Théophile Steinlen Beyond 'Le Chat Noir'

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Welcome to "Stuff You" Mist in History Class, a production of "I Heart Radio." Hello and welcome to the podcast, I'm Holly Frye. And I'm Tracy V. Wilson. So the poster that is colloquially known as "The Shot War"

or "The Black Cat" is easily one of the most famous pieces of late 19th century European art. But the artist behind it is surprisingly not all that well known. And even though that artist signature appears on the image, both as his signature and the little icon

that he developed is like a stamp for his signature, it is actually often assumed that a more famous artist who is associated with the Parisian Fendus Yekla art scene created it, actually pulled a number of friends about this, including friends who are artists went to art school,

and a lot of them got this wrong, and several of them thought it was to lose the track. It's not. Tafio Stainland was right in the mix of the Monatra Bohemians alongside now famous artists like Edgar Degas, and yes, I'm ready to lose the track.

But he has never achieved quite their level of fame,

even though he made a pretty good living with his art and contemporary thought incredibly highly of his work, and his political work, because he created a lot of political art,

“which is very important to him, is often a clip by his”

commercial images of feelings. So today we're going to unravel his life. But what that really means is that we're going to talk a lot about things that were happening in France and the world politically, because his art and his life are very much tied to the politics of the day. In fact, we're really going to talk more about that than we do about his artwork,

but we'll talk about cats, I promise. They are very good cats. Do you feel Alexandra Stainland was born in 1859 in Los Angeles, Switzerland? Like a lot of our subjects on the show, his childhood is not very well documented. His parents encouraged his art interests, and after he graduated from the least say he attended

Los Angeles art school. At least one account says that he studied theology briefly before focusing on art, but it is not clear if that's accurate. After art school, he moved to Moulosa, that's in France, in the Alsace region, and that's about 35 kilometers or 22 miles from the Swiss border. He worked at a textile factory there, designing fabric prints,

His story kind of picks up when he's 21 in 1881, and that year he moved to Paris, and that's a city that he would be associated with for the rest of his life and beyond. But that move happened at a really significant moment in French history, and knowing that history might give some inkling of who Stainland was already at that young age, ideologically speaking. Because on July 29 of 1881, France passed the

Nua sur la Libarde de la presse, the law on the freedom of the press, which was a huge

“and important change. So for context, the legal issue of modern censorship as it”

related to print publications has roots in the French Revolution. The Revolution's 1789 foundational document declaration of the rights of man states that quote, "men are born and remain free and equal in rights." This sounds very familiar to our US listeners, it's because Thomas Jefferson helped the Marquis de la Fayette when he drafted the

first version of the declaration. So it mirrors our declaration of independence in a lot of ways.

The French version also included the language, quote, "the free communication of ideas and opinions is one of the most precious of the rights of man." Every citizen may accordingly speak, right, and print with freedom, but shall be responsible for such abuses of this freedom as shall be

“defined by law. So in practice, letting everybody say whatever they wanted in a country that was a”

perpetual political powder keg, that was trickier than the leaders of the French Revolution had really anticipated. There was concern that incendiary writing in newspapers and political pamphlets was preventing any kind of unity within the nation. So just two years after the declaration of the rights of man, a new law made it illegal for a journalist to publish anti-authority material. Anybody who did would be charged with libel. Published writing was limited even more in 1793.

When any writing or speech suggesting a return to a monarchy was punishable by death. When robes pier games, political power in 1793 rules about free speech heightened even more to the point that dissenting political ideologies could get a death penalty.

“The post robes pier government reset things back to the ideals of the declaration of the rights of”

man. But then the same cycle started again. Yep, because by 1796, the death penalty was once again the consequence for advocating against the new government. The start of Napoleon's reign in 1799 offered no relief. He took things even further by limiting the number of newspapers that were even allowed to publish and instituting a censorship board to review anything that those papers produced. So this cycle of freedom of speech being reinstated, followed by a rollback of that freedom,

started once again when Napoleon was replaced with the bourbon restoration in 1815 and censorship laws were once again relaxed. In 1824, laws against freedom of the press were once again implemented and the same pattern played out again with the overthrow of the bourbons in the installation of King Louis Philippe, a reign which started out with a more liberal attitude toward the press,

but then soon reduced their freedoms. From the beginning of the second republic in 1848 in the

election of Napoleon III and throughout the next several decades, the issue of freedom of expression for writers was a huge source of tension in France, as advocates for both censorship and total freedom push farther and farther away from each other. A lot of trials played out in the country as writers purposely chose to defy the laws and were arrested, were put on trial, but then the majority of them were acquitted. A lot of journalists and creatives who made art

that contained political commentary found ways to technically operate within the bounds of the law while also clearly speaking out against the government. These were through things like satires and developing representative characters that stood in for aspects of the government or even figures in the government. In other instances, outlawed writing was printed outside of the country, so that was technically legal and then it was smuggled in. By this point,

theater and art had also been included in the legislation against government critical works,

which just meant that those creators in those fields started making art that protested that censorship. The French 3rd Republic began in 1870, with the overthrow of Napoleon 3rd, and the start of

and it was during his administration that the aforementioned law for liberty of the press was passed.

“That was an 1881. This laws considered the foundational legal text of France's freedom of the press”

and expression, and it harkens back to the Declaration of the Rights of Man. This law did not magically give every journalist, writer, and artist freedom. There were still regulations in place about how people could talk about the president, for example, but it did represent a huge step forward, and it opened the door to additional legislation that further expanded the freedom of the press. And it was in this moment of newfound freedom of expression

that Tathiel Steinland made his move to relocate to Paris. He had long wanted to move there, so in October 1881, just a few months after the law of the freedom of the press was passed, he moved to the capital with his girlfriend, Emily May. Steinland was once again able to find work

“as a fabric designer in Paris, and he and Emily found a place to live in Mammaque.”

Coming up, we'll talk about how Steinland fell in with a circle of other artists in Paris, but before we do, we will pause for a sponsored break. Did you know Dahl got cozy with the Roosevelt? Play poker with Harry Truman and had a long affair with a congresswoman, and then he took his talents to Hollywood, where he worked alongside Walt Disney and Alfred Hitchcock before writing a hit James Bond film. How did this secret agent

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It was an illness actually that ultimately led Teyofield to the heart of the art scene in

Mamakla. Just a few months after the move to Paris, Stylin became quite sick, and he called for a doctor to visit. And that doctor was the older brother of Adolf Leon, we let. We let was a painter and illustrator among other artistic talents, and he was right in the center of Parisian artistic life. And when we let's position brother was tending to Teyofield

Stylin in the Stylin home, he saw the various pieces of art that were around. And he suggested an introduction of the two artists. These two men immediately hit it off, and Willette, who was Teyofield's lifelong friend,

immediately brought Stylin into his social circle.

Soon, Stylin was accompanying Willette to social gatherings in the city. And through Willette, he became connected to a wide range of successful artists. One of the places they frequented was Leschat noir. Leschat noir was a nightclub that opened in 1881 in Mommach Paris, and it was the brainchild of Rodolf Celice.

“The opening of Leschat noir is actually pretty important because it marks the birth”

of the modern cabaret. So the word cabaret is derived from the middle French word for a small room, cabaret, and prior to the opening of Leschat noir, the word cabaret meant something very different. Essentially, it meant a place you could buy alcohol. Some such places also serve food, and some were attached to ends, but it was the alcohol that separated a cabaret from a restaurant, for example. But Sally envisioned a place where people could eat,

and drink, and see entertainment. And in the late 19th century Paris, that meant a heavy combination of opulent design, very rich cuisine, and an assortment of interesting acts, all introduced by Sally. And a variety of performers grace the stage at Leschat noir. So there were musical numbers, there were poetry readings, there were comedy skits, kind of anything you could

“think of that somebody could do as a performance probably showed up there. And most of them had this”

edge of rebellion or subversion to them. This was a groundbreaking concept at the time, and it was instantly popular. Sally is credited with starting an entirely new form of entertainment, and a lot of venues that were looking to copy his successful format, started popping up around Paris in the years that followed. The Mulan Rouge, for example, which is wildly famous, opened in 1889, eight years after Sally opened Leschat noir. And incidentally, Stynelund's

friend Willette was the architect of the Mulan Rouge. The spirit of expression, freshly stoked by the freedom of the press law, was central to the Mulan Rouge Art Circle. One of the prior regulations on press that had rolled back was the requirement for any publication to pay a fee and register if it wanted to print material for circulation. That requirement was removed and new papers sprung up, including one run by the proprietor of Leschat noir. Sally started publication of

Gazette to Shepdwar in 1882, the year after he opened the cabaret, and Théofield Stynelund became

a regular contributor. His first illustration for the paper appeared on September 2, 1883. He went

on to provide at least six dozen other drawings for the paper over the years. Yeah, often these were like cute little sort of cartoony drawings that would accompany poems or songs in the paper, or they would kind of be like a cute social commentary on the day. His style is really, really unique. It's a little cartoony but it has this edge to it. I love it. The Gazette to Shepdwar was not the only cabaret paper that Stynelund worked with, though.

Rekontour R. Esteed Brewall opened his own cabaret called Limmerleton and Limmerleton had its own paper of the same name. Stynelund was also a regular contributor to its pages. Again, mostly creating illustrations to accompany the songs, the Brewall wrote and published in that paper. Although Stynelund was deeply ingrained in the Mommar Art scene and was very committed to it, he was also drawn to politics and the social movements that were very active in Paris at the time.

He had moved to the city as restrictions on free speech were lifted and a lot of people who had been exiled moved back at the same time. He befriended a lot of them, a lot of them were people who

He found himself aligned with anarchist and socialist groups in France and his art started to

“reflect that ideology as well. One of the most obvious instances of this alignment with Stynelund's”

involvement with Ernest Gigoo and Charles Malato. Gigoo was an anarchist and a publisher and his weekly paper, L'Attac published columns that increasingly called for an abandonment of almost all other political stances because they were all faulty in one way or another. We've talked about worker demonstrations in the US in the 19th century and their protests inspired

similar actions in France. In 1890, the first Mayday was planned. This was a worker strike that

voiced the demands for eight hours of work, eight hours of sleep, and eight hours of leisure. This protest plan for May 1st was covered in a lot of political papers and in L'Attac, as well. And then Gigoo's paper, an article by Charles Malato, was printed in the lead-up to Mayday

“that gave instructions for making bombs. Both the publisher and writer were arrested and charged”

with inciting violence and they were found guilty and sentenced to 15 months in prison. While the two anarchists were serving their sentence, Tiafiel Stynelund visited them in prison,

and he made some drawings while he was there. And this led to a collaboration of this

reman, which was a book titled, "Prison Fantasy Eccles, Souvenir de Pellagie" or "Prison at the end of the century memories of Pellagie." Pellagie was the name of the prison they were in. This book has a really interesting take on the idea of a prison narrative. It isn't really so much about the horrors of incarceration. It's more of an expose about how ludicrous the entire legal system of France was in the view of Gigoo and Malato. And it opens with,

“quote, "prefuses are rarely read." We believe however that we must explain our motive and portraying”

our own insignificant personalities. Prison, however benign, never represents in El Dorado,

and Pellagie has grown darkened with age. However, even under current conditions, how many dispossessed people, more interesting than certain political speculators, would like to find refuge there. The halo of martyrdom claimed by ambitious writers has allowed them to exploit the feelings of the masses who may inwardly despise. This fetishism of individuals is not yet extinct. We believe we are doing useful work by combating it with laughter.

As captives, laughter is more over our only weapon, our only distraction. We hope that the body humor scattered throughout this book, alongside serious ideas, will not cast a negative light on the latter. While mocking the prison where we are incarcerated, the magistrates who threw us in, the jailers who hold us there, and the motley crew of politicians we have encountered, we had a duty not to spare ourselves. And that is what we have done. May this strip bear forever

the prestige of political martyrdom. One of the surprising things about this book is how many capt drawings are in it. Simon loved cats and loved to draw them understandably. Even today, you can buy books that are just compilations of his cat drawings. And cat sketches are scattered throughout this account of life in prison, highly countered at least 23 cat illustrations. Some of them are just dropped into larger scenes. They're random cats who don't seem particularly

meaningful, but one of them is a character in the book. Sharp reproaches later corrections administered paternity according to the axiom. He who loves well punishes well, gradually led her towards better habits. A newspaper carefully unfolded and held up by a chair in a corner of the room served as a safe place. So just for clarity, the reason that she couldn't sleep on their beds or under their beds was because she would easily be seen

there. The men worked out this whole elaborate system and trained her to it so she could be in their cell and sit on their lapses. They ate to be fed from their plates. And then they have a safe out of sight spot to curl up in during the day. She is depicted however as the book goes on in the illustrations on pillows a lot. So it seems as though little Polasia kind of became an open secret in the prison and the rules about her got looser and looser as her time with the men

rule, a second figure advanced discreetly preoccupied with holding an enormous Tomcat in his arms,

“the headkeepers cat captured on the way." Stainland cried, "Gigoo, the brilliant illustrator of”

Lashat noir shook the outstretched hands then after a few words exchanged sat down, took a sheet of paper and a pencil from his pocket and immediately began sketching animals and people." Yes, so he was very clearly already known both as an artist and in anarchist circles. Coming up, we will talk about one of the show's favorite subjects and that is more cats, but first we're going to hear from the sponsors that keep Stuffie Mr. History class going.

You know, real doll. The writer who thought I'd Willy Wonka, Matilda and the BFG, but did you know he was also a spy? Was this before he wrote his stories? I'd must have been. Our new podcast series, The Secret World of Roll Doll, is a wild journey through the hidden chapters

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And what darkness from his covert past seeped into the stories we read as kids? The true story is stranger than anything he ever wrote. Listen to the secret world of rolled doll on the hi-heart radio app, Apple podcasts, or wherever you get your podcasts. I'm Clayton Neckard, and in 2022, I was the lead of ABC's The Bachelor.

Unfortunately, it didn't go according to plan. He became the first bachelor to ever have his final

rose rejected. The internet turned on him. If I could press a button and rewind it all I would. But what happened to Clayton after the show made even bigger headlines? It began as a one-night stand and ended in a courtroom with Clayton at the center of a very strange paternity scandal. The media is here. This case has gone viral. The dating contract.

“A great adatement, but I'm also so suing you. This is on like anything I've ever seen before.”

I'm Stephanie Young. This is Love Trapped. This season, an epic battle of he said she said and the search for accountability in a sea of lies. Listen to Love Trapped on the iHeart Radio app, Apple podcasts, or wherever you get your podcasts. What if mind control is real? If you can control the behavior of anybody around you, what kind of life would you have? Can you hypnotically persuade someone to buy a car? When you look at your car,

you're going to become overwhelmed with such good feelings. Can you hypnotize someone into sleeping with you? I gave you some suggestions to be sexually aroused. Can you get someone to join your cult? NLP was used on me to access my subconscious NLP, aka neuro-Englisted programming, is a blend of hypnosis, linguistics, and psychology. Fans say it's like finally getting a user manual for your brain. It's crazy task of disciples and the fake doctor who invented it

at a new age commune and sold it to guys in suits. He stood trial for murder and got acquitted, the biggest mind game of all NLP might actually work. Listen to mind games on the iHeart Radio app, Apple podcasts, or wherever you get your podcasts. Segregation in the day, integration at night. When segregation was the law, one mysterious black club owner had his own rules. We didn't worry about what went on outside. It was like stepping on another world. Inside Charlie's place,

black and white people danced together, but not everyone was happy about it. And you saw the cake, aka? Yeah, they were just up in that uniform. The cake, aka set out to Ray Charlie, taken away from here. Charlie was an example, a poem. They had the crush it. From Atlas Obscura, Rococo Punch, and Visit Murdoch Beach, comes Charlie's place. A story that was nearly lost to time. Until now, listen to Charlie's place on the iHeart Radio app,

Apple podcasts, or wherever you get your podcasts. So to circle back to cats, when we said Steinland loved them, that's putting it pretty mildly.

the mascots of the Bohemian movement, wild, free, and alluring. He made sculptures of cats. He

“sketched cats. He painted cats. When he took poster commissions, which is where a lot of his money”

was coming from, he often added a cat or two into the art. His poster for company Francis de Chocolat de Tais, French company of chocolates and teas, features his beloved Emily, as well as their daughter Colette, and a black cat in the foreground. Similarly, the advertisement for la pure de la vignonne Sterlie Zay, that's pure sterilized milk from la vignonne, features his daughter Colette again, drinking a bowl of milk, while three cats, a great tabby, a solid black, and a calico,

paw at the girls' red dress. In some instances, it was obvious that cats should be included in his commercial art, like the art that he completed for clinic Shihong, which was a veterinary clinic, is a very beautiful poster that features a young woman surrounded by both dogs and cats.

“And his non-commercial paintings frequently featured only cats. His work apotheosis of cats,”

which was painted in 1890, features a swarm of cats all traversing over a city, seemingly drawn to an immense cat in the far background, which appears as a silhouette backlit by the moon. Even when a cat was not part of the active image of a work that he did, it sometimes appeared as a sort of iconic signature. One of the lithographs he created is called Young Lovers in Bracing in the Street, and it shows a sketch of exactly what the title suggests. But in the white

border that frames the main image, so not interacting with the image at all, there's a black cat that's just shown racing across the very bottom. The quote every dog has his day, but the night's are reserved for the cats is often attributed to Steinland, although there's no real evidence

“that I could find that he ever wrote or said that, but his work sure does seem to support that”

sentiment. As the 1890s continued to feel Steinland continued to create illustrations for papers and magazines. But he started working more for political publications, instead of just cabaret papers. He started working with the socialist paper, the shambar in 1893. A lot of his political work was focused on workers' rights, as well as the problems of the justice system and the military. We mentioned his commercial poster work for a dairy, which is in contrast to some of his protest work

about adulterated milk in France. We've talked about tainted milk in the US on the show, that aired back in 2021, but France had its own problems with adulterated milk being sold to poorer families. These children were often made sick from it. Steinland participated in a special publication, criticizing the dairy industry for selling spoiled milk, along with more than four dozen other artists. The title of this translated to the licensed poisoners, the milk falsifiers.

But just as those cycles of freedom of the press and then a rescinding of those freedoms had played out numerous times in French history, before Téveille was there. In the early 1890s, new laws were put into place to curb anarchist writing in activities. There were three of these laws, they're known collectively as the Louis Célerat or villainous laws, and they were rolled out after a non-lethal bombing happened at the chamber of deputies.

So the first law for bid anarchist publications. The second law was a bit nebulous,

as it named a crime that was called the "understanding," which was supposed to somehow encapsulate the state of being an anarchist. Maybe? Seriously, it is a very confusing legal concept. It actually tied up this legislation for a long time because various politicians struggled to define what they were getting at. In this law, the third law made it explicitly illegal to engage in any anarchist activities. These laws are very complex in their context and their execution

and their impact. But in relation to Téveille's style, and there were two very obvious effects. One, he started publishing his art under the pseudonym Pétit Pierre, and two, he eventually fled Paris for Munich. The decision to leave Paris has to have been difficult because in terms

of his art career, things were just really starting to take off. He had his first solo exhibition

in the spring of 1894, and if he weren't involved in anti-government political groups, he probably would have continued to enjoy success as a painter and a poster artist.

he knew he would probably be arrested because his ties to anarchists.

“So in July of 1894, he went to Germany and started producing art for a socialist magazine”

there called 'Simplicissimus'. While he was away, a large group of activists in Paris were put on trial for charges of anarchy in the event now known as the trial of 30. That trial was supposed to show how large and dangerous the anarchist network of France was, and provided legitimizing context for the lesser act, but it failed. But a handful of the defendants were acquitted, with the failure of the trial, Stymlin, like other activists, thought it was safe to return

to Paris, and he did that in October. He had only been away for a few months, and had visited

Norway in addition to Germany. Yeah, that pointy wasn't like the laws all went away,

but everybody was kind of like, you don't know what you're doing with these. Don't make sense, and you don't know how to enforce them. So it's fine. The year after all of that upheaval, though,

“was very busy for Stymlin, both professionally and personally. He jumped right back into working”

with an assortment of socialist papers. He had a lot of commissions for artwork for posters and songbooks, and he illustrated the cover of Les Soliloc de pauvre, a poetry book by Johann Richtes. Dave Field had remained a Swiss citizen up to this point, but now he finally applied to become a naturalized French citizen. He and the woman he had moved to Paris with, Emily May, had lived as husband and wife throughout their time in France, and had their daughter Colette,

but they'd never legally gotten married. They had a small but official wedding in 1895 at the

18th, around a small government offices. In 1896, Stymlin was commissioned to create the poster that many of our listeners would recognize that is Torné du Shadnoir de Rodol Sully, that translates to tour of Rodol Sully's Shadnoir, the cabaret acts from that nightclub wood tour.

“And this simple but striking graphic with its black gold and red color scheme was instantly”

recognizable, and it has endured to still be in print 130 years later on all manner of things from art prints to coffee cups, get socks, you can get kind of anything, literally, go to Mumatra in Paris, find a thing that isn't printed with it, it's hard to do. New spoof of it, pop up seemingly every day in pop culture, featuring everything from bats to demagorgons. Tathiel Stymlin surely could not have anticipated the life this particular poster

would have, and he was soon moving on to other projects. Incidentally, though, the nightclub and touring company, Les Shadnoir, did not have the same longevity as this piece of art, that all shut down just the year after this poster was made. Other places had the same name later. Like if you go look for pictures, you will find pictures of other establishments. We're going to talk about that at the end. Yeah, I'm just saying for people who are maybe

confused in this moment. Stymlin also has ties to the Drathus affair, which we covered as a two-parter in 2021. That was the scandal in which Alfred Drathus Jewish French artillery officer was convicted of treason and sentenced to life in prison, although another man, an officer named Ferdinand Walson Esther Hasie was the true culprit. Stymlin was very unsurprisingly to me, publicly vocal, and his criticism of the military and the cover-up regarding the true

details of this case. Yeah, if you listen to that two-parter, which Tracy did the research and writing on, a lot of people were pretty vocal about that, but Stymlin being very associated already with kind of incendiary political groups. It is not at all surprising that he was really angry about it. At the start of the 20th century, Stymlin continued to illustrate for political papers, including the anarchist papers, Laiton Nouveau, and Lassieto Boeux, and Stymlin started to write

for these papers, as well as illustrate for them, which was just the beginning of a new level of activism for him. In 1902, he was one of the earliest crusaders for France to have a union for painters and draftsmen. The general confederation of labor in France was only a few years old at the time, and Stymlin wanted artists to be recognized as laborers as well. The general confederation did add artists to its roster in 1905, and Teyofiel Stymlin gave a speech at that ceremony.

In 1904 and 1905, Stymlin extended his connections in both the art and political worlds by joining the Society of Draftsmen and humorists, and the Society of Friends of the Russian people and annexed peoples. Stymlin's style and subject matter shifted significantly at the

illustrated the prison memoir, but his desire to use his art to inform the public about the realities

“of war led him to a more serious darker tone. Stymlin was a pacifist. He made it a point to visit”

battlefield so that he could sketch what he saw there. His work includes wounded soldiers, refugees, and the people whose lives were turned upside down, and exploited to provide for the war effort. While he had been commenting both with words and art on the inequalities of the world in the plight of the working class, his wartime work took on a more urgent tone. Stymlin's work about

the war was never about active battle scenes. It also didn't directly involve politics. It portrayed

all the people who were often overlooked, like the poor, children, and women, and showed the impact of the war on them. This is really very much in line with his political views, which always centered the importance of the common man and the idea of equality and freedom from oppression and

“exploitation. One of these works, for example, is titled The Exodus, and it's a simple but dramatic”

charcoal sketch of a family of refugees, carrying their belongings as they walk searching for safe haven. Other families fill in the background with slightly lighter shading, and it's an image of Belgium being evacuated after a German attack. This image has also been called the March of the Orphans,

and this and other drawings of wartime tablo, including portraits of grieving women,

standing over coffins that are draped in French flags, were made into etching so they could be sold in runs of prints, because they really wanted a lot of people to see this. Once the war ended, Stylen continued to work with a variety of socialist and anarchist papers as an illustrator and occasional writer. The end of the artist's life seems abrupt. Tafeel Alexander Stylen died in 1923. His ashes were interred at San Vincent's cemetery in Walmart. He was 64, and if there's a

cause of death recorded somewhere, Hollywood was not able to find it, or any mention of an illness or an underlying condition. Yeah, it's all just kind of like he was living his life who's making his art, and then died. Two months after Stylen's death, in February 1924, in obituary for him ran in arts and decoration magazine, written by Matt Lachprice. Price was a writer and a professor at the American School of Design and the Rhode Island School of Design, and he was considered an authority

on poster art. He wrote a book on the subject in 1911. And his right up about Stylen is filled with admiration and the sense of loss of something truly great in the art world. One section of it reads

quote, "To a great many artists and amateurs in the graphic arts, Stylen has given and will always

give more real joy and satisfaction than most artists who have risen since his zenith." Nor will Stylen's art deteriorate with time. It is too real, too sincere, too literary and dramatic in its quality. Another cycle of appreciation will revive Stylen as one of the old masters, and again, students will find in his drawings and lithographs some, at least, of the old thrill. Stylen is dead. Perhaps, unfortunately, for us all, much of his influence is dead today in the field

of the graphic arts. It is not that Stylen's art is out of date, but rather that it is so much better, so much more living and vivid than most of the work today that it is a little disquieting to have it about as a reminder. It disturbs our illusions of progress. We ought to have done much more than we have since 1890. The legacy of Stylen's work is varied. On the one hand,

“outside of art circles, his war art, which is arguably his most important work, is not very well-known”

at all. But his poster art is revered. His image of Lachat noir is instantly recognizable. It's helped sustain interest in the Bohemian nightclub scene of Paris, as we mentioned, it's been spoofed by innumerable artists around the world. Because of that ongoing interest, there have been several copycat venues that have popped up in recent years to capitalize on the fascination that the public has with the era and with Lachat noir specifically. And Lachat noir

immersive theater experience is set to open in London this month, if you were listening when this episode drops, staged by the group, the lost estate. We didn't mention it specifically in the episode, but there were additional locations that were opened of Lachat noir during Stylen's time, but they all folded. And now we have many around the world, but they are

of Lachat noir. To end talking about coffee for a minute and listening to me. Yes, I always want

“to talk about coffee. This is from our listener, Kero, who writes, "Hi, Holly, and Tracy,”

I started playing your recent episode. I'm Alita Benz, the creation of coffee filters, assuming I had never used the company's products." It wasn't until you mentioned their signature red and green packaging that I realized. I had, in fact, used those coffee filters several times. A few years ago, I started seeing a self-professed coffee snob who only made pourover and didn't have a programmable coffee machine. I usually woke up before them, so I was gruggly learning

bean and water ratios, thinking this would all be so much easier if I had some caffeine in my system.

Low and behold, I was using malita filters, but I was too sleepy to notice. Thankfully, I was

able to look past the caffeine logistics because that coffee snob has become the love of my life. We've been together for three years. I get choked up over this, it makes me so happy. We've been together three years and are moving in together in a few weeks. Congratulations to the two of you. I hope it is a wonderful time living together. Kero writes, "I'm still up earlier than them, so they have since bought a programmable coffee pot." See, compromise, it's love.

We try to treasure slow cups of pourover on Saturday mornings, though. Attached as pet tax or pictures of our cat Charlie, I tried to play your podcast for him to make him

better informed about the world, but he's more interested in demonstrating how fast he can run

from one end to the apartment to the other. It's more of an athlete than a scholar. Thanks to the great podcast, Kero. This cat is so cute and he looks like exactly my flavor of trouble. I love a little wild act in cat. They're the best. Yeah, I'm surprised at how common maleedafilters are still. Even though I know they're a huge company, I don't know I'm in my head. I'm like, but in Europe, but no, literally on my local grocery store shelves, there they are.

Yeah, I had a mental image as soon as I got to the brand name part. I had a mental image of the color scheme and the logo and all of that. When I looked at it, I was like, "Yeah, that is exactly what I thought." Yeah, yep, that's the one. That is the one. Also shout out to our listener and define destinations traveler Scott who texted me this morning about the Melita Benz podcast because, you know, we all love a little coffee. Yeah. Scott, that brightened my day. So if you would like to

write to us, you can do so at historypodcast and I heart radio.com. You can go to

“mistenhistory.com if you want to see our show notes for the episodes. And if you haven't subscribed”

to the podcast and you would like to, that's easiest pie. I mean, I heart radio app, or wherever it is, you listen. Stuff you missed in history class is a production of iHeart Radio. For more podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. You know Roll Doll. He thought I'd really want him in the BFG, but did you know he was a spy? In the new podcast, the secret world of Roll Doll.

I'll tell you that story and much, much more. What? You probably won't believe it either. Was this before he wrote his stories? I must have been. Okay, I don't think that's true. I'm telling you, that was a spy. Listen to the secret world of Roll Doll. On the iHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Clayton Eckard, in 2022, I was the lead

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and rewind it all I would, that's when his life took a disturbing turn. A one night stand would end in a courtroom. The media is here. This case has gone viral. The dating contract. Agreed, a date mean, but I'm also suing you. This is unlike anything I've ever seen before. I'm Stephanie Young. Listen to Love Trapped on the iHeart Radio app, Apple Podcasts, or wherever you get your podcasts. What if mine control is real? If you could control the behavior of anybody

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club owner, Charlie Fitzgerald, had his own rules. Segregation in the day, integration at night.

“It was like sippin' on another world. Was he a businessman, a criminal, a hero? Charlie was an”

example, a power. They had the crush in. Charlie's place, from Atlas Obscura and Visit

Murdoch Beach. Listen to Charlie's place on the iHeart Radio app, Apple podcasts, or wherever you

get your podcasts. This isn't iHeart podcast. Guaranteed human.