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June 11, 2013 30 mins

French designer Paul Poiret's work, which was often avante-garde, changed the fashion world in significant ways. He got rid of corsets, introduced the concept of lifestyle branding, and used draping rather that tailoring to create his dramatic designs.

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Speaker 1 (00:01):
Welcome to Stuff you Missed in History Class from how
Stuff Works dot com. Hello, and welcome to the podcast.
I'm Colly and I am Tracy, and say we're talking
about one of my favorite designers time. Yes, Yes, who
is that? Paul Quare. I thought it might if you

(00:23):
really want to friends it up, but I won't do
the full pronunciation throughout the podcast because it starts to
get a little fun feel. His famous quote from was
I am an artist, not a dressmaker. But he he's
one of those people that when you study him, you
wonder if he came off to people around him as
super conceited and blustering. Yeah, I was gonna say that

(00:45):
doesn't sound pretentious at all. But he also was a
really hard worker and he really did innovate, So maybe
his confidence was just all built off of knowing that
he was going to plow through and some actual success
and not just India statements. Yeah, and indeed, I mean
his work, which was often very outant guard for the times,
changed the fashion world in really significant ways. And people

(01:08):
may not know his name unless they're really into historical fashion,
but odds are you would recognize his designs. Um you
know his silhouettes tend to be very long and narrow skirts.
Sometimes pants topped off with these very dramatic tunics that
tended to be wider, so the top portion of the
silhouette tended to be wider than the bottom um and

(01:28):
they were really the height of fashion in the nineteen teens,
in the early heading into the early nies. A lot
of his his designs are actually done by other artists
at the time. He collaborated with a lot of them.
So if you look at drawings by Erte, a lot
of those are him, uh Aribe who he worked with him,
we'll talk about briefly. Uh those drawings that are sort

(01:51):
of famous and they're like just pre Flapper era people recognize,
but they may not realize that a lot of those
are Paul Poire and even the ones that aren't are
often influenced by the things that he was doing in fashion.
So he was born in eighteen seventy nine and Laisal.
His father was a cloth merchant, so he got a
lot of exposure to fashion in his early life while

(02:14):
his family was working class. Yeah, and his father sent
him at a very early age to apprentice with an
umbrella maker because as a working class family. They wanted
him to have a skill, uh, but young Paul would
actually gather the small scraps left over at the end
of the day, the little pieces of silk left over
from the umbrella cuttings, and he would make clothes for
his sister's dolls. So he was doing fashion in small

(02:36):
scale pretty early in his life. And that's the pretty
perfect use for umbrella scraps. In his fashion career officially
started Couturier Madeleine char bought twelve of his designs, and
shortly thereafter, Poire was hired by Couturier Jacques dou Sat
as a junior assistant, and he quickly worked his way

(02:57):
up to head of tailoring in that group, and he
was so successful in his position that he was eventually
tapped by Duse to take on jobs designing costumes for
stage actresses, and he made a really big name for
himself doing this. Um There's one particular garment that's often referenced,
which is a mantle he made for a play entitled Zaza,

(03:17):
which was worn by actress Gabrielle Jean, and it was
black tool layered over black taffida and it was painted
with white irises and it made a big splash, and
it was allegedly very impactful in terms of the emotional
moment of the scene in which it appeared, and Poiret

(03:39):
sort of started to realize that he could actually be
using the stage as a runway to showcase his own
designs and build a following. So he kind of became
famous for these garments he was making for actresses. It's
kind of double a double edged sword, though, because it's
rumored that when he was working with celebrated actress Sarah Bernhardt,
that he was overheard by the actress while he was

(03:59):
making on of her and she had him fired. But
that's again kind of a cloaked in rumor part of history.
Some histories of him will say that happen, some will not,
because at the same time, which was nineteen hundred, poire
also had to report for a military service, which was mandatory,
So it's entirely possible that the Bernhard stories just gossip

(04:20):
that took advantage of that timing. Regardless of how he
left the job to say, had been really encouraging of
his activity and his style, so it was pretty tragic
that he left the world for a while. Yeah, I mean,
any creative type that gets a lot of encouragement. That's
like a perfect situation. So to unfortunately step out of
that is not ideal. But he only had to do

(04:43):
his year of mandatory service and when he returned to
Paris in nineteen o one, he was hired almost immediately
by the House of Worth, and that was one of
the most prominent design houses in Europe. Um if you
look at fashion plates of the Victorian and Edwardian eras
many of them, many of the styles and fashions will
be edited the House of Worth. I mean they were huge, uh.

(05:03):
And at the time Poiret was hired into the firm,
Charles Frederick Worth, who had founded the fashion house, had
already passed away and his two sons, Jean Philippe and
Gaston had taken over. Unlike his time working under du Say,
he didn't get a lot of encouragement at Worth. Instead
of taking advantage of all this theatricality and dramatic style
that he had really cultivated, the brother's Worth put him

(05:24):
to work on pretty mundane stuff. He tried to inject
his style into what he was doing, but that was
not really what the Worth clientele were looking for. They
were used to getting stylish clothing that was guaranteed to
be seen as stylish and not just experimental stuff. They
were not ready for the avant garde. No. The good thing, though,
is that he did have an incredible confidence. Even through

(05:48):
the rough times at House of Worth. He was certain
that he was going to move on to better things,
and even when clients were complaining that he was making ugly,
crazy clothes, he was really un appable about it, which
is pretty impressive and astonishing. Uh. And in nineteen o
three he finally took his future into his own hands
and he opened his own shop. And because Pare had

(06:09):
charmed many clients, uh, he actually had a great many
fans in high places. The King of Portugal allegedly sent
two white mules to the designer for the opening of
his boutique in Ruabert and they stood outside on opening
day like the doors were just flanked by these two mules.
Kind of wonderfully odds. They're perfectly theatrical to his designs.

(06:33):
In three, broke with a major fashion rule by ditching
petticoats entirely. Yeah, I mean that's huge. We think of
it today and it seems like, well, you need a petticoat.
But you did then, Yeah, well, and that's that. This
was if you were out without a petticoat. It wasn't
just that your clothing didn't look right. You were being
immodest and indecent without petticoats on. Yeah. Uh. So he

(07:00):
carried on for a couple of years in his new shop,
and in five Pare married his wife, Denise, and the
pair had really known each other since childhood. She was
not exactly known to be like a great beauty. She
had really been kind of a simple girl from simple beginnings,
because remember his childhood started in very simple places. But
through her marriage with Paul, she really became something of

(07:20):
a style icon, and she served as his muse. Uh.
And she would wear her his fashions as the pair
toured Europe and eventually other places together. Um. And they
had five daughters together throughout their marriage and later in life. Uh.
Paul would say, sort of unkindly of Denise, she was
extremely simple, and all those who have admired her since

(07:40):
I made her my wife would certainly not have chosen
her in the state in which I found her angry.
It's a little snarky, but things did not did not
a rosie with the two of them forever. But for
a while she was his muse, and I think she
became the style director of his design house for a while.
And you know, he really clearly loved the female form

(08:01):
and loved to dress it and wanted to free it
from a lot of the things that people were kind
of wadded up in terms of the rules of clothing. Yeah,
there were lots and lots of layers, and Denise is
a huge pardon kind of that movement towards a freer
mode of dress. In nineteen o six, Poire produced an
album of fashion designs. It was illustrated by Paul Iribe

(08:24):
called simply La Robe to Paul Plore. At this point
in his career, grease and clothing and Japanese kimonos and
certain caftin styles from Middle Eastern and North African cultures
were really influential in parries designed. He wanted to make
garments that used simple rectangles instead of really complicated shapes.
He developed lots of designs that celebrated the so called

(08:47):
direct War revival slot so very columnar, and nineteen o
six was also the year that he did something again controversial,
when he replaced the corset as a foundation garment for
his designs with a much less restrictive girdle. And this
is a huge deal. Um, this is like a kin

(09:07):
to women burning their brawls in the sixties, except it
was a man doing it for fashion well, and it
really happened. But you know, in terms of like the
cultural touchstowes that people think of, this is really big
to basically say the undergarments are stupid and wrong, let's
get rid of those. We're going for a more natural shape. Um,
no petticoats, no Corset's complete mayhem, really in terms of

(09:30):
what had gone before. Yeah, and again it wasn't just
about what the clothes looked like. It was about all
these ideas of modesty that were tied to it and
in decency and like what what good ladies of quality
wore when they were going out And he threw those
out the window. And he wasn't the only designer, we
should say, doing these things, like Vienna was doing similar stuff,

(09:53):
but he was kind of so outspoken about it, and
he had such a flair for the dramatic that he
got the most attention in the press since societally for
what he was doing. But when you mentioned the modesty
issue that brings us to a scandal that took place. Yes,
there was a scandal in nineteen o nine involving uh
Wire and British Prime Minister hh Askew and his wife.

(10:16):
The story goes that Lady asked With was a fan
of Quarre's work and invited him to show his designs
at ten Downing Street. As is sometimes the case with
fashion shows, things got a little bit out of hand.
Rumors started to spread of really wild happenings and models
running around the famed residence in various states of undress.
The scandal really nearly caused ask With resignation and it

(10:40):
came to be known as the Gowning Street scandal. And
then um, once that blew over and we moved forward
a little bit to nineteen eleven, we really hit what
is in the history of Paul Parre a huge, huge year. First,
he did something that had never been done before, which
is that he spanned his brand, and that's not something

(11:02):
we normally attribute to things that were going on in
the early nineteen hundreds, like the idea of a fashion
designer having a brand. Uh And he produced a fragrance
line that was named after his daughter Rosine, and it
was really successful and it eventually became fragrances and cosmetics
and continued to solve very very well. He also opened
a decorative arts school for underprivileged girls, which was called

(11:24):
a Cole Martin, and that was named after another of
his daughters. He used the artwork the girls produced to
create fabric prints, which they sold in a shop adjacent
to the school. This really delights me. Yeah, I feel
like it was the spoon flower of the kind of
and it really ended up becoming like a lifestyle brand
at that point because it also they also sold things

(11:45):
like stationary and you know, small little house items there
that had often used the designs of these girls. And
so his sort of home line became known as the
Martine Group after this school and the the attached store.
Just really cool. Uh. And then he invented around in

(12:06):
nineteen eleven, what was called the Robe de Minute, and
this is again one of those things that is so
simple but really mind blowing for the time. It was
basically a simple column of silk cut almost like a
T shirt, and it allegedly took only thirty minutes to assemble,
so compared to the structured Edwardian fashions that were still
pretty prominent at the time. This was basically like walking

(12:28):
around in a nightgown. So to show up at an
evening party in this which was usually what his wife did,
she was like wearing his really kind of cutting edge
designs before anyone else did, which is why she became
a fashion icon. Really was pretty brazen and took a
lot of bravado and it was um ultra revolutionary. But
again we should point out that it's not on its own.

(12:48):
He's not the only one doing these sorts of things.
This is also around the time that Italian designer Mariano
Fortuny was producing his really ultrasimple Grecian style silhouettes that
took advantage of his seek and famous silk bleating techniques.
So there was this um aesthetic developing in fashion circles
for simpler but really beautiful garments um in this Grecian

(13:12):
columnar style. Yeah, and if you're not really familiar with
with what Edwardian fashions look like, we can just they
were very fitted and think of Titanic. Yeah, think of Titanic,
very fitted, many layers of underpinnings underneath that there's the
lackling on. Yeah, fussy is a great word, like you
really had to have help to get into your clothes,

(13:34):
and not so much the case even though the lines
were simpler. I think people think of Edwardian clothing is
being simpler because it's the next phase after Victorian, which
was very fussy and everything had a Brazilian tassels on it. Um,
the clothing got the lines got simpler and sharper, but
and there wasn't as much crazy embellishment. But all those

(13:54):
layers were still there, so you still had on your bloomers,
your pantaloons, and a chamis and a course it and
possibly a corset cover and then a gown, possibly an undergown,
you know, petty coach, I mean all. And he basically
got rid of all of that, said just wear a
simple silk sheath. It's fine, I mean, and everybody was like, what,
that's bold to do? What? He was sparked by an

(14:20):
interest in exoticism after traveling to Moscow in nineteen eleven.
This was a huge influence on his work from this point.
Shortly after he came back to Paris on June nineteen eleven,
he hosted the historically famous party called the thousand and
Second Night. There was allegedly a new translation of The
thousand and one Night's making the round in Paris at

(14:41):
the time, although we haven't really been able to confirm that.
In time for this episode, guests were required to attend
in Persian styled clothing or they had to be Uh,
they had to allow the host to dress them once
they got there. Uh. This was actually a ploy on
Poires part. He was dressing his guests in his new
line of designs that were inspired by his travels um

(15:03):
specifically a production of Scheherazade he saw at the Ballet
Russ and his newfound interest in Orientalism. And it's it's
really sort of where I think this party and this
line of clothing is really where his style kind of
gets put under the magnifying class in terms of the future.
Like that's what a lot of people associate with him,
or is that line of clothing, And that's actually where

(15:26):
he debuted the harem pants that he became famous for
and the lampshade dresses that he is also known for today.
The lampshade dresses. Really, when you say that, I think
sometimes people that might not know have a hard time
picturing it. They really were these tunic style dresses that
had wire in the hymn to pull them out from
the body, so it looked like a lampshade um. And

(15:48):
these less confining shapes actually became incredibly popular, and they
kept part a very busy filling client orders. Even though
they were completely crazy and way beyond what had been
going on in fashion previously, people just really jumped on it.
They loved it. Well, if you had a chance not
to be in of course, with all those layers clothing. Yeah,
because we've we've talked a lot before about how what

(16:09):
people think of is. Of course it's often not how
they were actually worn. Right. It was not really a
tight lacing thing that we think of today, but it
was still a lot of clothing. All that stuff that
you're wearing is really heavy, and and once you get
out of all of that and realize that you can
walk around your life without twenty five pounds of fabric

(16:30):
hanging off of your body, it's pretty liberating. Well, and
it's also worth mentioning. I think that this was all
happening in the summer, like the idea of suddenly being
free of all of that extra clothing in the hottest
time of the year, which it would have been for
Europe at the time. Um, that's got to be pretty appealing,
and I'm sure that factored into the success the quick

(16:52):
acceptance of these very new styles in Poire and Denise
traveling to the United States, where they were received with
great though i by the fashion crowd. He gave a
series of lectures in Manhattan and the two of them
towards department stores and showed off all the latest designs
from their collection. It's interesting to know I was looking
at something while I was prepping for this that said

(17:13):
that he found, um, American women too thin and not
very fashionable, but they seemed so eager. He was fine
with it. He was we can work with this. Also
in nineteen thirteen, he turned once again to his roots
in the theater, and most notably he designed costumes for
Jacques Rochepin's Lamonarette and he once again saw the opportunity

(17:35):
to use the stage as a runway, and he put
his lampshade two knicks front and center. So even though
it had been a couple of years at that point,
those were still very popular and he was still pushing
them uh, and you know, doing very very well as
a theatrical designer. But then nineteen fourteen changed everything for
the House of Quare. He had come to be known
as La magnifique for his innovative and original creations, but

(17:58):
World War One by him once again called into military service,
this time as a military tailor, and he said to
have streamlined the production of uniforms during that time. But
because he was busy with his service and wasn't producing
any new designs, his fashion house was using the handful
of ideas that he had left behind when he went
back to the army, so they were kind of just

(18:20):
recycling this handful of concepts that he had to try
to push out new stuff, but they really without him
at the helm a bit of a struggle in while
he was still serving. He was able to return to
Paris for a little bit of time to design a
new collection, but two tragedies struck his family right at
the same time. His daughter Rosine died after contracting an

(18:43):
ear infection and his daughter Gaspar died from the Spanish flu.
The new collection didn't happen because of these two events.
No new designs came from the Poire brand until after
the war was over. This was really a turning point
in Paris life, although it wasn't apparent how much I
Acted had until later. So once he returned to his

(19:03):
work in fashion after the war in nineteen nineteen, he
picked up exactly where he left off, designing these high
waisted gowns that were inspired by other cultures and that
featured a lot of dramatic detail. He continued to produce
his same style of design, but because his aesthetics seemed
to have really frozen at the period right before he
left a serve in World War One, his block was

(19:24):
too outdated. Coco Chanelle had arrived on the scene with
her Little Black Dress in nine and the overworked theatricality
of Pire's designs was immediately seen as old fashioned and
out of mood. So that same year that Chanelle debuted
the Little Black Dress, ve Pire, who was desperate at
that point to save his fashion house, sold the rights

(19:45):
to his company to financial backers. He still worked there,
but he didn't own it, and his design really struggled.
He continued to attempt to innovate, but it seemed like
he didn't have the inspiration, so it was very forced
and his design when will describe his designs at the time,
they sound like they're kind of overworked, in a little
bit lacking uh. And in an effort to rekindle public

(20:09):
interest in his work because he wasn't bringing in customers,
he staged this huge spectacle of three decorated barges on
the banks of the sin for an art Decoratif's exhibits,
and you know, it was this huge, big event for
part of his housewear line. But because his theatricality, which
served him really well in times of plenty, it nearly

(20:31):
bankrupted him. Went in this period when he didn't have
that much ready money and it was, you know, a
period of struggle for the designer. So he couldn't pull
off those same big, crazy things that he had been
doing before because it was too expensive and people weren't
into what he was doing anymore now, especially once you
get into the twenties and the thirties, people were not

(20:52):
about extravagance anymore. So this is really a downward turn.
After then, after twenty three is of marriage, Denise Poire
filed for divorce in nine, claiming that he was just
relentlessly cruel to her, and the following year in nineteen
twenty nine, the backers who had bought the Parre Design

(21:12):
House just four years before, closed the shop's doors. They
had already had it with the spending and they knew
that they couldn't sustain the business, and they sold off
every asset as scrap, which is sort of heartbreaking, like
it was literally sold by weight. Sad. It's really upsetting, um,
But we didn't lose everything. Uh. Parre was also unfortunately

(21:33):
forced to sell most of his personal assets, so the
furniture and paintings that he had had in his town
house at the time were sold off and he had
to move to a much smaller apartment. At this point,
he turned to writing for a couple of years. He
published on Dressing This Age in nineteen thirty and his
autobiography King of Fashion in nineteen one. The publications didn't
get him back on his feet, and by nineteen thirty

(21:56):
three he was designing dresses in department stores Four Housewives. Yeah,
quite a step back from what he had been doing,
and by six he was discovered working in a bar.
But people that talked to him found him as confident
as ever. He really thought he was going to make
a comeback in fashion. Paul Parret died in nine in poverty.

(22:16):
He had been living on public assistance, and Elsa Shipparelli,
who he had befriended and encouraged when she was young
and starting out, paid for his burial. And so even
though it seems that he has a sad ending, it
kind of turns around later after he's gone for a bit. Uh.
In May of two thousand five, Denise's wardrobe, which it

(22:37):
turned out had actually been carefully preserved by the family,
so thank goodness, it was not sold off in that
bulk um clear out that the backers had done was
auctioned off. And when this happened, it suddenly put paris
designs back in the public eye. And so even though
he had been marginalized at the end of his life,
the interest in his work was like instantly reignited. People

(22:58):
saw these designs and it was like, how did we
ever forget this person? Like how did we let this
fall into obscurity. Then in two thousand and seven, the
exhibit Quire King of Fashion opened at the Met to
great fan bare in praise. Uh. And while Pari is
long gone, his impact on fashion still remains. He was,

(23:18):
of course the first couturier that used draping rather than
tailoring to create gowns. Uh, you know, freeing women from
restrictive coursets that have been de rigger up to that point.
And in fact, you know, in getting rid of all
of those fussy layers, he just completely changed fashion forever.
Like now you know, of course garments are draped and
you know, if you watch Project Runway, you see people

(23:39):
that do a lot of draping techniques to create these
really flowing, beautiful gowns. That's still happening, and he was
the first that really did it commercially. He's also the
person that debuted the idea of nude stockings instead of
black tights. Yeah, just quite revolutionary. And now we have
options for both, but at the time it was black
tights or nothing. Both are neither both or neither or

(24:01):
just not having coodrin. And he, as I said, was
the first designer who really had a brand, so fragrance
home design lifestyle products. He was doing this in the
early nineteen hundreds, like what Ralph Laurendos today would never
have happened without this kind of idea. Sparking and fashion
marketing was also something that he really pioneered. He was
a person that was out there doing his own pr

(24:21):
telling people how great he was promoting his brand, which
no fashion houses were doing that way at the time.
Some have said that we would not have the avant
garde designers of today if there had been no Pore.
Imagine a world without Jean pil Jean Paul Gautier. I
think you don't want us to do that. I wouldn't.
I would cry, I love and pants for ladies. Yes, um, yeah,

(24:47):
that wasn't really happening Prior to that. There were some
sporting costumes in late Victorian an early Edwardian era, but
it usually involved bloomers that were cut a little more
like pants under a full dress, so you could do
sporting things and not expose anything, but you still have
on aajillion layers and yards and yards and yards of fabric.
So he just completely revolutionized the way we dress. And

(25:11):
it's sort of interesting because we think today of tour
um as being other. I think most people on the
street don't think of that as being, you know, the
thing that really influences their day to day fashion. But
he was kind of doing this influencing even though it
was in more tour circles and it's echoed out you know.
Since then, it reminds me of Downton Abby And there's

(25:33):
an episode in which Lady Sybil comes to dinner. Yes, yes, Paul,
I love, I love, I love his work. I highly
encourage anybody to um go googling and looking for pictures
of it, because some of it's just mind blowing. He
also did do some really really skinny skirts that were

(25:53):
hard to walk in. Yeah, we won't forgive him of
we were talking about that earlier. But we have all
of these getting read of restricted layers and getting rid
of course it's and getting rid of all these things
that bind people, and but then having these skirts that
were so so tight that you couldn't really walk in them.
I have a theory that is unsubstantiated. I haven't done
the research to prove or disprove it, but I wonder

(26:14):
because he was so influenced by Asian cultures such as
he knew them um And you know, it's considered very
um much a part of like Geisha culture to take
the very tiniest steps. It's part of like the delicate
and graceful way that Geisha move and their shoes are
actually designed to kind of promote this sort of movement,

(26:35):
and I wonder if he was trying to mimic that
a little bit in a more western style. But I
don't know. I'm I'm just speculating it. I hate skirts
like that because I am tall lady. I take very
giant steps all the long, striker. I have two skirts
that I bought at the same time, not realizing when
I tried them on that they were going to cause
me not to be able to do that. I have

(26:57):
never worn them since getting them home from the store.
Are you pants or things that don't have a hymn
that keeps me from walking? There? You go? Do you
also have listener mail? You know it? Uh? This listener
mail is from our listener Gotti, and it is so
cute and it made me giggle so much that I
had to share it. And Goddy writes, Dear Holly and Tracy.

(27:19):
Despite being a fourth year art major in college, I
listened to your podcast while interning in the accounting department
of a pool equipment wholesale company. That's a little bit
of a departure from your studies. Yesterday, before work was done,
I listened to the episode on Marjorie Camp. Great episode.
She led quite the fascinating life for her time and
even in a modern context. After listening, I went home
ate dinner and crashed on my bed. I was so

(27:40):
tired from the previous nights all night or that I
didn't even bother changing or turning off the light. Today,
I woke up in a frantic panic, knowing that I
had a reading assignment for my eight am British Lit
class and not enough time to complete it. I pulled
up my syllabus and found that, much to my delight,
the reading assignment was Marjorie Camp's autobiography. I went to
class confident that while I couldn't quote the test, I
could still engage in the conversation more fully than my

(28:02):
fellow classmates. Unfortunately, thanks to some delays in class, we
spend our time finishing up an analysis of the prologue
of the Canterbury Tales. Thanks anyways, and fingers cross for tomorrow.
That's so cool. I'm so glad there's some benefit out there. Yeah,
I'm only sad that they spent it on the prologue
or Canterbury Tales, only because I think I had to
read that in college or in high school and then

(28:24):
in like at least two different college courses, and so
I just didn't want to hear anymore about the Canterbury
Tales prologue. There are many, many other parts of the
Canterbury Tales to read instant. Yeah, the prologue gets studied
a bunch and with reason, but yes, I think sometimes
to the exclusion of some of the other really interesting
parts of it. Yes, three times in an introductory ways

(28:46):
is too many times for the prolog to the Canterbury Tales.
If you want, you please don't write to me and
saying that you've done in depth work on it and
you're angry. But I'm not saying you don't do that. No,
it's valid study. But I'm just saying three introductions to
the Canterbury Tales prolog is too many. Tracy was introduced out.
If you would like to write to us, you can
do so at History Podcast at Discovery dot com. You

(29:09):
can also check in with us on Twitter at Misston
History or at Facebook dot com slash History class Stuff.
We're also on Tumbler at Msston History dot tumbler dot com,
and you can also find us on Pinterest. If you
want to learn a little bit more about the topic
we discussed today. You can go to our website and
type in the words amazing parties in the search bar,
and you will pull up ten of the most amazing

(29:30):
parties of all time, which includes Paul Parre's thousand and
second Night Shindig Awesome. If you would like to learn
more about that, or about anything else your mind can conjure,
you can do so at our website, which is how
Stuff Works dot com. For more on this and thousands
of other topics, it has to works dot com. Audible

(30:00):
dot com is the leading provider of downloadable digital audio
books and spoken word entertainment. Audible has more than one
hundred thousand titles to choose from to be downloaded to
your iPod or MP three player. Go to audible podcast
dot com slash history to get a free audio book
download of your choice when you sign up today.

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