The profusion of events crowded into annual Women’s History Month celebrations can be exhausting. I’ve spent my professional career advocating for the inclusion of women and gender in historical study, but I’m conflicted about themed history months as the best way to educate the public about this neglected past. Even more daunting, the desire to celebrate women’s history too often results in a lack of critical analysis about the missteps and failures of well-intentioned activists and their allies.
Tonight’s Women’s History Month roll-out event at WHYY, Philadelphia’s PBS affiliate, previewed parts of a new documentary that skillfully balances celebration and criticism. The slick 3-hour film MAKERS: Women Who Make America is described on the PBS website as “the remarkable story of the most sweeping social revolution in American history, as women have asserted their rights to a full and fair share of political power, economic opportunity, and personal autonomy.” Narrated by Meryl Streep, the opening sequences predictably use the usual suspects and historical media images to tell the story of second wave feminism following World War II. Most important, the documentary includes new voices from the next generations of women examining the failures of the movement and the need for a continuing struggle to protect civil rights and gain equal opportunity for every citizen regardless of gender and class.
MAKERS is scheduled to air Tuesday, February 26, 8pm on PBS.
Check local listings PBS
Posted in Then and Now
Tagged american history, current-events, entertainment, feminism, history, MAKERS, media, PBS, politics, second wave feminism, Women, women's history month
How is it possible that the president of Emory University pointed to the 3/5ths Compromise as an example of political compromise and good governance? President James W. Wagner made that claim in the winter edition of Emory Magazine. Many faculty formally protested the claim and the president’s weak apology. Clearly a constitutional “compromise” that indirectly recognized slavery, denied rights of citizenship, and was a major factor leading to a civil war that divided the nation and led to the death and suffering of many Americans is not a symbol of compromise and good governance. Too bad Emory’s president and the magazine’s editors didn’t take more American history courses.
Even Wikipedia has a more complex interpretation of the 3/5ths Compromise than President Wagner.
The president’s “apology”is available at
For subscribers, today’s Chronicle of Higher Education includes the Emory controversy.
Busted by history.
Often called “cigar store Indians” because most were stylized portrayals of Native Americans, such statues were advertising markers for tobacco stores. Of an estimated 100,000 crafted in the late 19th and early 20th century, less than 3,000 still exist.
Kit and Barry Cody were killed in a plane crash in Central Florida on February 16, 2013. The Missoulian identified the victims as the great-grandsons of William Cody, the founder and star of Buffalo Bill’s Wild West Show. For better or worse, the sad story will be noticed by many because of the brothers’ link to William Cody and his over-the-top, circus-style production of the American West. The late-nineteenth century cigar-store statue of William Cody on display in the Mercer Museum in Doylestown, Pennsylvania is a glimpse into Cody’s popularity during his lifetime. The statue appeared on the streets of Philadelphia after Cody’s Wild West Show visited the city in the late 1880s. The four-hour, distinctly American, circus-style extravaganza toured the United States, Great Britain, and Europe from 1883-1913. The Library of Congress has a plethora of research material on Cody’s Wild West Show. The Cody Archive is also a good source and includes Thomas Edison films of the diverse performers in this over-the-top extravaganza. http://codyarchive.org/multimedia/wfc.vid00001.html
Studio 360 did a terrific audio presentation, available online, analyzing the Wild West Show’s continuing influence in shaping the public image of the United States and its history.
It is interesting that Cody’s great grandsons sadly lost their lives in Florida, a state that the Wild West Show ignored, but was another important part of the settling of America’s last frontiers. Land hungry Americans rapidly grabbed land in Central and South Florida at the same time Cody’s Wild West Show popularized images of the Wild West. The modernization of both regions depended on industrialization and the country’s increasingly diverse population. Questions about immigration, citizenship, land development, and the role of the federal government continue to shape today’s political debates. The settlement of these last frontiers within the continental United States contained huge commitments from the federal government. Understanding the breadth of U.S. expansion in the West and the Southeast in the late-nineteenth and early-twentieth century offer valuable insights about the roots of continued political debates. Broadening the history of frontier settlement to include Florida as well as the iconic West helps to explain why this battleground state today is so influential and and important contributor often to the circus-like politics that surpass the battles in Buffalo Bill’s Wild West Show.
William Cody’s Wild West Show
Capturing the voices and images of children from the past can be illusive. Even when the sources do exist, archives and libraries rarely make it easy to identify sources that relate the direct experiences of kids. One exception is The Texas Archive of the Moving Image (TAMI) website featuring short films by Melton Barker produced from the 1930s through the 1970s. http://www.meltonbarker.org
Barker was an entrepreneurial filmmaker traveling across the United States and remaking the same short film, “Kidnappers Foil” over and over. He made money by casting local kids and then selling tickets to screenings of his newest remake of the film in the community’s local theater. Unfortunately, most of Barker’s films no longer exist, but TAMI has posted a few priceless examples. The current collection features kids from small-towns in Arkansas, Minnesota, New Mexico, North Carolina, Oklahoma, and Pennsylvania. The young performers are clearly parroting Barker’s simplistic script, but the films reveal the kids’ voices and regional accents. The diverse ethnic and racial make-up of their daily lives is also depicted in some of the films’ black and white images.
The TAMI Melton Barker film collection is a terrific resource that helps break the myth that children’s experiences are too illusive for serious historical research.
Priceless Melton Barker films
1922 Color Movies
This mesmerizing short film from 1922 is “bewitching” and important for its coquettish portrayal of female sensuality. The flapper image popularized by movies of the time showcased female sexuality in ways previously unheard of in mainstream culture. This amazing color film clip dramatically displays the revolutionary change in this significant decade. Conservative social critics and some first wave feminists condemned the changes putting female sexuality on public display. Many younger women, however, saw the changes as reflections of greater freedoms. In many ways the debate parallels similar complaints about Beyonce’s all-female revue at last week’s 2013 Super Bowl. http://www.youtube.com/watch?v=kKVorba5GLs Public displays of female sexuality = power, or exploitation?
Hacker Guccifer is getting lots of attention for posting George W. Bush’s bathtub self-portrait. There is a history behind presidents and bathtubs. William Howard Taft had a special large tub moved into the White House to fit his oversized girth. As far as I know, there are no soaker self-portraits by Taft. We should be grateful.
Workers sitting in Taft bathtub before installation
Presidential bathtub buddy William Howard Taft at 300+