Boom Town Belles

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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.”


Jack Swilling

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Jack Swilling might well be called Arizona’s “Forrest Gump” because seems to have had a penchant for being involved in a number of historic events in Arizona’s early history.

In 1858 he was a prospector at Gila City, site of the first gold rush. When Tonto Apache and Yavapai Indians raided the new camp, Jack was elected leader of a group of rangers whose mission was to protect the prospectors.

A couple of years later he was in Pinos Altos, New Mexico, where miners were being attacked by Mimbres Apache under the leadership of the great chief Mangas Colorados. Jack was elected lieutenant of a militia group who called themselves the Arizona Rangers.

During that time the Civil War broke out Southern forces from Texas invaded New Mexico and the rangers were drafted into the Confederate Army. Lieutenant Jack Swilling joined a force of some 100 Texans who arrived in Tucson and created the Confederate Territory of Arizona. Jack was familiar with the land and proved invaluable assisting the Texas guerilla tactics along the Gila River trying to impede a Union force of some 2,000 troops from California who were coming to retake Arizona.

The Union forces vastly outnumbered the Rebs and in a few weeks, drove them out of the New Mexico Territory. Jack remained in New Mexico where he was recruited by the great mountain man and explorer, Joe Walker, to guide them into the unknown central mountains of Arizona.

Walker’s party was looking for gold in an area where few white men had ever dared to travel. At Pinos Altos, near today’s Silver City, New Mexico, they encountered Jack’s old nemesis, Mangas Colorados and his Mimbres Apache. During a parley, Jack managed to get the drop on the old chieftain and turned him over to the Union troops occupying New Mexico.

Following the encounter with the Mimbres Apache Jack would guide the Walker party up the Hassayampa River where, in 1863, they discovered rich deposits of gold that led to the founding of Prescott a year later. That same year Arizona became a territory and Prescott was chosen to be the capital city.

Jack also became a founder of another rich gold strike near the Hassayampa, Wickenburg. He was also with the party that found gold at Rich Hill, a few miles north of Wickenburg. It was the richest single gold strike in Arizona history.

Then in late 1868 he led another group into the Salt River Valley. This time they weren’t looking for gold but for farm land. With mining camps and military post springing up there was a great need for farm products. They cleaned out the ancient canals originally dug by the Hohokam Indians some 1,500 years earlier and by 1870 a new community rising out of the ashes of an old civilization the future capital city of Phoenix was born.

Jack Swilling is a name that goes almost unrecognized by Arizonans today. Much of what is known about him today comes from tall tales, lies and half-truths. He was a tall, powerful man, brave, generous to a fault, a wonderful family man and for the most part was respected by his contemporaries. Swilling was the stuff of legends and certainly deserves a better place in history.

Vendetta Ride’s Forgotten Man
painting earps vendetta cowboys riding by bud bradshaw
“Earp’s Vendetta” painting by Bud Bradshaw.

His name was O.C. “Harelip Charlie” Smith, and he may be the least known member of Wyatt Earp’s Vendetta Ride.  But the Connecticut native—nicknamed because of a cleft palate—had a remarkable career of his own.

Smith was the only Vendetta Rider to return to Tombstone, where he served as a lawman for many years.  He helped track the perpetrators of the Bisbee Massacre and went after train robbers in 1887. One reason that he might be forgotten:  there are no known photos of Charlie Smith.

Wyatt Earp Donation

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Sitting with Wyatt Earp Never-before-seen biographer materials donated to the Tombstone Courthouse.

Wyatt Earp True West Magazine

Dreams of a “fly-on-the-wall” moment in Western history certainly include sitting with Wyatt Earp in the 1920s as he set the record straight about his life and legend, including
his take on the 1881 Gunfight Behind the O.K. Corral in Tombstone, Arizona Territory.

During Sunday visits to the Los Angeles cottage Wyatt shared with his wife, Josephine, Wyatt’s secretary John H. Flood Jr. captured every word.

For nearly 100 years, those shorthand notes—along with an early typed manuscript of Earp’s biography and photos of the last years of the Earps’ lives—have been in private hands.

Now the public can become a fly-on-the-wall to Wyatt’s version of his days in Arizona, Kansas and Colorado, thanks to a donation to the Tombstone Courthouse State Historic Park by Eric Weider, former owner and publisher of Wild West magazine.

“This is as close as you can get to talking to Wyatt Earp, and hopefully will contribute to the knowledge of the West,” Weider says.

That “coming home” is thanks to two persuasive Arizonans. First, Gordon Anderson, owner of Tombstone’s Larian Motel, was dismayed to learn Weider intended to donate the collection to Huntington Library in San Marino, California, and asked that the courthouse be considered. Weider was lukewarm to the idea until he talked with Arizona State Parks and Trails Curator Joanne Brace.

“I was really impressed with her enthusiasm. And she was so responsive, she got me to rethink my plan,” Weider says.

Thrilled with that decision, Brace says,  “This is one of, if not the most, significant item ever given to Arizona State Parks and Trails. Everyone who’s interested in Wyatt Earp will find their way to Tombstone to see this display.”

The location is particularly significant, since Wyatt watched the two-story Victorian-style courthouse being built. He and his brothers arrived in Tombstone in 1879 and left in the spring of 1882, as the courthouse was under construction.

The collection includes Wyatt’s description of his move from Kansas to Tombstone, and his decision to abandon law enforcement work: “So I purchased a Concord coach, two wagons and sixteen head of horses and started for Arizona for the purpose of starting a stage line.

Arizona is calling the donation the Josephine Earp Collection because it includes 33 of her handwritten letters—in her “messy handwriting,” as Weider puts it—including one expressing her grief when Wyatt died at the age of 80, on January 13, 1929: “I am telling you Mr. Flood I am sick grieving over my husband and after this is all over and I have my property all fixed up, I really don’t care what happens to me as I have lost my best friend.

Weider stipulated the collection be available to the public. “We know the legend,” he says, “but this is a look at the real people.”

Jana Bommersbach has earned recognition as Arizona’s Journalist of the Year and won an Emmy and two Lifetime Achievement Awards. She cowrote the Emmy-winning Outrageous Arizona and has written two true crime books, a children’s book and the historical novel Cattle Kate.

Judge Roy Bean

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Judge Roy Bean Justice West of the Pecos.

Judge Roy Bean True West
Judge Roy Bean

When a passenger train pulled into the little town of Langtry to take on water the passengers had about twenty minutes to flock to the Jersey Lillie and wet their whistles. Bean advertised ice cold drinks but the saloon had no ice so he’d put large chunks of clear glass in them to provide a tinkling sound. It’s assumed the noise provided the desired psychological effect.

When the conductor shouted “All aboard,” Bean would deliberately linger when giving the passengers their change. Most gave up and rushed to board the moving train. The judge considered it gratuity and stuck it in his pocket.

However, the judge had little tolerance when the shoe was on the other foot. When a local restaurant owner who owed him some money didn’t pay up Bean waited until his café was full one evening then stood by the door and acted as cashier. When enough money was collected to satisfy the debt he kept on collecting, considering the excess as interest owed.

Judge Bean had no problem exceeding his authority as justice of the peace either when it came to marrying couples. He defended that by declaring he was saving his constituents the cost of having to travel to the county seat at Del Rio.

He also granted divorces justifying that by declaring he’d married them and he had a right to rectify his error. Once two couples came in the saloon requesting divorces. Divorces, like marriages cost two dollars each. As they headed for the door he noticed they’d swapped partners. He called them back to court, informed them fornication outside the marriage was illegal and he’d have to fine them or perform two more marriages. This time he charged them five dollars each.

Sometimes this business of divorce got complicated. One evening he stopped by Mrs. Dodd’s boarding house to eat. “You look awfully tired Judge,” she opined, “what’s been happening?”

“I’m tired” he replied. “I divorced two couples today then swapped ‘em around and remarried them. Then I spent the rest of the day dividing up the children.”

Pony Express Riders

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Death-Defying Riders of the Pony Express Sifting through the myths to uncover the gritty truths about Pony Express riders.

Pony Express True West
The idea that Pony Express riders wore buckskins can be traced to the popularity of Frederic Remington’s 1901 oil, The Coming and Going of the Pony Express. But the master cowboy artist made a major mistake.
— Courtesy Gilcrease Museum, Tulsa, Oklahoma —

When America’s first Pony Express rider set off on April 3, 1860, from St. Joseph, Missouri, launching a coast-to-coast transfer of news and messages that would take 10 days instead of months to arrive, pioneers hailed the news with joy.

Yet what seemed so monumental in 1860 was already old news in 1861. The telegraph promised instant communication. Instead of riders racing back and forth with your news, a series of electric current pulses would transmit messages over wires.

But first those wires needed to be strung across the nation. And thus, the Pony Express rider remained a vision of death-defying courage crossing the prairies and deserts when one steamboat pilot struck out on his stagecoach journey, abandoning his Mississippi River life to travel across the Great Plains and the Rocky Mountains. On his way to his destination in Nevada Territory, this adventurer came face to face with destiny.

Pony Express True West
The Pony Express ended up lasting only from April 3, 1860, to October 24, 1861, because telegraph lines got strung up across the nation, allowing for quicker transmit of messages. For such a short-lived endeavor, the Pony Express sure withstood the tests of time.
— George M. Ottinger’s 1867 wood engraving courtesy Library of Congress —

“In early August 1861, near what is now Mud Springs in remote western Nebraska, Twain saw an Express rider,” so said Christopher Corbett, author of Orphans Preferred, at this summer’s Western Writers of America convention in Kansas City, Missouri.

Corbett continued to set the scene: “The stagecoach driver had been promising him that he would see one, and Twain had taken to riding on top of the coach to take in the view, wearing only his long underwear. The entire encounter took less than two minutes.

“Writing entirely from memory (with his brother’s diary to stimulate him) in Hartford, Connecticut, 10 years later, Twain wrung an entire chapter of Roughing It from that moment. He thus initiated what many a chronicler would continue after him: he preserved the memory of the Pony, with perhaps a little embellishment.”

Of course, when the budding journalist was traveling on that stagecoach to Nevada Territory, he wasn’t yet known by his nom de plume. He was still Samuel Clemens. But by the time Roughing It got published  in 1872, the world knew him as Mark Twain.

Pony Express True West
Walter Martin Baumhofer painted a grandiose and iconic portrayal of a Pony Express rider, complete with a classic wagon train in the background and plenty of sky above.
— Courtesy Heritage Auctions, March 1-2, 2012 —

No Stetson, No Pistol, No Buckskins?

In his humorous American travelogue Roughing It, a favorite book of many to this day, Twain gave one of the most noteworthy descriptions of Pony Express riders, clothed differently than how they are popularly pictured.

“The rider’s dress was thin, and fitted close; he wore a ‘round-about,’ and a skull-cap, and tucked his pantaloons into his boot-tops like a race-rider.

“He carried no arms—he carried nothing that was not absolutely necessary, for even the postage on his literary freight was worth five dollars a letter….

“His horse was stripped of all unnecessary weight, too. He wore a little wafer of a racing-saddle, and no visible blanket.

Pony Express True West
Pony Express riders carried messages in four pockets (cantinas) as shown in the reproduction mochila. Openings cut into the leather allowed riders to fit the mochila over the saddle horn and cantle.
— Reproduction mochila Courtesy Smithsonian National Postal Museum —

“He wore light shoes, or none at all. The little flat mail-pockets strapped under the rider’s thighs would each hold about the bulk of a child’s primer.”

Isn’t that kind of shocking? An actual Pony Express rider did not wear a big ’ol cowboy hat—he wore a skull cap! He did not wear a fringe coat, nor did he carry a pistol! And his saddle didn’t have bulging mail packets on the side!

What seems odd at first, only because of numerous artistic representations that contradict the description, actually makes sense when one remembers: the lighter the ride, the faster the speed.

One of the partners behind the Pony Express, Alexander Majors, explained the saddle’s slim pockets, in his 1893 autobiography, Seventy Years on the Frontier.

The business letters and press dispatches were printed on tissue paper, which allowed for a light weight required for transporting the mail quickly via horses (usually a thoroughbred on the Eastern route and a mustang for the rugged Western terrain). The weight was fixed at 10 pounds or under; each half of an ounce cost $5 in gold to transport.

Pony Express True West
An inaccurate graphic of a Pony rider carrying his mail in a backpack,.
— True West Archives —

A rider’s desire to keep the weight as light as possible also explained why Twain’s rider didn’t carry a gun.

“Along a well-traveled part of the trail (as where Twain encountered him), a rider wouldn’t have to think about carrying a gun,” says Paul Fees, the retired curator from the Buffalo Bill Museum at the Buffalo Bill Center of the West in Cody, Wyoming.

“At night, or through more dangerous territory, I suspect he would arm himself. The revolver of choice, apparently, was the Colt Model 1849 percussion pocket revolver in .31 caliber.”

Now we know why the 80 chosen to be riders were called the “pick of the frontier.” To put your life on the line so you could faithfully meet the 10-day schedule required grit and gumption. Yet Pony riders must have felt the gamble was worth the gig; their $50 a month salary was good pay in the days when a skilled blacksmith made $33.

Okay, so we’re making the mochila lighter and, for the most part, tossing any firearms, but what about the attire? Would a Pony Express rider really go without his cowboy hat, his boots and his buckskins?

Pony Express True West
The skulls littering the landscape remind viewers of the hostile country toward San Francisco, California, faced by this rider—he’s hoping he’ll outride those American Indians racing after him!
— True West Archives —

Dressing for Success

Hold your horses! Your notion of what that Pony Express rider looked like during his short-lived yet impressive career may still be somewhat accurate. Although one aspect does not appear to be true to history at all.

“Boots were the main footwear, although it wouldn’t be out of line for some riders to wear leather moccasins if they had them as normal footwear,” says Elanna “Quackgrass Sally” Skorupa, who has ridden the Pony Express trails for more than 25 years and is the only member of the National Pony Express Association to belong to all eight state divisions (she even carried the Olympic torch for the Pony Express!). 

The clothing changed with the seasons and was as varied as the riders themselves, Skorupa says, adding, “Hats of all shapes and styles would have been worn…. Wool, calico and cotton shirts, wool britches and homespun sackcloth would have been the norm. I have heard mention of some gloves and even perhaps some gauntlets, but these were very young men, so their personal items would have been few.”

Twain’s rider just had a penchant for a skull cap over a cowboy hat and light shoes over boots. And instead of a buckskin fringe coat, he wore a…round-about? That’s not such a familiar term.

Pony Express True West
Billy Johnson, who performed the Pony Express history for Buffalo Bill’s Wild West show, stands next to a mochila incorrectly stamped “U.S. Mail.”
— Johnson photo courtesy Heritage Auctions, December 11-12, 2012 —

Turns out, a round-about is a fitting choice for someone looking to literally lighten the load on his shoulders. It is a short, close-fitting jacket. Readers may be familiar with the ornate version of this jacket, worn by U.S. Dragoons of the Antebellum era, military historian John Langellier says.

Picturing Twain’s Pony rider in a short jacket, tucked-in pants, light shoes, skull cap and minus a pistol may make logical sense. (And he possibly wore boots. Twain was contradictory on this point. Perhaps his rider changed footwear for the terrain?) Each rider’s style adjusted with the seasons and topography, and beyond that, he wore what felt comfortable and light for the task at hand.

Yet getting Twain’s rider to gallop in the Pony Express movie in our minds may prove difficult. After all, the popular idea of how a Pony Express rider should look is best portrayed in Frederic Remington’s The Coming and Going of the Pony Express. His Pony Express rider is superbly clad in a buckskin suit, with his cowboy hat flared up to the sky and his trusty pistol strapped to his waist.

But the master cowboy artist got this attire wrong.

Pony Express True West
The romance of the American West’s Pony Express has reached as far as Russia, as demonstrated by Valeriy Kagounkin’s painting of a rider.
— Courtesy C.M. Russell Museum Benefit Auction, March 18-19, 2016 —

Romancing the Pony

“I have seen several artists clothe these riders in buckskins,” Skorupa says, “and usually the Pony Express rider is portrayed older than the young age of the true riders.”

Then she twists the knife in: “I have never found any evidence of the riders wearing buckskins.”

Oh, say it’s not so. Yes, the artist was a New Yorker, but his bloodlines link him to the esteemed American Indian portrait artist George Catlin, to the founder of Remington Arms Eliphalet Remington, to Mountain Man Jedediah Smith and even to our country’s first president, George Washington. He’s not the caliber to swap the real for the mythic!

When actually, that’s somewhat Remington’s appeal as an artist. When he tried out sheep ranching in Kansas in 1883, he found the work boring and rough. He was more of a pseudo-cowboy. He had real-life adventures that gave him an honest connection to the frontier world he was depicting, but you could never call him a bona fide frontiersman. His style was more hearty and breezy than scrupulous, and if he wanted his Pony Express rider to wear a buckskin suit, then truth be damned.

Pony Express True West
These riders exchange their mail in Percy Van Eman Ivory’s The Spirit of the Pony Express oil, allowing for messages to reach the coast in 10 days. Before then, news was dreadfully slow. By the time people back East heard about the 1848 gold strike in California, six months had passed and some boomtowns had gone bust!
— Courtesy Heritage Auctions, October 15-16, 2010 —

Even so, Remington paid proper homage to the Pony Express rider’s history. In the dead of winter, blinding snow all around him, his rider gallops off, having just changed his horse at one of the relay stations that made the endeavor such a success (the stops gave both horses and riders time to rest without gaps in the service of delivering the mail). All the inappropriate weight the artist threw onto his rider clothing-wise, he more than made up for in the overall tone that these riders were boys and young men to admire, who set forth in any kind of weather, in unforeseen worlds of danger, to do a job well done.   

Perhaps Remington and all the others who clothed these daring riders in buckskins were paying too much attention to “Buffalo Bill” Cody’s portrayal of them.

“For three decades a representation of the Pony Express was a spectacle at every performance of Buffalo Bill’s Wild West,” Buffalo Bill biographer Don Russell wrote. “No other act was more consistently on its program. It was easy to stage, and it had the interest of a race, as well as re-creating a romantic episode.”

Russell pointed out that “almost nothing was written about [the Pony Express] for half a century after its brief existence” and later added, “It is highly unlikely that the Pony Express would be so well remembered had not Buffalo Bill so glamorized it; in common opinion Buffalo Bill and Pony Express are indissolubly linked.”

Pony Express True West
A chip off the Frederic Remington block, Dwight V. Roberts’s oil of a Pony Express rider offers yet another buckskin blunder.
— Courtesy Heritage Auctions, December 9, 2009 —

Remington would have known of Buffalo Bill’s Pony Express presentation. He studied the Wild West show cast for his illustration published in Harper’s Weekly on August 18, 1894. He, like many Americans, undoubtedly saw Buffalo Bill as a buckskin-clad Pony Express rider on the September 19, 1888, cover of Beadle’s Dime New York Library.

We should forgive Remington for his buckskin suit rider, even as we reshape our world view to imagine one of these brave souls wearing a skull cap instead of a cowboy hat. After all, without the romance, would we even remember these Pony Express riders today?

Arizona Cattle Company

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Arizona Cattle Company and the A1 Brand

arizona cattle company a1 true west

The arrival of Mormon colonists from Utah in 1876 heralded the first permanent Anglo-American settlements in northern Arizona.  Even though cattle ranching was one of the territory’s largest industries, it was still in its infancy in the area around Flagstaff until the arrival of the transcontinental railroad in 1881.

John Young, a son of Mormon leader Brigham Young was one of the earliest settlers.  He was contracted to deliver 50,000 railroad ties for the new line.  He built a camp for his tie cutters in what is today Fort Valley, a few miles north of Flagstaff.  The threat of Indian raids caused Young to turn the camp into a fortress, which he called Moroni, after the Mormon angel.  A log cabin 75 feet long acted as one side of the bastion.  The other three sides of the square consisted of railroad ties set in the ground on end.

The arrival of the iron-bellied locomotives in 1881 marked the real beginning of the cattle business in northern Arizona.  Young and several companions organized the Mormon Cattle Company, stocking the virgin ranges around Flagstaff for the first time on a large scale.  By 1883, the price of cattle was $50 a head, up from $15 a head just two years earlier.  That same year Young teamed up with a group of Eastern capitalists, led by Colonel Jake Ruppert Sr. father of the man who would own the New York Yankees during the heyday of Babe Ruth.  They founded the Arizona Cattle Company, headquartering at Fort Moroni.

Young, a polygamist, didn’t stay in the business long.  In 1885, a warrant was issued for his arrest, and he was forced to sell his share and make a hasty exit for the hills.

After Young left, the outfit build several new buildings at Fort Moroni and renamed it Fort Rickerson, in honor of C. L. Rickerson, an officer in the New York based company.  During its heyday, the Arizona Cattle Company, or A1, ran some 16,000 head on some of the finest cattle country in Arizona.  They ranged from south of Flagstaff near Lake Mary, north to the Grand Canyon, and from Ash Fork on the west, to the Little Colorado on the east on 132,000 acres of land purchased from the railroad at fifty cents an acre.

In 1885 the absentee owners selected a field manager, a colorful, blustering ex-Chicago fire captain named B. B. Bullwinkle, who literally talked his way into heading up one of northern Arizona’s largest cow outfits.  In spite of his inexperience, Bullwinkle learned the cow business quickly.  His commanding presence more than made up for his lack of knowledge, and the ranch flourished with the captain at the helm.  He erected fences, built barns and bridges on the ranch.  He even strung a telegraph line from Fort Rickerson to Flagstaff.  His range boss was a hard-riding cowboy named Jack Diamond, who held the job until the company folded in 1899.

Bullwinkle was a gentleman who liked pretty women, fast horses, and poker.  The epic poker games the flamboyant captain engaged in with other cattlemen were a reflection of the prosperous times in the business. In one game, with just the turn of a card, the captain held three aces, became the new owner of 762 cows, and a big stock ranch.

A few days after that historic poker game, in 1887, Bullwinkle was killed when his horse took a fall while he was racing another cowman at breakneck speed into Flagstaff.

The Arizona Cattle Company prospered a few more years before a prolonged drought and overstocked ranges drove the company out of business in 1899.  That year range boss Jack Diamond shipped a record 10,000 head to market.  But the good times were gone.  That same year the Hash Knife outfit went bust closing the book on a colorful chapter in Arizona history.