinations, which is the same company that has handled our previous year European tours. We're going to get to see so much good stuff. There's a nice balance of like personal time that's not scheduled and tours and exciting stuff that's scheduled. Yes, of course, we're going to Sagrada Familia. Yeah. That was really one of the big things that drew us to Barcelona because we talked about a lot of different places to go, some in Europe, some not. And I think since we did that episode on Goudy way back, yeah, years ago, like both of us have just been like, when can we see this in person? And the answer is later this year. Yeah, yes, And I mean there are a million other things we're doing. There are going to be some city tours of Barcelona. We are going to do some sangria and tap us tasting. There is piea in my future which I can eat my weight in piea. We're going to go to the Picasso Museum. There are tons of really really just like thrilling fun things that were going to do in addition to getting some some leisure time where we can just explore stuff on our own. Yeah yeah, or lie around and take a minute to just catch the breath. Let's right, breast, little little nap, Little nap, I'm a big fan of. On all of our previous trips, I usually try to find, oh a watering hole near our hotel and people are always welcome to join if they want to hang out and have cocktails in the evening and just kind of rest because we're usually all exhausted at the end of every day because there is so much to do and a lot of it. You know, we often do some walking. Even if we're not walking and we're like on a bus or something, it's still tiring. We're ready to just sit and hang out. So plenty of fun to come. If you are interested in want to learn more, you can go to Defined Destinations dot com slash Barcelona Dash twenty twenty three. You can also just go to Define Destinations dot com, click on their tours tab and go to the one that says Barcelona twenty twenty three and you'll get all of the scoop on our hire trip. Yeah, yeah, I am very excited about it. Me too. We're gonna have a great time, so we hope you're with us for it. Welcome to Stuff You Missed in History Class, a production of iHeartRadio. Hello, and welcome to the podcast. I'm Holly Fry and I'm Tracy V. Wilson. We are going to do a little bit of US theatrical history today. Augustine Day is often described as a foundational figure of the US theater, and that is not unwarranted. He wrote, adapted, and produced dozens of plays in the nineteenth century, like Heading Up into the Triple digits, and he created a theater company that produced a lot of stars of the New York stage in that time. And he also was a man who was undeniably, in my opinion, a workaholic by today's standards. But every account you read of him in his own time, all the contemporary accounts just talk about how very passionate he was. But he didn't seem to ever take a day off. And he may have worked himself to death, which we will talk about. Yet, unlike a lot of Holly's other picks recently, there it's no one's it's not a murder episode. Pretty benign, Yeah, so. John Augustin Daly was born in Plymouth, North Carolina, on July twentieth, eighteen thirty eight. His mother, Elizabeth Duffy Daly, was from an English family who had gone to Jamaica when Augustine's grandfather's military career took him there. His father, Captain Dennis Daly, was an Irish sailor who met Elizabeth when his ship stopped in Foulmouth, Jamaica. At the same time, that she was visiting friends there. The two of them sailed with members of Elizabeth's family to New York, where Elizabeth Dennis were married on July thirty first, eighteen thirty four. The newlyweds eventually then moved to Plymouth, North Carolina. That is where Dennis started a lumber business. After Augustine was born. They had another son, Joseph Francis, in eighteen forty Although Captain Daly had given up his life at sea to stay with the family, and he kind of managed ships that were going out with his lumber business. In September of eighteen forty one, a ship called the Union was in desperate need of a commander when the scheduled captain became too sick to make the voyage, and so Dennis Daily stepped in to cover the home. Captain Daily contracted an illness while he was at sea, and he died from it. Elizabeth moved with her sons at that point to Norfolk, Virginia, and there, according to an account written by her son Joseph, two years later, the two boys saw their first theatrical performances at the Avon Theater. They each saw a different play. Augustine's first experience was at a production of Rookwood, based on a novel by William Harrison Ainsworth. Augustine was instantly enthralled with the theater, and he immediately started devising his own productions, which he performed for the neighborhood children in the family Woodhouse and a bit of fortuitous happenstance, Elizabeth decided not long after Augustine had fallen in love with theater to move to New York City. She did this at the urging of her sister, Mary Ann Woodgate. Elizabeth took sewing jobs to support herself and her sons, and Augustine started taking clerking jobs anywhere that needed that kind of assistance, while also going to night school to finish his education. Augustine also started joining various amateur theatrical societies. His brother Joseph later recounted that Augustine was one of the few people in such circles who just had no interest in acting. He was far more fascinated with how theaters were run and how plays were staged. But Elizabeth, their mother, was not enthused about any of this, because theaters and the people who were worked in them were considered immoral and certain to run a young man into ruin. Joseph Daley referred to this time as quote the day of the talented Drunkard. But that reputation also led Augustine, as he matured and continued to follow a career in theater, to put rules in place for his own businesses and productions that did not allow many of the behaviors that had given the theatrical professions such a bad reputation for so many years. Just as he had back in Plymouth, Augustine started putting on backyard plays with his peers in New York. He wrote original material for them as early as age sixteen. By the time he was eighteen, his ideas had become grander. He wanted to rent a real theater and put on a play. The only space available to them was a small theater on the third floor of a building in Brooklyn, and there Augustine and his friends put on an evening's entertainment that consisted of a farce called Poor Piccadilly, as well as the second act of Macbeth, a comic song, and then two acts of one of the kids doing his version of a popular character known as mister Tootles. Apparently there were a handful of paying customers that went to that that evening. At the age of twenty one, Daily started writing as a drama critic. This came about in a kind of low key but straightforward manner. He wrote up several articles about things that had been happening around Brooklyn, and then he carried those articles in his pocket to the offices of the Sunday Courier. He walked into the editor's office and started talking to him. By the time he walked out, he had a new job as a general writer, which was a salaried position, and when the drama critic for the Courier left just several weeks later, Day just stepped into that position. It's interesting because he didn't really know any other journalists. He certainly didn't know any other drama critics. He was only twenty one and he was suddenly thrust into this group of professional colleagues who were a lot older than him and had no idea who he was or how he had suddenly become one of them. But he really rose to the challenge of the situation. His approach to writing reviews of theater in the city was direct. It was less flowery than his professional peers, and that difference in tone really felt very fresh to readers, and he became very popular. His insights were also pretty fresh, and soon he was writing reviews for multiple papers in New York. It's worth noting that this transition to a career in theater journalism was happening when that position came with some conflict. The relationship between theater and critic was often contentious, and theaters would pull advertisements from a paper if they thought a critic had been overly harsh in their assessment of a production. Daily was also working in this role when the eighteen sixty three Draft riots happened in New York. Previous hosts of the show, Sarah and Dablina, covered the Draft riots in twenty eleven, and then we re ran that episode as a Saturday Classic in July of twenty eighteen. At one point, Daley was mistaken for an abolitionist rabble rouser, which to a lot of men meant that he was part of the war's cause, and he was attacked by a mob but managed to get away from them. During these events, he was also warned that he might be mistaken for a draft officer because he was apparently dressed in a similar style. People told him he needed to keep a low profile, so it was more of a difficult time. Yeah, there's one story about how he got out of a building that he thought was going to be set on fire, and then the next guy he talked, he was like, and also, take off your coat on your way home, because everyone is going to come after you. And now he just wanted up his coat under his arm, and even though it was cold out, he just kind of toddled home in the cold with no outer garment on. Though Augustine had been right since he was a teenager and had put on some ambitious for his age and means style productions. In eighteen sixty two he had his first real success in professional theater with a play he wrote and stage titled Leah the Forsaken. This was an adaptation of an eighteen forty nine German language play by Salomon Hermann Mosenthal titled Debrah, and The plot features an Austrian magistrate's son who falls in love with a Jewish woman the titular Leah, and conflict unfolds as their relationship is jeered at by the people of the male protagonist community. It is in the style that was popular at the time, meaning it is a dramatic writing about a twenty seventeen staging of Daily's adaptation, New York Times critic Ken Jaworowski described the style of this play in this way, quote to be sure, Augustine Daily, the playwright was generous with the melodrama, characters deliver expositional soliloquies, and emotions run deep, and Sarah b The play made its first run in Boston, Massachusetts, in December of eighteen sixty two, before moving on to the New York stage in January of the following year. The role of Leo was played by an actor named Kate Bateman, who had been a stage actor since she was a child. After New York, the play went on to London and ran there for several years. While critics were not exactly in love with the show, it was obviously extremely popular and one of the roles that Bateman was associated with for her entire career. She even wrote a memoir about playing Leah. But though Daily was very friendly with Kate Bateman, her father, who was also her manager, was really another matter. The two of them quarreled about the way money from the production was split. This escalated to the point that Hezekiah Bateman sued Daily over it. Augustine won the court battle, though, yeah, there are lots of court battles. We'll talk about some others, but litigious life. The success of Leah the Versaken meant that Daily became sought after to create more plays, and he had already slowed his output of journalism work, and over time he ended up stepping away from it entirely so that he could pursue a theatrical career full time. But he did write as a theater critic for about eight to ten years. The Olympic Theater asked Daily to provide a comedy script for production, and for that he adapted Victor Yann Sautdu's play Le Papillon that became Taming the Butterfly, which opened in eighteen sixty four. And coming up, we're going to talk about the original play that really put Daily on the map as a playwright, But first we will pause for a word from our sponsors. Augustine Daily premiered his play Under the Gas Light in eighteen sixty seven, and it became one of his most lasting accomplishments. This play makes his realism and melodrama to tell stories around New York, and the play's action is set in motion due to a socialite's life seeming to fall apart in rapid fashion. Her betrothed finds out that his beloved is not a high society girl by birth, but a woman born in poverty who was adopted by wealthy parents. That secret was exposed in the play by a mysterious figure who appeared in all black and turned out to be from her past. So obviously this entire thing is pretty melodramatic by today's standards. As the young woman runs away, distraught that the truth of her origin has caused so much pain, she sets off a chain of events that plays out in the streets of New York, encountering a variety of characters who represent many social classes and moral viewpoints. It's part morality play, part social commentary, and it was completely unique among the plays of the day. You have probably seen that very common trope in older films or even modern pieces satirizing them of a mustache twirling villain tying someone to a railroad track and then that person being rescued at the very end. You can thank Augustin Daly for that and it appeared in Under the Gaslight first, and Under the Gaslight was very very popular, so much so that it invited imitation, but Daily was not having it. In eighteen sixty eight, the year after the play premiered, another play titled After Dark, used the exact same convention of a person tied to the train tracks by a villain with a daring last minute escape, and Daly, who had copyrighted his play, filed an injunction against the managers of the theater where After Dark was running, wanted to prevent performance of the play. The filing against After Dark was reported in the New York Times, and the write up is a pretty charming description of the scene quote. The particular cause of such success Daily's play is what was commonly called after such public performance, the railroad scene, at the end of the third scene in the fourth act, in which one of the characters is represented as secured by another and laid helpless upon the rails of a railroad track in such manner and with the presumed intent that the railroad train momentarily expected shall run him down and kill him, and just at the moment when such a fate seems inevitable, another of the characters contrives to reach the intended victim and to drag him from the track as the train rushes in and passes over the spot that this incident and scene was entirely novel and unlike any dramatic incident known to have been heretofore represented on any stage or invented by any author before the plaintiff so composed, produced and represented the same. Yeah. The interesting note in that is that Daily his original version is actually kind of the opposite of the way we often have seen it. The heroine is not the one that is tied to the tracks. It is the hero, and the heroine is the one who saves him. Normally, you see the woman in distress on the train tracks in a lot of films, but that was not how Daily wrote it. Daily incidentally won his case, and it was the first of many legal battles that he would have while ardently protecting his copyrights. He did not shy away from a lawsuit, and even when people in distant states tried to stage one of his plays without paying a royalty, or thought they might be able to sneak a scene into one of their productions that borrowed heavily from Daily's work, Augustine Daly always seemed to hear about it, and he always took legal action to stop it. Daly was still on an upswing of success when he married Mary Duff on January ninth, eighteen sixty nine. Mary was the daughter of a business peer of Daily's, John A. Duff. John Duff's Olympic Theater was the most successful and profitable entertainment venue in New York at the time. The couple lived at two fourteen West twenty fifth Street, where Augustine's brother and mother also lived. The following year, the couple welcomed their first son, Leonard, and they had a second son named Francis Augustine, who went by Austin. In eighteen seventy three, two years after Under the Gas Light became popular, Augustine Daily formed his own theater company, the Fifth Avenue Theater on twenty fourth Street. This theater building had its own rich and sometimes sortid history. It started as an opera house and then became a burlesque theater. After a murder in which a show manager killed a colleague, the theater shut down for a year. It reopened as a venue for French operettas before Daily took it over and for almost four years, from eighteen sixty nine to eighteen seventy three, Daily staged his productions there, but on New Year's Day of eighteen seventy three, it burned down. While that level of loss would be deeply stressful, Daily seemed to manage all right. Three weeks later he opened his theater company again at a new location he had leased. He also called this Daily's Fifth Avenue Theater. Daily's theater company was really well known for its core of actors. He would select actors and develop them rather than chasing after the big names, and a lot of successful stage careers started with Daily. He didn't only cast to type, as most theaters did, with actors playing one sort of character all the time. He urged actors to develop a range that could include everything from broad comedy to serious drama. One of the plays that Augustine Daily produced before the first Fifth Avenue Theater burned was a show that he wrote titled Horizon, an original drama of contemporary New Society and of American Frontier perrols. This play is considered one of the early instances of literature that focuses on stories and themes about North America and the United States rather than Europeans, but it also, unsurprisingly has a lot of very awkward and outdated language about indigenous people. He also wrote Divorce in eighteen seventy one that opened on September fifth of that year, and it had a successful two hundred night run. The play unpacks the topic of divorce, which was becoming more and more common in the nineteenth century. Playwrights in Europe had been using the topic for dramatic purposes already, but Daily's play is considered the first US play to cover it. Daily's script was kind of didactic, showing that selfishness is often the seed that leads to discord in a marriage. In eighteen seventy seven, Daily was continuing to find new ways to draw crowds with his skill as a writer, his ability to shepherd talent into stardom, and sometimes by simply innovating the space that he staged his work. In that year, air conditioning was installed in the Fifth, a new theater on West twenty eighth Street, making it the first US theater to offer that luxury. In eighteen seventy nine, Daily opened another Daily's Theater location in New York City. This time at Broadway in thirtieth Once the Second New York Theater was opened, Daily found he couldn't keep cranking out original works and managed all of his other businesses, so he started to focus exclusively on adaptations, which he was quite good at. He adapted numerous works from French and German literature into stage place. Late in eighteen eighty four, Daily, who professionally was experiencing so much prosperity, suffered a huge personal loss. His sons, Leonard and Austin, who were fourteen and eleven at the time, both developed dipsyria during the Christmas season, and in the new year things only got worse. On January fifth, eighteen eighty five, the two boys died within half an hour of each other. Daily's brother, Joseph, described his brother as to help any and every child he encountered. After the deaths of his sons, he wrote quote, he seemed now to behold in all the young, and especially in little wanderers his own. I have seen him stop a crying child in the street to inquire its trouble, take it by the hand, and restore it to its home. In countless ways he sought to help the helpless because of the prominence of Daily's name in New York, condolences really flooded into the family. But though he grieved very deeply, Daily was right back to work, probably finding some comfort in the familiar and busy pace of the theater. Coming up, we are going to talk about Daily's theatrical adventures into Europe, but before we do that, we will pause for a little sponsor break. Beginning in the eighteen eighties, Augustine Daily took his style of theater historians have described as really setting the standard for the US stage, and he toured Europe with it. When Daily's Troop debuted, she would and she would not. In England, it was a huge success. That play is a comedy that was written in seventeen o two by a popular entertainer of the day named Collie Sibber. It was merely the start of several years of tours that took Daily in his company to Germany and France, as well as England. There is a certain fun turnabout in this success of his tours, as Daily made his name in the US theater scene, combining his adaptation of European plays with his original work, building on the traditions of the countries that he eventually toured while also creating something new. Joseph Daily wrote of his brother's earliest tours in Germany, quote, it was to be expected that the American manner and speech would be found strange, and that the transformation of German into foreign types might occasion discontent. The Americans were, in fact allowed to be fascinating, but declared not true to life. In eighteen eighty eight, Daily and his company of performers, fresh off of a European tour, prepared for a new season. The play that opened the season was titled Lottery of Love, and it was an adaptation of a French play titled at a Suprise de Divorce. Daily took the opportunity of introducing two new actors to his New York audiences with the anticipated play. Those were Sarah Chalmers and Kitty Cheetham. Sarah Chalmers was of particular interest to Daily's regulars. She had never been on stage anywhere before. Yeah, it was kind of like saying, here is the next great star, and you can see her first performance. The New York Times wrote about the anticipation of this new season, quote, the opening night will be as it always is at Daily's an occasion of note in society circles. Every seat in the house had been ordered long before mister Daily returned, and the orders called for more places that could be furnished in two such theaters. The old and only save rule of filling the orders according to the date of their receipt has been followed, but this will necessarily disappoint a great many whom the management would have been pleased to gratify. The singular feature of all this is that until the announcement now made, the general public has had no actual knowledge of what mister Daily intended to produce for his opening play, so that purchasers of seats had bought blindly, knowing nothing of what they were to see that season. Daily also introduced a subscription plan for Tuesday night plays. This was a popular trend in Paris in the eighteen eighties, and Daily adopted it for New York audiences, so he had what was essentially a season ticket audience for nights that would normally be slow. It also let him stage encore performances of audience favorites without having to work them into the regular season schedule. The subscription also gave participants a chance at first class seats at the day views of new shows. The subscription plan was not the only way that Daily plussed up the eighteen eighty eight season. He had taken advantage of the theater having no shows to quietly renovate it to be more luxurious than ever. There was new carpet, new art and better sound baffling, as well as plush new seats and an elaborately carved precnium arch. According to the paper, Daily had also taken control of a building behind the theater which was connected to it, to build out an entirely new set of dressing rooms for his players. They're right up in the Times concluded quote, Daily's theater when it reopens Tuesday will be one of the best appointed houses in the world. There's a cute note to that, which is it write ups about this renovation which was going on while Daily and the Trooper in Europe was so quiet. No one in the neighborhood even knew it was happening. And I don't know why that was such a point of like pride for everyone, but it's very charming. In eighteen ninety three, Augustine Daily opened another theater, this time in London, England. Daily's theater, which was situated off Leicester Square, opened on June twenty seventh, eighteen ninety three. It had been custom built for his company, which was different from his New York theaters, which he had acquired already existing. But even though Daily had been really successful in New York running theaters, he just did not have the same good fortune in his Cranbourne Street location. After a pretty good initial run with Taming of the Shrew and several other Shakespearean plays, Daily had companies from Europe play there before he returned with his own staging of an adaptation called The Railroad of Love. That show didn't do especially well, and neither did the next two Shakespearean plays. In eighteen ninety five, he turned the theater over to George Edwards, a British producer who found great success mounting musicals there. The theater itself retained Daily's name, though that had to have been painful for him to some degree, and an account written after his death, Daily's relationship with his theaters was described this way. Quote his theaters he loved his personalities. For one, the Fifth Avenue, he had Oliver Wendell Holmes pen and address for the opening On another occasion, for the opening season of eighteen ninety two, he tried to procure the services of Eugene Field for a poetic address. Here his sentiment came in again. Yeah, he clearly loved those buildings. He would always talk about his houses being his home, his houses meaning theater houses. So to have one that just didn't work out after he had gone to the trouble to have it custom built probably felt very jarring. On May thirteenth of eighteen eighty nine, Augustine and Mary set sail for Europe, where the Daily Company was once again set to give a tour, and where Daily was going to settle a financial dispute with George Edwards over the split of revenue from the theater. After that transition, Augustine felt quite ill on the voyage, but he wired his brother on May twenty ninth, quote much better, all danger over. On June fifth, papers reported that he was just fine. The following ran in the New York Times on June sixth, having been wired from London, quote, Augustine Day has quite recovered from his recent sickness and has gone to Paris for a few days with Missus Daly and Missus Ada. Rhian. He will return on June twentieth for the hearing of the case against George Edwards, resulting from a dispute regarding sharing the profits of Daily's London Theater, of which Edwards is the owner and Daily the Lessee. Augustine wrote his brother a letter dated May thirtieth, in which he described the stress of the theater season launch and his impending legal hearings and quote financial anxieties having taken its toll on his health. He described being very ill even before he boarded the ship bound for London, and how a weekend to the trip he had a very real crisis, he wrote, quote A combination of pneumonia and brain fever were the foes I was fighting, and thank god, by Thursday I had conquered both. He assured his brother Joseph that the following winter he was going to quote let up a bit on the strain and devote more time to leisure. But by the time that letter arrived, Augustine Daly was dead. His brother and mother had already received a telegram that he had died on June seventh of eighteen eighty nine, at the age of sixty one in the Continental Hotel in Paris, he had felt much better, and he had traveled to France, as he said, with his wife and actor Ada Rhian, who started a lot of his productions, and after getting to the Continental Dally just got much worse. And on the seventh, as his wife, Mary and Aida had lunch in the suite, he called out from the bedroom that he needed a doctor, but he died before and he could arrive. Mary Daly had Augustine's body shipped back to New York for a funeral at Saint Patrick's Cathedral on June eighteenth. One of the biggest impacts Daily had on literature and theater in the US was not through his own works, but through his support an encouragement of other artists. Bronson Howard, who was a very successful playwright in the late nineteenth century, had three of his four first plays produced by Daily before any other theater. Daily is also credited with encouraging Mark Twain to start writing for the theater, as well as short story author Bret Hart. Yeah, there are a lot of other people that he really encouraged to turn their pens to playwriting, which is one of the reasons he's considered so influential and his obituary read in part quote, Never a jester, yet a maker, and a purveyor of the most delightful comedy. Al was a man of few words, yet singularly successful in the development of the most human and social of the arts. Never popular in the common sense, yet always respected and admired by his foes and opponents. It seems he died much too soon, for his vitality had not yet begun to diminish perceptibly, and the shock of his sudden going has been keenly felt by thousands who knew him only by name, Oh Augustin Day. Some of those ones. We don't hear his name very often, but he was like it for a long time. Just an interesting, interesting dude. Give some listener mail for us, Oh I do. It's a listener mail that solves a mystery. Oh good. It is from our listener, Carrie, who wrote Chicken and Dumblings with lots of exclamation points. Carrie writes, Holly, I am a similar experience with chicken and dumplings. What you are describing from your childhood is very similar to that of my childhood, except my mom slash Grandma would cook, slash steam the dough on top of the Chicken. I have always wondered why my Chicken and Dumblings was so much different than anyone else's. I asked my mom, and she said her mom was not one to make up recipe, so she decided to check my grandma's old cookbooks. Lo and behold, my mom found a recipe in Betty Crocker that she thinks is where it came from. It was so exciting for me to finally have an answer to my family's mystery. Perhaps your recipe has similar origins. I am attaching a few photos to show you said recipe. You might remember I wrote once years ago to tell you how my baby loved hollies laugh, but she would always laugh in response to it. That baby is turning six on Sunday. Happy birthday, Winnifred. Also, we got a new puppy this winter, so I'm including a photo of five month old Daisy, a very playful cavapoo. Thank you both for all you do for the podcast. I hope you can make it to Portland, Oregon someday soon for a live show. Me too, Okay, Carrie, thank you, because I felt like I was losing my mind because no one else made it this way, but she scanned in bless her she either scanner took variod photographs this Betty Crocker cookbook from nineteen seventy six, and there is a photograph of the chicken and dumblings as described. They look exactly like the ones that I grew up eating. I really thought my mom had just misinterpreted a recipe. It was just like, I'm not putting broth in here. Yeah, I'm pretty sure that we have that exact Betty Crocker cookbook in our home somewhere. Problem. I mean, it was very standard, Yeah, homes in the US. Yeah, Like, I think we have one that belonged to someone. And then I'd like, I'm I for sure remember it in my parents' house when I was growing up. Amazing. Also, yes, happy birthday to Winnifred. I hope it was wonderful. By now, the birthday would have been quite a few weeks back, since we were recording a little ahead of the game. But that is a very cute dog. I would be in danger around that dog because I would give whenever it wanted, even if it were something very dangerous. Again, I cannot thank you enough. This would have made me tell a fib that I thought my mom was just making stuff out because she sometimes would nisum, But now I know no. Betty Crocker, may mystery solved. If you would like to write to us, you could do so at History Podcast at iHeartRadio dot com. You can also find us on social media as Missed in History pretty much everywhere, and if you haven't subscribed, you can do that on the iHeartRadio app or wherever you listen to your favorite shows. Stuff you Missed in History Class is a production of iHeartRadio. For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows.

Hey, Tracy, before we get into the show today, do you want to do a little bit of thrilling housekeeping? I sure, do we have. We have adventures on the horizon. We do, we do. It's very exciting. Yeah. Do you want to tell everybody where we are going for our stuff? You missed in history class? Trip? This year? We are going to Barcelona. I feel like I said that like I was saying a new car bar Salona. I mean, it feels like getting a new car. It's very exciting. We're going from November second to the ninth this year, twenty twenty three, which should be an absolutely beautiful time. Yeah, if you live in the US, which I'm guessing most of the folks who might come with us would be, that does follow over election day. I'll just be voting ahead of time so that i can go to Spain. This is through Defined Destinations, which is the same company that has handled our previous year European tours. We're going to get to see so much good stuff. There's a nice balance of like personal time that's not scheduled and tours and exciting stuff that's scheduled. Yes, of course, we're going to Sagrada Familia. Yeah. That was really one of the big things that drew us to Barcelona because we talked about a lot of different places to go, some in Europe, some not. And I think since we did that episode on Goudy way back, yeah, years ago, like both of us have just been like, when can we see this in person? And the answer is later this year. Yeah, yes, And I mean there are a million other things we're doing. There are going to be some city tours of Barcelona. We are going to do some sangria and tap us tasting. There is piea in my future which I can eat my weight in piea. We're going to go to the Picasso Museum. There are tons of really really just like thrilling fun things that were going to do in addition to getting some some leisure time where we can just explore stuff on our own. Yeah yeah, or lie around and take a minute to just catch the breath. Let's right, breast, little little nap, Little nap, I'm a big fan of. On all of our previous trips, I usually try to find, oh a watering hole near our hotel and people are always welcome to join if they want to hang out and have cocktails in the evening and just kind of rest because we're usually all exhausted at the end of every day because there is so much to do and a lot of it. You know, we often do some walking. Even if we're not walking and we're like on a bus or something, it's still tiring. We're ready to just sit and hang out. So plenty of fun to come. If you are interested in want to learn more, you can go to Defined Destinations dot com slash Barcelona Dash twenty twenty three. You can also just go to Define Destinations dot com, click on their tours tab and go to the one that says Barcelona twenty twenty three and you'll get all of the scoop on our hire trip. Yeah, yeah, I am very excited about it. Me too. We're gonna have a great time, so we hope you're with us for it. Welcome to Stuff You Missed in History Class, a production of iHeartRadio. Hello, and welcome to the podcast. I'm Holly Fry and I'm Tracy V. Wilson. We are going to do a little bit of US theatrical history today. Augustine Day is often described as a foundational figure of the US theater, and that is not unwarranted. He wrote, adapted, and produced dozens of plays in the nineteenth century, like Heading Up into the Triple digits, and he created a theater company that produced a lot of stars of the New York stage in that time. And he also was a man who was undeniably, in my opinion, a workaholic by today's standards. But every account you read of him in his own time, all the contemporary accounts just talk about how very passionate he was. But he didn't seem to ever take a day off. And he may have worked himself to death, which we will talk about. Yet, unlike a lot of Holly's other picks recently, there it's no one's it's not a murder episode. Pretty benign, Yeah, so. John Augustin Daly was born in Plymouth, North Carolina, on July twentieth, eighteen thirty eight. His mother, Elizabeth Duffy Daly, was from an English family who had gone to Jamaica when Augustine's grandfather's military career took him there. His father, Captain Dennis Daly, was an Irish sailor who met Elizabeth when his ship stopped in Foulmouth, Jamaica. At the same time, that she was visiting friends there. The two of them sailed with members of Elizabeth's family to New York, where Elizabeth Dennis were married on July thirty first, eighteen thirty four. The newlyweds eventually then moved to Plymouth, North Carolina. That is where Dennis started a lumber business. After Augustine was born. They had another son, Joseph Francis, in eighteen forty Although Captain Daly had given up his life at sea to stay with the family, and he kind of managed ships that were going out with his lumber business. In September of eighteen forty one, a ship called the Union was in desperate need of a commander when the scheduled captain became too sick to make the voyage, and so Dennis Daily stepped in to cover the home. Captain Daily contracted an illness while he was at sea, and he died from it. Elizabeth moved with her sons at that point to Norfolk, Virginia, and there, according to an account written by her son Joseph, two years later, the two boys saw their first theatrical performances at the Avon Theater. They each saw a different play. Augustine's first experience was at a production of Rookwood, based on a novel by William Harrison Ainsworth. Augustine was instantly enthralled with the theater, and he immediately started devising his own productions, which he performed for the neighborhood children in the family Woodhouse and a bit of fortuitous happenstance, Elizabeth decided not long after Augustine had fallen in love with theater to move to New York City. She did this at the urging of her sister, Mary Ann Woodgate. Elizabeth took sewing jobs to support herself and her sons, and Augustine started taking clerking jobs anywhere that needed that kind of assistance, while also going to night school to finish his education. Augustine also started joining various amateur theatrical societies. His brother Joseph later recounted that Augustine was one of the few people in such circles who just had no interest in acting. He was far more fascinated with how theaters were run and how plays were staged. But Elizabeth, their mother, was not enthused about any of this, because theaters and the people who were worked in them were considered immoral and certain to run a young man into ruin. Joseph Daley referred to this time as quote the day of the talented Drunkard. But that reputation also led Augustine, as he matured and continued to follow a career in theater, to put rules in place for his own businesses and productions that did not allow many of the behaviors that had given the theatrical professions such a bad reputation for so many years. Just as he had back in Plymouth, Augustine started putting on backyard plays with his peers in New York. He wrote original material for them as early as age sixteen. By the time he was eighteen, his ideas had become grander. He wanted to rent a real theater and put on a play. The only space available to them was a small theater on the third floor of a building in Brooklyn, and there Augustine and his friends put on an evening's entertainment that consisted of a farce called Poor Piccadilly, as well as the second act of Macbeth, a comic song, and then two acts of one of the kids doing his version of a popular character known as mister Tootles. Apparently there were a handful of paying customers that went to that that evening. At the age of twenty one, Daily started writing as a drama critic. This came about in a kind of low key but straightforward manner. He wrote up several articles about things that had been happening around Brooklyn, and then he carried those articles in his pocket to the offices of the Sunday Courier. He walked into the editor's office and started talking to him. By the time he walked out, he had a new job as a general writer, which was a salaried position, and when the drama critic for the Courier left just several weeks later, Day just stepped into that position. It's interesting because he didn't really know any other journalists. He certainly didn't know any other drama critics. He was only twenty one and he was suddenly thrust into this group of professional colleagues who were a lot older than him and had no idea who he was or how he had suddenly become one of them. But he really rose to the challenge of the situation. His approach to writing reviews of theater in the city was direct. It was less flowery than his professional peers, and that difference in tone really felt very fresh to readers, and he became very popular. His insights were also pretty fresh, and soon he was writing reviews for multiple papers in New York. It's worth noting that this transition to a career in theater journalism was happening when that position came with some conflict. The relationship between theater and critic was often contentious, and theaters would pull advertisements from a paper if they thought a critic had been overly harsh in their assessment of a production. Daily was also working in this role when the eighteen sixty three Draft riots happened in New York. Previous hosts of the show, Sarah and Dablina, covered the Draft riots in twenty eleven, and then we re ran that episode as a Saturday Classic in July of twenty eighteen. At one point, Daley was mistaken for an abolitionist rabble rouser, which to a lot of men meant that he was part of the war's cause, and he was attacked by a mob but managed to get away from them. During these events, he was also warned that he might be mistaken for a draft officer because he was apparently dressed in a similar style. People told him he needed to keep a low profile, so it was more of a difficult time. Yeah, there's one story about how he got out of a building that he thought was going to be set on fire, and then the next guy he talked, he was like, and also, take off your coat on your way home, because everyone is going to come after you. And now he just wanted up his coat under his arm, and even though it was cold out, he just kind of toddled home in the cold with no outer garment on. Though Augustine had been right since he was a teenager and had put on some ambitious for his age and means style productions. In eighteen sixty two he had his first real success in professional theater with a play he wrote and stage titled Leah the Forsaken. This was an adaptation of an eighteen forty nine German language play by Salomon Hermann Mosenthal titled Debrah, and The plot features an Austrian magistrate's son who falls in love with a Jewish woman the titular Leah, and conflict unfolds as their relationship is jeered at by the people of the male protagonist community. It is in the style that was popular at the time, meaning it is a dramatic writing about a twenty seventeen staging of Daily's adaptation, New York Times critic Ken Jaworowski described the style of this play in this way, quote to be sure, Augustine Daily, the playwright was generous with the melodrama, characters deliver expositional soliloquies, and emotions run deep, and Sarah b The play made its first run in Boston, Massachusetts, in December of eighteen sixty two, before moving on to the New York stage in January of the following year. The role of Leo was played by an actor named Kate Bateman, who had been a stage actor since she was a child. After New York, the play went on to London and ran there for several years. While critics were not exactly in love with the show, it was obviously extremely popular and one of the roles that Bateman was associated with for her entire career. She even wrote a memoir about playing Leah. But though Daily was very friendly with Kate Bateman, her father, who was also her manager, was really another matter. The two of them quarreled about the way money from the production was split. This escalated to the point that Hezekiah Bateman sued Daily over it. Augustine won the court battle, though, yeah, there are lots of court battles. We'll talk about some others, but litigious life. The success of Leah the Versaken meant that Daily became sought after to create more plays, and he had already slowed his output of journalism work, and over time he ended up stepping away from it entirely so that he could pursue a theatrical career full time. But he did write as a theater critic for about eight to ten years. The Olympic Theater asked Daily to provide a comedy script for production, and for that he adapted Victor Yann Sautdu's play Le Papillon that became Taming the Butterfly, which opened in eighteen sixty four. And coming up, we're going to talk about the original play that really put Daily on the map as a playwright, But first we will pause for a word from our sponsors. Augustine Daily premiered his play Under the Gas Light in eighteen sixty seven, and it became one of his most lasting accomplishments. This play makes his realism and melodrama to tell stories around New York, and the play's action is set in motion due to a socialite's life seeming to fall apart in rapid fashion. Her betrothed finds out that his beloved is not a high society girl by birth, but a woman born in poverty who was adopted by wealthy parents. That secret was exposed in the play by a mysterious figure who appeared in all black and turned out to be from her past. So obviously this entire thing is pretty melodramatic by today's standards. As the young woman runs away, distraught that the truth of her origin has caused so much pain, she sets off a chain of events that plays out in the streets of New York, encountering a variety of characters who represent many social classes and moral viewpoints. It's part morality play, part social commentary, and it was completely unique among the plays of the day. You have probably seen that very common trope in older films or even modern pieces satirizing them of a mustache twirling villain tying someone to a railroad track and then that person being rescued at the very end. You can thank Augustin Daly for that and it appeared in Under the Gaslight first, and Under the Gaslight was very very popular, so much so that it invited imitation, but Daily was not having it. In eighteen sixty eight, the year after the play premiered, another play titled After Dark, used the exact same convention of a person tied to the train tracks by a villain with a daring last minute escape, and Daly, who had copyrighted his play, filed an injunction against the managers of the theater where After Dark was running, wanted to prevent performance of the play. The filing against After Dark was reported in the New York Times, and the write up is a pretty charming description of the scene quote. The particular cause of such success Daily's play is what was commonly called after such public performance, the railroad scene, at the end of the third scene in the fourth act, in which one of the characters is represented as secured by another and laid helpless upon the rails of a railroad track in such manner and with the presumed intent that the railroad train momentarily expected shall run him down and kill him, and just at the moment when such a fate seems inevitable, another of the characters contrives to reach the intended victim and to drag him from the track as the train rushes in and passes over the spot that this incident and scene was entirely novel and unlike any dramatic incident known to have been heretofore represented on any stage or invented by any author before the plaintiff so composed, produced and represented the same. Yeah. The interesting note in that is that Daily his original version is actually kind of the opposite of the way we often have seen it. The heroine is not the one that is tied to the tracks. It is the hero, and the heroine is the one who saves him. Normally, you see the woman in distress on the train tracks in a lot of films, but that was not how Daily wrote it. Daily incidentally won his case, and it was the first of many legal battles that he would have while ardently protecting his copyrights. He did not shy away from a lawsuit, and even when people in distant states tried to stage one of his plays without paying a royalty, or thought they might be able to sneak a scene into one of their productions that borrowed heavily from Daily's work, Augustine Daly always seemed to hear about it, and he always took legal action to stop it. Daly was still on an upswing of success when he married Mary Duff on January ninth, eighteen sixty nine. Mary was the daughter of a business peer of Daily's, John A. Duff. John Duff's Olympic Theater was the most successful and profitable entertainment venue in New York at the time. The couple lived at two fourteen West twenty fifth Street, where Augustine's brother and mother also lived. The following year, the couple welcomed their first son, Leonard, and they had a second son named Francis Augustine, who went by Austin. In eighteen seventy three, two years after Under the Gas Light became popular, Augustine Daily formed his own theater company, the Fifth Avenue Theater on twenty fourth Street. This theater building had its own rich and sometimes sortid history. It started as an opera house and then became a burlesque theater. After a murder in which a show manager killed a colleague, the theater shut down for a year. It reopened as a venue for French operettas before Daily took it over and for almost four years, from eighteen sixty nine to eighteen seventy three, Daily staged his productions there, but on New Year's Day of eighteen seventy three, it burned down. While that level of loss would be deeply stressful, Daily seemed to manage all right. Three weeks later he opened his theater company again at a new location he had leased. He also called this Daily's Fifth Avenue Theater. Daily's theater company was really well known for its core of actors. He would select actors and develop them rather than chasing after the big names, and a lot of successful stage careers started with Daily. He didn't only cast to type, as most theaters did, with actors playing one sort of character all the time. He urged actors to develop a range that could include everything from broad comedy to serious drama. One of the plays that Augustine Daily produced before the first Fifth Avenue Theater burned was a show that he wrote titled Horizon, an original drama of contemporary New Society and of American Frontier perrols. This play is considered one of the early instances of literature that focuses on stories and themes about North America and the United States rather than Europeans, but it also, unsurprisingly has a lot of very awkward and outdated language about indigenous people. He also wrote Divorce in eighteen seventy one that opened on September fifth of that year, and it had a successful two hundred night run. The play unpacks the topic of divorce, which was becoming more and more common in the nineteenth century. Playwrights in Europe had been using the topic for dramatic purposes already, but Daily's play is considered the first US play to cover it. Daily's script was kind of didactic, showing that selfishness is often the seed that leads to discord in a marriage. In eighteen seventy seven, Daily was continuing to find new ways to draw crowds with his skill as a writer, his ability to shepherd talent into stardom, and sometimes by simply innovating the space that he staged his work. In that year, air conditioning was installed in the Fifth, a new theater on West twenty eighth Street, making it the first US theater to offer that luxury. In eighteen seventy nine, Daily opened another Daily's Theater location in New York City. This time at Broadway in thirtieth Once the Second New York Theater was opened, Daily found he couldn't keep cranking out original works and managed all of his other businesses, so he started to focus exclusively on adaptations, which he was quite good at. He adapted numerous works from French and German literature into stage place. Late in eighteen eighty four, Daily, who professionally was experiencing so much prosperity, suffered a huge personal loss. His sons, Leonard and Austin, who were fourteen and eleven at the time, both developed dipsyria during the Christmas season, and in the new year things only got worse. On January fifth, eighteen eighty five, the two boys died within half an hour of each other. Daily's brother, Joseph, described his brother as to help any and every child he encountered. After the deaths of his sons, he wrote quote, he seemed now to behold in all the young, and especially in little wanderers his own. I have seen him stop a crying child in the street to inquire its trouble, take it by the hand, and restore it to its home. In countless ways he sought to help the helpless because of the prominence of Daily's name in New York, condolences really flooded into the family. But though he grieved very deeply, Daily was right back to work, probably finding some comfort in the familiar and busy pace of the theater. Coming up, we are going to talk about Daily's theatrical adventures into Europe, but before we do that, we will pause for a little sponsor break. Beginning in the eighteen eighties, Augustine Daily took his style of theater historians have described as really setting the standard for the US stage, and he toured Europe with it. When Daily's Troop debuted, she would and she would not. In England, it was a huge success. That play is a comedy that was written in seventeen o two by a popular entertainer of the day named Collie Sibber. It was merely the start of several years of tours that took Daily in his company to Germany and France, as well as England. There is a certain fun turnabout in this success of his tours, as Daily made his name in the US theater scene, combining his adaptation of European plays with his original work, building on the traditions of the countries that he eventually toured while also creating something new. Joseph Daily wrote of his brother's earliest tours in Germany, quote, it was to be expected that the American manner and speech would be found strange, and that the transformation of German into foreign types might occasion discontent. The Americans were, in fact allowed to be fascinating, but declared not true to life. In eighteen eighty eight, Daily and his company of performers, fresh off of a European tour, prepared for a new season. The play that opened the season was titled Lottery of Love, and it was an adaptation of a French play titled at a Suprise de Divorce. Daily took the opportunity of introducing two new actors to his New York audiences with the anticipated play. Those were Sarah Chalmers and Kitty Cheetham. Sarah Chalmers was of particular interest to Daily's regulars. She had never been on stage anywhere before. Yeah, it was kind of like saying, here is the next great star, and you can see her first performance. The New York Times wrote about the anticipation of this new season, quote, the opening night will be as it always is at Daily's an occasion of note in society circles. Every seat in the house had been ordered long before mister Daily returned, and the orders called for more places that could be furnished in two such theaters. The old and only save rule of filling the orders according to the date of their receipt has been followed, but this will necessarily disappoint a great many whom the management would have been pleased to gratify. The singular feature of all this is that until the announcement now made, the general public has had no actual knowledge of what mister Daily intended to produce for his opening play, so that purchasers of seats had bought blindly, knowing nothing of what they were to see that season. Daily also introduced a subscription plan for Tuesday night plays. This was a popular trend in Paris in the eighteen eighties, and Daily adopted it for New York audiences, so he had what was essentially a season ticket audience for nights that would normally be slow. It also let him stage encore performances of audience favorites without having to work them into the regular season schedule. The subscription also gave participants a chance at first class seats at the day views of new shows. The subscription plan was not the only way that Daily plussed up the eighteen eighty eight season. He had taken advantage of the theater having no shows to quietly renovate it to be more luxurious than ever. There was new carpet, new art and better sound baffling, as well as plush new seats and an elaborately carved precnium arch. According to the paper, Daily had also taken control of a building behind the theater which was connected to it, to build out an entirely new set of dressing rooms for his players. They're right up in the Times concluded quote, Daily's theater when it reopens Tuesday will be one of the best appointed houses in the world. There's a cute note to that, which is it write ups about this renovation which was going on while Daily and the Trooper in Europe was so quiet. No one in the neighborhood even knew it was happening. And I don't know why that was such a point of like pride for everyone, but it's very charming. In eighteen ninety three, Augustine Daily opened another theater, this time in London, England. Daily's theater, which was situated off Leicester Square, opened on June twenty seventh, eighteen ninety three. It had been custom built for his company, which was different from his New York theaters, which he had acquired already existing. But even though Daily had been really successful in New York running theaters, he just did not have the same good fortune in his Cranbourne Street location. After a pretty good initial run with Taming of the Shrew and several other Shakespearean plays, Daily had companies from Europe play there before he returned with his own staging of an adaptation called The Railroad of Love. That show didn't do especially well, and neither did the next two Shakespearean plays. In eighteen ninety five, he turned the theater over to George Edwards, a British producer who found great success mounting musicals there. The theater itself retained Daily's name, though that had to have been painful for him to some degree, and an account written after his death, Daily's relationship with his theaters was described this way. Quote his theaters he loved his personalities. For one, the Fifth Avenue, he had Oliver Wendell Holmes pen and address for the opening On another occasion, for the opening season of eighteen ninety two, he tried to procure the services of Eugene Field for a poetic address. Here his sentiment came in again. Yeah, he clearly loved those buildings. He would always talk about his houses being his home, his houses meaning theater houses. So to have one that just didn't work out after he had gone to the trouble to have it custom built probably felt very jarring. On May thirteenth of eighteen eighty nine, Augustine and Mary set sail for Europe, where the Daily Company was once again set to give a tour, and where Daily was going to settle a financial dispute with George Edwards over the split of revenue from the theater. After that transition, Augustine felt quite ill on the voyage, but he wired his brother on May twenty ninth, quote much better, all danger over. On June fifth, papers reported that he was just fine. The following ran in the New York Times on June sixth, having been wired from London, quote, Augustine Day has quite recovered from his recent sickness and has gone to Paris for a few days with Missus Daly and Missus Ada. Rhian. He will return on June twentieth for the hearing of the case against George Edwards, resulting from a dispute regarding sharing the profits of Daily's London Theater, of which Edwards is the owner and Daily the Lessee. Augustine wrote his brother a letter dated May thirtieth, in which he described the stress of the theater season launch and his impending legal hearings and quote financial anxieties having taken its toll on his health. He described being very ill even before he boarded the ship bound for London, and how a weekend to the trip he had a very real crisis, he wrote, quote A combination of pneumonia and brain fever were the foes I was fighting, and thank god, by Thursday I had conquered both. He assured his brother Joseph that the following winter he was going to quote let up a bit on the strain and devote more time to leisure. But by the time that letter arrived, Augustine Daly was dead. His brother and mother had already received a telegram that he had died on June seventh of eighteen eighty nine, at the age of sixty one in the Continental Hotel in Paris, he had felt much better, and he had traveled to France, as he said, with his wife and actor Ada Rhian, who started a lot of his productions, and after getting to the Continental Dally just got much worse. And on the seventh, as his wife, Mary and Aida had lunch in the suite, he called out from the bedroom that he needed a doctor, but he died before and he could arrive. Mary Daly had Augustine's body shipped back to New York for a funeral at Saint Patrick's Cathedral on June eighteenth. One of the biggest impacts Daily had on literature and theater in the US was not through his own works, but through his support an encouragement of other artists. Bronson Howard, who was a very successful playwright in the late nineteenth century, had three of his four first plays produced by Daily before any other theater. Daily is also credited with encouraging Mark Twain to start writing for the theater, as well as short story author Bret Hart. Yeah, there are a lot of other people that he really encouraged to turn their pens to playwriting, which is one of the reasons he's considered so influential and his obituary read in part quote, Never a jester, yet a maker, and a purveyor of the most delightful comedy. Al was a man of few words, yet singularly successful in the development of the most human and social of the arts. Never popular in the common sense, yet always respected and admired by his foes and opponents. It seems he died much too soon, for his vitality had not yet begun to diminish perceptibly, and the shock of his sudden going has been keenly felt by thousands who knew him only by name, Oh Augustin Day. Some of those ones. We don't hear his name very often, but he was like it for a long time. Just an interesting, interesting dude. Give some listener mail for us, Oh I do. It's a listener mail that solves a mystery. Oh good. It is from our listener, Carrie, who wrote Chicken and Dumblings with lots of exclamation points. Carrie writes, Holly, I am a similar experience with chicken and dumplings. What you are describing from your childhood is very similar to that of my childhood, except my mom slash Grandma would cook, slash steam the dough on top of the Chicken. I have always wondered why my Chicken and Dumblings was so much different than anyone else's. I asked my mom, and she said her mom was not one to make up recipe, so she decided to check my grandma's old cookbooks. Lo and behold, my mom found a recipe in Betty Crocker that she thinks is where it came from. It was so exciting for me to finally have an answer to my family's mystery. Perhaps your recipe has similar origins. I am attaching a few photos to show you said recipe. You might remember I wrote once years ago to tell you how my baby loved hollies laugh, but she would always laugh in response to it. That baby is turning six on Sunday. Happy birthday, Winnifred. Also, we got a new puppy this winter, so I'm including a photo of five month old Daisy, a very playful cavapoo. Thank you both for all you do for the podcast. I hope you can make it to Portland, Oregon someday soon for a live show. Me too, Okay, Carrie, thank you, because I felt like I was losing my mind because no one else made it this way, but she scanned in bless her she either scanner took variod photographs this Betty Crocker cookbook from nineteen seventy six, and there is a photograph of the chicken and dumblings as described. They look exactly like the ones that I grew up eating. I really thought my mom had just misinterpreted a recipe. It was just like, I'm not putting broth in here. Yeah, I'm pretty sure that we have that exact Betty Crocker cookbook in our home somewhere. Problem. I mean, it was very standard, Yeah, homes in the US. Yeah, Like, I think we have one that belonged to someone. And then I'd like, I'm I for sure remember it in my parents' house when I was growing up. Amazing. Also, yes, happy birthday to Winnifred. I hope it was wonderful. By now, the birthday would have been quite a few weeks back, since we were recording a little ahead of the game. But that is a very cute dog. I would be in danger around that dog because I would give whenever it wanted, even if it were something very dangerous. Again, I cannot thank you enough. This would have made me tell a fib that I thought my mom was just making stuff out because she sometimes would nisum, But now I know no. Betty Crocker, may mystery solved. If you would like to write to us, you could do so at History Podcast at iHeartRadio dot com. You can also find us on social media as Missed in History pretty much everywhere, and if you haven't subscribed, you can do that on the iHeartRadio app or wherever you listen to your favorite shows. Stuff you Missed in History Class is a production of iHeartRadio. For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows.