A Fun Night in Virginia City

Last post I wrote that Mark Twain, Owen Wister and Wells Drury portrayed Westerners as particularly fond of pranks and practical jokes. Here is a tale Drury related in his Virginia City memoir titled An Editor on the Comstock Lode.

Rich mining towns attracted all sorts of people, including entertainers. Supposedly, a ham actor named O’Neil arrived at Pat Holland’s Music Hall begging for a job. Holland was known as a gentle practical joker, but would “never think of doing anything more serious than breaking a man’s leg.” He asked O’Neil if he could dance. After a brief audition, Holland decided to “work him for a game.”

“Have you ever tried Professor Morse slippers?” Holland asked.

“Never heard of them,” O’Neil responded.

“They’re a pair of electric slippers and we offer a prize if you can wear them without dancing. There are few who can wear them without cavortin’ all around the stage. If we could find a man who could stand it, we could win a barrel of money ‘cuz the men’d all bet against the game. Ye’ve a mind to try it.”

O’Neil agreed. After the slippers were strapped to his feet, Holland kept telling his stage manager to increase the current, but O’Neil never felt a thing. Finally, Holland ordered his man to “Jam it all on.” Still, O’Neil never flinched.

“Can ye do it?” Holland asked.

“Don’t ya call this doin’ it?”

“Ye’re right! Now for ropin’ in the huskies. Tomorrow we’ll win the majority of the money on the eastern slope of Mount Davidson, and ye shall have half of all we win.”

The next day posters were spread all over town announcing the challenge.  The Music Hall was standing room only that evening. After several preliminary acts, O’Neil was introduced to a roaring crowd.

“Gents, ye see before ye a stranger who proposes to show ye that he can wear Professor Morse slippers for five minutes without jumpin’ around,” Holland announced. “If anybody wants to gamble on the proposition, he’s my Injun.”

The hall was in pandemonium, with everybody holding up $20 gold coins. Holland consulted with his partners and announced that bets would be limited to $1,000, so the crowd needed to consolidate their wagers. A stakeholder and clerks were brought on stage and soon stacks upon stacks of gold coins weighted down the tables. Finally, over $10,000 had been wagered and O’Neil was getting visibly excited at the possibility of winning half of the stake.

A committee was appointed from the crowd of onlookers to remove O’Neil’s boots and put the slippers on his feet.  O’Neil began to brag, “I could walk across the great American desert with them slippers and never make a skip.”

“Turn on yer steam!” an engineer shouted.

O’Neil walked around the stage with nary a skip. At the four minute mark, O’Neil shouted, “I’ve only a minute longer, and I’d like to bet $1,000 I can make it. I’ll call it two thousand!”

About that time, O’Neil yelped and danced and shrieked and jumped. “Take ‘em off!” he screamed.

The crowd of miners yelled and whooped.

Holland had the electricity turned off, and O’Neil gradually recovered from his ordeal. He was pulling on his boots when Holland emerged from backstage with a navy six-shooter.

Cocking the pistol, Holland yelled, “Villain! Ye’ve ruined me. I’ve a notion to murder ye!

“No! Please don’t shoot!”

“Out of my sight. Git!” Holland yelled as he fired into the ceiling.

O’Neil ran for his life, knocking several people down who were hanging around the stage.

Holland made $500 off admission fees and all of the wager money was returned the rightful owners ... who had all been in on the prank.

The Lone Ranger—Hi-Yo Silver Away!

The Lone Ranger has ginned up a lot of controversy. It’s not a homage to the 1950s television series, nor should it be. Reinvigorating the Western genre means appealing to younger generations. Other than costumes, do the Batman films have anything to do with the television series? Well, in the Lone Ranger, they even ditched the costumes. Thank goodness, because a masked man in a form-fitting white outfit made as much sense on the range as Roy Roger’s blinged cowboy shirts. The movie appropriately retained only the symbolic white hat.

Purists criticize the film for enlarging the role of Tonto over the Lone Ranger. I disagree. The television series and the film are buddy stories and good buddy stories need parity between the partners. The film comes closer in this regard than the old Clayton Moore/Jay Silverheels series. To me, this had more of the flavor of the Lethal Weapon series—a bomance disguised with irreverent bantering.

Bottom line: I liked The Lone Ranger. I laughed out loud, which is rare for me inside of a movie theater. I was dazzled by some of the cinematography, and loved the score. The characters were different than I expected, but struck me as fresh. The plot follows the standard story line of a wronged protagonist reluctant to accept the mantle of hero. That’s behind us now, so from this point forward, it’s Hi-Yo Silver Away!

If you’re interested in some other perspectives, take a gander at these:

Forbes: Review: 'The Lone Ranger' Is A Fun Summer Ride

Salon: “The Lone Ranger”: Rip-roaring adventure meets dark political parable

Henry’s Western Round-up

NPR: The Lone Ranger: Justice from Outside the Law

Western Fictioneers: Who was that Masked Man?

Owen Wister’s Virginian Would not Approve

Poor, but smiling nonetheless

Last month, Paul Mountjoy of Virginia wrote a snarky article for the Washington Times website titled, “The Old West: When men were men and women knew their place.” He opens with the following paragraph. 

“How many times have we heard men declare of the days of the old West, ‘men were men and women stayed at home and knew their place’? This is a common refrain after folks watch a movie based on the period.”

How many times? None, that I've encountered. This is not a common refrain of Western film enthusiasts. It is a writer’s cheap trick. Attribute a sexist comment to something you intend to denigrate.

Mountjoy proceeds to make commonplace observations about the true nature of gunfights in the Old West, list everyday hardships as if they were unique to the frontier, and reminds us that people died of disease and attacks without good medical assistance. The West, of course, was completely void of compassion due to men “witnessing 25 thousand deaths in a matter of days” during the Civil War. (I'm sure this callousness never afflicted men in the actual battleground state of Virginia.) Mountjoy has a penchant for hyperbole. He also claimed prostitutes in the West took “up to 50 or more customers nightly, more often than not, in an alley between two buildings.”

Perhaps Mountjoy’s motive is to promote employment for his friends in the nation’s capital. He writes, “If their farmer husband became disabled and had no older sons to take over the farm, they were in deep trouble. There were no government programs to help.” That seals it; the real Old West was nothing like the movies. And I thought White House Down was a documentary.

Mountjoy misses the whole point of Western mythology. I wrote an article titled, “Is the Mythologyof the Old West Dead?” Here's one paragraph. 

“The West, outer space, the future, or a make-believe land represents a new beginning in a fresh place away from home—the shrugging off of disappointments and a chance to start all over again. The romance and adventure of frontiers draws people desperate to escape the travail of their current existence. We've seen this in real life with the migrations to the New World and the Old West, but today many people satisfy this longing vicariously with fiction. If you're poor, your family makes you miserable, you've committed an act that offends society, or wanderlust has gripped you, then the adventure and limitless opportunity of a frontier beckons like a siren's call. Emigrating to a frontier means you get a do-over in a land with no rules, no fences, no referees.” 

It’s the absence of civilization that draws stalwart people to a frontier. They can start over and build a better life. Maybe they won’t, but they’re willing to take risks just for the chance. Listing hardships never dissuaded pioneers, whether they were setting off for Plymouth or Tombstone. They were a tough and hopeful breed. We lament the demise of the frontier and the Old West because we need more of these courageous people.

John C.H. Grabill, Renown Western Photographer

"Branding cattle" Six cowboys branding cattle in front of a house. 1891

Last week I posted "Preserving Western culture through photography."

Don Schimmel takes beautiful contemporary photographs that help preserve our Western culture, but John C.H. Grabill was actually there to take photographs of the real Old West. The Denver Post has 66 of Grabill’s photographs posted on their website. He submitted 188 photographs to the Library of Congress for copyright protection. Grabill’s subjects included cowboys, native Americans, trains, stages, wagons, landscapes, and towns. The contrast between Native American encampments and frontier towns is interesting. He is especially renowned for his photographs of Deadwood, South Dakota and the Wounded Knee Massacre.

 Washing and panning gold, Rockerville, Dak. Old timers, Spriggs, Lamb and Dillon at work

Since the characters in my Steve Dancy series are miners, I found the mining pictures helpful, especially the heavy equipment used by the big operations.

You can see all 66 photographs by following this link.

Preserving Western culture through photography

Don Schimmel Photography

There are many ways to preserve our Western Culture. I prefer books, of course. I have no visual or musical talents, but I still appreciate Western film, music, and photography. Schimmel has a talent for catching a mood. Take a look at his site through the link above and enjoy some great photographs.

Cowboy Tribute to Arizona

Last night I went to the Phoenix Symphony to hear Rex Allen Jr. in an Arizona Tribute. It was a great presentation that mixed movie and television Western scores with cowboy songs by Rex Allen Jr. This was not a night for experimentation. The symphony and Allen did the standards of Western music; Buckaroo Holiday, The Big Country, William Tell Overture, Bonanza, Ghost Riders in the Sky, Cool Water, Streets of Laredo, and several others. The performance concluded with I love you Arizona, which was written and sung by Allen and adopted last year as the official theme song for the Arizona bicentennial. The audience insisted that Allen sing the song again for an encore.

It was a full house and I hope the popularity of the two-night performance will encourage other similar events.

Cowboy up!

I recently ran across Cowboy Values by James P. Owen. The book looked intriguing, but when I went to buy it, I decided to start with Cowboy Ethics, Owen's first cowboy book.

Cowboy Ethics is like getting two books in one. The first is a kaleidoscopic tour of cowboy life. Owen’s description of cowboy ethics is the purported purpose of the book, but renowned Western photographer David R. Stoecklein’s pictures grab the reader’s attention. Breathtaking photographs appear on nearly every page and alone are worth the price of the book.

The full title is Cowboy Ethics, What Wall Street Can Learn from the Code of the West. In my opinion, the whole of American society, not just the tip of Manhattan Island, should rediscover the Code of the West. Owen points out that this code has never actually been written down, so he took several years to put together his own list. I think he does a good job of summing up the Code of the West.

Real Cowgirls by David R. Stoecklein

1. Live each day with courage

2. Take pride in your work

3. Always finish what you start

4. Do what has to be done

5. Be tough, but fair

6. When you make a promise, keep it

7. Ride for the brand

8. Talk less and say more

9. Remember that some things aren’t for sale

10. Know where to draw the line.

Stoecklein Photography Website

If you’re a cowboy, you already know the code, but it never hurts to be reminded. The brilliance of this book is that the remarkable photographs will pull you into the code over and over again. Isn’t that how ethics have been passed down from generation to generation for eons—by repetition.

A Hanging Party in the Old West

I was going through some research I had collected for the Steve Dancy Tales and ran across this letter from J. A. Carruth describing life in Las Vegas, New Mexico in the 1880s.

Click to read poster

Speaking of hanging bees, another one took place in Las Vegas after wards when a crowd went and took a party out of the east side lockup and went over and started to hang him on a pole right under the window of the office of the district attorney, who came up and said: “For God’s sake, boys, don’t hang him here. There’s a much better pole in the next block. So the boys very kindly took the “candidate” to the better pole, where he was duly hanged.

J. A. CARRUTH.

Frederick Faust, aka Max Brand

Frederick Faust was one of the most prolific writers of all time, publishing nearly thirty million words in his lifetime. Faust had more pen names than Destry had bullets. (In the film, Destry Rides Again, based on the Faust character, James Stewart famously shoots his Colt seven times.) He wrote more than 500 novels and short stories—all with two fingers on a manual typewriter. In his day, Faust was one of the highest paid writers in the world. Late in his career, Warner Brothers paid him $3,000 a week and he made a fortune from radio, film, and television adaptions of his Dr. Kildare character. Despite writing poetry and fiction in every genre, it was Westerns that made Faust famous, albeit under the pseudonym Max Brand.

Although Faust had once worked on a ranch, he was not a true Westerner. He was born in Seattle in 1892 and grew to maturity in California. He attended the University of California at Berkeley for four years without graduating. He was enamored with the Greek and Latin classics his entire life and often incorporated ancient mythology into his stories. His real life’s ambition was to be a poet, and he wrote genre fiction in the afternoons so he could pursue his passion for poetry in the mornings.

Faust wrote his first Western as a magazine story in 1918. Faust’s editor had recently lost Zane Grey to a competitor because Grey’s Western stories had become so popular. This editor convinced Faust to try to fill his boots. Faust’s first Western novel, The Untamed (1919) was highly derivative of a 1910 Grey Western titled The Heritage of the Desert.

Grey and Faust were different writers. Grey was enthralled with the landscape and expansiveness of the West, while Faust preferred to explore internal conflicts. Grey brought setting almost to life as a character, while Faust had a knack for describing animals in a way that made them vital characters in his stories. Faust preferred pursuit plots, delayed revelation, and his fiction was character driven. Faust was a more literary writer, especially when he put his mind to it.  Jon Tuska, a literary critic/agent, wrote: “The Biblical overtones that run throughout Faust’s Western fiction are as striking and unique as his imagery from classical literature. Indeed, Zane Grey’s avowed pantheism is wan beside the vivid evocation of the presence of God in Faust’s fiction, whether as the Great Spirit of the Plains Indians or the Christian Deity … every story Faust ever wrote seems to have to a degree both surface action and a subtext, a story within the story that functions on the deepest level.”

Although Faust received praise from literary critics, his lack of historical accuracy, scant descriptions of the landscape, and minimal actual experience on the frontier generated harsh criticism by those who admire realistic detail in Western fiction. Additionally, His writing quality was inconsistent. Most of his books and stories were produced at a breakneck pace, which sometimes amounted to 6,000 words in a single day. His work has also been butchered by editors who severely abridge his serialized stories for publication as novels.

Frederick Faust was a one-man fiction factory. He was also a great storyteller who invented enduring characters. Faust believed that “there is a giant asleep in every man.  When that giant wakes, miracles can happen.”  This was certainly true for him.

Django Unchained—Quentin Tarantino’s Does Spaghetti Western

I like Tarantino movies and Westerns, so I expected to love Django Unchained.  I only liked it. It wasn’t bad; it just didn’t live up to my expectations.

The Spaghetti Western is a subset of the Western genre, typified by antiheroes, revenge themes, extreme violence, slow scenes, scant dialogue, extreme close-ups, long running times, and heavy scores punctuated by stretches of pure silence. (My favorite is Once Upon a Time in the West.) The Spaghetti Western is a different breed from the traditional Western because all of these characteristics are done to excess.

I knew something was amiss with Django Unchained about two hours into the movie when I wondered how long it would be before the end. Not a good sign, even when three hours is typical for Spaghetti Westerns. The audience is supposed to be transported to another place and time, not squirming in their seats.

Tarantino loves bad movies, especially bad genre movies. He sees art where others see trash. His best works, like Kill Bill for example, blend clichés and corniness from multiple genres into a cornucopia of unexpected delights. Django Unchained seemed too predictable and too narrow. Perhaps Tarantino’s shtick has run its course. I hope not.

Related post: Europe's Infatuation with the American Wild West

Zane Grey Defined a Genre

Portrait of Grey at Monument Valley

Zane Grey was an athlete, avid fisherman, and a lifelong philander. Grey was introverted and remained somewhat antisocial his entire life. Oh yeah, he was also a writer. In fact, he wrote his first story at age fifteen.

He attended the University of Pennsylvania on a baseball scholarship, and played minor league ball for several seasons. After graduating with a dentistry degree, he set up practice in New York City. About ten years later, he gave up dentistry to write full time.

His first published work was a magazine article about fishing, and he wrote extensively about fishing his entire life. At first, his novels were repeatedly rejected. He grew to love the West after several hunting trips to the north rim of the Grand Canyon, so he incorporated these experiences into his writing. Still his novels continued to be rejected. (His early works were not Westerns.)

In 1910, he wrote his first Western, The Heritage of the Desert which became a bestseller. Two years later, Riders of the Purple Sage became his best-selling book of all time. From that point forward, he was a celebrity writer and Grey’s Westerns were eagerly published.

Zane Grey authored over ninety books, counting the ones published posthumously from manuscripts or serialized magazine stories. He would cease writing for long periods, and then burst into writing frenzies where he would scribe over 3,000 words a day. He sold over 40 million books, most of them Western novels, but some were children’s stories or non-fiction books about hunting, fishing, and baseball. Over 100 films were based on his stories. After his death, he even made it to television with The Lone Ranger, Sgt. Preston of the Yukon—which were based on his characters—and Zane Grey Western Theater. His Westerns allowed him to explore the world extensively, maintain several homes, and write about fishing. In fact, his books made him a millionaire, which irked critics who had little respect for his writing skill.

Zane Grey’s West Society claims that “In 57 novels, 10 books of Western nonfiction, and 130 movies, Grey, who died in 1939 at age 67, almost single-handedly created the "Myth of the West."

The official Zane Grey website lists his books, movies, and magazine serializations.

Steve Dancy Tales -- Kindle Bargain

 

                   The Steve Dancy Box Set

Books provide hours upon hours of entertainment. If you're looking for rousing fiction, consider the Steve Dancy Kindle Box Set. The set includes The Shopkeeper, Leadville, and Murder at Thumb Butte, all three for $8.99, which is five dollars less than buying each book individually. Together, the three Western novels have 790 Amazon Customer Reviews for 4.4 stars and 1,878 Goodreads ratings for 4.0 Stars.

One of the First Mass-Market Bestsellers

The Virginian: A Horseman of the Plains by Owen Wister was one of the first mass-market bestsellers. The 1902 novel received immediate critical acclaim and was hugely popular, eventually spawning five films, a successful play, and a television series. An instant success, it sold over 20 thousand copies in the first month, an astonishing number for the time. It went on to sell over 200,000 thousand copies in the first year, and over a million and a half prior to Wister's death. This Western classic has never been out of print. (You can read my review, "The Virginian, A Classic Western Revisited" at Ezine Articles.)

The Virginian inspired hundreds of stories about the Old West—including the Steve Dancy Tales. After reading The Virginian, I thought it would make an interesting story if the Easterner was the protagonist rather than the narrator. I always enjoyed fish-out-of-water stories.

The Virginian is credited with inventing the literary Western, and many people are familiar with the book. Less is generally known about Owen Wister. In 2002, Harvard Magazine published a short biography of Wister: oddly titled "Owen Wister, Brief life of a Western mythmaker:1860-1938." (By my math he lived to be 78 years old.) Thousands of Westerns have been written, but The Virginian set the benchmark for excellence in the genre.

The Mythology of the Old West

For me, there are three major elements of good western. The first is the romance of a new beginning, the second is the battle of good versus evil, and the third is the lone warrior who sets things right.

Hopalong Cassidy
 as illustrated by Frank Earle Schoonover, 1905 

• The old west represents a fresh beginning in a new place away from home - the shrugging off of disappointments and a chance to start all over again. Emigrating to a frontier means you get a do-over in a land with no rules, no referees, and no fences. 

• The mythical old west is a black and white world. Good fights evil and good usually triumphs. In stories of the Old West, ordinary people are capable of extraordinary heroism. 

• But raw frontiers are dangerous, so even courageous pioneers need help. No civilization means no restraints on bad people doing bad things. Help comes in the shape of an idealized hero, a paladin who risks his life to save the day and asks nothing in return.

These themes have been a part of storytelling in every society since the first cave drawings. You'll also find these elements dominate fantasy and science fiction. The frontier in these genres can be the future, outer space, or a make-believe land. The gunfighter has a simple solution on his hip, while Frodo has the ring and Harry Potter the magic wand.

You can read my article "Is the Mythology of the Old West Dead?" by following this link.

Honest westerns filled with dishonest characters.

King Maker

John Wayne was not only a great star, he was a king maker. Louis L'Amour had been selling well, but was hardly a household name prior to Wayne approving a blurb for Hondo that said, "Hondo was the finest Western Wayne had ever read." 

Wayne also endorsed a TV Western that was somewhat successful. (Gunsmoke still holds the record for the greatest number of episodes at 635.)

Western Writers of America Conference

The Western Writers of America will hold their annual conference in Albuquerque, New Mexico on June 12-16, 2012. I'll be attending with my wife. Ought to be great fun. There will be a book signing by all the authors at Barnes and Noble, Coronado Mall from 4:00 to 7:00 on Friday, June 15. This will be a great celebration of the centennial for New Mexico and Arizona. By the way, New Mexico became a state on January 6, 1912, while my home state of Arizona became a state on February 14, 1912. New Mexico beat us by a month, but we get to claim to be the last contiguous state to join the union.

Custer’s Last Stand at the Little Bighorn

About a month ago, my wife and I took a road trip with some good friends through many of the Westerns states.  We visited Nevada, Utah, Idaho, Montana, Wyoming, South Dakota, and Nebraska.  One of the highlights was a visit to the Little Bighorn Battlefield National Monument.

Every time I visit a historic site, I end up buying at least one book about the events that took place at the location.  I wanted to buy only one book about the battle because we had already visited so many sites that I was weighing down the motorhome.  The store at the National Monument had dozens upon dozens of books on Custer, the battle, Crazy Horse, and Sitting Bull.  I spent some time going through them and ended up taking two to the clerk for a recommendation.  The two books were The Last Stand, Custer, Sitting Bull, and The Battle of Little Bighorn, by Nathaniel Philbrick, and Crazy Horse and Custer: The Parallel Lives of Two American Warriors, by Stephen E. Ambrose.

Read the full review at What Would the Founders Think?

Candelaria, a.k.a. Pickhandle Gulch

The Shopkeeper, the first Steve Dancy Tale, started in Pickhandle Gulch, Nevada. I visited southern Nevada ghost towns researching the book. Pickhandle Gulch was actually a suburb of Caldelaria (okay, side street), but I liked the name and used it in  my story. I took many photos, but few as good as the ones in this slideshow. The town is far off the beaten path, but if you're a ghost town enthusiast, I would highly recommend a trip to Candelaria, known to Steve Dancy as Pickhandle Gulch.

Candelaria Slide Show by Warren Willis

Caldelaria Circa 1880

Caldelaria Today, Author Photo

Steve Dancy Tales
Honest Westerns filled with dishonest characters.

Three Days at a Dude Ranch

Although I'm a western writer, I've never stayed at a dude ranch. At least not until this week, when my wife and I spent time at the White Stallion Ranch outside of Tucson, Arizona. I discovered I had missed out on a lot of fun.

I had always assumed dude ranches were for Easterners who wanted to experience a controlled Old West. To a degree that's true. We found ourselves riding, eating, and drinking with people from all over the nation, as well as from England, Germany, Sweden, and Japan. Some were novices, but most were experienced riders who loved horses and beautiful, wide open landscape. 

It surprised me how many had been coming back year after year. One reason many returned to White Stallion was the ranch staff. They were always gracious and at your elbow whenever you needed something. The ranch hands' politeness seemed contagious. All of the guests were in a holiday mood and eager for the next adventure. This was resort living, seasoned with bit of adrenalin. What a combination.

And the biggest surprise … the adventures seemed genuine. This was especially true for the popular riding lessons. The lesson occurred in a huge corral, and focused on pushing skills to the next level. I had ridden a horse many times, but never had a wrangler give me a private lesson. It made a world of difference, and I'm sure my horse appreciated it.

It was a great stay. We relaxed, ate too much, met interesting people, and became much better riders. We intend to be back in the spring with friends. Maybe we can even get the grandkids out here to race around the corral on a pony. It never too early to help them become Western enthusiasts.

And now for something completely different ...