Matthew Kerns's Blog: The Dime Library, page 8
September 11, 2024
Part 1 - Mountain Men - Jedediah Smith: Legends of the Old West
Episode 1 of 6 in a series on the Mountain Men that I wrote for Legends of the Old West. In this episode, Jedediah Smith: Ashley's Hundred, we dive into the action-packed journey of Jedediah Smith, a trailblazing mountain man who became one of the most legendary figures of the American frontier. The story begins with William Ashley’s daring recruitment of 100 men, known as "Ashley’s Hundred," to venture up the Missouri River in search of fur and fortune. What unfolds is a thrilling series of survival challenges, from navigating treacherous river currents to intense encounters with Native American tribes. This episode highlights Smith’s fearless leadership as he battles the brutal elements and stands his ground in dangerous territory.
One of the most gripping moments of the episode is the attack on Ashley’s expedition by the Arikara tribe. With war drums echoing across the river and the threat of annihilation hanging over them, Smith steps up to defend his fellow trappers. As chaos erupts on the riverbanks, he provides covering fire, allowing his comrades to retreat to safety before making a daring escape himself. The episode vividly captures the high stakes and constant danger of frontier life, with Jedediah’s tactical brilliance on full display.
But the action doesn't stop there. Smith faces even more peril when he’s mauled by a grizzly bear while leading a group through the Badlands. The episode paints a vivid picture of this harrowing encounter, as Smith miraculously survives the brutal attack and stitches his own wounds in the wilderness. His resilience and unbreakable spirit keep him moving forward, leading his men through the rugged landscapes of Wyoming, toward even greater challenges.
Tune in to Legends of the Old West to hear this heart-pounding tale of survival, adventure, and the indomitable spirit of Jedediah Smith. This episode is a must-listen for anyone captivated by the raw, untamed wilderness and the brave souls who carved their names into the annals of American history.
Listen now to "Jedediah Smith: Ashley's Hundred" on your favorite podcast platform.
Available on Spotify:
And Apple Podcasts:
All of the Legends of the Old West podcasts are available at:
https://blackbarrelmedia.com/legends-of-the-old-west/
If you liked this podcast, you might also enjoy my book, Texas Jack: America's First Cowboy Star, available at:
August 20, 2024
A Eulogy For Si
Ladies and gentlemen, family and friends,
We gather here today to celebrate the long and beautiful life of my grandmother, Norma Dean Cooper, known to most of us as Si.
Some years after my grandfather’s death, Si gave me a shoebox full of old papers. These papers were Ta’s research on his Cooper and Morgan family tree. There were copies of old records and pages of printed names and birth and death dates, and an outline of a book on the family’s history that Ta wanted to eventually write. On one long printout of the family line, he wrote notes next to each ancestor. He notes that Sion and Malachi Cooper fought in the American Revolution at the Battle of Utah Springs. That James Cooper was a well-regarded Baptist Minister. He writes with pride that his grandfather, Dr. David Whitt Cooper, put down the plow at the age of 30 and picked up an old copy of Gray’s Anatomy, teaching himself enough about the way the human body worked to graduate with the first-class of the University of Cincinnati Medical School. Ta recorded that his father, Dave Cooper, was a “good salesman, gay blade, dancer, and teller of tales in a variety of authentic brogues.”
Next to his own name, my grandfather wrote of his greatest achievements. That he served in the US Navy during World War 2, that he was Mr. DJ in 1953, and that he had built and sold three radio stations. He ended with, “Best move in life married Norma.” They didn’t always agree on much, but they agreed on that.
When Si and Ta were married on the first day of March 1952, they had been on exactly three dates. If you see pictures of Si at the time, it's easy to understand why Lee J felt the need to proceed with haste.
Next to her entry in the family tree, he wrote “Good mother, good wife, very capable general office manager.” He also notes that she was the “Prettiest girl in Alabama.”
It isn’t enough to say that it was a whirlwind romance…it was a whirlwind life. I’d love to tell you that they lived happily ever after, that every day after they said “I do” was filled with happiness and sunshine, but that would be a lie. In the field for divorce, left blank for every other marriage in the family tree, my grandfather dryly wrote, “Not yet.” But I can tell you this truth. They loved each other as vehemently and passionately as they disagreed and as intensely as they sometimes fought with each other.
Si, like so many of her generation, lived through a lot. Not just the big moments like seeing her brothers go off to fight in World War 2, or moon landings and assassinations, but also profoundly heartbreaking personal moments. When she was eleven years old in June of 1943, her little brother went fishing with their grandfather. He fell into the Tennessee River and drowned. When I was younger, I remember her sister, my Aunt Sue, telling me that Si didn’t speak for nearly a year afterward.
She would outlive her father Clede who died in 1976 at the age of 77, her mother Era who died in 1878 at the age of 76, her brothers Harry Ditmer Hillian who died in 1996 at the age of 68, Soloman David Hillian who died in 1999 at the age of 77, James Cullen Hillian who died in 2000 at the age of 71, and her beloved sister Sue Ann Hillian, Aunt Sue, who died in 2008 at the age of 77. She outlived my grandfather, who was 66 when he died in 1992. And she sadly outlived her grandson, my cousin Lee Jackson Cooper III, who died in 2016 at the age of 32.
But she also welcomed, loved, and cherished the joy of life. She loved, and loved tormenting, her three children, my mother Leesa, my aunt Pat, and my Uncle Jack. She loved the nieces and nephews and cousins that made up the wide-spreading branches of her family tree. She cooked country breakfasts after rambunctious sleepovers for her five grandchildren and packed us all up to take us to the 99-cent movie at FourSquare or the Soddy Daisy Flea Market. She was there for our weddings and to love on her great-grandchildren. And they loved her.
I was the oldest grandchild in the family, which in many ways meant I was the luckiest because I got to spend the most time with my grandparents. When I was a little kid, Si would always give me money for my birthday. When I was 5, I got a $5 bill. When I was 6, I got $6, etc. This continued until my twelfth birthday when she gave me a check for $12. The next year, when I turned 13, I opened the card, read the message, and got a check for $12. Every year after, up through my thirties, I got a nice card with a Happy Birthday message and a check for $12.
It became a kind of family inside joke. I was never sure if she was doing this with all the grandkids, or if it was just something that she decided to continue with me—a little game between the two of us. So, for her 80th birthday, the whole family got together, and each of us gave her a birthday card with a check for $12. The smile on her face said it all. Everybody laughed, but no one laughed harder than Si. Like my dad said, "Everybody loved her, and she loved everybody." I've seldom felt more loved than when I received that $12 worth of love from my grandmother every year.
In closing, I want to leave you with another Si tradition. Si had a special hug. She taught it to me when I was little, and she taught it to my brothers, my cousins, and her grandchildren. She might have taught it to some of you. I’ll need a volunteer from the audience to help me demonstrate.
That’s the basics. It’s a hug, plus a sound, plus a side-to-side motion. So I want all of you to stand up, turn to the person next to you, and give them a Si hug.
About a year ago, I visited Si to wish her a happy 92nd birthday. When the visit was done, we did our Si hug and I told her that I loved her. She looked up at me with that twinkle that was always in her eye, and she said, “I love you too, honey. I just never got over it.”
So, as you leave here today, remember Si’s life was a beautiful, long, and winding journey filled with love, humor, tragedy, joy, passion, argument, and so much beauty. She will be remembered fondly and missed dearly, and her legacy will live on in all of us who knew her and loved her and were loved by her. Rest in peace, Si. We all love you. And we’ll never get over it.
August 6, 2024
Philadelphia Ladies Admire the Cancan
From the Portland Oregonian - August 6, 1869.
At Oakland, the ladies and gentlemen passed an hour or two the other evening discussing the cancan, as to its morality or immorality. The debate was lively and interesting. We give a short synopsis from the letter of a correspondent.
Exactly what started the conversation in the direction of the cancan I don’t remember. Perhaps it was the waltz which the three fiddlers were playing in the ballroom, the faint sounds of which came drifting into the parlor. Perhaps it was the result of a desire on the part of a bold young New Yorker, who had been to France, to say something he ought not and to astonish the ladies. If such was his nefarious purpose, he signally failed; for the ladies, who somewhere had seen Morlacchi and Leah, and Baretta and Alexandrina—in fact, I think all of those creatures that made up what used to be so finely called “the grand Parisian ballet troupe”—were not disposed to let any man pass them in professions of admiration.
“Why, they are delicious,” said a lady from Cincinnati. “I have never seen anything in my life so charming and so graceful as those three movements. And I didn’t see any harm in them, either.”
Then spoke up a lady from Philadelphia—”No, nor I, and I don’t believe there is any. It is all talk,” and I believe the charming woman said that it was also, “bosh.”
A lady from Washington said, “Will, I went to see Morlacchi and Leah, and I looked just as carefully as I could look to see something that was improper (shameless avowal,) and I didn’t see one single thing. I think that the dance is as sweet as it is pretty, and as darling a little fragment as any that nymphs of the woods were wont to dance in the days of ancient Greece, or Pompeiian beauties in the luxurious days of the Roman Empire.” It was quite evident that lady was from Washington. She must have often listened to the divine Mullins.
The fair Cincinnatian came once more to the charge. “Now, I believe I know enough to know when a dance is improper. To me, the cancan is full of all grace and refinement and bewitching charms. And I believe it is the fault of those horrid newspapers that have said so much about it. And the newspapers are no better than they ought to be.” She shot a glimpse at me which made cold shivers run down my back, and myself to feel as if I was deserving of a hangman’s knot.
The whole chorus of sweet voices rang in, in harmonious accent: “So do I! So do I!”
July 29, 2024
Texas Jack Junior & The Deer Family
In 1904, the vibrant spectacle of Texas Jack Junior's American Circus and Wild West Show thrilled audiences in Port Elizabeth, South Africa. The show was a farewell performance, promising an array of exciting acts that encapsulated the wild spirit of the American West. The Eastern Province Standard heralded the show, emphasizing its modernity and the variety of acts that captured the audience’s approval.
The show featured several remarkable acts, including the "Ajax, the Boneless Wonder," known in private life as Mr. Jackson. Ajax's incredible flexibility earned him the title of "the human lizard" as he amazed spectators with his seemingly impossible contortions. Another crowd favorite was William McCloud, a master lasso expert who showcased his impressive skills with precision and flair.
Of course, the star attraction was Texas Jack Junior himself, whose performance was met with enthusiastic applause. The show also included a lively ensemble of Native Americans, rough riders, vocalists, and acrobats, each contributing to the thrilling depiction of life on the American plains.
Among the standout acts was the Deer Family, also known as the Famous Deer Brothers, Mohawk performers that toured the United States, Europe, and South Africa. Renowned for their dramatic tableaux, their performances included "The Indian Camp Fire," "The Indians Burning Settlers' Cabin," and the "Sensational Knife Duel." The Deer Family brought a touch of authenticity and intensity to the Wild West scenes, captivating the audience with their powerful portrayals.
The most notable member of the Deer Family was Esther Louise Georgette Deer, who performed under the stage name Princess White Deer. Born on November 2, 1891, in New York City to James David Deer and Georgette Osborn Deer, Esther hailed from a family deeply rooted in Mohawk heritage. Her paternal family originated from the Kahnawake Mohawk Territory in Québec, Canada, and she was the granddaughter of Chief John Running Deer, the last keeper of the Akwesasne Wolf Belt.
Esther's career began in childhood alongside her family members, joining The Famous Deer Brothers at the age of eleven. She was thirteen when she performed in Texas Jack Junior's show. She would become famous for her songs and war dances, adding an enchanting musical element to the show. Her performances were a celebrated highlight, as she embodied the grace and spirit of her heritage through her art. They toured extensively, performing Wild West shows that romanticized the American West from a white colonial perspective.
Esther Deer was not only a talented performer but also a dedicated activist. As a member of the Mohawk tribe, she was known for her contributions to both the entertainment world and Native American rights. After touring the globe with her family circus and Wild West show act, the Deer Brothers and Esther returned to America just as the country prepared to enter World War I. Esther participated in war bond rallies, where she caught the eye of Florenz Ziegfeld Jr. This led to her joining the Ziegfeld Follies, where she became one of its principal artists, alongside Will Rogers, another veteran of Texas Jack Junior's Wild West show. By her late twenties, Princess White Deer had established a solo career, performing in vaudeville and writing her play, From Wigwam to White Lights.
Beyond her stage career, Esther Deer was committed to advocating for Native American rights. She lobbied for the recognition of Native American rights in America and encouraged Native American women to vote. Her efforts earned her the moniker "The Susan B. Anthony of the American Indians." In addition to her activism, she supported various charities, most notably the American Indian Defense Association.
Esther Louise Georgette Deer, known as Princess White Deer, died in February of 1992 at the age of 100, leaving behind a legacy of artistic brilliance and passionate activism. Her contributions to the performing arts and Native American rights continue to be celebrated, with exhibits of her costumes and memorabilia showcasing her impact on both fields.
The images accompanying this article provide a visual journey into the world of Texas Jack Junior's Wild West Show. The first image features Texas Jack Junior himself, a charismatic figure who carried the legacy of his namesake with pride and skill.
The second image shows Texas Jack Junior with his diverse cast, capturing the ensemble's camaraderie and dedication. I believe Princess White Deer is seated in the middle of the image, though the old newsprint is so faded it is impossible to know for sure.
The third image presents Jim Deer of the Deer Family, a testament to the talent and cultural richness the family brought to the show.
For those intrigued by the life and legacy of Texas Jack Omohundro, the original Texas Jack, I highly recommend reading "Texas Jack: America's First Cowboy Star." This book delves into the fascinating stories and adventures that shaped this legendary figure. You can find it here: https://amzn.to/3LKOTIC
June 30, 2024
Always A Cowboy
In June 1879, an intriguing interview with Texas Jack Omohundro appeared in the Cleveland Evening Post, providing a glimpse into the legendary scout and actor's future plans. The interview, conducted just a year before Jack's untimely death, suggests that he was seriously considering a return to the cowboy life he had so famously portrayed on stage. With his time in the limelight drawing to a close, Texas Jack intended to trade the applause of the theater for the wide open ranges of the West, raising cattle and living out his days in the open air.
From the Cleveland Evening Post, June 4, 1879:
Texas Jack
Texas Jack is in town. Jack is somewhat known to fame as a prairie scout and guide, and it was by his general appearance that a reporter recognized him as he was playing a game of billiards in Richards’ Tuesday afternoon. The big sombrero hat and long hair betrayed this Western celebrity at once and the newspaper man finally ventured to engage him in conversation:
“You have left the government service, I believe?”
“Yes, nine years in its employment was enough for me. After looking around, I found an agreeable change that afforded me more satisfaction.”
“You refer to the stage?”
“Not exactly. I can’t say that I am satisfied with acting as a profession. Indeed, it has so little attraction for me now that I have made up my mind to appear on the boards no more after this season.”
“Will your wife withdraw also?”
“Yes, we will remain in the West where I will engage in the business of cattle raising.”
“Who are the squatters that are raising such a disturbance in the Indian Territory at present?”
“I know a good many of them to be deserters from the United States Army--a desperate set of me who will risk a good deal but who are judicious enough to keep out of the clutches of Uncle Sam. I do not think there will be much difficulty in riding the Territory of them, now that troops are investigating the matter.”
“Do you think we will have any serious Indian troubles this coming season?”
“No, nothing more than a few brushes that will hardly be noticed.”
“What do you think of Sitting Bull?”
“I think for some time to come he will stay where he is.”
“In Canada?”
“Yes.”
“How many Sioux are with him?”
“About three thousand.”
The reporter, who had already occupied a good deal of the scout’s time now thanked him and withdrew.
The interview begins with Jack's confirmation that he had left the government service, a career in the Confederate Army in Virginia, driving government cattle and tending government horses in Texas, and scouting for the United States Army out of Fort McPherson, Nebraska. This combined stint of service had spanned nine years and seen him through numerous adventures as a scout and guide. However, his foray into acting, while initially appealing, had lost its charm. Jack declared to the reporter, "I have made up my mind to appear on the boards no more after this season." This declaration was not just a fleeting thought but a concrete plan that included his wife, Giuseppina Morlacchi, who would also retire from the stage to join him in the West.
Jack's dissatisfaction with acting was clear: "I can’t say that I am satisfied with acting as a profession. Indeed, it has so little attraction for me now that I have made up my mind to appear on the boards no more after this season." His longing for a return to the West was palpable, driven by a desire to engage in the business of cattle raising. This was not a whimsical fantasy but a strategic decision grounded in his experiences and explorations the previous summer.
In the summer of 1878, Texas Jack had ventured into the Bighorn Basin, scouting the area and showcasing its potential to Otto Franc, a German immigrant who would later establish the Pitchfork Ranch in Meeteetse, Wyoming. Jack's familiarity with the land and his enthusiasm for its suitability for cattle raising hinted at his own aspirations. The Bighorn Basin, with its fertile grounds and abundant resources, was an ideal location for establishing a ranch.
Given Jack's plans and his exploration of the Bighorn Basin, it is plausible to speculate that he might have intended to follow in Franc's footsteps or perhaps even partner with him. Jack's experience, reputation, and fame would have made him a valuable asset in any cattle-raising venture. His skills as a cowboy and scout, coupled with his charismatic personality, could have complemented Franc's practical knowledge, available capital, and entrepreneurial spirit.
However, this partnership remained unrealized. Jack's vision of a tranquil life raising cattle in the West was tragically cut short. In 1880, just a year after the Cleveland Evening Post interview, Texas Jack succumbed to a combination of tuberculosis and pneumonia in Leadville, Colorado. His dreams of returning to the cowboy life and establishing a ranch never came to fruition.
Texas Jack's death marked the end of an era, but his legacy as a pioneer of the cowboy image on stage and his contributions to the mythos of the American West endure. His final dreams of a peaceful life raising cattle serve as a poignant reminder of the rugged individualism and adventurous spirit that defined him.
In the twilight of his life, Texas Jack Omohundro yearned for the simplicity and authenticity of the cowboy life he had left behind for the stage. His plans to quit acting and return to the West reflect a deep-rooted connection to the land and a desire to live out his days in the open air. While fate had other plans, Jack's story remains a testament to the enduring allure of the cowboy life and the indomitable spirit of one of the West's most iconic figures.
For those intrigued by Texas Jack's adventures and legacy, "Texas Jack: America's First Cowboy Star" offers a comprehensive look into his life, capturing the essence of a man who straddled the worlds of reality and myth with unparalleled grace. Explore more about Texas Jack and his contributions to the American West by checking out the book here:
June 7, 2024
The Western Pioneers
The Legacy of "The Western Pioneers": A Glimpse into Texas Jack Junior's Life through Folk Song
Folk songs have a unique way of preserving history and personal narratives, weaving them into melodies that transcend generations. One such song, "The Western Pioneers," provides a captivating insight into the adventurous life of Texas Jack Junior, a notable figure in the American Old West. This song, which originated from a poem written by Texas Jack Junior himself, captures the essence of the trials and tribulations faced by pioneers and the heroism that defined the era.
Texas Jack Junior was a Western performer and stage actor who followed in the footsteps of his namesake, Texas Jack Omohundro. Junior's life was a blend of real-life cowboy experiences and theatrical portrayals of frontier adventures. He performed in various Wild West shows, bringing the stories of the American frontier to audiences across the globe, including extended tours in Australia and South Africa.
For those interested in delving deeper into his life and contributions, a detailed account of Junior's story and a comprehensive biography can be found here, and information about his first visit to Australia can be found here. These resources provide an extensive look at his travels, performances, and the significant impact he had on popularizing the Wild West narrative abroad through entertainment.
The Song
In eighteen hundred and sixty-eight,
a little immigrant band,
They were massacred by Indians
bound west by overland,
They scalped our noble fathers,
our mothers had to die,
And the only living captives
was two small girls and I.
We were rescued from the Indians
by a brave and noble man,
He trailed those thieving Indians
and fought them hand to hand,
He was noted for his bravery
while on the enemy's track,
And he had a noble history,
his name was Texas Jack.
Oh, Jack could tcll you the story
if he were only here,
Of the trials and the hardships
of the western pioneers,
He would tell you how our fathers
and mothers lost their lives,
And how our aged parents
were scalped before our eyes.
Now the cowboy's name is "Butcher"
by papers in the east,
And when he's in the city,
he's treated like a beast,
But in his native country,
his name is ever dear,
You can bet he's always welcome
by the western pioneers.
I am a roving cowboy,
my saddle is my home,
And I'll always be a cowboy,
no difference where I roam,
And for my noble namesake,
his help I'll volunteer,
You can bet he's always welcome
by the western pioneers."
The Poem
Come, give me your attention,
And see the right and wrong,
It is a simple story
And won’t detain you long;
I’ll try to tell the reason
Why we are bound to roam
And why we are so friendless
And never have a home
My home is in the saddle,
Upon a pony’s back,
I am a roving Cow-boy
And find the hostile track;
They say I am an orphan,
And my name I never knew;
But I’ve often heard the story,
That now I’ll tell to you
In eighteen hundred and sixty-eight,
A little emigrant band
Was massacred by Indians,
Bound West by overland
They scalped our noble soldiers,
And the emigrants had to die,
And the only living captives
Were two small girls and I.
I was rescued from the Indians
By a brave and noble man,
Who trailed the thieving Indians,
And fought them hand to hand;
He was noted for his bravery
While on an enemy’s track;
He has a noble history
And his name is Texas Jack.
Old Jack could tell a story
If he was only here,
Of the trouble and the hardships
Of the western pioneer;
He would tell you how the mothers
And comrades lost their lives,
And how the noble fathers
Were scalped before our eyes.
I was raised among the Cow-boys,
My saddle is my home,
And I’ll always be a Cow-boy
No difference where I roam;
And like that noble hero
My help I volunteer,
And try to be of service
To the Western pioneer.
I am a roving Cow-boy,
I’ve worked upon the trail,
I’ve shot the shaggy buffalo
And heard the coyote’s wail;
I’ve slept upon my saddle.
And covered by the moon;
I expect to keep it up, dear friends,
Until I meet my doom.
The cowboy’s name is butchered
By the papers in the East
And while he’s in the city
He is treated like a beast;
But in his native country
His name is ever dear
And you bet he’s always welcomed
By the Western pioneer.
The folk song and the poem share the same narrative, recounting the story of a massacre by Indians and the subsequent rescue of the narrator and two small girls by Texas Jack, a brave cowboy. Despite the similar content, there are distinct differences in structure, language, and focus between the two versions.
The folk song is written in quatrains with a simple, repetitive rhyme scheme, making it easy to memorize and sing. Its language is straightforward and rhythmic, emphasizing the heroic deeds of Texas Jack and the hardships faced by the pioneers. The song uses repetition to highlight key points, such as the bravery of Texas Jack and the plight of the pioneers, and maintains a steady, collective voice that speaks for the group of pioneers and cowboys.
In contrast, the poem is longer and more detailed, with varied stanza lengths and a more complex rhyme scheme. Its language is more formal and literary, providing richer context and emotional depth. The poem delves into the narrator's feelings of being friendless and homeless, offering a more introspective look at their life. It includes additional details about the cowboy's experiences, painting a fuller picture of his existence. The narrative voice is more personal and individual, shifting from storytelling to introspection and emotional reflection.
While both the folk song and the poem celebrate the heroism of Texas Jack, the song does so in a straightforward, communal manner suitable for oral tradition. In contrast, the poem offers a more detailed, introspective, and literary exploration of the narrator's life and the cowboy's experiences.
It is important to acknowledge that both the poem and the song characterize Native people defending their homes and families from encroaching white settlers as "thieving Indians." This portrayal is rightly viewed today as culturally insensitive and racist. It reflects an unfortunately common sentiment of the era in which it was written, demonstrating the biased perspective of settlers who often saw themselves as the sole victims in conflicts with Native Americans. Understanding this context is crucial for a more nuanced view of history and recognizing the inherent biases in historical narratives.
The song "The Western Pioneers" was collected by Ellen Stekert from Ezra ("Fuzzy") Barhight, a New York lumberjack who had an extensive repertoire of traditional songs. Barhight, at the age of eighty-one, shared numerous songs he learned from his mother and fellow lumbermen, capturing a wide array of American folk traditions. Barhight couldn't recall if he learned the song about Texas Jack from his mother or from other lumberjacks but claimed that the last song he learned was around 1920, just thirty years after the poem first appeared in Australian newspapers in March of 1890.
In the 1958 Folkways Records album, Stekert's rendition of "The Western Pioneers" stands out as a poignant reminder of the Western pioneers' struggles and the folk heroes who emerged from that era. The album, curated by Kenneth S. Goldstein and Ellen Stekert, features eighteen songs from Barhight's collection, each representing a unique facet of American folklore.
The story of Texas Jack's rescue of the young child, who would come to call himself Texas Jack Junior, is a powerful part of American history. Texas Jack Junior would go on to tour the world with his own Wild West Show, famously offering Will Rogers his first job in show business. The preservation of such narratives through folk music, as seen in both the song and the poem, highlights their cultural significance. These pieces of cultural heritage bridge the gap between historical events and modern understanding, helping listeners appreciate the challenges faced by early settlers and the legends they created.
"The Western Pioneers" exemplifies this enduring legacy, illustrating how the power of folk music keeps the stories of Texas Jack Junior and the indomitable spirit of the pioneers alive. Their stories continue to resonate through the rich tapestry of American history, offering insights and inspiration to new generations.
June 5, 2024
Texas Jack Junior & The Cherokee Kid
Unveiling a Rare Gem: Texas Jack Junior and The Cherokee Kid, Will Rogers, in South Africa, 1903.
The Will Rogers Memorial Museum in Claremore, Oklahoma, holds a treasure trove of artifacts and photographs documenting the life and career of one of America's most beloved humorists and entertainers. Among these is a rare and captivating photograph that has never been made available online until now.
This newly unveiled photograph offers a fascinating glimpse into the early careers of two legendary figures: Texas Jack Junior and his protégé, Will Rogers, known then as "The Cherokee Kid." Taken in 1903 during their time in South Africa, this image captures a moment of dynamic interaction between mentor and student, showcasing their skill and camaraderie.
The black-and-white photograph presents a vivid scene set against the backdrop of the South African landscape.
Will Rogers on Horseback: At the center of the image, Will Rogers sits confidently on horseback. He is captured mid-action, performing an impressive lasso trick. His right arm is raised high above his head, spinning the lasso in a wide, graceful arc. The loop of the lasso is large enough to encircle both Rogers and his horse, demonstrating his exceptional skill and control.
Texas Jack Junior: To the right of Rogers, Texas Jack Junior is caught in a moment of motion. He is leaning back, seemingly ducking out of the way to avoid the sweeping lasso. His posture and the angle of his hat suggest a mix of attentiveness and playful caution, highlighting the dynamic and interactive nature of their performance.
The Setting: The background features the expansive, open terrain typical of the South African plains, adding a sense of adventure and vastness to the scene. The ground appears dry and dusty, emphasizing the rugged environment in which these entertainers showcased their talents.
This photograph not only captures a remarkable trick performed by Will Rogers but also the lively spirit of their performances, which captivated audiences around the world. It serves as a testament to the early days of these legendary entertainers and their enduring impact on the world of show business.
Will Rogers' path to stardom was as unconventional as it was inspiring. Born in 1879, Rogers left home with the aim of becoming a cowboy rather than an entertainer. In early 1902, he and his friend Dick Parris decided to try their luck as cowboys in South America, which led to an adventure that would take Rogers a world away from his Oklahoma roots.
Their journey began with Rogers selling his share of the family cattle business and traveling through Hot Springs, Arkansas, and New Orleans before reaching New York City. From there, Rogers sailed to Southampton, England, and then embarked on a lengthy voyage to Buenos Aires, Argentina. After a few months in Argentina, Rogers' quest for cowboy work led him to board a boat carrying beef steers to feed the British Army in Durban, South Africa, in August 1902.
By November, Rogers was driving mules to Ladysmith, South Africa. It was in Ladysmith that he encountered the Wild West show of Texas Jack Junior on December 5, 1902. Demonstrating his roping skills, Rogers impressed Texas Jack Junior, who immediately offered him a job. This marked the beginning of Rogers' illustrious career in entertainment.
Texas Jack Junior's story was equally fascinating. Rescued from a Comanche raid as a young boy by the original Texas Jack, John B. Omohundro, Junior was raised among cowboys and eventually became a prominent figure in Wild West shows.
He toured England with Mexican Joe Shelly before starting his own show and touring in Europe, Australia, and eventually South Africa. Known for his exceptional roping skills and charismatic stage presence, Texas Jack Junior was a natural mentor for the young Will Rogers.
Under Texas Jack Junior's mentorship, Rogers learned the nuances of entertaining audiences and the technical skills of roping. Rogers later said that it was Texas Jack Junior who taught him the importance of engaging the audience and "always leaving them wanting more," lessons that would serve Rogers well throughout his career.
The photograph from the archives of the Will Rogers Memorial Museum is a testament to the early days of these two legendary figures. Taken in South Africa in 1903, it captures a moment of camaraderie and skill between Texas Jack Junior and Will Rogers. This image not only documents their shared history but also highlights the global reach of Wild West shows at the turn of the century. This photograph provides a unique opportunity for historians, enthusiasts, and the general public to appreciate the early career of Will Rogers and his connection to Texas Jack Junior, enriching our understanding of the formative experiences that shaped Rogers' journey from cowboy to beloved entertainer.
The Will Rogers Memorial Museum's collection is a vital resource for understanding the life and legacy of Will Rogers. This photograph of Texas Jack Junior and Will Rogers in South Africa offers a rare glimpse into a pivotal moment in their lives. As we explore this fascinating image, we celebrate the mentorship and friendship that helped launch Will Rogers' career and honor the enduring legacy of Texas Jack Junior. Visit the Will Rogers Memorial Museum in Claremore, Oklahoma, to discover more about these iconic figures and the rich history they represent.
June 3, 2024
Buyer Beware
Buyer Beware: Scrutinizing Historical Tintypes of Wild West Legends
The Wild West era, characterized by its larger-than-life heroes and villains, continues to capture the imagination of historians, collectors, and enthusiasts. Images of iconic figures such as Wild Bill Hickok and Texas Jack Omohundro are particularly coveted, often fetching high prices at auctions. However, the allure of these rare artifacts also presents a significant risk of misidentification and misrepresentation. One such case is a tintype currently up for auction, purportedly featuring Texas Jack Junior and Wild Bill Hickok.
The auction description for this tintype states, "The individual on the left is Texas Jack Jr., son of Texas Jack Omohundro. The individual on the right appears to be Wild Bill Hickok." However, a close examination of the provided images raises doubts about this claim.
Texas Jack Junior: The individual on the left in the tintype does not resemble known images of Texas Jack Junior. Historical photographs of Texas Jack Junior (see attached image) show distinct facial features and a youthful appearance that do not match the man in the tintype.
Wild Bill Hickok: Similarly, the individual on the right does not closely resemble authenticated images of Wild Bill Hickok. Hickok's well-documented appearance (see attached image) features distinctive facial hair and an unmistakable visage that does not align with the person in the tintype.
The timeline further complicates the authenticity of the tintype. Texas Jack Junior claimed to have been rescued as a young child by Texas Jack Omohundro in 1868. This means Junior would have been between 8 and 12 years old when Wild Bill toured with Texas Jack Omohundro and his co-star Buffalo Bill Cody in 1873-1874. The young age of Texas Jack Junior at that time makes it highly improbable that he could be the adult depicted in the tintype. Further, there is no documented proof that Texas Jack Omohundro and Texas Jack Junior had any contact after the reported rescue that happened while Omohundro was an open-range cowboy between 1866 and 1869.
The market for "newly discovered" images of Wild West heroes and villains is a lucrative one. A tintype of Billy the Kid sold for $2.3 million in 2011, and newer, unauthenticated photos purportedly of the Kid have been appraised for as much as $5 million. This high-stakes market creates a vested interest for some appraisers and sellers, making provenance and rigorous authentication crucial.
Provenance, the documented history of an artifact, is essential in verifying the authenticity of historical photographs. Provenance tells us who owned an image, tracing its ownership history through the years. For example, the famous image of Texas Jack Omohundro, Buffalo Bill Cody, and Wild Bill Hickok is known to be authentic because it remained in the collection of Buffalo Bill Cody until his death in 1917. Without clear and verifiable provenance, the risk of misidentification is high.
Collectors should be cautious and seek expert opinions before making significant investments in such artifacts. Provenance provides the necessary context and history to ensure that a photograph is what it claims to be. Without it, the authenticity of the image is in question, and the potential for misrepresentation is significant.
As a historian and an expert on Texas Jack Omohundro, Texas Jack Junior, and early stage westerns, I can confidently say that the individuals in this tintype are not Texas Jack Junior and Wild Bill Hickok. While I am not an official authenticator, my expertise leads me to this conclusion based on visual comparison and historical context.
In conclusion, collectors should exercise caution and due diligence when considering the purchase of historical photographs. The allure of owning a piece of Wild West history should be balanced with a critical assessment of the artifact's authenticity.
May 22, 2024
Part 6 - Porter Rockwell: Legends of the Old West
Episode 6 of 6 in a series on Orrin Porter Rockwell that I wrote for Legends of the Old West. Porter Rockwell's legacy is a study in contrasts, reflecting the turbulent and often violent times of early Mormon history and the American frontier. Known as "Old Port" to his friends and the "Destroying Angel" of the Church of Jesus Christ of Latter-day Saints to his enemies, Rockwell was both feared and revered. His unwavering devotion to Joseph Smith and Brigham Young saw him become a loyal defender of his faith, willing to suffer and even die for the cause. This same devotion, however, also led him down a darker path, where he was willing to commit acts of extreme violence, including murder, if he believed it served his holy mission.
Rockwell's life was marked by numerous conflicts, including his significant role in the Utah War, where he disrupted U.S. Army supply lines and engaged in raids, embodying the fierce resistance of the Mormon militia. His reputation as a cold-blooded killer stems from numerous accusations of murder, with some estimates suggesting he participated in dozens, if not hundreds, of killings. These acts were often justified by Rockwell as necessary for protecting his church and its leaders, a testament to his belief that such violence was sanctioned by God.
Despite his notorious reputation, Rockwell was also a pillar of his community. He established businesses like the Hot Springs Brewery Hotel, which provided much-needed respite for travelers and soldiers alike. His entrepreneurial ventures and role as a deputy marshal demonstrated his ability to navigate both sides of the law. In his personal life, Rockwell was known for his generosity and loyalty to his friends and family, further complicating his legacy. This duality—being a man of deep faith who would willingly lay down his life for his beliefs, while also being capable of taking lives in the name of those same beliefs—epitomizes the paradox of his character.
Rockwell's actions, whether as a ruthless enforcer, loyal servant, or shrewd businessman, left an indelible mark on the history of the Old West and the Mormon Church. His legacy is a complex blend of faith and violence, loyalty and controversy, making him a figure of enduring intrigue and debate. As such, the episode "Sinner & Saint" delves deep into the duality of a man whose life was a series of paradoxes, offering a nuanced look at a figure who straddled the line between sainthood and sin.
Listen now to "Sinner & Saint" on your favorite podcast platform.
Available on Spotify:
And Apple Podcasts:
All of Legends of the Old West's podcasts are available at:
https://blackbarrelmedia.com/legends-of-the-old-west/
Texas Jack: America's First Cowboy Star by Matthew Kerns is available at:
May 18, 2024
Part 5 - Porter Rockwell: Legends of the Old West
In Episode 5 of 6 in a series on Orrin Porter Rockwell that I wrote for Legends of the Old West, we delve into the tragic events of the Mountain Meadows Massacre, one of the darkest chapters in American history. On September 11, 1857, a peaceful emigrant group from Arkansas and Missouri, known as the Baker-Fancher party, found themselves in a dire situation. As they camped at Mountain Meadows, they were unaware of the escalating tensions between the Mormon settlers and the impending arrival of a U.S. Army expedition. Mountain Meadows, a high-altitude valley with lush grass, wildflowers, and natural springs, provided an idyllic and tranquil setting.
Surrounded by rugged mountains and steep canyons, it seemed like a perfect oasis for the weary travelers to rest, water their animals, and enjoy a brief respite from their long journey. Children played in the fields, and the sounds of laughter and song filled the evenings, creating a stark contrast to the turmoil brewing just beyond their peaceful encampment.
The massacre’s aftermath saw a prolonged quest for justice, hindered by a web of deception and misattributed blame. Efforts to investigate and hold those responsible were stymied by the outbreak of the Civil War and the close-knit nature of the pioneer Mormon community, which sought to shield its members from retribution. The true extent of the church's involvement remained a point of contention among historians, with debates centering on the roles of Brigham Young and other church leaders. It wasn't until nearly two decades later that key figures like John D. Lee faced legal consequences for their roles in the massacre. This episode explores the complexities of frontier justice, the interplay of religious and political loyalties, and the enduring legacy of one of the Old West's most haunting events.
Listen now to "Massacre at Mountain Meadows" on your favorite podcast platform.
Available on Spotify:
And Apple Podcasts:
All of Legends of the Old West's podcasts are available at:
https://blackbarrelmedia.com/legends-of-the-old-west/
Texas Jack: America's First Cowboy Star by Matthew Kerns is available at:
