tv Buffalo Bills Wild West Performers in Europe CSPAN September 16, 2017 8:45am-10:15am EDT
next, from the buffalo bill center of the west in 20, wyoming. wyoming.y, in 1886, the show debuted at an american exhibition in london. performances attracted tens of thousands of spectators, including european royalty. we hear about how the show influenced u.s.-u.k. relations about buffalo bills s -- about buffalo bill' popularity with celebrities, and the experience of lakota indian performer black elk who stayed in europe after the london show closed in 1887. this is about 90 minutes. >> so it is a pleasure to , introduce the chair of the next session. buffalo bill's wild west abroad. many of you know bob riddell from montana state university of bozeman.
he wrote a book called "hello -- called " buffalo bill in begonia." where is our marketing panel? we still sold it in the gift shop. people loved that because buffalo bill's name was on the cover there. please join me in welcoming bob riddell. [applause] >> thank you all very much. i will be brief. i also want to add my voice of thanks to all the organizers in the last day today and tomorrow. this is a splendid series of events. the word fun does not get often get used in the context of academics. fun is an appropriate word to use. these are delightful presentations. i'm looking forward to the ones that are upcoming. the personal privilege, 100
years ago, a massive funeral. my grandfather and grandmother were there, along with my mother at age two. somehow, these things come around. let me introduce our first panelist. frank christianson, i think most of you know frank and his work. he is an associate professor of english, associate dean, god bless him, an associate dean of the college of humanities at byu. he is also the editor of a book. his talk is entitled "the special relationship as popular culture 1989 to 1906." please join me in welcoming frank. [applause]
>> thanks, bob. i just want to echo like everyone else, how gratifying and stimulating this has been. i was going over my notes. i could spend half the talk making callbacks for yesterday's -- callbacks to yesterday's session. there were so many things i found helpful in my own thinking. i do have a couple of preparatory thoughts. from some things that patty limerick said in her keynote yesterday. i really like her idea of what she calls buffalo bills studies, studiesd buffalo bill's as fieldnotes. that pun on field that identifies our collective project as inherently
ecumenical. in its approach to scholarship, one that is called a by the nature of the subject. and her informal survey was, i thought, was very helpful. she asked about the various backgrounds of those in the audience. i would like to think that the papers is working towards this vision in a variety ways. one of which, the william f cody series on the dutch culture of the american west. just a quick review of the 2017 publications that are out. it suggests a variety of institutional affiliations. we have steve friedman's book, a curator of the museum. we have julia bricklin's and the forthcoming book.
they both enjoy various measures of independence as scholars. and then, the popular frontier, the essay collection i edited. it is more conventional. it's a work of essays out of -- it is a work of essays from scholars out of universities. so, we think this is in a cross-section of those scholarships we can expect going forward. by the way of a pitch, open for business, we are soliciting manuscripts. the series highlights the unique features of the papers. recently, at association for documentary editing conference. doug and i traveled together.
although, we do not share the same room. -- although, we did not share the same room. [laughter] >> we learned. [laughter] >> this gathering of editors of documentary papers projects for lincoln papers, jefferson papers, and other papers, many of which are older and more better than ours, as jeremy suggested elsewhere, they looked to us as innovative. one way that really struck me was -- i see the conventional approach to the papers project as toiling to provide a documentary record in the hopes that somebody will come and use it. we have taken a much more active approach to fostering scholarship to maintaining an immediate and symbiotic relationship between editing and scholarly work.
we think that makes a real difference and animates both in an important way. the second thing patty brought up -- this is a case study, buffalo bill as a case study. that has been the governing principle for the papers as we develop platforms for the documentary and scholarship, including the original proposal for the oklahoma series that we framed in those terms. the grant we have been able to successfully get over the last five or six years. it is the underlying concept of the codyarchive.org. from others, they demonstrate how readily the buffalo bill phenomenon speaks to broader issues. the roundtable session on the
legacy of buffalo bill's legacy of america tomorrow will demonstrate in interesting ways. one third set up. i recently attended a transatlantic studies conference , in which a reconsideration of the so-called special relationship was a central focus, that's of special relationship. the rhetorical formulation of winston churchill articulated in speech ineace missouri. the church of the fraternal association of english speaking peoples, it is not a new framework it was a reiteration , of a long-standing relation for political circumstances. in this case, it was a rhetorical kick off to the cold war. once again, that relationship is under the scrutiny for populist nationalism reshaping politics in the 21st century.
both moments, now and in 1946, recall for us, and earlier moment of high nationalism. it founded one of its most potent expressions in a transnational context, the period of the wild west in europe. the rest of my remarks will represent parts of my effort to frame the work that went into the popular frontier. which is forthcoming with the university of oklahoma in december. the book involves a wide range of essay, -- range of essays, including art history, literary studies, but there are a disproportionate number of chapters that deal with the wild west in britain. part of this is about trying to account for that. one premise of the book is that europe isn't central to the
legacy of buffalo bill's wild west. any study of the wild west exhibition in europe is also the least implicitly, and account of how the wild west became america's national entertainment. and how its meaning shifting, based on when and where. it's meaning shifting on where and where it appeared leading on to contacts between 1887-1906. focusing more specifically on the british wild west, if you look today, you will find signs of the wild west exhibition 's passage across multiple tours. they included a show program in the victorian wing of the museum of london, abe uriel for lone wolf, lakota performer who died of pneumonia in 1892. street signs in manchester with
names such as buffalo court, cody court, and kansas avenue, indicating where the exhibition was encamped and performed during the winter of 1887, 1888. there was a buffalo bills -- there is a buffalo bill statue, a subtle display in the st. michael's mount which cody gave to the baron in 1904. there were some pieces of public memory, preserved and displayed in locations prominent and of -- and obscured. they are supplemented by thousands of items, newspapers, postcards, illustrations, sheet music, and photographs stowed in archives across the country, including the british library. physical evidence of the wild west in european history is evident in britain than any part of europe. the exhibition spends
more time than in any other country outside the united states. the british experience of the wild west has a prominent place in the exhibition's international history, in part because england played a prominent role in american cultural exports. because of its relatively linguistic and cultural affinity with the united states, the -- united states, england was national port of entry for the wild west functioned as a proof of concepts for cody and his partners. emboldened by their success after nearly a year in england, the exhibition organizers regrouped to the united states -- organizers regrouped to the united states for more extensive continental runs. those cultural affinities were underwritten by structural developments. in his study of post-world war ii america, there's an argument "given the special relationship , with popular culture explores
how culture moves across cultural boundaries, shaping of public policy and private subjectivity." the essays in popular frontier illustrate the value of this proposition and an earlier moment.illustrate the value of s proposition in an earlier moment , not simply focused on post-world war ii. even as they broaden the inquiry beyond the anglo american framework, and 87, cody and his team saw an opportunity to the spectacle of the wild west -- an opportunity that was at the same time a business venture, with its commercial potential bound political andme cultural subtexts. a half-century before the cold of the conditions on which he based his study were already emerging. his characterization of the postwar context that made americanization -- could aptly
describe the environment ushered in the wild west east to europe. it includes an increase in described as an unparalleled growth in the density of transatlantic media. the quantitative and qualitative transformation of media culture, in particular, a hallmark of the victorian and at warty and -- victorian and edwardian era. the revolution he described required the transatlantic frame because it was, in significant --sure, a product between and mass circulation. reinforcing -- point about the centrality of the newspaper. in his account of the rise of
newspaper culture, joel weiner points out that both the terms americanization and transatlantic entered the popular parlance at the same time in the 1970's and 1980's. the first substance the use -- first substantive use -- his study demonstrates that the primary medium for the dissemination of these concepts was the newspaper. the rise of cheap print is an important context for most of the essays in this book, and is a primary platform for mass circulation. cheap print was central to the wild west success by serving as an extension of the exhibition zone marketing innovations. have been understood within a broader thesis of the changing state in late 19th century american nationalism. the first wave of a americanization in europe -- a key chapter in the related account of a global map culture.
newspaperman william's dad, --tish, -- william stead british, offered a portrait of american and british systems that were quite literally irresistible. presentinge study by his fellow brit times with what he called a momentous choice -- to join withitons the united states in becoming -- or except status as an english-speaking belgium. he goes on to imagine a reunion of sorts with the united states at the center of an anglophone empire. this federation of english-speaking peoples would
not be without its drawbacks. the note of with ambivalence as he looks at in ambivalent future with -- with an uncertain future with uncertain consequences. an american consumerism that "lays waste to our powers and leaves nothing for the cultivation of the higher soul." --entury later, riddell and subtitled their own study of u.s. popular exports with a non-two the british journalist. the americanization of the world -- given the varied way that americanization played out in the 20th century. a range of cultural and socioeconomic trends offering a nuanced portrait of how -- reject the one to one relation
between the ideological program of american culture that americans locally projected abroad, and the reading given to it on the receiving end. essays in thishe volume break new ground in accounting for the expansive influence of the wild west exhibition as a transnational phenomenon, while also showing that the exporting of cody's effort to prize -- cody's enterprise -- americanization of .nother sort buffalo bills walled west in europe took place alongside other spectacles of cultural nationalism. these massence of consumed performances of nationhood -- a literal convergence offers a unique opportunity to see late 19th century consumption of national affiliation emerged with --
transatlantic imaginary. on the one hand, -- though frontier went -- of how the frontier went global. hand, the wild west foreign to her's suggested that buffalo bills brand of front is him was actually a product of globalism. the emperor accelerated their of progress -- process naturalization, leading to resettlement in the united states. the wild west's international escorts -- exploits became integral to the drama of americanization as it played out domestically. worldliness of the wild west advanced the process of national consolidation by bringing the sold then, even as it
story of the wild west to the rest of the world. from the time the exhibition arrived in court, the media coverage was insatiable. was central to have the exhibition represented itself across media platforms, including its own market materials. cody's account of the first international tour -- the center of his narrative as a way of validating his self-promotional claims and validating through an ostensibly local voice the political subtext of the performance. the 1888 edition of his autobiography -- its own narrative voice, incorporating international experience within -- larger nationals project the pages of the book.
a performance that coincided with the celebration of queen victoria's jubilee. broader ritual commemoration of her 50 year reign. the wild west is one of many expressions of britain's imperial legacy, the anglo settler explosion. national self-definition -- embraced the wild west in ways that go beyond the entertainment and exoticism of the show. cody's description takes on an overtly patriotic tone and depicting the queen and her nobles bowing before the american flag. cody uses this scene is the foundation for all his success claims as a business emissary and cultural emissary. of a larger irony. just as he passed the queen in his moment of becoming america's national entertainment, he and
his enterprise are engaged in a command performance for the queen. sheng the summer of 87 -- spent the last 25 years in morning after the death of prince albert. the wild west was the first of her public appearances. it constituted a real assumption of her role as a truly public figurehead. given this context, the command performance becomes the commentary on the nature of publicity. one performance exchanged within another. the queen's own journal account of the event pays less attention to the political context in exotic personnel, especially what she calls the "red indians." the wild west becomes one episode in a larger display a british national pageantry, one that incorporated the american story into a broader history of
anglo-saxon imperialism. this dynamic explains why cultural nationalism is hyper conscious of its european and particularly british roots. in her study of antebellum relations -- a more intricate culture of american response that moves beyond its story of influence, one that exhibits a devotion or anglo celia that privatizedepend on or sympathies with britain, but rather a complex of american attitudes toward history, sociability, and the national train of -- nationalism itself." -- would remain an index to a particular experience being american throughout the 19th century. formwe might broaden to a
of attention to another culture that might just as readily evoke feelings of estrangement than affinity, with the result that anglophobiaand might both be expressions of the same national impulse. from life magazine in 1887. anglnaling blow to the upon landing in england, the british nation thinks that the honorable buffalo bill has become surly, americanized. this is another version of the command performance, as it would be rendered for an american audience. the central figure in the cartoon is victoria -- wild west figures on one side and english people aping those performances on the other. the actual subject of the , theon is the anglo maniac
figure on the right. we are to understand the scene through the eyes of the horrified american disembarking in full costume to express his ownophilia and finding his stereotypes upended. national identity is a performance. the queen has joined, the american has sought to do the same, but he has no stage to act upon. represents the relationship in the chapters, which i'm going to skip a discussion of. the essays in this volume have taken up the question of how national exceptionalism translates in a context that is "national and character and yet held beyond the limits of the national territory." this official is drawn from the
of the american exhibition in london, formulating the nationalist logic of the international wild west. the work of this study and future research will continue to trace out the way this most ephemeral form of culture left its mark on the people and places in the turn-of-the-century europe, and how the national character of the exhibition emerged in the -- of the so-called limits it transacted. -- it transcended. thank you. applause -- applause
>> thanks, frank. we have technical problems being resolved. i don't think they will impede our progress. let's continue exploring the international wild west. it is my pleasure to introduce , who mustnningham have one of the neatest jobs on the planet, the scottish buffalo bill archives. , "buffalotten a book bill's wild west in scotland." i've read it, it is a first rate study. his presentation today is on a blackout in naples followed by a question mark. please join me in welcoming him. [applause]
before flying here, i decided to look up some of my old , in the scottish death notices. but everything i do is about the primary sources. basically, i've got a wonderful essay that's already got a great title -- it made me realize why i am the humble minor. -- a humble miner. on anuce raw materials industrial scale so you clever people can analyze them to death. i've got a pile of cards, so if i could be helpful, i'm here to inform you with my discoveries. consider me your modern nature's
guide, some things you need a very different perspective, and the last people we should allow to speak here are western scholars. exiles is an endlessly recovering theme from jewish history, and it comes as no surprise to discover a part of our experience is all the indians from buffalo bill's wild the story of how blackout was a number of lakota companions was left behind in england at the end of buffalo bill's 1888 season. the party of stranded indians made their way to london, in the hope of paying the passage home. they were fortunate enough to
meet with -- mexican joe. joe took his trip to paris for the show, played for a while. 1942, the story paraphrased by innumerable authors, fresh perspectives beyond the occasional objection and confusion. the lack of research has been, until now, deplorable, and becomes intolerable. i would like to focus your attention on one particular passage from "blackout speaks." "from paris, we went to germany, there was a tall eabut, shipped like atop like the tp --
vesuvius, the law can know which 1790a.d. in -- blackout was in such a state of health, they had to be left .ind in the care of a family sometime later, he hooked up again with buffalo bill when he came to paris for the 1889 season. buffalo bill gave his former employee $90. the following year, blackout became a result of that -- of the 1890's. has enthralled me for
many years, but it leaves questions in my mind. him --blackout taught can we fulfill the limited -- to theof applying timeline? can we find extrinsic evidence that will let us build the commentary. does the historical record support or contradict the story. some specific questions. how many other indians were left behind with blackout? takeexican joe really blackout to italy? just 20 minutes in which to impress a bunch of people i usually see on the history channel, a much condensed year. i must condense years of research. i have carefully moved the chief
quotations to a separate book, which you will have to wait if you would like to have it. this, incidentally, is that print on demand version -- blackout, mexican joe, and buffalo bill, the real story. that is available via my website. my book on -- is going to be available shortly. the most obvious external source is the grandfather, principally composed of the original interview transcripts. , conflicts and
important points of detail and almost the connection. many of the spectacular, routinely quoted passages -- we will have to conclude that they would also contend that mistakes were made in the translation process, in particular, serious confusion on the elementary points of european geography. movements can mostly be reconstructed from the contemporary newspaper posts. a careful comparison -- his actual itinerary beverages substantially from the outline. in thet participated 188772 or of england -- tour of england.
-- this is another picture, which you will probably be familiar with. the wild west spent six months on tuesday, 29th november, two lakota indians from buffalo bill's company appeared before the magistrate and were convicted of offenses relating to drunkenness. two separate incidents from the previous evening. -- had been excited and done damage to an officer's uniform. arrestedconscious when
, and did not resist. the point of this anecdote becomes apparent when we read the statement. blackout, saying -- with buffalo bill that year, 1886. -- his official designation -- neither of the blackout narratives mentions this brush with the law. the deep melancholy, homesickness, which he suffered during his time abroad. this information about a usdness for alcohol prompts to a reevaluation of these negative experiences. -- a birmingham came
.anchester racecourse opening 1887. -- the morning of friday, fourth may, 1888. the statement that the -- taking was a prolonged one, for each member of the trip, including the indians, seem to have friends from whom they were worlds apart. a certain conspicuous absentee -- this was the start of blackouts great misadventures, where he and his friends failed to rejoin the company. --h narratives agreed that managed to lose themselves.
this is a total of 71 indians expected to travel. -- actuallyr list did make the crossing, 52 women and a four-year-old boy, leaving for adult males unaccounted for. this in particular is confirmed 1888, buffalo- bill. -- beforelist disembarking two days later. beyond all -- the idea is very much enlarged by the visit to england.
-- did not answer the rollcall. they did not turn up as i thought they might do at portland. the same comparison also -- a conscious way to say not to. a -- mexican joe is clearly documented, appears in the u.k. in 1881. appearing --as reenlisted with buffalo bill during his time in the last cow. -- during his time in glasgow.
there is a picture of mexican joe. i will show that shortly. i will leave it on the census and case you want to look at it. -- whose last name i do not know. this is the part that bothers me, because my perennial inspiration with colombo -- that's one thing that bothers me. manchester on the morning of friday the fourth, and didn't sail until sunday the sixth. had the and his friends whole of friday and saturday to get the next train. they obviously didn't know -- it's quite obvious they thought the boat was sailing that night. i would like to make the specific accusation that -- cap
it from them. i think it was the degree of manipulation. they were already in contact with mexican joe. that drama was unfolding. mexican joe was -- in the west country. presumably not very impressive in the production of the show. -- was justdid not around the corner. to june 12, mexican joe was the star attraction at every part oft this evening, the refugees from buffalo bill's show, here's pictures of mexican joe. .ot long after he arrived
august 1887, for that wonderful exhibition. that is -- buffalo bill outdone. this is something masterful of lakota's west, a surprising --to i got from the grandson from another relation by marriage. that's the biggest photo i've ever had. i can tell you about the frame. this is a -- past the 20th century, the same mexican joe. alexandra palace was one of the great entertainment complexes of the late victorian age.
the other grand attraction there was a weekly spectacular, a dramatic representation of walt whitman's novel, the last days of pompeii. the adaptation, simulated with -- mexican joe as the blackout narrative describes, and remained there until august. from paris, the wild west -- mexican joe did not go to germany. the sources conflict, the show opened exhibition you never sell in the exhibition universal in brussels. the clear impression created by
the blackout narratives is that of a more or less perpetual to of the european continent. an open mind -- prepared to accept that blackouts speech was the literal truth. mexican joe opened the call in birmingham, england -- the time before getting back to the continent. determine, he never got to the channel again. certainly not where blackout is employed. of about threew weeks in which mexican joe and been to might have naples somewhere between brussels and birmingham.
-- would have been utterly impractical. -- i went to rome for a couple weeks, looked up a recording of the napoli for the relevant and there's no sign of mexican joe. one picture i'm going to show you, blackout mentions of fire in birmingham. 26thppened on tuesday the -- sorry, i've88 got it mixed up. yeah, 1889. he mentions the other indians who were left behind, two of
was a mane of them called charles. -- the full text, please email may. i will send you the transcript. anyway, i would like to contend that the show, mexican joe's show never went to napoli. in pompeii and london, and that informed his involvement in -- thank you, ladies and gentlemen, for bearing with me. [applause] >> fascinating. never underestimate the value of a question mark. you never know where that's going to leave.
our next presenter, known well to many of you. the editor of the cody enterprise, a former resident fellow here at the center, an associate editor of the buffalo bill papers, the author of several newspaper plays about buffalo bill, and his presentation this morning is titled "after hours: buffalo bill in london." [applause] much.nks very from 1956 toned, editor ofad was the the cody enterprise, originally founded by buffalo bill. , the wondering as a kid groundbreaking of this museum in 1958 and the opening and 59, because the enterprise was covering it, i wonder if anyone
else in the room was there. while. -- wow. there you go. i would like to say how proud i an editor of the papers of william f cody. bbc w scholarship changed my life, and i would like to thank jeremy and frank for supporting my mission for out west. as i cover the opening of the whitney, still going strong, enterprises still covering this historic event today. i'm happy to see them. this notion -- i just went with it, here we go. the success of the pbs masterpiece series, downton abbey, broke the mold.
it borrowed heavily on historical events. i thought it would be funny if buffalo bill showed up and ran off with lady mary. afterwn to took place 1912, and buffalo bill visited london in 1903. i like to say who needs downton abbey when we have buffalo bill and london. i worked in the film industry for over two decades, and my colleagues tend to call him wild bill cody. -- and maybe of pony express writer, and he was murdered in deadwood. this is correct, but -- what are you going to do. to be honest, i didn't know about cody either until a friend gave me a dogeared first edition of buffalo bills story of the wild west.
a production bible for a bbc limited series if i ever saw one. much all you have to do is add water. i didn't get an official one here, i put it on a table -- i grabbed it just as i was walking by, so thank you for that, frank. in it, cody identifies the list of themes for the director, such as -- her majesty salutes the american flag. the casting agent offered to do character breakdowns for bram stoker, and others. each chapter, if you look at it, is an outline for an episode. a who's who crawl of nodal -- noble notables. first read the
words, i was dining at mr. and mrs. oscar wilde's. what could they possibly have to discuss? who needs downton abbey when we have wild west england. i think cody might like the idea that he has inspired a british period costume drama. he never did anything that couldn't be launched on multiple platforms, which in a way, he invented. i thought it might be fun as an exercise, hearing him at the buffalo bills center of the west, surrounded by former scholars of william f cody to ruminate on a content -- to ruminate for once. that set the scenes were cody was entertained. social many of the settings -- call marking the season of 1887, the name henry irving pops up by way of
introduction. without question, cody credits irving for paving his way to cody wrote irving twice that summer to reassure him of his gratitude. they remained friends for years, as evidenced by cody's invitation for irving to visit his ranch. allow me to set the stage. -- as we turn onto the strand of wellington street, -- the surging crowd and long lines of characters, gleaming panels. the finest tortures and finest turnouts in the world are on view, bringing an audience representing all strata of london society. bard, parliament, literature, art, music.
the gallery had been filled long ago by the sternest critics, keenest and uzi it's. -- keenest enthusiasts. thick carpet leading to the back of the circle, and on each side of the staircase stands a program attendance -- a program attendant. program is almost innocent of advertisement, well and clearly printed in an artistic shade of brown. at the top of the staircase, a tall, british bearded man -- bram stoker, irving's faithful friend and manager. the audience slowly settles in the seats, the murmur of voices dies, and there is a touch of expectancy. the overture finishes, the lights stay down, and the curtain rises. at last, the entrance of the
well-known figure picture -- well-known figure. isthis day, henry irving regarded as one of the greatest shakespearean actor managers in history. his partner, friend, and news, was the era's most powerful actress. -- 10 years before the wild west came to london. the irving-terry rain was known as the golden age. a speech impediment by memorizing awkward phrases through stubborn repetition. he tricked his audiences into underestimating him, turning early blues -- turning early boos into later ovations. irving, who conquered shylock,
iago, king lear, mephistopheles, had nothing to prove. lyceum,aking over the irving engaged bram stoker to act as his business manager. a theater devoted and independent critic had wrote the discerning critical article of the performance. to suffer instoker stokerm -- which reduced to a violent fit of hysterics. as evidenced by his admiring ofinisces -- reminiscences --ing, bram stoker was corresponded with what whitman, the very same bram stoker who eventually wrote dracula. theng, figuring he was
inspiration for the vampire, would dismiss it as dreadful. and stoker toured america several times. -- bring cody to wild west with queenncurrent victoria's golden jubilee. he met that fall, perhaps with stoker. appear onuffalo bill the benefit program with bram stoker kind of there at the bottom? when cody wasn't on the passenger list. i wondered, did the meeting with cody inspired stoker himself to do a bit on buffalo bill? irving, terry, and bram stoker were friends. stoker described terry as having fascinated every man, woman, or
child she met. the most intriguing observation to be made about irving, terry, and stoker, was the utter complication of their private lives, attributes they shared with cody. i love that part. ellen terry was first married at age 16 to a middle-aged painter named j w watts. after sitting for portraits, she returned after a year. she entered a long-term relationship with -- and had two children by him. her most enough to get life partnership was that with henry irving, which spanned from 1878 to his death in 1905. henry irving and bram stoker each had unhappy wives, but never divorced. the lyceum theatre was there true love. peter often steals every bit of
affection loving spouse might this though. often -- notheater always with the physical component. in 1905, bramed stoker was not included among the pallbearers. i can to partner, stoker received condolence telegrams from around the world, including ones from john m burke, while west general manager, whose life mission was similarly devoted to william f cody. -- deepest sympathy for your loss, a man for generations to mourn and posterity to revere. , little over a decade later cody.would die after bram stoker would die not knowing that the eventual -- whatof his dracula
part him more posthumous fame than irving or buffalo bill. lecturing on asceticism and decorative arts, oscar wilde's american to her included a hundred 50 american cities. according to the brooklyn daily eagle, both went to new york on january 9 1882, with an ad for page one and oscar wilde on page two. man in he were a young this country, the west would have great charms for him. -- assured packed houses for wilde. many were surprised to find the mining town of leadville among the most welcoming. oscarthe mine shaft the in his honor. wilde wrote that he had no
doubt that london would appreciate the show. at the time, oscar wilde had been married for three years with two young sons. he had yet to write a novel with -- or the plays that made him famous. candace wilde was attractive, intelligent, and as prepared for -- as oscar wilde. buffalo bill's truck london like a planet. -- buffalo bill struck london like a planet. -- followed by her personal note, imploring him to come for tea. .hank you, steve freeman this is in the collection of wbc w. attended -- cody
his mother, lady jane wilde, was a writer, actress, and intellectual. she fell on hard times after the death of her disgraced husband. she moved from dublin to london to be near her sons and start over. it is unlikely that she would --e her weekly saturday salon. unlike henry irving, these were not sumptuous gatherings, but popular because starving artists could be gathered a glass and a chance to discuss one's work. her door opened wide to georgectuals, and bernard shaw described her salons as desperate affairs. was comfortable enough to be directly in touch with cody to ask for favors. here is a note, where she has
sent a gift and thanked him for the tickets forwarded. when henry irving's name was not invoked for an invitation -- the promise of attractive women would do. -- a handwritten note --nce to tempt code-4 she closes by admonishing, do not fail me wednesday. one afternoon, i went to a home in a charming house by hyde park, three stories high -- rushing down the hall, dazed by the great people. i had come to the conclusion that it is easy to be great in london. no one is invited to these homes unless they have done something. a young man began to talk to me -- how do you get here, he asked? .ooking around the room
oh, i am an american. as buffalo bill stood nearby, eating a waterlily of white sherbet with a heart of tutti-frutti. lord ronald gower, president of the welcoming committee, was the youngest son of the duke of sutherland. best known for the statue of william shakespeare. a world traveler, he toward the american west. -- with john whitley. his impression of cody struck him as -- a man with much personal dignity. a inspiredht to inar wilde's character dorian gray. -- a mistress of the princess of
wales, when he received a pair assuredly stipends -- her success, and i enjoyed finding this note inviting cody for supper. a minister, publisher, and the ethical producer invited cody to their production of midsummer's night dream. he remained friendly, as this photograph seems to indicate. ironically, his mp offered the 1885 amendment, creating tougher theuage to expand definition of existing sodomy laws, which would ultimately in snare oscar wilde 10 years later. at the turn-of-the-century, london boasted nearly 200 gentlemen's clubs. prince of wales at the reform club, and irving
invited cody to dinner at the garrick club the day after his arrival. been interrupted in america's finest gentlemen's clubs, to be hosted in the company of a leading british actor and his critics must've been an honor. he also invited cody and his company to the lyceum. dinner and grounds were arranged on the lyceum's mainstage. he probably preferred the more intimate -- room. sorry about this. [shuffling papers] i'm just going to go for it. ellen terry, when -- wanted to
paint the painting of ellen terry, in her character of lady , henry irving bought this portrait and hung it in the back of the room, and i like to imagine everyone seated, and ellen terry walking in sitting under her painting like a scandinavian queen with buffalo bill cody at her side. with a fewe to close comments. i parachuted, we heard this line in cody, wyoming. dad, myld call my concern about coming back to wyoming as a gay man. i included in my letter abound
copy of all of my dad's letters -- i responded with a warm three-page letter, closing with this. if you are thinking of coming back to wyoming, get on back, it is home. the buffalo bills center in the west has proven that it works to include the diverse stories of the people in the american west focusing on the evolution of bill cody himself. this inclusion is how we expand visitor ship and viewership. when you walkat into a pitch session, you've got to be prepared to answer these questions. why is the relevant and who will be your audience? i believe that including more stories about diverse people in the american west will create more visitor ship for this space , and more interest for a story
about cody going forward. as for the vast rural/urban divide, a brighter spot to report -- within a month of each other, i've been invited to lunch with the ronald reagan library and the robert mapplethorpe foundation to tell them about my affection for william f cody. to the bests western museums across the country, i never failed to close with, i wanted to come home to the west, it's who i am, and buffalo bill led the way. thank you. [applause] >> thank you very much, great presentation. suspicionneaking there's questions, but i have a question before the question. do we have a microphone or microphones? so, we don't.
if you can repeat the questions. >> my job will be interlocutory. things may be a little bit different, because i would like to get more questions on the floor, and we sometimes run out of time for westerns. can i get three questions? 1, 2, 3, sequentially, then i will ask people to respond to them. my owntion is -- experience suggests that -- [ -- americane]
perspectives -- >> the question is about how people working on the wild west in europe approach the subject in ways that are different from american scholars, that is a loose paraphrase. anything else, anyone else have questions? i'm sorry, yes. you will have to speak up. what was your favorite piece discussing cody to another, not thinking that indiscernible].[ question about one european
luminary writing to another, not expecting the correspondence to be made public. let me get one more. >> -- european enthusiasm about the buffalo bill's walled west could be worked at to say that --is a more united international brotherhood message there, is there a fear buffaloism in appealing bill -- western european? [indistinct] >> is their fear and optimism to be found in buffalo bill's comment, uplifting message -- an
international appeal that -- he reallycends on --s a commentary three good questions, thank you very much. i will invite the three of you to come up and take the microphone, because otherwise people won't be able to hear your responses. if you would be so kind. >> why don't you start with the question about working in european archives? and how maybe that is different from the american archives? >> thank you. yes, to her question, it is a resounding yes. i would not be here if i had not
taken up interest in buffalo bill, and i made wonderful friends here. i cannot think of anyone here i have bad words to say about. once again, it keeps coming up. it was all about racial frontiers. yet, it transcended frontiers and created cultural actions you could not begin to believe, like befriending a presbyterian from the church and glasgow. that informed his unfolding spiritual consciousness. what are view to racial understanding and reconciliation, i would like to review with something i was told , say what youi
will against the jews, but never forget who invented saturdays. [laughter] >> regarding the question directed to me, i'm afraid of got nothing. i will say this, but what intrigued me, and i would ask this back at you all, what intrigued me was the scholarship on graham and henry arvin and ellen kerry, and also wonderful wrtoe "wild." one of these biographies was well enough cody mentioning, the wild west. i that so fascinating. you all are scholars, i an am accidental historian, could
it be at play in that? i will throw back a question that you. thank you. >> and thinking of chris's question about european versus american scholars, i not really sure how to answer that either. this comes back to a question of studies of the ecumenical tradition, that there's so much variety in the kinds of people that contributes that i would be hesitant to contribute something like national character to a certain style of scholarship, that it could have as much to do with their ethnic background, or even, within professional academics like yourself, or alessandro -- the framing they receive door disciplinary orientation, there are so many actors at play. that said -- maybe some of the
kinds of questions posed may differ. i think about my own preoccupation with the international tours as a way of better understanding american national self-definition. versus tracing the impact of the wild west on europe, whereas for european scholars, they are almost obliged to start with the archival accounts, a local archive. because nobody has really done that yet. ofy are on the front lines producing that documentary record, so if you can think of anything, that could be a key difference that is functional to what they are and their opportunities. let me have a go at chris's
question. buffalo bill is the outgrowth of a project that involves many hours. we were part of a project dedicated to exploring the impact of american popular culture on europe and the reception. the book got started looking at the impact of the wild west and other forms of american popular mass culture in europe. very quickly, as a handful of americans involved in the project, it became clear to me that europeans were not especially interested in talking about impact. they weren't interested in americanbout how the shows, american pop culture, had an impact or left in impress on europe. they wanted to talk about how different groups of europeans actually responded to the show. it was an interesting mix between emphasis on export and
reception, and that is the pulpit around which buffalo bill turns. let's turn to other questions. yes? hi. >> hi. [indiscernible] years to think about buffalo bill in london, [indiscernible] i think there's so much happening in london during the buffalo bill time that it would possible to miss this if you are focusing on stoker or wilde because he is wasn't part of the usual background of the
global city. i had a question. sense of the relationship to these episodes, if this is associated with the wild west in london, if this reduces the elements of unpredictability, or the perception that people are roving around, and then there are rumors that there will be interracial mixing and that stuff, so i am wondering if you quite-- and if you could [indiscernible] but do you see that sense of
anxiety? >> i will repeat the question. sense of exciting in the show's reception, and as it produced destabilization? how do we actually read this show in the context of london's theater scene, which is extraordinarily diverse? let me ask our panelists to respond. i see another hand. yes. did you want to weigh in on that ? >> yes, sure. as somebody who have written -- >> could you come up and get the microphone? >> absolutely. >> i can talk loud. >> they're trying to record, too. >> though, definitely than. [laughter] >> all for buffalo bill. >> yeah. my question about anxiety was to
defer to louis. i am always up for talking about anxiety, because it so entertaining. [laughter] as somebody who has -- i wrote an article once called, buffalo bill meets dracula, which about william cody and the impact on bram stoker and him working through the frontier of the dracula novel. there is an american, quincy morris, the westerner, who i believe was a star buffalo bill, who kills dracula. when i read newspaper coverage up buffalo bill coverage in london, there is anxiety about how powerful americans suddenly are. britain is about to slip out of its place as the number one steel producer in the world. the americans are going to supersede them. it is not all clear they're are going to be allies going forward. there has been a lot of tension
between britain and the united states, and there will be a lot more. there is a lot of anxiety about what it means for the warlike people who came from the frontier, yeah, they are really entertaining, but they have a lot of guns. they're convinced, they're convinced that they never lose. there are absolutely convinced of this. that's really worrisome for a lot of people who feel the british empire is on the decline. the other point i would just make, i do think that henry irving, i agree with monica, there are so many people in the orbit of the wild west show, but henry is their primary cultural broker. he was not only england's leading shakespearean actor, which in england, that's kind of being the repository for culture, the culture of the nation, right? that's really something. he's not only that, he's an offered knighthood by queen victoria. he turned it down. he said it would get him an unfair advantage in the
marketplace that he had rivals in theater, and wanted to be judged by performance, not by accolades. he had to explain that to the queen, which took some doing. he is the one, in my reading of sources, who persuades her to issue a command performance, for what is essentially a lot of people calling a circus. she loves the circus. she did not like people to know that so much, so when he said no, you can't have this as a command performance and he pushed it, she went for because it was henry irving, and cultivating that friendship with irving, again, there is a line of scholarship that says it is the publicists around him that built him into what he is. no. i really think he had such a sensibility about who to cultivate and how. we heard a great talk about captain jack crawford. i can't imagine him ever finding a way to cultivate henry irving.
rights? it would be preposterous. it would be as preposterous on the face of it for william cody to do it, but he did. because he was that kind of performance genius and also a genius of people. he really was. anyway, that is my response. i'll let you guys go back to this. [applause] >> any speakers care to respond to monica's question? >> that is probably a good place to end. our panelists. [applause] >> thank you, gentlemen. >> this weekend on american , today at3 on c-span 6:00 p.m. eastern on the civil maneuvers thatry led to robert a lee's surrender.
>> day-to-day, sailor's creek, all these dramatic fights, up to the last morning breakout attempt by john gordon, they are full of high drama, and emotions are running high, the union is out for blood, they sense it is the endgame. the armynot quit and is crumbling around them area >> at 8:00 -- around them. onat 8:00 p.m., a professor the coal miners strike and massacre. ofon the morning of april 20 1914, there are questions of what happened, but there is an exchange of gunfire on both sides, thinking the other one is the one who shot, and the national guard attacks the camp. by the end of the day, in order to stop fighting, the national
guard decides to pour kerosene and light a fire on the 10th colony. >> at 6:00 p.m. eastern on american artifacts, the exhibit at the national constitution center. wilson, who had served in the continental congress, saw the articles of confederation were too weak and one to the stronger central government and strong president elected by the people and insisted that we, the people -- of the united states, -- >> only on c-span3. livenday on book tv, coverage of the brooklyn book festival. starting at 10:00 a.m. eastern, chris hayes discusses his book, a colony in a nation. a law professor, author of love being: interracial intimacy in
america, author and new yorker staff writer talks about free speech. national book award nominated book,o'neill on her weapons. journalists on immigration. watch our live coverage of the brooklyn book festival on sunday, starting at 10:00 a.m. eastern on c-span2's book tv. >> all weekend, american history tv is featured in, new hampshire, c-span's cities tour showcasinged history. it was home to the 14th president of the united states and only one from new hampshire. learn more about concord all weekend on american history tv. concord, we toured the city with a former new hampshire