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Saloons, barrooms, honky-tonks, or watering holes--by whatever name, they are part of the mythology of the American West, and their stories are cocktails of legend and fact, as Richard Selcer, David Bowser, Nancy Hamilton, and Chuck Parsons demonstrate in these entertaining and informative accounts of four legendary Texas establishments. In most Western communities, the first saloon was built before the first church, and the drinking establishments far outnumbered the religious ones. Beyond their obvious functions, saloons served as community centers, polling places, impromptu courtrooms, and public meeting halls. The authors of this volume discuss both the social and operational aspects of the businesses: who the owners were, what drinks were typically served, the democratic ethos that reigned at the bars, the troubling issues of social segregation by race and gender within each establishment, and the way order was maintained--if it was at all. Here, the spotlight is thrown on four saloons that were legends in their day: Jack Harris's Saloon and Vaudeville Theater in San Antonio, Ben Dowell's Saloon in El Paso, the Iron Front of Austin, and the White Elephant of Fort Worth. Together with architectural renderings of the floor plans and old photographs of the establishments and some of their more famous customers, the history of each is woven into the history of its city. Fatal shootings are recounted, and forms of entertainment are described with care and verve. One of this book's most fascinating aspects is the sharp detail that brings to life the malodorous, smoky interiors and the events that took place there. Selcer and his co-authors are experts on their respective watering holes. They start with the origins of each establishment and follow their stories until the last drink was served and the places closed down for good. There are stops along the way to consider the construction of the ornate bars, the suppliers of the liquor served, the attire of the gentlemen gamblers, the variety of casino games that emptied men's pockets, and more. Through the wealth of detail and the animated narrative, a crucial part of Texas' Western heritage becomes immediately accessible to the present.
Excludes New York City.
If the Southwest is known for its distinctive regional culture, it is not only the indigenous influences that make it so. As Anglo Americans moved into the territories of the greater Southwest, they brought with them a desire to reestablish the highest culture of their former homes: opera, painting, sculpture, architecture, and literature. But their inherited culture was altered, challenged, and reshaped by Native American and Hispanic peoples, and a new, vibrant cultural life resulted. From Houston to Los Angeles, from Tulsa to Tucson, Keith L. Bryant traces the development of "high culture" in the Southwest. Humans create culture, but in the Southwest, Bryant argues, the land itself has also influenced that creation. "Incredible light, natural grandeur, . . . and a geography at once beautiful and yet brutal molded societies that sprang from unique cultural sources." The peoples of the American Southwest share a regional consciousness—an experience of place—that has helped to create a unified, but not homogenized, Southwestern culture. Bryant also examines a paradox of Southwestern cultural life. Southwesterners take pride in their cultural distinctiveness, yet they struggled to win recognition for their achievements in "high culture." A dynamic tension between those seeking to re-create a Western European culture and those desiring one based on regional themes and resources continues to stimulate creativity. Decade by decade and city by city, Bryant charts the growth of cultural institutions and patronage as he describes the contributions of artists and performers and of the elites who support them. Bryant focuses on the significant role women played as leaders in the formation of cultural institutions and as writers, artists, and musicians. The text is enhanced by more than fifty photographs depicting the interplay between the people and the land and the culture that has resulted.
Before Dallas Stoudenmire accepted the position as marshal of El Paso, there existed no authority except that of the six-shooter, and very little precedent for a peace officer to follow. No one before had held the job for more than a couple of months. Yet, within two years, with the help of Jim Gillett, his young deputy, Stoudenmire had cleaned up the town, a task that earned him many enemies and, in the end, death. This is the story of Dallas Stoudenmire-auburn-haired, fiery-eyed, six-foot, two-inch gunfighter, container of laughter, liquor, and death-during the two tumultuous years in the early 1880’s when he served as almost the only law north of the Rio Grande and west of Fort Worth.
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