Frances Hamer – Texas Ranger

A Texas Ranger Earns His SpursThree decades before he became renowned for tracking down Bonnie and Clyde, the legendary Texas Ranger earned his badge under fire along the Rio Grande.

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Francis “Frank” Augustus Hamer was a Hill Country Texan, born in Fairview, Texas, on March 17, 1884. When he was just 22, he passed his interview with Capt. John H. Rogers and took his oath as a Texas Ranger.
— Courtesy John Boessenecker —

Frank Hamer rested his muscular frame against the trunk of a hackberry tree.  He levered a round into the chamber of his Winchester Model 1894 saddle ring carbine, then squinted down the rear sight. Drawing a long breath, he slowly squeezed the trigger and the hammer dropped. The next instant would mark the beginning of his career as the deadliest Texas Ranger of the 20th century.

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Llano-Fredericksburg Road in Oxford, Texas.
— Family Home photo courtesy Texas Ranger Hall of Fame, Waco, TX —

Hamer (pronounced “Haymer”) was born in the Texas Hill Country in 1884. The son of a blacksmith, Frank spent long hours toiling with sledgehammer and anvil in his father’s shop. He grew into a powerful six-foot-two-inch youth, all muscle and gristle. Hamer had no formal schooling after the sixth grade. As he once said, “The only education I got was on the hurricane end of a Mexican pony.” He lived much of his early life outdoors and became an expert rider, rifleman, hunter and tracker. Hamer drifted to the Pecos River country in west Texas and rode the ranges as a cowpuncher. In 1905, as a volunteer posseman, he tracked down and captured several horse thieves. The sheriff of Pecos County was so impressed that he recommended young Hamer as a Texas Ranger.

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Franklin Hamer (lower left) raised Frank, the second oldest, and his seven brothers and sisters in their home, adjacent to his blacksmith shop, on the Llano-Fredericksburg Road in Oxford, Texas. Sitting beside the Hamer patriarch is his brother Harrison, while standing is the youngest, Flavious, and sister, Pat. — Family Photo courtesy Harrison Hamer —

In April 1906 Frank enlisted in Company C of the State Ranger Force. Then, Rangers were rarely called “Texas Rangers,” for everyone connected with them was in Texas, and adding the state’s name was redundant.  They were merely “Rangers” or “State Rangers.” Hamer’s commander was Capt. John H. Rogers, famed as one of the “four great captains” of that era. Rogers did not look like a Western lawman. Portly, bespectacled, gentlemanly and deeply religious, he was a crack detective and a deadly opponent in a gunfight. He had been a Ranger since the age of eighteen and had killed several desperadoes in hair-raising gun battles. Rogers had twice been wounded in the line of duty, leaving one arm permanently injured. He carried a special rifle with a curved stock to compensate for his crippled limb. Frank Hamer idolized his captain, and ever after sought to emulate him. Captain Rogers became the most important influence in Hamer’s professional life.

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After being posted to Ranger Company C in Alpine, Frank Hamer investigated many crimes on local ranches, including working undercover as a greenhorn on a ranch being rustled in Ysleta.
— True West Archives —

The Rangers served not only as a border protection force, riding the Rio Grande in search of outlaws, smugglers and cattle thieves, but they also assisted local officers.  Because lawmen were few, and levels of crime and violence were high, the Rangers rode from one hot spot to another, augmenting local police and sheriffs. During Hamer’s first year as a Ranger, he acquired more experience than many modern law officers get in a decade. He rode several thousand miles throughout the border region and the Big Bend, obtaining intimate knowledge of the country and its people. He learned to conduct surveillance, to work undercover and to investigate myriad crimes. He arrested seven men for murder. And he took part in an exploit in Del Rio that folks would talk about for more than a hundred years.

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Murderer Ed Putnam was the first criminal Frank Hamer killed in the line of duty.
— Photo Courtesy John Boessenecker —

Del Rio, then a dusty border town of 2,000 residents, is situated on the Rio Grande, midway between Laredo and the Big Bend. On November 30, 1906, Captain Rogers received word that a wealthy sheepman, Blake Cauthorn, had disappeared. He began an investigation, and quickly found that Cauthorn had been at the bank in Del Rio, where he paid a stranger, Ed Putnam, $4,500 for a flock of sheep. Putnam had last been seen headed out of town in a livery rig, which was found abandoned 12 miles north of Del Rio. Rogers, with Rangers Hamer and Robert M. “Duke” Hudson and County Sheriff John Robinson, spent the night in a vain manhunt for Putnam. In the morning they got word that Cauthorn had been found in his buggy, shot to death. At about the same time, the Rangers learned that another stockman, John Ralston, who had also engaged in a sheep deal with Ed Putnam, had vanished.

The town was gripped in a fever of excitement, with citizens convinced that Cauthorn and Ralston had been robbed and murdered by Mexican bandits. The Rangers paid no attention to the rumors, and kept up their hunt for Putnam. Rogers inspected Cauthorn’s body, then concluded that Putnam might have circled back to Del Rio to board a train for escape. As the lawmen watched all the outbound trains, Sheriff Robinson got a tip that Putnam was holed up in a bordello operated by Glass Sharp, situated near the railroad tracks on the outskirts of town. The sheriff and his deputies, along with Rogers, Hamer and Hudson, climbed into a pair of hacks and rushed to the Sharp house.  It was six p.m., December 1, 1906.

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During the manhunt for Ed Putnam, Capt. Rogers and his Rangers staked out the Southern Pacific train station, and at one point hopped a freight from the Del Rio station to Comstock in search of the killer.
— True West Archives —

Sheriff Robinson placed seven men in the front of the Sharp bordello, while Rogers, Hamer, Hudson and another posseman covered the rear. The sheriff called for the women inside the brothel to come out, and they did so. Then he yelled to Putnam that he knew he was inside. As Rogers later explained, “At first one of the women denied that he was there. Afterwards, they admitted that he was inside and they carried him word from Sheriff Robinson to come out and surrender.” The lawmen allowed Sharp’s daughter, Georgia, to reenter the house and talk with Putnam.

“He won’t come out,” she told the officers. “He’s got a funny look in his eyes and says he won’t give up.”

Half an hour passed and Sheriff Robinson lost patience. By this time a crowd of more than a hundred citizens had gathered, some of them armed, and he feared mob violence. Robinson ordered his possemen to open fire on the house. Hamer, crouched behind a hackberry tree at the rear of the house, held his fire. The other officers unleashed a barrage of 30 or 40 shots through the wood walls. In a display of the steady diligence and calm that would mark his later career, Frank continued to hold his fire, while carefully watching the rear windows. Several times he saw a curtain rustle. Then he spotted a pistol barrel poking through the curtain. Hamer took dead aim at the six-gun barrel and squeezed his trigger. The Winchester carbine roared and the heavy bullet tore through the curtain and ripped into the stooping Putnam. It slammed into the killer’s face, just under his left eye, ranged downward and shattered his jaw, then entered his neck, cutting the jugular vein, passed out of the neck, plowed into his left shoulder and exited through his left arm. Putnam crumpled to the floor, dead.

texas ranger frank hamer ed putnam del rio true west magazine
Frank Hamer’s Company C headquarters was on Alpine’s Main Street in Brewster County. In 1906, the rowdy cattle town of a 1,000 or so was a gateway to the Big Bend and the Mexican border.
— Courtesy True West Archives —

The possemen heard a loud thud as Putnam fell, but they could not see inside the house. Captain Rogers said later, “However, not knowing whether he was dead, wounded or feigning to be dead, the house was not entered for a time and our party reloaded and fired many times after this until, perhaps, something like two hundred rounds had been fired, when the house was entered and Putnam found to be dead having received one fatal shot.” Putnam clutched a six-gun in his dead hand. Captain Rogers took three guns from his body: a .32 caliber Colt Single Action Army revolver, a .32 caliber Winchester rifle and a newfangled German Luger automatic pistol. The killer’s pockets held 300 cartridges and $3,500 in cash. The walls of the house had been shredded by 500 bullets. As an eyewitness said, “The furniture in the Sharp home was completely wrecked, even the stove legs being shot off.”

The next day John Ralston’s dead body was found north of town where Putnam had dumped it. Putnam had robbed and killed both victims. The noted Noah H. Rose, then a Del Rio photographer, had been a witness to the deadly shootout. He took a photo of the dead Putnam and invited Captain Rogers and his men come to his studio and to sit for commemorative pictures. Rose shot four images of the Rangers. Two were group images, with Rogers seated, holding Ed Putnam’s Luger pistol. Next to him were Hamer, Duke Hudson and an unidentified friend, with their rifles displayed prominently. Then Rose had Hamer and Hudson take off their coats, so their six-shooters and cartridge belts showed, and photographed them both standing and kneeling with their rifles in hand. Those photographs have become iconic in Texas Ranger history and lore.

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When working the Rio Grande border counties of southwest Texas, Hamer frequented the historic 1887 Val Verde County Courthouse in Del Rio, to testify in criminal cases.
— Courtesy The Lyda Hill Texas Collection of Photographs in Carol M. Highsmith’s America Project, Library of Congress —

Captain Rogers presented Frank Hamer with Putnam’s Colt revolver, saying that since this was his “first gunfight as a Ranger he thought he should have a memento of the occasion.” Hamer’s commanding officer was greatly impressed with Frank’s coolness and deadly marksmanship. In the years to follow, Frank Hamer would eventually become the most famous lawman in the Southwest, noted for his skill in investigating murders and protecting prisoners from lynch mobs. He engaged in 52 gun battles, and killed, or participated in killing, at least 21 desperadoes in the line of duty. And that all took place long before he got on the trail of Bonnie and Clyde.

Western historian John Boessnecker adapted this story from Texas Ranger: The Epic Life of Frank Hamer, the Man Who Killed Bonnie and Clyde.

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Texas Jack

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The Tragedy of Texas JackTexas Jack Omohundro and Giuseppina Morlacchi’s doomed romance

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Texas Jack Omohundro poses with his wife and business partner, Italian ballerina Giuseppina Morlacchi, in this colorized publicity photo. It was probably taken shortly after the couple began their Texas Jack Combination acting troupe in 1876.

Texas Jack could have been the person about whom the phrase “tall, dark and handsome” was coined. And Giuseppina Morlacchi was a heartbreaker. She was a ballet dancer from Italy and he was a cowboy from Virginia. Born John Burwell Omohundro, he later decided that “Texas Jack” was a lot easier for people to remember, and pronounce. She moved to the United States at age 21 to perform and never left. Theirs became a fairy tale romance, forged in the imaginary West of the stage but eventually broken in the real West.

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Former Confederate cavalryman Texas Jack Omohundro’s stage career and story book marriage to Italian ballerina Giuseppina Morlacchi were cut short by pneumonia in Leadville, Colorado, where he died in 1880 at the age of 33.
— All Images Courtesy True West Archives Unless Otherwise Noted —

After fighting on the side of the Confederacy under Gen. J.E.B. Stuart, John Omohundro moved to Texas at the end of the war. There he got involved with cattle herding, driving cattle north along the Chisholm Trail to railheads in Kansas several times. It may have been on one of those drives that he made the decision to relocate once again, moving first to Fort Hays, Kansas, and then to the North Platte, Nebraska, area. Drawing on his past experience, including time spent as a scout during the Civil War, Omohundro picked up odd jobs scouting, hunting and guiding. He also became “Texas Jack.”

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Texas Jack.

In 1869, Texas Jack met William F. “Buffalo Bill” Cody, who was also scratching out a living scouting, hunting and guiding. They became fast friends, scouting together for the Army and engaging in hunts with the likes of the Earl of Dunraven and Grand Duke Alexis of Russia. They also caught the attention of dime novelist Ned Buntline. In late 1872, their fortunes changed when he invited them to become stars of Scouts of the Prairie, a play he was creating. The cast was strengthened by the presence of the noted ballerina and actress Mademoiselle Giuseppina Morlacchi.

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This 1873 cast photo shows the stars of Scouts of the Prairie in their stage costumes. Buntline, Cody and Omohundro wear typical frontier scouting attire. Giuseppina Morlacchi has abandoned her ballerina outfit and wears the costume for her role as Dove Eye, an heroic Indian princess.
— Courtesy Buffalo Bill Museum and Grave, Golden, Colorado —

Born in Italy, Morlacchi was the same age as Texas Jack and Buffalo Bill. She became a classically trained dancer, traveling throughout Europe until her American ballet debut in 1867. She introduced the can-can to the country the following year. A fine actress as well, she was soon appearing in the major cities of the American Northeast. Just weeks before his buffalo hunting expedition with Buffalo Bill and Texas Jack, the Grand Duke Alexis saw Morlacchi on stage. Buntline also saw her and recruited her to join his new play.

texas jack omohundro globe theater poster play western true west magazine
The Texas Jack Combination was successful for Giuseppina Morlacchi and Texas Jack, but they continued to perform separately as well. In 1878, Texas Jack appeared with Dr. W. F. “Doc” Carver, a dentist turned exhibition shooter who he met several years earlier in North Platte, Nebraska. Five years later Carver joined forces with Buffalo Bill to create Buffalo Bill’s Wild West.

Giuseppina did not come alone to the United States. She was accompanied by her manager of five years, John Burke, who was smitten by her. He had presented her with rings and was planning on settling down with her in a house in Lowell, Massachusetts. Those dreams ended when she met Texas Jack. For the Virginian and the Italian, it was love at first sight. She returned the rings to John Burke and pledged herself to John Omohundro. Heartbroken, Burke wore the rings and never married. Instead of devoting his life to her or to any another woman, he spent it instead promoting his new friend Buffalo Bill. It was a task he pursued until Cody’s death.

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Scouts of the Prairie, a play written by dime novelist Ned Buntline in four hours, debuted
in Chicago in December of 1872. In this publicity photo, Texas Jack points at his friend William F. “Buffalo Bill” Cody, who reclines in front of Buntline. The play was the first appearance onstage for all three.

With Scouts of the Prairie’s combination of the two well-known scouts with the lovely and talented Morlacchi, the 1872-73 season of the road show was a resounding success. The relationship between Morlacchi and Omohundro was also a success; they were wed on August 31, 1873. The following year Texas Jack, Morlacchi and Buffalo Bill struck out on their own with a new play, Scouts of the Plains, and a new co-star, their friend Wild Bill Hickok.

texas jack buffalo bill wild bill hickok scouts of the plains true west magazine
Texas Jack and Buffalo Bill pose with their friend “Wild Bill” Hickok. Hickok joined them onstage in the play Scouts of the Plains in 1873-74. He preferred gambling to acting and left the show mid-season.

Hickok, who was never very excited about acting, was the first to leave the combination after several months. The Omohundros parted amicably with Buffalo Bill in 1876 to create their own troupe, re-enacting scenes from the West on stage. They happily toured together for the next several years, with periods of relaxation at the Massachusetts home once desired by John Burke. Finally their show business career took them to Leadville, Colorado, for a series of performances. They decided to stay in the Rocky Mountain West rather than return to Massachusetts.

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Texas Jack.

Three months into their stay, Texas Jack succumbed to pneumonia in Leadville, dying on June 28, 1880. The fairy tale romance had lasted just seven years. Grief stricken, Giuseppina Morlacchi departed for their Massachusetts home, never to return to the stage, and died of cancer six years later.

Author’s Note: Texas Jack Omohundro is buried in Leadville’s Evergreen Cemetery. In 1908, Buffalo Bill commissioned a permanent granite marker in his friend’s honor. In 1994, Omohundro was inducted into the National Cowboy & Western Heritage Museum’s Hall of Great Western Performers.

The Comanche and his Horse

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The Comanche and his HorseThe acquisition of the horse in the 1600s brought immediate and sweeping changes to the Plains Indians.

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Comanche tribe members with their horses.

The acquisition of the horse in the 1600s brought immediate and sweeping changes to the Plains Indians. For the first time it gave them a wide range and mobility for hunting and military might. It brought about the most glorious period in their history. The Comanche were the first to acquire the horse referred to them as their “God Dogs.” They built an entire culture around them.

The Comanche became expert ropers and popular way to capture and break a young horse was to rope him, choke him to exhaustion and while the horse was down on the ground the captor would then blow his breath into the nostrils of the animal and remove the “wild hairs” around its eyes. A headstall or hackamore, a loop was placed around the jaw and tied at the neck. The horse would then be attached to a gentle mare. The warrior would then handle him enough to get him used to being around humans. After a few days he would be turned loose to be free but would remain with the mare, following her everywhere she went. When it came time to ride the handler would take the horse into deep water or a sand-bottomed creek to mount. This served to take some of the starch out of his bucking and make the landing softer if the horse succeeded in unloading its rider.

Capturing and breaking a wild horse was good but the Comanche was also an excellent horse thief and stealing them was developed into an art. Getting horses by plunder and especially under dangerous conditions gave the warrior an opportunity for valor and prestige. The Comanche raided for other plunder and scalps but more often than not he preferred to go on horse-stealing forays.

There were a lot of ways to break a horse and over time the Indians adopted some of the methods of the white man and vice versa. Kindness rather than cruelty was always the most effective way to break a horse.

They also practiced selective breeding, gelding the inferior males and breeding the best stallions with their mares.

Rival Plains Indians tribes noted the Comanche affinity for his mounts in their campfire stories noted that in time of danger a Comanche would bring his favorite horses into the tee pee and make his wives sleep outside. They also claimed that when a Comanche copulated with his wife he would mount her from behind and whinny like a stallion.

Artist George Catlin, who was one of the first to write about them wrote: “A Comanche is out of his element and comparatively almost as awkward as a monkey on the ground without a limb or a branch to cling to; but the moment he lays his hands upon his horse his face even becomes handsome and he gracefully flies away like a different being.”

William Blakemore, an Englishman spent eight years with the tribe left this description: “On foot slow and awkward, but on horseback graceful, they are the most expert and daring riders in the world. In battle they sweep down upon their enemies with terrific yells, and concealing the whole body with the exception of one foot behind their horses, discharge bullets or arrows over and under the animal’s neck and accurately. Each has his favorite war-horse which he regards with great affection and only mounts when he goes into battle. Even the women are daring riders and hunters, lassoing antelope and shooting buffalo.”

Ellsworth Showdown

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Erroneous Ellsworth ShowdownLetters help prove that the Wyatt Earp-Ben Thompson showdown is a tall tale.

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The Ellsworth Showdown has been popularly portrayed and discussed in books about Wyatt Earp. This illustration of the 1873 gunfight, by Lorence F. Bjorklund, was seen by only a few. Published in Enid Johnson’s 1956 book, Wyatt Earp, Gunfighting Marshal, the printing plate was destroyed and the book withdrawn from the market after Stuart Lake threatened a lawsuit against the publisher. Yet some copies had already been sold to the public, so the book still got out!
— All illustrations courtesy State Library of New South Wales, Australia unless otherwise noted; Wyatt Earp photo True West Archives —

Among the many questionable incidents people often repeat about Wyatt Earp’s life story, few reveal the duplicity of his biographer as much as the tale of Wyatt’s 1873 showdown with Ben Thompson in Ellsworth, Kansas.

Letters between Stuart N. Lake and a Hollywood producer show the legend makers of print and film collaborating to create a fictional character who both men insisted matched the real man. 

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Wyatt Earp.

The Ellsworth Incident

Stuart N. Lake first told the story of the Ellsworth incident in a 1930 Saturday Evening Post article. A wandering buffalo hunter searching for opportunities in the cattle business, Wyatt landed in Ellsworth on August 18, 1873, where he responded to a dangerous standoff after the killing of Sheriff Chauncey B. Whitney. Bill Thompson had shot Whitney and was allowed to ride out of town, while his brother Ben held off any pursuers with a shotgun. The remaining Ellsworth peace officers were too cowed to challenge Ben until Wyatt volunteered to arrest him, with the aid of two borrowed six-shooters and a sheriff’s badge.  Striding fearlessly across the street, Wyatt ignored the “hundred or more half drunken cowboys” who backed Ben and intimidated Ben into surrendering. When offered a permanent position on the police force by the mayor, Wyatt contemptuously refused due to the court’s release of Ben on a $25 fine.

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Wyatt Earp biographer Stuart Lake (above left) speaks with Merritt Beeson of Dodge City, Kansas, circa 1930. His face is more clearly shown in the photo below, among the few known photographs of Lake.
— Courtesy Boot Hill Museum of Dodge City, Kansas —

The problem with this story is that it has not been proven.  The only contemporary description of the incident appears in the August 21, 1873, issue of the Ellsworth Reporter,and Wyatt’s name is conspicuously absent. The newspaper story describes the shooting of Whitney and Mayor James Miller’s impatient discharge of the town’s cowardly police force, but it identifies Deputy Sheriff Ed Hogue as the only officer remaining to make arrests and the person who “received the arms of Ben Thompson.” 

Lake’s source for his contradictory version of the event apparently came either from his own imagination or Wyatt.   Evidence Wyatt may have told the story is contained in a 1928 letter he sent to Lake. Referring to a Texas gambler named George Peshaur, Wyatt wrote, “I had some little trouble with him in Ellsworth, at the time that I arrested Ben Thompson.”

Wyatt could have come up with his tall tale by reading the Ellsworth Reporter article. Wyatt enclosed a batch of unidentified newspaper clippings to Lake that year, and the Ellsworth story might have been among them.

Stuart Lake Stretches the Truth

Regardless if Lake made up the story or repeated what Wyatt told him, the biographer left clues that suggest he realized he had stretched the truth.

Lake embellished his Saturday Evening Post version of the Ellsworth incident by claiming “no more than a handful of the narrators of Earp history seem to have been aware” of the showdown, implying other accounts existed.

In 1931, when Lake published his book Wyatt Earp: Frontier Marshal, he doubled down on his claim of available historical evidence by quoting the Ellsworth Reporter text verbatim, but he intentionally left off the concluding sentence that identified Hogue as the man who received Thompson’s guns. Lake couldn’t resist bragging that no other historians had been aware of the Thompson showdown, as opposed to the “handful” he had admitted previously.   

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Stuart Lake.

Both of his claims, however, set a trap to catch Lake in his lie by declaring the story’s roots could be independently verified.

In the decades following his publication of Wyatt Earp: Frontier Marshal, Lake grew to consider his Wyatt character as his personal intellectual property.  He often sought  payment from any print or film depictions of Wyatt that he claimed may have used material from his book, but he found that difficult for works that retold his version of the Ellsworth incident.

The only Western film based on a Wyatt Earp character to feature the heroic staredown with a Ben Thompson character was The Arizonian, filmed in 1935 from a script written by Dudley Nichols.  The movie was released just a year after Frontier Marshal by Fox Studios, which had purchased the exclusive rights to Lake’s book.

Historian Paul Andrew Hutton has speculated that Lake passed on an opportunity to sue Nichols because the Earp biographer had claimed the Ellsworth incident to be part of the historical record.  His conclusion is supported by Lake’s reluctance to litigate two decades later when the Thompson showdown came up again.

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Stuart Lake was super irritated at not being chosen to introduce the episodes for the ABC series The Life and Legend of Wyatt Earp starring Hugh O’Brian (above). Perhaps the biographer believed he could be just as good as the “Old Ranger,” who used to introduce every episode of Death Valley Days.
— Hugh O’Brian photo Courtesy ABC; postcard courtesy NBC —

ABC Defends Lake

In 1953, Hollywood producer Robert F. Sisk wrote to Lake asking about the television rights for Frontier Marshal.  Recognizing an opportunity to boost book sales, Lake agreed to a contract, although Sisk rebuffed his additional demands for final script approval and recurring on-camera introductions to each episode.

Sisk allied with Louis F. Edelman as the executive producer for The Life and Legend of Wyatt Earp, and the pair began to line up the sponsors, talent and network contracts necessary to make the show a reality.  Sisk secured the talents of  Frederick Hazlitt Brennan, a scriptwriter with many screenplays to his credit, but he also wanted Lake to provide stand-alone narratives for each half hour episode.

“I wait with real interest your rough on the first Earp story,” Sisk wrote to Lake in May 1954, “and the reason or  rationale of his being a peace officer.”

In true Hollywood fashion, the producer added,  “and work a dame in, if but slightly.”   

Once filming got underway, a magazine article appeared that threatened to scuttle the entire project.

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This Ellsworth Showdown illustration, from the only biography Stuart Lake authorized in 1956, was drawn by Robert Doremus for Philip Ketchum’s Wyatt Earp. It treads dangerously close to Hugh O’Brian’s look as the frontier lawman in the ABC series.

In the summer of 1955, Argosy magazine came out with an expose written by Edwin V. Burkholder titled, “The Truth about Wyatt Earp.” Filled with the usual anti-Earp screed of previous debunkers, Burkholder also gave a fascinating spin on the Ellsworth incident, which must have hit close to home for ABC, as the pilot was going to feature the Ellsworth showdown.

Burkholder reported Wyatt had actually participated in  a con job by agreeing to publicly arrest Ben Thompson before the showdown. Wyatt was able to stare down the Texas gunman because he knew in advance Ben would not shoot.

Burkholder finished up his spurious retelling by mocking Lake’s version and definitively stating, “The court records name Earp as the arresting officer.”   

Intentionally or not, Burkholder had touched on the one “fact” that Lake could never deny without admitting the bankruptcy of his own version.

One of the sponsors of the show, General Mills, expressed alarm about Burkholder’s story. Sisk demanded a detailed rebuttal from Lake. Instead of complying, the writer complained about his status for the show’s credits and urged the producers to just ignore the “silly” charges.  Reminding Sisk, “if it were not for your Uncle Stuart, there would not be much of a series,” Lake insisted he be given story credit for the first episode in addition to the title of consultant. 

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As a historical figure, Wyatt Earp could not be copyrighted, but Charlton Comics avoided an issue by depicting Earp with a mustache and a buckskin shirt in this Ellsworth Showdown from Wyatt Earp, Frontier Marshal published in January 1956.

“Certainly, no one can dispute the fact that the Ellsworth business, barring a couple of twists, is right out of the book,” he argued, a sideways admission that the Thompson showdown came from his imagination alone.

Curiously, in his urging of the producers to leave the Argosy story unanswered,  Lake acknowledged that an 1884 account of the affair by Ben Thompson failed to mention Wyatt Earp, as if that omission somehow added to the proof of his own version.

Sisk was far from reassured by his petulant consultant. The problem with General Mills was serious enough that he was forced to answer the Burkholder story in the columns of Variety, assuring the entertainment industry that the record of Wyatt’s personal life was “impeccable.”

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The first issue of Wyatt Earp, Frontier Fighter, published by Atlas Comics in November 1955, avoided a potential legal challenge by having Earp face down Bill Thompson, rather than his brother Ben.

Lake’s Bold Bluff

Still seeking a credible statement from his consultant to back up his rebuttal, Sisk again pressed Lake for a response.

Lake wrote back about his ideas for manufacturing T-shirts and publishing a juvenile version of Frontier Marshal and a serialized Sunday newspaper comic strip.  He again laughed off the Burkholder story.

Sisk began to lose patience by the end of July. He reminded Lake that he needed a specific denunciation of the Argosy article.  Lake again stalled, angry about his reduced role in the production of the Ellsworth episode, which he thought he would be introducing himself.

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Published shortly after the debut of the television show, Philip Ketchum’s 1956 book Wyatt Earp was careful to present this cover illustration of the Ellsworth showdown with an Earp figure who bore no resemblance to the actor playing him on TV, Hugh O’Brian. This book was the only juvenile biography in 1956 that Lake specifically authorized
— Illustrated by Robert Doremus / Courtesy Whitman Publishing —

“You sen[t] down a script for the pilot just before you started to shoot it,” he fumed, “When I came up a few days later I learned that it had been entirely rewritten, not only as to story but [also] including the introductory narration.”

After a lengthy complaint about being edged out of script approval, Lake grumbled that his response would be forthcoming. Another week passed before he addressed the issue, and in his letter, Lake spent most of his typewriter ribbon questioning the value of Argosymagazine in general and the questionable identity of Burkholder in particular. He suggested Sisk demand Argosy’s editors produce Burkholder in the flesh to document the article under oath.  Lake smugly predicted Argosy would be unable to do so and bluffed, “I can document my biography of Wyatt Earp in every essential paragraph,” a bold claim for a book that failed to include a bibliography or even a single footnote.

As it turned out, the General Mills executives were mollified by Sisk’s response in Variety,and the pilot episode of The Life and Legend of Wyatt Earp aired on ABC on September 6, 1955. The pilot opened with an enthusiastic narrator who assured viewers that the “stories they tell about him are doubly fabulous because they’re true!”

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More than half of 1956’s The Picture Story of Wyatt Earp, by Felix Sutton and illustrated by Louis S. Glanzman, deals with a fictionalized version of the Ellsworth showdown.

The Ellsworth story featured Hugh O’Brian’s Wyatt Earp bravely facing down a less-than-threatening Ben Thompson played by Denver Pyle. (Perhaps due to budget considerations, the supposed crowd of 100 backing Thompson was reduced to three.)  The credits named Brennan for both the story and the script, a subtle indication of the growing strain between the producers and Lake.   

The Life and Legend of Wyatt Earp became a hit and enjoyed six years of particularly high viewer ratings, but Sisk and Edelman eventually refused to renew Lake’s contract. They also left him to challenge alone any histories of Wyatt that did not infringe on the show’s copyright.

In 1956, no less than six new children’s biographies of Wyatt appeared in bookstores, including one written by Lake.  Although he challenged some of his competitors, he could not specifically claim their repetition of the Earp-Thompson showdown as plagiarism. By that time, he had ensured the Ellsworth incident be viewed as an established historical “fact.”

Professor Kim Allen Scott is the university archivist at Montana State University Library in Bozeman. He discovered the letters between Stuart Lake and Robert F. Sisk in a mislabeled file folder that was part of the Frederick Hazlitt Brennan papers at UCLA.

Boom Town Belles

Thanks to True West Magazine for this content – you can check the original post here https://truewestmagazine.com/boom-town-belles/

Boom Town Belles in the Old WestWhat kind of reception did the traveling sideshows or circuses or drama/theater groups receive?

Old West Theatre Performers Boom Town Belles True West Magazine
Lotta Crabtree.

What kind of reception did the traveling sideshows or circuses or drama/theater groups receive?  Were any of these financially successful?

They were very popular in the entertainment-starved West and the good ones made a lot of money. Shakespearean plays were always popular as was “Uncle Tom’s Cabin.” Citizens in the mining towns had money to spend and they loved to show the eastern cities how sophisticated and up to date they were.

Pretty women because were the most popular and many became very rich. Caroline Chapman was one of the first real actresses to head west. Following her first performance in San Francisco the audience carpeted the stage with poke sacks filled with gold.

Maria Eliza Rosanna Gilbert from Limerick, Ireland took the stage as the exotic Lola Montez. She could spin whoppers as good as any prospector. She had the dark, sultry beauty and exquisitely molded features of the women of Spain.  So, she invented a line of Spanish ancestors and a fraudulent girlhood spent in Seville. Another whopper she told was that she was the illegitimate daughter of Lord Byron.

In California, Lola became quite rich doing her famous “Spider Dance.” She performed the dance in Spanish costume with full, short skirts and flesh-colored tights.  The dance began with Lola wandering on stage then becoming entangled in a spider’s web. Suddenly she discovered a spider, (made of rubber, cork and whalebone) on her petticoat.  Attempting to dislodge the bug, she shook her petticoat furiously. On examining her skirts, she discovered other spiders and she shook her skirts with similar fury, revealing her tights.

During the 1850s this was daring to make the rowdy audiences shout “Higher! Higher!” as Lola searched beneath her skirts for the evasive spiders.  She’d kick a leg high into the air as if to squash a spider on the ceiling, and then she’d kick the other.

Finally she succeeded in shaking off all the spiders and stamped them to death on the floor.  Thunderous applause greeted her as she took her bows. She then stripped a silken garter off a shapely leg and tossed it into the audience.

In the mid-1850s Caroline became so annoyed with the attention given Lola Montez and her Spider Dance, she decided to burlesque the dance.  Her uproarious performances transformed Lola’s act from high sensuality to low comedy.

Lotta Crabtree was a pretty, red-haired Irish lass whose girlish innocence on stage made her rich. Whatever she lacked in talent she made up in image—a lamb among wolves and pure as the driven snow. She had an overprotective stage mother who, fearing they might steal the heart of her meal ticket, kept the wolves away.

As Lotta grew older, she took a fancy to smoking fancy cigarillos.  She also introduced gaminelike bits into her performances—showing off her knees by pulling off her stockings, rolling off divans with a flurry of lifted petticoats and wearing the briefest skirts.  She is believed to be the first actress to smoke on stage and the first to expose her bare legs on stage. She was the Shirley Temple of her time.

For thirty-five years, Lotta was the perennial little pet of the Western theater, and when she retired at the age of forty-four she still wore her red curls.  She lived alone with Mother, who had saved most of Lotta’s enormous earnings. After Mother died, it was too late for romance in her life. When Lotta died in 1924, she left behind a fortune of four million dollars that went to charity.

Adah Isaacs Menkens innocent appearance belied her wild and wicked lifestyle. Mark Twain wrote about her appearance in Virginia City in the play “The Mezappa” where she rode across the stage on a horse in a flesh-colored bodystocking that made her appear nude. Afterwards her adoring audience showered the stage with gold and silver.

These are but a few of the talented women who came west to “mine the miners.”

The Name Who Redeemed The Hamer Name

Thank you to True West Magazine for this content – you can check out the original post here https://truewestmagazine.com/john-fusco-highwaymen/

The Man Who Redeemed The Hamer Name Screenwriter John Fusco makes good on his pledge to set the record straight on the takedown of Bonnie & Clyde.

John Fusco The Highwaymen True West Magazine
John Fusco, on right, shakes hands with Frank Hamer Jr. outside the former Texas Land and Cattle Steak House, in Austin, Texas, with a pledge to “do right by my daddy.”

The story of The Highwaymen, the new Depression-era Western from Netflix, has been a thirty-year obsession for author John Fusco.  “Those old photos of Barrow and Parker, leaning on their stolen 1932 Ford V8 Sedan, downright haunted me.” His investigation revealed that the real Bonnie and Clyde were the antithesis of romantic Faye Dunaway and Warren Beatty, and the real hero of the story was the Texas Ranger who ran them down. “As I researched, I became fascinated by Frank Hamer, one of the greatest lawmen of the 20th century, and I was really disturbed [by] his portrayal in this classic movie.”

Hamer is the lawman the outlaw duo capture, photograph and humiliate in the press, motivating him to hunt down and kill them. It never happened: Hamer and the Barrow gang never ‘met’ until the brief moment when Hamer tried to get them to surrender before opening fire. “[He’d] been shot 17 times over the course of his career, had killed over 50 men. He’d patrolled the border on a horse, with a Winchester. He was an old-time Ranger, in an era that had passed him by.” That is until Texas Governor “Ma” Ferguson (played in Highwaymen by Oscar-winner Kathy Bates) reluctantly asked Hamer to come out of retirement to get the Barrows.

John Fusco The Highwaymen True West Magazine
John Fusco.

 The story simmered on the back burner until fifteen years ago, during the shooting of Fusco’s Hidalgo in the Mojave Desert. “Producer Casey Silver asked me what my passion projects were, and I told him about Frank Hamer. Coincidentally, we were staying at Whiskey Pete’s Casino Hotel where the actual Bonnie and Clyde death car was on display.” Silver was quickly onboard.

Fusco wanted the cooperation of the family, but the Hamers, who’d won a settlement from Warner Brothers for defamation, weren’t talking. “Frank Jr. like his father had been a Texas Ranger, one of the last of the flying game wardens, hunting down poachers from a Cessna plane. I happened to have a few game warden contacts; I did ride-alongs in three states.” They interceded for Fusco, and a meeting was set.  At a lunch of mostly bourbon, Fusco convinced 86-year-old Frank Jr. of his righteous intentions. “We walked out into the sun. He said, ‘I only ask one thing: to do right by my daddy.’ He had his friend take a [picture] as we shook hands, and he said, ‘Here’s our contract right here.’”

Fusco’s initial dream-cast to play Hamer and partner Maney Gault were Robert Redford and Paul Newman. Redford got the script first. “He said, ‘Don’t send the script to Paul. I’m going to bring it to him and I’m going to make sure that we do this. After Butch and Sundance and The Sting, [this] will be a perfect last one for us to do together.’” Newman signed on, and the new pairing was the talk of Hollywood. Sadly, Newman was soon too ill to work, and the deal fell apart.

John Fusco The Highwaymen True West Magazine
Scenes from the forthcoming (pictured above and below) “The Highwaymen,” starring Kevin Costner as Frank Hamer and Woody Harrelson as Maney Gault.

Fast-forward a dozen years, to Netflix, where Fusco is writing and producing the Marco Polo series, and Casey Silver is making Godless. Director John Lee Hancock had long been a supporter, “We knew there had been interest from Kevin (Costner), and Woody (Harrelson) had been circling it for quite a while. Casey called me and said, ‘You’ve got a relationship with Netflix; I do now.  What about taking Highwaymen to them?’ And bingo: they were on board and we were off to the races.”

Fusco grew up on his father’s farm in rural Connecticut, dropped out of high school to ride the rails, then got a G.E.D., and went to NYU Film School. Screenwriting teacher and Oscar-winner Waldo Salt took Fusco under his wing. “He had hoboe’d with Woody Guthrie. We were kind of kindred spirits. He got behind my work and I just idolized him.” His Bachelor’s thesis script became the 1986 movie Crossroads. Then Fusco defied all his agents’ entreaties to do something commercial, and wrote a Western, although, “A Western had not made money since Butch Cassidy.” Young Guns was a hit, as was Young Guns  2, beginning the genre revival that lead to Dances With Wolves, Tombstone, and Deadwood.

John Fusco The Highwaymen True West Magazine

“Working with the ‘Young Guns’ was great,” Fusco recalls, “but working with the ‘Old Guns’, that was the career highlight. We were casting Lawrence Murphy. I said I wrote it as Jack Palance and everybody looked at me like, he’s still alive? And so they reached out. He’s retired, he’s happy, he’s not reading anything. I said, don’t give up. Tell him this Western’s being made with all these young guys, and we want the old guard, the icons of the American Western to take on the ‘brat pack on horseback’. He read the script and came out of retirement. From there he’d go on to win an Academy Award. I think of being down on the Mexican border during Young Guns II, drinking tequila with Kiefer Sutherland, Emilio Estevez, Lou Diamond Phillips, James Coburn, and Christian Slater. James said, ‘You know, that Emilio, that’s the best (expletive) Billy the Kid there’s ever been.’ He said, ‘I played opposite Kristofferson. Kris is a good actor. But he was a pacifist. He never aims his gun directly at anybody. But Emilio, he just breathes life into the character. That’s what made me want to do this.’”

John Fusco The Highwaymen True West Magazine

“There are projects that get offered to me, and I’ll say to my wife, I just can’t find my way into this. She always says the same thing to me: think of it as a Western. As soon as I do that, I’ve got it. The Western’s in my blood and it always will be. I’ve been reading True West for years, and it’s such an honor being [named] True Westerner of the Year, it’s just so meaningful to me, as is The Highwaymen. After this 30-year dream of telling the story of Frank Hamer, I’m making good on my word, and helping to keep the interest in the west and the Western going.”

Battle Tested in the Rockies

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Battle-Tested in the Rockies Mountain man Patrick Gass deserves more attention in accounts of the Lewis & Clark Expedition.

Mountain man Patrick Gass rockies true west magazine
Finding shelter to protect against a Rocky Mountain winter on the frontier required fortitude, as portrayed in John Clymer’s The Trapper’s Tree. Snow began to fall after the Corps of Explorers descended what Patrick Gass called the “most terrible mountains I ever beheld,” Montana’s Bitterroot Mountains. By the time the trailblazers had traveled roughly 4,100 miles from the mouth of the Missouri River to the Pacific Ocean, they decided to build their winter quarters. The crew celebrated Christmas day in 1805 in their brand-new Fort Clatsop, near modern-day Astoria, Oregon.
— Courtesy Eddie Basha Collection, Zelma Basha Salmeri Gallery of Western American and American Indian Art, Past winner of True West’s Best Western Art Gallery award —

In 1925, Kathryn Downing-Smith, the wife of one of Patrick Gass’s grandsons, wrote a letter to her niece Pearl about Gass. She offered keen insight into a man who, until his dying years, had been a soldier and teller of tall tales of his time with Meriwether Lewis and William Clark in the Rocky Mountain West.

“In height he [Gass] was medium, had gray-blue eyes, and dark brown hair. You will see the resemblance in their faces and you will recall mother’s stalky build, and she is very light on her feet,” she wrote.

“She must be like him in disposition too, for I have never heard her complain of her deafness and is even tempered, always making the best of hard circumstances, quiet, methodical, and persevering….

“He was sociable and liked company. Many people came to hear him tell of his experiences on the [Lewis and Clark] expedition. He always spoke with praise for Lewis and Clark…[and] he had a black cat which he named Sacagawea for the Indian woman who accompanied them.”

Gass lived the waning years of his life far from the wilds of the Rocky Mountains, in Wellsburg, West Virginia, which is situated roughly between Pittsburgh and Cleveland. He died there on April 2, 1870, just before his 100th birthday, far outliving any of the other Corps of Discovery members.

Mountain man Patrick Gass rockies true west magazine
Meriwether Lewis hoped his experimental iron frame boat would help the Corps of Discovery make good time. Joseph Field, Meriwether Lewis, Patrick Gass and John Shields (from left) stretch leather skins over the iron framework near the Great Falls of the Missouri River.
— Illustrated by Keith Rocco/ Courtesy National Park Service —

Sought for Corps of Discovery

Born on June 12, 1771, near Chambersburg, in central Pennsylvania, Gass later moved to the central part of the state with his family, serving in the local militia and working as a carpenter. In 1779, Gass enlisted in the regular Army and was stationed at Fort Kaskaskia in Illinois Territory. That post is where, in 1803, an equally young and ambitious man named Meriwether Lewis, with orders from U.S. President Thomas Jefferson, sought Gass for a most singular task: to join the celebrated Corps of Discovery.

The mission of the Corps was to chart a path to the Pacific Ocean in the newly-opened expanse of territory recently acquired by the U.S. from France in the Louisiana Purchase.

After the expedition left St. Louis, Missouri, and ascended the Missouri River, Sgt. Charles Floyd died in what is now known as Floyd’s Bluff in Sioux City, Iowa. The 22-year-old sergeant died on August 20, 1804, from a ruptured appendix.

Captain William Clark’s journal entry for that day read (typos left intact): “Floyd Died with a great deal of Composure…. We buried him on the top of the bluff. 1/2 Mile below [is] a Small river to which we Gave his name, He was buried with the Honors of War much lamented, a Seeder post with the Name Sgt. C. Floyd died here 20th of August 1804 was fixed at the head of his grave.

“This Man at all times gave us proofs of his firmness and Determined resolution to doe Service to his Countrey and honor to himself. after paying all the honor to our Decesed brother we camped in the Mouth of Floyd’s River about 30 yards wide, a butiful evening.”

That same night, the men elected Gass to serve as sergeant in Floyd’s place.

Floyd’s untimely passing was fortunately the only one of the entire 1804-05 expedition. Despite the sadness of the affair, all was not lost for the Corps. In Gass’s journals, he wrote of spending Christmas at Fort Mandan that year: “This evening we finished our fortification. Flour, dried apples, pepper and other articles were distributed in the different messes to enable them to celebrate Christmas in a proper and social manner.”

The completion of the fort was cause for celebration. On Christmas Day, Gass wrote: “Captain Clark then presented to each man a glass of brandy, and we hoisted the American flag in the garrison, and its first waving in fort Mandan was celebrated with another glass. The men cleared out one of the rooms and commenced dancing, which was continued in a jovial manner till 8 at night.”

The expedition built the fortified encampment along the Missouri River in present-day North Dakota. Gass’s skills as a carpenter were put to good use in constructing Fort Mandan.

Gass also oversaw the construction of winter quarters at Camp Dubois and Fort Clatsop. He hewed dugout canoes in Mandan, near White Bear Island in present-day Montana, and Canoe Camp, in Idaho, and constructed wagons to portage the canoes to the Great Falls in Montana Territory.

Not everything was a success. Gass also helped Lewis try to build his experimental iron frame boat near the Great Falls. Lewis had conceived of the idea back East, believing a lightweight and maneuverable boat would allow the expedition to make good time.

Once Lewis unpacked the boat, however,  he realized the lack of pine trees meant he didn’t have a substance to make the pitch to seal the boat.  Working obsessively, Lewis devised a makeshift formula of buffalo tallow, bees wax, charcoal and hides for the seal, but it proved unsuccessful.

“…to make any further experiments in our present situation seemed to me madness; the buffaloe had principally deserted us, and the season was now advancing fast,” wrote Lewis on July 9, 1805.

Mountain man Patrick Gass rockies true west magazine
Patrick Gass authored the earliest published firsthand account of the Lewis and Clark expedition, in 1807. An 1811 edition of his journal featured illustrations by an unidentified artist, including the shown “Captain Clark & his men building a line of Huts.”
— Journal courtesy Heritage Auctions, June 4-5, 2008; Illustration courtesy Newberry Library, Chicago, Illinois —

The Intrepid Fighter

After Gass returned to civilization in September 1806, he sought out and formed a partnership with David McKeehan, a Pittsburgh book and stationery store owner, to edit his expedition journals.

Gass, by his own admission, “never learned to read, write, and cipher till he had come of age.” Much of Gass’s journals paraphrase original field notes, which were destroyed during the initial publication.

Issued in 1807, Gass’s journal is important not only for its contents, but also for being the first published journal of the expedition, seven years before the first publication based on Lewis and Clark’s journals. The title page featured “Corps of Discovery,” and thus, Gass is credited for popularizing the name coined by the explorers.

Now middle-aged, Gass returned to military service and found himself stationed at the same fort in Illinois Territory he had been so eagerly recruited from in 1803. Gass saw service in the War of 1812. Two years later, he saw action at one of the war’s bloodiest battles in Niagara Falls, Canada, the Battle of Lundy’s Lane. During that battle, a falling and splintering tree caused Gass to lose one of his eyes.

Despite his injury, the intrepid fighter persisted. He wouldn’t stop until after the U.S. and Britain signed the Treaty of Ghent that ended the war.

In the years following the war, Gass found himself with little excitement and took to drinking and relaying to anyone who would listen stories of his days with Lewis and Clark in the Rocky Mountains.

He worked variously as a brewer, a ferryman and a carpenter. His respectable living was strengthened by the 1827 death of his father, who left Gass a sizable inheritance.

By 1829, Gass, now 58, had fallen in love with a 20-year-old woman. The two married in 1831, and, over the next 15 years, she bore him seven children. She tragically died of measles in 1846.

In 1860, he was kicked out of a local recruiting station for insisting on fighting in America’s Civil War. The chief complaint against Gass was not his fighting spirit, but his age, about 90 years old.

While Gass’s later years did not exhibit the excitement and adventurous spirit of his youth, he felt they were of equal importance, as reflected in Downing-Smith’s 1925 letter:

“Up to four years before his death when he became helpless, he walked weekly to Wellsburg to get the Wellsburg Herald for which he subscribed. At home he read the paper [and] cared for the small children. He was exceedingly fond of small children. The boys he held, one on either knee, and sang to them “Yankee Doodle,” queer Irish songs, and nonsense rhymes. This is one of them:

“A blue bird sat on a hickory limb;

He winked at me and I winked at him;

I up with my gun and broke his shin

And away the feathers flew!”

Erik J. Wright is an emergency management coordinator, in northeast Arkansas, an assistant editor for The Tombstone Epitaph newspaper and author of four books. He got his start in publishing at 16, when True West published his first article.