E Pluribus Barnum

The first book to consider the career of P. T. Barnum from a cultural studies perspective. Phineas Taylor Barnum lived from 1810 until 1891, and in the eighty-one years of his life he created show business as we know it. In E Pluribus Barnum, Bluford Adams investigates the influence Barnum had on American popular culture of the nineteenth century, and expands our understanding of the ways he continues to influence us today. Beginning with a discussion of Barnum's early shows, Adams demonstrates the dynamic interplay between Barnum's increasingly "respectable" aspirations for his entertainments and his active cultivation of middle-class sensibilities in his audiences. In his discussion of the 1850-51 concert tour of the "Swedish Nightingale" Jenny Lind, Adams explores the role played by women's rights and class issues in Barnum's management of these concerts. Barnum's American Museum and the "moral dramas" presented in its theater are examined, as well as the later circuses. Adams relates the rise of Barnum to the emergence of a new U.S. society, one riven by conflicts over slavery, feminism, immigration, and capitalism, and considers his career as a crucial moment in the on-going struggle over the politics of U.S. commercial entertainments.

Popular culture is a central part of everyday life to many Americans. Personalities such as Elvis Presley, Oprah Winfrey, and Michael Jordan are more recognizable to many people than are most elected officials. With Amusement for All is the first comprehensive history of two centuries of mass entertainment in the United States, covering everything from the penny press to Playboy, the NBA to NASCAR, big band to hip hop, and other topics including film, comics, television, sports, dance, and music. Paying careful attention to matters of race, gender, class, technology, economics, and politics, LeRoy Ashby emphasizes the complex ways in which popular culture simultaneously reflects and transforms American culture, revealing that the world of entertainment constantly evolves as it tries to meet the demands of a diverse audience. Trends in popular entertainment often reveal the tensions between competing ideologies, appetites, and values in American society. For example, in the late nineteenth century, Americans embraced "self-made men" such as John D. Rockefeller and Andrew Carnegie: the celebrities of the day were circus tycoons P.T. Barnum and James A. Bailey, Wild West star "Buffalo Bill" Cody, professional baseball organizer Albert Spalding, and prizefighter John L. Sullivan. At the same time, however, several female performers challenged traditional notions of weak, frail Victorian women. Adah Isaacs Menken astonished crowds by wearing tights that made her appear nude while performing dangerous stunts on horseback, and the shows of the voluptuous burlesque group British Blondes often centered on provocative images of female sexual power and dominance. Ashby describes how history and politics frequently influence mainstream entertainment. When Native Americans, blacks, and other non-whites appeared in the nineteenth-century circuses and Wild West shows, it was often to perpetuate demeaning racial stereotypes—crowds jeered Sitting Bull at Cody's shows. By the early twentieth century, however, black minstrel acts reveled in racial tensions, reinforcing stereotypes while at the same time satirizing them and mocking racist attitudes before a predominantly white audience. Decades later, Red Foxx and Richard Pryor's profane comedy routines changed American entertainment. The raw ethnic material of Pryor's short-lived television show led to a series of African-American sitcoms in the 1980s that presented common American experiences—from family life to college life—with black casts. Mainstream entertainment has often co-opted and sanitized fringe amusements in an ongoing process of redefining the cultural center and its boundaries. Social control and respectability vied with the bold, erotic, sensational, and surprising, as entrepreneurs sought to manipulate the vagaries of the market, control shifting public appetites, and capitalize on campaigns to protect public morals. Rock 'n Roll was one such fringe culture; in the 1950s, Elvis blurred gender norms with his androgynous style and challenged conventions of public decency with his sexually-charged performances. By the end of the 1960s, Bob Dylan introduced the social consciousness of folk music into the rock scene, and The Beatles embraced hippie counter-culture. Don McLean's 1971 anthem "American Pie" served as an epitaph for rock's political core, which had been replaced by the spectacle of hard rock acts such as Kiss and Alice Cooper. While Rock 'n Roll did not lose its ability to shock, in less than three decades it became part of the established order that it had originally sought to challenge. With Amusement for All provides the context to what Americans have done for fun since 1830, showing the reciprocal nature of the relationships between social, political, economic, and cultural forces and the way in which the entertainment world has reflected, refracted, or reinforced the values those forces represent in America.

The Colossal P. T. Barnum Reader reveals the trailblazing American showman as, by turns, a moral reformer, a habitual hoaxer, an insightful critic, a savvy "puffer," a master of images, a sparkling writer, a relentless provocateur, and an early advocate of "family" entertainments. Taken together, these selections paint a new and more complete portrait of this complex man than has ever been seen before. James W. Cook's The Colossal P. T. Barnum Reader includes large excerpts from Barnum's semi-autobiographical novel The Adventures of an Adventurer (1841), his European letters from 1844-46 informing readers of the New York Atlas of his reception by royalty overseas, selections from his Ancient and Modern Humbugs of the World (Barnum's 1864-65 insider's look into nineteenth-century frauds), and much, much more. The book also features vintage photographs and reproductions of difficult-to-find images from Barnum's two-decade collaboration with the prominent New York lithographers Currier and Ives. Collectively, these materials help us to track the shifting personas of the great showman, his promotional choices, and his publics across the nineteenth century. Book jacket.

In this compelling story about one of the nineteenth century's most famous Americans, Benjamin Reiss uses P. T. Barnum's Joice Heth hoax to examine the contours of race relations in the antebellum North. Barnum's first exhibit as a showman, Heth was an elderly enslaved woman who was said to be the 161-year-old former nurse of the infant George Washington. Seizing upon the novelty, the newly emerging commercial press turned her act--and especially her death--into one of the first media spectacles in American history. In piecing together the fragmentary and conflicting evidence of the event, Reiss paints a picture of people looking at history, at the human body, at social class, at slavery, at performance, at death, and always--if obliquely--at themselves. At the same time, he reveals how deeply an obsession with race penetrated different facets of American life, from public memory to private fantasy. Concluding the book is a piece of historical detective work in which Reiss attempts to solve the puzzle of Heth's real identity before she met Barnum. His search yields a tantalizing connection between early mass culture and a slave's subtle mockery of her master.

Through extended readings of the works of P. T. Barnum, Walt Whitman, Ralph Waldo Emerson, Frederick Douglass, and Fanny Fern, Bonnie Carr O’Neill shows how celebrity culture authorizes audiences to evaluate public figures on personal terms and in so doing reallocates moral, intellectual, and affective authority and widens the public sphere. O’Neill examines how celebrity culture creates a context in which citizens regard one another as public figures while elevating individual public figures to an unprecedented personal fame. Although this new publicity fosters nationalism, it also imbues public life with personal feeling and transforms the public sphere into a site of divisive, emotionally intense debate. Further, O’Neill analyzes how celebrity culture’s scrutiny of the lives and personalities of public figures collapses distinctions between the public and private spheres and, as a consequence, challenges assumptions about the self and personhood. Celebrity culture intensifies the complex emotions and debates surrounding already-fraught questions of national belonging and democratic participation even as, for some, it provides a means of redefining personhood and cultural identity. O’Neill offers a new critical approach within the growing scholarship on celebrity studies by exploring the relationship between the emergence of celebrity culture and civic discourse. Her careful readings unravel the complexities of a form of publicity that fosters both mass consumption and cultural criticism.

At his death on the eve of the 20th century, D.L. Moody was widely recognized as one of the most beloved and important of men in 19th-century America. A Chicago shoe salesman with a fourth grade education, Moody rose from obscurity to become God's man for the Gilded Age. He was the Billy Graham of his day--indeed it could be said that Moody invented the system of evangelism that Graham inherited and perfected. Bruce J. Evensen focuses on the pivotal years during which Moody established his reputation on both sides of the Atlantic through a series of highly popular and publicized campaigns. In four short years Moody forged the bond between revivalism and the mass media that persists to this day. Beginning in Britain in 1873 and extending across America's urban landscape, first in Brooklyn and then in Philadelphia, New York, Chicago, and Boston, Moody used the power of prayer and publicity to stage citywide crusades that became civic spectacles. Modern newspapers, in the grip of economic depression, needed a story to stimulate circulation and found it in Moody's momentous mission. The evangelist and the press used one another in creating a sense of civic excitement that manufactured the largest crowds in municipal history. Critics claimed this machinery of revival was man-made. Moody's view was that he'd rather advertise than preach to empty pews. He brought a businessman's common sense to revival work and became, much against his will, a celebrity evangelist. The press in city after city made him the star of the show and helped transform his religious stage into a communal entertainment of unprecedented proportions. In chronicling Moody's use of the press and their use of him, Evensen sheds new light on a crucial chapter in the history of evangelicalism and demonstrates how popular religion helped form our modern media culture.

“Robert Wilson’s Barnum, the first full-dress biography in twenty years, eschews clichés for a more nuanced story…It is a life for our times, and the biography Barnum deserves.” —The Wall Street Journal P.T. Barnum is the greatest showman the world has ever seen. As a creator of the Barnum & Baily Circus and a champion of wonder, joy, trickery, and “humbug,” he was the founding father of American entertainment—and as Robert Wilson argues, one of the most important figures in American history. Nearly 125 years after his death, the name P.T. Barnum still inspires wonder. Robert Wilson’s vivid new biography captures the full genius, infamy, and allure of the ebullient showman, who, from birth to death, repeatedly reinvented himself. He learned as a young man how to wow crowds, and built a fortune that placed him among the first millionaires in the United States. He also suffered tragedy, bankruptcy, and fires that destroyed his life’s work, yet willed himself to recover and succeed again. As an entertainer, Barnum courted controversy throughout his life—yet he was also a man of strong convictions, guided in his work not by a desire to deceive, but an eagerness to thrill and bring joy to his audiences. He almost certainly never uttered the infamous line, “There’s a sucker born every minute,” instead taking pride in giving crowds their money’s worth and more. Robert Wilson, editor of The American Scholar, tells a gripping story in Barnum, one that’s imbued with the same buoyant spirit as the man himself. In this “engaging, insightful, and richly researched new biography” (New York Journal of Books), Wilson adeptly makes the case for P.T. Barnum’s place among the icons of American history, as a figure who represented, and indeed created, a distinctly American sense of optimism, industriousness, humor, and relentless energy.

"Explores the life of showman P. T. Barnum, including his start as an entrepreneur, creating the American Museum, building and losing his fortune, and introducing the three-ring circus to America"--Provided by publisher.