Matthew Kerns's Blog: The Dime Library, page 10

My Heroes Have Always Been Cowboys

The American Western and the superhero genre share a rich, intertwined heritage that has significantly influenced popular culture. At the core of this relationship is the iconic figure of the cowboy, whose characteristics and ethos have profoundly shaped superhero narratives, particularly characters such as Batman. This connection goes beyond mere thematic parallels; it's rooted in the historical figure of Texas Jack Omohundro, the first famous cowboy in American history. Omohundro's real-life exploits and stage persona laid the groundwork for the cowboy archetype, which was later popularized and codified by his friend Buffalo Bill Cody in his Wild West show. This blog post delves into the various dimensions of the cowboy's influence on the superhero genre, with a special focus on how the legacy of Texas Jack and the Wild West show has shaped the lore, themes, and essence of characters that now captivate audiences worldwide.

The Cowboy Ethos

The cowboy, a quintessential symbol of American culture as embodied by Texas Jack, embodies ideals such as bravery, justice, and independence. These values resonate deeply within the superhero genre, where they are amplified and adapted to fit a modern context. Batman, created by Bob Kane and Bill Finger in 1939, exemplifies these traits. Like the solitary cowboy riding through the Wild West, Batman operates outside the conventional bounds of law and society, taking justice into his own hands in the lawless landscape of Gotham City. The cowboy's ethos of personal responsibility and the fight against injustice seamlessly transition into the superhero narrative, providing a template for Batman's moral compass.

Superman, created by Jerry Siegel and Joe Shuster in 1938, diverges from Batman's shadowy figure in key ways but shares foundational roots with the cowboy ethos that underpin the superhero genre. This connection further illustrates how American superheroes, despite their variances, are modern iterations of the cowboy's legacy, reflecting evolving societal values and challenges.

The Lone Vigilante

At the core of the cowboy's appeal is the image of the lone figure standing against chaos and corruption. This trope has been directly transposed onto superheroes, particularly Batman. The Dark Knight's solitary crusade against crime mirrors the cowboy's lone battle against the wild elements and outlaws of the American frontier. Both figures operate in the shadows, relying on their skills, wit, and moral conviction to confront villains. The cowboy's ability to navigate the blurred lines between right and wrong, employing violence for a greater good, prefigures Batman's complex moral universe, where the ends often justify the means.

Superman's Alien Heritage and the Frontier Spirit

Superman's origin as an alien from Krypton who adopts Earth as his home mirrors the frontier spirit of exploration and assimilation into new worlds, a central theme in Western narratives. Just as cowboys ventured into the unknown territories of the American West, Superman navigates his identity between his alien heritage and his role as Earth's protector. This duality captures the essence of the American melting pot, portraying a hero who embodies the ideal of finding one's place in a new world while contributing to its betterment.

The Aesthetic and Iconography

The visual aesthetics of the cowboy—broad-brimmed hats, capes resembling dusters, and the rugged demeanor—have found echoes in superhero costumes and personas. Batman's iconic cape and cowl, for instance, evoke the mystery and menace of the cowboy silhouette against a sunset. The bat symbol, much like the cowboy's badge or the branding of cattle, serves as a totem of fear and respect. This shared iconography not only enhances the mystique of the superhero but also roots them in a distinctly American tradition of symbolically marked heroes.

The Embodiment of Hope and Justice

While Batman represents the dark avenger working from the shadows, Superman stands as a symbol of hope, justice, and the American way, directly echoing the cowboy's role as a guardian of peace and order on the frontier. Superman's commitment to truth, justice, and the American way resonates with the cowboy's dedication to upholding moral values in the face of adversity. Both figures, albeit through different methods, seek to protect the innocent and maintain social order, embodying the idealized American hero who champions the greater good.

Narratives of Redemption and Revenge

Central to many Westerns is the theme of redemption and revenge, narratives that have been wholeheartedly adopted by the superhero genre. Batman's origin story, marked by the tragic loss of his parents, propels him on a quest for justice that is deeply reminiscent of the cowboy's journey to avenge wrongs and redeem a lawless land. This narrative framework allows for complex character development, exploring themes of loss, vengeance, and the quest for justice, which are as much at home in Gotham City as they are on the frontier.

The Diverse Manifestations of Heroism

The contrast between Batman and Superman highlights the multifaceted nature of heroism and the American spirit. Batman, with his reliance on technology, intellect, and physical prowess, and Superman, with his alien powers and moral clarity, represent different aspects of the cowboy archetype—the resourceful loner and the hopeful protector. This diversity underscores the adaptability of the cowboy ethos, evolving to address the complexities of modern society while retaining its core values of bravery, justice, and independence.

Shared Themes and Challenges

Despite their differences, both Batman and Superman confront themes central to the cowboy narrative: the struggle against lawlessness, the quest for justice, and the tension between individualism and community responsibility. Their battles against villains reflect the cowboy's fight against outlaws, symbolizing the perpetual struggle between good and evil in the context of societal progress and moral ambiguity. The adaptation of these themes into superhero narratives demonstrates the continued relevance of the cowboy ethos in addressing contemporary issues.

Conclusion

The cowboy's influence on the superhero genre, and Batman in particular, is a testament to the enduring power of American cultural archetypes. By embodying the cowboy's ethos, aesthetic, and narrative themes, superheroes like Batman and Superman bridge the gap between the mythic past of the Wild West and the urban landscape of contemporary America. This fusion creates a rich tapestry of storytelling that continues to captivate audiences worldwide, proving that the spirit of the cowboy lives on in the caped crusaders of today. As we delve deeper into the superhero genre, the echoes of the American Western remind us of the timeless appeal of heroes who stand in the shadowy threshold between law and chaos, guided by a moral compass that points towards justice.

https://amzn.to/436azGV

Texas Jack Takes An Encore

This article, published in the April 2022 Wild West, received the 2023 Western Heritage Award for best magazine article from the National Cowboy & Western Heritage Museum in Oklahoma City and the Spur Award from the Western Writers of America.

The Wild West. It is the fundamental mythology of the United States of America, the iconography and imagery we have chosen to tell the story of who we are as a people and as a country. It is a mythology so enduring that depictions of it stretch from the yellowed pages of dime novels written while the West was still being won to the controllers and keyboards of gamers playing Red Dead Redemption 2. On film, from Edwin S. Porter’s The Great Train Robbery in 1903 to Jeymes Samuel’s The Harder They Fall in 2021, the splendor and danger of the American West have captivated the imagination of generations.

The iconic figures of the American West are just as familiar. There are such stalwart lawmen as Wild Bill Hickok and Wyatt Earp and the outlaws they faced, like Jesse James and Billy the Kid. There are gamblers like Doc Holliday, scouts like Buffalo Bill Cody, and warriors like Crazy Horse (Tasunke Witko) and Geronimo (Goyahkla). Such names—such men—have become more than historical figures, as fiction trumped fact and their legends were superimposed over their lives. Each was a real man, but in the telling and retelling of their tales they have taken on the status of folk heroes, as much Paul Bunyan or Pecos Bill as William Frederick Cody or James Butler Hickok.

Yet when we take a step back from the individuals and the individual stories woven into the tapestry of the American West, a curious theme emerges. Picture a meeting of these great Western men. Standing there are the scout Buffalo Bill, the lawman Wild Bill, the gambler Doc Holliday and the outlaw Jesse James. How are they dressed? Is Wild Bill wearing a marshal’s hat? Does Jesse James have on outlaw boots? Of course not. The wide-brimmed Stetson shading their eyes from the sun is a cowboy hat, and on their feet are tall leather cowboy boots. If the great men of the American West weren’t cowboys, how did the cowboy become the single most iconic figure of the American Western?

The truth is there was a famous cowboy who stood beside these men in real life and whose legacy is just as enduring, though his name has been all but forgotten by the casual student of American history. In 1873, when Buffalo Bill convinced Wild Bill to join a traveling stage show called Scouts of the Plains, their co-star was a real-life cowboy named John Baker Omohundro. Friends called him “Texas Jack.” Born on July 27, 1846, in Fluvanna County, Va., Jack served as a Confederate courier and scout during the Civil War for a time under vaunted cavalryman Maj. Gen. J.E.B. Stuart, before drifting west to Texas and the life of an open-range cowboy.

Onstage, Cody and Hickok impressed crowds with tales of buffalo hunting on horseback and gunslinging in frontier towns, while in his baritone Virginia drawl Texas Jack thrilled with stories of wild stampedes and cattle rustlers. He entertained packed halls, auditoriums and theaters as he whirled his lasso overhead, the first to turn that tool of the cowboy trade into an object of entertainment for fascinated audiences. Texas Jack was the first cowboy to rise to prominence in the American popular imagination, and his stage persona provided the foundation on which the cowboy trope in literature and film would be built. To understand the impact of Texas Jack, and just how unlikely it was the open-range cowboy should achieve such status and permanence in American pop culture, we should reflect on the history of the cowboy, both the word and the profession.

For much of American history, it was an insult to call a man a “cowboy.” During the American Revolution, the term referred to British Loyalists who stole livestock from local farmers and delivered them to British troops. On Jan. 22, 1779, New Yorkers hanged Claudius Smith, alias “Cowboy of the Ramapos,” for his guerrilla raids after Governor George Clinton posted a $1,200 reward for his capture. The word cowboy remained unflattering as late as 1881 when San Francisco’s Daily Exchange deemed cowboys “the most reckless class of outlaws in that wild country…infinitely worse than the ordinary robber.” The editors were referring to the infamous Cowboys of Cochise County, an especially ruthless band of rustlers and outlaws then operating near Tombstone, Arizona Territory, whose criminal activities were curtailed by the Oct. 26, 1881, Gunfight at the O.K. Corral and subsequent Earp Vendetta Ride.

The passage of time and other factors have shaped our present-day view of the cowboy. The mid-1880s saw the expansion of the cattle industry from Texas across the entire West. American businessmen and wealthy European investors built vast ranches, bought cattle and hired cowboys, leading to one of the biggest economic booms in history. Their investments provided a foundation for U.S. dominance of the world economy while simultaneously funding the development of cities and infrastructure across the West. Books like Owen Wister’s 1902 novel The Virginian began to mythologize the cowboy, and literary giants from Zane Grey to Louis L’Amour followed suit. 

Hollywood gravitated to the cowboy and Western locations from its earliest films well into the late 20th century. Westerns dominated movie house screens following World War II, and cowboy stories dominated Westerns. Leading actors across multiple generations starred in Westerns, from William S. Hart and Tom Mix to John Wayne and James Stewart, Burt Lancaster, and Clint Eastwood to Idris Elba and Benedict Cumberbatch.

After the devastating loss of both his mother and wife to illness on Valentine’s Day, 1884, Theodore Roosevelt escaped west to start a cattle ranch north of Medora in what would soon become North Dakota. He was indelibly shaped by Western ranch life and the cowboys he befriended. Returning to Medora by train in 1900 on a campaign swing for incumbent President William McKinley, the vice presidential candidate told locals, “I had studied a lot about men and things before I saw you fellows, but it was only when I came here that I began to know anything or to measure men right.” It was Roosevelt’s time out West that would shape and refine the New York City boy into the “Cowboy President.” He wouldn’t be the last politician to exploit the cowboy image of rugged independence to improve his standing with American voters.

Film stars, authors, and politicians aside, nobody has had more of an influence on the popular perception of the cowboy than one man—Buffalo Bill Cody. From its May 1883 inception as Cody & Carver’s Rocky Mountain and Prairie Exhibition (a short-lived partnership with sharpshooter William Frank “Doc” Carver) until Cody’s 1917 death, no entertainment was as prevalent or as successful as Buffalo Bill’s Wild West. The imagery and iconography of Buffalo Bill are indelibly tied to the profession of the cowboy, the rare occupation Cody—messenger, scout, soldier, teamster, buffalo hunter, showman, town planner and hotel proprietor—never held. “Cody plowed his theatrical profits into ranching,” author Louis Warren explains in Buffalo Bill’s America, “but like most ranch owners, he was an absentee owner who was never a cowboy.”

Yet central to Cody’s vision of the Wild West, indeed the defining icon of the Western man, was the cowboy. For more than two decades the culminating act of the show was listed in the program as “Attack on a Settler’s Cabin by Hostile Indians. Repulse by Cow-boys, Under the Leadership of Buffalo Bill,” or similar wording. With civilization at stake and the fate of the emblematic family of white settlers on the line, the group of heroes riding to the rescue did not comprise professional soldiers but cowboys, of course led by Buffalo Bill. When Cody, who scouted for the military well before taking to the stage, rode into actual engagements with hostile Sioux or Cheyennes on the Great Plains and Dakota Territory hills, he did so in the company of trained soldiers, never cowboys. Why then did Cody present the cowboy as the savior of the settler—of civilization itself—from the threat of savagery?

The answer is the man Buffalo Bill would eulogize as “one of my dearest and most intimate friends”—Texas Jack Omohundro.

Texas Jack rode into Buffalo Bill’s life as a cowboy in 1869. Cody had been placed in charge of the government’s livestock at Fort McPherson, Neb., kept on the payroll between scouting assignments, when Omohundro rode into nearby North Platte trailing a few thousand head of Longhorns. The men were soon inseparable. They hunted together. They drank together. They scouted together. They even hung wallpaper in Cody’s North Platte home together. When Buffalo Bill spent long weeks away scouting for the 3rd U.S. Cavalry, Texas Jack stayed in a spare room at the Cody house to ensure the safety of Bill’s wife, Louisa, and their children. “Pards of the Plains for life” is how Cody defined their relationship.

On April 25, 1872, Buffalo Bill and Texas Jack set out from Fort McPherson in pursuit of Minneconjou raiders who, the night before, had stolen seven horses from nearby McPherson Station on the Union Pacific Railroad. Guiding 46 troopers and an Army surgeon under the command of 3rd Cavalry Captain Charles Meinhold, they tracked the horse thieves. The next afternoon, after a brief skirmish on the Loupe Fork of the Platte River in which Buffalo Bill was injured and three warriors were killed, the party recovered two horses, while the surviving raiders escaped. In his after-action report, Meinhold singled out four men for mention. The first was Sergeant John H. Foley, who “charged into the Indian camp without knowing how many enemies he might encounter,” and 1st Sgt. Leroy H. Vokes, “who bravely closed in upon an Indian while he was fired at several times and wounded him.” Next was Cody, whose “reputation for bravery and skill as a guide is so well established that I need not say anything else than but he acted in his usual manner.” The last was Omohundro, “a very good trailer and a brave man who knows the country well, and I respectfully recommend his employment as a guide should the service of one in addition to Mr. Cody be needed.” Cody, Foley, and Vokes each received the Medal of Honor for “gallantry in action.” It is uncertain why Texas Jack did not, though his past service to the Confederacy might have given Meinhold pause.

Clippings from local papers expand on the day’s events. A reporter for the North Platte Democrat wrote that after Cody began firing at the Minneconjou raiders, “the remainder of the command, hearing the fire, came up at full jump—‘Texas Jack’ at the head.…[He] immediately let drive and brought his Indian down.…Beside enjoying the reputation of a ‘dead shot,’ he is well skilled in the ways of the red man, and we are glad to know that his services have been retained by the government.”

Cody also described the fight in his autobiography. “Two mounted warriors closed in on me and were shooting at short range,” he wrote. “I returned their fire and had the satisfaction of seeing one of them fall from his horse. At this moment, I felt blood trickling down my forehead, and hastily running my hand through my hair, I discovered that I had received a scalp wound.” Another paper picked up the action with rhetorical flourish. “[To Texas Jack] was Buffalo Bill indebted for his life,” it noted. “The red thieves were pursued and overtaken by Bill and Jack, who each killed an Indian. A third redskin had just drawn a bead on Bill when Jack’s quick eye caught the gleam of the shining barrel, and the next instant, ‘the noble red’ was on his way to the happy hunting ground, his passage from this sublunary sphere being expedited by a bullet from Jack’s rifle at a distance of 125 yards.”

If the latter account is to be believed, Texas Jack quite literally saved Buffalo Bill’s life that April afternoon. What is certain is that Omohundro was his best friend, the first man Cody telegrammed when the latter’s 5-year-old son, Kit Carson, died on April 20, 1876. For three years on the Nebraska prairie, Buffalo Bill and Texas Jack rode, hunted, scouted, and camped together. For four years on theatrical stages from Maine to Texas, they appeared together in more than 550 performances, not counting matinees.

Onstage Texas Jack was the picture of the cowboy. His costume included the ever-present Stetson, tall black cavalry boots, and a fringed buckskin jacket worn open to reveal the Lone Star of Texas emblazoned on his shirt. He carried a lasso, rifle, revolver, and bowie knife, prepared for any danger that might come his way. More often than not, that danger took the form of hostile Indian warriors. These captivating stage encounters—Texas Jack locked in deadly combat against a tomahawk-wielding brave—were the genesis of “cowboys and Indians” backyard games for generations to come.

The concept of cowboys fighting Indians on the outskirts of civilization is so firmly ingrained in the collective consciousness as to seem clichéd, but the reality of the cowboy stands in stark contrast with such romantic depictions in print and on-screen. By the time of the big Texas cattle drives of the late 1860s, herders meticulously avoided conflict with Indians. After all, ranch owners entrusted them with the care of their valuable stock. Ensuring the safe conduct of their charges during transportation made cowboys more akin to present-day truck drivers than buckskin-clad knights. The era of cattle drives along the Chisholm Trail, Goodnight-Loving Trail and countless others lasted from 1866 until the 1890s when the expansion of rail lines and laying of hundreds of miles of barbed-wire fence rendered the job of open-range cowboy obsolete.

During those scant 30 years of cowboy primacy, swift streams swollen by rain, lightning strikes, falls from horseback, and disease accounted for the majority of cowboy deaths. A cowboy was more likely to draw his gun on a farmer than a card sharp across a town square at high noon, and more likely to fire his rifle at a coyote than a Comanche raider. Dust and tedium were the rule of a cowboy’s work, as was enduring the worst of conditions to ensure top dollar for beef. Unlike the fiction, the real cowboy’s life was far from romantic. “By all rights,” Lonn Taylor wrote in The American Cowboy, “he should have joined the hunters of Kentucky, the whalers, the flatboatmen, the plainsmen, and all of the other American types who briefly caught the popular imagination, were popularized on the stage and in song, and were then forgotten. But the open-range cowboy was never forgotten.”

The reason the cowboy endured while all those other professions were forgotten is that after the death of his cowboy friend Texas Jack, Buffalo Bill Cody refused to let the public forget. Once, a lone cowboy rode with Buffalo Bill across the prairies of Nebraska. Now, hundreds of cowboys followed his lead in the spectacle of the Wild West. Where once a single cowboy stood onstage and twirled his lasso, now a legion of men demonstrated cowboy skills for audiences worldwide. Buffalo Bill enshrined Texas Jack’s experience as a cowboy in show programs handed out to millions of men, women, and children visiting the Wild West at stops in cities across the United States and throughout Europe. From the inaugural performance in 1883 and in long stands at New York’s Madison Square Garden in 1886–87, Queen Victoria’s 1887 Golden Jubilee in London, and the 1893 World’s Fair in Chicago, Wild West programs contained a section titled simply “The Cow-Boy,” written by Texas Jack in the spring of 1877.

“The cow-boy!” began the piece that introduced the profession to so many eager spectators. “How often spoken of, how falsely imagined, how greatly despised (where not known), how little understood? I’ve been there considerable.” With descriptions of stampedes and storms, cowboys singing to restless steers at night, and “cow sense,” Omohundro outlines a profession requiring the patience of Job and peopled by ambitious, adventurous, and rebellious young men, “taught at school to admire the deceased little Georgie [Washington] in his exploring adventures, though not equaling him in the ‘cherry-tree goodness.’” Signing with a flourish as both J.B. Omohundro and Texas Jack, the author concludes on a wistful note:

"How many, though, never finish, but mark the trail with their silent graves, no one can tell. But when Gabriel toots his horn, the “Chisholm Trail” will swarm with cow-boys. “Howsomever, we’ll all be thar,” let’s hope, for a happy trip when we say to this planet, adios!"

In searching for an archetype of the kind of man Buffalo Bill—soldier, scout and buffalo hunter—would elevate above all other professions in his simulacrum of the real West, presented as absolute historical truth to huge audiences on both sides of the Atlantic, one need look no further than John Baker “Texas Jack” Omohundro, cowboy. 

Perhaps the breadth of cowboy adventures in literature and on film can also be attributed to the well-publicized exploits of Texas Jack. Years before Lakota warriors traveled with the Wild West, Omohundro led the Pawnees on their 1872 penultimate summer buffalo hunt in Nebraska. Before Cody defiantly erected his tents opposite the exclusive 1893 World’s Columbian Exposition in Chicago, Texas Jack set up a Western-themed hotel, saloon, and shooting gallery opposite the 1876 Centennial International Exposition in Philadelphia. Before Cody and Doc Carver launched the Wild West extravaganza in 1883, Omohundro and Carver displayed their skills with rifle, pistol, and bow and arrow at a series of exhibitions in 1878.

The cowboy tradition continued with Texas Jack Jr. (c. 1860–1905), who, as a young orphan, was rescued by Omohundro and later ran his own Wild West show. (Old West Events)

If the life of the average cowboy was trail dust and tedium, Texas Jack’s was never short on excitement, adventure, and romance. In 1873 he married his beautiful co-star “The Peerless” Giuseppina Morlacchi, an Italian-born prima ballerina who was among the most famous dancers of the era, having introduced the can-can to the American stage in 1868. In 1874, Texas Jack guided Anglo-Irish noble and adventurer the Earl of Dunraven through the newly established Yellowstone National Park. Three years later, he blazed a new trail into the park from the southeast and rescued tourists from marauding Nez Perces as the latter fled Army troops through the park. Jack led Western hunts for such aristocrats as Dunraven, Sir John Reid, and Count Otto Franc, all significant figures in the coming boom of the American cattle industry. He scouted for Brig. Gen. Alfred Terry in pursuit of Crazy Horse and Sitting Bull (Tatanka Iyotake) in the aftermath of Lt. Col. George Armstrong Custer’s June 25, 1876, defeat at the Little Bighorn (Greasy Grass). One night in 1878 Texas Jack surprised Thomas Edison in a Wyoming hotel, shooting a weather vane atop a freight depot from the window of Edison’s room to prove he was “the boss pistol-shot of the West.” It is little wonder it took scores of cowboys to replace this one man in Buffalo Bill’s Wild West. 

“William Cody seldom spoke of death or of people who had died,” biographer Warren notes. “In all his correspondence, there is barely a mention of any deceased friends or acquaintances. He wrote no poignant words about Wild Bill Hickok, Sitting Bull, or [Wild West manager] Nate Salsbury. No matter how tragic their deaths, he seldom spoke of the loss.” But Buffalo Bill did write multiple dime novels about his late cowboy friend Texas Jack. Omohundro, stricken with pneumonia, died in the high Rocky Mountain town of Leadville, Colo., on June 28, 1880, a month shy of his 34th birthday. On Sept. 5, 1908, almost three decades after Texas Jack’s death, Cody gathered the cast and crew of the Wild West around Omohundro’s grave in Leadville’s Evergreen Cemetery. There he delivered an impassioned eulogy for the man he called “one of my dearest and most intimate friends…one of the original Texas cowboys, when life on the plains was a hardship and a trying duty.” Buffalo Bill purchased the permanent gravestone that marks the Texas Jack’s final resting place.

Nearly a decade later, on Jan. 6, 1917, an ailing Cody rode through Leadville for the final time on a return visit from Glenwood Springs to Denver. Too weak to leave his train car, he sat up in bed when told he was in Leadville, telling his daughter about the grave of Texas Jack, his friend and partner. Four days later, Buffalo Bill was dead.

Few men are truly remembered in the way the world remembers Buffalo Bill. Yet Americans largely forgot about Texas Jack Omohundro, the cowboy who first popularized the profession and introduced the lasso to the stage, and whose description of his life on the open range spoke to millions of spectators from programs handed out at each stop of Buffalo Bill’s Wild West. Americans recall the names of the legendary lawmen and outlaws, of the braves and bandits, the soldiers and the scouts, but we forgot the name of our most important open-range cowboy. Americans forgot, but Buffalo Bill remembered. And because Buffalo Bill remembered Texas Jack, the world remembers the American cowboy.

https://amzn.to/3wwQLQJ

This article, published in the April 2022 Wild West, received the 2023 Western Heritage Award for best magazine article from the National Cowboy & Western Heritage Museum in Oklahoma City. Matthew Kerns, who writes from Chattanooga, Tenn., is a historian, web developer, and digital archivist who manages the Texas Jack Omohundro Facebook page and has written many articles about Texas Jack. His 2021 book Texas Jack: America’s First Cowboy Star is recommended for further reading, along with Buffalo Bill’s America: William Cody and the Wild West Show, by Louis S. Warren, and The Notorious Life of Ned Buntline: A Tale of Murder, Betrayal and the Creation of Buffalo Bill, by Julia Bricklin.

2024 Owen Wister Award

Quintard Taylor: Honoring a Trailblazer in Western History with the 2024 Owen Wister Award

The Western Writers of America (WWA) has recently announced a momentous occasion in the field of Western history and literature. The 2024 Owen Wister Lifetime Achievement Award, a prestigious recognition for significant contributions to Western heritage, has been awarded to Quintard Taylor, a luminary in the exploration and documentation of the African American experience in the American West.

A Life Dedicated to Uncovering Hidden Histories

Born in 1948 in Brownsville, Texas, Quintard Taylor's journey is a testament to dedication and scholarly excellence. His roots run deep into the American historical fabric, with a family history that intertwines with the narrative of slavery and resilience. His great-grandfather was born into slavery, and his parents' experiences in Texas shaped much of his perspective.

Taylor's academic prowess led him to the University of Minnesota, where he earned his master's and doctoral degrees. His scholarly journey culminated in his role as a professor emeritus and the Scott and Dorothy Bullitt Professor of American History at the University of Washington, Seattle.

A Legacy of Insightful Works

Among Taylor's notable contributions is his book, "In Search of the Racial Frontier: African Americans in the American West: 1528–1990," a groundbreaking work nominated for a Pulitzer Prize. This book, alongside his editorship of "African American Women Confront the West, 1600–2000," has significantly expanded our understanding of the diverse tapestry of American history.

Pioneering Digital Access to Black History

In 2007, Taylor founded BlackPast.org, an online encyclopedia dedicated to black history. This platform, boasting 55 million users, reflects his commitment to making historical knowledge accessible and widespread, democratizing the understanding of black history in the American context and beyond.

A Richly Deserved Recognition

Max McCoy, WWA’s executive director, aptly summarized Taylor's impact: "Dr. Taylor’s work reflects the evolving and dynamic understanding of the black experience in the American West, a topic that had been long overlooked." The Owen Wister Award, named after the author of the acclaimed 1902 novel "The Virginian," is a fitting tribute to Taylor's pioneering efforts. This award places him in the esteemed company of past recipients, including Oscar-winning director John Ford, actor John Wayne, and Pulitzer-winning poet N. Scott Momaday.

[image error]Celebrating a Trailblazer

The Western Writers of America will formally honor Taylor at their annual convention in Tulsa, Oklahoma, from June 19–22, 2024. This event will not only celebrate Taylor's lifetime achievements but also cast a spotlight on the crucial role of diverse narratives in enriching our understanding of Western history.

Quintard Taylor's recognition with the 2024 Owen Wister Lifetime Achievement Award is a milestone in acknowledging the diverse and complex history of the American West. It celebrates a scholar who has dedicated his life to bringing to light the stories and experiences that have shaped our nation, ensuring that the contributions and struggles of African Americans in the West are given their rightful place in the annals of American history.

The Last Ride of Wild West

As the digital sun sets on the horizon of print journalism, another storied publication rides into history. 'Wild West' magazine, a venerable source of American frontier history, has announced that its digital-only Spring 2024 issue, featuring Buffalo Bill Cody on the cover, will be its final one. The magazine transitioned from print to digital-only in the Autumn of 2023.

Founded in 1988, 'Wild West' carved a niche for itself by bringing the tales, truths, and myths of the American West to life. For 36 years, its pages have been a rendezvous for historians, enthusiasts, and scholars. The magazine, under the stewardship of editors like Greg Lalire and Dave Lauterborn, has been more than just a periodical; it has been a curator of the rugged, raw, and romantic spirit of the West.

The magazine's journey is noteworthy not just for its longevity but also for its accolades. Contributors to 'Wild West' have been recognized with seven Wrangler Awards from the National Cowboy & Western Heritage Museum in Oklahoma City, six Spurs from the Western Writers of America, several Six-Shooters from the Wild West History Association, and a pair of Will Rogers Medallions. The publication's competitive spirit remains undimmed, with its contributors still in the running for awards in the 2024 and 2025 editions of these competitions.

My personal journey with 'Wild West' has been profoundly gratifying. My article, "Texas Jack Takes an Encore," was the cover story for the April 2022 issue and won both the Spur Award and the Wrangler Award. I owe a debt of gratitude to the editors, Lalire and Lautterborn, for their invaluable support and belief in my work.

'Wild West' was part of the HistoryNet constellation, owned by Regency LP since 2015, following its earlier association with Eric Weider's Weider History Group. The transition of ownerships reflects the evolving landscape of print and digital media.

As we bid farewell to this trailblazing publication, we acknowledge its significant role in preserving and popularizing the history of the American West. Its departure leaves a void in the hearts of Western history aficionados. Yet, the legacy of 'Wild West' will continue to inspire, educate, and entertain, much like the enduring legends of the frontier it so passionately chronicled.

In closing, 'Wild West' magazine may be riding off into the sunset, but the stories it told, the history it preserved, and the inspiration it provided will continue to echo in the canyons of time. Here's to a publication that was much more than just a magazine; it was a gateway to an era that shaped the American ethos. Thank you, 'Wild West,' for the magnificent journey. It's been a hell of a ride.

Podcast Review

Just got this note from a listener about my Texas Jack series with Legends of the Old West:

I had a great time writing this series, and working with Chris Wimmer to make sure it was up to the high standards he sets and maintains for all of his podcasts.

To check out the whole Texas Jack series, you can listen on Youtube:

https://youtube.com/playlist?list=PL4Vhi7PN2R72FIZfDef_3n4jg5DkPjLCJ&si=6Eu6e4qt9x-UZkb1

Spotify:

Or Apple Podcasts:

Silver Screen Romance

It's hard to believe that Hollywood never latched onto the story of Texas Jack and Giuseppina Morlacchi, the handsome cowboy and the beautiful ballerina who met and fell in love as they starred in the first stage western together. A couple that could count among their friends Buffalo Bill Cody and Wild Bill Hickok, it's easy to imagine them on the silver screen.

OPENING SCENE

EXT. AMERICAN WEST - DAWN

The first light of dawn breaks over the rugged landscape, casting a golden glow on the untamed prairie.

CUT TO:

INT. COWBOY'S QUARTERS - MORNING

A pair of well-worn COWBOY BOOTS rests by the bed. TEXAS JACK OMOHUNDRO, 26, vibrant and ruggedly handsome, sits on the bed's edge. He slides his feet into the boots, pulling them up with a practiced ease that speaks of countless mornings just like this.

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INT. OPULENT DRESSING ROOM - SAME TIME

A pair of delicate BALLET SLIPPERS lies beside a luxurious vanity. GIUSEPPINA MORLACCHI, elegantly poised, her beauty timeless, ties the slippers with precision, her fingers dancing along the ribbons as gracefully as she moves on stage.

CUT BACK TO:

INT. COWBOY'S QUARTERS

Jack stands, reaching for his WIDE-BRIMMED STETSON on a hook by the door. He places it atop his head, angling it with a flair that mirrors his adventurous spirit.

CUT BACK TO:

INT. OPULENT DRESSING ROOM

Giuseppina, with a gentle touch, sets a TIARA upon her head, a crown befitting the queen of the ballet. Her reflection in the mirror captures a moment of serene confidence.

CUT BACK TO:

INT. COWBOY'S QUARTERS

Jack secures his GUN BELT around his waist, the weight of the revolver a familiar comfort. He checks the firearm with a respect born of necessity, a reminder of the dangers and responsibilities that lie beyond his door.

CUT BACK TO:

INT. OPULENT DRESSING ROOM

Giuseppina steps into a flowing TUTU, the fabric whispering around her like a cloud. She moves with a natural elegance, the tutu becoming an extension of her artistry and grace.

CUT TO:

EXT. AMERICAN WEST - MORNING

Jack mounts his horse with a fluid motion, a silhouette against the rising sun. He pauses, looking out over the vast prairie that stretches endlessly before him, a world of adventure and challenge calling his name.

CUT TO:

INT. GRAND THEATER - SAME TIME

Giuseppina steps out from behind the velvet STAGE CURTAIN, into the spotlight. The theater erupts in UPROARIOUS APPLAUSE, a sea of faces turned towards her in adoration. She takes a moment to breathe it in, the clamor of the audience enveloping her.

CUT TO:

A wide shot showing Jack riding out onto the open prairie, the expanse of the Wild West unfolding around him, juxtaposed with a wide shot of Giuseppina bathed in the warm glow of the stage lights, her world one of beauty and performance.

FADE OUT.

Talking Texas Jack in Leadville

https://www.leadvilleherald.com/business/article_fbb844ee-b4c3-11ee-902c-5f7ca5c26bb7.html

I had a great time at Two Dog​ Market in Leadville. It really is one of the great "Wild West" towns, and is chock full of history. Just down the street from Two Dog Market, you can tour the Tabor Opera House, where Texas Jack's funeral was held, or grab a drink at the magnificent bar of the Silver Dollar Saloon, where both Texas Jack and Doc Holliday drank while they were in town.

If you're in Leadville, stop by Two Dog Market. They have signed copies of my book, Texas Jack: America's First Cowboy Star, and a selection of great titles on local and regional history, as well as a unique selection of antiques and gifts.

From the Leadville Daily HeraldTwo Dog Market hosts book signing

by Finn McNally

January 1, 2024Two Dog Market hosted author Matthew Kerns on Dec. 29 for a signing of his book “Texas Jack: America’s First Cowboy Star.”Kerns read passages from the book and answered questions from attendees before singing their copies. Texas Jack, born John Baker Omohundro, was a soldier and scout for the Confederate and U.S. Armies who went on to become a showman in Buffalo Bill Cody’s Wild West Show. Omohundro’s tales and performances would go on to define the popular conception of a cowboy.Omohundro traveled all around the country performing the Wild West Show, never living in one place for too long. However, his final home was in Leadville where he and his wife resided and performed at the Tabor Opera House for several months before his untimely death in 1880 at the age of 34.“Texas Jack: America’s First Cowboy Star” is Kerns’ first published novel and is a biography of the Western icon’s life. Kerns initially wanted to write a three-part novel that followed the lives of the Wild West Show’s three biggest stars, Buffalo Bill Cody, Wild Bill Hickok and Omohundro. Kerns realized that while plenty of books had already been written about Cody and Hickok, there was no biography of Omohundro.Kerns has been writing for many years, mainly writing science fiction, but had not published any novels until now. However, since he was young he has been fascinated by the Wild West. He was born and raised in Chattanooga, Tennessee and still lives there but he remembers fondly his family’s trips out west and learning about the region’s history. Kerns first visited Leadville in 2018 with his wife and children and said it is one of his favorite towns in the West. He returned after writing his book because the town was such a big part of Omohundro’s life and he wanted to visit again. “It’s easy to forget that Leadville’s history was as a prominent Wild West town,” Kerns said. “Early on in Leadville’s history, people were proud that Jack was here. His funeral was the biggest parade in this town and still is to this day.”“Texas Jack: America’s First Cowboy Star” is available online at Kerns’ website DimeLibrary.com along with Kerns’ blog posts, podcasts and videos related to Omohundro. 

4th of July Feast with Buffalo Bill

This menu, dated from a 4th of July visit by Buffalo Bill's Wild West to Szeged, Hungary, shows the menu for the meal that Buffalo Bill Cody, the cast and crew of his show, and special guests enjoyed in celebration of America's Independence Day.

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Catered by D. Ballard, the evening's feast consisted of tomato puree, boiled codfish with hollandaise sauce, ham and spinach, chicken pot pie, beef short ribs with brown potatoes, stuffed duckling, young goose with giblet sauce, new potatoes and lima beans, spring onions and radishes, ice cream with strawberries, biscuits and cheese, assorted nuts and fruits, and coffee, tea, and cocoa.

The menu reflects both the American origins of Buffalo Bill and his show, as well as the European culture they were immersed in and the cultural aspirations and pretensions of Cody and the show's management.

For a fascinating look the intersecting cultural and culinary adventures of Buffalo Bill Cody, check out the new book "Galloping Gourmet: Eating and Drinking with Buffalo Bill" by Emeritus Director of the Buffalo Bill Museum & Grave, Steve Friesen.Here is my review of the book:

⭐⭐⭐⭐⭐

Steve Friesen, the esteemed emeritus curator of the Buffalo Bill Museum & Grave, embarks on a fascinating culinary journey in his latest work, "Galloping Gourmet: Eating and Drinking with Buffalo Bill." This innovative book reveals an unexpected dimension of one of America's most iconic figures, William F. "Buffalo Bill" Cody, exploring his evolution from a plainsman with humble dietary beginnings to a global showman with a palate for gourmet dining.

Friesen masterfully chronicles Buffalo Bill's life through the lens of his dining experiences, starting from his roots on the American Plains, where simple meals like cornbread and fried chicken were staples, to his later years enjoying the luxury of fine dining across America and Europe. The narrative is as rich and diverse as Cody's own life, detailing how his rising fame brought not only opportunities for gourmet indulgence but also a desire to share the finest dining experiences with his cast and crew, thereby introducing a diverse range of culinary delights to people from all walks of life.

What sets "Galloping Gourmet" apart is Friesen's ability to weave historical facts with engaging storytelling, bringing to life Buffalo Bill's exuberant zest for good food and drink. Through anecdotes and more than thirty annotated period recipes, readers are invited not just to learn about but also to taste the history of the American West. The book delves into Buffalo Bill's pioneering efforts in American food culture, such as opening the first Mexican restaurant east of the Mississippi and introducing popcorn to Paris, showcasing his role as a culinary ambassador.

Critics and culinary historians alike praise Friesen's work for its creativity, thorough research, and delightful narration. Statements from esteemed figures like Stuart Rosebrook and Sherry Monahan underscore the book's unique blend of culinary history and biography, highlighting its appeal to both fans of Buffalo Bill and food enthusiasts.

"Galloping Gourmet" is more than just a biography; it's a sensory journey through time. Friesen's detailed recounting of Buffalo Bill's culinary adventures and the inclusion of period recipes offer readers a tangible connection to the past. It’s a book that not only satisfies the curiosity of history buffs but also caters to the taste buds of those who love to explore historical cuisines.

In conclusion, "Galloping Gourmet: Eating and Drinking with Buffalo Bill" is a must-read for anyone interested in the intersection of American history, culinary evolution, and the life of an extraordinary showman. Friesen's book is a five-star feast for the mind and palate, providing a rich, flavorful taste of Buffalo Bill's world.

Galloping Gourmet is available at Amazon:https://amzn.to/3UBk7rdOr signed by the author at:https://www.dimelibrary.com/product-page/galloping-gourmet-by-steve-friesen

Scouts in Maine

On this day, 150 years ago, the historic Granite Hall theatre in Augusta, Maine, hosted an iconic event that would leave an indelible mark on the American cultural landscape. The performance of "The Scouts of the Plains" brought together three of the most emblematic figures of the American West: Buffalo Bill Cody, Texas Jack Omohundro, and Wild Bill Hickok. For audiences who braved the winter weather to make it to Granite Hall that night, the show would leave a lasting impression.

Augusta, Main's state capital, is a city steeped in history and charm. Established in 1629, it sits along the Kennebec River, offering picturesque views and a rich historical tapestry. By the time "The Scouts of the Plains" was performed there by Buffalo Bill, Texas Jack, and Wild Bill, Augusta was a burgeoning hub of politics, commerce, and culture in Maine, making it an ideal stop for traveling shows and performances. Granite Hall, where the Scouts played in Augusta, was a pivotal cultural and entertainment venue from the moment its doors opened in 1866. The theatre experienced a series of rebirths and transformations, enduring fires and reconstructions, before its eventual demolition in 1983.

February in Maine is known for its harsh winter weather, and 1874 was no exception. Historical records suggest that the winter of 1873-1874 was particularly severe across the Northeast, including Maine. The performers and the audience would have braved cold temperatures and snow to attend the show at Granite Hall, a testament to the draw of the Scouts and the resilience of the people of Augusta.

The three western heroes that stood on the stage that night would shape American popular culture and the way that the world viewed the American West. William Frederick "Buffalo Bill" Cody was more than just a showman; he was the embodiment of the American frontier. Before gaining fame on the stage, Cody worked as a soldier, bison hunter, and scout. His experiences across the Great Plains of the United States formed the backbone of his performances, captivating audiences with tales and reenactments of life in the West. After the death of Texas Jack in 1880, Cody would go on to establish Buffalo Bill's Wild West, which toured the United States and Europe, playing a pivotal role in shaping the global image of the American West.

John Baker "Texas Jack" Omohundro was another figure whose life story reads like a frontier novel. A Confederate cavalry soldier and spy during the Civil War, he became a cowboy, scout, and hunter out West after the war. His friendship with Buffalo Bill and Wild Bill Hickok led to their collaboration on stage. Texas Jack's authentic portrayal of a cowboy turned his old profession into the central figure of American folklore and the mythology of the West.

James Butler "Wild Bill" Hickok, famed for his skills as a gunslinger and lawman, brought an aura of danger and excitement to "The Scouts of the Plains." Hickok's reputation, built on his exploits in gunfights and as a marshal in the lawless towns of the West, fascinated audiences. His participation in the show added an element of authenticity and thrill, embodying the perilous and unpredictable life on the frontier.

The performance of "The Scouts of the Plains" in Augusta and similar shows across the country played a significant role in shaping the American perception of the West. Through their dramatized accounts of life on the frontier, Buffalo Bill, Texas Jack, and Wild Bill contributed to a mythology that romanticized the West as a place of adventure, heroism, and untamed beauty. This portrayal influenced generations of Americans and still impacts our cultural and historical understanding of the American West today.

As we commemorate the 150th anniversary of their Scouts of the Plains tour, we not only celebrate the legacy of three men who lived extraordinary lives but also acknowledge the enduring power of storytelling in shaping our collective memory and identity. The performance in Augusta, Maine, on a cold February night in 1874, remains a testament to the allure of the American West and its lasting imprint on the American psyche.

America's Best Female Sharpshooter

Annie Oakley is perhaps the most famous female sharpshooter in American history. Her wholesome image as a diminutive and demure housewife who could outshoot both her marksman husband, Frank Butler, and every other man in the arenas of Buffalo Bill's Wild West made her an enduring figure. Oakley's remarkable skill with a rifle and her groundbreaking role as a woman in a male-dominated field has left an indelible mark on popular culture. Her life and legend inspired the hit Broadway musical "Annie Get Your Gun," which immortalized her story through its catchy tunes and romanticized portrayal of her life, helping ensure that "Little Miss Sure Shot" would be remembered as the Queen of the Marksmen. But Annie Oakley might not have been the best female sharpshooter in America. She might not have even been the best female sharpshooter in Buffalo Bill's Wild West.

Lillian Frances Smith, born in 1871 and 11 years younger than Annie Oakley, emerged as one of the most remarkable figures in the history of Wild West shows, renowned for her exceptional sharpshooting skills. Her journey into fame began at an incredibly young age, earning the moniker "The California Huntress" before she even reached her teenage years. Smith's prowess with a rifle was so extraordinary that she was performing as a professional sharpshooter by the time she was in her teens, quickly catching the eye of Buffalo Bill Cody. In Cody's Wild West Show, she performed breathtaking feats of marksmanship, such as shooting targets off the back of a galloping horse, which not only thrilled audiences but also established her as a top-tier attraction in the male-dominated sphere of sharpshooting.

The most intriguing aspect of Smith's career was her rivalry with the legendary Annie Oakley, when both were showing their rifle skills with Buffalo Bill's Wild West. While both women were phenomenal sharpshooters, they were markedly different in their public personas and life choices. Oakley, known for her conservative and demure image, contrasted sharply with Smith's more flamboyant and bold demeanor. This rivalry was not just a matter of skill; it reflected the broader societal expectations of women during that era. Smith's willingness to defy these norms, such as wearing flashy clothes and mingling freely with her cowboy and Native American costars, set her apart from Oakley and added an extra layer of drama to their professional competition.

Smith's career extended beyond Buffalo Bill's show, with her talents also shining in other Wild West shows, such as the 101 Ranch. Her ability to reinvent herself was evident when she took on the persona of "Princess Wenona," a character that played into the romanticized and often misconstrued narratives of Native American culture prevalent at the time. Despite the challenges and criticisms she faced, Smith remained committed to her craft, continually demonstrating that her skills as a sharpshooter were second to none. Her legacy, although overshadowed for many years by the more widely remembered Annie Oakley, is a testament to her skill, resilience, and determination to live life on her own terms in an era that was often unkind to women who dared to defy convention.

Julia Bricklin's book 'America's Best Female Sharpshooter: The Rise and Fall of Lillian Frances Smith' is a masterful biography that brings to light the incredible life of a largely forgotten icon of the Wild West. Bricklin delves into the life of Lillian Frances Smith, known as the fierce rival of Annie Oakley, yet distinct in her own remarkable ways. This book is not just a recounting of Smith's extraordinary sharpshooting skills; it's a vivid portrayal of a woman who dared to defy the norms of her era.

Bricklin's meticulous research unfolds the story of Smith, the 'California Huntress,' who captivated audiences in Buffalo Bill Cody's Wild West Show with her audacious sharpshooting from horseback. The book reveals how Smith, not content with being in anyone's shadow, reinvented herself as 'Princess Wenona,' challenging the conventions of her time with her vibrant persona and controversial choices.

What sets this biography apart is Bricklin's ability to weave together the nuances of Smith's personal life with the broader context of a changing America. Through family records, interviews, and an array of sources, Bricklin paints a comprehensive picture of Smith's fifty-year career, her tumultuous private life, and her courageous defiance of Victorian femininity. The book not only celebrates Smith's remarkable talents but also offers a critical examination of the era's gender dynamics and the sensationalism of the press.

In 'America's Best Female Sharpshooter,' Bricklin has achieved a rare feat: she resurrects the legacy of Lillian Frances Smith, presenting her not just as a mere competitor to Annie Oakley but as a trailblazing figure who lived passionately on her own terms. This book is a compelling read, providing a unique window into the life of a woman who was much more than a sharpshooter – a resilient pioneer in a man's world. A must-read for anyone interested in the untold stories of powerful women who shaped American history.

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