Matthew Kerns's Blog: The Dime Library, page 13

The Scouts

In the sepia tones of an America long past, captured in the amber of time, we see the titans of the Wild West. The scene is set in late 1873 when the earth beneath their feet seemed to tremble at their fame. At the time, these three men were the most famous Westerners alive. Seated on the right is Buffalo Bill Cody, the legendary scout whose exploits were as vast as the plains he roamed, a man whose name would become synonymous with the very spirit of the West. On the left sits the enigmatic Wild Bill Hickok, whose pistols were as quick as lightning and whose legend as a lawman remains etched into the annals of American lore.

And looming behind them, a figure of rugged charisma with his hand resting familiarly on Wild Bill's shoulder is Texas Jack Omohundro. Neither a famous buffalo hunter nor a man who enforced the law in western cowtowns, but a cowboy, pure and simple. Texas Jack, the archetype of the cowboy spirit, a man who drove cattle through lands where danger lurked behind every shadow. "Buffalo Bill had always been in Government employ as a scout,” the Earl of Dunraven wrote, “but Texas Jack was a cowboy, one of the old-time breed of men who drove herds of cattle from way down South to Northern markets for weeks and months.”

Together, these three men were The Scouts of the Plains, and their names drew crowds into theatres, yearning for a glimpse of the West’s most iconic scout, gunfighter, and cowboy. Their fame was such that nearly a century and a half later, they still cast long shadows over the stories we tell of the American frontier. Buffalo Bill, a name that conjured images of the Wild West for audiences from every walk of life. Wild Bill, whose legacy endures even in the face of his death by an assassin’s bullet in Deadwood, a name that stirs the soul and fuels the imagination of those who hear it.

Texas Jack didn't live long enough to ensure his name would be remembered forever and he didn't "die with his boots on" to go down in history. He remains the unsung hero whose influence permeates every tale of cowboys and cowboy life that came after him. Texas Jack’s life and his legacy as America's first famous cowboy—the man who introduced the lasso act to the stage and rode with Pawnee warriors across the western prairie—has influenced every cowboy story that followed. From Owen Wister's The Virginian to Louis L'amour's Hondo, from Tom Mix to Cary Grant, from Clint Eastwood's Man With No Name to John Wayne's Ethan Edwards—every cowboy that came after has been cast in the mold of Texas Jack.

Buffalo Bill Cody, Wild Bill Hickok, and Texas Jack Omohundro—three icons who rode across the sweeping canvas of the American West, leaving their outsized bootprints on the cultural soul of a nation. Together, they epitomized the frontier spirit: Cody, the consummate showman who painted the West with broad, thrilling strokes; Hickok, the embodiment of the lawman in a lawless land, his legend as sharp as the crack of his revolver; and Texas Jack, the quintessential cowboy whose saddle was the cradle of the archetype that still resonates in every corner of American mythology. They were men, but when they stood together on stage they were something more—they were the living, breathing essence of an era defined by adventure, courage, and the endless quest for freedom. Their combined legacy is a mosaic of grit, showmanship, and rugged individualism, a testament to the enduring allure of the Wild West.

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The saga of Texas Jack Omohundro remained a whispered legend, until "Texas Jack: America's First Cowboy Star" by Spur and Western Heritage Award-winning author Matthew Kerns brought it thundering to life. In this groundbreaking book, Kerns illuminates the life of a man whose story was as vast and sweeping as the prairies and plains he once rode across. The book finally returns Texas Jack to the spotlight he deserves.

Immerse yourself in the untold story of America’s first cowboy star. The time has come for the world to remember the name—Texas Jack Omohundro.

Texas Jack: America’s First Cowboy Star is available at:

https://amzn.to/3QrkAZw

Or signed and personally inscribed by the author at:

https://www.dimelibrary.com/bookstore

Preorder Galloping Gourmet

The intertwining of cultural history and culinary tradition has always had its unique allure, and Steve Friesen's upcoming book, "Galloping Gourmet: Eating and Drinking with Buffalo Bill," is a testament to that. Scheduled for release on December 1, 2023, the book offers an intriguing look at the historical figure of Buffalo Bill Cody through the lens of food and drink, presenting a perspective that is as informative as it is appetizing.

For those who are familiar with Steve Friesen's previous works, such as "Buffalo Bill: Scout Showman, Visionary" and the Western Heritage Award-winning "Lakota Performers in Europe: Their Culture and What They Left Behind," it is known that his writing is backed by in-depth research and a passion for the subjects he explores. As Director Emeritus of the Buffalo Bill Museum and Grave, Friesen has a personal connection to Buffalo Bill's legacy, bringing an authenticity to his narrative that fans of history and the Wild West will appreciate.

"Galloping Gourmet: Eating and Drinking with Buffalo Bill" delves into the culinary habits and preferences of this iconic figure of the American West and the time period in which he lived. The book is not a collection of recipes; instead, it narrates the social and cultural aspects of dining during Buffalo Bill's time. These are the culinary adventures of a famously adventurous man. The book reflects the fact that the simple act of eating and drinking offers us insights into the values, challenges, and everyday lives of historical figures and the communities they lived in.

The publication date of December 1 is timely for those looking for a meaningful Christmas/Holiday gift for friends or family interested in the Wild West or gastronomy. It is a thoughtful present that combines a love for history with the pleasure of cooking and eating. Whether it's for a history buff keen on the details of frontier life or a foodie with a taste for the historical origins of the cuisine of America's most important showman, this book has the potential to be a highlight under the Christmas tree.

Preorders for "Galloping Gourmet: Eating and Drinking with Buffalo Bill" are currently open. The book not only makes for an enjoyable read but also promises to be a conversation starter, a source of inspiration for kitchen adventures, and a journey back in time to the flavorful world of the American frontier.

With the holiday season approaching, consider adding "Galloping Gourmet: Eating and Drinking with Buffalo Bill" to your gift list, and give the gift of a culinary exploration that bridges the gap between the past and the present.

You Don't Know Jack - Texas Jack

Think you know the story of the American West? You don’t know Jack.

Before there was the TV phenomenon Yellowstone—before there was Clint Eastwood, John Wayne, or Tom Mix—before there were traveling Wild West shows and rodeos—there was Texas Jack. For lovers of lore and curators of the quintessential American saga, the panorama of the West is incomplete without the extraordinary tale of a man who embodied the grit, the glamour, and the grandeur of the frontier. The annals of the Wild West echo with names that stir the soul, but there is one legend waiting to ride again into the forefront of our imaginations: Texas Jack Omohundro, the original cowboy who left his indelible boot prints on the dusty trails of time.

Before the silver screen turned cowboys into American icons, before Gunsmoke, Rawhide, and Bonanza made cowboys a daily part of American life, and before dime novels spun yarns of the daring men of the West, there was Texas Jack. His life reads like the most thrilling western ever written, but the stakes were real, the bullets were live, and the heroism was genuine. This was a man who, before his untimely death at 33, galloped through life with the velocity of a mustang.

Jack’s story is the enthralling narrative of a Civil War spy who bore witness to General Robert E. Lee’s surrender at Appomattox, only to reinvent himself as a trailblazing cowboy of the Lone Star State. Picture a figure so central to the Wild West that he stood as the most illustrious cowboy the world had ever seen, riding alongside legends like Wild Bill Hickok and Buffalo Bill Cody. His life was a testament to the West that once was—untamed, unforgiving, and unforgettable.

Texas Jack's life was not merely a tale of escapades and entertainment. It was a love story, too, as fierce and wild as the West. When his path crossed with the enchanting Giuseppina Morlacchi, the Italian prima ballerina, it was a union of two stars, each from wildly different heavens, shining together in a shared sky. They were Cowboy and Ballerina, Spurs and Slippers, Buckskin and Satin.

Through the lens of Texas Jack's exploits, we witness the dawn of the American Western—its birth on the stage, the thrum of audience excitement as Jack unfurled a lasso, spinning it with a showman's flair, his cowboy persona crystallizing into the archetype that would define a nation's mythology. But beyond the glitter of fame was the grit of reality: a government scout hunting alongside the Pawnee tribe, a hero rescuing imperiled tourists in the wilds of Yellowstone, a man who would risk his neck to save the life of a friend.

Today, we remember Texas Jack as the first famous cowboy in American history and the foundation of truth upon which all cowboy legends were built. If the idealized American man is the frontier cowboy, then the genesis of the cowboy in popular culture is Texas Jack Omohundro.

Cowboy Costume

The allure of the cowboy, with his rugged charm and untamed spirit, has been a cornerstone of American culture for well over a century and a half. While today we might associate this iconic figure primarily with blockbuster movies or hit TV series, the fascination with cowboys began much earlier than one might think. The first cowboy to rise to the status of pop-culture icon was Texas Jack Omohundro, a genuine cowboy who toured the nation in a stage show alongside frontier legends Buffalo Bill Cody and Wild Bill Hickok. This act, which brought the Wild West to life on stage, was a pivotal moment that captivated the imaginations of countless Americans. Texas Jack introduced the "lasso act" to the stage, turning the tool of his cowboy trade into an entertainment that would captivate audiences everywhere he played.

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Later, Buffalo Bill's Wild West show was a cultural phenomenon. It was such a prominent piece of American culture that it was sometimes called "America's National Entertainment." Featuring a vibrant cast of characters, from Native Americans like Sitting Bull to sharpshooters like Annie Oakley, it was the cowboys who stood out as the uncontested heroes. They epitomized the frontier spirit, representing both the challenges and triumphs of "taming the American West." With their thrilling performances and larger-than-life tales of bravery and skill, Buffalo Bill's cowboys firmly enshrined the image of the cowboy as the great hero of the American West in the public's consciousness.

As the entertainment industry evolved, the cowboy’s mythic status was further amplified. With the advent of movies and television, the Wild West narrative was broadcast into cinemas and later living rooms around the world. The cowboy, with his trademark hat, boots, and spurs, became a beloved figure, symbolizing freedom, adventure, and justice. By the time Halloween rolled around each year, it was only natural that kids and adults alike wanted to embody this hero, leading to the cowboy costume becoming a staple of the holiday. Boys and girls, children and adults, donned the iconic attire, each with their own spin on the classic look.

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Today, as we browse through the costume aisles or scroll online websites, amidst the superheroes, ghosts, and goblins, the cowboy costume remains a timeless favorite. Maybe it speaks to a deeper and more profound nostalgia, a longing for a simpler time, or the enduring American spirit. Or maybe it's the sheer joy of getting to put on a Stetson and pull on those old cowboy boots for a night. Whatever the reason, it's clear that the fascination with cowboys is far from waning. After all, some of us are still playing cowboy.

Preorder Cast Out of Eden

Amazon (along with other booksellers, like your local independent bookstore) is now taking preorders for the new book Cast Out of Eden: The Untold Story of John Muir, Indigenous Peoples, and the American Wilderness by Robert Aquinas McNally—the book releases on May 1, 2024.

I was lucky enough to read a preview copy of this one, and here's my short-form review:

“A thought-provoking masterpiece. Following the life and achievements of John Muir, ‘Father of the National Parks,’ McNally masterfully shows how one of America’s greatest achievements—the preservation of our wildest places—is indelibly tied to one of our most abject failures—the treatment of the Native Americans who lived there.”

Here's what the publisher, Bison Books (University of Nebraska Press), says:

John Muir is widely and rightly lauded as the nature mystic who added wilderness to the United States’ vision of itself, largely through the system of national parks and wild areas his writings and public advocacy helped create. That vision, however, came at a cost: the conquest and dispossession of the tribal peoples who had inhabited and managed those same lands, in many cases for millennia. Muir argued for the preservation of wild sanctuaries that would offer spiritual enlightenment to the conquerors, not to the conquered Indigenous peoples who had once lived there. “Somehow” he wrote, “they seemed to have no right place in the landscape.”

Cast Out of Eden tells this neglected part of Muir’s story—from Lowland Scotland and the Wisconsin frontier to the Sierra Nevada’s granite heights and Alaska’s glacial fjords—his take on the tribal nations he encountered, and his embrace of an ethos that forced those tribes from their homelands. Although Muir questioned and worked against Euro-Americans’ distrust of wild spaces and its deep-seated desire to tame and exploit them, his view excluded Native Americans as fallen peoples who stained the wilderness’s pristine sanctity. Fortunately, in a transformation that a resurrected and updated Muir might approve, this long-standing injustice is beginning to be undone, as Indigenous nations and the federal government work together to ensure that quintessentially American lands from Bears Ears to Yosemite serve all Americans equally.

McNally's last book, The Modoc War: A Story of Genocide at the Dawn of America's Gilded Age, was fantastic. I talked about the book, and the impact that the Modoc War had on America and the public reception that Buffalo Bill and Texas Jack received as noted "Indian fighters" during their first dramatic tour here:

https://www.dimelibrary.com/post/the-modoc-war-a-story-of-genocide-at-the-dawn-of-america-s-gilded-age

I highly recommend McNally's work. He's a writer of rare skill, able to balance meticulous research with lyrical prose, and his ability to shine a penetrating light on the darker shadows of American history makes him an author whose books are always on my "Must Buy" list. I pre-ordered this one, and if you're interested in the balance between "America's Best Idea," our national park system, and our worst moral failure, our treatment of Native people, you should too.

More of Texas Jack at Fort McPherson

In a captivating series of photographs from November 1872, one can glimpse a moment in time, just before two iconic figures of the American West, Texas Jack Omohundro and Buffalo Bill Cody, transitioned from the untamed prairies of Nebraska to the theatrical limelight.

Texas Jack, the first cowboy to rise to national prominence in American history, stands out with his unmistakable cowboy bravado, the silhouette in buckskin and Stetson that would soon become iconic. Alongside him in these images are the Earl of Dunraven and his personal physician, Dr. George Kingsley, both captured in the distinct attire of the period.

Intriguingly, a third image presents Texas Jack with a woman whose identity is believed to be Ena Palmer. Hailing from Savannah, ,Ena's tragic past—a heart-wrenching tale of her brother fatally shooting her fiancé—brought her westward to Nebraska. Together, these photographs provide a rare window into the intersections of fame, nobility, and personal stories on the American frontier.

Earlier this summer, I visited the Lincoln County Museum in North Platte, Nebraska. While there, I saw an image of the Earl of Dunraven's trip to Fort McPherson in the fall of 1872, and immediately recognized one of the men in the picture as Texas Jack. More information about that picture can be found at https://www.dimelibrary.com/post/texas-jack-at-fort-mcpherson, but I pointed out the similarities I saw between that image and a picture of Jack taken just over a month later when the Scouts of the Prairie premiered in Chicago.

Recently, I discovered that the image I saw at the Lincoln County Museum is part of a series of photographs taken at Fort McPherson during the Earl's visit. The other images are in the archive of the Center of the West in Cody, Wyoming.

Here is the version of the above image at the Center.

This version of the image has a handwritten caption reading "Lord Dunraven and Lord Parker," likely written years after the picture was taken. Lord Parker (Earl of Macclesfield) wasn't in Nebraska, or the United States, when Dunraven visited Nebraska. The actual Lord Parker, Thomas Augustus Wolstenholme Parker, was 61 years old at the time. His son, Viscount George Augustus Parker, was the right age, but was in England for a highly publicized bankruptcy trial during Dunraven's hunt. The Viscount died before his father and never assumed the title of Lord Parker. George Augustus' son, George Loveden William Henry Parker, assumed the title after his grandfather's death, but he wasn't born until 16 years after Texas Jack and Dunraven hunted together.

The handwritten caption on this second picture says "Lord Dunraven's Quarters," the building where Dunraven and his friend Dr. George Kingsley stayed while they were at Ft. McPherson. I believe that's Dunraven on the right and Kingsley on the left, with Texas Jack pictured second from left. The man standing second from the right is very clearly the man standing on the left in the first photograph. The man sitting in the middle looks to be the same man on horseback on the right side of the first picture.

The third photo is labeled as "Lord and Lady Dunraven." This is incorrect. Dunraven's wife did not accompany him in 1872, when this picture was taken. There are now newspaper listings in America from the period that mention her presence at any of Lord Dunraven's stops, and Kingsley does not mention her presence in any of his letters home to his own wife during the trip Also, this is clearly the same man in both the other photos, and it very much, to me at least, looks like Texas Jack.

I believe that the woman in the picture is Ena Palmer. In a letter home to his wife, George Kinglsey mentions that "[Texas Jack] has his love and his longings out here, the pale maiden who lives down on the Median [Medicine] River, who rides like a chipney, writes poetry by the yard, shoots pistols as well as Jack himself—and he is the best shot in the territory—and is altogether the proudest, tenderest, coldest, lovingest, most inscrutable darling to be found on " God-a-Mighty's footstool. " I thought also that this wild huntress of the plains lived only in the romances of Mayne Reid and the "dime" novels, but here she is, warm flesh and blood, as wild and as strange and as full of contradictions as the most Bourbon-inspired novelist ever dreamt of."

In her diaries, Ena mentions getting to meet the Earl while he and Texas Jack were hunting, so it stands to reason that she and Jack were close enough to get their picture taken together at Fort McPherson around the time that Dunraven was there. It is hard to tell much in a photo of this age/quality, but here's a picture of Ena for comparison.

The rich tapestry of the American West is woven with tales of legendary figures, untamed landscapes, and stories that teeter between fact and fiction. These photographs from 1872, a tumultuous period teeming with change and adventure, capture just a sliver of this expansive narrative. Texas Jack Omohundro, with his characteristic cowboy flair, epitomizes the spirit of the frontier, and his association with figures like the Earl of Dunraven and Ena Palmer offers a complex intersection of aristocracy, tragedy, and rugged individualism. However, as with any historical exploration, deciphering the truths concealed within these images demands a discerning eye. The inconsistencies in handwritten captions, coupled with cross-references from contemporary accounts, demonstrate that history is not always a straightforward chronicle. Rather, it's a mosaic of memories, sometimes mislabeled and misremembered. Yet, through meticulous research and a passion for uncovering the past, we can attempt to piece together the enigma that is the American frontier, appreciating its nuanced characters and their indelible imprint on the nation's legacy.

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Morlacchi Is Coming

In the early autumn of 1867, notices began to appear in newspapers all over the country. "Morlacchi wants $500 a night for dancing in this country," said one in the Louisville, Kentucky, Courier-Journal. "Morlacchi, the Peri of European dancers, wants $500 a night for coming to this country," read another in the Leavenworth, Kansas, Daily Commercial. Newspapers in Boston, Memphis, and New York all printed similar notes. The amount was staggering. In 1867, $500 was the equivalent of over $10,000 today.

Giuseppina Morlacchi, who by 1867 was already known by the singular name, was a well-known Italian prima ballerina and had charmed the major cities of Europe for more than a decade. She was regarded as the finest dancer of her generation, and was often referred to as the "Peerless" Morlacchi.

In New York City, the musical play "The Black Crook," now regarded as the first "book musical," had established itself as a huge hit at Niblo's Garden on Broadway, and other New York theaters were looking for their own musical spectacles to answer the challenge. Banvard's Museum, the 40,000+ square foot attraction owned by painter-turned-impresario John Banvard, hired a manager named John DePol. DePol knew that the best dancers in the world were in Europe, and he convinced the best dancer in Europe to come to America.On Sunday, September 22, 1867, the following announcement took up an entire column in the New York Daily Herald newspaper:

John De Pol to the Public of New York.

Devil’s Auction

At Banvard’s Theatre, Broadway, Corner of Thirtieth Street.

THIS GREAT SPECTACULAR PIECE

will shortly be produced at this establishment with unprecedented, scenic splendor, and a brilliant host of artistic talent, under the direction of Mr. John De Pol.

THE MANAGER'S ADDRESS TO THE PUBLIC OF NEW YORK.

Having concluded my preparations, I desire to address a few words to the enlightened and appreciative public of New York, by way of preface to my first theatrical enterprise in America, which I am now about to produce after much labor, time, and foreign travel.

The cordial protection and favor extended in this country to all enterprises, possessing merit, and based on skilled labor are the incentives that have induced me to present to the American public public, the result of my studies and experiences, and the highest and most illustrious schools of dramatic, art, in all the countries of Europe. Had a long and successful experience in theatrical affairs in Europe, I look forward to a like success in this country, and should I be fortunate enough to please, and gratify the American public I shall have reason to feel justly proud. Indeed, I regard the commendation of an American, and, especially a New York audience, as a far greater honor and proof of merit than the favor, and appreciation of any other country on the globe.

My object is to present my audience with a brilliant and delightful, theatrical performance, free from the strictest sense of aught that can offend the strictest sense of morality; in fact, as a spectacular piece, suited to the progress and cultivated taste of a New York audience, and requiring, consequently, in its composition and production of the perfection of artistic and mechanical skill achieved in Paris, London, and other European capitals. This marvelous production will be brought out with the greatest splendor of decoration and costume, the highest artistic talent in the most skillful, mechanical novelties, and stage of affects. To secure this, I have lately spent five months and visiting the leading theaters of Europe, and the cities of London, Paris, Madrid, Lisbon, Turin, Milan, Vienna, Berlin, and Brussels, taking note of all novelties and improvements.

It has been hinted that I came to the United States in order to compete with certain American managers. This is not correct. The greatest aim of competition is to vanquish arrival and profit by his defeat or extinction. I have no such selfish motive; on the contrary, I entertain the most friendly sentiments towards all my American colleagues, and by no means envy them their well-earned prosperity. I wish to labor with them side-by-side and perfect harmony, having only a friendly rival of our common patrons, based upon mutual esteem and admiration.

Having demonstrated my object, I have to call attention to the dramatic company and corps de ballet under my direction. But I must confess that, and view of the custom in this country of coupling the names of theatrical performers with the most extravagant, puffing before their appearance, I am almost at a loss how to announce them to the public. My method has always been to announce my artists without any praise, their names alone being a sufficient guarantee of their abilities, all those who are acquainted with European theatricals cannot fail to perceive that the combination of artists engaged by me as far superior talent to any company ever brought from Europe to this country, I have invariably acted upon this plan, and thus I have never disappointed my audiences by making promises, which could not be realized. On the contrary, and all my managerial experiences, I have given 10 times more than I advertised, and this I attribute in a great measure, my success and reputation in the old world. Consequently, I will confine myself to a simple and modest enumeration of the members of my company, merely giving their respective professional specialties and the theaters in Europe, where they have achieved their fame.

Mlle. Josephine Morlacchi

Is an artist of rare merit, having been during five years premiere danseuse at her majesty and Covent garden theater in London by the English theatergoers, Mmle Morlacchi is highly and deservedly esteemed. All those who have read the London papers must’ve noticed the pain and displeasure of the English public at her absence, and the difficulty the managers had experienced in finding a suitable substitute.

Star of honor and glory to the country that gave birth put, according to the Italian press at the summit of the most renowned celebrities, and I spared no pains of means to secure her engagement.

Elisa Blasina

This beautiful and graceful danseuse is unrivaled in her peculiar style of dancing, owing to the action of the Italian government, and failing to grant the usual subsidy to the theater of La Scala, Milan, the greatest art theater in the world, where she was engaged to appear, the manager was unable to affect a transfer of her engagement with M. Perales, her Italian manager, receiving the congratulations of the leading maestri in Italy.

Augusta Sohlke

Has filled several engagements, with signal success, as premier danseuse at the principal theaters of Prussia and Austria, her last appearance in Europe, having been at the royal theater in Berlin. After much difficulty, her services were secured for the present troupe. Fascinating and graceful performances, have solicited the highest praise from the European press, and may be seen by the extracts in my office.

Ermasilda Diani

An immense favorite, with the public of London, brings with her the endorsement of that very severe critical school, the audiences of Her Majesty’s theatre. Her engagement as premiere danseuse establishment is an unquestionable credential of merit.

Eugenia Lupe

Is still another famous artiste, equal to, but differing in style and method from her other sisters of the light fantastic. This dancer has been honored with the first gold medal by the Royal Conservatoire at Turin, over a host of competitors, as premiere danseuse, the distinction having been unanimously awarded to Signora Lupo.

Amelia Ricci

There is no need of special mention to direct public attention to the wonderful skill and winning grace of this accomplished dancer. Seeing is believing.

Catalina Corradini

The beautiful and talented ballerina, who is now feeling an engagement at a Belgium theater, will shortly be added to the troupe.

Giovanni Lupo

Has a brilliant, artistic record, although he is only twenty-two years of age. He made his mark as the leading artiste of the celebrated choreographic company, “The Florentine Children,” which astonished all Europe, some 10 years ago.

The facts above stated are known to many, and but few are ignorant of them; and if there be any, who doubt the accuracy of these statements, I shall be pleased to show them ample proof in the shape of original documents in each case. I have next to remark upon a most important point. No theater in Europe, not even the most celebrated for artistic excellence, employs more than one leading lady dancer. The custom is to have one premiere danseuse, one assistant, and two second dancers, making a total of two first and two second dancers.

At Banvard’s Theatre, of which I have the honor to be manager, it is proposed to present for the first time in America, or even in Europe, a combination of leading Stars, all equally celebrated, consisting of four first dancers, each different from the other in style and execution, one second dancer, and another of the same class, now partially engaged. Such a reunion of first class artistes, each one of whom is able to ensure the fame and fortune of a manager in one constellation, would be most difficult, if not impossible, to affect in Europe; but I have succeeded in achieving it in America, through my peculiar system of theatrical management. Each of my artistes excels, and some special style, and thus I have succeeded in, combining all the diverse fascinations of the dance, into one company, and it is for this reason that I have named my troop, the “European” troupe. And this manner, I am unable to make the American public familiar with the latest novelties introduced into the ballet in the theaters of Europe, without the necessity of crossing the Atlantic to witness them. Indeed I may say, without fear of exaggeration, that such a combination of talent has rarely been produced at one time at one theater. But I must leave their merits to be judged by that infallible jury, the public.

The actors engaged in the city, to fill the principal roles in The Devil’s Auction are all of high rank in the profession: mr. Robert McWade, Miss Fanny Stocqueles, Mr. HB Phillips, Miss Emma, Sommers, Mr. C Daly, Miss Fanny Reeves, Mr. EL Mortimer, Mr. SB, Duffield, Mr. J Miller, Mr. Phillips, prompter.

The music has been specially composed for this piece and is the property of the manager.

The Devil’s Auction, arranged, especially for my theater by the young and accomplished Mr. Arthur Cuba’s Armengol, is a piece that has produced an immense sensation in Europe, having been performed over 1000 hundred times.

The costumes belong to the piece, suggested by myself and skillful, arranged by a celebrated Parisian costumer, elegant and artistic in design and cut. These designs are my sole property, and I shall take the necessary measures in accordance with the United States law to prevent any imitation of them in this country.

The decorations are in the French style and executed by the artistes Calyo, whose reputation in this department is unequalled.

The tricks and transformations are all of my own invention.

The Corps De Ballet,

Equal and numbers to that at the Theatre Imperial du Chatelet at Paris, is under the direction of one of the most renowned ballet, masters, in Italy,

Signor Domenico Bonzani.

The Devil’s Auction will be produced at a cost to the management of $75,000, and this is the shortest guarantee of its excellence, in every respect.

The piece has been put upon the stage according to my peculiar ideas, combining the French and American Styles, and in order to carry out my notions completely, the entire stage at Banvard’s Theatre has been remodeled, being unsuited, as originally planned for the production of large spectacular pieces. In addition to the original dances forming the repertoire of the theater, I propose to present to the public, the most popular choreographic novelties produced in Europe, and to this, and I have made arrangements with a number of theatrical agents in all parts of the world to supply me with every improvement and successful novelty that may appear

Such as my plan of campaign. My idea, I repeat, is the place New York, on a level with Paris, and London, regarding theatrical performances; and should I succeed in securing the encouragement and commendation of the public of New York, and will make another voyage to Europe, with the object of preparing a second grand spectacular piece.

If my efforts in this — my first production before an American audience — should prove successful, my utmost ambition will be gratified, and I shall feel a real satisfaction in the knowledge that my labors and abilities have gained the approbation And endorsement of an impartial and appreciative American audience.

I remain, the public’s obedient servant,

John De Pol

Manager, Banvard’s Theatre

The Donner Party - Part I - Legends of the Old West

https://youtu.be/csh2lyLuIfM?si=eb6-04bMCncHXs8I

In 1846 in Springfield, Illinois, the Donner family teams up with the Reed family to form the core of a caravan that will travel to the rich farmland of California. The problem is, they’re already late. They soon discover that they’re among the very last travelers to begin the journey to the West, and the hardships begin almost immediately.This is Part 1 in a series about "The Donner Party" on Legends of the Old West, written by Julia Bricklin and narrated by Chris Wimmer.For information about Julia Bricklin's new book, Red Sapphire: The Woman Who Beat the Blacklist, click here:

To subscribe to Legends of the Old West, or to check out more episodes of their podcast, click here:

https://blackbarrelmedia.com/legends-...

Legends of the Old West Bonus Episode

https://youtu.be/7x7NoZ37bcU?si=XDwcaDxJbxJL6qdj

Any of you who are members of Legends of the Old West's YouTube page can catch an exclusive bonus episode, written by yours truly, about Massacre Canyon, the last fight between the Pawnee and the Sioux.If you're subscribed to the podcast, see exclusive content here:https://blackbarrelmedia.com/legends-...

My Review of Red Sapphire

My Amazon review of Julia Bricklin's Red Sapphire: The Woman Who Beat the Blacklist."Red Sapphire: The Woman who beat the blacklist" by Julia Bricklin felt like a time machine trip back to an era I never thought I would want to visit, but am so incredibly glad to have now experienced via this book. Red Sapphire is like a deep-sea dive into the tumultuous Joe McCarthy era, cloaked in shadow and suspicion, when artists feared persecution for their beliefs. This narrative underscores the heroic journey of Hannah Weinstein, a woman who defied societal norms, expectations, and relentless scrutiny to support and uplift those who were wrongfully blacklisted.

Julia Bricklin has brought to life the pulse and heartbeat of the 1950s, using impeccable research methods, including declassified files, and extensive interviews. The tale unfolds as single mother and political activist Weinstein valiantly navigates the harrowing terrain of 1950s Hollywood and politics, transforming herself into a producer and show-runner seemingly by strength of will alone. From her strategic alliance with New York City Democrats in the 1930s to her eventual departure to England, Weinstein's resilience and unyielding spirit stand tall throughout this story of her ascension to television greatness and her struggle against the forces of censorship and suspicion.

Sapphire Films, Weinstein's creation, emerges as a beacon of hope for blacklisted writers and directors alike, allowing them to earn a living, as well as to express their creativity while subtly commenting on the then prevalent McCarthy hysteria. While the book delves deeply into the many personalities that surrounded Weinstein and made Sapphire Films a success, it never lets us lose sight of the fascinating Weinstein herself - a luminary who blended entertainment and politics seamlessly.

Bricklin's writing style is enthralling, turning history into a page-turner, with the political backdrop providing the tension of a thriller. It pulls you in from the first page, making you a silent observer of an era where individuals like Weinstein shone brightly against the darkness. Every chapter is a testament to both Weinstein's indefatigable spirit and Bricklin's prowess as an author.

Whether you're a fan of mid-20th-century pop culture history, a student of political journalism, or someone keen to understand the intricate dance between women, politics, film, and television – this book is a must-read! It doesn't just illuminate; it captivates, inspires, and reminds us of the power of perseverance.

Do not miss the chance to acquaint yourself with the formidable Hannah Weinstein. I thoroughly enjoyed this plunge into an era and life that still resonates today. A masterclass in biographical storytelling. Highly recommended.