694 - John Considine - Live

Summary

Detailed Summary of The Dollop Episode 694 – "John Considine – Live"

Release Date: July 29, 2025
Hosts: Dave Anthony and Gareth Reynolds
Podcast: The Dollop with Dave Anthony and Gareth Reynolds
Produced by: All Things Comedy

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Introduction

In Episode 694 of The Dollop, Dave Anthony and Gareth Reynolds embark on a lively exploration of John Considine’s life, a pivotal yet tumultuous figure in American theater and vaudeville during the late 19th and early 20th centuries. This episode, styled as a “live” performance, blends historical narration with dynamic and humorous interactions between Dave and Gareth, providing listeners with both informative content and entertaining banter.

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Early Life and Move to Seattle

John Considine was born in Chicago on September 29, 1868, to Irish immigrants Mary and John William Considine (02:50). Raised in a devout Roman Catholic household, John attended Catholic schools and later St. Mary’s College in Kansas. After a brief stint as a police officer in Chicago, his passion for acting and showmanship led him to join a traveling acting company. By 1889, at the age of 21, Considine had relocated to Seattle, marking the beginning of his influential career in the Pacific Northwest’s burgeoning entertainment scene (04:04).

Notable Quote:
Dave Anthony: "John Considine was born in Chicago in 1868 to Irish immigrants Mary and John William." [02:50]

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Managing the People's Theater and Box Houses

Upon settling in Seattle, Considine took over the management of the People’s Theater. During this era, Seattle’s theater scene was a blend of highbrow performances and more dubious entertainments. Considine revolutionized the establishment by introducing "box houses"—saloon-integrated theaters that doubled as brothels (08:04-34:38). This innovative business model drew substantial crowds by combining live theatrical performances with vice activities, making the People’s Theater a lucrative but controversial enterprise.

Notable Quote:
Gareth Reynolds: "We're just going to have women who are actual performers do a show, and then those guys go, fuck a lady." [35:43]

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Conflict with Chief William Meredith and Corruption

Considine’s success soon attracted unwanted attention from Chief William Meredith, the corrupt police chief of Seattle. Meredith was deeply entrenched in the vice operations of the city, accepting protection money and enabling activities like gambling and prostitution (34:38-55:08). When Considine attempted to expose Meredith's corrupt practices, including accusations that Meredith had ruined young performers like Mammy Jenkins—a 17-year-old contortionist—the tension between them escalated dramatically (56:43-57:43).

Notable Quote:
Dave Anthony: "Meredith was alive but helpless and on the ground after Tom cracked him on the head with the revolver." [71:57]

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The Violent Confrontation and Aftermath

The conflict reached its climax in a dramatic shootout at a Seattle drugstore. Meredith attempted to assassinate Considine but missed, inadvertently injuring another patron (57:43-65:46). Considine and his brother Tom intervened, leading to a fierce confrontation where Tom ultimately subdued Meredith, resulting in Meredith’s fatal injuries (65:46-70:03).

Notable Quote:
Dave Anthony: "When the shot went into his heart, Meredith said, 'Oh.'" [70:03]

Despite the violence, Considine maintained his innocence, claiming self-defense. The subsequent trial was highly publicized, polarizing public opinion between those supporting open vice operations and those advocating for law and order. Ultimately, Considine was acquitted of all charges, though Meredith's death cast a long shadow over Seattle’s moral landscape (70:03-73:11).

Notable Quote:
Gareth Reynolds: "Are you gonna call Everett a city? Yeah, see that? They exist." [44:19]

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Expansion into Vaudeville and Rivalry with Alexander Pantages

Post-trial, John Considine expanded his influence into the broader vaudeville circuit by forming the Sullivan Considine Vaudeville Circuit in partnership with Tammany boss Big Tim Sullivan (47:44-83:11). This move positioned Considine as a major player in the national entertainment industry. However, his rise was met with fierce competition from Alexander Pantages, another titan of the vaudeville world.

Pantages, known for his business acumen and ability to attract popular acts, engaged in underhanded tactics to undermine Considine’s efforts. This rivalry included sabotaging performances and enticing Considine’s contracted performers with better deals, intensifying their competition for supremacy in vaudeville (76:00-80:11).

Notable Quote:
Gareth Reynolds: "We are the Blue Man Group xylophone trio." [78:49]

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Later Years and Legacy

Despite initial successes, Considine's empire eventually faced financial strain due to overexpansion and the impacts of World War I. In 1914, he sold his vaudeville chain to Marcus Low for $4.5 million, intending to pay it off gradually. However, economic downturns and the war's disruptions led to the eventual collapse of his theater holdings. By 1929, just before the stock market crash, Considine sold his remaining assets to Radio-Keith-Orpheum (RKO) for $20 million, solidifying his legacy in the entertainment industry.

In his later years, Considine maintained a cordial relationship with Alexander Pantages, exemplified by familial ties when Pantages' daughter married Considine’s son. This union symbolized the intertwined destinies of two of vaudeville’s foremost figures. John Considine transitioned into motion picture producing before passing away on February 11, 1943 (81:08-83:13).

Notable Quote:
Dave Anthony: "In Los Angeles, where both families lived." [82:43]

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Conclusion

John Considine's journey from a humble Chicago-born immigrant to a dominant force in American theater and vaudeville encapsulates the vibrant and often volatile nature of the entertainment industry during his time. Through innovation, relentless drive, and complex relationships with rivals, Considine left an indelible mark on Seattle’s cultural landscape and the broader vaudeville circuit.

Notable Quote:
Gareth Reynolds: "That's crazy. I can't believe that it was. It feels like we just covered 200 years." [83:12]

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Sources

• Murray Morgan, Skid – An informal portrait of Seattle.

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Additional Notes

• Live Show Elements: Throughout the episode, Dave and Gareth engage in a series of comedic interruptions and improvised skits, including faux advertisements and humorous dialogues about trapdoors and other antics. While entertaining, these elements were set aside in this summary to focus on the substantive historical content.

• Notable Speaker Interactions: The dynamic between Dave and Gareth adds a layer of humor and relatability, making complex historical narratives engaging for listeners.

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This comprehensive summary captures the essence of The Dollop’s exploration of John Considine’s life, blending historical facts with the hosts’ signature humor. Whether you're a history enthusiast or a fan of comedic storytelling, this episode offers a captivating look into a lesser-known yet significant figure in American entertainment history.

Transcript

[Dave Anthony]

You're listening to the Dollop. This is an American history podcast where each week I, Dave Anthony, read a story from American history to this thing.

[Gareth Reynolds]

Thank you, sir. Gareth Reynolds, who has no idea what the topic is going to be about. Thank you, David. A lovely intro as always.

[Dave Anthony]

You're gonna learn a lot tonight, shithead.

[Gareth Reynolds]

It's like a highly aggressive start.

[Dave Anthony]

September 29, 1868. I probably should have looked up how to pronounce this guy's name. John Considine. Could be Considine.

[Gareth Reynolds]

Doesn't matter. It's Spokane. Spokane, whatever.

[Dave Anthony]

It's a fucking difference.

[Gareth Reynolds]

Potato, potato.

[Dave Anthony]

They don't get mad when you call it. What did he call it? Spokane.

[Gareth Reynolds]

Yeah.

[Dave Anthony]

Yeah. Boy, you guys didn't care for that, did you?

[Gareth Reynolds]

Yeah.

[Dave Anthony]

But nobody. Most people don't know where your city is, so be happy that he knew the name.

[Gareth Reynolds]

Yeah, get famous for more than Trout. Maybe we'll learn it. 2, 3, 4.

[Dave Anthony]

What's his name? Shay. Matt, Shea and Trout. That's all you got?

[Gareth Reynolds]

Yep.

[Dave Anthony]

By the way, we have a famous woman here tonight who ran against Shay.

[Gareth Reynolds]

Oh, yeah.

[Dave Anthony]

Is that you? And he doxed. He doxxed her. Matt Shea doxxed her. She's up there.

[Gareth Reynolds]

Oh.

[Dave Anthony]

Thank you for coming.

[Gareth Reynolds]

Sorry we didn't get you a better seat for this event.

[Dave Anthony]

Just. Someday I will get vengeance and kill Mat on your behalf. After I kill him, I will write your name and blood on the wall as sort of an honorarium. Right.

[Gareth Reynolds]

Like, I won't be involved in any of that. I.

[Dave Anthony]

This is for you, ma'. Am. And I also. I will cover Gareth in blood also.

[Gareth Reynolds]

No, that's really.

[Dave Anthony]

And I'll put. I don't know what you said also. Don't care.

[Gareth Reynolds]

It's nice, though. I do believe it was like playing a record backwards when he spoke. Next. Okay, here's the deal. Two people have microphones. The rest ruin the event.

[Dave Anthony]

John Considine was born in Chicago in 1868 to Irish immigrants Mary and John William.

[Gareth Reynolds]

Oh, whoa. That baby. What's it coming out of?

[Dave Anthony]

Oh, a hole. That's a baby hole.

[Gareth Reynolds]

Oh, okay. I didn't know they came out dressed. I just always assumed.

[Dave Anthony]

Oh, no. When I say a baby hole, some, particularly in the Northwest, when they have their babies, they put them underground.

[Gareth Reynolds]

Oh. They can't see it. And I. I swear to God, I was like, we're bombing so hard early. I did. Yeah. I told you not to talk. Yeah. Remember when I told you not to talk, Sir. That still holds. We got there without you.

[Dave Anthony]

It was up There earlier. Until you kicked it.

[Gareth Reynolds]

Till I kicked it?

[Dave Anthony]

Yeah.

[Gareth Reynolds]

What are you talking about?

[Dave Anthony]

Fucking. But you kicked the computer as hard as you could.

[Gareth Reynolds]

Oh, well, this show's not going good. Yeah, turn around. I'll go take a look.

[Dave Anthony]

How's that? Is that good? Can you actually fucking see anything there?

[Gareth Reynolds]

All right, so let's go from baby hole. I didn't know they came out clothed. See, that was funny.

[Dave Anthony]

In Spokane they put.

[Gareth Reynolds]

No, that was funny. Ah, don't touch it. I like how Luke look, it's not.

[Dave Anthony]

Look, it's not working. I just showed him my balls. That was why they're doing that.

[Gareth Reynolds]

I'm so nervous to move it. May I see closer?

[Dave Anthony]

I'm very nervous to move.

[Gareth Reynolds]

Yeah, that's good. Don't push it. This is like. Remember antennas? This is what that was like. Stay there, honey, the Golf's working anyway.

[Dave Anthony]

We were making jokes about that fucking baby. I don't know.

[Gareth Reynolds]

We'll go from the top. Is that how they come out? Okay, so I guess the bombing wasn't the picture's fault.

[Dave Anthony]

What's that?

[Gareth Reynolds]

I thought we were having an epic comeback. People were like, still not very funny.

[Dave Anthony]

John Considine was born in Chicago in 1868 to Irish immigrants Mary and John William. He went to Catholic schools. The family was devote Roman Catholic. He went to St. Mary's College in Kansas and then spent a short time as a cop in Chicago. That's correct. But he had the acting bug and was offered a job with a traveling acting company. And this is how he made his way to Seattle in 1889. He's a tough teetotaling, very religious and pretty broke. 21 year old. So he was not so much an actor as a showman. He was a very good talker. And he was a networker.

[Gareth Reynolds]

Same.

[Dave Anthony]

Yeah. When I think of you, I think.

[Gareth Reynolds]

The performance is the problem, but networking is what I do. Connections.

[Dave Anthony]

And the what?

[Gareth Reynolds]

Connections.

[Dave Anthony]

Do that again.

[Gareth Reynolds]

Connections. That's how I fix that. Connections. And let's not sleep on. When I saved the laptop, you sat idly by, you kicked the laptop. Shut the fuck up about your made up kick.

[Dave Anthony]

John was also very large. He was 6ft and muscled. He wore. Now when we say people like, that's not that large. But back then you were a giant at six feet.

[Gareth Reynolds]

Yeah.

[Dave Anthony]

He wore suits and loud ties and white gloves.

[Gareth Reynolds]

Oh, wow. All right. That's not a great energy.

[Dave Anthony]

No.

[Gareth Reynolds]

I might bring that back. I think that's an intimidation for my networking.

[Dave Anthony]

Yes.

[Gareth Reynolds]

Yeah, I just had.

[Dave Anthony]

And I might go Elbow length and do this like. No, don't dirty the.

[Gareth Reynolds]

Yeah, away, boy. Yeah, and then I'll have a third for fucking that across, people. A third glove, because I don't want to go elbow down.

[Dave Anthony]

Is that one here in the breast pocket of the.

[Gareth Reynolds]

No, that's where my kerchief will be. And then the back pocket will be a third glove.

[Dave Anthony]

What if you pull it out of your asshole?

[Gareth Reynolds]

Huh?

[Dave Anthony]

What if you pull it out of your asshole?

[Gareth Reynolds]

The human tissue declares a duel.

[Dave Anthony]

And he chewed gum constantly.

[Gareth Reynolds]

They had gum?

[Dave Anthony]

Yeah, they had gum. Well, they had gum.

[Gareth Reynolds]

They had gum.

[Dave Anthony]

Now it's like doing a podcast with my mom. They had gum.

[Gareth Reynolds]

That's an it. Trust me. I'm the voice of the people. That's interesting. We're all wondering when gum got invented. And I actually do think we talked about it on the show before.

[Dave Anthony]

I think so. He rarely swore, and he had a bad temper. He was smart. Within two years of landing, and, yeah, by the way, I couldn't find any shit about Spokane. So this must be about Seattle. Oh, is there nothing about fish?

[Gareth Reynolds]

Fuck off. Why don't you tell that story about that real big drought?

[Dave Anthony]

Tell the story of the famous tree within Cheese.

[Gareth Reynolds]

I mean, we are here. We are here.

[Dave Anthony]

We probably shouldn't back on.

[Gareth Reynolds]

I mean, it's great to be here.

[Dave Anthony]

This is the first time I've been here. I've driven past here.

[Gareth Reynolds]

I've been here a bunch. And honestly, it's one of those towns where, like, after the show, people are like, why are you here? Are you okay? You should go.

[Dave Anthony]

So within two years of landing in Seattle, he was managing the People's Theater.

[Gareth Reynolds]

Nice.

[Dave Anthony]

So Seattle had been established in 1851, when the city was 12 years old. Miss Edith Mitchell was stranded there waiting for a ship, and the Washington Gazette called her, quote, an actress of noted ability and a favorable celebrity.

[Gareth Reynolds]

Interesting.

[Dave Anthony]

She put on what is considered the first professional performance in Seattle, doing quote readings and personations of characters from Shakespeare and other great poets.

[Gareth Reynolds]

Oh, it would have been awesome to watch that. You'd be like, this is fucking horrible.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

Like, now your brain's so rotted. You'd be like, this is terrible.

[Dave Anthony]

Yeah, it's crazy. She's gonna read this shit over and over.

[Gareth Reynolds]

And now I'll be Juliet. Christ.

[Dave Anthony]

She also read from other great poets.

[Gareth Reynolds]

Honestly, I mean, it's awful. My beat. My brain is just. It's rotted. And I'll be honest.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

Watching someone read poetry, I'd be like, stop. This is horrible. If it doesn't rhyme. What are you doing Right? Anyone could do that. If it's not rhyming, they're like, that makes it better. Wrong. No, as an audience member, it's just not as good.

[Dave Anthony]

It's terrible.

[Gareth Reynolds]

Anyone could do that.

[Dave Anthony]

You're just talking.

[Gareth Reynolds]

It's just weird. You have a weird point. Say it right or make it rhyme. What does it do? Pick a lane, lady.

[Dave Anthony]

Locals watched it in a small hall above a store. 1865. Henry Yesler built the first hall. It was 30 by 100ft. And the first professional play was put on in 1871. Uncle Tom's Cabin.

[Gareth Reynolds]

Oh, dear. Oh, boy.

[Dave Anthony]

So now talks became very common in Seattle.

[Gareth Reynolds]

Uncle Tom's Cabin. A magnificent production. Oh, no.

[Dave Anthony]

Art of life among the lowly. Wow, that's cool. High class entertainment. The historic slave market. There's a lot of good stuff on this bill. Apparent full blooded bloodhounds trained to take part in the drama are used in the thrilling scene showing Eliza escaping from the slave hunters.

[Gareth Reynolds]

Why'd you read it, dude? Why the fuck did you read? Was small enough for no one to read and you pushed it. You wanted to know. Well, guess what, asshole. Fine print back then is not good. Their headlines are bad. Their fine print is awful. They're like, mind if I drop a couple n words in here real quick in this tiny little font.

[Dave Anthony]

It was a great show tonight. There was a young lady in blackface and they had animals chase her across the st.

[Gareth Reynolds]

The room was about 20ft by 80.

[Dave Anthony]

She got eaten by.

[Gareth Reynolds]

Yeah, she couldn't run very far. I don't think those hounds were actors.

[Dave Anthony]

Anyway, it's a great and moral play. Okay, so talks became very common in Seattle. There was one on phrenology.

[Gareth Reynolds]

Oh, great.

[Dave Anthony]

Physiology a physiog. Physiognomy. What is physiognomy?

[Gareth Reynolds]

Well, that's where that guy put it out. Does he Onomy.

[Dave Anthony]

I know how to pronounce words, but you for asking what they mean.

[Gareth Reynolds]

I don't even think I. I don't even think what I suggested is a word, to be honest with you. You just took the bait. Which is common in these parts.

[Dave Anthony]

Anthropology. Love.

[Gareth Reynolds]

Love.

[Dave Anthony]

This is just one love. Yeah. This is one talk. This is the advertiser. Fun talk.

[Gareth Reynolds]

This guy's covering a lot of topics now. See this show I'd see now love's pretty crazy.

[Dave Anthony]

Sorry.

[Gareth Reynolds]

It's okay, buddy.

[Dave Anthony]

Getting it back. Phrenology. Physiognomy. Anthropology. Love. Courtship, matrimony. The transfusion of desired qualities from parents to children. Loss of Health, diet, bathing, exercise, intellectual, moral, social improvements, ethical science, moral philosophy, universal reforms, et. By, etc.

[Gareth Reynolds]

There's more. And other things. Well, why don't you finish the list? Holy. That's one performance by now.

[Dave Anthony]

Courtship by Dr. C. Pinkham.

[Gareth Reynolds]

C. Pinkham.

[Dave Anthony]

Pinkham.

[Gareth Reynolds]

Bingham.

[Dave Anthony]

Pinkham, Pinkham, Pinkham.

[Gareth Reynolds]

Okay.

[Dave Anthony]

And he closed the show by examining two heads.

[Gareth Reynolds]

You imagine going up on stage for that and having a guy be like her. She's got a small head. She's unlovable. Unmotherly.

[Dave Anthony]

Do you have a big round head in the back? Well, you're a good mother. Do you have a flat head? You are fucking.

[Gareth Reynolds]

Can I get two volunteers with different heads? Trust me, this will be worth it. All right. Now, you can see this lady has a big, large head. That means she's a good mom. No chin. Whereas this next lady's got a tiny head and no hair. She shouldn't have kids, but I can tell where her throat starts. Hey, how good is this show?

[Dave Anthony]

Read what it says under Parental Love.

[Gareth Reynolds]

Where it's, oh, me. Parental love or the study of Philoprogenativisus.

[Dave Anthony]

Philoprogenativinous. Yeah, I think so. Entertainment was not great in Seattle. That's what we're saying. So in 1871. Oh, I already did that. So in 1875, the Daily Pacific Tribune reviewed a show. Quote, the performances were all good, especially those of two or three of the horses.

[Gareth Reynolds]

That's the problem. Yeah, you can't beat that.

[Dave Anthony]

What in the fuck is happening?

[Gareth Reynolds]

What do you mean? That's way better on stage. Yeah, they probably did the fake counting thing. There was probably a lot, even if they didn't. You were like, this horse is unbelievable.

[Dave Anthony]

I don't know if it's in a different hall, but the first hall they built was on the second floor.

[Gareth Reynolds]

Buddy, horses are very capable of climbing. Have you ever watched dressage?

[Dave Anthony]

Nope.

[Gareth Reynolds]

Well, brother, run, don't walk.

[Dave Anthony]

The John Jack Theatrical Company formed, and the first performance was East Lynn. Quote, in the third act, little Willie refused to pass his checks, being frightened and unaccustomed to the business. The child couldn't see the utility of shuffling off the coil thusly.

[Gareth Reynolds]

What?

[Dave Anthony]

Not with. He wouldn't leave the stage. He wouldn't leave the stage, notwithstanding the desperate efforts of the. Of his heartbroken mother, Madame Vane, to make him lay down and die. So I guess he's supposed to die. So he. He. His part in the play was that he dies. But he's like, no.

[Gareth Reynolds]

He was like, nah. Yeah, it's awesome. See that's better than a horse watching a kid refuse to do the stage direction. No, I don't want to. You have to die now.

[Dave Anthony]

The horse didn't have to.

[Gareth Reynolds]

Yeah.

[Dave Anthony]

Mr. Jack was reluctantly obliged to bring down the curtain.

[Gareth Reynolds]

Ah, that's great. But I like the idea that that show had a very weird ending. I didn't understand it. You know, that's what I liked about watching those two horses. It made sense.

[Dave Anthony]

It did make sense.

[Gareth Reynolds]

This show was very strange, how the boy wouldn't pass away, and she kept saying, die, die, boy, die. And he said, you're not my mom.

[Dave Anthony]

But that was his mom, but not his mom. Mom.

[Gareth Reynolds]

Well, that's why it lost me. Strange.

[Dave Anthony]

Jack then took the troupe on the road to places like Spokane, where he lost money. In Victoria, two cast members got drunk and refused to perform.

[Gareth Reynolds]

Nice.

[Dave Anthony]

Jack tried to juice up the show on their return to Seattle. The dispatch, quote, it is of the dime novel melodrama description and consisted of four abductions, one attempted poisoning, two bowie knife combats, one chloroforming, and 24 Honda. This is in the play.

[Gareth Reynolds]

What?

[Dave Anthony]

This is the play.

[Gareth Reynolds]

This is how he spiced it up.

[Dave Anthony]

Yes.

[Gareth Reynolds]

It was like, guys, I. I've been doing rewrites and we just didn't have enough chloroforming. We're four shy of a show.

[Dave Anthony]

A lot of people got to die.

[Gareth Reynolds]

So everyone's going to get chloroformed at least once during the performance. I'm not going to do that. You'll be first.

[Dave Anthony]

Consisted of four abductions, one attempted poisoning, two bowie knife combats, one chloroforming, and 24 homicides.

[Gareth Reynolds]

So, like, people were like, I gotta go on stage and get killed again.

[Dave Anthony]

It's probably just people coming back on as different characters and dying.

[Gareth Reynolds]

Yeah, right. For sure. Just be like, hello, I'm walking. Oh, not a chloroforming. Oh, now I'll probably get stabbed.

[Dave Anthony]

And from beginning to end, there was a running fire of revolvers.

[Gareth Reynolds]

A revolver.

[Dave Anthony]

A lot of shooting.

[Gareth Reynolds]

Are they shooting?

[Dave Anthony]

I don't know if they would have blanks back then.

[Gareth Reynolds]

What the fuck? Well, that's gonna help with the murder count. Really? Perfect.

[Dave Anthony]

It didn't work. Jack went broke.

[Gareth Reynolds]

Oh. He only had three suits left.

[Dave Anthony]

By the 1880s, Seattle could draw bigger names. Opera companies, violinists, A guy who had, quote, trained a cat to perform the marvelous feat of picking up soda water bottles and carrying it off stage.

[Gareth Reynolds]

Okay, now there. That's why I got.

[Dave Anthony]

Yeah. You are 100% in now.

[Gareth Reynolds]

Oh, yeah. Well, that's awesome. I mean, the idea that a cat could carry, that'd be amazing.

[Dave Anthony]

Yeah, well, amazing's not the. Maybe the right word.

[Gareth Reynolds]

What?

[Dave Anthony]

It's a cat carrying a bottle off a stage.

[Gareth Reynolds]

What the fuck? You're just being an asshole. Because that would be incredible. If you saw someone train their cat to do that, you'd be like, that's shocking. If you saw that on Instagram, you'd send it to me. Shut the fuck up. That's amazing.

[Dave Anthony]

So boxing illegal. So only private clubs could have fights. So boxers came and joined clubs, and then someone realized they could write a play that the boxer would star in, and then the final act would be him fighting a local boxer.

[Gareth Reynolds]

All right. That's fucking awesome. That is. The cat water bottle can take a backseat to the idea that you write a show all about an ending where your main character might get the shit kicked out of. Yeah, I put it all on myself for this match. So all I gotta do is go beat the local legend.

[Dave Anthony]

So come on, baldy, let's go.

[Gareth Reynolds]

Jesus Christ. He's beat. Well, fuck. He just got the shit kicked out of us. The ending doesn't make any sense. Bring the curtain down. Chloroform the other boxer. I'm in the hole. A lot of fucking money here. No, I'm not gonna do that. Oh, my God. We're in the hole a lot. We're really.

[Dave Anthony]

I'll kick the shit out of you, too.

[Gareth Reynolds]

Who. Who are you right now?

[Dave Anthony]

I'm the boy who wouldn't be clerk.

[Gareth Reynolds]

You're the boy who wouldn't fall early.

[Dave Anthony]

Jesus Christ. Will you focus on the theater and what we're doing in it?

[Gareth Reynolds]

Look, I'm doing a lot right now. I'm trying to revamp a show that's not going well by adding a lot of characters in it. The last show I revamped, wrote was a choose your own adventure boxing match.

[Dave Anthony]

So with this setup, a lot of big boxers come through, they would act and then fight. One was Ruby.

[Gareth Reynolds]

The acting part had to be so good.

[Dave Anthony]

Would have been so bad. Oh, my God.

[Gareth Reynolds]

What I was trying to tell you from before. Mom, I forgot it. I forgot it again. Hold on, I'm gonna go talk to the guy in charge. Hey, what am I supposed to say?

[Dave Anthony]

It doesn't matter. Just whatever you want.

[Gareth Reynolds]

I'm an actor in a play.

[Dave Anthony]

No, hey, no, Bob, no. Just, like, make stuff up. Like, not about who you really are. Like, make, like, a character up and then just go.

[Gareth Reynolds]

Whatever my name. I am the charge of this play. I'm on stage talking to this boxer, Bob.

[Dave Anthony]

Bob.

[Gareth Reynolds]

Yeah. Call me Ruby. Stop saying call me Ruby.

[Dave Anthony]

Ruby.

[Gareth Reynolds]

Yeah.

[Dave Anthony]

Stop saying that you're in a play and just go out there and make some stuff.

[Gareth Reynolds]

Part of the problem is I don't know if you can see where my dog's from. I think everyone's confused.

[Dave Anthony]

That's Australia.

[Gareth Reynolds]

Huh? I'm Australian.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

The character or me in real life?

[Dave Anthony]

No, you're from Australia.

[Gareth Reynolds]

I know, but I'm a character. You said I was supposed to make it up. I can't work under these conditions. You keep asking me to be inventive, and I am.

[Dave Anthony]

I'm gonna fight you in a second.

[Gareth Reynolds]

Now, that's a production.

[Dave Anthony]

So a lot of big boxers came through, like Ruby, Rob Fitzsimmons. The ad said, quote, spar three rounds, make three rounds, spar three rounds. Make a horseshoe, punch the bag, shoe a horse, sing a funny song.

[Gareth Reynolds]

This is so great to not know what performance is in any way. Like, to have not figured it out. Did other countries not have shows? I mean, we had.

[Dave Anthony]

I don't know.

[Gareth Reynolds]

There was performance. I mean, performance existed. But America's like, trust us. What you need to do is put a carnival on stage. But it's scripted. Come on stage, fill a clown's mouth with water. Put a shoe on a horse, shoot a basket.

[Dave Anthony]

I don't want to go to your stupid play. They're shoeing a horse.

[Gareth Reynolds]

Trust me, you do make taffy. What's a play? We don't know.

[Dave Anthony]

Quality actors also came through now. Irving Barrymore, W.C. fields, Sarah Bernhardt. Sarah Bernhardt.

[Gareth Reynolds]

Whoa.

[Dave Anthony]

Told locals that she wanted to go hunting. Quote, they obligingly took her to the shore of Lake Washington, put her safely in a blind, and ushered into her sight an ancient bear that had been left behind by a circ. She killed the bear and carried his skin back to France. There she told people she'd come across the bear in a forest and killed it with her bare hands.

[Gareth Reynolds]

Jesus Christ. What the fuck? She Donald Trump juniored the bear and then was just like, you know, I actually kid this with my bare hands. Imagine that so far. I mean, she is an actress, so, yeah. Yes. It came upon me, and I made myself look bigger. Then I cut his throat, skinned him, and customs didn't care.

[Dave Anthony]

I love that the bear is just an old bear.

[Gareth Reynolds]

And he's like, okay, I'll go. Ancient bear who's like, it's nice to finally be out of the circus. Not so fast, my buddy boy. We don't have any Morals.

[Dave Anthony]

I finally feel the sun on my body.

[Gareth Reynolds]

Yeah. Stop pretending like he just walked out that day. That is worse. In my version, he's been there for a couple weeks and he's like, this is nice. Maybe you could find me a lady bear. For sure. There's a lady bear in heat over there. All right. Oh, oh, wait. Hey. There's no lady bear at all. You're waking up, bear. Well, now there's a lot of blood going.

[Dave Anthony]

To be honest, I'm active.

[Gareth Reynolds]

Someone skin it.

[Dave Anthony]

So theater isn't going great in Seattle and the whole Northwest. Troops are folding. Their owners are fleeing in the night because they're in debt.

[Gareth Reynolds]

That's fucking hilarious. Come on, let's go.

[Dave Anthony]

The cultured class complained that ownership only scandalous shows made money.

[Gareth Reynolds]

Yeah, it's just like watching online content now.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

Jesus Christ. All right, so I gotta get abs and do stand up. I can't do this.

[Dave Anthony]

In 1885, the Post Intelligencer warned readers that a show of 20 women was on the way. Quote, this is about the show of 20 women coming. The chief and only attraction being its purpose and the practice of its actors to pander to the depraved tastes of the spectators. It is an indecent exhibition of a lot of women who, for what they can make out of it, parade their half naked forms on stage. It is needless to say that the show draws immensely well.

[Gareth Reynolds]

Because fucking morons keep putting articles in the paper of outrage that sound like ads. Yeah, these hot fucking women are pretty naked. You see outlines, you know what's there.

[Dave Anthony]

I wasn't gonna go. Cause it just. It kept talking about horse ladies, but now this says half the horse ladies.

[Gareth Reynolds]

Nobody's talking about horse ladies anymore. We were shut down. That production closed.

[Dave Anthony]

Well, it says in here you can see her ass.

[Gareth Reynolds]

Yeah.

[Dave Anthony]

So Seattle shows had. They had shows in what were called box houses on skid row. And a box house was a saloon that had a theater attached. And they were usually found in basements.

[Gareth Reynolds]

By the way we've performed, that's the ideal situation.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

Wasted people like, what is this? Holy shit. Horse girl. Ma', am, are you really a chimney sweep? Cause I got a smokestack. That is filthy. What did you charge? You should probably put on a couple more layers. You might get hurt.

[Dave Anthony]

They were usually found in basements and had to close during the rainy season because the floors were covered in water.

[Gareth Reynolds]

What?

[Dave Anthony]

It got wet? Okay, see, it's down there on the. Sure. It's in the wetland.

[Gareth Reynolds]

Right.

[Dave Anthony]

Some box houses were built on Pilings on the Elliot Bay tide flats. That way they could drop just a drunk through the trapdoors and then they'd wade ashore or float or whatever.

[Gareth Reynolds]

Wait, what?

[Dave Anthony]

What do you mean they would. One of the reasons they built them on the tidal flats, because if someone got too drunk or whatever, they could just open up the trapdoor.

[Gareth Reynolds]

Why did that stop? Why did we get rid of trapdoors? It feels like there's never been a better time to bring back the trapdoor.

[Dave Anthony]

I think. And I think. Cause people died.

[Gareth Reynolds]

I'm not saying it's a perfect system, but I am saying that right now we need some hail Marys and trapdoors. Really, considering what's going on, can be pretty helpful.

[Dave Anthony]

There should be a lot of trapdoors.

[Gareth Reynolds]

Yeah, more trapdoors. Oh, God, how great would life be?

[Dave Anthony]

Great.

[Gareth Reynolds]

We all need more of a purpose. Yeah. Even your house. You're like, I'm gonna invite Clark over. I'm sick of it. Come closer. Little more. Little more.

[Dave Anthony]

Put on the horse head.

[Gareth Reynolds]

And then it just drops. If you're in an apartment, it just drops it into your neighbor's place. Ah. Hello. Come closer. Little more. I just did this upstairs. Little. I don't have a trapdoor. Little more. Idiot. Who are you? Ugh. Step back a little bit. I'm not. No, I don't have a trap door. Yes, you do. All right, I do. But leave through that door. I don't know who you are. Leave through regular door. I prefer the trap. That's my boy. Everyone's an inventor.

[Dave Anthony]

So a description of a box house from coast magazine quote, nervous opium eating individual was hammering away at the piano. In the hall like space before the stage were 100 or more men and boys. Not a woman was to be seen in the row of seats. Only men smoking and chewing tobacco and boys eating peanuts.

[Gareth Reynolds]

So there were no women in the box house?

[Dave Anthony]

Well, in the theater part of the.

[Gareth Reynolds]

Box house, right, it's just men eating peanuts and smoking. Boy, there's a real nice smell in this room. Sickly men who are smoking and crushing peanuts.

[Dave Anthony]

Okay. Around the sides of the room and at the end opposite the stage were built out thin pine board small apartments with an opening towards the platform and a barn like door leading into the narrow passageway along the wall.

[Gareth Reynolds]

So you could have a home.

[Dave Anthony]

So there's little. Little rooms that are.

[Gareth Reynolds]

Yeah. That you could just kind of walk out and be like, cool.

[Dave Anthony]

No, it's not a home. That's the box. Those are boxes.

[Gareth Reynolds]

And the boxes are what they're The.

[Dave Anthony]

This is a box house. So, right. There's little tiny box rooms up there.

[Gareth Reynolds]

So, like, a few. Little, like. Yeah, theater. Okay. So you could be like, oh, what's in here? This is horrible.

[Dave Anthony]

In each. In each room was an electric torch button, which communicated with a bar set up behind the stage. The boxes were unlighted, save a stray beam might enter at the window. In these boxes were women.

[Gareth Reynolds]

I mean, I understand being disappointed, but also, you know, look at this room. What did you think it was going to be? Boy, they're doing some great. Check off upstairs.

[Dave Anthony]

One in, some more in others, women with dresses reaching nearly to the point above their knees.

[Gareth Reynolds]

Holy. You know what that's close to.

[Dave Anthony]

With stained and sweaty tights.

[Gareth Reynolds]

Oh, why? Huh? What? Read it again.

[Dave Anthony]

With stained and sweaty tights.

[Gareth Reynolds]

Okay.

[Dave Anthony]

Someone do a wash with bare arms and necks uncovered over halfway to their wrists.

[Gareth Reynolds]

Oh, whoa, wait. Elbow. Did we not know what an elbow was yet, buddy? The fabric goes halfway down to their wrists. So halfway down to the arm, you do the math. All I know is it looks like they pissed them themselves. And you come in thinking of grits and peanuts, the vibe electric.

[Dave Anthony]

With blonde hair and some with powdered wigs, with faces rouged and powdered eyebrows, with winkers mutted up and blackened. There stood the female contingency at the doors and in the box. So this is the kind of place that John Constantine is running. Ah, the people's theater. As we said at the beginning, profits came from booze and gambling, and women would perform and then go into the boxes and get men to buy drinks or sex.

[Gareth Reynolds]

So it is a brothel, essentially.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

Okay. But they're the theater part of it. You're like, well, it's also a show.

[Dave Anthony]

No, it isn't kind of a show.

[Gareth Reynolds]

Well, there's a costume.

[Dave Anthony]

Yeah, sort of. Yeah.

[Gareth Reynolds]

There's like a.

[Dave Anthony]

There's. There's a whole.

[Gareth Reynolds]

I like how he's like, I'm still a director of theater. Hey, there's a drunk man full of peanuts in your room. Go him. It took me a while to find my voice as a playwright. Didn't come easy.

[Dave Anthony]

So John is an actor, so this is kind of offensive to him. So he decided to get more customers by having professional actresses while others ladies work the boxes. So instead of, like, having them perform and then the guy's going, I wanted. That One wanted sex. They just have women who are actual performers do a show, and then those guys go, one other woman, and then they go, fuck a lady.

[Gareth Reynolds]

So it was kind of like a bait and switch. You'd be like, women on stage, performing. And then they'd be like, I'm all riled up from all that acting now. I'm gonna go to the fuck room. It's very similar still to me. The only difference is there's like some women up there like, mom, you don't do that to me. This is a good play. I should fuck someone.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

I'm so full of peanuts and tobacco and ale.

[Dave Anthony]

This place must have smelled so bad.

[Gareth Reynolds]

Oh, un fucking godly. Ungodly. You'd walk in and be. And they'd be like, well, fancy boy doesn't like a room where you could flick your butts and your shells on the ground. Well, we're doing a performance tonight, just so you know.

[Dave Anthony]

So it works. There's better shows, more people come. He's making $2,000 a month. There's often fights in the box houses because it's a rough environment.

[Gareth Reynolds]

Sure.

[Dave Anthony]

Not everyone's happy with the box houses, right? The refined folks, the church going folks.

[Gareth Reynolds]

The women working in the boxes, they're fine with it.

[Dave Anthony]

They're making cash.

[Gareth Reynolds]

Okay.

[Dave Anthony]

They took over city government in 1894 and passed an ordinance forbidding liquor sales in theaters.

[Gareth Reynolds]

Well, that's going to change a lot of stuff.

[Dave Anthony]

So John moved to Spokane and set up shop.

[Gareth Reynolds]

Some people not so proud of that. Like, wait, don't be happy. So he went to a place where laws didn't matter and nobody gave a flying fuck about anything here.

[Dave Anthony]

So he was here for three years and doing the same shit. Box houses. Until Spokane barred women from working in box houses.

[Gareth Reynolds]

Okay, now what is. What's worse? No booze or no women?

[Dave Anthony]

No women.

[Gareth Reynolds]

Absolutely.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

Because you just get. I'm gonna get shit faced to go to the box houses now. You're just like, now I'm drunk and I don't know what to do. Are we allowed to jack off in here? Oh, my God. We live in hell. This is hell.

[Dave Anthony]

I paid to go jerk off in a room.

[Gareth Reynolds]

I'm gonna go into that box, the empty box house, and eat peanuts and jack off. We've lost what made us America. Will they at least leave some of their horribly sweaty clothes behind? Maybe I could form it in. If there's a powdered wig, I could form it into a lump of something. Try to fuck that.

[Dave Anthony]

I'm just saying we'd like you to leave.

[Gareth Reynolds]

I'm just saying. Hope's not dead, Jimmy.

[Dave Anthony]

We'd like you to leave.

[Gareth Reynolds]

Actually, I can't leave.

[Dave Anthony]

Yeah, you can.

[Gareth Reynolds]

We gotta make this work trapdoor. Wait, wait, wait. Hold on. Can I jack off before I fall? No. Can I get a handful of peanuts for my death?

[Dave Anthony]

I'll throw them in your face.

[Gareth Reynolds]

Hey, finally done it. Hey, I survived the fall.

[Dave Anthony]

Oh, dress him up like a bear.

[Gareth Reynolds]

Oh, boy, that sounds erotic. So I said, hey, I'm okay.

[Dave Anthony]

Get the out of here.

[Gareth Reynolds]

Oh, hey, I'm okay still.

[Dave Anthony]

I don't care.

[Gareth Reynolds]

Give me cigarette.

[Dave Anthony]

What?

[Gareth Reynolds]

Give me a smokey. Oh.

[Dave Anthony]

What the is happening?

[Gareth Reynolds]

Hey, I'm going to die real soon. I'm dying.

[Dave Anthony]

It doesn't seem like it.

[Gareth Reynolds]

Take me up to one of them box houses to die. I have a final request. We should put a woman back in one of the box houses. Could be good.

[Dave Anthony]

The dollop is brought to you by nutrifal. Gareth. Neutrophil is the number one dermatologist recommended hair growth supplement brand. It is trusted by over one and a half million people.

[Gareth Reynolds]

A lot of people.

[Dave Anthony]

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[Gareth Reynolds]

Yeah, I was gonna say it's been a while.

[Dave Anthony]

It is thickened my hair. My hair is sweeter. It's sexier. It's got a.

[Gareth Reynolds]

You've now got that like off the surfboard kind of shake rattle hair.

[Dave Anthony]

That's right. Shake rattle hair off surfboard. People notice it when I. People brought it up at shows.

[Gareth Reynolds]

Yep.

[Dave Anthony]

My hairdresser noticed it, My wife noticed it. My friend Josh noticed it. I wish he wouldn't have because that got uncomfortable.

[Gareth Reynolds]

Why? What is that? What do you mean?

[Dave Anthony]

But it, well, he was just like, what do you do? Did you get hair plugs or something?

[Gareth Reynolds]

Like, I don't know.

[Dave Anthony]

He was accused talking about your hair.

[Gareth Reynolds]

Yeah. It is accusatory.

[Dave Anthony]

That's right. He doesn't know how to be nice. He's not?

[Gareth Reynolds]

No. He's a problematic individual.

[Dave Anthony]

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[Gareth Reynolds]

I am actually starting to take neutrophil. I have just started, but I can't report results because I literally Just started.

[Dave Anthony]

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[Gareth Reynolds]

It only gets better. Yeah, you are stallion.

[Dave Anthony]

Absolutely vouch for that. Yeah, I've been. I've been. I'm being used as a breeder out in the pasture.

[Gareth Reynolds]

Well, it feels like the ad's over, but no, we're still going. When you said you your results are that good and I've seen it, I was like, I'm gonna actually jump in too. So I'm going on and I don't want to talk about your performance in any other capacity.

[Dave Anthony]

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[Gareth Reynolds]

All right, everybody, now the ad's over. Thanks, everybody. Bye bye now. Thank you.

[Dave Anthony]

So John goes to the mayor of Spokane and asked if he could shut down the boxes and just have women in the theater selling drinks. But the mayor's like, no. So he closed his theater in Spokane and went back to Seattle where it.

[Gareth Reynolds]

Was just no liquor.

[Dave Anthony]

Well, after John's.

[Gareth Reynolds]

Did he know about other cities?

[Dave Anthony]

No.

[Gareth Reynolds]

He was like, well, you gotta pick. There's only two I've heard of.

[Dave Anthony]

There are no other cities in Washington.

[Gareth Reynolds]

I know. It's true. It is amazing. It is amazing to just be.

[Dave Anthony]

Well, that's it.

[Gareth Reynolds]

Yeah. That's nothing.

[Dave Anthony]

Are we gonna call Everett a city?

[Gareth Reynolds]

Yeah. See that? They exist.

[Dave Anthony]

So you can feel Bellingham basically fucking.

[Gareth Reynolds]

Canada pitching against it.

[Dave Anthony]

What?

[Gareth Reynolds]

Huh? Every city has a Taco Bell and that's what's nice. We are a country.

[Dave Anthony]

Yeah. So after John had left Seattle, the people's theater was empty and it was full of vermin and filth, cobwebs. And it, quote, resembled the place where pigs hold forth. And then hobos took over the boxes and were living in them and.

[Gareth Reynolds]

Hey, someone's in that box up there.

[Dave Anthony]

Oh, no. I think they reopened. How the. Are you alive?

[Gareth Reynolds]

Well, it's a while story, but I went up there and had my way with one of the box women.

[Dave Anthony]

That's a hobo.

[Gareth Reynolds]

Oh boy. That explains so much, by the way. I am dead. Isn't that crazy?

[Dave Anthony]

It's pretty crazy. Yeah.

[Gareth Reynolds]

It's been a wild run for me. I've had my weirdest year yet.

[Dave Anthony]

Why are you talking to me?

[Gareth Reynolds]

I have unfinished business here in this realm. I need you to help me solve something so I can ascend.

[Dave Anthony]

Oh, I don't want to do this. What am I supposed to help you solve?

[Gareth Reynolds]

Come on. If you help me, I'll help you.

[Dave Anthony]

Nah, I just.

[Gareth Reynolds]

I can't ascend until 1. If we set one thing, I gotta have a handful of peanuts.

[Dave Anthony]

That's it. Here.

[Gareth Reynolds]

Well, no, not. No, but I. I can't grab anything. I can't grab anything. It's gonna be so hard.

[Dave Anthony]

This is.

[Gareth Reynolds]

This is really hard.

[Dave Anthony]

So you're a ghost. And the only way to get off is earthly.

[Gareth Reynolds]

To go ascend is to get a.

[Dave Anthony]

Handful of peanuts for me to eat.

[Gareth Reynolds]

One more handful of peanuts.

[Dave Anthony]

But you can't hold peanuts because you're a ghost.

[Gareth Reynolds]

Bingo. Talk about a conundrum. We're about to go on a ride, amigo.

[Dave Anthony]

I don't think we're going to anything. I'm just gonna leave you here.

[Gareth Reynolds]

Wait.

[Dave Anthony]

Oh, why would I help you?

[Gareth Reynolds]

I don't have. Did I give you a million dollars?

[Dave Anthony]

You don't have your.

[Gareth Reynolds]

I don't have any. You're my best friend.

[Dave Anthony]

Okay, I gotta go.

[Gareth Reynolds]

I gotta go too.

[Dave Anthony]

Trapdoor.

[Gareth Reynolds]

How did that work?

[Dave Anthony]

So. So there's all these hobos live in the boxes. But then gold is found at the Klondike and thousand of bros pour into Seattle and the box houses reopen. Because the city council are okay with the box houses taking advantage of like non locals, right?

[Gareth Reynolds]

It hasn't been open. That's hilarious. You can come in here if you don't live here. Outsiders only. We don't want our kind.

[Dave Anthony]

So the people's theater reopens and the new renters spend thousands cleaning it up. And then that's when John comes back into town. Now, he knew the People Theater's owners, and he bet that the new renters only had a verbal agreement with them. So he goes down to San Francisco and undermines the deal and signs a year lease for the theater. And to start, he brought the most famous variety performer of the time.

[Gareth Reynolds]

I can't wait.

[Dave Anthony]

Belly dancer. Little Egypt.

[Gareth Reynolds]

Okay, so she's there.

[Dave Anthony]

So she's Known nationally. She's a very well known dancer. Well, she also is known because she got arrested in New York for dancing nude at a party.

[Gareth Reynolds]

So she's not just belly.

[Dave Anthony]

So when she got to Seattle, the press is there, very excited, which just helps business, obviously. And the people's was once more the top box house in Seattle. And John Status shot up. Now the fourth Ward, where the theater was delivered more votes than any other part of the city. And John now controls a lot of votes because he's rich and he's from that area. So the rich and powerful of Seattle are coming to him. And papers described him as the statesman or the boss sport. So he wore expensive suits and gaudy ties and high collars, and he only drank ice water and chewed. Chewed a shitload of gum. He chewed five sticks of gum at once.

[Gareth Reynolds]

Oh, wow. What?

[Dave Anthony]

That's crazy.

[Gareth Reynolds]

That is crazy. Yeah, it's also. It's aged him.

[Dave Anthony]

Yeah, well, but it's. You think he'd have a stronger lower half, strong jaw. He could bite.

[Gareth Reynolds]

He looks flabby.

[Dave Anthony]

Yeah, his sidekick was the best already.

[Gareth Reynolds]

Awesome. That's what you need. You always need a guy to be like, what are you talking about? Come on, I'm the blast board.

[Dave Anthony]

Well, his sidekick was his brother Tom, who was a known tough guy. And then also a guy named Doc Shaughnessy was John's bodyguard.

[Gareth Reynolds]

That's. Yeah. All right. That's a crew.

[Dave Anthony]

Now. Doc opened a gym where he would, quote, remove fat fast from fighters and men under 40. For those over 40, I'll just try.

[Gareth Reynolds]

It's tough to hear. It's tough to hear. Back then I was like, yeah, you're fat for life, Sir. You're over 40. This is before eugenics.

[Dave Anthony]

That's right.

[Gareth Reynolds]

Before guys like Doug Flutie and, you know, Frank Thomas could just go golfing and talk about how hard their dicks get to each other. Different time.

[Dave Anthony]

Yeah, yeah.

[Gareth Reynolds]

You know where you're just like, man, how fucking good is it now? I can't stop getting hard ons. All right, should we start golfing?

[Dave Anthony]

I think most people don't know what you're talking about.

[Gareth Reynolds]

I am fully aware that. But there's like six people who are like, that's pretty good. But the rest are like, what's happening?

[Dave Anthony]

It's definitely. It's definitely an indication of what sports you watch and where.

[Gareth Reynolds]

Wait, what?

[Dave Anthony]

Like that commercial doesn't run most places.

[Gareth Reynolds]

That's an ESPN commercial. Espn? Yeah. I'm their demographic. Yeah, but they're like looking to more sick of Your belly want harder Dicks? You're like, I'm listening.

[Dave Anthony]

Here's two guys playing golf from the late 80s.

[Gareth Reynolds]

Like. Like to golf with your old friends? No, but get back to the Bentley. Dick stuff. That was awesome.

[Dave Anthony]

So John bought ownership in a saloon in a gambling hall. And he bought real estate. He's rich now.

[Gareth Reynolds]

Yeah. The Star newspaper buy that much gum? Yeah, they have a little bit of scrum. No, it's okay.

[Dave Anthony]

A Star newspaper reporter heard a single lost 2000 in a roulette game and he asked the owner of the saloon about it, and the owner said, quote, yes, that's true, but I didn't think anybody'd find out.

[Gareth Reynolds]

Here we are having a moment.

[Dave Anthony]

So then he offered the reporter free room and board if he would write some really good stories about the hotel.

[Gareth Reynolds]

This is the story of the New York Times.

[Dave Anthony]

And there are.

[Gareth Reynolds]

Why. Okay.

[Dave Anthony]

The reporter was offended and he went and told this editor. And the editor never printed the story and moved into a room in the hotel.

[Gareth Reynolds]

I mean, what do you want? We're humans. We're gonna do this shit. This is it.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

Gotta find a way around that. Gotta get rid of that stuff.

[Dave Anthony]

So a new mayor, Tom Humes, open. Opened up the town. By opening it up means like for vice and stuff. He. He wants to be governor. The Post Intelligence.

[Gareth Reynolds]

But being governor, you were the mayor of two cities.

[Dave Anthony]

Yeah, kind of.

[Gareth Reynolds]

He's like, I have higher ambitions. I'd like to be the governor of the two towns in this enormous.

[Dave Anthony]

The Post Intelligencer owner John Wilson was behind the scenes. Scenes. Was a behind the scenes power broker and wanted to block Hume's nomination for governor. So he got his own guy nominated, but his guy lost. And Wilson blamed Humes and started attacking him in the Post Intelligence. Sir. For running an open, corrupt city government. So Hume was. Put the blame on the police chief and made him resign. And then he picked a new guy, a connected guy, his chief Chief William Meredith.

[Gareth Reynolds]

What is his. What's his angle here? Well, never mind. Whoa.

[Dave Anthony]

Well, so he's just trying to take the heat off of him and blame.

[Gareth Reynolds]

Yeah, but what is the. What. What. What is Hume's. Maybe you said this, but what does Hume's like, want to turn.

[Dave Anthony]

He wants to.

[Gareth Reynolds]

He open it up for like. He wants to go back to the old ways.

[Dave Anthony]

Well, he has. He made it more corrupt and. And the city more corrupt and never making money.

[Gareth Reynolds]

Okay, so not right.

[Dave Anthony]

Okay.

[Gareth Reynolds]

But anyway, this guy's cool.

[Dave Anthony]

What? Yeah, yeah, yeah.

[Gareth Reynolds]

We're good here. Absolutely. By the way, he should Chew a little gum on the right side for about five years. Strengthen that side up a little bit. Get that jaw a little bit more in line. You know what I mean?

[Dave Anthony]

You know? You know Billy, he's got one dumb side and one smart side.

[Gareth Reynolds]

You know, Bill Meredith, he's got that little chin to the left. He looks like he always just finished saying, you know, Bill.

[Dave Anthony]

So Meredith had once worked for John, but they were no longer friends.

[Gareth Reynolds]

Okay?

[Dave Anthony]

So no one knew why. Now, as a cop, Meredith had arrested a pickpocket friend of John's. And John sent Meredith to protection money from the pickpocket, but then still arrested him. Him.

[Gareth Reynolds]

Well, so that's what a moral town. I paid you off to not arrest my pickpocket buddies.

[Dave Anthony]

So John made that a public accusation, and then.

[Gareth Reynolds]

What kind of public. That's crazy to be like, this man has low character. I bribed him to let illegalities continue and he made that illegal. You fucked me, Meredith.

[Dave Anthony]

So Meredith was now then put on a desk job. And he blamed John for that?

[Gareth Reynolds]

Well, yeah, he did it publicly.

[Dave Anthony]

Yeah. And so now he's police chief.

[Gareth Reynolds]

Oh.

[Dave Anthony]

And he used the laws that had not been enforced to keep it an open town. And he went after John. Okay, so like women working in box houses that served alcohol, he used that against John. So cops were enforcing the law only at John's theater.

[Gareth Reynolds]

Well, that's gonna be bad for business. This is Trapdoor right there.

[Dave Anthony]

And Wilson, the editor of the Post Intelligencer, wanted even more done. And his paper kept writing stories about the vice problem that was gonna destroy Seattle's amazing reputation. And so a law and order league formed. The league presented a long list of crimes by Chief Meredith and Mayor Humes to the city council. And then the council held secret meetings on vice, but everything leaked anyway. And so John testified first. And he said one of Chief Meredith's men had demanded 500 protection, which he paid. And then followed the guy he paid and then he saw him hand it to Meredith.

[Gareth Reynolds]

Okay.

[Dave Anthony]

And on the stand, Meredith called John a liar and said he was a bad influence on women, young women especially. And he brought up Mammy Jenkins.

[Gareth Reynolds]

Mammy Jenkins.

[Dave Anthony]

Mammy Jenkins, who was a 17 year old contortionist.

[Gareth Reynolds]

Jesus Christ, there's a lot coming at us. 17 year old contortionist?

[Dave Anthony]

Yeah. So Meredith said she had been ruined by John and had an abortion by genetics. She had an abortion.

[Gareth Reynolds]

Oh.

[Dave Anthony]

Because John ruined her.

[Gareth Reynolds]

Oh, Jesus Christ. Tried to talk over it. Okay.

[Dave Anthony]

That same day that he was accused of ruining Mammy Jenkins, the Chief Meredith sent a cop to order John to stop selling drinks or be arrested. And John's like, I'm gonna keep doing it. Quote, it will only be a few days before they get that shrimp anyway. So he's saying, we're going to take down Meredith.

[Gareth Reynolds]

Okay.

[Dave Anthony]

A few days later, the city council sent a report to the mayor saying Chief Meredith was unfit for duty. Quote, money has been paid to Meredith and Detective Wappenstein and Detective Wappenstein for the privilege of being permitted to conduct Bunko and Sure Thing games in the city undisturbed. So the mayor told. After that report came out, the mayor told Meredith to resign.

[Gareth Reynolds]

Okay, what was the game?

[Dave Anthony]

You said Bunko.

[Gareth Reynolds]

Bunco. Sure.

[Dave Anthony]

The next morning, Meredith, do you not know what Bunko is?

[Gareth Reynolds]

I do not know what Bunko is. What is Banco?

[Dave Anthony]

I don't know. It's the dice game, right? Where you switch the. Yeah.

[Gareth Reynolds]

What?

[Dave Anthony]

It's where you swap the. It's where the cups, right? And you do the. Oh, it's not the cups.

[Gareth Reynolds]

Yeah, you. I was. Yeah. She's like, it's a dice game. Exactly, it's dice. You have to get groups of dice.

[Dave Anthony]

Oh, okay.

[Gareth Reynolds]

All the die have to be one number. You're going to Yahtzee. Okay.

[Dave Anthony]

You know way too fucking much about Bunko.

[Gareth Reynolds]

You lied about how much you knew about Bunko.

[Dave Anthony]

I was just trying to fuck you.

[Gareth Reynolds]

Ah. You know, Dave used to have trouble fucking me. Then he took eugenics. Hold on. Oh, yeah.

[Dave Anthony]

So Meredith resigns and then the next morning, Meredith has one of the one of his cops go to a secondhand store and buy a sawed off shotgun.

[Gareth Reynolds]

Okay. Secondhand store.

[Dave Anthony]

And when the cop came back, he asked Meredith what he was going to do with it.

[Gareth Reynolds]

Now you do it in the revolution first order. You don't buy it and then go, what's your plan? You go, why? Oh, no, you don't go. Now that you have it, what are you gonna do? Oh, no, I'm complicit.

[Dave Anthony]

Well, he said, quote, I'm gonna get my man.

[Gareth Reynolds]

That's adorable. We've all been there. Eugenic. Go ahead.

[Dave Anthony]

John's lawyers now had affidavits stating this 17 year old, correct contortionist did not get an abortion, but ruptured herself doing a contortion.

[Gareth Reynolds]

Boy, can we just admit that her, she was having a fun week as a 17 year old where they were like, now, how did you rupture yourself? I'd really rather not do this anymore. Legally, we have to know, is it a contortion Rupture.

[Dave Anthony]

If you can't show us how you bended, we're gonna think you got.

[Gareth Reynolds]

Oh, what a weird old partner is trying to say, Al, Take a step out. Take a fiver. That was.

[Dave Anthony]

I'm gonna stare at her more.

[Gareth Reynolds]

Nope. All right. Oh, boy, Al.

[Dave Anthony]

God damn it. Why else do white men run things?

[Gareth Reynolds]

Trapdoor. Trap door. Trap door. Trap door. Trap door.

[Dave Anthony]

The. They told Meredith he had to write an apology and put in that. Put it in the paper or John would sue for libel. Meredith, quote, I've already lost my job and now this. An hour or so later, John was on the street when a friend asked if he was carrying a gun. And John said no. And the guy said, quote, meredith's after you. Get a gun, for God's sakes. So John got his.38 row revolver and he and his brother left the theater. And when they did, Meredith was out on the streets with a shotgun wrapped in butcher paper and.

[Gareth Reynolds]

What? In butcher paper?

[Dave Anthony]

Yeah.

[Gareth Reynolds]

That's hilarious.

[Dave Anthony]

This is a long piece of meat.

[Gareth Reynolds]

I got a pound of shaved lead.

[Dave Anthony]

He also had a Colt.32 and a.38 in his pocket and a dagger in his other breast pocket.

[Gareth Reynolds]

All in, like, butcher's, like paper. I'm having a barbecue this weekend. Everybody's coming. It's gonna be great. Yeah.

[Dave Anthony]

He also had four silver dollars in his breast pocket for Armor.

[Gareth Reynolds]

Well, if I know one thing, it's that he'll probably shoot me right there. And just to be safe, I put a little butcher paper behind it.

[Dave Anthony]

He asked a real estate agent if he'd seen.

[Gareth Reynolds]

I'm looking to buy property. I know this is. Seems oddly timed because of all the gun and butcher paper, but where would you buy right now? What's the market like, sir?

[Dave Anthony]

Down by the People's Theater.

[Gareth Reynolds]

Interesting.

[Dave Anthony]

Well, he asked a real estate agent if he'd seen the Concerting Boys and said, quote, this town isn't big enough to hold us both.

[Gareth Reynolds]

I can't believe it. That actually got set. Well, yeah. We're building a bunch more towns soon. This whole state is. We're gonna make more cities. So far it's just two. So if you. Wait a minute, there'll be more. You can have your own town.

[Dave Anthony]

I'll believe you.

[Gareth Reynolds]

Probably within a year, there'll be a lot of towns.

[Dave Anthony]

What the fuck you're gonna call it?

[Gareth Reynolds]

Topeka? Sure. What's that about? What is that?

[Dave Anthony]

I don't know. It's the only other city I could think of.

[Gareth Reynolds]

But it's not anywhere.

[Dave Anthony]

No. There's a Topeka right now? I think so.

[Gareth Reynolds]

I don't think maybe there is not here.

[Dave Anthony]

It's.

[Gareth Reynolds]

Yeah, No, I know.

[Dave Anthony]

Yeah. It's in Kansas.

[Gareth Reynolds]

Okay.

[Dave Anthony]

What are you doing? Are you trying to alter reality?

[Gareth Reynolds]

I don't know what reality is anymore.

[Dave Anthony]

People had to shout at you. It's in Kansas.

[Gareth Reynolds]

Huh? Let them shout.

[Dave Anthony]

So Meredith hangs around where John and his brother usually caught a streetcar, and he hangs around there for an hour.

[Gareth Reynolds]

Just keeping him waiting. There's a lot of butcher paper.

[Dave Anthony]

And John.

[Gareth Reynolds]

Hey, Bill, what do you got in the butcher paper?

[Dave Anthony]

It's a shot. It's meat.

[Gareth Reynolds]

Wow. I love meat. Let me look at it.

[Dave Anthony]

No.

[Gareth Reynolds]

Okay. Have a good day.

[Dave Anthony]

So John went and met with his lawyer, and he found out Meredith had resigned as chief, and the lawyer wanted the brothers to celebrate, but John had a sore throat and wanted to get some medicine. So they went to a drugstore.

[Gareth Reynolds]

But while he's like, there's a guy who's trying to kill me. I'm gonna go get some Robitussin real quick.

[Dave Anthony]

This is.

[Gareth Reynolds]

I got a cold. Scratchy.

[Dave Anthony]

Meredith saw them and moved quickly toward them. As the Considines entered the drugstore. A cop was walking out of the drugstore. And above the signs read, quote, urissa cures piles or $50 forfeited such. There's a hemorrhoid.

[Gareth Reynolds]

Yeah, you don't cure your piles. You're in the money.

[Dave Anthony]

I'm just setting the scene. And the cop reached out to shake John's hand because he. The cop, also hated Meredith for pocketing protection money from a pimp. So, okay, so he didn't see Meredith behind them, and he, quote, pushed the shotgun over Tom's shoulder at a range of about 2ft and fired at John Considine. So that's pretty close for a shotgun.

[Gareth Reynolds]

Yeah. Yeah, Right there.

[Dave Anthony]

Yeah. He missed.

[Gareth Reynolds]

He missed.

[Dave Anthony]

He missed.

[Gareth Reynolds]

Jesus Christ. Oh. Oh, no. Hey. That wasn't barbecue at all.

[Dave Anthony]

What kind of meat do you have, Bill?

[Gareth Reynolds]

The butcher ripped you off. That's a gun in there. Didn't you see when he was putting it in the paper that it was not meat? No, it was a gun, you big oaf. Gosh, I swear, you almost killed that poor man with what you thought was a weekend's worth of barbecue.

[Dave Anthony]

Yeah.

[Gareth Reynolds]

This is. We're gonna be telling this story for quite a while. That much I know.

[Dave Anthony]

So the buckshot did not scatter, but instead just passed over John's shoulder. John was dazed by the blast and staggered through the wind. Wooden screen doors into the store and Meredith pushed past Tom and the cop, who were just standing there completely shocked. John was wobbly, but he ran by the glass counters. And Meredith shot again, but right as the swinging door came back and hit his elbow.

[Gareth Reynolds]

You mean halfway down to his. This guy's having a bad time. My God, it's like you rip. You tried to. You're. For the last time, Bill, that's not barbecue in there. You don't have meat. That's a gun. Be careful. You shot it again. Oh, boy. This story just got a lot richer.

[Dave Anthony]

One billet hit John in the back of the neck and, quote, flattened against the bone at the the base of his skull. The rest of the shotgun blast hit the arm of a guy sitting there enjoying a sarsaparilla. It's the most 1880s shooting of all time.

[Gareth Reynolds]

I got hit with buckshot while having a cesspoola at the drugstore today. We've all been there.

[Dave Anthony]

Meredith now dropped the shotgun and pulled his Colt.32. John yelled for Tom to help and then jumped at Meredith, and he grabbed him and hugged him so he couldn't point the gun.

[Gareth Reynolds]

Oh, look, they're making up.

[Dave Anthony]

Tom ran in and grabbed Meredith's hand, twisting the gun out. And then he grabbed it and beat Meredith brutally on the head with the gun.

[Gareth Reynolds]

His jaw's straight.

[Dave Anthony]

He fractured his skull in two places.

[Gareth Reynolds]

Oh, Jesus Christ.

[Dave Anthony]

Two cops rushed in, and one grabbed the gun from Tom, and Tom yelled, quote, give it to me. He's got another. Meredith was now leaning against a counter, and Tom yanked the gun away from the cop, and John yelled, quote, give it to him. Tom. People were now crowding into the store. Of course people are running in. They're shooting.

[Gareth Reynolds]

Hurry. I need my pile pills. Oh.

[Dave Anthony]

Tom spun around and pointed it at the people coming in. Quote, stand back, you sons of bitches.

[Gareth Reynolds]

All right, Tom, let's all cool out. We're all heated.

[Dave Anthony]

Someone grabbed Tom from behind, and Mary Meredith got on his feet, and John wrestled himself loose from the guy holding him and pulled his.38 and shot at Meredith. It hit his torso and went through his liver. The second shot went right into his heart.

[Gareth Reynolds]

No, no, no. That's where the money is.

[Dave Anthony]

Yes. Well, maybe in the other pocket.

[Gareth Reynolds]

Oh, he put it in the non hard pocket. Trust me, I know where he's headed. He'll take think it's like a mirror thing, so he'll think it's on the other. You gotta be two steps ahead. Why don't you put two coins in each pocket? No, you sound crazy. Why don't you go get more money and load all the pockets. Stop. Enough.

[Dave Anthony]

So when the shot went into his heart, Meredith said, quote, oh.

[Gareth Reynolds]

That'S when a French lady was like, skin him. I'll say I did it. Oh, the great last words. Oh. Ow.

[Dave Anthony]

John was so close that the shot set Meredith's coat on fire.

[Gareth Reynolds]

Oh, my God. Well, I don't. I mean, that's awesome. Look, you know, look, it's not. I'm not saying I support the action, but if you shoot a guy in the heart and then he catches on fire, you start to believe you're a God, period, 100%. If you shoot someone and they catch you, like, what the fuck am I? Ah. And you won't let me have a box house with booze and women.

[Dave Anthony]

So he shoots one more time, and that one went into his collarbone. And then Meredith fell dead. And the sheriff arrested John, who just nodded. Five months later, John went on trial. Now, Meredith was hated when he was alive, but now that he was dead, he was a martyr.

[Gareth Reynolds]

Here, America's princess always happens.

[Dave Anthony]

The trial became about an open city versus a closed city, cop versus box house operator. And John claimed self defense. But the prosecution went with the argument of limp hands.

[Gareth Reynolds]

Huh? The prosecution went with the argument of limp hands.

[Dave Anthony]

That's right.

[Gareth Reynolds]

What do you mean?

[Dave Anthony]

Meredith was alive but helpless and on the ground after Tom cracked him on the head with the revolver.

[Gareth Reynolds]

But Meredith tried to kill him.

[Dave Anthony]

Well, Tom, remember Tom beat him. Yeah, but then Tom beat him on the head with. And then he was basically incapacitated. And then Meredith shot him.

[Gareth Reynolds]

Yeah, he tried to kill. I mean that he caught on fire. God decided this was okay. What are you talking about? Your Honor, I'd like to point out that when we shot mayor, he shot Meredith. He caught on fire. We're good here.

[Dave Anthony]

Well, if you caught on fire, obviously caught on fire.

[Gareth Reynolds]

That sounds awesome.

[Dave Anthony]

That's God.

[Gareth Reynolds]

It's like. Well, that's God. This is like watching an AC DC show.

[Dave Anthony]

I haven't seen such an obvious justified killing since that actress killed that you're.

[Gareth Reynolds]

Allowed to kill other people. Yeah.

[Dave Anthony]

So. Oh, but. So while they're saying that Meredith had been going around town saying he was armed and telling he was going to kill John.

[Gareth Reynolds]

So yeah, he was like.

[Dave Anthony]

So the child took 15 days and John was found not guilty.

[Gareth Reynolds]

Yeah.

[Dave Anthony]

And afterwards he wept. And the Times said it was open season on law officials.

[Gareth Reynolds]

Paper said that.

[Dave Anthony]

Yeah, well, in like a bad way, right?

[Gareth Reynolds]

Oh, yeah. I thought it was like, oh, you can kill the police now, honey, Pay attention. To the punctuation, honey, the punctuation. Well, just shot the sheriff. What's for supper?

[Dave Anthony]

So moving pictures became a thing, and venues now show very short movies with a live show. And John thought everyone showing the same. With everyone showing the same movies, the way to get on top would be to offer a live show of the best live show along with the movie. So he.

[Gareth Reynolds]

Wait, what do you mean?

[Dave Anthony]

People are starting to show movies, but it's all the same movie, Right? They don't have different movies.

[Gareth Reynolds]

So he offers a live show and the movie.

[Dave Anthony]

Yeah, and the best live show.

[Gareth Reynolds]

Right, right, right.

[Dave Anthony]

So he bought half an interest in Edison's unique theater in 1902, and his plan was. Was very successful and it took off. But it was hard to get the best acts to come to the east coast and entice them. So to entice them, he. He set up a northwest theater circuit. And this was the first legit, decently priced vaudeville chain.

[Gareth Reynolds]

Okay.

[Dave Anthony]

So he cuts off all connections to the people's theater to become legit. And he gave to charities, and he got elected as president of a fishing and hunting club club. So he's becoming like a top, like dude around the town.

[Gareth Reynolds]

Right.

[Dave Anthony]

Some years before, a musicians union had gone on strike against three main city theaters. And so the owners and managers met on a dock to talk about the strike. They chose a dock. So union spies couldn't sneak.

[Gareth Reynolds]

Sure. No doc chats are always on the up and up. Yeah, 100%.

[Dave Anthony]

They ended up losing the strike, but the owner, owners and managers then formed a club called the Independent Order of Good Things.

[Gareth Reynolds]

So is this right around when people naming nefarious things nice things started? Well, the magic club for everyone's happiness to crush unions.

[Dave Anthony]

Their motto was Skin em okie dokie.

[Gareth Reynolds]

Don't mind if I do.

[Dave Anthony]

But a month later, they thought the name seemed kind of dumb, so they changed it to the Eagles.

[Gareth Reynolds]

I knew I hated that band.

[Dave Anthony]

Because there was a picture of an eagle on the stage curtain in the room where they were meeting. So that's why they call it the Eagles.

[Gareth Reynolds]

Smart story checks out. They were foes.

[Dave Anthony]

So membership grew and they called their meeting houses lodges, and they expanded to other cities. And after a few years, they were in over 100 cities. And the third owner split off and formed his own group called the Moose.

[Gareth Reynolds]

Oh, my God.

[Dave Anthony]

And in 1906, John was a delegate for the Fraternal Order of Eagles convention in New York, where he connected with tammany boss Big Tim Sullivan or Big Tim or Big Feller.

[Gareth Reynolds]

Okay.

[Dave Anthony]

And they formed a partnership and ran the Sullivan Considine vaudeville circuit. And John bought theaters in Portland and Butte and San Francisco and Tacoma and more. And he supplied acts. Yeah.

[Gareth Reynolds]

Don't ever just fucking lost your mind over hearing Butte.

[Dave Anthony]

Don't ever. I wouldn't. We drove. We drove by that today, and Luke just went butt. And that's all that was said. That's all that was said in the van. But.

[Gareth Reynolds]

But.

[Dave Anthony]

So he supplied. Also supplied acts to other theaters around the country. Country. And while he was building his empire, another man was coming up in the business. Alexander Pantages.

[Gareth Reynolds]

Oh, my Lord.

[Dave Anthony]

Now, he came from the world of saloons and pimps and gamblers and decided to take over a theater in Nome, Alaska, and got some entertainers to back him. One of who is Klondike. Kate, who you love?

[Gareth Reynolds]

I love Klondike.

[Dave Anthony]

She's Alaska's most famous dancing girl. But she never got her money back from Pantages. So for all of his life, men over all over Alaska hated him.

[Gareth Reynolds]

I like that he picked Alaska. He was like, trust me, I know where we're going. The big city, Nome. People will be coming all over that place once we build that bridge.

[Dave Anthony]

So he charged 10 cents and other theaters charged 25. He was just all about turnover. The shows were shorter. He opens a theater in Seattle in 1907, and now Pantages and John start trying to destroy each other.

[Gareth Reynolds]

Jesus Christ. Is this a two parter?

[Dave Anthony]

No. John had money and connections, but Pantages is a genius. He spoke six languages, and he hung out amongst the lower classes. So he knew what people wanted and didn't care about famous names, just good shows. So whenever John announced a new star was coming, Pantages would find someone better and put him on just before John Starr arrived. And performers knew the situation. So they would make tentative agreements with both. And then they commented down and see, would offer more money. Sometimes actors would sign up. John would sign up with John, but then their equipment would end up at the Pantagia, and Pantages wouldn't let the equipment leave, so they'd have to go to his theater.

[Gareth Reynolds]

I don't think you're allowed to do that.

[Dave Anthony]

In 1909, a xylophone trio came to town. I mean, I don't even know. That's the craziest thing in the story.

[Gareth Reynolds]

We are the Blue Man Group xylophone trio. Well, we had to kick one guy out.

[Dave Anthony]

John offered them twice the money of Pantages, and they told Pantages they were Going to John's. So Pantages called his stage manager and told him to burn the xylophones. And one of the players cried, quote, my life, my soul.

[Gareth Reynolds]

I gotta tell ya, Pantages coming in at the end for MVP contention in the story Big Bang at the end, lighting xylophones on fire. Oh, I would. I swear to God, it would be horrible. But if that guy saw a guy do that over a xylophone, I'd be like, what the fuck? My life, my soul. Dude, it's like eight pieces of wood. Shut the fuck up. No, it's so much my. It's got a whole thing inside. All right. Fucking nerd. Get a drum, you loser.

[Dave Anthony]

So the Design Trio ended up playing in the Pantages.

[Gareth Reynolds]

So one of the guys just. And then Todd, why don't you sit at the end and just cry? My life, my soul.

[Dave Anthony]

By 1911, John could offer ax 70 straight weeks of weeks of work and pantages 60. But pantages booked better acts, and they battled it out for years. Big feller John's New York partner was declared insane due to syphilis and put in an institution. I mean, he liked to fuck the New York Sun. The New York. No, the New York sun said he suffered from.

[Gareth Reynolds]

You know what he could use? Eugenics. It cures syphilis, too.

[Dave Anthony]

Nope.

[Gareth Reynolds]

Hey, wait. It's me, Trapdoor. Ah.

[Dave Anthony]

The New York sun said he suffered from, quote, religious mania. So that'll happen.

[Gareth Reynolds]

Religious mania.

[Dave Anthony]

So does the Pope. Like, what are you talking about? So he couldn't help with the business now. And the theaters John had were all mortgaged to build the next one. And he went out on the road, traveling hundreds of thousands of miles a year to keep it afloat, but finally couldn't take it anymore, and he sold to Marcus Low in 1914. 4.5 million to split, but paid over. Over years. So he was going to slowly pay it off over time.

[Gareth Reynolds]

Uhhuh.

[Dave Anthony]

But Low could call off the contract. And When World War I came, he did. And John had the chain again. But Lowe's. And Lowe's down payment. But he couldn't get vaudeville going again. His biggest theater was for foreclosed on. And then the entire chain fell apart. Pantages still killing it, though. In 1929, just before the Crash, he sold it to Radio Keith Orpheum for 20 million.

[Gareth Reynolds]

Ah. And then that guy was like, we're about to have a big year. Oh.

[Dave Anthony]

But through it all, John and Pantages were friends.

[Gareth Reynolds]

Huh?

[Dave Anthony]

In 1943, John. Sorry. And John Pen Pantages daughter married John's son.

[Gareth Reynolds]

Oh, wow.

[Dave Anthony]

In Los Angeles, where both families lived. And John moved into to motion picture producing. And he died February 11, 1943.

[Gareth Reynolds]

Holy Jesus Christ. What a run.

[Dave Anthony]

And Pantagus never died.

[Gareth Reynolds]

I like that a lot. That was wild.

[Dave Anthony]

Is that a crazy story?

[Gareth Reynolds]

That's crazy. I can't. It feels like we. I can't believe that it was. It feels like we just covered 200 years. Yeah.

[Dave Anthony]

I mean, yeah. Yeah. See you later.

[Gareth Reynolds]

All right, later, guys. It's the end of the show.

[Dave Anthony]

Source. Murray Morgan Skid wrote an informal portrait of Seattle.

[Gareth Reynolds]

Wow.

[Dave Anthony]

Thanks, Book. Anne. You got a little something in there, right? It's not.

[Gareth Reynolds]

Yeah. I think that now you can be known for more than just your trout. Right, sir? All right.

[Dave Anthony]

What the fuck's wrong with you?

[Gareth Reynolds]

Yeah.

[Dave Anthony]

Trout'S a cheap, weak fish.

[Gareth Reynolds]

Well, thank you guys for coming out. We appreciate it. Thank you. Sorry about our technical difficulties. Blame Luke. Hashtag blame Luke. Hey, Dollop fans. I know you love the dollop. You love listening to the dollop. Do you want to watch the dollop? You're like, gareth, what are you talking about? By the way, it's not Gary, it's Gareth. Well, we have partnered with Lakeside Animation and we are starting to animate some of our episodes. So if you want to go watch a five parter animation, which is actually like a 22 minute episode or 30 minute episode, I can't remember, of the rube, you can go to LakeSide Animation on YouTube and watch a really awesome animation of the rube. It. It really genuinely kicks ass and we're very proud of it. And the more you share it, the more you give it to people, the more you follow Lakeside, all that stuff, the better chance we have of making a lot more of them. We're already making a second one, so go there and watch the rube.