Fred Harmon, Red Ryder, and Albuquerque's Little Beavertown

New Mexico Historical Review Volume 85 Number 3 Article 1 7-1-2010 Fred Harmon, Red Ryder, and Albuquerque's Little Beavertown Ferenc M. Szasz Follow this and additional works at: https://digitalrepository.unm.edu/nmhr Recommended Citation Szasz, Ferenc M.. "Fred Harmon, Red Ryder, and Albuquerque's Little Beavertown." New Mexico Historical Review 85, 3 (2010). https://digitalrepository.unm.edu/nmhr/vol85/iss3/1 This Article is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Historical Review by an authorized editor of UNM Digital Repository. For more information, please contact [email protected], [email protected], [email protected]. Fred Harman, Red Ryder, and Albuquerque’s Little Beavertown Ferenc M. Szasz he saga of the U.S. West has long fascinated both Europeans and Ameri- T cans. Buffalo Bill’s Wild West Show began traveling to Europe in 1886. Eighteen years later, in 1904, he and his entourage made positively their last tour of the British Isles, thrilling thousands of Scots on the show’s sec- ond journey north of the River Tweed. In 1893 historian Frederick Jackson Turner famously declared that the American frontier had “closed,” although authentic frontier conditions persisted for well over two decades in Colorado, Montana, and New Mexico, among other regions.1 In 1899 the U.S. Bureau of Engraving and Printing drew on the popular appeal of the West in a very pragmatic way. That year it featured a portrait of Ta-to-ka-in-yan-ka (Running Antelope of the Oncpapa branch of the Sioux tribe) as the central fi gure for the fi ve-dollar silver certifi cate. About two decades later, a steady stream of songwriters migrated to California, creating a new record company, Capitol, that aggressively championed cowboy music and the cowboy way of life. The emergence of singing-cowboy fi lm stars such as Roy Rogers and Gene Autry helped make the western a Hollywood staple from the 1930s through the 1950s.2 Ferenc M. Szasz is Regents’ Professor of History at the University of New Mexico, Albuquerque. He is the author or editor of several books on New Mexico history, including The Day the Sun Rose Twice: The Story of the Trinity Site Explosion, July 16, 1945 (University of New Mexico Press, 207 1984) and Larger than Life: New Mexico in the Twentieth Century (University of New Mexico Press, 2006). 208 N new mexico historical review volume 85, number 3 Born at the crest of the wave, southwestern artist Fred Harman Jr. (1902–1982) played a crucial role in the emergence of the popular-culture West.3 Harman’s enormously successful cartoon characters Red Ryder and Little Beaver helped shape mid-twentieth-century Americans’ understand- ing of the nation’s frontier past. In addition his 350 oil paintings and western bronzes became highly prized by collectors. Harman, however, met the limits of the popularized West’s appeal in 1961, when he attempted to establish a western-themed family amusement center called Little Beavertown, just east of Albuquerque, New Mexico. Promoters simply could not sell this version of the West to New Mexico, a region that contained a mythologized frontier past all its own. After a promising start, Little Beavertown collapsed within two years. Thus, the saga of Fred Harman, Red Ryder, and Little Beavertown echoed, in miniature, the rise and fall of the national popular-culture West. Although Montana cowboy painter Charles M. Russell (1864–1926) still reigns as the most popular western artist of all time, many people place Harman in the same exalted category.4 Like Russell, Harman had actually worked as a cowboy on a western ranch. Unlike his contemporary from New York Frederic Remington (1861–1909), Harman knew fi rsthand the world de- picted in his art.5 The challenge of producing a daily newspaper comic strip, however, offered Harman even greater opportunities to showcase his artistic talents. He began the Sunday strip featuring Red Ryder (with Little Beaver) on 6 November 1938, with a daily comic strip following on 27 March 1939. Although he occasionally employed “ghost writers,” Harman drew most of the strips from his homes in Pagosa Springs, Colorado, and Albuquerque for twenty-seven years.6 In 1963 he withdrew his cartoon duo from newspapers, but they remained a fi xture of western popular culture for almost three decades. A Sunday newspaper strip averages about six panels each and a daily strip has about three and a half. Even acknowledging the various ghost writers, a twenty-seven-year newspaper run meant that Harman drew approximately thirty-eight thousand separate western sketches during his career. If one adds his earlier cartoon work, oil paintings, various posters, and “chalk talks,” Har- man probably ranks as the most prolifi c western artist of all time. Harman’s career coincidentally overlapped with the emergence of the American mass media. In the early 1920s, both he and his two brothers found themselves on the ground fl oor of the fi lm animation industry. While his brothers forged successful careers in the new fi eld of “talking comics,” Fred took another route. Although he dabbled with screen animation, he felt much more at home with his fi rst love: western cartoon strips. Once syndicated, summer 2010 szasz N 209 Red Ryder and Little Beaver met great enthusiasm and acceptance from the American public. At its height in the early 1950s, the strip ran in about 750 newspapers. The readership was estimated at 40 million. Harman’s characters branched out from newspapers to other forms of popular culture, including radio, fi lm, comic books, and Whitman novels. The Big Little Books, a forerunner of the graphic novel, with pictures on one side of the page and text on the other, also reproduced stories featuring the heroic pair. Although corporate sponsorship still lay in its infancy, Red Ryder and Little Beaver eventually lent their names to more than seventy commercial products. The most famous endorsement, Daisy Manufacturing Company’s “Red Ryder BB Gun,” with the hero’s name burned into the stock, has sold over nine million units since Daisy fi rst manufactured the toy in 1938. It remains available today. Both Colorado and New Mexico enthusiastically claimed Harman as “their” resident western artist, but his reputation has largely faded from the public eye. If Americans today remember Harman at all today, they recall his cartoon fi gures Red Ryder and Little Beaver.7 Harman was born in Missouri in 1902 to a lawyer father and an upper- class mother, whose portrait had been painted by famed artist Charles Dana Gibson. When Harman was two months old, his father moved the family to Pagosa Springs, then called Fort Lewis, where he homesteaded a cattle ranch. Harman grew up there and learned to draw by copying illustrations from various ranch catalogs during the long winters. Southern Colorado remained Indian country in the early twentieth century, and young Har- man worked side-by-side on local ranches with Navajo, Ute, and, especially, Jicarilla Apache Indians, whose one million-acre reservation lay thirty-fi ve miles south of Pagosa Springs in northern New Mexico. “It was a wonder- ful country to have been a boy in,” Harman recalled in 1969. “We had the sustenance of life and wanted for very little.”8 Gifted with a natural talent, young Harman won a drawing contest when he was only six, but a stint on a Kansas City, Missouri, newspaper as a teenager introduced him to the craft of professional illustrator. Like Russell, Harman had no formal artistic training. After he studied cartooning in Kansas City, Harman teamed up with his friend Walt Disney on a couple of failed animation ventures during the early 1920s.9 Both migrated to California, but Disney achieved a fame that bypassed Harman. Returning to his Colorado ranch in the San Juan Mountains, Harman tried a number of cartoon ventures. From 1934 to 1938, he self-syndicated a single-panel western cartoon, On the Range; published a Big Little Book titled Cowboy Lingo: Boy’s Book of Western Fact 210 N new mexico historical review volume 85, number 3 (1938); and wrote and illustrated an attractive but short-lived western-themed magazine called Ride, a venture on which he “went broke.” “My fi rst attempt at a magazine,” Harman sadly noted.10 The Great Depression hit the Harman family hard. By then Harman had married his life-long rock of support, Lola Andrews, and they had one son, Fred Harman III. The ranch and his infrequent illustration work barely allowed Harman to put bread on the table. In 1934 he inaugurated Bronc Peeler, a newspaper comic strip that introduced readers to a tall, lanky, red- headed cowboy with a comic-relief sidekick named Coyote Pete. Little Beaver played a minor role in the strip, but when the sole Big Little Book version of Bronc Peeler: The Lone Cowboy (essentially reprints from the newspaper strips) appeared in 1937, Little Beaver was nowhere to be found. Well-drawn and well-plotted, Bronc Peeler developed a considerable readership in both France and Mexico but never really caught on with the American public.11 At Lola’s suggestion, Harman switched the sidekick role to Little Beaver and later changed the hero’s name to the more alliterative Red Ryder. A chance meeting with New York licensing promoter Stephen Slesinger proved fruitful. After Slesinger sold Red Ryder to the Newspaper Enterprise Associa- tion in 1938, Harman’s career blossomed, but not without cost. The comic strip/comic book industry of the late 1930s proved exceptionally callous toward relationships between artists and their promoters.

Load more