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POINI-T-Sh{E\/L1 ES-F a QUARTERLY JOURNAL of the BUFFALO BILL HISTORICAL CENTER SPRING 1998

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POINI-T-Sh{E\/L1 ES-F a QUARTERLY JOURNAL of the BUFFALO BILL HISTORICAL CENTER SPRING 1998 POINI-T-Sh{e\/l1 ES-f A QUARTERLY JOURNAL OF THE BUFFALO BILL HISTORICAL CENTER SPRING 1998 t. { I { *' \ hr- v ,t$* '.r f' *. \#6"'/' l kI l;* i ts. F, I -- PLANNED GIFTS SECTJRtr THE CONTENTS FTJTTJRtr 3 THE SINGING COWBOY: REAL TO REEL- by Frank Goodyea.r, Tracing the history of cowboy songs from the Director oJ Planntng and Development open range to the movie screen. ne of the many ways that AN OBLIGATION TO THE AMS-Former 6 Senator Alan K. Simpson delivers 1997 Nancy the Historical Center can Hanks Lecture on Arts and Public Policy. benefit lrom its donors is through the vehicle of planned gifts. vR PoWERFUL IMAGES,PoRTRAYALS OF What is a planned gi,ft? Essenrially, it NATIVE AMERICA-Exploring rhe perceprions is a way for donors to make gilts to and stereotypes surrounding Native American charitable organizations in return for images. favorable tax and other financial bene- 1t 1I CHILDREN APPRECIATE SUMMER fits. In other words, lifetime gifts pro- woRKSHoPS-Letters lrom srudents. vide long-term benefits to both the donor and the recipient institution. 1I 2) BEFORE THERE WAS MOLESWORTH Planned gifts lall into three general HIGH STYLE, THERE WAS COWBOY LOW categories: bequests, outright gifts STYLE-Going back to the roots of handcrafted western furniture. and life income gifts. The latter include charitable remainder unitrusts, 1IL' A HoNoRING CHIEF CRAZY HORSE_ charitable remainder annuity trusts, Greeves bronzejoins Whitney Gallery Collection. life and deferred gift annuities, charita- ble lead trusts as well as gifts of life 1 7 MARLIN CoMMEMoRATIVE RIFLE I , CELEBRATES ANNIE insurance and real estate. LIFE oF OAKLEY Each of these different gilt 1 \'R BUFFALO BILts LAST srAND-rhe story vehicles has advantages, depending ^ behind william F. Cody's funeral and burial. on the individual donor's financial situation. Whether they be guaranteed 20 rouRrsM IN YELLowsroNE-From a lixed income and tax savings lrom a lrontier of exploration to a lrontier of tourism. gift annuity or avoidance of large CHILDREN'S PAGE capital gains on appreciated property, 22 these advantages can materially ben- 23 CALENDAR oF EVENTS efit the donor while providing for a the lavorite charity. For the charity PO/NTS WESr is published quarterly as a benefir of is membership in the Buflalo Bill Historical Center For most important advantage helping membership information contact: it plan for a secure future. Jane Sanders Director of Membership If you wish more information on Buffalo Bill Historical Center planned giving program 720 Sheridan Avenue, Cody, WY 82414 the Center's or call (507) 587-4771, ext. 4032. please Planning Devel- call the and Request permission to copy, reprint or distribute articles (307) 578-4013. in any medium or format. Address editorial correspon- opment oflice at dence to the Editot PolNIs WESI Buffalo Bill Historical Someone here would be happy to Cente\ 720 Sheridan Avenue, Cody, WY 8241 4. speak with you. I Ediror: Scott Hagel Designer: Jan Woods Production Coordinator: ReneeTafoya Photography: Devendra Shrikhande, Lucille Warters. chris cink The Buffalo Bill Historical Center is a private, non- profit educarional insritution dedicated to preserving and interpreting the cultural history of the American West. Founded in 1917, the Historical Center is home Cover: Movie poster detail featuring Roy to the Buffalo Bill Museum, Cody Firearms Museum, Rogers and Smiley Burnette, ca. 1940s. Plains Indian Museum, whitney Gallery of Western Art and Mccracken Research Library. ___<..- /.*\ Public Programs Coordinator ,-{owboys sang songs-popular songs of their day, maker. When the cylinder recording by Billy Murray was Ufry.nr, and songs that grew out ol their own work released in 1906, "Cheyenne" became the lirst "cowboy experiences. As cowboys drifted lrom one range to song" to be a national hit. another, they picked up and sang songs lrom all parts of Although N. Howard "Jack" Thorp (1908) andJohn A. the country. For a time, it seemed that only cowboys Lomax (1910) had both published collections ol tradi' were interested in their songs. tional cowboy songs, what most Americans were familiar By the turn ol the century, Wild West shows, western with were the songs they purchased as sheet music or novels, and stage productions had helped to popularize heard on vaudeville stages, in music halls, or on recordings. the cowboy. Tin Pan Alley determined to capitalize on It was not untll 1925 that a "real" cowboy recorded a this phenomenon with its versions ol cowboy music. In "real" cowboy song. Carl T. Sprague's recording of 1905 songwriters Egbert Van Alstyne and Harry Hiram Montana poet D.J. O'Malley's "When the Work's All Williams, following the success ol their "ln the Shade oi Done This Fall" sold 900,000 copies. He was followed the Old Apple Tree," combined their talents to produce soon by Jules Verne Allen, Harry "Haywire Mac" "Cheyenne," hoping to have a cowboy love song money- McClintock, Charles Nabell, and Ken Maynard. By the 1920s the new medium of i :* radio also provided &* h-r .''i1;.., Americans with { tr:. '!* 'l;i. more music and the opportunity for many of them to perform as well. Singers with a modest degree of talent could olten secure a 1S-minute slot once a week on a local radio station in need of programming. i,-.;x:-i1..trg .e next page brtsrt' -?.d -Continued Cowboy movie star Ken Maynard singing to his co-star Edith Roberts in the 1929 Universal Maynard production lhe Wagon Master (Saturday Matinee). America's first "singing cowboy" to broadcast nation- Perhaps Ken Maynard's greatest contribution to the ally began his singing career on WEAF, an NBC srarion "singing cowboy" movies was his introduction ol radio in New York City, in 1926. John I. White was a and recording artist Gene Autry to the silver screen in Washington, D.C. native who lell in love with cowboy Maynard's In OId Santa Fe (1934). songs when visiting cousins in Arizona. Choosing to Gene Autry began perlorming on radio station KVOO sing those songs, he was called "The Lonesome in Tulsa, Oklahoma, and was cutting records lor several Cowboy" after moving to station WOR. In 1930 he was labels when he was hired by Sears Roebuck in 1 931 to hired as a singer to appear on NBC's new weekly coast- appear on their Chicago station WLS. Autry was given to-coast radio drama called "Death Valley Days" spon- his own program as "Oklahoma's Singing Cowboy" and sored by Pacific Coast Borax Company. His published began appearing on the "National Barn Dance." His lolio ol cowboy songs could be obtained by sending in 1931 recording ol "That Silver Haired Daddy of Mine" a boxtop lrom one of his sponsor's products. was the lirst million-selling record. Silent western movies had been entertaining the Sears, Roebuck and Co. helped build Autry's popularity American public lor over 25 years. In early 1929 sound through the catalog sale ol his song folios, records, and came to westerns with the release of In Old Arizona. a 59.98 Gene Autry Roundup guitar. Shortly after, the "singing cowboy" was born. When Gene Autry received a call lrom Hollywood, he Horseman, trick ridet and silent film star Ken took with him his accordionist and friend Smiley Maynard that year added to his silver screen credits his Burnette. Aiter his debut in Ken Maynard films, Autry, talents as musician and singer in the 1929 release, The along with "sidekick" Burnette, starred in a 1935 serial Wagon Master. For his lirst "singing cowboy" role, called Phantom Empire beiore being given the lead in Maynard chose to sing traditional cowboy songs, "The Tumbling Tumbleweeds. Lone Star Trail" and "The Cowbov's Lament." The singing cowboy rage had begun. Gene Autry's almost overnight success as a lJrr singing cowboy star had studios scrambling to Find and develop their own singing cowboys: Dick Foran, Fred Scott, Bob Allen, Ray Whitley, Smith Balleq Bob Baker, Jack Randall, George Houston, Gene Donald ': ::r.j Austin, Grayson. Although many of these singing cowboy hopeiuls made several movies, none ol them achieved the desired success. Several became second leads providing the musical Bar Buckaroos (1 940) was one of Ray Whirley s few star roles in the movies. Seen here with his trusty Gibson guirar. Whirley is better remembered as the writer ol "Back in the Saddle Again" and other western classics. Photo courtesy ol the Country Music Hall of Fame. 4 moments in movies with non-singing western stars. Autry and Roy Rogers in the last decade of musical Two important contributions to the singing cowboy westerns. The last of the silver screen cowboys began genre were made by Herb Jeflries and Dorothy Page. his movie career in The Arizona Cowboy (1950). Native Herb Jellries, a jazz vocalist traveling with the Earl Arizonan Rex Allen, like many of his predecessors, "Fatha" Hines Orchestra, determined that came to Hollywood from a radio/ recording career. black youth needed a cowboy hero as well When his 19th film Phantom Stallion was released in He approached independent producer Jed 1954, the era of the singing cowboy westerns had come Buell and was given the go-ahead to line up to an end. cast and star lor a series of all-black singing Roy Rogers and Gene Autry, who had radio cowboy movies. No singing-riding actor could { programs during much ol their movie careers, now be found, so Jellries himself starred in a five- entered the new medium of television. film series (1936-1939) which included Harlem Although the singing cowboys vanished from movies Rides the Range and The Bronze Buckaroo.
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