West of The Imagination; 105; Play The Legend; Original Film Transfer

Whey, whey, whey, whey, whey, whey... Whey, whey, whey, whey... Whey, whey, whey, whey... Whey, whey...

Whey, whey... Whey, whey, whey, whey... Whey, whey, whey...

Whey, whey... Mith all so went into mass production. On the comic book to the touring rodeo. On the magazines to the movies. The legend has continued to express the moods and values of Americans for around a hundred years. The key to success in exploiting the Old West was to make a simple story out of it. The dime novel was all the rage in the 1870s. Buffalo Bill's stories written and published by one Ned Buntline sold particularly well. In 1872, Ned Buntline had a great idea. Why not do a stage adaptation of one of the stories, Scouts of the Prairie?

He paped the city of Chicago with posters, rented a theater, and found himself in show business. Scouts of the Prairie drew a large and inquisitive crowd. They'd been promised real live heroes from the genuine West. There was Texas Jack or Mahundro, the cowboy. He'd be appearing in person that night. There'd be a full supporting cast of Indians in authentic outfits. A noted dancer would provide the female interest. Giusepina Morlacci. Buntline had even secured the services of Buffalo Bill himself. Ned Buntline was producer, director, stage manager, and publicity agent. He was also the first attraction on the program.

A great sell promoter Buntline. This was an opportunity to good to miss. Ladies and gentlemen, good citizens of this fair and prosperous city of Chicago. Tonight, at no small expense, I am privileged to bring to you an entertainment that reveals, that uncovers, for the first time of the live stage, the extraordinary events and personalities of our unfolding frontier. Thrilling Escapade. Legendary characters, here, in person. Some having traveled 1,000 miles on the railroad for your education. A presentation that is, you will agree, beyond compare.

But first, I must recommend to you the purchase of these fine novellas. A stack of Buntline's dime novels was available for the audience to purchase as they left. No chance was missed to make an extra dollar. Measure the authentic stories of the West. Every scene is accurate. You may rest assured. Now, what finer alternative could there be than these pictures to the allure? Yes, the fatal allure of Drake. To the amusement of the actors, Buntline also slipped in one of his habitual temperance lectures. It gave the evening an air of respectability. And set the pulse oracing. And now, it is with enormous pleasure.

I am pleased to present to you a show of the authentic Wild West. Here, tonight, in a tablo of enormous virtuosity, I bring to you scouts on the prairie. In spite of the lack of rehearsal, in spite of the amateur actors, the play was a huge success. Thanks to the appearance of real live heroes from the West. Well, boys, I reckon this fellow won't sit no more settler scavenza fire. Buffalo Bill. You've come to rescue me. How can I ever repay you? Push, my little wooddough. I'll be more than paid. For the day I bring back your father from the clutches of those renegade themes. That day, we will be united as men and wife.

Someone's coming. Be the minions on the rampage, Buffalo Bill. Could be the minions done in Wolfy Dick. Long trail of reckons, we have move on, a piece. No, slow, if you want to go, go, don't stop for me. I don't run from any, man. There's no time for top now, Emma. You would best take cover. Boys, don't fire till I say so. At the end of act one, Bunt Line made his own appearance, as the general who arrests Cody. Which is the man they call Buffalo Bill? That is my name, sir. Who says I ever denied it? Buffalo Bill, you are my prisoner. There's some mistake, general. Why, sir? There's no mistake. Take the prisoner in charge. Hold, or what am I arrested? That, sir, is none of your business.

Then, sir, I will make it my business. This was the legend of the West, and it was selling. The success of this simple play is what persuaded Buffalo Bill to go into show business for himself. Bill Cody was a handsome, likable man, and he knew it. He had real experience of the West. So why not put on a real spectacle and hit the road with it? In 1883, Cody packaged the frontier experience and made it into a circus. His publicity was incredibly sophisticated for its day. A vast mythology was manufactured around the figure of Buffalo Bill, the flying horseman.

When he came to Brooklyn in 1894, a special stadium was built, and furnished with the new electric light. That way, he could do an evening show as well. He packed in 40,000 spectators a day, a quarter of a million a week. Cody also offered other real stars, like Annie Oakley, a frontier crack shot. Oakley was perhaps the most famous woman in the West, and she became a legend in her own right. Cody made the most of all his Indian friends, and emphasized that he spoke their language. They too became part of the show. His star performer stayed with him for years, making up a congress of rough riders of the world.

As the show developed, the scenes became more and more extravagant. There were vast historical tabloes and imperialistic adventures in the style of Theodore Roosevelt. The western hero was exported very early. They said you couldn't comprehend the magnificence of the show until you'd seen it. Some films survived from the early 1900s, which allows us to participate. By this stage, Cody was no youngster, but he still led his troops in person. His army of Indians were the real thing. They had been quite prepared to lay down their arms when the Indian wars were over, and joined Bill Cody's show. It was better than life on the reservation, perhaps.

Whole battles were refought between the white man and the red. This was the Battle of Summit Springs in which Cody rescued damsels into stress, assisted by the U.S. cavalry. In some ways, it was realistic, but gradually show business took over from history. Scenes were devised that had little to do with the real frontier. Cody was the first to make the cowboy a hero. In his show, they rode mean Bronx and became real stars. Then there were the stunts, trick shooting by Johnny Baker, Queen Victoria applauded him personally when they toured England. The finale was often a lap of honor by the old man himself, chasing a herd of obliging buffalo around the ring. The West that Buffalo Bill created was the West that everyone wanted to believe.

His was the vision that entered the popular culture. But the West was brought to its widest public by another more powerful medium than the circus. The world's first dramatic moving picture was a Western. Before 1903, film had been used for documentary purposes or quick humorous sketches, but the great train robbery was revolutionary because it had a story. One of the actors, Bronco Billy Anderson, remembered how he and the cameraman dreamed up the idea. And I said, yeah, I think that's a good idea, Porter. I said, why don't you make longer pictures, give them something and get their teeth into it or amuse them and entertain them? He said, well, how long would you say? I said, well, about a re-u or 800 feet?

He said, well, that'll run about 10 minutes, wouldn't it? I said, I don't know, I guess it would. And then this other fellow said, so you know, Porter, that I was in a play once, a sketch, rather, called a great train robbery. And he went so well that they finally wrote it into a play, a five-act play, and it went much better than. It was longer, it was more meaty, and the audience seemed to like it better. She put it, that's it. So then, Porter, yes, I'll write it out that way. And we came back the next day, and he said, they agreed to let us make it if it don't cost over seven or eight hundred dollars. So then he started to cast it. And he said, Anderson, do you ride? I said, ride? I said, well, I was born on a horse and raised in a saddle.

So he said, well, anyway, you were raised on a rocking horse, you better do all your train robbing from the foot. They all looked on, they were all dubious about where they were going out. And Porter said, all the only way we can find out is to try it out at a theater. And then we all went down to see it. In fact, I did, I know. I went in, and they were all seated there. And then as it started, they all started to get boisterous, and yell, and shout, catch them, catch them. And after the picture was over, they all stood up and shared and shouted, and run it again, run it again. So they did run it again, and they wanted to run it again, run it again. Finally, they turned on the lights, and they had to put them out. And I said to myself, then, that's it. It's going to be the picture business for me. The future has no end. It's going to build day by day.

This is one of the first pictures that Bronco Billy Anderson produced. Shootin' mad. But Bronco Billy was the character he created, and it made him a star in dozens of two realers. Good humor and romantic. He never took himself too seriously. He set the pattern for the classic cowboy movie. The good man, the girl in distress, the gun. There had to be dramatic conflict between the bad man and the good, and this would be settled in a shootout. And what wasn't old was the heroine who took the decisive step as here.

Bronco Billy was the first in a long line of cowboy stars. Some preferred Hoot Gibson. Some preferred Buck Jones. Each developed their own particular identity. Tom Mix was the first of the stars to get all dressed up and identified. He established the model of the clean cut cowboy, the immaculate matinee idol. Roy Rogers, Gene Autry, and a host of others later followed his lead. The man who made the western into an epic was the first great Hollywood mogul, Thomas Inz. He was an entrepreneur on the scale of Bill Cody and a producer on the scale of Cecil B. DeMille. In 1911, Inz joined forces with Miller Brothers 101 Ranch Show out of Oklahoma.

They acquired 18,000 acres on the edge of Los Angeles and created their own version of the West. Inzville was a huge permanent lot, complete with a resident cast of Indians and cowboys. Inz's film, Heart of an Indian, told the story of the kidnapping of a white baby. Considering when the film was made, it takes a remarkably sympathetic view of the Indians. The baby is secretly rescued and returned to its mother by a woman from the tribe. She understands the mother's grief because she herself has lost a child. In the final scene, Inz portrays the Indian woman mourning her own dead baby. The evocative lighting and composition proved early on that the western could be an art form.

One of Inz's great discoveries was William S. Hart. Hart had been a Shakespearean actor on the East Coast. Inz persuaded him to try his hand as a cowboy hero and launched him into an entirely new career. Hart nearly always played a bad man who turned good. In Hell's Hinges, it's a good woman who makes him turn from his outlaw ways. Hell's Hinges is the tale of the worst town of the West, unremittingly evil and vicious and punished by William S. Hart. Hart's two-gun stance became famous. He represented an implacable moral authority.

When he took the law into his own hands, you knew he was right. In Hell's Hinges, he becomes an avenging angel. He not only punishes the wrongdoers, he burns their whole town. Hart gave gritty realism, fine dramatic structure, and a believable enigmatic character to the genre. With Hart, the western grew up. Hart soon left, Thomas Inz, and set up what he called his own little western horse opera company. He bought his own ranch and set up permanent studio sets that still exist. Here, he was in complete control of his own movies. Hart knew personally the last of a dying breed, men like Wyatt Earp and Bat Masterson.

In 1926, he released tumbleweeds, an epic nostalgia. He genuinely mourned the passing of the Old West. Tumbleweeds told the story of the Oklahoma Landrush of 1889 that moved the cattleman off the open range forever. Tumbleweeds was reissued in 1939. This time, Hart spoke on film for the first and last time. This was his valedictory to the West and to his own acting career. My friends, I love the art of making motion pictures. It is as the breath of life to me.

But through those hazards, defeats of horsemanship that I loved so well to do for you. I received many major injuries that coupled with the added years of life, preclude my again doing those things that I so gloried in you. The rush of the wind that cuts your face, the pounding hoofs of the pursuing posse. I'll tear in front of fallen tree trunk that stands a yearning cattlemore. The normal animal unto you that takes it in the same low ground meeting gallop. The harmless shots of the baffled ones that remain behind. And then the clouds of dust through which come. The faint voice of the director.

Okay, Bill. Okay. Glad you made it. Great stuff, Bill. Great stuff, and sorry, Bill. Give all Frick's a pat on the nose for me, will you? Oh, the thrill of it all. Adios amigos. God bless you all. Each and every one. William S. Hart never worked again. He locked up his old wooden studios and on a hill nearby. He built himself a splendid house that became a museum of his memories.

Here Hart gathered together the props from his movies and a huge collection of Western memorabilia. His gun collection included Wyatt Earp's pistols, but his most cherished possessions were his momentous of Nancy Russell and her husband Charlie, the cowboy artist. Hart had met the Russells in New York. He'd been the first to show Charlie the Atlantic Ocean. In turn, Charlie had painted Hart on horseback for the frontus piece of his autobiography. The two men saw life in the West in much the same way. In Hart's films, the same plain-spoken, straight-talking and mildly sentimental approach shines through. They both created simple stories that told the tale. No man in the West was all good or all bad.

It was what they stood for that was memorable. Hart acknowledged his debt to the many artists and illustrators who had painted the West. But it was Charlie Russell who most inspired him. Russell who painted so thrillingly and honestly, the West in its dying days. Throughout the first 40 years of this century, the memory of the Old West was kept alive as much by the illustrators as by the movies. They each borrowed from the other. W.D. Kerners, Madonna of the Prairies, became the iconic image of the Covered Wagon movie poster. The new phenomenon in print was the rise of the Mass Circulation Family Magazine, delivered door to door by neighborhood boys. These magazines depended upon the illustrations for their appeal.

Tales of the West were especially popular portraying the triumph of good over evil, the very heart of the American myth in Western Garm. The illustrator's work was not easy. First the pictures had to fit within the blocks of text. Then there was the problem of deadlines as John Klima remembers. You'd get so tired and you'd do more than one story a week. The magazine had to go to press at a certain date and if they wanted it on the 4th of May, it sure better be there on the 4th of May or you wouldn't get another job. So that unfortunately most of the pictures you did as illustrations were the best you could do in two days. Not the best you could do. You were always painting things you didn't know anything about and you had to look it all up real quick.

You had your studio and your models and a couple of trunks full of every kind of clothing and old dresses and old coats and hats and stuff. If you couldn't have thinking idea, you had to have it very clear in your mind and then paint it as fast as you could go. Of all the groups of illustrators, the Brandywine school was the most influential and NCYF perhaps the most famous. What made their work so immensely popular was the way it suggests to the story immediately. Slow perusal and intellectual appreciation were quite unnecessary. They captured the West the way it was or the way it seemed by the 1920s and 30s. The illustrations and the motion pictures inhabited the same world.

Each influenced the other as they subtly romanticized the popular view of the West. Occasionally there was a hint of irony in the illustrations. This is Norman Rockwell's picture of Gary Cooper being made up into a cowboy movie idol. One of Cooper's most famous Westerns was the Virginian based on the novel by Owen Wister. The Virginian told the story of a hero who takes the law into his own hands to gun down the villainous trampace. In my favor. Howdy, trampace, when you blow in. Hello, Steve. Just blow in to beat your time with this lady. Is that so, ma'am?

What's in your eye? I can't speak with each gentleman. Yeah? Well, you and me are leaving, see? Just one minute, please. Don't look like you're beating anybody's time, trampace. Not even you. I ain't arguing with you sweetheart. I'm telling you. There's no argument, forever. We're getting along just fine. Not that it's any of your business. Who's talking to you? I'm talking to you, trampace. And I want to know anything from you. I'll tell you. You're a long-legged son of a... You want to call me that. Mile. The advent of sound transformed the Western. But the climax of the Virginian, the classic shootout between good and evil, was a scene that needed no dialogue. Good boy.

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It'll be large for the price. The prices will be large. The West becomes a theatre in which to show off our skills and play out our fantasies. On festival days the mountain men come to town and put on shows for the public. Costumes and guns are accurate only the drama is made believe. I'm going to start it off. I'm going to come up and try and trade for our women. No, these over here, and a two-cost creek. What are you doing? They're keeping it shut. By who? By them. Oh, they're going to kill him. Yeah. Well, you know, they have a good time doing it. That can't understand. Most people can't. They, like, they play rough and spin two nights on the same sheet. OK, they're going to try and get our women. And we're getting on the letter. Oh, god. No, this way. Yeah, that's all we've got.

We're going to get any survivors. Of course. They always are. Last time on Headroom. I know it. I'm not bad. I'm not bad. One of you don't want a reload die. Whoa! That's enough. Man, that's enough to vaporize the gun. Hey! Hey! We just love doing this. This is something that's been lost in our history. conjuring cu i'r ffordd wnes i swind patri oppressio dyg cho y Ddeiza i bagiau y Ford. Lloreg bfon y farmargau y ffordd wnodau y ffordd mewn i gaffio. Mwyfan vasfio00r ymwserg er! Dwi'n amser sylfa chápor dai eileggen nhw coel ei gyfer datau yn y coelain a dareg nes enfidiwyd i'n am53, At nand ein ei dod fforddau lle ang minist also

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Mae gwneud yn bod y dod yoshima iwn hwnnwp i'r gyd iodillol middwlое. ddi'n cag bat tant'u k 코로나'r o цеithau y cyff брannat o'n unw i doel hyfnig a ilftau hynig. findingsai honn i doel hyfnog y cyffbi amiddw eżant cyff col boen terb Meth righteo hynny. I've spent a lifetime making up my mind to be. All that measure and what I thought others could see. I've good luck and face books and two few and two far between. There's kettle, black fires, and gold, five, and diamonds, like me. An old five-and-dimer, like me. Billy Joe Schaeber is that five-and-dimer.

He stayed closer to the country background than the big star named. But he's written for most of them. Willie Nelson, Chris Christopherson, Johnny Cash, have all recorded his song. And Whalen Jennings recorded a whole album of them. He's on the stirriner's and gold, five-and-dimer, like me. Schaeber's songs appeal to the audience because they tell stories based on real experience. Three fingers whiskey, pleasures, the drinkers, moving, does more pain. The drinkin' for me. For some people today, the West is all nostalgia and escapism. They love the heroic tales from America's history.

They enjoy the old-time movies. They relive the fun of pioneer days in the rodeo. But for others, like artist Joe Billy, the West means much more. Well, I feel about the West, and what a Westerner feels about the country, and what sits in the park from, you know, the rest of our country is the feeling of independence. And the open spaces, that spirit, you know, that are freedom. And to be able to move around wherever you want to and not have anyone to bother you, maybe you can see anyone. There are still places today where you can feel that way. There are places where you can feel independence.

And to be able to move around wherever you want to. And to be able to move around wherever you want to.