Guest Post: HBO’s Westworld and the Realities of Living History

Cam Shriver is a Post-Doctoral Research Associate with the Miami Tribe of Oklahoma, working in the Myaamia Center at Miami University. He has a PhD from Ohio State University, and his research focuses on surveillance among Native and European communities in early North America.

westworldWhen I began watching episode one of HBO’s new show Westworld, I was prepared for something in the Western genre. I had seen a trailer that included horses, Indians, and a stereotypical Old West landscape. I was pleasantly surprised. Not only is Westworld in the mold of previously-successful HBO projects, it also forced me to think about the prospects of living history. “Living history” simulates and interprets the past. Attractions assert history-as-entertainment. In that vein, successful museums must constantly keep exhibits fresh, introduce new initiatives, storylines, and characters, and generally give visitors a reason to return. The same problem faces the Westworld theme park, as technicians and writers strive to provide an ever-more entertaining and realistic experience. The show raises a perplexing question: how “real” should we get? Continue reading

Interview with Carolle R. Morini, Boston Athenæum

Timg_20130923_182950oday’s post is an interview with Carolle R. Morini, Caroline D. Bain Archivist, Reference Librarian, at the Boston Athenæum. Carolle holds a BFA in Photography from the Montserrat College of Art and an MA in History and an MLS in Archives Management from Simmons College.

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13 Revolutions +1

Diego Rivera and Bertram D. Wolfe, "Portrait of America," 1934

Diego Rivera and Bertram D. Wolfe, “Portrait of America,” 1934

When John Adams looked back on the American Revolution (something he liked to do), he reflected that, “The Revolution was in the Minds and Hearts of the People.” The colonists’ drive to independence marked a new era of American history, Adams thought, when “Thirteen Clocks were made to Strike together; a perfection of Mechanism which no Artist had ever before effected.” Scholars have struggled to frame the experience of the Revolution in picture and on the page. How can we use digital tools to curate collections of revolutionary culture and #vastearlyamerica for use in the classroom?

Today, The Junto chats with Darren Milligan, Senior Digital Strategist at the Smithsonian Center for Learning and Digital Access, about the Smithsonian Learning Lab, which encourages us to make, use, and share new galleries of history.  Continue reading

Guest Post: Michelle Orihel, “A Pamphlet War In Song: Teaching Revolutionary Print Culture with the Musical, Hamilton

We are pleased to share this guest post from Michelle Orihel, an Assistant Professor of History at Southern Utah University. Dr. Orihel received her doctorate from Syracuse University and is currently working on a book manuscript about Democratic-Republican Societies in the post-revolutionary period.

HamiltonWhen I first listened to the Hamilton soundtrack last fall, the song “Farmer Refuted” caught my attention. The song stages a pamphlet war that began in November 1774 between Samuel Seabury, an Anglican minister in Westchester County, New York, and Alexander Hamilton, then an upstart New York college student. Their war of words over the First Continental Congress carried on for nearly four months and encompassed several tracts.[1] Continue reading

Historians and Hamilton: Founders Chic and the Cult of Personality

How does a crony capitalist son of a whore, and a militarist pumped up by delusional aspirations of honor, grow up to be feted by liberal scholars? [*]

Since the turn of the millennium, historians have lambasted the phenomenon of Founders Chic as a fundamental distortion of history. Placing the roles of specific, prominent individuals at the heart of sweeping narratives of the founding era meant that popular histories exaggerated the importance of individuals, at the expense of understanding the contribution of less-celebrated Americans or the role of broader societal and historical processes. Yet much of the reception of Hamilton, the hottest ticket on Broadway, seems to suggest that hagiography is acceptable, so long as it’s done to a catchy song-and-dance routine. It’s as if the only problem with Joseph Ellis, David McCullough and Ron Chernow is that they didn’t write to a hip-hop soundtrack. Continue reading

An Interview with Ted O’Reilly, New-York Historical Society

Ted at Work

Ted O’Reilly is Head of the Manuscript Department at the New-York Historical Society, where he has worked since 2004. He holds a B.A. in history from the College of the Holy Cross, an M.A. in Irish Studies from the National University of Ireland, Galway, and an M.L.S. from the Palmer School, Long Island University. Today he speaks with The Junto about the New-York Historical Society’s accessioning of a new collection—its own Institutional Archive.

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History and the Seeds of Memory: Reflections on Ric Burns’ The Pilgrims

pilgrims_pbsamexperienceIn his now classic study of early nationalism, historian Benedict Anderson wrote “I propose the following definition of the nation: it is an imagined political community—and imagined as both inherently limited and sovereign. It is imagined because the members of even the smallest nation will never know most of their fellow-members, meet them, or even hear of them, yet in the minds of each lives the image of their communion…. Communities are to be distinguished, not by their falsity/genuineness, but by the style in which they are imagined….”[1] While Puritan society was not a “nation” in the sense that Anderson meant it, his reflections nonetheless are evident in Ric Burns’ documentary, The Pilgrims. Burns seeks not to merely retell the Thanksgiving story, but to understand why Plimouth Rock and the popular Thanksgiving story (much of which is inaccurate) is such a pervasive part of the American origins story.

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