Podcast appearances and mentions of Isadora Duncan

O que um dos maiores torneios de tênis do mundo e uma banda de rock brasileira têm em comum? Ambas escolheram seus nomes homenageando pioneiros da aviação que combateram nos céus da Primeira Guerra Mundial. Neste episódio falamos de como Roland Garros e Manfred Von Richtofen, o Barão Vermelho, ajudaram a revolucionar a aviação, se tornaram ícones populares de seus países e tentaram manter vivas as ideias de heroísmo, romantismo, honra e da “bela morte” durante a guerra mais sangrenta que o mundo havia visto até então.Este é mais um episódio do Escuta Essa, podcast semanal em que Denis e Danilo trocam histórias de cair o queixo e de explodir os miolos. Todas as quartas-feiras, no seu agregador de podcasts favorito, é a vez de um contar um causo para o outro.Não deixe de enviar os episódios do Escuta Essa para aquela pessoa com quem você também gosta de compartilhar histórias e aproveite para mandar seus comentários e perguntas no Spotify, nas redes sociais , ou no e-mail escutaessa@aded.studio. A gente sempre lê mensagens no final de cada episódio!...NESTE EPISÓDIO-A Cochinchina existe e é bem bonita, fica no sul do Vietnã []-O relato do encontro Isadora Duncan com Roland Garros foi descrito em “Ma Vie”, a autobiografia da bailarina.-No livro “Sob o céu das Valquírias”, o historiador Delmo de Oliveira Arguelhes fala sobre os conceitos de heroísmo e honra nos pilotos de caça da Primeira Guerra Mundial. Delmo foi convidado do podcast História FM para falar da sua pesquisa.-Há também um episódio com Delmo de Oliveira Arguelhes para falar apenas sobre o Barão Vermelho. É lá que ele fala da especulação de que o Manfred Von Richtofen assassinado no famoso crime brasileiro não seja da mesma família do piloto da Primeira Guerra. -É possível ler sobre a história de Manfred Von Richtofen na biografia “O Barão Vermelho”, de J. Eduardo Caamaño.-Em 1999, o médico alemão Henning Allmers publicou no The Lancet o seu estudo do histórico médico de Manfred Von Richtofen em que concluiu que ele não estava apto para voar na época de sua morte....AD&D STUDIOA AD&D produz podcasts e vídeos que divertem e respeitam sua inteligência! Acompanhe todos os episódios em aded.studio para não perder nenhuma novidade.

Isadora Duncan, often called the “mother of modern dance”, was known for taking inspiration from ancient Greece, scandalizing the US and Europe, and ending in a tragic accident eerily similar to that of her children. Sources (Used/Consulted/Read Along the Way) Isadora: A Sensational Life by Peter Kurth My Life by Isadora Duncan Wild Heart: AContinue reading "Mother of Modern Dance – Ep.55"

Un lundi placé sous le signe du plein de nouveautés sur Tsugi Radio, avec le fabuleux Boko Yout, rencontré à Eurosonic, les très élégantes Nina Versyp et Mélissende, l'énergie rock de Casablanca Drivers ou d'Émilie Marsh... Et puis dans cette émission, on va aussi s'intéresser au Parc de la Villette depuis lequel nous émettons depuis le mois de septembre 2019. Des familles aux clubbers, des amateurs de musique classique, de danse, de théâtre, tout le monde a rendez-vous à la Villette ! Cet endroit unique au monde, haut-lieu de toutes les cultures, est depuis bientôt un an est dirigé par la chorégraphe, Blanca Li qui est aujourd'hui l'invitée de Place des Fêtes. L'occasion d'évoquer avec elle toute l'actualité culturelle d'un parc pas comme les autres. ANTOINE ASSAYAS "L'exil feat. Thaïs" CMAT "Running Planning" CELIA CRUZ "Isadora Duncan" LOLE Y MANUEL "El rio de mi Sevilla" BOKO YOUT "Imagine" ÉMILIE MARSH "Jamais Vu" CASABLANCA DRIVERS "No Mercy" NINA VERSYP "Heartless" MÉLISSENDE "Courage" COLA BOYY "Walk Again"

durée : 00:57:58 - Toute une vie - par : Irène Omélianenko - Isadora Duncan a été un objet de fascination totale pour ses contemporains. Venue de l'autre côté de l'océan, cette danseuse aux pieds nus, sans corset, a sidéré le public de la Belle Époque par son audace, sa manière de danser, sa soif de liberté et son esprit révolutionnaire. - invités : Boris Charmatz Chorégraphe français ; Laetitia Doat Interprète, chorégraphe, pédagogue, maître de conférences au département Arts/danse, université Lille 3, directrice artistique de la compagnie Edges; Florence Rochefort Chercheuse au CNRS, spécialiste d'histoire des féminismes, des femmes et du genre; Elisabeth Schwartz Danseuse, pédagogue, chercheuse en danse, notamment autour de la danse d'Isadora Duncan, de Rudolf Laban et de la danse du début du XXème siècle.; Jules Stromboni Auteur et dessinateur de bande dessinée; Amy Swanson Danseuse, chorégraphe, fondatrice du Regard du Cygne; Geneviève Vincent Historienne de la danse et écrivain

Kres Mersky and I discussed her name; starting acting at a local park at 14 and getting the bug; going to Beverly Hills High with Rob Reiner, Richard Dreyfus, and Julie Kavner; TV debut on Virginian; doing three episodes of Ironside; working with Carl Reiner in The Comic & Oh God!; working with Rob Reiner on the TV show which birthed Spinal Tap; doing a B motorcycle movie; skating in Holy Rollers and Charlies Angels; being in Won Ton Ton, the Dog that Saved Hollywood as Theda Bara; having most of her Charlies Angels scenes with Farrah Fawcett; having Richard Pryor discover her one woman show and putting an excerpt on his NBC variety show; appearing in Husbands, Wives and Lovers; guest starring on two classics, Taxi & Barney Miller; Stephanie a 1981 pilot starring Stephanie Faracy; being in the last movie directed by George Cukor; appearances on Open All Night and Ryan's Four; her most famous role as Wormser's mom in Revenge of the Nerds; guesting on Facts of Life and St. Elsewhere; focusing on family; writing and starring in a one woman play about Isadora Duncan; going back to do a Murder, She Wrote; writing and starring in a one woman play about Einstein's secretary; Nuts and Chews her many character play a la Lily Tomlin; doing Einstein research at Cal Tech; making a short film Rope, with her husband editor Paul Geretsen; and his making many commercials during COVID

Lecture par l'autrice, Anne F. Garréta, Margot Gallimard, Estelle Meyer, Suzette Robichon & Céline Sciamma Après Sappho nous entraîne au moyen d'une prodigieuse narration chorale à la rencontre du destin d'écrivaines, de peintres et d'artistes qui ont bravé l'oppression, et nous guide à travers les débuts trépidants du XXᵉ siècle aux côtés de figures incontournables : Natalie Barney, Renée Vivien, Romaine Brooks, Gertrude Stein, Virginia Woolf, Sarah Bernhardt, Isadora Duncan, Lina Poletti, Eleonora Duse, Colette … Biographie, roman, portrait, manifeste, récit expérimental, ce livre est aussi une méditation lumineuse sur l'héritage des pionnières de notre passé. Ode à la liberté, il est fait de lutte et de joie. À lire – Selby Wynn Schwartz, Après Sappho, trad. de l'anglais (États-Unis) par Hélène Cohen, préfaces d'Anne F. Garréta et Estelle Meyer, Gallimard, coll. « Hors-Série L'Imaginaire », 2024.

“If the public can predict you, it starts to like you. But the Marchesa didn't want to be liked.” For the first three decades of the twentieth century, the Marchesa Luisa Casati astounded Europe. Artists such as Man Ray painted, sculpted, and photographed her; writers such as Ezra Pound and Jack Kerouac praised her strange beauty. An Italian woman of means who questioned the traditional gender codes of her time, she dismissed fixed identities as mere constructions. Gathering on the occasion of the 25th anniversary of the first publication of Infinite Variety: The Life and Legend of the Marchesa Casati (the first full-length biography of Luisa Casati, now offered in an updated, ultimate edition), Michael Orlando Yaccarino joins Valerie Steele, Joan Rosasco, and Francesca Granata in conversation about the enigma that is the Marchesa Casati.Michael Orlando Yaccarino is a writer specializing in international genre film, fashion, music, and unconventional historic figures. Scot D. Ryersson (1960–2024) was an award-winning writer, illustrator, and graphic designer. Michael and Scot collaborated on many projects, are coauthors of Infinite Variety: The Life and Legend of the Marchesa Casati, The Ultimate Edition, and are founders of the Casati Archives. www.marchesacasati.comValerie Steele is a fashion historian and director and chief curator of the Museum at the Fashion Institute of Technology. Steele is the author or editor of twenty-five books, including Paris Fashion, Fetish, and Fashion Designers A-Z.Joan Rosasco taught at Smith College, Columbia University, and New York University, with focus on European art and culture, French literature, and the Belle Époque period. She is author of numerous publications including The Septet.Francesca Granata is associate professor of fashion studies at Parsons School of Design. Her research focuses on modern and contemporary visual culture, fashion history and theory, and gender and performance studies. Granata is editor of Fashion Criticism and author of Experimental Fashion, and wrote the afterword to Infinite Variety.Praise for the book:"Ryersson and Yaccarino are judicious historians of frivolity who capture the tone of a life that was obscenely profligate yet strangely pure."—The New Yorker"A meticulously researched biography, Infinite Variety is as much art history as chronicle of personal obsession."—The New York Times"Fascinating . . . with or without her cheetahs, the Marchesa Casati's circus of the self makes her a natural for the new millennium."—Vanity FairInfinite Variety: The Life and Legend of Marchesa Casati, The Ultimate Edition is available from University of Minnesota Press.

Brilliant Exiles, American Women in Paris, 1900 - 1939 At the Speed March 29 - June 22, 2025

Esta semana, en una nueva sesión de Rebelión Sónica, los invitamos a escuchar música del nuevo disco del cantante, guitarrista y compositor estadounidense Thurston Moore, “Flow Critical Lucidity”, además de material del álbum “Murray Street” de su banda madre Sonic Youth. “Flow Critical Lucidity” fue lanzado el 20 de septiembre por el sello Daydream Library Series y se grabó en el Total Refreshment Centre de Londres, con Moore en guitarra y voz junto a Deb Googe (bajo), Jon Leidecker (electrónicos), James Sedwards (piano, órgano, guitarra y glockenspiel) y Jem Doulton (percusión). Algunas de las canciones del álbum fueron escritas y arregladas por Moore en Europa y el Reino Unido, e incluyen referencias líricas a sus entornos inspiradas en la naturaleza, los sueños lúcidos, la danza moderna y la fallecida bailarina Isadora Duncan. Además, participa como invitada en uno de sus temas la cantante de Stereolab, Laetitia Sadier. En la parte final del programa, viajamos al pasado en la trayectoria de Moore, para escucharlo como parte de Sonic Youth, específicamente con dos temas del disco de 2002 “Murray Street”, primer álbum con Jim O'Rourke como integrante oficial del grupo. Semana a semana, Rebelión Sónica se transmite por radio Rockaxis los jueves a las 10 y 22 horas, con la conducción y curatoría de Héctor Aravena.

Dans cet épisode, découvrez une femme qui a révolutionné le ballet classique. C'est une des pionnières de la danse moderne. Cette femme hors norme a suivi son propre chemin, en dépit des conventions sociales de son temps. Son nom : Isadora Duncan. De sa naissance à sa mort tragique, découvrez son fabuleux destin. Une révolution de la danse Paris, 1905, le rideau de velours rouge s'ouvre lentement, les murmures des spectateurs s'estompent peu à peu. Des faisceaux colorés sont projetés sur la scène. La musique commence, elle est douce et envoûtante. Les spectateurs retiennent leur souffle, impatients de découvrir la danseuse dont tout le monde parle. Surgissant des ténèbres, vêtue d'une simple tunique blanche, elle apparaît. Les projecteurs illuminent son visage aquilin, encadré par des longs cheveux bruns. La femme commence une improvisation de danse. Pour découvrir d'autres récits passionnants, cliquez ci-dessous : L'énigmatique Grigori Raspoutine : les premières visions (1/4) L'énigmatique Grigori Raspoutine : la fin de la dynastie Romanov (2/4) L'énigmatique Grigori Raspoutine : de dangereuses rumeurs (3/4) L'énigmatique Grigori Raspoutine : le début de la légende (4/4) Un podcast Bababam Originals Ecriture : Clémence Setti Voix : Andréa Brusque Production : Bababam (montage Gautam Shukla, Antoine Berry Roger) Première diffusion le 25 mai 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In this episode of the 'From Adversity to Awakening' podcast, host Peggy O'Neill welcomes Pamela White, a longtime friend and a pillar of healing and awareness in the community. White discusses her personal journey through various adversities, including childhood abuse and a severe injury from a horseback riding accident that led to a spinal fracture. She shares how these experiences deepened her connection to her body and spirit, and how a holistic approach to healing, including meditation and understanding the body's signals, has been central to her life. Pamela now works in family services in the DC government, where she has introduced guided meditations. Her multifaceted healing methodologies, including integrating Isadora Duncan dance into equestrian therapy and providing spiritual astrology readings, are highlighted as innovative approaches to wellness and self-discovery. This conversation delves into the importance of tuning into the body's wisdom and the power of overcoming physical and emotional traumas to find peace, connection, and a thriving spirit. (00:00) Welcome Back to the Podcast & Introducing Pamela (01:58) Pamela's Journey: From Childhood to Healing Guide (04:08) Pamela's Unique Approach to Life's Challenges (11:47) A Life-Changing Accident and Its Aftermath (17:35) The Healing Process: Physical and Metaphysical Insights (22:29) Integrating Meditation into Government Work (24:42) Exploring the Imagination and Meditation Techniques (26:28) The Power of Quiet Breathing and Its Impact on the Nervous System (27:48) From Personal Growth to Spiritual Awakening (30:47) Integrating Spiritual Practices and Personal Insights (35:16) The Journey of Self-Translation and Spiritual Connection (39:11) Embracing Silence and the Wisdom of the Heart (43:20) A Final Reflection on the Human Body and Its Infinite Intelligence Pamela's Speaker Page A2A.PeggySpeaks.com

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Susan Smit is schrijver en columnist. Ze werkte tien jaar lang in binnen- en buitenland als fotomodel. Toen ze een artikel schreef over moderne heksen werd ze gegrepen door het fenomeen. Dat resulteerde in haar debuut ‘Heks' in 2001, waarvoor ze zichzelf als heks liet inwijden. Meer dan vijftien boeken later is er nu de roman ‘Alles wat beweegt', waarin ze schrijft over de Amerikaanse pionier van de moderne dans, Isadora Duncan. Smit illustreert hoe de danseres aan de Nederlandse kust de grootste omwenteling van haar leven beleeft. Femke van der Laan gaat met Susan Smit in gesprek.

Join our PATREON for bonus episodes.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ This week we have Owen Ashworth of Advance Base, Casiotone for the Painfully Alone, and Orindal Records on to talk about the Magnetic Fields record (collection?) The Wayward Bus/Distant Plastic Trees. We also talk about: touring alone, being too loud, handsome ear buds, cd clubs, Electronic Renn Faire Doo Wop, answering machine jams, gear talk, Clint Eastwood, creative writing, Run For Cover Records, the next record, the casiotone to advance base pipeline, genius not genius, Isadora Duncan, i, “I have a mandolin…”, and so much more. ________ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Order our Gatekeep Harder shirt here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ // Follow us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@danbassini⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mysprocalledlife⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, @advance_base ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@runintotheground⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

www.iservalan.com for all the exciting projects we are involved in

Jerry & Tracy discus Isadora Duncan, someone plagued with horrible tragedies.

Bienvenue dans True Story ! Dans cet épisode, partez à la découverte d'une zone géographique très mystérieuse de l'océan Pacifique. Si on relie la côte Sud du Japon, près de Tokyo, les îles Bonin à l'Est, et Taïwan à l'Ouest, on obtient un triangle de plusieurs centaines de milliers de kilomètres carré. Depuis des siècles, les pêcheurs locaux ont appris à le craindre en raison de ses monstrueuses tempêtes. Mais l'histoire moderne a aussi son lot d'étranges disparitions dans les eaux troubles de ce secteur… Son nom : le Triangle du Dragon, autrement appelé “La mer du diable”. Entre phénomènes paranormaux, légendes et explications scientifiques, découvrez sa True Story.  Des tempêtes effroyables Le 9 septembre 1980, à 10h30 du matin, le Derbyshire, l'un des plus gros navires marchands de la marine britannique, est pris dans une tempête au Sud du Japon. Les légendes entourant le secteur n'avaient pas échappé au capitaine. Mais en voyant les éclairs et la mer gronder tout autour du bateau, sentant le vent lui fouetter le visage à plus de 200 km/h, l'homme réalise alors qu'il a fait une erreur. Le Triangle du Dragon n'est pas un endroit ordinaire. Il n'a tout simplement jamais assisté à un tel déchaînement des éléments. Pour découvrir d'autres récits passionnants, cliquez ci-dessous : Isadora Duncan, la danseuse qui a envoûté le monde entier Dino Scala, le violeur en série aux allures de Monsieur Tout-le-monde L'épidémie de danse de 1518, le phénomène démoniaque qui a semé la terreur en Europe Un podcast Bababam Originals Ecriture : Elie Olivennes Voix : Andréa Brusque Production : Bababam (montage Gautam Shukla, Antoine Berry Roger) Learn more about your ad choices. Visit megaphone.fm/adchoices

Bienvenue dans True Story ! Dans cet épisode, découvrez une femme qui a révolutionné le ballet classique. C'est une des pionnières de la danse moderne. Cette femme hors norme a suivi son propre chemin, en dépit des conventions sociales de son temps. Son nom : Isadora Duncan. De sa naissance à sa mort tragique, découvrez sa True Story. Une révolution de la danse Paris, 1905, le rideau de velours rouge s'ouvre lentement, les murmures des spectateurs s'estompent peu à peu. Des faisceaux colorés sont projetés sur la scène. La musique commence, elle est douce et envoûtante. Les spectateurs retiennent leur souffle, impatients de découvrir la danseuse dont tout le monde parle. Surgissant des ténèbres, vêtue d'une simple tunique blanche, elle apparaît. Les projecteurs illuminent son visage aquilin, encadré par des longs cheveux bruns. La femme commence une improvisation de danse. Pour découvrir d'autres récits passionnants, cliquez ci-dessous : L'épidémie de danse de 1518, le phénomène démoniaque qui a semé la terreur en Europe L'Ordre du Temple Solaire, la secte qui a organisé les plus grands suicides collectifs de l'histoire Rollerman, l'homme qui repousse les limites de l'extrême Un podcast Bababam Originals Ecriture : Clémence Setti Voix : Andréa Brusque Production : Bababam (montage Gautam Shukla, Antoine Berry Roger) Learn more about your ad choices. Visit megaphone.fm/adchoices

Hoy comienzo este podcast de una forma muy especial… se lo voy a dedicar a mi pareja. A mi pareja y a todas las mujeres. Y es que no nos engañemos: El mundo del motor ha sido un mundo de hombres. Y lamentablemente, lo sigue siendo… pero cada vez más mujeres se interesan por los coches y las motos. Pese a ello, a lo largo de la historia, ha habido mujeres que han sido verdaderas protagonistas y hoy os ha traído a 10 mujeres y a 10 historias curiosas… más un “bonus track”. Me llama la atención como las mujeres, en su relación con el automóvil, son mucho más prácticas que nosotros. Y no, no me refiero a los tópicos, que a las mujeres les interesa, por ejemplo, el espacio y a los hombres la potencia… tópicos que pueden tener algo de razón pero que banalizan a ambos sexos. Entre otras experiencias, he trabajado vendiendo coches y me he dado cuenta de que las mujeres eran -y son- mucho más espabiladas cuando hablabas de financiación, de las coberturas de un seguro o de equipamientos extra de seguridad… incluso aquellas que eran o son amantes de la conducción deportiva, o que directamente, eran o son pilotos. Tranquilas y tranquilos, también os traigo mujeres que han participado en competición, en F1 o que han ganado a todos los hombres en una prueba tan dura con el Paris-Dakar… Hoy vamos a huir de los tópicos. No he incluido en esta lista a Michelle Mouton porque hay un vídeo exclusivamente dedicado a ella, solo por eso no está aquí. 1. Bertha Benz (1849-1944). Primer viaje en coche. Su marido inventó el automóvil, pero ella fue quien lo hizo famoso. Karl Benz estaba muy decepcionado con su invento, el "Motorwagen", un triciclo con motor de 0,75 CV considerado por muchos el primer automóvil. Pero no vendía ni uno. Una mañana de agosto de 1888 su mujer, Bertha, decidió irse de viaje con sus dos hijos y se convirtió no en la primera mujer "viajera" sino en la persona que realizó el primer viaje en coche de la historia. 2. Minnie Palmer (1857-1936). Primera propietaria de un coche Minnie Palmer fue una de las mayores estrellas de Broadway en la segunda mitad del siglo XIX. Tras divorciarse de su marido y manager, se casó en segundas nupcias con el generoso y millonario inglés, Francis Jerrard. La actriz norteamericana se convirtió en la primera mujer que se sepa, que era propietaria de un automóvil en Gran Bretaña. 3. June McCarroll (1867-1954). Invento las líneas de separación. Una historia curiosa… June McCarroll era una enfermera de Nueva York que tuvo una mala experiencia al volante de su Ford T: En 1917 fue literalmente arrollada fuera de la carretera por un camión. Para evitar tales accidentes, pidió que se pintase una raya que separase los dos carriles… pero nadie la hizo caso. Y lo hizo ella misma: Se armó de pintura y brocha y se pudo a pintar la raya que separaba los dos carriles en una carretera. 4. Genevra Delphine Mudge (1881-1964). Primera piloto Genevra fue una pionera en el mundo de la automoción en Estados Unidos y en muchos sentidos: Fue la primera mujer con carné de conducir en Nueva York, en 1899; se la considera la primera piloto de la historia; y una de las primeras “culpables” de un grave accidente. 5. Dorothy Levitt (1882-1922). Inventora del retrovisor. Dorothy tenía una especie de título honorífico: "La mujer más rápida del Reino Unido". Hizo mucho por el automóvil pues no solo fue conductora y piloto, sino que además fue también periodista y escritora e introdujo a la reina Alejandra, consorte de Eduardo VII, y a sus hijas, en el mundo de la automoción. A Elizabeth Levitt se la considera la inventora oficiosa del espejo retrovisor. En su libro, cuyo título es un verdadero ejercicio de imaginación: "La mujer y el automóvil: un manual amigable para todas las mujeres que compiten en automovilismo o desean hacerlo" recomendaba a las mujeres llevar un pequeño espejo para estar atentas al tráfico a su espalda en los atascos sin dejar de mirar hacia delante… la idea estaba clara. 6. Florence Lawrence (1886-1938). Inventora del intermitente. Seguimos con mujeres muy prácticas. Florence Lawrence está considerada como la "primera estrella del cine" pues participó en nada menos que en 270 películas en la época del cine mudo. Un accidente en un rodaje en 1914 marcó el declive de su carrera y de su gran fortuna y acabó suicidándose… Pero antes inventó un dispositivo, colocado en el paragolpes trasero del coche, que indicaba mediante una mano de cartón la dirección a la que iba a girar el coche. 7. Mercedes Jellinek (1889-1929). Dio nombre a una marca. Mercedes era hija del empresario y diplomático Ernest Jellinek, apasionado del mundo de los coches y distribuidor de los vehículos de la firma DMG, fundada por Gottlieb Daimler y Wilhelm Maybach, de los que Ernest era buena amigo. Tanto que pusieron el nombre de su hija a su marca de coches. El primer Mercedes de la historia fue el 35 HP, en 1901. Y la historia sigue. 8. María Teresa de Filippis (1926-2016). Primera mujer en la F1 ¿Pensabas que la Fórmula 1 era una categoría exclusiva para hombres? Pues la italiana María Teresa de Filippis demostró lo contario el 18 de mayo de 1958, y se convirtió en la primera de solo cinco mujeres que hasta hoy han corrido F1. Algo de refilón nos pilla, porque María Teresa era hija de un Conde italiano, pero de madre española. Por pura casualidad De Filippis se hizo con el Maserati 250F con el que Juan Manuel Fangio había ganado el Mundial de F1 en 1957. No logró clasificarse en su primer GP, en Mónaco, pero sí en el Gran Premio de Bélgica el 15 de junio, en el que terminó en décima posición. 9. Lella Lombardi (1941-1992). Única mujer con puntos en la F1. Solo una mujer en la historia ha conseguido puntuar en una carrera de Fórmula 1. Hablamos de Lella Lombardi que logró un sexto puesto, a bordo de un March Ford, en el Gran Premio de España de 1975, en el circuito barcelonés de Montjuïc. 10. Jutta Kleinschmidt (1962-actualidad). Vencedora del Dakar. El último Dakar “de verdad” fue el disputado en 2001 la última edición que se disputó en su tradicional recorrido París-Dakar. Y, casualmente, la única vez en que una mujer ha logrado la victoria. Hablamos de la alemana Jutta Kleinschmidt, nacida en Colonia, 1962. Y ahora vamos con el “bonus track” prometido: Bonus Track. Isadora Duncan (1877-1927). El mito… Con los coches llegó la velocidad y con la velocidad llegaron los accidentes. El 14 de septiembre de 1927, en Niza, Isadora Duncan viajaba como copiloto en un descapotable francés, un Amilcar y no un Bugatti como cuentan las leyendas urbanas… el larguísimo fular que llevaba al cuello se enredó en el eje de la rueda trasera. Isadora murió estrangulada, y aquel mismo día se convirtió en mito.

durée : 00:28:46 - Le Feuilleton - Isadora rêve toujours d'un orchestre de danseuses qu'elle aurait formées à la libre expression de l'âme dans la beauté des corps en mouvement

durée : 00:28:50 - Le Feuilleton - Après son séjour en Grèce, Isadora Duncan fonde sa première école à Berlin, dans le quartier de Grünewald, où elle s'occupe, avec sa sœur, d'enseigner son art.

durée : 00:28:45 - Le Feuilleton - En juillet 1903, Isadora part pour la Grèce, pays qui est pour elle le berceau de tous les arts, l'autel sacré de l'harmonie des mouvements de l'âme et du corps.

durée : 00:28:44 - Le Feuilleton - En 1899, lassée de l'incompréhension des Américains face à son art, Isadora Duncan décide de partir pour l'Europe et s'installe à Paris au printemps de 1900.

durée : 00:28:47 - Le Feuilleton - De son enfance, Isadora Duncan gardera le souvenir d'une grande liberté qu'elle associe au mouvement des vagues du Pacifique.

durée : 00:28:47 - Le Feuilleton - De son enfance, Isadora Duncan gardera le souvenir d'une grande liberté qu'elle associe au mouvement des vagues du Pacifique.

durée : 00:28:44 - Le Feuilleton - En 1899, lassée de l'incompréhension des Américains face à son art, Isadora Duncan décide de partir pour l'Europe et s'installe à Paris au printemps de 1900.

durée : 00:28:45 - Le Feuilleton - En juillet 1903, Isadora part pour la Grèce, pays qui est pour elle le berceau de tous les arts, l'autel sacré de l'harmonie des mouvements de l'âme et du corps.

durée : 00:28:50 - Le Feuilleton - Après son séjour en Grèce, Isadora Duncan fonde sa première école à Berlin, dans le quartier de Grünewald, où elle s'occupe, avec sa sœur, d'enseigner son art.

durée : 00:28:46 - Le Feuilleton - Isadora rêve toujours d'un orchestre de danseuses qu'elle aurait formées à la libre expression de l'âme dans la beauté des corps en mouvement

Today's episode is on US dancer Isadora Duncan. Listen to find out how she revolutionised dance, what the Singer sewing machine had to do with it, and enjoy some sapphic love poetry. Check out our website, where you can find out everything there is to know about Queer as Fact.  If you enjoy our content, consider supporting us on Patreon, checking out our merch, and following us on Twitter, Tumblr and Facebook. [Image: Isadora dancing on a beach]

Hablar de Isadora Duncan es hacerlo de la mujer que revolucionó la danza moderna, pero tras los focos y las luces, también hubo sombras y tragedias personales. Esta noche nos acercamos a su vida para contar un poco de ambas cosas para así traerte una imagen global de una de las artistas clave del siglo XX

Welcome to Media in the Mix, the only podcast produced and hosted by the School of Communication at American University. Join us as we create a safe space to explore topics and communication at the intersection of social justice, tech, innovation & pop culture. Let's introduce you to our guests! Jenny McConnell Frederick is a Washington, DC-based director, producer and strong believer in impossible theatre. She is the founder and co-Artistic Director of Rorschach Theatre as well as a member of Rorschach's groundbreaking Distance Frequencies project. She has worked in development and director positions for prominent organizations like Wolly Mammoth Theatre Company and CulturalDC. She graduated cum laude from Virginia Commonwealth University with a BFA in Theatre and joined Mensa for the free pencils. Along with her work at Rorschach, she has directed for Theater J (G-d's Honest Truth) and Catholic University (Sissy and Fifi & Hunter Forever!) as well as serving as Mentor Director for collegiate programs like Theatre Lab's Honors Acting Conservatory and the Kennedy Center's American College Theatre Festival. Her entrepreneurial spirit and love of dance led her to co-create the immersive dance/theatre projects March!: The Women's Movement from Isadora Duncan to Now and Chambers of the Heart. Additionally, she has been part of launching Space4: Performing Arts, It/That Happened at the University of Maryland, and two of Woolly Mammoth Theatre Company's ongoing fundraising events: annual benefit bash and Dinner on Stage. She was also a featured speaker at CityWrights Conference in Miami and has worked with countless artists to create, develop and produce their own works. Kyle “Kylos” Brannon is a professor at American University's School of Communication (SOC) and a reknown VJ, or live video artist. At SOC, he serves as the Associate Division Director for Film & Media Arts, an advisor for Delta Kappa Alpha, and as the producer and directory of the annual American Visions Awards, SOC's film awards ceremony. He is a company member with Rorschach Theatre and designs video projections for plays, including, 410[gone], Reykjavik, Annie Jump and the Library of Heaven, She Kills Monsters, and The Toxic Avenger Musical. Also with Rorschach Theatre, he is on the creative team for Psychogeographies, a 7-month long storytelling site specific experience that explores DC history, while following an ever-evolving story, which culminates in a live performance. As a VJ and multimedia artist, Kylos creates live video mash ups for DJs. He has worked with DJs like Moby, MSTRKRFT, Nadastrom, Jesse Tittsworth and Will Eastman and performed at 930 Club, U Street Music Hall, Ram's Head Live, The Black Cat, Jefferson Theater, NYC's Highline Ballroom, and others. At the Rorschach Theatre, his work has been featured in 410[gone], Reykjavik, Annie Jump and the Library of Heaven, She Kills Monsters, The Toxic Avenger Musical, and Psychogeographies. EXPERIENCE THE RORSCHACH THEATRE HERE> https://rorschachtheatre.com/ FOLLOW RORSCHACH THEATRE > Instagram: @rorschachdc Twitter: @rorschachdc To donate to American University's School of Communication and to continue supporting this podcast, visit: https://giving.american.edu/

This week, Sadie introduces us to "The Mother of Modern Dance," Isadora Duncan. Known for her free-flowing dancing and choreography that began the modern and contemporary dance movement, she was truly an incredible pioneer in the evolution of dance and movement. She traveled across Europe and the Soviet Union dancing to great acclaim, taught a group of students, and raised and adopted many children before her sudden and traumatic death in France. We discuss her childhood, career, relationships, philosophy, and impact on the world.Episodes Like This One: Loie Fuller, Misty CopelandFollow us on Instagram @morethanamuse.podcast

This week, Sadie introduces us to "The Mother of Modern Dance," Isadora Duncan. Known for her free-flowing dancing and choreography that began the modern and contemporary dance movement, she was truly an incredible pioneer in the evolution of dance and movement. She traveled across Europe and the Soviet Union dancing to great acclaim, taught a group of students, and raised and adopted many children before her sudden and traumatic death in France. We discuss her childhood, career, relationships, philosophy, and impact on the world. Episodes Like This One: Loie Fuller, Misty Copeland Follow us on Instagram @morethanamuse.podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Historiquement Vôtre réunit trois personnages qui croient en leur sœur comme personne : le poète, dramaturge et diplomate Paul Claudel qui, loin de ce qu'on a pu dire et écrire, a cru en sa sœur Camille Claudel au destin tragique que l'on connaît. Puis la danseuse Isadora Duncan qui a non seulement cassé les codes de la danse classique, mais l'a fait accompagnée d'Elizabeth, une sœur restée dans l'ombre, avec qui elle partageait la même vision éclairée du métier. Et une chanteuse qui croit en sa sœur - chanteuse aussi - "comme personne, personne..." et lui a rendu hommage en chanson (en nous piquant le titre de notre émission, à moins que ce ne soit l'inverse) : Clara Luciani.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Isadora Duncan.

Isadora Duncan was an artist who lived (and died) in an extraordinary manner. Her autobiography tells how she conceived a radical dance manifesto while partying across Europe.This memoir sold extremely well in America, being reprinted 9 times in 10 monthsA lot of this book reads like a society gossip column. Duncan can't help being political: everything she sees about her life and women's lives is politics to her.Fancy supporting the show? Do so here https://www.patreon.com/censoredpod Or buy stickers here: https://censoredpod.bigcartel.com/ Hosted on Acast. See acast.com/privacy for more information.

Support the podcast by tipping via Venmo to @queensofthemines, buying the book on Amazon, or becoming a patron at www.partreon.com/queensofthemines   When Agnes Moulton Coolbrith joined the Mormon Church in Boston in 1832, she met and married Prophet Don Carlos Smith, the brother of Joseph Smith, founder of The Church of Jesus Christ of Latter-day Saints. There, at the first Mormon settlement, Agnes gave birth to three daughters. The youngest was Josephine Donna Smith, born 1841. Only four months after Josephine Donna Smith's birth, Don Carlos Smith died of malaria.  In spite of Don Carlos being a bitter opposer of the ‘spiritual wife' doctrine, Agnes was almost immediately remarried to her late husband's brother, Joseph Smith in 1842, making her his probably seventh wife. Today we will talk about Josephine Donna Smith's, who's life in California spanned the pioneer American occupation, to the first renaissance of the 19thcentury feminist movement. an American poet, writer, librarian, and a legend in the San Francisco Bay Area literary community. Season 3 features inspiring, gallant, even audacious stories of REAL 19th Century women from the Wild West.  Stories that contain adult content, including violence which may be, disturbing to some listeners, or secondhand listeners. So, discretion is advised. I am Andrea Anderson and this is Queens of the Mines, Season Three.    They called her Ina. But Sharing your partner with that many people may leave you lonely at times. Not surprisingly, during the marriage, Agnes felt neglected. Two years later, Smith was killed at the hands of an anti-Mormon and anti-polygamy mob. Agnes, scared for her life, moved to Saint Louis, Missouri with Ina and her siblings. Agnes reverted to using her maiden name, Coolbrith, to avoid identification with Mormonism and her former family. She did not speak of their Mormon past.  She married again, in Missouri, to William Pickett. Pickett had also converted to Mormonism, and had a second wife. He was an LDS Church member, a printer, a lawyer and an alcoholic. Agnes had twin sons with Pickett. They left the church and headed west, leaving his second wife behind.    Ina had never been in a school, but Pickett had brought along a well-worn copy of Byron's poetry, a set of Shakespeare, and the Bible. As they traveled, the family passed time reading. Inspired, Ina made up poetry in her head as she walked alongside her family's wagon. Somewhere in the Nevada sands, the children of the wagon train gathered as Ina buried her doll after it took a tumble and split its head.  Ina's life in California started at her arrival in front of the wagon train  through Beckwourth Pass in 1851. Her sister and her riding bareback on the horse of famous mountain man, explorer and scout Jim Beckwourth. He had guided the caravan and called Ina his “Little Princess.” In Virgina, Beckwourth was born as a slave. His father, who was his owner, later freed him. As the wagon train crossed into California, he said, “Here, little girls, is your kingdom.” The trail would later be known as Beckwourth Pass. Ina was the first white child to cross through the Sierra Nevadas on Beckwourth Pass.  The family settled in San Bernardino and then in Los Angeles which still had largely a Mormon and Mexican population. Flat adobe homes with courtyards filled with pepper trees, vineyards, and peach and pomegranate orchards. In Los Angeles, Agnes's new husband Pickett established a law practice. Lawyers became the greatest beneficiaries, after the Treaty of Guadalupe Hidalgo, acquiring Mexican land in exchange for representation in court contests. Pickett was one of those lawyers. Ina began writing poetry at age 11 and started school for the first time at 14. Attending  Los Angeles's first public school on Street and Second. She published her poetry in the local newspaper and she was published in The Los Angeles Star/Estrella when she was just fifteen years old.  At 17, she met Robert Bruce Carsley, a part-time actor and a full time iron-worker for Salamander Ironworks.  Salamander Ironworks.built jails, iron doors, and balconies. Ina and Robert married in a doctor's home near the San Gabriel Mission. They lived behind the iron works and had a son. But Robert Carsley revealed himself to be an abusive man. Returning from a minstrel show in San Francisco, Carsley became obsessed with the idea that his new wife had been unfaithful to him. Carsley arrived at Pickett's adobe, where Ina was for the evening,  screaming that Ina was a whore in that very tiny quiet pueblo. Pickett gathered up his rifle and shot his son in law's hand off.  The next few months proved to be rough for Ina. She got an uncontested divorce within three months in a sensational public trial, but then, tragically, her infant son died. And although divorce was legal, her former friends crossed the street to avoid meeting her. Ina fell into a deep depression. She legally took her mothers maiden name Coolbrith and moved to San Francisco with her mother, stepfather and their twins.  In San Francisco, Ina continued to write and publish her poetry and found work as an English teacher. Her poems were published in the literary newspaperThe Californian. The editor of The Californian was author Samuel Langhorne Clemens. Also known as, Mark Twain. Ina made friends with Mark Twain, John Muir, Bret Harte and Charles Warren Stoddard, Twain's queer drinking companion. Coolbrith, renowned for her beauty, was called a “dark-eyed Sapphic divinity” and the "sweetest note in California literature” by Bret Harte. John Muir attempted to introduce her to eligible men.  Coolbrith, Harte and Stoddard formed what became known as the Golden Gate Trinity. The Golden Gate Trinity was closely associated with the literary journal, Overland Monthly, which published short stories written by the 28-year old Mark Twain. Ina became the editorial assistant and for a decade, she supplied one poem for each new issue. Her poems also appeared in Harper's, Scribner's, and other popular national magazines.   At her home on Russian Hill, Ina hosted literary gatherings where writers and publishers rubbed shoulders and shared their vision of a new way of writing – writing that was different from East Coast writing. There were  readings of poetry and topical discussions, in the tradition of European salons and Ina danced the fandango and  played the guitar, singing American and Spanish songs.  Actress and poet Adah Menken was a frequent visitor to her parties. We know Adah Menken from earlier episodes and the Queens of the Mines episode and she is in the book, as she was a past fling of the famous Lotta Crabtree.  The friendship between Coolbrith and Menken gave Menken credibility as an intellectual although Ina was never able to impress Harte of Menken's worth at the gatherings.     Another friend of Ina's was the eccentric poet Cincinnatus H. Miller. Ina introduced Miller to the San Francisco literary circle and when she learned of his adoration of the heroic, tragic life of Joaquin Murrieta, Ina suggested that he take the name Joaquin Miller as his pen name. She insisted he dress the part with longer hair and a more pronounced mountain man style.  Coolbrith and Miller planned a tour of the East Coast and Europe, but when Ina's mother Agnes and Ina's sister both became seriously ill, Ina decided to stay in San Francisco and take care of them and her nieces and nephews. Ina agreed to raise Miller's daughter, Calla Shasta, a beautiful half indigenous girl, as he traveled around Europe brandishing himself a poet. Coolbrith and Miller had shared an admiration for the poet Lord Byron, and they decided Miller should lay a wreath on his tomb in England. They collected laurel branches in Sausalito, Ina made the wreath. A stir came across the English clergy when Miller placed the wreath on the tomb at the Church of St. Mary Magdalene, Hucknall. They did not understand the connection between the late lord and a couple of California poets. Not to be outdone, the clergy sent to the King of Greece for another laurel wreath from the country of Byron's heroic death. The two wreaths were hung side by side over Byron's tomb. After this, Miller was nicknamed "The Byron of the West." Coolbrith wrote of the excursion in her poem "With a Wreath of Laurel".  Coolbrith was the primary earner for her extended family and they needed a bigger home. So, while Miller was in Europe, she moved her family to Oakland, where she was elected honorary member of the Bohemian Club. When her mother and sister soon died and she became the guardian of her orphaned niece and nephew, The Bohemian Club members discreetly assisted Ina in her finances.  Ina soon took a full-time job as Oakland's first public librarian. She worked 6 days a week, 12 hours a day, earning  $80 per month. Much less than a man would have received in that position at the time. Her poetry suffered as a result of the long work hours and for nearly twenty years, Ina only published sporadically.  Instead, Ina became a mentor for a generation of young readers. She hand chose books for her patrons based on their interests. In 1886, Ina mentored the 10-year-old Jack London. She guided his reading and London called her his "literary mother". London grew up to be an American novelist, journalist and social activist. Twenty years later, London wrote to Coolbrith to thank her he said “I named you Noble. That is what you were to me, noble. That was the feeling I got from you. Oh, yes, I got, also, the feeling of sorrow and suffering, but dominating them, always riding above all, was noble. No woman has so affected me to the extent you did. I was only a little lad. I knew absolutely nothing about you. Yet in all the years that have passed I have met no woman so noble as you." One young reader was another woman featured in a previous Queens of the Mines episode, Isadora Duncan, “the creator of modern dance”. Duncan described Coolbrith as "a very wonderful" woman, with beautiful eyes that glowed with burning fire and passion. Isadora was the daughter of a man that Ina had dazzled, enough to cause the breakup of his marriage.  The library patrons of Oakland called for reorganization in 1892 and after 18 years of service, a vindictive board of directors fired Ina, giving her three days' notice to clear her desk. One library trustee was quoted as saying "we need a librarian not a poet." She was replaced by her nephew Henry Frank Peterson. Coolbrith's literary friends were outraged, and worried that Ina would move away, becoming alien to California. They published a lengthy opinion piece to that effect in the San Francisco Examiner. John Muir, who often sent letters and the occasional box of freshly picked fruit,  also preferred to keep her in the area, and in one package, a letter suggested that she fill the newly opened position of the librarian of San Francisco. In Coolbrith's response to Muir, she thanked him for "the fruit of your land, and the fruit of your brain" but said, "No, I cannot have Mr. Cheney's place. I am disqualified by sex." San Francisco required that their librarian be a man. Ina returned to her beloved Russian Hill. In 1899, the artist William Keith and poet Charles Keeler offered Coolbrith the position as the Bohemian Club's part-time librarian. Her first assignment was to edit Songs from Bohemia, a book of poems by journalist and the Bohemian Club co-founder, Daniel O'Connell. Her salary in Oakland was $50 each month. The equivalent of $1740 in 2022. She then signed on as staff of Charles Fletcher Lummis's magazine, The Land of Sunshine. Her duties were light enough that she was able to devote a greater proportion of her time to writing.  Coolbrith was often sick in bed with rheumatism. Even as her health began to show signs of deterioration, she did not stop her work at the Bohemian Club. She began to work on a history of California literature as a personal project. Songs from the Golden Gate, was published in 1895; it contained "The Captive of the White City" which detailed the cruelty dealt to Native Americans in the late 19th century.  Coolbrith kept in touch with her first cousin Joseph F. Smith to whom and for whom she frequently expressed her love and regard. In 1916, she sent copies of her poetry collections to him. He publicized them, identifying as a niece of Joseph Smith. This greatly upset Coolbrith. She told him that "To be crucified for a faith in which you believe is to be blessed. To be crucified for one in which you do not believe is to be crucified indeed." Coolbrith fled from her home at Broadway and Taylor with her Angora cats, her student boarder Robert Norman and her friend Josephine Zeller when the 1906 San Francisco Earthquake hit. Her friends took a few small bundles of letters from colleagues and Coolbrith's scrapbook filled with press clippings about her and her poems. Across the bay, Joaquin Miller spotted heavy smoke and took a ferry from Oakland to San Francisco to help Coolbrith in saving her valuables from encroaching fire. Miller was prevented from doing so by soldiers who had orders to use deadly force against looters. Coolbrith's home burned to the ground. Soldiers evacuated Russian Hill, leaving Ina and Josie, two refugees, among many, wandering San Francisco's tangled streets. Coolbrith lost 3,000 books, row upon row of priceless signed first editions, rare original artwork, and many personal letters in the disaster. Above all, her nearly complete manuscript Part memoir, part history of California's early literary scene, including personal stories about her friends Bret Harte, Mark Twain, and John Muir, were lost. Coolbrith spent a few years in temporary residences after the blaze and her friends rallied to raise money to build her a house. Mark Twain sent three autographed photographs of himself from New York that sold for $10 a piece. He then sat for 17 more studio photographs to further the fund. She received a discreet grant from her Bohemian friends and a trust fund from a colleague in 1910. She set up again in a new house at 1067 Broadway on Russian Hill. Coolbrith got back to business writing and holding literary salons. Coolbrith traveled by train to New York City several times for several years, greatly increasing her poetry output. In those years she produced more than she had produced in the preceding 25 years.  Her style was more than the usual themes expected of women. Her sensuous descriptions of natural scenes advanced the art of Victorian poetry to incorporate greater accuracy without trite sentiment, foreshadowing the Imagist school and the work of Robert Frost. Coolbrith was named President of the Congress of Authors and Journalists in preparation for the 1915 Panama–Pacific International Exposition in San Francisco. That year, Coolbrith was also named California's first poet   , and the first poet laureate of any American state on June 30, 1915. A poet laureate composed poems for special events and occasions. Then, it was a position for the state that was held for life. The Overland Monthly reported that eyes were wet throughout the large audience when Coolbrith was crowned with a laurel wreath by Benjamin Ide Wheeler, President of the University of California, who called her the "loved, laurel-crowned poet of California." After several more speeches were made in her honor, and bouquets brought in abundance to the podium,  74-year old Coolbrith accepted the honor, wearing a black robe with a sash bearing a garland of bright orange California poppies, saying: "There is one woman here with whom I want to share these honors: Josephine Clifford McCracken. For we are linked together, the last two living members of Bret Harte's staff of Overland writers. In a life of unremitting labor, time and opportunity have been denied. So my meager output of verse is the result of odd moments, and only done at all because so wholly a labor of love.” Coolbrith continued to write and work to support herself until her final publication in 1917. Six years later, in May of 1923, Coolbrith's friend Edwin Markham found her at the Hotel Latham in New York very old, disabled, ill and broke.  Markham asked Lotta Crabtree to gather help for her.  Coolbrith was brought back to California where she settled in Berkeley to be cared for by her niece.  The next year, Mills College conferred upon her an honorary Master of Arts degree. In spring of 1926, she received visitors such as her old friend, art patron Albert M. Bender, who brought young Ansel Adams to meet her. Adams made a photographic portrait of Coolbrith seated near one of her white Persian cats and wearing a large white mantilla on her head.  A group of writers began meeting at the St Francis Hotel in San Francisco, naming their group the Ina Coolbrith Circle. When Ina returned to Berkeley she never missed a Sunday meeting until her death at 87-years-old. Ina Coolbrith died on Leap Day, February 29, 1928. The New York Times wrote, “Miss Coolbrith is one of the real poets among the many poetic masqueraders in the volume.” She is buried in Mountain View Cemetery in Oakland. My fave. Her grave was unmarked until 1986 when the literary society The Ina Coolbrith Circle placed a headstone.  It was only upon Coolbrith's death that her literary friends discovered she had ever been a mother. Her poem, "The Mother's Grief", was a eulogy to a lost son, but she never publicly explained its meaning. Most people didn't even know that she was a divorced woman. She didn't talk about her marriage except through her poetry.  Ina Coolbrith Park was established in 1947 near her Russian Hill home, by the San Francisco parlors of the Native Daughters of the Golden Westmas. The park is known for its "meditative setting and spectacular bay views". The house she had built near Chinatown is still there, as is the house on Wheeler in Berkeley where she died. Byways in the Berkeley hills were named after Bret Harte, Charles Warren Stoddard, Mark Twain, and other literati in her circle but women were not initially included. In 2016, the name of a stairway in the hills that connects Grizzly Peak Boulevard and Miller Avenue in Berkeley was changed from Bret Harte Lane to Ina Coolbrith Path. At the bottom of the stairway, there is a plaque to commemorate Coolbrith. Her name is also commemorated at the 7,900 foot peak near Beckwourth Pass on Mount Ina Coolbrith in the Sierra Nevada mountains near State Route 70. In 2003, the City of Berkeley installed the Addison Street Poetry Walk,  a series of 120 poem imprinted cast-iron plates flanking one block of a downtown street. A 55-pound plate bearing Coolbrith's poem "Copa De Oro (The California Poppy)" is  raised porcelain enamel text, set into the sidewalk at the high-traffic northwest corner of Addison and Shattuck Avenues Her life in California spanned the pioneer American occupation, the end of the Gold Rush, the end of the Rancho Era in Southern California, the arrival of the intercontinental train, and the first renaissance of the 19th century feminist movement.  The American Civil War played no evident part in her consciousness but her life and her writing revealed acceptance of everyone from all classes and all races.  Everyone whose life she touched wrote about her kindness.  She wrote by hand, a hand painfully crippled by arthritis after she moved to the wetter climate of San Francisco.  Her handwriting was crabbed as a result — full of strikeouts.  She earned her own living and supported three children and her mother. She was the Sweet Singer of California, an American poet, writer, librarian, and a legend in the San Francisco Bay Area literary community, known as the pearl of our tribe.  Now this all leads me to wonder, what will your legacy be?     Queens of the Mines was created and produced by me, Andrea Anderson. You can  support Queens of the Mines on Patreon or by purchasing the paperback Queens of the Mines. Available on Amazon.  This season's Theme Song is by This Lonesome Paradise. Find their music anywhere but you can Support the band by buying their music and merch at thislonesomeparadise@bandcamp.com        

Isadora Duncan (1877-1927) was an American pioneer of dance and is an important figure in both the arts and history. Known as the “Mother of Modern Dance,” Isadora Duncan was a self-styled revolutionary whose influence spread from America to Europe and Russia, creating a sensation everywhere she performed. Her style of dancing shunned the rigidity of ballet, and she championed the notion of free-spiritedness coupled with the high ideals of ancient Greece: beauty, philosophy, and humanity. Follow us: @homance_chronicles Contact us: https://linktr.ee/homance Send us a Hoe of History request: homancepodcast@gmail.com  

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Alberto Conejero nos trae en su carromato muertes singulares de artistas, como por ejemplo Isadora Duncan. Y si eres de los que no soportan ruidos repetitivos como masticar, debes saber que eso tiene un nombre: misofonía. Nuestro colaborador Fer Blázquez nos lo cuenta todo acompañado de una maravillosa selección musical. Llegamos al final de esta hora con Débora Álvarez y su Mundo estadística que hoy se centra en la capacidad que tienen para absorbernos los videojuegos. Escuchar audio

El último carromato de Alberto Conejero viene lleno de cadáveres exquisitos. Se despide el dramaturgo hablando de la muerte inesperada, prematura y trágica de personajes relevantes de la historia y del arte como Isadora Duncan, Costas Cariotakis, Joe Orton y Mary Santpere. Escuchar audio

En esta entrega de "Cocheviejo" llega la trágica historia que une a la bailarina Isadora Duncan y al antiguo Amilcar CGSThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5620397/advertisement

Sujata is joined by the humorous and effervescent Janice Campbell on the show today. Janice is a recovering theatrical stage manager turned Doctor of Acupuncture & Herbal Medicine. She is also a Somatic Touch Practitioner and teaches a variety of online courses to individuals and groups. She recently finished up a 5 year stint in academia, where she threw a university's clinical practice of a 3,000 year old medicine online in less than 6 weeks during quarantine, to the benefit of the master's and doctoral levels student practitioners, their faculty, and patients. She loves puzzles of all kinds, storytelling, and learning new things. In addition to homeschooling her son, she reads, plays music, and gardens far less than she'd like. In all that she does, Janice is committed to helping people remember how to respond to the world the way they did when they were little because life is too short not to be having a good time. Janice lives in Baltimore, Maryland with her sweetheart, their son, an opinionated cat, and an elderly dog, who is a Buddhist monk that took an odd turn in reincarnation. Playlist included: 1. Show Me The Way To Go Home by Jimmy Campbell & Reg Connelly 2. Midnight Train to Georgia by Gladys Knight & The Pips 3. Rocket Man by Elton John 4. Marlene On The Wall by Suzanne Vega 5. Eight Ball by The Jody Grind 6. Isadora Duncan by Vic Chesnutt 7. Fast Car by Tracy Chapman 8. Sally MacLennane by The Pogues 9. Here I Am by Lyle Lovett 10. Banish Misfortune by performed by Richard Thompson 11. O-o-h Child by The Five Stairsteps 12. Galbi by Abdy Enjoy!

Isadora Duncan (1877-1927) was the “mother of modern dance.” A woman who consistently threw off tradition, she forged her own path through art, and life. Special thanks to our exclusive Pride Month sponsor, Mercedes-Benz! Mercedes-Benz continues to support and stand with the LGBTQIA+ community. Listen all month long as we celebrate women whose authentic expression in their lives and bodies of work have expanded the norms of gender and sexuality in the performing arts.History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Ale Tejeda, Sara Schleede, and Alex Jhamb Burns. Special thanks to Shira Atkins. Original theme music composed by Miles Moran.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitter

Kate Chopin - The Awakening - Episode 4 - Symbolism, Romanticism, Nihilism And A Dissonant Ending!   Hi, I'm Christy Shriver. We're here to discuss books that have changed the world and have changed us.    I'm Garry Shriver, and this is the How to Love Lit Podcast.  This is our final episode in our four-part series of Kate Chopin's masterpiece The Awakening.  There is a lot layered in such a short book.  In episode 1, we discuss Chopin's life, we introduce the concept of “local color” and we arrive on the colorful shores of a summer resort village in Grand Isle, Louisiana.  Episode 2 we spend time on Grand Isle.  We meet Edna, Adele, Mr. Pontellier, Robert Lebrun and Madame Reisz.  We watch Edna awaken to an inner awareness she had never understood before, and we see this awakening occur through a physical sensuality she has never experienced before.  She learns to swim.  Edna Pontellier leaves Grand Isle a very different person than how she arrived at the beginning of her summer. Episode  3 we start with chapter 18 as Edna arrives back home in New Orleans.  Nothing would be the same.  She cannot  conform to the roles she has previously played.  She does not fit into the culture; she doesn't want to anymore.  She abandons almost all that she had previously identified with and experiments with different lifestyles: the arts, the horse races, men, ultimately she decides to leave the ritzy Esplanade street and take up residence in what she calls her Pigeon House just around the corner.  Today, we begin with chapter 26 and we follow Edna's progression through the end of the book.       Stylistically Chopin wrote what we call a realistic novel. The story, the settings, the characters truthfully represent the real world.  Grand Isle really exists and the resort there existed in the way she described it.  The same is true for Esplanade Street.  The details are accurate as Chopin represents the reality the great city of New Orleans at the turn of the century.  The French language, the customs, the way people behave, the races, the music, even the Song, “Ah, si tu savais”…is a real song. All of these things reflect reality.   However, as we get farther to the end of the novel, and as the reader gets more submerged into Edna's perspective, things get more and more romanticized.  Objects that seemed liked just objects at the beginning are now understood to be metaphorical and are symbolic.  We notice that objects are repeating and evolving- they are motifs.   In other words, the objects are still what they have always been, but they have taken on to mean MORE than just what they originally meant.  We understand things to be symbols in two ways.  The first way is whey the author spends an inordinate amount of time describing something that maybe isn't THAT important otherwise.  A second way is when we notice something to keep showing up over and over again.  Here's one example  There is music in the beginning.  It's described in detail, but notice just how much music there is in this book.  Notice how much time is devoted to describing it.   There is music in the middle and there is music at the end.  It means something, but of course it's up to us to draw our own conclusions as to what.  The birds work the same way.  There are birds on the first page, they come back in the middle and there is a bird on the last page.  It means something.  Food and meals are often symbolic.  Meals are archetypal symbols for fellowship.   Chopin use meals as a way to sort track what's going on with Edna and her relationships throughout the story.  Following the symbols helps us understand the universality of the story.  The biggest symbol is the sea, and by the end of the book it takes on mythic proportions.  The sea, as we pointed out in the beginning is personified.  It's alive.  But by the end, if we look carefully, we see in the description that the ocean is described as a serpent- uh ohh.  That's a Biblical symbol- but even in the Bible a serpent is not just one thing.  But it's not just the Bible that that is alluded here in these ocean references.  Edna as called Venus, and Venus emerges from the sea. What is that about? Although everything is still realistic- there are no superheroes or magic or pirates or fairies of any kind, there symbols somehow feel allegorical; is Edna even a real person or is she a type?  I know that's a little hyperbolic, but not by much.  Today as we end our discussion, I'd like to see this book as indeed political; there certainly is that side of it, but that is just the surface.  It goes beyond that to ask questions that are personal.  But before we can do that, we must first address the political.  Chopin was, by her very essence, a woman in the vein of what Europeans of her day called the “New Women” of the fin de siècle.    Garry, Chopin, was a well-read French speaker and reader very attune to the political, social and literary movements of her day, but we are not- although I will say, I've learned a lot about new women by watching them evolve in Downton Abbey, but what is a “new woman” and what does the term “fim de siècle” mean beyond the obvious translation of end of the century.    The term “New Woman” was actually an invention of the British media- it's not an American thing- and you're right, it's showcased in a lot of period pieces.  Here's one tell, a new woman might be the one riding a bicycle as a display of her independence.    A bicycle.  That's funny.      You'd have been the first to get your hands on one, I'm sure.  Think about it; just being able to wear clothes that would allow you to ride it would be liberating.  Anyway, the term first came out in the The Woman's Herald in August of 1893.  To use the newspaper's words, “woman suddenly appears on the scene of man's activities, as a sort of new creation, and demand a share in the struggles, the responsibilities and the honurs of the world, in which, until now, she has been a cipher.”  This feminist vision, as you can imagine was highly controversial and threatening to the status quo.  Among other things, it involved a new definition of female sexuality.  Some considered this alone to be the beginning of the apocalypse- the world was certainly turning upside down.  The mainstream media portrayed the new woman as a mannish brute towering over men- someone who is extremely hideous and monstrous- something most women obviously would not want to embrace- very propagandic.  Opponents were making caricatures as negative as possible of these “independent women”  wearing masculine clothes and pursuing unwomanly pursuits like sports, politics or higher education.     How dare they?    There was a lot of cigar smoking in these pictures.  These were meant to be negative images; the women would have angry faces, maybe with their hands on their hips scowling at the reader.  But in the feminist media, the new woman was portrayed very differently.  The traits were the exact same but portrayed in a positive way.  The new woman in these publications  was portrayed as a social warrior defending her home, using her political positions, social standings to compliment traditional household duties.  The idea being a new woman didn't neglect her family she was a better provider and defender of self and family because of it.  The main difference between these new visions of a new woman had to do with what you do with motherhood.   Femininist media created images of women incorporating traditionally male domains not necessarily excluding motherhood.   The big political interests that stand out were women's suffrage and property rights. Women were interested in careers outside the home and higher education.   Women's periodicals emerged with pretty large readerships, and not all of these readers were women.  Women were publicly and in writing asking other women to openly express their views on contemporary life- this was new.  The question of the era was “What is the role of the ‘new woman'?” I quote the North America Review here, “the great problem of the age is how to emancipate woman and preserve motherhood.”   In the 1890s, the new woman wanted to be what some called a “respected radical”.      And of course, we don't have to get far into The Awakening to see these political and social concerns embedded in Chopin's work.  She is a voice speaking to this socio-political moment in time, and she's commenting in a serious way on women's struggle to speak- Edna struggles to speak for herself at everyone point in the book.  Interestly enough, Edna didn't have a mother and doesn't know what to do with motherhood.  She had no personal role model.    I noticed that, and it matters psychologically when we watch Edna vacillate at the end of the book.  Chopin created a character of extreme economic privilege for her day, yet still, Edna has terrible trouble articulating even to herself what she feels or what she wants.   The reasons for this are not simply resolved.  Chopin seems to suggest to me that for sure there are political, social and cultural adjustments that must be made giving women more rights, but that's just one part of it.  Chopin illustrates this from the vantage point of a woman.  There must be a redefinition of respectable womanhood that is not so polarizing.  Here there are only two versions of respectable women-  Madame Reisz and the other Adele Ratignole.     By chapter 26 Edna clearly understands she is not one or the other, but there is an inarticulate lostness.  Where does Edna fit in?  She tells Madame Reisz that she's moving out of her home, and for a brief moment you wonder if she's got some sort of radical plan, except she doesn't and her reasons don't even make a lot of sense.  They're emotional. She's literally moving  “just two steps away in a little four-room house around the corner.  It looks so cozy, so inviting a restful, whenever I pass by, and it's for rent.  I'm tired looking after that big house.  It seemed seemed like mine, anyway- like home.  It's too much trouble.  I have to keep too many servants.  I am tired bothering with them.”  She goes on to say when Madame Reisz doesn't buy that explanation, “The house, the money, that provides for it are not mine.  Isn't that enough reason?”    Obviously those are NOT reasons enough- what does she get out of this move? When Madame Reisz asks how her husband reacted to this plan this is her response, “I have not told him.   I only thought of it this morning.”      Very impulsive.    SOO impulsive.  I'm ashamed to say, I know people that do things like this, but this is not my vision of the real pioneers of the women's movement- not today or from the turn of the century- women like Elizabeth Cady Stanton, Isadora Duncan, Clara Burton, Mary Wollstonecraft- they aren't anything like Edna Pontellier.    Well, no they are not, Edna has some deficiencies for sure, and they express themselves in various ways.  One of these is expressed through this confusion of passion with relationship like we see with Robert LeBrun.   She indulges in fantasy which is fun, of course, and the idea of Robert is a wonderful fantasy.    This is something else that frustrates me, personally, with Edna. I keep wanting to say, “snap out of it, child!”  Chopin builds this tension but she never lets Edna snap out of it.  And even though the title of this book is The Awakening, and it is true is that Edna awakens continuously throughout the book, There is another sense paradoxically where Edna is always asleep literally and figuratively.  Edna is not a villain; Edna is not a pathetic character; Edna is a realistic character who vacillates all the time between this illusion and reality.  She's continually uncovering things that haven't been real, but then constructing things that are totally fake- like her life in this pigeon house or her relationship with Robert. Unpacking Edna is seeing a real life- a struggle. Chopin's evolutionary character awakens from a very female - not a male one, not a neutered life; the complexity derives from realities that are unique to women, specifically those from the turn of the century, but the social and culture implications aside, in universal terms, what does it mean for Edna to be in love with Robert?  To love someone means something in a universal way.  People love in all cultures in all times all around the world.  For a woman to love a man as she claims to love Robert, what does she mean?  Is she saying she desires a life with him; does she want to take on any responsibility for his happiness or good?  That is what I find confusing, because Edna doesn't seem to be doing that for anyone.  In what sense is Edna “in love” or should we not take her at her word on this?        Ha!  Do we take anyone at their word when they are “in love”?  Of course, when she is asked to describe what she means, she describes the biochemical addiction we all feel when we can't get enough of another person.  That experience is overwhelming for anyone; and Chopin has gone to a lot of trouble to show us that Edna has never been “in love” before.  Edna is a woman who recently just turned on her feelings.  Turning on our feelings is important, and it is very sad that it was so long in happening for her.  Contrary to popular opinion, feelings are good.  To experience feelings is not a sign of weakness. Not taking into account her feelings is what got her into a loveless marriage to begin with.  We have to learn to incorporate our emotions if we are going to live as a whole individual- a person with no dead spots.  Edna has lived from her childhood onward with lots of dead spots.  This has handicapped her in many ways.  In this case, what does it mean for Edna in Edna's mind to love Robert LeBrun?  What does it mean if he loves her?  I'm not sure the relationship between these two is what is important for Chopin.  It appears to be the backdrop of a larger issue?  Love is not the end game for Edna; passion was the catalyst to her awakening, to be sure, but the relationship between Edna and Robert is not a Romeo and Juliet type story.  The Awakening is not a love story.    Indeed, Madame Reisz recognizes that as well.  Madame Reisz calls Edna “Ma Reine” in chapter 26.  She then asks, “Why do you love him when you ought not?”       And why does that term “ma reine” draw your attention?    Because that term means, “My queen”, and that seems to be more in line what Edna wants instead of a relationship with Robert LeBrun.  What has Edna discovered in this world.  She's discovered she doesn't want to be woman-mother.  She discovered she doesn't really want to be artist woman.  She's trying out what it's like to be a “man” in some ways.  But really what she wants is to be Woman-queen.  Which is a nice role- I'd like that to be that one as well.    Ha!  Not a Disney princess.    Heck no- I'm all for mother-queen.  But here's Edna'a problem.  She's not prepared nor does she seem creative enough to invent this role for herself in the actual real world in which she lives; she likely can't conceptualize it.  This illusion of a mother-queen will be the model from here to the end of the book.  The thing is, it's not real; Edna is creating an illusion.  In fact, this whole book is a discussion on illusion versus reality.  What did Edna awaken to, if not to the understanding that her entire life was an illusion- she was living an inauthentic life.  Except, look at what she does in response to that?  She's building more illusion- exhibit A-  this relationship with Robert- if it is anything it is an expression of illusion.      Edna doesn't need a fantasy.  She needs hope.  She needs to see her own potential- a creative vision of what she can become, something she would like to become- if not mother, if not artist, if not horse-racer, if not socialite, then what.    In chapter 27, Edna says this “Don't you know the weather prophet has told us we shall see the sun pretty soon?”  The sun is a very ancient and universal symbol.  It represents hope.  It represents creativity; it's a male archetypal symbol, btw, the sun represents energy.  If you remember, Edna can only paint in the sun, and that's exactly right.  That's all of us, we all can only create in the sun.  We can only move forward when we have hope.  The Sun gives us life and without it we live in darkness, without hope.  Edna is wrestling with finding hope, but that seems to be problematic because she can't even decide if she's a good person or a bad person.  Listen to what she says to Arobin, “I'm going to pull myself together for a while and think- try to determine what character of a woman I am; for, candidly I don't know.  By all the codes which I am acquainted with, I am a devilish wicked specimen of the sex.  But some way I can't convince myself that I am.  I must think about it.”      It is in that line that I think Chopin enraptures many female readers.  I want to read it again, “  By all the codes which I am acquainted with, I am a devilish wicked specimen of the sex.  But some way I can't convince myself that I am.  I must think about it.”      In other words, the world tells me I am a bad person because I'm not conforming properly.  I'm not doing the right things; but something inside of me defies that.  I don't feel devilish.  But I'm told I am, and there is my disconnect.    Indeed-and isn't it interesting that it is here at this point that Edna revisits something Madame Reisz has apparently told her previously but we are only getting to see in this context after this confession, “When I left her today, she put her arms around me and felt my shoulder blades, to see if my wings were strong, she said, ‘the bird that would soar above the level plain of tradition and prejudice must have strong wings.  It is a sad spectacle to see the weaklings bruised, exhausted, fluttering back to earth.”    I agree, but what kind of bird is Edna?  Madame Reisz is not using language that suggest Edna IS this kind of woman.  She's challenging her to be a certain way.  She's saying if Edna wants to have a certain outcome, she must display certain characteristics.  But, notice the next thing that happens, Edna and Arobin kiss passionately.  “It was the first kiss of her life to which her nature had really responded.  It was a flaming torch that kindled desire.”  Chopin is very delicate in how she expresses the implied sex scene.  The entire chapter is very short- very different than how Shonda Rimes does these things in Bridgerton.  Let's read it.    Chapter 28    I know this is not the majority view here, but this is not only Edna asserting independence.  This is Edna running into more illusion. From here, she immediately moves out of Leonce's house, but not without running up a crazy expensive bill with a lavish dinner party.  Arobin calls it a coup d'etat.  “It will be day after tomorrow.  Why do you call it the coup d'etat?  Oh! It will be a very fine; all my best of everything- crystal, silver, and gold. Sevres. Flowers, music and champagne to swim in.  I'll let Leonce pay the bills.  I wonder what he'll say when he sees the bills.”    This dinner party is very strange.  For a book so short, why should so many pages be devoted to a dinner party that is essentially meaningless in terms of plot development.      It is long.  One critic pointed out that it's literally, “the longest sustained episode in the novel.”     So, why?  It does not develop the plot; it does not develop any characters; nothing provocative is uttered.  What is going on?    Well!!!  Meals are never just meals- not in literature, not in the movies.  In fact, food is never just food.  It's almost always symbolic of something.  Food is so essential to life, in fact it IS life,  but meals are essential to community.  They don't just symbolize fellowship- they ARE fellowship.  This Thursday night we are going to celebrate our niece, Lauren,  graduating from Collierville High School, and how are we going to do this, we are going to eat together.  Eating together is bonding.  With that in mind, notice how many meals are consumed in this story.      So, what's with the dinner Edna holds?  Her family isn't there.  Her husband isn't there.  Adele, her closest friend, isn't even there.  Many literary critics have suggested, and I honestly think there is validity to this, that Chopin is creating a parody of Jesus' last supper.  Edna has invited a select 12 to join her on her birthday dinner.  There's irony there.  In some sense, it's not just a day where she is celebrating turning 29.  She sees herself as being reborn- her birth…day.  She is celebrating her departure, but unlike Jesus' humble meal in the upper room before his crucifixion and resurrection- Edna goes high dollar.  She sits at the end of the table presiding over her dinner guests, who all have a magnificent time, btw. She wears a cluster of diamonds she had just received that morning from her husband.   There is a specially designed cocktail her father invented for her sister's wedding that she didn't attend; there are multiple courses, everyone has a special chair.  Everything was queenly.  Let me read the description of Edna, “The golden shimmer….    Page 103    Madame Reisz on her way out at the end of the party again says this, “Bonne nuit, ma reine, soyez sage.”  Translated- Good night, my queen, be wise.”    Well, you've made your case…she is playing the part of the queen. But who are the other people in this charade?  Specifically, why is  Mrs. Highcamp there who we know she doesn't like, and why is she weaving a garland of yellow and red roses and laying it over Victor…according to Chopin transforming Victor into a vision of oriental beauty, his cheeks the color or crushed grapes and his dusty eyes glowed with a languishing fire. After that she drapes a while silk scarf on him. It's just weird…and pagan feeling…nothing like the Lord's Supper of the bible, if you were trying to make that comparison.      No, it's the very opposite. That's why critics say it's a parody of Jesus' last supper.  It's imitating but not recreating.  It feels pagan, doesn't it?   Edna is Queen but she has no stated purpose; she is not Jesus sacrificing his life for the sins of the world.  Another moment of parody is when Victor, Judas' like, quickly falls out of favor or betrays her so to speak by singing a song Edna associates with Robert.  But he is shut down.    In the chapters that follow, we see Leonce saving face by remodeling the house as a way of explaining Edna's odd behavior and moving out of the family home.  Edna feels happy about what she's done.  Of course, these are all feelings but “Every step which she took to relieving herself from obligations added to her strength and expansion as an individual.  She began to look with her own eyes; to see and to apprehend the deeper undercurrents of life.”   Again, Chopin never gets far away from the idea that Edna is trying to understand for herself what is real and she is doing this by stripping down, an image we will see all the way to the end.    And yet, the text never clarifies exactly what it is that Edna is learning about the world and herself.  She draws no conclusions, makes no provisions, takes on no responsibilities.  Reality is an immovable thing.  It is not something we simply escape- that is not possible.      Well, I'm not sure Edna knows that.  She visits her children and weeps when she ssees them. Let me quote here, “She lived with them a whole week long, giving them all of herself, and gathering, and filling. Herself with their young existence.”  She tells then about the Pigeon house and the kids get real very quickly.  They ask her where they would sleep, where papa would sleep. Edna's answer betrays her unwillingness to problem solve.  She says and I quote, “the fairies would fix it all right.”      Edna rejects reality over and over again.  She responds with fantasy at every point.  Madame Ratignolle recognizes this.  In chapter 33 she pays Edna a visit at the pigeon house.  She asks about the dinner party.  She warns her about her behavior with Arobin, but she also makes Edna promise that when the baby comes, Edna would come be a part of the delivery.  Before leaving she says this to Edna, “In some ways you seem to me like a child, Edna. You seem to act without a certain amount of reflection which is necessary in this life.”      Adele is referring to whatever is going on with Arobin, but really, the relationship with Robert is the epitome of her fantasy.  As long as Robert is flirting with no goal- like he did on Grand Isle, Edna is in love with him.  On Grand Isle they share a meal together.  They talk about spirits and pirates.  She loves that.  But here in New Orleans, Robert approaches Edna with a desire to be honest and she rejects that.  The text says that in some way “Robert seemed nearer to her off there in Mexico than when he stood in her presence, and she had touched his hand”.   After Edna's birthday we see no more communal meals, Edna eats alone- there is no more fellowship at this point really with anyone.  Edna invites Robert to eat with her at a little restaurant called “Catiche”.  Edna requests a plate and puts food in front of him, but he doesn't eat a morsel. He walks her home and comes inside.  Edna kisses him.  He confesses his love and how he is tormented because Edna is not free.  Let's read this exchange.    “Something put into my head that you cared for me; and I lost my senses.  I forgot everything but a wild dream of you some way becoming my wife.”    Your wife!    “Religion, loyalty, everything would give way if only you cared.”    Then you must have forgotten that I was Leonce Pontellier's wife.”    “Oh I was demented, dreaming of wild, impossible things, recalling men who had set their wives free, we have heard of such things.”    Yes, we have heard of such things.”    There's a little more back and forth until we get to this line of Edna's, “You have been a very very foolish boy, wasting your time dreaming of impossible things when you speak of Mr. Pontellier setting me free!  I am no longer one of Mr. Pontellier's possessions to dispose of or not.  I give myself where I choose.  If he were to say “here Robert, take her and be happy; she is yours, I should laugh at you both.”    He of course responds with, “What do you mean?”  He has no idea what Edna's talking about.      Exactly, and here is where the a plot complication makes things interesting.  Their conversation is interrupted when Madame Ratignolle's servant comes to say that Adelle is having her baby.  Edna leaves Robert.  She says this to Robert, “I love you.  Only you; no one but you.  It was you who awoke me last summer out of a life-long, stupid dream.”      Robert begs Edna, as if she really were Queen Edna.  He begs her to stay with him- to not go to Adelle.  This is kind reminiscient of the stereotypical female damsel in distress begging her hero to stay- except in revere.  She pulls away, promises to return and leaves him and  quote the text here, “longing to hold her and keep her.”      This Birth scene is symbolic in many ways.  It also is a return to the female reality.  Is there anything more real in this world than bringing life into it?  This birth scene reminds readers that this is a uniquely female story because this is one way men and women engage the world differently and there is no way around it. Motherhood and fatherhood are not the same.  Edna goes to Adelle and begins to feel uneasy. Let's read this paragraph from chapter 37.     Page 127    On the surface, it seems that Adele is hoping to inspire Edna to resume her role as a Woman-mother.  On the surface it seems that Edna is battling social conventions and her own sensuality.      Of course, the whole experience leaves her dazed.  The doctor walks her home, and I quote, “Oh well, I don't know that it matters after all.  One has to think of the children some time or other; the sooner the better.”  Let's read the rest of this dialogue between the doctor and Edna.    Page 128      Even at the end of the chapter, Edna cannot articulate her own thoughts, not even inside her own head.  Still she remembers Adele's voice whispering, “Think of the children; think of them.”  She meant to think of them; that determination had driven into her soul like a death wound- but not tonight.  Tomorrow would be time to think of everything.”    Of course, when she gets inside the pigeon house there is no Robert.  He left a note. “I love you. Good bye- because I love you.”  Edna grew faint; uttered no words and stayed up the entire night, apparently just staring at a flickering lamp.    Again, may I point out- light represents hope and hers is flickering.      Speaking just in a general sense, we are co-creators of our reality- our circumstances proscribe lots of things, but we create out of those circumstances and we know it.  And since we know this, no person can run away from his own innate moral obligation to live up to whatever potential we find inside of us.  Whatever we determine that to be.  We cannot run away from that reality.  No matter how hard we try to put it off until tomorrow, that sense of obligation to create something out of our lives is inside of us.  We can't run from it because it is not coming from outside of us.  Edna, in all of her confusion, and she, is very confused about a lot of things at various points in the book, but she never wavers about that.  She clearly says early on in the book, that she understood herself to have an obligation first and foremost to herself.  But what is that obligation- it is for her what it is for everyone.  She must meet her own potential.  We cannot fail at that.  If we feel we are failing at that, that's when despair sets in.      Edna looks at certain realities in her life and awakens to an awareness she doesn't want to face.  She sees obligations in her future- not opportunities.  She doesn't want tomorrow to come, but not going to bed does not put off the morning from arriving.      The end of the book circles back to where it starts- Grand Isle.  Except it is not the Grand Isle of the summer.  Archetypally, Spring represents new birth, summer represents youth; fall represents adulthood or maturity.  Grand Isle is still there, but the women from the summer resort are not.  It's barren. The sun and the warmth is not there either.  Edna returns to find Victor there.  She arrives to find that he's been telling Mariequita all about her birthday dinner.  He has described Edna and and I quote, “Venus rising from the foam”.  If you remember from your Roman mythology, Venus is the goddess of love and is said to have emerged full-grown from the ocean foam.  So read into that what you will.  Anyway Edna asks him to prepare a meal of fish.  She then leaves Victor for the beach for a swim.  If you recall, it was at this place where she had her first swim and experienced her first real awakening.  But now this beach is dreary and deserted.     Let's listen to the thoughts in Edna's head, “She had said it over and over to herself.  “Today it is Arobin' tomorrow it will be someone else.  It makes no difference to me.  It doesn't matter about Leonce Pontelllier- but Raoul and Etienne!”  She understood now clearly what she had meant long ago when she said to Adele Ratignolle that she would give up the unessential, but she would never sacrifice herself for her children.  Despondency had come upon her there in the wakeful night, and had never lifted. There was no one thing in the world that she desired.  There was no human being whom she wanted near her except Robert; and she even realized that the day would come when he, too, and the thought of him would melt out of her existence, leaving her alone.  The children appeared before her like antagonists who had overcome her, who had overpowered and sought to drag her into the soul's slavery for the rest of her days.  But she knew a way to elude them.  She was not thinking of these things when she walked down to the beach.”    There's a lot of nihilism in those comments.  Edna has found nothing that excites her passion.  “There was no one thing that she desired” – that's the line that stands out.  Desire is the fuel of human behavior.  It's where we see our potential.  This is a huge expression of someone who has given up all desire to have responsibility for anyone or anything- and it is unthinking here.  She is completely detached to a degree that it's actually shocking.  I see why this book unsettled so many people.  We don't want to believe people can detach like this.  We know it's dangerous.     She wades out into this ocean because the seas is seductive.  It whispers, it clamours; it murmurs.  It invites her soul to want in the abysses of solitude.  Edna looks up to see a bird with a broken wing beating the air above and falling down disabled to the water.  She then takes off all of her clothes and stands naked in the open air, at the mercy of the sun with the waves inviting her to come in, and so she does.  Let's read this final page.    Page 133      We notice right away the sea is a serpent about her ankle.  Most of us think of a serpent as a symbol for the devil, and that's true in the book of Genesis.  But that is not the only time we see a serpent in the Bible.  In the book of Exodus, the Israelites in the desert look up to a serpent on a stick for healing.  Archetypally a serpent is a symbol of rebirth.    Edna retreats into thoughts of her childhood which reminds me that Edna has no mother.  Honestly, this does not read like a suicide. I For one, think, Chopin leaves it completely open ended.  Can we be sure Edna even dies?  Chopin ends this book entirely unresolved.  It's disturbing.      It hinges on what you want to do with that ocean.  And scholars have come to zero consensus on how to understand this ending.  Oceans symbolically can be sources of self-awareness.  They can be places to find rebirth.  But, what's jarring about this ending is that there is nothing in Edna's characterization at any point in the book to suggest that Edna wants a beginning or even an ending for that matter.  Edna doesn't search for closure not one time in this story- even the bedtime story she tells her kids there's no ending.  Edna is not just rejecting society's roles for her; she seems to be rejecting herself as an individual here.  Do these final images of her childhood suggest she wants to start over or does she give up up?    When ending a good song, every musician knows you have to create closure at the end or you don't resolve the tension in the music.  Non musicians may not know that but they feel it when it happens. Try ending a song on the 5 chord.  And for a woman with such a keen sense of music, it seems Chopin purposely leaves her song unresolved.  There is no funeral; nobody on the beach; not even any thoughts of exit in Edna's mind.  There is nothing.  Instead, Edna is focused on all the repeating elements of her own life's story.  It is a totally directionless ending.    And that's what people love about it- it's messy and unresolved.  It's realistic but also kind of mythical.   I guess, if we want to we can finish the tale in our own minds.  We can either kill her off or revive her.  She either sinks into further illusion, or she awakens one final time into a creative reality.  The central motif of this book is this sleeping/waking thing that goes on the entire time.  And maybe that's where we find ourselves-- hopefully to a much lesser degree than Edna- the messiness of life sets in when we find ourselves oscillating between waking up and further deluding ourselves at some lost point in our lives.  We will make a mess of things (as Chopin says about Edna) – being a victim of forces without and forces within.  Yet what happens after we go into the ocean- or do we even dare?  I like to see this ending positively.  I like to think of Edna rising up and finding she CAN attach to other humans in a way where one does not consume the other.  She can find meaning in her children, in work, in art, in society.   She can find a way to make peace with her culture, her society, her limitations from without and within.  In my mind's eye, she arises out of the foam-like Venus to rob a term from Victor.  So, whether it's realistic or not- In my mind, Edna comes back up- A woman- Queen.  I know I'm adding extensively to the text and that is a terribly bad no no, but hopefully while she was under water listening to all those bees she came up with a good plan.      HA!  You do like to find the silver lining in every storm.  Well, thanks for spending time with us today.  We hope you enjoyed our final discussion on this very perplexing piece of literature.  Next episode, we move from Louisiana up the road to our home state of Tennessee to discuss the music and life of our own Dolly Parton, self-made woman of this generation, whose displays the very idea of local color in her music.  We would ask you to please share our podcast with a friend.  Email or text them a link.  Share a link on your social media.  That's how we grow.  Also, visit our website at www.howtolovelitpodcast.com for merchandise as well as free listening guides for teachers and students of English.      Peace out.                                     

Chypre-Mousse by Oriza L. Legrand (1914) + My Life by Isadora Duncan (1927) + Ken Russell's Isadora Duncan, the Biggest Dancer in the World (1966) + Karl Reisz's Isadora (1968)  with Josh and Madi of Evil Thespian  To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 05/16/22 S04.156

Queens of the Mines paperback, ebook, and hardback novel now available on Amazon.    In this episode, we dive into the life of Isadora Duncan.   In How to Lose a Guy in 10 Days, the film from 2003, Kate Hudson's character Andy dons a yellow diamond necklace in one scene that they call the “Isadora Diamond”. That $6 million 80-carat yellow diamond in the necklace was designed by Harry Winston and is named after Isadora Duncan. whose philosophy earned her the title of “the creator of modern dance”.   Angela Isadora Duncan, was born in San Francisco on May 26, 1877. The youngest of the four children of banker, mining engineer and connoisseur of the arts, Joseph Charles Duncan and Mary Isadora Gray. Soon after her birth, Joseph was caught embezzling from the two banks that he was hired to set up. He used the money to fund his private stock speculations. Joseph was lucky to avoid prison time. Her mother Mary left Joseph and moved the children to Oakland to find work as a seamstress and piano teacher. The family lived in extremely poor conditions in Oakland and Angela Isadora attended school until she was ten years old. School was too constricting for her and she decided to drop out. To make money for the family, Angela Isadora joined her three older siblings and began teaching dance to local children. She was not a classically trained dancer or ballerina. Her unique, novel approach to dance showed joy, sadness and fantasy, rediscovering the beautiful, rhythmical motions of the human body. Joseph remarried and started a new family, they all perished aboard the British passenger steamer SS Mohegan, which ran aground off the coast of the Lizard Peninsula of Cornwall England on the 14th of October in 1898. Only 91 out of 197 on board survived.  Eventually, Angela Isadora went east to audition for the theater. In Chicago, she auditioned for Augustin Daly, who was one of the most influential men in American theater during his lifetime. She secured a spot in his company, which took her to New York City. In New York, she took classes with American Ballet dancer Marie Bonfanti. The style clashed with her unique vision of dance. Her earliest public appearances back east met with little success. Angela Isadora was not interested in ballet, or the popular pantomimes of the time; she soon became cynical of the dance scene. She was 21 years old, unhappy and unappreciated in New York, Angela Isadora boarded a cattle boat for London in 1898. She sought recognition in a new environment with less of a hierarchy. When she arrived, ballet was at one of its lowest ebbs and tightrope walkers and contortionists were dominating their shared music hall stages. Duncan found inspiration in Greek art, statues and architecture. She favored dancing barefoot with her hair loose and wore flowing toga wrapped scarves while dancing, allowing her freedom of movement. The attire was in contrast to the corsets, short tutus and stiff pointe shoes her audience was used to. Under the name Isadora Duncan, she gave recitals in the homes of the elite. The pay from these productions helped Isadora rent a dance studio, where she choreographed a larger stage performance that she would soon take to delight the people of France.  Duncan met Desti in Paris and they became best friends. Desti would accompany Isadora as she found inspiration from the Louvre and the 1900 Paris Exposition where Loie Fuller, an American actress and dancer was the star attraction. Fuller was the first to use theatrical lighting technique with dance, manipulating gigantic veils of silk into fluid patterns enhanced by changing coloured lights.  In 1902, Duncan teamed up with Fuller to tour Europe. On tour, Duncan became famous for her distinctive style. She danced to Gluck, Wagner and Bach and even Beethoven's Seventh Symphony. Female audiences adored her despite the mixed reaction from the critics. She inspired the phenomenon of young women dancing barefoot, scantily clad as woodland nymphs who crowded theaters and concert halls throughout Europe. Contracts and the commercialization of the art while touring distracted Isadora from her goal, educating the young on her philosophy of dance. "Let us first teach little children to breathe, to vibrate, to feel, and to become one with the general harmony and movement. Let us first produce a beautiful human being. let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance.” In 1904, she moved to Berlin to open the Isadora Duncan School of Dance. The school had around 20 students who mostly had mothers who were the primary breadwinners, and the fathers were either ill or absent. The school provided room and board for the students. For three years, her sister, Elizabeth Duncan was the main instructor, while Isadora was away, funding the school from tour. Elizabeth was not free spirited like her sister and taught in a strict manner. During the third year, Duncan had a child with theater designer Gordon Craig. Deirdre Beatrice, born September 24, 1906. At the school, Duncan created a new troupe of six young girls. Anna, Maria, Irma, Elizabeth, Margot, and Erica. The group was called the "Isadorables", a nickname given to them by the French poet Fernand Divoire. At the start of World War I, the Isadorables were sent to New York with the rest of the new students from Bellevue.  Occultist Aleister Crowley founded the religion of Thelema. He identified himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. Isadora and her bohemian companion Desti fell into his circle after meeting him at a party. Crowley fell in love with Desti and she became a member of Crowley's occult order.  Crowley published widely over the course of his life and wrote that Duncan "has this gift of gesture to a very high degree. Let the reader study her dancing, if possible in private than in public, and learn the superb 'unconsciousness' — which is magical consciousness — with which she suits the action to the melody." Duncan had a love affair with Paris Singer, one of the many sons of sewing machine magnate Isaac Singer. The fling resulted in a son, Patrick Augustus, born May 1, 1910. A year later, Isadora was dancing on tables until dawn at the Pavillon du Butard hunting lodge mansion in the gardens of Versailles. Paul Poiret, the French fashion designer and founder of the haute couture house, known to throw lavish parties, was recreating the roman festival Bacchanalia hosted by Louis XIV at Versailles. On the table in a Poiret Greek evening gown, Duncan tried to not knock over the 900 bottles of champagne that were consumed by the 300 guests. The following year Isadora acquired the Hôtel Paillard in Paris,  which she turned into her new temple of dance called Dionysion. Dionysion was the name of a poem  that Crowley  had published.   Which   maakes m e  curious  how far into Crowleys cult did Isaadora dive? On a rainy afternoon Annie Sims, Isadora's nanny, loaded the children into the car for a drive to meet Isadora in Versailles. Morverand, the chauffeur, had only just pulled onto the road, when a taxi-cab bolted towards the car. Morverand jammed on his brakes, causing the engine to also stop. He got out of the car to check the engine, and turned the starting lever and the car bounded forward towards the river, down the river bank and plunged down 30 feet into the Seine. Morverand was left standing on the street. In the downpour of rain, few were out and about. The only witness, a young woman who watched the car exit the gate then crash, ran back to Duncan's house. Augustine, Isadora's brother, was the  only one home. Augustine ran to the scene, seized Morverand by the throat and knocked him down on the bank. A crowd of boatmen stopped the fight and began looking for the sunken car. The search lasted an hour and a half. A motor boat that was dragging the river discovered the car, which was hauled to the surface, where the bodies of the nanny and Isadora's two small children were found inside. Two doctors made efforts to save them but there was no luck. Morverand gave himself up at the police commissary. He explained that he did not understand how the accident happened. All of Paris was sympathetic.  Isadora went through a depression while mourning her children, and spent several months on the Greek island of Corfu with her brother and sister. She then went for a stay at the Viareggio Seaside Resort in Italy, where she met the beautiful and rebellious actress Eleonora Duse. Duse wore men's clothing and was one of the first women in Italy to openly declare her queerness.  The two had a romantic fling in Italy yet Duncan was desperate for another child. She became pregnant  after begging the young sculptor Romano Romanelli, basically an Italian stranger to sleep with her. She gave birth to a son on August 13, 1914 but he died a few hours after birth. She immediately returned  to the States. Three months later Duncan was living in a townhouse in Gramercy Park in New York City. Dionysion was moved to Manhattan in a studio at 311 Fourth Avenue on the northeast corner of 23rd Street and Fourth Avenue. The area is now considered Park Avenue South. One month later, The Isadorables made their American debut on December 7, 1914 at Carnegie Hall with the New York Symphony.  Mabel Dodge, who owned an avant garde salon at 23 Fifth Avenue, the point of rendezvous for the whole of New York's of the time, described The Isadorables: "They were lovely, with bodies like cream and rose, and faces unreal with beauty whose eyes were like blind statues, as though they had never looked upon anything in any way sordid or ordinary". Duncan used the ultra modern Century Theater at West 60th Street and Central Park West for her performances and productions. The keys were gifted to Duncan by Otto Kahn, sometimes referred to as the "King of New York". Kahn was a German-born American, a well known investment banker, appearing on the cover of Time Magazine. He reorganized and consolidated railroads, was a philanthropist, a patron of the arts and served as the chairman of the Metropolitan Opera. Isadora, somehow, was evicted from the Century by the New York City Fire Department after one month. Duncan felt defeated and decided to once again leave the States to return to Europe to set up school in Switzerland. She planned to board the RMS Lusitania, but her financial situation at the time drove her to choose a more modest crossing. The Lusitania was sunk by a German U-boat 11 miles off the southern coast of Ireland, killing 1,198 passengers and crew.   During her voyage to Europe, Isadora discovered that their manager had arranged for a tour for the Isadorables without her. She was so upset that she stopped speaking to her students, despite the man's actions being completely out of their control. After struggling to keep afloat there, the school was dispelled and the younger students sent home to their families. The girls eventually made up with Duncan and in 1917 Isadora adopted all six Isadorables. Yet troubles ensued. The Isadorables were living in Long Island and Isadora urged them to leave New York. Each girl, except for Gretel, had fallen in love and did not wish to go. When Isadora found out her brother Augustine assisted the group in a performance at the Liberty Theater, she forbade them from continuing, producing a legal contract which prevented them from separating from her. They had no choice but to cancel their time at the Liberty. The girls eventually left Duncan a few years later but stayed together as a group for some time. While Duncan ran another school in Paris that was shortly closed due to World War I, the girls entertained troops in the US.  Isadora Duncan went against traditional cultural standards. Her scandalous love life as bisexual made her a controversial figure on the front pages of the papers. She was a feminist, a Darwinist, a Communist and an atheist. Her leftist sympathies took her to the Soviet Union at the end of the Russian Revolution. To her, it seemed to be the land of promise. Duncan opened a school in Moscow and Irma, one of the Isadorables, took the teaching position at the school while Isadora toured and performed. She met the poet Sergey Aleksandrovich Yesenin, eighteen years her junior in Russia and they were married in May of 1922, even though matrimony was against her beliefs. Together, they left for a US tour. Fear of the “Red Menace” was at its height in North America, and the couple was unjustly labeled as Bolshevik agents.  On tour in Boston, she waved a red scarf and bared her breast on stage in Boston, proclaiming, "This is red! So am I!" For this, her American citizenship was revoked. As she left the country, Duncan bitterly told reporters: “Good-bye America, I shall never see you again!” Yesenin's increasing mental instability turned him against her and they were ultimately unhappy. He returned alone to the Soviet Union after the tour and committed suicide. Her spotlight was dimming, her fame dwindled. For a number of years she lived out public dramas of failed relationships, financial woes, and drunkenness on the Mediterranean and in Paris, running up debts at hotels. Her financial burdens were carried by a decreasing number of friends and supporters who encouraged her to write her autobiography. They believed the books success could support her extravagant waywardness. On September 14, 1927 in Nice, France Duncan was asked to go on a drive with the handsome French-Italian mechanic Benoît Falchetto in a sporting car made by the French Amilcar company. Desti sat with Isadora as she dressed for the occasion. Duncan put on a long, flowing, hand-painted silk scarf created by the Russian-born artist Roman Chatov. Desti asked her to instead wear a cape in the open-air vehicle because of the cold weather, but Isadora paid no mind. A cool breeze blew from the Riviera as the women met Falchetto at the Amilcar. The engine made a rumble as Falchetto put on his driving-goggles. Isadora threw the enormous scarf around her neck and hopped in. She turned to look at Desti and said "Adieu, mes amis. "Je vais à l'amour", "I am off to love'. They sped off and Isadora leaned back in her seat to enjoy the sea breeze. The wind caught her enormous scarf that, tragically, blew into the well of the rear wheel on the passenger side, wrapping around the open-spoked wheel and rear axle. Isadora was hurled from the open car in an extraordinary manner, breaking her neck and nearly decapitating her. Instantly killing her.  At the time of her death, Duncan was a Soviet citizen. Her will was the first Soviet citizen to undergo probate in the United States.  In medicine, the Isadora Duncan Syndrome refers to injury or death consequent to entanglement of neckwear with a wheel or other machinery. The accident gave rise to Gertrude Stein's mordant remark that “affectations can be dangerous.” Duncan was known as "The Mother of Dance" was cremated, and her ashes were placed in the columbarium at Père Lachaise Cemetery in Paris. On the headstone of her grave is inscribed École du Ballet de l'Opéra de Paris ("Ballet School of the Opera of Paris"). Duncan's autobiography My Life was published in 1927. The Australian composer Percy Grainger called it a "life-enriching masterpiece."  A plaque commemorating Isadora Duncan's place of birth is at 501 Taylor Street on Lower Nob Hill, fittingly near the Theater District in San Francisco. San Francisco renamed an alley on the same block from Adelaide Place to Isadora Duncan Lane.