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A state-by-state review of the history of outlaws and outlaw activity in the Old West.
An epic narrative of the Old West told through the vivid, outsized life of cowboy, detective, and chronicler Charlie Siringo No figure in the Old West lived or shaped its history more fully than Charlie Siringo, as Nathan Ward reveals in his colorful portrait of this epic era and one of its primary protagonists. Born in Matagorda, Texas in 1855, Charlie went on his first cattle drive at age twelve and spent two decades living his boyhood dream as a cowboy. As the dangerous, lucrative “beeves” business boomed, Siringo drove longhorn steers north to the burgeoning Midwest Plains states’ cattle and railroad towns, inevitably crossing paths with such legendary figures as Billy the Kid, Bat Masterson, and Shanghai Pierce. In his early thirties he joined the Pinkerton Detective Agency’s Denver office, using a variety of aliases to investigate violent labor disputes and infiltrate outlaw gangs such as Butch Cassidy’s train robbing Wild Bunch. As brave as he was clever, he was often saved by his cowboy training as he traveled to places the law had not yet reached. Siringo’s bestselling, landmark 1885 autobiography, A Texas Cowboy, helped make the lowly cowboy a heroic symbol of the American West. His later memoir, A Cowboy Detective, influenced early hard-boiled crime novelists for whom the detective story was really the cowboy story in an urban setting. Sadly sued into debt by the Pinkertons determined to prevent their sources and methods from being revealed, Siringo eventually sold his beloved New Mexico ranch and moved to Los Angeles, where he advised Hollywood filmmakers, and especially actor William S. Hart, on their early 1920s Westerns, watching the frontier history he had known first-hand turned into romantic legend on the screen. In old age, Charlie Siringo was called “Ulysses of the Wild West” for the long journey he took across the western frontier. Son of the Old West brings him and his legendary world vividly to life.
"The world is bobbing around," said Sam Bass the day he died. The day was Sunday, July 21, 1878?Sam's twenty-seventh birthday. Sam had done considerable bobbing around himself. He had been a cowboy, a gambler, a highwayman, and a train robber before he met his fate at Round Rock. His coups were many; his fame legendary. And the strangest thing of all is that he never killed a man until that last gunfight.
In an illustrious career spanning over forty years, Américo Paredes has often set the standard for scholarship and writing in folklore and Chicano studies. In folklore, he has been in the vanguard of important theoretical and methodological movements. In Chicano studies, he stands as one of the premier exponents. Paredes's books are widely known and easily available, but his scholarly articles are not so familiar or accessible. To bring them to a wider readership, Richard Bauman has selected eleven essays that eloquently represent the range and excellence of Paredes's work. The hardcover edition of Folklore and Culture was published in 1993. This paperback edition will make the book more accessible to the general public and more practical for classroom use.
This book explores in depth the origins, development, and prospects of outlawry and of the relationship of outlaws to the social conditions of changing times. Throughout American history you will find larger-than-life brigands in every period and every region. Often, because we hunger for simple justice, we romanticize them to the point of being unable to separate fact from fiction. Frank Richard Prassel brings this home in a thorough and fascinating examination of the concept of outlawry from Robin Hood, Dick Turpin, and Blackbeard through Jean Lafitte, Pancho Villa, and Billy the Kid to more modern personalities such as John Dillinger, Claude Dallas, and D. B. Cooper. A separate chapter on molls, plus equal treatment in the histories of gangs, traces women's involvement in outlaw activities. Prassel covers the folklore as well as the facts, even including an appendix of ballads by and about outlaws. He makes clear how this motley group of bandits, pirates, highwaymen, desperadoes, rebels, hoodlums, renegades, gangsters, and fugitives—who stand tall in myth—wither in the light of truth, but flourish in the movies. As he tells the stories, there is little to confirm that Jesse and Frank James, Butch Cassidy and the Sundance Kid, the Daltons, Pretty Boy Floyd, Ma Barker, Clyde Barrow and Bonnie Parker, Belle Starr, the Apache Kid, or any of the so-called good badmen, did anything that did not enrich or otherwise benefit themselves. But there is plenty of evidence, in the form of slain victims and ruined lives, to show how many ways they caused harm. The Great American Outlaw is as much an excellent survey on the phenomenon as it is a brilliant exposition of the larger than-life figures who created it. Above all, it is a tribute to that aspect of humanity that Americans admire most and that Prassel describes as a willingness "to fight, however hopelessly, against exhibitions of privilege."