This book is an investigation of the widely overlooked photographic style of pictorialism in the American West between 1900 and 1950 and argues that western pictorialist photographers were regionalists that had their roots in the formidable photographic heritage of the nineteenth-century American West.
The word cowboy conjures up vivid images of rugged men on saddled horses—men lassoing cattle, riding bulls, or brandishing guns in a shoot-out. White men, as Hollywood remembers them. What is woefully missing from these scenes is their counterparts: the black cowboys who made up one-fourth of the wranglers and rodeo riders. This book tells their story. When the Civil War ended, black men left the Old South in large numbers to seek a living in the Old West—industrious men resolved to carve out a life for themselves on the wild, roaming plains. Some had experience working cattle from their time as slaves; others simply sought a freedom they had never known before. The lucky travelled on horseback; the rest, by foot. Over dirt roads they went from Alabama and South Carolina to present-day Texas and California up north through Kansas to Montana. The Old West was a land of opportunity for these adventurous wranglers and future rodeo champions. A long overdue testament to the courage and skill of black cowboys, Black Cowboys of the Old West finally gives these courageous men their rightful place in history. Praise for an earlier book by the same author: “Whether you are a history enthusiast or a lover of adventure stories, African American Women of the Old Westpresents the reader with fascinating accounts of ten extraordinary, generally unrecognized, African Americans. Tricia Martineau Wagner takes these remarkable women from the footnotes of history and brings them to life.” —Ed Diaz, President of the Association for African American Historical Research and Preservation
William F. “Buffalo Bill” Cody, star of the American West, began his journey to fame at age twenty-three, when he met writer Ned Buntline. The pulp novels Buntline later penned were loosely based on Cody’s scouting and bison-hunting adventures and sparked a national sensation. Other writers picked up the living legend of “Buffalo Bill” for their own pulp novels, and in 1872 Buntline produced a theatrical show starring Cody himself. In 1883, Cody opened his own show, Buffalo Bill’s Wild West, which ultimately became the foundation for the world’s image of the American frontier. After the Civil War, new transcontinental railroads aided rapid westward expansion, fostering Americans’ long-held fascination with their western frontier. The railroads enabled traveling shows to move farther and faster, and improved printing technologies allowed those shows to print in large sizes and quantities lively color posters and advertisements. Cody’s show team partnered with printers, lithographers, photographers, and iconic western American artists, such as Frederic Remington and Charles Schreyvogel, to create posters and advertisements for Buffalo Bill’s Wild West. Circuses and other shows used similar techniques, but Cody’s team perfected them, creating unique posters that branded Buffalo Bill’s Wild West as the true Wild West experience. They helped attract patrons from across the nation and ultimately from around the world at every stop the traveling show made. In Art and Advertising in Buffalo Bill’s Wild West, Michelle Delaney showcases these numerous posters in full color, many of which have never before been reproduced, pairing them with new research into previously inaccessible manuscript and photograph collections. Her study also includes Cody’s correspondence with his staff, revealing the showman’s friendships with notable American and European artists and his show’s complex, modern publicity model. Beautifully designed, Art and Advertising in Buffalo Bill’s Wild West presents a new perspective on the art, innovation, and advertising acumen that created the international frontier experience of Buffalo Bill’s Wild West.
The story of the American West is that of a journey. It is the story of a movement, of a geographical and human transition, of the delineation of a route that would soon become a rooted myth. The story of the American West has similarly journeyed across boundaries, in a two-way movement, sometimes feeding the idea of that myth, sometimes challenging it. This collection of essays relates to the notion of the traveling essence of the myth of the American West from different geographical and disciplinary standpoints. The volume originates in Europe, in Spain, where the myth traveled, was received, assimilated, and re-presented. It intends to travel back to the West, in a two-way cross-cultural journey, which will hopefully contribute to the delineation of the New—always self-renewing—American West. It includes the work of authors of both sides of the Atlantic ocean who propose a cross-cultural, transdisciplinary dialogue upon the idea, the geography and the representation of the American West.
Billy the Kid, Wild Bill Hickok, Belle Starr, Wyatt Earp, the Younger Gang, the Dalton-Doolin Gang and Bat Masterson--these real-life lawmen and lawbreakers have been the basis of so many Hollywood Westerns that it has become difficult to discover where the truth ends and the legend begins. All actually became larger-than-life characters during their lifetimes, as contemporary newspapers and books embellished their deeds for their own purposes. But it was in Hollywood that the line between reality and myth was completely blurred. Each chapter-length entry here first focuses on the known facts of the people's lives and how each became truly legendary during their lifetimes. The reality is then compared to how they have been portrayed in the movies.
In 1876 Lakota and Cheyenne warriors annihilated Custer's Seventh Cavalry at Little Bighorn. Three years later and half a world away, a British force was wiped out by Zulu warriors at Isandhlwana in South Africa. In both cases the total defeat of regular army troops by forces regarded as undisciplined barbarian tribesmen stunned an imperial nation. Although the similarities between the two frontier encounters have long been noted, James O. Gump's book The Dust Rose Like Smoke is the first to scrutinize them in a comparative context. "This study issues a challenge to American exceptionalism," he writes. Viewing both episodes as part of a global pattern of intensified conflict in the latter 1800s resulting from Western domination over a vast portion of the globe, Gump's comparative study persuasively traces the origins and aftermath of both episodes. He examines the complicated ways in which Lakota and Zulu leadership sought to protect indigenous interests while Western leadership calculated their subjugation to imperial authority. The second edition includes a new preface from the author, revised and expanded chapters, and an interview with Leonard Little Finger (great-great-grandson of Ghost Dance leader Big Foot), whose story connects Wounded Knee and Nelson Mandela.