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11 Sharp Facts About Annie Oakley

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You probably know that Annie Oakley was an outstanding sharpshooter who became famous while performing in Buffalo Bill’s Wild West Show. But if your knowledge of her life is limited to Annie Get Your Gun, we’ve got you covered. In honor of her birthday, here are 11 facts about Oakley, the Little Sure Shot of the Wild West.

1. SHE MADE HER FIRST SHOT AT 8 YEARS OLD.

Born on August 13, 1860 in a rural part of western Ohio, Phoebe Ann Moses grew up poor. Her father’s death in 1866 meant that she had to contribute to help her family survive, so she trapped small animals such as quail for food. At eight years old, she made her first shot when she killed a squirrel outside her house. “It was a wonderful shot, going right through the head from side to side. My mother was so frightened when she learned that I had taken down the loaded gun and shot it that I was forbidden to touch it again for eight months,” she later said.

2. SHE USED HER SHOOTING SKILLS TO PAY OFF HER MOM’S MORTGAGE.

Despite Oakley’s top-notch shooting skills, her widowed mother struggled to make ends meet. She sent Oakley to work for another family in exchange for her daughter getting an education. As a teenager, Oakley returned home (after working as a servant for an abusive family) and continued to hunt animals. She sold the meat to an Ohio grocery store, earning enough money to pay her mom’s $200 mortgage. She later wrote: "Oh, how my heart leaped with joy as I handed the money to mother and told her that I had saved enough to pay it off!"

3. SHE BEAT HER FUTURE HUSBAND IN A SHOOTING MATCH.

At 15 years old, Oakley participated in a shooting match on Thanksgiving with Frank Butler, an Irish-American professional marksman. The match, which happened in Cincinnati, was a doozy. To Butler’s surprise, the teenage girl outshot him by one clay pigeon, and he lost the $100 bet he had placed. Rather than feel embarrassed or emasculated by his loss, Butler was impressed and interested, and the two married the following year.

4. DESPITE HER PROFESSION, SHE EMPHASIZED HER FEMININITY.


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At the end of the 19th century, shooting was a predominantly male activity, and Oakley certainly stood out. But rather than dress or behave like a man to fit in, she emphasized her femininity. She wore her own homemade costumes on stage, behaved modestly, and engaged in "proper" female activities such as embroidery in her spare time.

5. SHE WAS ONLY FIVE FEET TALL.

In addition to Oakley’s gender, her diminutive stature made her stand out in the world of sharpshooting. In 1884, the Sioux chieftain Sitting Bull befriended Oakley when the two performers were traveling across the country. Acknowledging both her height and her shooting skill, Sitting Bull nicknamed Oakley Watanya Cicillia (English translation: Little Sure Shot). The American Indian warrior liked Oakley so much that he gave her his special moccasins to "adopt" her as his daughter.

6. SHE PERFORMED FOR KINGS AND QUEENS IN EUROPE.


Circa 1880s. Wikimedia Commons // Public Domain

Although the concept of the Wild West is firmly rooted in Americana, Oakley showed off her shooting skills across Europe as part of Buffalo Bill’s Wild West show. In 1887, she performed for Queen Victoria at the American Exposition in London, and the queen reportedly told Oakley that she was a "very clever little girl." In 1889, Oakley performed at the Paris Exposition and traveled to Italy and Spain. The press loved her, the king of Senegal wanted her to come help control the tiger population in his country, and Italy’s King Umberto I was a fan.

7. SHE OFFERED TO LEAD FEMALE SHOOTERS IN WORLD WAR I.

Wanting to use her shooting skills to serve her country, Oakley wrote a letter to President McKinley in 1898. She offered to provide 50 female sharpshooters (with their own arms and ammunition) to fight for the United States in the Spanish-American War, but she never got a response. Similarly, in 1917, she contacted the U.S. Secretary of War to offer her expertise to teach an army unit of women shooters to fight in World War I. She didn’t hear back, so she visited army camps, raised money for the Red Cross, and volunteered with military charities instead.

8. SHE SUED THE PRESS FOR PUBLICIZING HER (NONEXISTENT) DRUG ADDICTION.

In August 1903, two of William Randolph Hearst’s newspapers in Chicago reported that Oakley was a cocaine addict who was arrested for stealing a black man’s pants. Other newspapers ran the story, and Oakley—who was neither a drug addict nor a thief—was horrified. "The terrible piece … nearly killed me … The only thing that kept me alive was the desire to purge my character," she said.

The woman who had been arrested in Chicago was a burlesque performer whose stage name was Any Oakley. Most newspapers published retractions, but Hearst didn’t. He (unsuccessfully) hired a private investigator to uncover anything sordid about Oakley. Oakley sued 55 newspapers for libel, ultimately winning or settling 54 of them by 1910. Despite winning money from Hearst and other newspapers, costly legal expenses meant that she ultimately lost money to clear her name.

9. THANKS TO THOMAS EDISON, SHE BECAME A FILM ACTRESS.

In 1888, Oakley acted in Deadwood Dick, a financially unsuccessful play. At the Paris Exposition the next year, though, she met Buffalo Bill Cody’s friend Thomas Edison. In 1894, Oakley visited Edison in New Jersey and showed off her shooting skills for the inventor’s Kinetoscope. The resulting film, called The Little Sure Shot of the Wild West, featured Oakley shooting a rifle to break glass balls. Although she didn’t continue acting in film, she did act in The Western Girl, a play in which she portrayed a sharpshooter, in 1902 and 1903.

10. TWO SERIOUS ACCIDENTS HALTED HER CAREER.


Annie Oakley in 1922. Wikimedia Commons // Public Domain

In 1901, Oakley was injured in a train accident while traveling between North Carolina and Virginia for a performance. Although reports differ about the severity of her injuries, we do know that she took a year off from performing after the accident. Two decades later, Oakley was injured in a car accident in Florida. Her hip and ankle were fractured, and she wore a leg brace until 1926, when she passed away from pernicious anemia in Ohio at age 66. Frank Butler, her husband of 50 years, died 18 days later.

11. HER NAME BECAME AN IDIOMATIC EXPRESSION.

You know you’ve made it when your name becomes an idiom. Because of her shooting skills, the phrase "Annie Oakley" acquired a meaning of a free ticket to an event. Performing with Buffalo Bill’s Wild West show, Oakley shot holes in tiny objects, making targets out of everything from playing cards to a dime to a cigar dangling out of her husband’s mouth. Because free admission tickets for theatrical shows had holes punched in them (so they wouldn’t be sold to someone else), these tickets came to be called "Annie Oakleys."

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Watch Plastic Skeletons Being Made in a 1960s Factory
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The making of human teaching skeletons used to be a grisly affair, involving the manipulation of fresh—or not-so-fresh—corpses. But as this video from British Pathé shows, by the 1960s it was a relatively benign craft involving molded plastic and high temperatures, not meat cleavers and maggots.

The video, accented by groan-worthy puns and jaunty music, goes inside a factory in Surrey that produces plastic skeletons, brains, and other organs for use in hospitals and medical schools. The sterile surroundings marked a shift in skeleton production; as the video notes, teaching skeletons had long come from the Middle East, until countries started clamping down on exporting human remains. Before that, human skeletons in Britain and the United States were often produced with a little help from grave-robbers, known as the Resurrection Men. After being dissected in anatomical classes at medical schools, the stolen corpses were often de-fleshed and transformed into objects for study. The theft of these purloined bodies, by the way, started several of America's first riots. Far better they be made out of plastic.

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Assault, Robbery, and Murder: The Dark History of "Bedsheet Ghosts"
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Wearing his finest black outfit, Francis Smith stared nervously at the three judges in London’s main criminal courthouse. A mild-mannered excise tax collector, Smith had no known criminal history and certainly no intention to become the centerpiece of one of 19th century England’s most unusual murder trials. But a week earlier, Smith had made a criminally foolish mistake: He had shot and killed what he believed to be a ghost.

The spectators inside the courthouse sat hushed as the prosecutor and a cross-examiner questioned about half a dozen eyewitnesses. Each person had seen Smith in the village of Hammersmith (now a part of London) the night of the crime, or they had previously seen the ghost that Smith was zealously hunting. One such eyewitness, William Girdler, the village night-watchman and Smith’s ghost-hunting partner, had not only seen the white-sheeted specter lurking across the street—he had chased it.

“When you pursued it,” the cross-examiner asked, “how did it escape?”

“Slipped the sheet or table-cloth off, and then got it over his head,” Girdler responded. “It was just as if his head was in a bag.”

“How long had the neighborhood been alarmed with its appearance?”

“About six weeks or two months.”

“Was the alarm great and general?”

“Yes, very great.”

“Had considerable mischief happened from it?”

“Many people were very much frightened.”

Girdler was telling the truth. The people of Hammersmith had reported seeing a ghost for weeks now, and they were terrified: The specter was verifiably violent. It assaulted men and women, and during its two month campaign of harassment and intimidation, it had successfully evaded capture. Rumors swirled that it could manifest from graves in an instant, and sink back into the mud just as quickly. At the time, the magazine Kirby’s Wonderful and Scientific Museum reported that the ghost was “so clever and nimble in its retreats, that they could never be traced.”

When Ann Millwood took the stand, the cross-examiner asked if she was familiar with these reports.

The Hammersmith Ghost.
The Hammersmith ghost

“Yes, I heard great talk of it,” Millwood explained, “that sometimes it appeared in a white sheet, and sometimes in a calf-skin dress, with horns on its head, and glass eyes.” That wasn’t all. The ghost also reportedly took the shape of Napoleon Bonaparte; other accounts said that its eyes radiated like glow-worms and that it breathed fire.

It must have been incredibly difficult for Millwood to describe the ghost’s appearance, especially in front of a public audience. The ghoul she characterized looked nothing like her late brother Thomas, the young man whom Francis Smith had mistakenly murdered.

 
 

In 19th century Britain, seeing a ghost—at least, a person dressed up as one—was not uncommon. Ghost impersonating was something of a fad, with churchyards and cobblestoned alleyways regularly plagued by pranksters, louts, and other sheet-wearing hoaxsters who were up to no good.

Historian Owen Davies tracks the origin of ghost impersonators in his wide-ranging book, The Haunted: A Social History of Ghosts, tracing the first reports of fake ghosts to the Reformation, when critics of Catholicism accused the Church of impersonating the dead to convert doubters. (According to one account by the reformer Erasmus, a priest once fastened candles to a cast of crabs and released them in a dark graveyard in hopes of imitating the lost, wandering souls of purgatory.)

But for most ghost impersonators, candle-strapped crustaceans were unnecessary; all you needed was a white sheet. Up until the 19th century, the bodies of the poor weren’t buried in coffins but simply wrapped in fabric—sometimes the sheet of the deathbed—which would be knotted at the head and feet. Ghost impersonators adopted the white sheet as their de facto wardrobe as early as 1584, when Reginald Scott, a member of parliament and witchcraft aficionado, wrote that, “one knave in a white sheet hath cozened [that is, deceived] and abused many thousands that way.” It’s from this practice that the trope of a white-sheeted ghost originated.

Seventeenth and 18th century Britain are sprinkled with accounts of phony phantoms. Take Thomas Wilmot, a famed crook and highwayman who once disguised himself as a spirit to steal money. (His appearance—chalked-up skin and a sheet-bound head—sent a table of gamblers scrambling for an exit. Wilmot pocketed the cash they left on the table.) And by the 1760s, so many white-sheeted pranksters were prowling in cemeteries that annoyed citizens were paying bounties to get rid of them. According to the Annual Register, one ghost in southern Westminster “struck such terror into the credulous inhabitants thereabouts, that those who could not be brought to believe it a ghost, entered into a subscription, to give five guineas to the person, who would seize him.”

These pranks had consequences. In 1792, a ghost impersonator in Essex spooked a farm-worker steering a wagon; the horses jumped, the driver tumbled, and his leg was crushed by one of the wagon’s wheels. He died from his injuries. Twelve years later, soldiers in London’s St. James’s Park spotted the specter of a headless woman, an event that authorities took very seriously, if only because it was distracting—and reportedly harming—its security guards. In the 1830s, a ghost impersonator was tried for manslaughter because he literally frightened an 81-year-old woman to death.

It was dangerous for the so-called ghosts, too. In 1844, six men chased a ghost impersonator and beat him so badly that he had to visit the hospital. In 1888, a mob of 50 villagers—all armed with sticks—surrounded a “ghost” and only released him after he agreed to donate money to a local infirmary. (Some ghost-busts startled investigators for other reasons: Davies writes that, in 1834, an investigation of an unoccupied haunted house revealed “nothing more than some boisterous love-makers.”)

Like many other pastimes in 19th century Britain, ghost impersonating was a gendered activity: Women, especially young female servants, were often restricted to mimicking poltergeist activity indoors—rapping on doors, moving furniture, throwing rocks at windows—while the sheet-wearing hijinks were reserved for young men who, far too often, had scuzzy intentions.

Most accounts of ghost impersonating, both modern and historical, gloss over the fact that men often used their ghostly cover to intimidate, harass, sexually assault, and even rape women. In his precise and critical account of ghost impersonators, Spirits of an Industrial Age, the historian Jacob Middleton argues that ghost impersonating was not only the domain of juvenile pranksters, but also that of sexual predators. This was made most painfully clear during the 1830s, the height of hauntings by “Spring-Heeled Jack.”

Spring-Heeled Jack.
Spring-Heeled Jack
Wikimedia Commons // Public Domain

Every day, London’s women had to contend not only with the persistent threat of cads and street harassers, but also with men the press dubbed “Monsters,” menaces who stalked, grabbed, groped, slashed, and stabbed women in the breasts and buttocks. These criminals were piquerists, people who took sexual pleasure in piercing the skin of women, and a spate of attacks in the 1780s put all of London at unease. In the early 1800s, these boors started to take cover by dressing as ghosts. Spring-Heeled Jack, called a “monster in human form,” was among them: Hiding in alleyways after sunset, he would seek lone women, knock on their doors, and attempt to tear away their clothes with hooks. Thanks to London’s sensationalist press, tales of Spring-Heeled Jack would bloat into urban legend.

But even before Spring-Heeled Jack, on a normal evening, the women of Hammersmith were justified in feeling worried about stepping outside after dark. Organized police forces were a relatively new idea in Great Britain, and solitary neighborhoods such as Hammersmith were protected by little more than a roving constable or watchman. Reports of the Hammersmith ghost intensified that anxiety. (The community's men weren’t much help. As the Morning Post reported, “[The ghost] was seen on Monday evening last pursuing a woman, who shrieked dreadfully. Although there were four male passengers in the stage coach, which passed at the time, not one durst venture to the rescue of the distressed female.”) It wasn’t until weeks of attacks that bands of locals, their bellies sloshing with ale supplied by the nearest public house, began taking to the streets to stop the menace.

It was at the intersection of these two sad facts that the tragedy at Hammersmith unfolded: Francis Smith went out on January 3, 1804 to catch a ghost, while Thomas Millwood went out to ensure that his wife, who was walking home alone in the dark, did not meet one.

 
 

Thomas Millwood was told he resembled the Hammersmith ghost. A bricklayer, Millwood wore a white jacket, white trousers, and a white apron, an ensemble that scared a carriage-riding couple one dark Saturday night. When the passerby exclaimed to his wife, “There goes the ghost!” Millwood turned and uncorked a few colorful and unprintable words, asking if the man wanted “a punch in the head.”

After the incident, a family member named Phoebe Fullbrooke implored Millwood to change his wardrobe at night. “Your clothes look white,” she said. “Pray do put on your great coat, that you may not run any danger.” Millwood mumbled something about how he hoped the town’s vigilantes would catch the ghost, but he neglected the advice and continued walking home in his white work clothes.

A few nights later, Francis Smith and William Girdler went ghost hunting.

Compelled by reports of the ghost’s violence, the men carried firearms. Hammersmith’s spirit had choked a man and the village swirled with rumors that it had even attacked a pregnant woman who later died of shock. According to one report, the apparition caused “so much alarm, that every superstitious person in that neighborhood had been filled with the most powerful apprehensions.” But superstitions mattered little. Ghost or not, there was undoubtedly a public menace in Hammersmith, and people wanted it gone. A bounty of 10 pounds would be awarded to anybody who caught it.

A depiction of Francis Smith hunting the Hammersmith ghost in 'The Newgate Calendar.'
A depiction of Francis Smith hunting the Hammersmith ghost in The Newgate Calendar.
Wikimedia Commons // Public Domain

That same night, Thomas Millwood stopped at his father’s house and began chatting with his sister Ann. Sometime between 10 and 11 p.m., she suggested he leave and escort his wife, who was still in town, back home. “You had better go,” Ann said. “It is dangerous for your wife to come home by herself.” Millwood agreed and stepped outside, wearing his white bricklayer’s clothes. He didn’t know that he was walking down the same unlit lane as Francis Smith, shotgun in tow.

When Smith spotted the white figure gliding in his direction, he lifted his fowling piece to his shoulder and yelled, “Damn you, who are you? Stand, else I’ll shoot you.” The air stood silent. He yelled a second time and stared down the barrel. Not hearing any response, Smith fired.

Millwood’s sister heard the gunshot and screamed for Thomas, but, like Smith, she heard no response. She later found her brother lying face up on the dirt lane, his face stained black with gunpowder, his white clothes stained red.

 
 

The Caledonian Mercury reported the sad news later that week: “We have to announce to the public an event, in some of its circumstances so ludicrous, but in its result so dreadful, that we fear if the reader should even laugh with one side of his mouth, he must of necessity cry with the other.”

The moment the smell of spent gunpowder hit his nose, Smith knew he’d made a mistake. Millwood had been killed instantly; the shot entered his lower left jaw and exited through the back of his neck. Smith barged into the White Hart pub in visible distress, possibly in shock, and waited to be arrested. One week later, he stood trial at London’s Old Bailey courthouse. The jury deliberated for 45 minutes before returning with a conviction of manslaughter.

The three judges rejected the sentence.

“The Court have no hesitation whatever with regard to the law,” Justice Rooke exclaimed, “and therefore the verdict must be—‘Guilty of Murder’ or ‘a total acquittal from want to evidence.’” In other words, the jury could not be wishy-washy. Smith was either guilty of murder, or not guilty of murder—the jury needed to decide.

Within minutes, Smith was convicted of murder. He was sentenced to hang the next Monday; his body would be dissected in the name of science.

Reports of Smith’s trial were lurid. As the Newgate Calendar tells it, “When the dreadful word ‘Guilty!’ was pronounced [Smith] sank into a state of stupefaction exceeding despair.” His feelings were likely intensified by the admission of John Graham, a Hammersmith shoemaker who days earlier admitted to starting the Hammersmith ghost hoax. (Graham began impersonating the specter to scare his apprentices, who he complained were filling his children’s heads with nonsense about ghosts. Unfortunately, his prank appears to have inspired violent copycats to engage in what the Caledonian Mercury called “weak, perhaps wicked frolic.”)

In the end, Smith would be lucky. His sentence was sent to His Majesty King George III, who not only delayed the execution but eventually granted Smith a full pardon.

The Hammersmith ghost trial, however, would haunt England’s legal system for almost another two centuries. Smith’s case would remain a philosophical head-scratcher: If somebody commits an act of violence in an effort to stop a crime from occurring—only to realize later that they were mistaken and that no crime was being committed—is that person still justified in using violence? Or are they the criminal? British law would not be make room for this gray area until the 1980s.

Meanwhile, the tragedy in Hammersmith failed to deter England’s many ghost impersonators. Pranksters and creeps alike continued wearing bedsheets in dark cemeteries and alleyways for almost another century. In fact, the ghost of 1803 and 1804 would not be the last specter to haunt the village of Hammersmith. Two decades later, a ghost would return. But this time, villagers whispered rumors that this haunting was real, caused by the angry soul of a white-clad bricklayer named Thomas Millwood.

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