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The Wild West: a term that conjures up pictures of wagon trains, unspoiled prairies, Indians, rough 'n' ready cowboys, roundups, and buffalo herds. Where did this collection of images come from? Paul Reddin exposes the mythology of the American frontier as a carefully crafted product of the Wild West show. Focusing on such pivotal figures as George Catlin, Buffalo Bill Cody, and Tom Mix, Reddin traces the rise and fall of a popular entertainment shaped out of the "raw material of America." Buffalo Bill and other entertainers capitalized on public fascination with the danger, heroism, and courage associated with the frontier by continually modifying their presentation of the West to suit their audiences. Thus the Wild West show, contrary to its own claims of accuracy and authenticity, was highly selective in its representations of the West as well as widely influential in shaping the public image of life on the Great Plains. A uniquely American entertainment--colorful, energetic, unabashed, and, as Reddin demonstrates, self-made--the Wild West show exerted an appeal that was all but irresistible to a public hovering uncertainly between industrial progress and nostalgia for a romanticized past.
155 pristine negatives recently turned up in some forgotten storage. They were taken while the Wild West show was on tour between 1900 and 1905 by cowboy/amateur photographer Harry Bock. This is a photo documentary without parallel and offers western, historical, and tent show buffs a visual look back in time with exceptional detail and clarity.
Now that the West is no longer so wild, it’s easy to dismiss Buffalo Bill Cody’s world-famous Wild West shows as promoters of stereotypes and clichés. But looking at this unique American genre from the Native American point of view provides thought-provoking new perspectives. Focusing on the experiences of Native performers and performances, Linda Scarangella McNenly begins her examination of these spectacles with Buffalo Bill’s 1880s pageants. She then traces the continuing performance of these acts, still a feature of regional celebrations in both Canada and the United States—and even at Euro Disney. Drawing on interviews with contemporary performers and descendants of twentieth-century performers, McNenly elicits insider perspectives to suggest new interpretations of their performances and experiences; she also uses these insights to analyze archival materials, especially photographs. Some Native performers saw Wild West shows not necessarily as demeaning, but rather as opportunities—for travel, for employment, for recognition, and for the preservation and expression of important cultural traditions. Other Native families were able to guide their own careers and even create their own Wild West shows. Today, Native performers at Buffalo Bill Days in Sheridan, Wyoming, wear their own regalia and choreograph their own performances. Through dancing and music, they express their own vision of a contemporary Native identity based on powwow cultures. Proud of their skills and successes, Native performers at Euro Disney are establishing promising careers. The effects of colonialism are undeniable, yet McNenly’s study reveals how these Native peoples have adapted and re-created Wild West shows to express their own identities and to advance their own goals.
History of Buffalo Bill's wild West show and souvenir program.
No theme in history has captured the imagination like the American West, and no presentation of the drama surpassed the original Wild West shows. In this unparalleled theater, the cast of characters were themselves authentic heroes: Buffalo Bill Cody, Texas Jack Omohundro, Wild Bill Hickok, Captain A. H. Bogardus, Annie Oakley, Doc Carver ("Evil Spirit of the Plains"), Lillian Smith, Captain Jack Crawford ("Poet Scout of the Plains"), Sitting Bull and hordes of Indians, Pawnee Bill, and May Lillie. These pioneer stars and superstars were predecessors to the Western film and television personalities of later times, and to the troupe in the contemporary extravaganza at Disneyland/Paris. Buffalo Bill's Wild West is a panoramic celebration of these colorful characters, who created the image of the West for Americans, and for the world. The book also celebrates the exciting and often flamboyant accoutrements and costumes, which were part and parcel of the stars' public appearance, and honors such characters as William Mathewson, recognized even by Cody himself as the "original Buffalo Bill." The lavish illustrations feature the Michael Del Castello Collection of the American West, with portfolios of treasures from the Buffalo Bill Museum (Buffalo Bill Historical Center, Cody, Wyoming) and the Autry Museum of Western Heritage (Los Angeles). Cody and his contemporaries made the West come alive to millions through their Wild West show tours of Europe and America. Lavishly illustrated and unsurpassed in its authenticity, Buffalo Bill's Wild West is a collector's item for anyone interested in the most fascinating array of all objects of Americana, and in the uniquelycolorful saga of the West. From the original Wild West shows of P. T. Barnum in Hoboken, New Jersey, to the spectacular entertainments of such headliners as Buffalo Bill and Annie Oakley, see the arms and accessories of the adventurers who charmed the crowned heads of Europe and brought America's Wild West culture to the world--in the process helping to make Colt, Winchester, Wells Fargo, and the West into American legends. In this unique volume, the authors have produced the most spectacular, lavish, and detailed illustrated tribute ever to Buffalo Bill and his Wild West show-business originals. Buffalo Bill's Wild West is an unmatched chronicle drawn upon decades of research and collecting, augmented with images by master photographers Peter Beard and Douglas Sandberg, and period photo-graphs and archival material from museums and private collections, particularly that of Michael Del Castello--featured at the Royal Armouries Museum, Leeds, in the summer 1999 loan exhibition "Buffalo Bill's Wild West." In over 225 color plates and 160 black-and-white illustrations, with in-depth text and captions, the colorful arms, posters, photo-graphs, costumes, saddles, accoutrements, stagecoaches, and, for the first time, Buffalo Bill's Wild West Winchester Ammo Wagon, are brought to life. The extraordinary, exquisitely detailed illustrations include more than 50 posters and advertising broadsheets, over 100 rare cabinet card photographs, innumerable historic firearms, advertising art and trade cards, and show-business memorabilia. All the renowned exhibition shooters are presented: Buffalo Bill Cody, Annie Oakley, Frank Butler, Doc Carver, Johnny Baker, Pawnee Bill, Lillian Smith, Captain A. H. Bogardus and sons, Captain E. E. Stubbs, Curtis Liston, Arizona Joe, and many more--all of them sports and entertainment luminaries of their day. Designed as a companion volume to the bestselling Colt: An American Legend; Winchester: An American Legend; The Peacemakers; Steel Canvas; and Ruger & His Guns, this new work covers a fascinating period in history and entertainment that will never be seen again.
Buffalo Bill's Wild West presents a fascinating analysis of the first famous American to erase the boundary between real history and entertainment Canada, and Europe. Crowds cheered as cowboys and Indians--and Annie Oakley!--galloped past on spirited horses, sharpshooters exploded glass balls tossed high in the air, and cavalry troops arrived just in time to save a stagecoach from Indian attack. Vivid posters on billboards everywhere made William Cody, the show's originator and star, a world-renowned figure. Joy S. Kasson's important new book traces Cody's rise from scout to international celebrity, and shows how his image was shaped. Publicity stressed his show's "authenticity" yet audiences thrilled to its melodrama; fact and fiction converged in a performance that instantly became part of the American tradition. But how, precisely, did that come about? How, for example, did Cody use his audience's memories of the Civil War and the Indian wars? He boasted that his show included participants in the recent conflicts it presented theatrically, yet he also claimed it evoked "memories" of America's bygone greatness. Kasson's shrewd, engaging study--richly illustrated--in exploring the disappearing boundary between entertainment and public events in American culture, shows us just how we came to imagine our memories.