hole on or about 17 March 1879. DEMEANOR AND THE SURVIVAL OF THE AMERICAN COWBOY laJ. The caye-in swallowed pilrt It I. Dodge City Times, 6 Apri 1 by William E. Thompson ~ 1879. 'od Joseph V. Hickey A buckaroo cowboy f~om Cregon who was interviewed on a PBS broadcast was aEked if he thought that cowboys we-re d"cl ining in numbers. l He responded that not only was that truE", but they would probably dlsdppeat:' from the rangE' altogether by the turn of the century. Such thinking receives considerable support in the mass mE-dla and to many, when the cowboy exits the range, the role and occupation of cowboy will cease to exist. Most Americans believe that it is relatively easy to define cowboy. possibly this is due to the fact that they believe the cowboy role entail~ relatively fixed meanings inherited from the past. In the 19th century, the role of cowboy may have been comprised of only a few, clearly defined attribute.!:. Typically, a person who was a cowboy was an itinerant hired hand who worked with cattle on the open range, often alone Or in small groups.2 The range cowboy was usually an excellent horseman, who relied on initiative, resourcefulness and his own decision making skills to perform a ... "riety of tasks. The traditional co,'boy's most important guality may have been his ability to be a "jack-of-all­ trades." He I.'as exp<?cted to build barns, mend fences, shoe horses, doctor sick cattle, and master virtually every L'nching skill. In recent decades, industrial ranching with its helicopters <~nd computers hd~ greatly modified our understandings of the cowboy "ole. Instead of a unidimensi.onal role (the traditional "_'nge cowboy), there ha.~ eme"ged a vC'ri-ety of highly speclali2.ed occupation",l roles that include the contempordry range Callboy (who most closely resembles popular stereotypes), but, also rodeo cowboys, feedlot Callboys, cattle truck cowbo~s, dnd others with their own in1'Otltutionalized subculture. From an occupational perspective, all of these cowboys are equally legitimate in the sense that they play some role in the cattle industry; all make their living performing tasks that traditionally have be-en considered appropriate to the cowboy. Despite the proliferation of cowboy roles and occupations in the 20th century many American~ would probably /gree with the buckaroo that. the cowboys' days a.-e numbered. This lS because they do not consider any of the modern cattle specialists to be "real" cowboys. According to this view, contemporary cowboys may look and "ct liY.e "real" cowboys but they do not fulfill all requirements of the role. From this perspective, to De a real cowboy a person must work with cattle, outdOOrs on the range, Or for some, perto.-m on the rodeo circuit. All others. particularly those who ply their trade in urban areaS or .. ho work. in highly specialized tasks within the cattle industry, are usually deemed ··il1~gitimate." ~ 10 We disag~ee with this position on two fundamental grcund~. Fi~st, we propose that while there are numerous popular understandings of the cowboy role, it has in fact, no fixed meilnings; rather, it (like any social role) is d'.:'fined and redefins-d continuously through the process of socIal Interaction. From the interactionist perspective, the not10n of "real cowboy" is a popular fiction created and perpetuated largely by the mil 55 media rather than by cOlolboys themselves. Second, we contend that cowboy demeilnor--dress. language, and beha~ior Which is usually considered the least important component of the cOlJboy role, may in filct, be the primary criterion gpon which social understandings of the cowboy role are based. We believe that the occupational definition of cowboy is, in fact, so ambiguous that it actually play:s a relatively minor role in popular under1>tdndings of the cowboy. Occupationally, a co~boy i~ any individual who works with cattle for at least a portion of his livelihOOd. This definition, of cour:se, includes all cowboy variants both past and pre:sent. The occupational definition of cowboy, however, is but a minimum description of cowboy, for if We are to consider any individual a legitimate cowboy it is also essential that he look and act like a cowboy. If he does not, and this would even include the range and rodeo cowboy, he would not be considered a cowboy by most people regardle51> of his occupational specialty. In thi:s article we will brlefly review the historical development of modern cowboy occupational role:s and media contributions to our understandings of the role. We ~ill then 5ho~ that demeanor is an essentlal element by which the public evaluates whether a person is Or is not a cowboy. By thi~ measure we contend that the maJority of [Dodern cattle :specialists are "re..ll cowboys," in part, because they wor).-_ with cattle, but more importantly, because they view themselves as cowboy:s and mar\ipr\late the appropriate symbols In their attempt to have others view them as such. Many diverse cultures contributed to Our under:standings of the cowboy role. The Spani:sh open range rancher, the Mexican horseback worker [vaquero), :southern frontiersman, and the Texas Traildriver all contributed key ~lernents in the creation of this early A_rnerican subc'Jlt\lre. When the Texas cattle drive:s ended in the 1880" <:awboy ["ol.,:s did not become flxed, but were further modifIed by the complex natllre of commercial ranchIng. For :some c~wboY1> working on the vast northern ranges, early traditior,s could be maintained relatively intact. Cowboy:s working at the ft-inge of densely settled farming areas, ho"ever. ,.. ere strongly influenced by the farming lifestyle. In areas ~h"re farminq and ranching :skill:s were required, both COWboy roles arid the cowboy world view Were adju:sted accordingly. Accompanying these changes waS a radical redefinition of the co"boy by the mass media. As early as the 1870'0 the cowboy had become a media favorite. Artists and photographer:s pL'Iyed an important part in shaping the cowboy image. .so did maga~ine articles and ["omantic dime novels whlch not only had a profound effe<:t on the public but also on the ~orking 11 ltion on two fundamental cowboy. Some tried to imitate the bold adventurer of the while there are numerous range as depicted in pulp fiction about the west.7 Dime oy role, it has in fact, no novels transformed a complex role with numerous behavioral ny social role) is defined options into a relatively narrow set of ideal behaviors. By 19h the process of social dime novels standards, "all cowboys were loyal, cheerful, 1st perspective, the notion courageous and proud; they n'Ovar c~mplained, minded their own ion created and perpetuated buslness and dId theIr best." W13ter was one of the first 9 ;han by co.... boys themsel Yes. novelists to cast the cowboy in the heroic mold. Stereotypic eanor--dress, language, and notions of the cO\Jboy were promoted by wild west sho .... s, and iered the least important later by rodeos. The dress, mannerisms and behaviors of y in fact, be the primary co .... boy performers were soon interpreted by the public to be tandings of the co.... boy role the charact~ristic demeanor of all cowboys. Hollywood and television further embellished those lal definition of cowboy is, stereotypes. More importantly, they purged environmental and .ually plays a relatively occupational aspects of cowboy life. In many early shows tandings of the cowboy. cattle \Jere never seen, the wind never blew, and the individual who works with temperature ne~er climbed above 80 degrees. Thus transformed, of his livelihood. This the cowboy became spotlessly clean, carried a guitar, and 1 cowboy variants both past usually had a sidekick. Instead of the violent hard drinking inition of cowboy, however, maverick, the cowboy became a kind of "Boy Scout."IO Such cowboy, for if we are to notions were retained by such legendary figures as Roy Rogers, timate cowboy it is also fJopalong Cassidy, and John Wayne, and the notion of cowboy as ~ a cowboy. If he does not, "good guy" reached its peak of popularity. A recent PBS range and rodeo cowboy, he broadcast entitled "The Singing Cowboy" traced the careers of , most people regardless of Tex Ritter, Rex Allen, Gene Autry, and Roy Rogers describing how Hollywood portrayed the cowboy in the 1940s and 1950s. This version of the cowboy, which was the first to appear on fly -review the histo-rical television and largely influenced two generations' notions of upational -roles and media what a co .... boy was like, depicted the cowboy as cleancut, of the role. We will then honest, brave, and talented. The "singing cowboy" always beat 21ement by which the public the bad guy, always rescued the girl, and usually maintained a is not a co .... boy. By this stronger attachment to his horse than to any female. In fact, jo-rity of modern cattle the horses of cowboys (Champion, Trigger, etc.) were n part, because they .... ork eventually considered stars in their own rights. ltly, because they vie .... Ite the app-rop-riate symbols The 20th centu-ry not only produced the media co .... boy, but w them as such. a greater variety of highly specialized cowboys, who further defined the rol~. By World War II, the range cowboy had outed to our understandings become a specialist in the cattle indust-ry, working the "grass I open range -rancher, the phase" of the operation. Many traditional behaviors and southe-rn frontiersman, and skills like ho-rseback -riding, -roping, and b-randing -remained buted key elements in the essential to his occupation.