"History Detectives" returned for its third season on PBS in June, and a one-hour episode airs on PBS on Monday, Sept. 12 at 9 p.m. ET/PT (TV Schedule). Combining the latest forensic technology with old-fashioned detective work, the series lifts the lid on intriguing artifacts and objects, family legends and local folklore in cities and small towns across America.
"History Detectives" is again hosted by Wes Cowan, independent appraiser and auctioneer; Elyse Luray, an independent appraiser and expert in art history; Gwendolyn Wright, professor of architecture, planning and preservation and professor of history, Columbia University; and Tukufu Zuberi, professor of sociology and the director of the Center for Africana Studies at the University of Pennsylvania.
Host Gwendolyn Wright was online Wednesday, Sept. 13, at 11 a.m. ET to discuss the 11-part weekly PBS series "History Detectives."
Wright is a lecturer, an author and an advisor in the world of architecture at institutions in the United States and around the world. She has published five books and more than 40 articles and acclaimed essays, as well as critiques and reviews for national magazines and journals, including the New York Times, the Journal of American History and Harvard Design Magazine. In addition to lecturing nationally and internationally, Wright advises private architecture boards and museums. She has received the Guggenheim fellowship for a book on modern housing in America, and holds doctorate and master's degrees in architecture from the University of California, Berkeley.
Each one-hour episode of this series comprises three explorations that uncover everything from interesting trivia to revelations about illustrations that might have helped persuade America to fight the Nazis in World War II. Monday's episode includes:
Leisureama Homes -- "History Detectives" tries to track down missing Leisureama homes, which were developed from "Splitnik," the model kitchen used during one of the most famous television moments of the Cold War -- the fiery exchange between Nixon and Khrushchev during the "Kitchen Debate" at the American Exhibition in Moscow in 1959. Meanwhile, the detectives learn more about this defining moment in cold war history, and the influence of leisure on architecture.
Jim Thorpe Tickets -- "History Detectives" examines whether Jim Thorpe, the legendary Native American athlete who was known for his 1912 Olympic gold medals and Herculean strengths as a football and baseball player, had an unreported career in a third professional sport, as a basketball player. The detectives uncover some startling facts about the private life of one of the world's greatest professional athletes.
1667 Land Grant -- "History Detectives" investigates how an African American woman -- the wife of a former slave -- acquired what is now a valuable piece of real estate in downtown Manhattan, referred to in the document as "The land of the blacks."
The transcript follows.
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Arlington, Va.: How did you get involved in this show? Is it what you expected? Thanks.
Gwendolyn Wright: Hi, Originally the show was going to be just about American houses, which is one of my fields of specialization, so the producer came by to do a film test and talk about our respective ideas. I was impressed that they took all my suggestions -- by the next day when they interviewed a colleague. Ever since the process has been fascinating, since it involves lots of choices in order to pare things down to 18 minute segments. I've learned a lot about television, and production, and the producers have learned a lot about doing history. It's been surprising, sometimes even frustrating, but one of my most exciting experiences.
Best, Gwen
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Alexandria, Va.: Dear Gwen,
I am very much interested in your exploration of the Patty Cannon House which was on PBS in 2003. You mentioned "Wilson's Plain Dealing" as the location of the house ... and I have an ancestor to once owned "Wilson's Plain Dealing". Do you know how I can find a map of this property? I tried to telephone Jack Messick, but there is no listing now. Any thing I can find out about "Wilson's Plain Dealing" will be MUCH appreciated.
Thank you, Nancy
Gwendolyn Wright: Dear Nancy,
That's a fascinating connection to your ancestor, but I'm afraid my notes are stored away somewhere and I can't find my reference. Perhaps you could call one of the libraries we used. Librarians are by and large extremely helpful. Good luck.
Best, Gwen
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Wall Township, N.J.: Several people have in our neighborhood have mentioned they believe our home to be a Sears Craftsman home. Any suggestions on how we can determine this?
--Michelle
Gwendolyn Wright: Dear citizens of Wall Township,
I'm glad that our show got you interested in the history of Sears houses. There are several books about Sears houses now, and many libraries have copies or reproductions of catalogues like the Sears Craftsman Homes. You can see what looks familiar. Remember that the plan and proportions (or "massing") are at least as important as the facade, which could well have been altered. Also try the strategies we used, such as looking for the numbers on the rafters in the basement or attic (if they're still unfinished) or inside cabinets. Good luck!
Best,
Gwen
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Greenville, N.C.: Love the show and the idea that you should involve young people in your investigations to show them how you do your research. However, the bit about what you would have been if you were a stay-at-home housewife was a little ridiculous and could have been left out altogether. It only diluted the search for the house in Florida.
Gwendolyn Wright: Dear Greenville,
Frankly, I agree with you all around. I loved working with Sade on the Coney Island story. And I was put out when the Leisurama Homes story got too preoccupied with the gimmick of the housewife reappearing again and again. One of the most productive, but sometimes most frustrating, aspects of doing television is working with a large crew of experts, each one taken up with his or her own specialization. This was the producer's idea (also called the director and script-writer in movies -- all the same person for us), since he wanted to change the format slightly. We each had to give a little in terms of how to proceed, but ultimately he's in charge of the segment he writes, shoots, and edits. I wish we could have had more about how to analyze houses visually, how developers market their (potential) ideas. the history of American housing during this era of the Cold War -- and the vast growth of south Florida.
Feedback from people like you helps me make the case that lots of viewers want more substance than television usually permits. So thank you! And I'm really delighted that you enjoy the show.
Best,
Gwen
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Washington, D.C.: Do you have a favorite episode?
Gwendolyn Wright: Hi, viewer in Washington,
That's a hard one, but I my favorite two shows were about the Cherokee Bible and the Japanese House in Gilroy, California. Both of them opened up complex and fascinating dimensions of American attitudes about national commonalities and racial differences. I learned a great deal about the Cherokee, the Japanese, and modern-day Cherokee-Americans and Japanese-Americans, and I hope readers did as well. There were people to admire and insensitive official responses to deplore. In a sense they're both about the intricacies of history: issues that seem to be continuous and, at the same time, are always changing over time. The materiality of the house and the object allowed me -- and the viewers -- to grasp this ambiguity, to feel respect and outrage at the same time.
I'm really glad that you like the show. What are your favorite episodes?
Best,
Gwen
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Arlington, Va.: What's the most surprising thing you've learned or uncovered while making the show so far?
Gwendolyn Wright: Hi, viewer from Arlington,
Surely the most surprising thing I've uncovered is the Japanese documents about their pavilion at the 1939 World's Fair in San Francisco. Did you see the episode? We tracked down Japanese War Ministry documents about the architecture of the pavilion that explained the explicit propaganda purposes of "traditional" Japanese architecture. It was fascinating to me as an historian and as a history detective.
Thanks for asking. What's most surprised you?
Best, Gwen
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Anonymous: Do you feel you've taken as much from the show as you've given to it?
Gwendolyn Wright: That's a very good question. Yes, I do feel I've learned a great deal from the production of the show. It's helped me clarify my ideas about evidence, explanations, and the processed of historical interpretation. I've had to think about my skills and knowledge as a scholar, and what other skills are more general. This way I can encourage viewers to think more critically, while still understanding the nature of specialized knowledge. Sometimes we Americans feel overwhelmed by all the knowledge and opinions that circulate in our modern world; we get passive and just take in established opinions. The process of asking questions is hard, but so exciting, and the show has helped me differentiate various ways to do this, as well as how to come up with contingent answers along the way. This in turn shows up in my teaching. Even in large lecture-classes I've become more interactive, asking the students questions about their opinions, how they might read an image or a word, how to listen to someone else's interpretation, where they might go to open up their presumptions.
And I've learned that the process of making television is incredibly hard work, though immensely rewarding.
Best,
Gwen
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Laguna Niguel, Calif.: LOVE, LOVE, LOVE the show. Two questions. First: Why doesn't PBS give us a full season of history detectives? You're here and then POOF! You're gone! Second: In your first couple of seasons you'd give nice little gifts to the people who'd send you off in your sleuthing quest --- you know, something related to the item you're investigating. Is PBS getting a little tight-fisted and trying to cut corners here? Keep up the good work!
Gwendolyn Wright: Dear Viewer in Laguna Niguel,
I'm so glad you LOVE the show! It's wonderful to do it. I'm not entirely sure why PBS doesn't expand the season, and run more shows in the fall, since there's a large audience who like it very much. One issue, however, is that all of us have other jobs. Tukufu and I both teach in universities, and work with graduate students who are writing dissertations, and write our own books. I've had to cut back on the number of courses I teach to do the show, but it would be hard to give that up entirely. Second, in terms of the gifts; all of us liked the ideas, and we still do it off camera, but we are so pressed for time that we've tried to keep each segment focused on the investigation and less on the questioner.
Thanks again for your enthusiasm!
Best,
Gwen
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Philadelphia, Pa.: Dear Gwen, I am a big fan of your show. Yesterday, I was assisting Ms. Eva Brothers of the Kirk and Nice Funeral Home in sorting through the firms ledgers as they are being transferred to the Historical Society of Pennsylvania . We discovered a ledger of Dr. William Johnson dated 1811-1837. The Johnson family of Germantown as you may know figured prominently in the operation of the Underground Railroad. This ledger refers to the Knorr house which served as a station on the Underground Railroad. Interested? Sincerely, Ed
Gwendolyn Wright: Dear Ed,
I'm so glad you like the show. And you may have a fascinating story here. I'm always intrigued by houses that enclose other kinds of activities. The producers make decisions about which stories to follow up, sorting through literally thousands of submissions. Go to the "History Detectives" home page at PBS.org to submit it. But, if they decide they're already done something too close, you now have some leads for how to investigate the story yourself. How about giving it a try? Good luck!
Best,
Gwen
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Foggy Bottom, Washington, D.C.: Does the show have any research-related job vacancies still available, like a production assistant or intern? I'm in the MA program for Museum Studies at the George Washington University, and have a concentration in American Studies.
Gwendolyn Wright: Hi, Foggy Bottom,
Yes, we will need some new interns and production assistants for next season, which starts in a month or so, and we sometimes need people later in the year as well. You have excellent qualifications. Our offices are at Lion Television in New York. The phone is 212.206.8633. Good luck!
Best,
Gwen
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Long Island, New York: Love the show!!
Can you tell me - what is the first step in tracking down an architect of my home? My house was built in the 1890s, and from what I remember from when I was a kid, the house next door was also designed by the same architect. But where do I start?
Thanks!
Gwendolyn Wright: Hi,
I'm really glad you like the show. As far as your house, there may not be any records in the building department since it was built so early. The best step then is to go to your local Historical Society and library. They often have records that give you such information, and they're especially interested in 19th-century houses. You could also see if there were any local architects active in that area at the time, though your house could well have been designed by a firm in New York, or even in Boston. The 1880s-1890s saw some of the most wonderful and inventive houses in American history. For the most part, dating houses is easier than finding the name of the architect or builder, but since this was right at the moment when architects had licensing exams, you have a good chance of finding the information.
Good luck.
Best,
Gwen
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Wyoming, Pa.: Love the show. I really enjoy the architecture segments. I was wondering if you thought the historic homes in and around New Orleans and Biloxi would be able to be restored after the hurricane. I realize it would depend on the damage sustained but wouldn't the historic value make it worth the effort? I'm thinking of Beauvoir (last home of Jefferson Davis)in particular. Hope to take my children there one day. Thanks, Ellen
Gwendolyn Wright: Hi, I'm really pleased that you like the show, and especially the architecture segments. It's so hard to speculate about houses in and around New Orleans and Biloxi, since some areas were devastated and others suffered much less damage. It's a great loss of a special and magnificent history, as well as a massive human tragedy. (My sister lives in New Orleans and lost everything.) There's nothing like visiting a historic house to open up one's understanding (and imagination) about how people lived in the past. Hopefully, once the country and each locale deals with the human trajedy of loss, we can also dedicate time and money to restoration. It's a painful reminder about the need to go somewhere, rather than waiting and waiting. (I hadn't visited my sister in 30 years; she always came up to New York.) And of the need for good public services so we can be prepared for all kinds of disasters.
I hope one day we can do a story that deals with these issues, helping viewers think about the fragility of houses, records, and memories.
Best,
Gwen
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Alabama: That was a cute piece about the Leisureama homes last night.
How many days/weeks goes into producing one of your segments?
Gwendolyn Wright: Hi,
I'm glad you liked the piece on the Leisurama Homes. I wish we'd had more time! There's an initial process of investigation, evaluation and selection among thousands of possibilities from viewers. Then, once we decide to do a story, we usually spend a minimum of several weeks doing research on a segment (a full-time researcher and the producer, and the presenter -- though only part-time at this stage). The researcher makes several trips to the site during that time, and helps select people to interview and places for us to film. I get hundreds of pages of original documents and photographs, as well as books and articles. Then we spend a week on site with a crew, doing the research and filming it. After that comes an initial week of initial editing and several weeks of refining the piece. It's a lot of work!
Best,
Gwen
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Arlington, Va.: What is the most interesting or surprising discovery that's been made during this show? Where do you get your leads from?
Gwendolyn Wright: Hi, I was most surprised by the discovery of the Japanese War Department documents about the architecture of the Japanese pavilion for the 1939 World's Fair in San Francisco. We get most of our leads -- several thousand a year -- from viewers through the "History Detectives" site at PBS.com. In addition, friends and colleagues of the presenters will sometimes make a suggestion. But the main source is from viewers. And we only take stories that require real investigation -- never anything where the answer is already known!
Best, Gwen
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MONTREAL, QUEBEC, CANADA: Hi Gwen
I watched the show yesterday and I really enjoyed your piece. It was very amusing with that housewife that kept on appearing. Continue the good work -- History detective is a great show. It's just sad that it's only on in the summer. I wish teuy had more episodes.
It keeps us wanting more
take care
Gwendolyn Wright: Hi, I really enjoyed making that segment, and I'm delighted that you liked it. I only wish there'd been more time to explain about houses and developers and Cold War America. I hope we might expand, but just a little, since all four presenters have other jobs as well. I'm a professor who teaches, works with graduate students, and writes books, but I love doing History Detectives!
Best,
Gwen
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Gwendolyn Wright: I'm signing off now to go teach. I really enjoyed all the questions, opinions, and enthusiasm for the show. Thanks!
Gwen
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