Journal Notes

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More Deaths and Burials of the

Old West’s Most Nefarious Outlaws, Notorious Women, and Celebrated Lawmen

James Beckwourth was one of the most legendary mountain men of the early 1800s. He was the son of a Maryland Irishman and a slave girl, and he was born in Virginia in 1798. When he was very young, his family moved to St. Charles, Missouri. James worked as an apprentice to a blacksmith until the age of nineteen, when he left the anvil and the forge to sign on as a trapper with the Missouri Fur Company, then challenging Hudson Bay trappers working the rich beaver streams beyond the crest of the Rockies.

In 1824, Beckwourth joined William H. Ashley and Andrew Henry on a fur-trapping expedition in the Rocky Mountains; he was one of the first trappers to go into the new country. During various expeditions, he participated in skirmishes with the Blackfeet and other Indians. He became skilled in the use of the bowie knife, tomahawk, and gun.

In 1828, he was adopted into the Crow Indian tribe. He packed his traps and buckskin shirts on his horses and moved to the headwaters of the Powder Rivers and into a new life among the ancient people. He proved himself quickly among his adopted people and rose to the position of war chief. His skill as part of a raiding party to steal Comanche horses was exceptional. His prowess and bravery in battle against the hated Blackfoot Indians earned him the name Bloody Arm.

James Beckwourth helped make the Crow a more powerful nation. No more would they give away a tanned buffalo hide for a pint of trade whiskey. Bloody Arm knew the value of hides and the wiles of the whites. He knew the worth of powder and ball and traps and horses and finery for Crow women.

When a fur company opened a trading post among the feared Blackfeet, Beckwourth got the same company to make him its agent among the Crow to see that his adopted people were treated fairly in the trade of pelts for guns. When the beaver trade began fading, Beckwourth went to the Southwest and joined with another ex–mountain man to lead a war party of Utes to raid Spanish ranches in Southern California. They headed east with three thousand head of California horses.

He spent a while in Taos, moved onto Colorado to become a contract hunter supplying meat in places like Bent’s Fort, and then became a trader among Indians. Showing up again in Southern California, he raised a company of Yanquix to fight Governor Micheltorena of Mexico in a quickie revolution.

By the time of the California Gold Rush and the westward movement of hundreds of wagon trains over the worst passes of the Sierra, James, then in his fifties, led a wagon train over a sizable mountain pass that was to be named after him. He still had years of adventure before him. He scouted for the Third Colorado Cavalry tracking Black Kettle to Sand Creek and turned away in disgust at the massacre.

At the age of sixty-eight, Beckwourth embarked on another venture, this one in a bid for peace. The Oglala Sioux were pressing the Crow to join against the whites. The US Army sent for Beckwourth to advise his adopted tribe. He thwarted the alliance.

Mystery surrounds James Beckwourth’s death in Colorado in 1866 in a Crow village. Some historians note he was poisoned by a Crow warrior who caught him cavorting with his wife. The most reliable account of his passing reports that he was poisoned by order of the Crow’s tribal council because he would not accept their offer to go on the warpath with them again. If they could not keep him as a chief, they decided to have the honor of burying him in their burial ground near Laramie, Wyoming. Beckwourth was seventy-eight when he died.

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Tales Behind the Tombstones and More Tales Behind the Tombstones:
The Deaths and Burials of the Old West’s Most Nefarious Outlaws,
Notorious Women, and Celebrated Lawmen

When Victoria Claflin Woodhull died on June 9, 1927, news of her passing was announced on two continents. The press referred to the controversial writer, stockbroker, and politician as a “most immoral woman.” Not only was Victoria the first woman to be officially nominated for president of the United States, but she was also one of the first individuals to have been jailed on federal obscenity charges. Both events occurred in 1872.

Before her involvement with the women’s rights movement in the mid-1860s, Victoria and her sister, Tennessee, were the owners and publishers of a newspaper called the Woodhull and Claflin Weekly. They printed scandalous articles promoting the idea of “free love.” In a letter Victoria sent to the New York Times in 1871, she claimed that free love was the “only cure for immorality, the deep damnation by which men corrupt and disfigure God’s most holy institution of sexual relations.” She continued, “It is not marriage but sexual intercourse, then, that is God’s most holy institution.” Victoria and Tennessee’s progressive views on sex and the brazen printing of those ideals appalled citizens not only in the United States but also in other countries like Germany and Russia, as well. They “threaten to destroy the morals nations so desperately needed to cling to,” was the opinion voiced in the New York Times on November 23, 1871.

Victoria and Tennessee were not strangers to confrontation with the law. Their father, Reuben Buckman “Buck” Claflin, was a scoundrel who excelled at breaking the rules of conventional society and spent time behind bars for his actions. Buck and his wife, Roxanna Hummel, lived in a rundown house in Homer, Ohio. The couple had ten children. Born on September 23, 1838, Victoria was the Claflins’ sixth child. Although Victoria’s father claimed to be a lawyer with his own profitable practice, he was actually a skilled thief with no law degree at all. He owned and operated a gristmill and also worked as a postmaster. Buck supplemented his income by stealing from merchants and business owners, and he was a counterfeiter and a suspected arsonist.

Victoria’s mother was a religious fanatic who dismissed Buck’s illegal activities in favor of chastising her neighbors for what she claimed was hedonism. Her public prayers were loud, judgmental, and dramatic. She preached to her children and insisted they memorize long passages of the Old Testament. By the time Victoria was eight, she was able to recite the Bible from cover to cover. Reflecting on her life, Victoria wrote in Autobiography of Victoria Claflin that her mother’s spiritual zeal so influenced her childhood that young Victoria believed she could see into the future and predict what was to come of those who sought her out to preach.

Tennessee was reported to be the true clairvoyant of the family. Born in 1845, she was the last child born to Roxanna and Buck. Roxanna claimed Tennessee had the power to perceive things not present to the senses. She would slip into trances and speak with spirits, answering voices no one else could hear.

Victoria and Tennessee had very little formal education. Although Victoria attended school for only four years, she was bright, precocious, and well read. She was uninhibited and at the age of eleven delivered sermons from a busy location in Homer, Ohio.

In 1849, the Claflins left Homer and moved to Mount Gilead, Ohio. Victoria’s father had abandoned gristmill work and decided to venture into the field of psychic phenomena with his daughters in tow. He introduced Victoria and Tennessee to the public and announced the girls’ talent for “second sight” or “extrasensory perception, the ability to receive information in the form of a vision by channeling spirits.” Buck rented a theater and charged patrons seventy-five cents to watch the four-year-old and eleven-year-old communicate with deceased Claflin family members and predict the future. One such specific prediction was that one day a woman would be president of the United States.

Victoria and Tennessee’s shows, in which they would conduct séances and interpret dreams for audience members, attracted a large following, and in a short time the two young girls became the sole source of income for their family.

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Tales Behind the Tombstones and More Tales Behind the Tombstones

Am grateful for the award Thunder Over the Prairie won at the Wild Bunch Film Festival last evening. 

Awarding winning director Walter Hill wrote the screenplay based on the book

Howard Kazanjian and I penned.  

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More Tales Behind the Tombstones:

More Deaths and Burials of the Old West’s Most Nefarious Outlaws,

Notorious Women, and Celebrated Lawmen

“Lillian Russell, (Mrs. Alexander P. Moore) bright star of American comic opera for three decades and internationally known as a professional beauty who died at 2:20 o’clock this morning, had been ill several weeks following a shipboard accident while returning from Europe. Her death was unexpected, as her physicians two days ago announced she had passed the crisis and would recover.”

—The Clinton Herald, June 6, 1922

It was not so much Lillian Russell’s great dramatic ability or her clear, well-trained voice as it was her personality and physical beauty that made her the most famous musical comedy star of her day and acclaimed for more than a generation as “America’s greatest beauty.”

Born on December 4, 1861, in Clinton, Iowa, Helen Louise Leonard had the kind of beauty that stopped traffic from her earliest years. She had a voice that her mother, Cynthia Rowland Leonard, an ardent feminist, paid to have trained when her daughter was still in her teens. Helen Louise was educated at the Convent of the Sacred Heart in Chicago and attended finishing school at Park Institute. She took singing lessons and sang in the church choir at the Episcopal church.

Her parents separated when she was in her teens, and her mother took Helen Louise and moved to New York, where young Helen started training for the grand opera. She could sustain the highest notes with virtually no effort and do it again and again without strain. Her voice coach, Dr. Leopold Damrosch, told her mother that with a few years of training, he could make her a diva to rival the best.

The beautiful blond from Iowa had other ideas. Years of training and rehearsals, with only bit parts and backup roles as an understudy, lay before her on the road to stardom in opera. Helen Louise joined the Park Theatre Company in Brooklyn. She was eighteen when she danced onstage for the first time in the chorus of H. M. S. Pinafore, a Gilbert and Sullivan operetta that went on to resounding success.

Before the run of Pinafore was over, Helen Louise had accepted a proposal of marriage from an admirer in the show. She married the company’s musical director, Harry Graham. That marked the end of her appearance in the chorus. She withdrew from the company and settled into domestic life, but her time as a homemaker didn’t last.

In late 1879, Helen Louise gave birth to a son. A nurse was hired to care for the baby so the actress could once again take up her career. Her paycheck made a big difference for the little family. Her much older husband was not happy with his wife being the bread winner, however; he wanted her to stay home and take care of their child. But a woman raised to be independent is not easily swayed when fame and fortune call.

Then one day Helen Louise returned from the theatre to find her baby desperately ill. Despite all attempts to cure the infant, he died in convulsions. Apparently, the inexperienced nurse had accidentally pierced his abdomen with a diaper pin. Harry accused his wife of neglect, and he divorced her in 1881.

Grieving over the death of her son, feeling betrayed by her husband’s accusation, and devastated over the end of her marriage, Helen Louise concentrated on her career. Tony Pastor, legendary producer of musical comedy, heard her sing at the home of a friend and consequently offered her a job. Helen Louise liked the immediate success she’d already tasted in comic opera. At nineteen, with a statuesque figure, golden curls, skin like “roses and cream,” and a soprano voice that could do everything with ease she had found her first mentor in Tony Pastor.

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The Cowboy and the Senorita:

A Biography of Roy Rogers and Dale Evans and

Happy Trails:

A Pictorial Celebration of the Life and Times of Roy Rogers and Dale Evans.

There’s almost nothing more important to a cowboy than his horse. He depends on his reliable steed to help him with his job and to be his friend and all-around partner through thick and thin. Throughout the 1930s, 40s’, and 50s, Roy Rogers was the quintessential cowboy, but a big part of this heroic appeal was his palomino, Trigger. Billed as “the smartest horse in movies,” Trigger was Roy’s riding partner in eighty films and one hundred television shows.

Roy purchased Trigger in 1938 from Hudkins Stables in Los Angeles for $2,500. He knew Trigger was a special horse the moment he saw him trotting through a field. With the help of expert horse trainer Glenn Randall, Roy worked with Trigger to teach him a myriad of tricks, including counting, writing, and bowing to an audience.

Trigger’s fame grew with every new Roy Rogers movie. The horse was a star with four stand-ins. He made $750 a week and received 200 fan letters a month. In 1940 Roy insured the valuable animal for $100,000.

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Cowboy and the Senorita and Happy Trails.

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Happy Trails: 

A Pictorial Celebration of the Life and Times of Roy Rogers and Dale Evans

Under Western Stars

An Essay for the National Film Registry

By

Howard Kazanjian and Chris Enss

King of the Cowboys Roy Rogers made his starring motion picture debut in Republic Studio’s engaging western musical Under Western Stars.  Released in 1938, the charming, affable Rogers portrayed the most colorful Congressman ever to walk up the steps of the nation’s capital.  Rogers’ character, a fearless, two-gun cowboy and ranger from the western town of Sageville, is elected to office to try to win legislation favorable to dust bowl residents.

Rogers represents a group of ranchers whose land has dried up when a water company controlling the only dam decides to keep the coveted liquid from the hard-working cattlemen. Spurred on by his secretary and publicity manager, Frog Millhouse, played by Smiley Burnette, Rogers campaigns for office.  The portly Burnette provides much of the film’s comic relief and goes to extremes to get his friend elected.  His tactics include pasting stickers on the backs of unsuspecting citizens he engages in conversation and helping to organize a square dance to highlight Rogers’ skill and dedication to solving the constituent’s crisis.  Using his knowledge of land and livestock and his talent for singing and yodeling, Rogers wins a seat in Congress.

The sweep of this picture, which moves rapidly from physical action on the western plains to diplomatic action in Washington and back again, is distinctively thrilling. The surging climax in the dust-stricken cattle country makes for one of the most refreshing films of its kind.  The politicians Rogers appeals to about the drought are not convinced the situation is as serious as they are led to believe and decide to inspect the scene for themselves.  The investigation committee is eventually trapped in a real dust storm.  The shots of the storm and the devastation left in its wake are spectacular.

Roy Rogers came to Hollywood from Duck Run, Ohio. He made a name for himself as a member of the successful singing group the Sons of the Pioneers.  Reigning box office cowboy Gene Autry’s difficulties with Herbert Yates, head of Republic Studios, paved the way for Rogers to ride into the leading role in Under Western Stars.  Yates felt he alone was responsible for creating Autry’s success in films and wanted a portion of the revenue he made from the image he helped create.  Yates demanded a percentage of any commercial, product endorsement, merchandising, and personal appearance Autry made.  Autry did not believe Yates was entitled to the money he earned outside of the movies made for Republic Studios.  He refused to include Yates in the profits and threatened to leave the studio if Yates did not reconsider.  Autry was also demanding a raise in pay.

Yates decided it was time to begin grooming another talent to take Autry’s place should the need arise. Rogers was a contract player with the studio making $75 a week.  Billed as Leonard Slye he appeared in a handful of films with Gene Autry singing along with the Sons of the Pioneers.  Rogers even had a part as a bad guy in one of Autry’s films.  When Autry caught up with Rogers in the picture, instead of taking him to jail he demanded the wily character yodel his way out of his troubles.

Yates had been looking for a musical actor to go boot-to-boot with Autry and Rogers was to be the heir apparent. His sweet, pure voice and wholesome image made him a natural for the hero in Under the Western Stars.  Whether regaling the audience with a song about fighting the law entitled Send Our Mail to the County Jail or delivering a stump speech via a tune called Listen to Rhythm of the Range, Rogers makes the most of his leading role.

The Maple City Four, the well-known quartet who made the number Git Along Little Dogies popular, added their talents with Rogers harmonizing on the film’s most important song entitled Dust.  Written by Johnny Marvin, a recording artist from Oklahoma, Dust was nominated for an Academy Award for Best Original Song.  It was the first song from a B-western to be Oscar nominated.

According to the February 24, 1938, edition of the Hollywood Reporter, Dust was purchased by Republic Studios from the composers, Gene Autry, and Johnny Marvin, for use in Under Western Stars.  A subsequent news item in Hollywood Reporter on April 13, 1938, just prior to the film’s release, noted that Autry was suing the studio for $25,000 for unauthorized use and dramatization of the lyrics with Dust.  According to contemporary sources, the suit over Dust was settled out of court and Johnny Marvin is listed as sole writer of the song.

Audiences made Under Western Stars a box office success and critics called its star “the new Playboy of the Western World.”

Director Joseph Kane, Republic’s top director of westerns delivered a film with a slight new slanting to make it different from all other B-westerns before it.   In addition to the political intrigue in Under Western Stars there is a fair number of gunfights, fast horses, and unforgettable stunts.  What makes Kane’s film unique is that the fight is not over horse thieves, but the rights of man.  Critics at the Brooklyn Daily Eagle newspaper sited Kane’s “sensitive directing eye with giving the horse opera a social consciousness.”

Actors Carol Hughes, Guy Usher, Tex Cooper, Kenneth Harlan, Curley Dresden, Bill Wolfe, Jack Ingram, Jack Kirk, Fred Burns, and Tom Chatterton round out the exciting cast of players and no happy ending would be possible at all if not for Roy’s magnificent Palomino horse Trigger. Brothers and veteran western writers Dorrell and Stuart McGowan penned the screenplay for Under Western Stars along with actress and screenwriter Betty Burbridge.

The film was shot in the Alabama Hills of Lone Pine, California. The scenic location has been used for the backdrop in hundreds of motion pictures and television programs.  The high desert surroundings are integral to the story line of Under Western Stars and could be billed as a supporting role in the film.

Roy Rogers’ first starring vehicle solidified his place as a rising star in B westerns. Film writer and critic Louella Parsons likened Rogers to “Gary Cooper in personal appeal.”  According to her report with the International News Service on November 29, 1938, she called Rogers an “upstanding young American who made the picture Under Western Stars a delight.”

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The Cowboy and the Senorita: A Biography of Roy Rogers and Dale Evans and

Happy Trails: A Pictorial Celebration of the Life and Times of Roy Rogers and Dale Evans.

In the fall of 1947 Roy proposed to Dale as he sat on Trigger. The pair was performing at a rode in Chicago, and moments before their big entrance Roy suggested they get married. The date set for the wedding was New Year’s Eve. Gossip columnists predicted that Trigger would be the best man and that Dale would wear a red-sequined, cowgirl gown. The prediction proved to be false.

Roy and Dale’s wedding was a simple affair held at a ranch in Oklahoma, which happened to be the location for the filming of their seventeenth movie, Home in Oklahoma. The couple’s agent, Art Rush, served as best man and his wife, Mary Jo, was the matron of honor.

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The Cowboy and the Senorita and Happy Trails.

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Happy Trails:  A Pictorial Celebration of the Life and Times of Roy Rogers and Dale Evans

On December 30, 1951, The Roy Rogers Show debuted on NBC. Children across the country were poised in front of their parents’ television sets on Sunday nights at 6:30 to watch their favorite singing cowboy fight for law and order in the contemporary West. The theme song for the program, written by Dale Evans, was “Happy Trails.”

Dale joined Roy in the series, as did actor-singer Pat Brady, who played a bumbling sidekick. In addition to the human actors, the show featured Roy Roy’s horse, Trigger; Dale’s horse, Buttermilk; her dog, Bullet; and Pat’s cantankerous jeep, Nellybelle.

Critics believed the show was popular not only because audiences loved the mix of action and comedy, but also because of the high morals it brought to light. Roy and Dale’s faith in God and their desire to live according to His ways were evident in each episode. (Roy read the Cowboy’s Prayer at the Riders Club meetings at theatres that featured his movies and television shows.) The programs struck a positive chord with children and parents alike. The show remained on the air for seven years.

Evangelist Billy Graham invited Roy and Dale to perform at his crusades and give their testimony. New attendance records were established wherever they appeared. Dale went on to record her testimony in a series of books about her life and faith. Each one was a popular seller for the publishing house, the Revell Company.

To learn more about the talented cowboy duo read Happy Trails!

The Wild West Film Festival has named The Cowgirl’s Lament

written by Mark Jackson, Pamela Haan, David R. Morgan, and Chris Enss Country Song of the Year!

The award presentation will take place on October 9 at the

Wild West Film Festival in Folsom, California.

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Happy Trails: 

A Pictorial Celebration of the Life and Times of Roy Rogers and Dale Evans

Hundreds of excited children, with hard-earned nickels and dimes clutched tightly in their fists, exchanged their money for a ticket at Saturday matinees across the country in the 1940s. The chance to see singing cowboy Roy Rogers, his horse, Trigger, and leading lady Dale Evans come up against the West’s most notorious criminals brought young audiences to theatres in droves.  And, in the process, it elevated western musicals to one of the most popular film genres in history.

Roy Rogers and Dale Evans were the reigning royalty of B-rated westerns for more than a decade. They helped persuade moviegoers that good always triumphs over evil in a fair fight and that life on the open range was one long, wholesome sing-along.  Together, the King of Cowboys and the Queen of the West appeared in more than 200 films and television programs.

Roy and Dale made their first picture together in 1944. The film, The Cowboy and the Senorita, brought an estimated 900,000 fans to movie houses in America and began a partnership for the couple that lasted fifty-two years.  The chemistry between Roy and Dale was enchanting, and together they were an entertaining powerhouse.  In addition to their films, they had popular radio programs, comic book series, albums, and a long list of merchandise (including clothes, boots, and toys), all bearing their names.

Roy and Dale were successful individually, as well. Dale, a talented singer-songwriter, performed with big band orchestras, shared the stage with Edgar Bergen and Charlie McCarthy, and penned many popular tunes, including the song that would be Roy and Dale’s theme, “Happy Trails.”  Roy was a co-founder and member of the group the Sons of the Pioneers.  The band made a name for itself singing original country music songs, including “Cool Water” and “Tumblin’ Tumbleweeds.”

To learn more about the cowboy duo read Happy Trails