Showing posts with label Bat Masterson. Show all posts
Showing posts with label Bat Masterson. Show all posts

Wednesday, November 20, 2019

Nineteenth-Century Guns: What's in a Name (Part 1)

Copyright 2019 by Gary L. Pullman

Several weapons that first appeared during the days of the American Wild West are named for famous people.


The Armstrong breech-loading gun was named after its English designer Sir William Armstrong (1810-1900). In 1854, Armstrong sold the Secretary of State for War on making a rifled breech-loading three-pounder for testing purposes. Later models fired ammunition of higher calibers, including the largest among them, a 100-pounder. Although the guns were more expensive, they were also safer, but, ultimately, their design was found to be too complicated, and loading them was a time-consuming process involving several discrete steps. The Ordnance Selection Committee reported its conclusions:

The many-grooved system of rifling with its lead-coated projectiles and complicated breech-loading arrangements is far inferior for the general purpose of war to the muzzle-loading system and has the disadvantage of being more expensive in both original cost and ammunition. Muzzle-loading guns are far superior to breech-loaders in simplicity of construction and efficiency in this respect for active service; they can be loaded and worked with perfect ease and abundant rapidity.

As a result, the military resumed its use of muzzle-loading guns.


Sir William Armstrong

Armstrong, a man of many talents and abilities, is considered the father of modern artillery. A well-respected inventor and philanthropist,” he was knighted, and Queen Victoria later elevated him to the peerage as a baron (Robert P. Dod, The Peerage, Baronetage and Knightage of Great Britain and Ireland 93). In addition to the breech-loading gun named for himself, Armstrong also developed the hydraulic accumulator.


Samuel Colt

Samuel Colt began making weapons in the 1830s, securing a British patent for an improved revolver design in 1836. According to True West, the weapon that Wyatt Earp used during the 1881 Shootout at the OK Corral in Tombstone, Arizona, Earp “probably” used a Colt single-action revolver with a ten-inch barrel. A Tactical Life article indicates that Bat Masterson “ordered a total of eight single-action revolvers from Colt’s,” the “most notable” of which was a customized “nickel plated short .45 calibre” (source's italics):


Bat Masterson

. . . make it very Easy on the trigger and have the front Sight a little higher and thicker than the ordinary pistol of this Kind. Put on a gutta percha handle and send it as soon as possible, have the barrel about the same length that the ejector rod is (source's italics).


Wild Bill Hickok

The favorite sidearms” of Wild Bill Hickok, who earned his living as a lawman a bit earlier than Earp and Masterson, were a pair of “a pair of elegantly engraved, ivory-handled 1851 Navy Colt cap and ball .36 caliber revolvers [source's bold]. . . [the cylinders of which were] engraved with a naval battle scene between Texas and Mexico” (“Wild Bill's Colts”).

Employed by his father, Colt worked on several ideas for inventions, one of which was the first pistol he'd ever created. Unfortunately, when the weapon was fired, it blew up (R. L. Wilson, Colt: An American Legend 8). The rifle on which he was working at the same time fared better (Colt: An American Legend 8). Leaving his father's employ, he traveled across the United States and Canada, demonstrating the effects of nitrous oxide, calling himself the Celebrated Dr. Coult of New York, London, and Calcutta” (Gardner Soule, The Story of Sam Colt's Equalizer” in Popular Science. 179 (6): 89. 8).


After focusing on a handgun with one barrel, rather than multiple barrels, he managed to find a financial backer and was able to secure a patent in 1836 for the first model of his Colt revolver (Soule, 89). Eventually, with modifications and refinements, his revolver would become one of the most popular handguns in the Wild West.


In 1852, Henry Deringer gave the world the small handgun with a large bore that is named (but misspelled) for him. Muzzle loaded, the percussion-cap pistol fired one shot. Usually sold in pairs for $15 to $25 for both, these weapons were known in the Wild West as “boot pistols” (Gettysburg Museum), “Vest Pocket Pistols,” or “sleeve guns

Tuesday, November 12, 2019

Charles Siringo: The Moral of the Story

Copyright 2019 by Gary L. Pullman

https://www.amazon.com/Cowboy-Detective-Twenty-Two-Famous-Agency/dp/154500188X/ref=sr_1_1?keywords=a+cowboy+detective+siringo&qid=1573582342&sr=8-1

According to Pinkerton detective Charles (“Charlie”) Siringo, a year after Dodge City's incorporation, 81 men had been buried in the town's graveyard. Eighty of them had been killed, only one having experienced “a natural death” (A Cowboy Detective 315).


It was in this wild West town that Siringo first encountered Bat Masterson, the nighttime bartender at the Lone Star dance hall. Siringo, attracted by the hall's good-looking women and the establishment's “Texas flavor,” visited the place with a cowboy friend, “Wess” Adams (315). Wess, complaining of having been insulted by Jim White, a buffalo hunter, enlisted Siringo's assistance (315).


Bat Masterson

In the ensuing barroom fight, Masterson intervened, tossing a handful of “heavy beer glasses” at Siringo, one of which, breaking, drew blood (135). A dozen men were involved in the fracas; Masterson didn't differentiate between brawlers and bystanders, but struck anyone in range of the ice mallet he'd taken from its place behind the bar (135).


Jim White

Some of the fighters clubbed others with their pistols. When Siringo saw White “lying on the floor apparently dead, with blood flowing from wounds in the head,” and witnessed Adams being stabbed “in the back,” he beat a hasty retreat, Adams in tow, to their horses, hitched out front, and threatened a police officer, Joe Mason, who barred their way, before riding out of town (136-137).

Siringo and Adams took refuge in a stock yard “shanty.” Examining Adams's knife wound, Siringo saw that it was, indeed, “serious”:

. . . The knife had been thrust in and then brought around in a semi-circle in the shape of a large horseshoe. The open part of the shoe was where the flesh was not cut, and the other part of the wound [was where] the flesh stood out several inches from the body. The clothing was saturated with blood (317).


Charles Siringo

There was nothing to do but ride back into Dodge. Suspecting that the police might be waiting to ambush him, should he return to town, Siringo took a different route back to Dodge, where he bought supplies at the local drug store: “needles and thread, sticking plaster, and a candle” (318).

Returning to the shanty by the same route he'd ridden back to town, Siringo tried, unsuccessfully, to stitch his friend's wound, but found that “the horseshoe[-] shaped protruding flesh could not be pushed back into place on a level with the rest of the body” (318).

Siringo had no alternative but to apply the sticking plaster, before the men rode eighteen miles “to the Bates & Beals cattle camp,” as Adams became progressively weaker “from loss of blood” (318).

Later, Siringo learned that White, “the boss of a large gang of buffalo hunters,” had survived; he ultimately “recovered” from his “many wounds” and the multiple cracks in his skull (319). Siringo also learned, years later, upon meeting Masterson, that he'd been right to take a different route back into Dodge than the one he and Adams had taken out of town, as Masterson “and a gang of officers” had, indeed, been lying in wait to ambush him, had he ridden back to Dodge by the same path he'd left town. “Armed with rifles and shotguns,” the posse had “stood guard till morning,” intent upon making “angels” of the suspects “if [they] returned” (318).


Siringo ends his account of “how near” he'd come “to being put out of business by Bat Masterson” (315) by drawing a moral for his story: “This little scrape illustrates what fools cowboys were after long drives over the rail” (319).

Friday, September 27, 2019

Another Great (But Dated) Source for Fans, Readers, and Writers of Westerns

The Encyclopedia of Western Gunfighters by Bill O'Neal provides a wealth of information concerning (among many others—the book includes 587 of them!) Robert A. Clay Allison, Deputy U. S. Marshal Samuel Bass, William Morton Breckenridge, William F. (“Billy the Kid”) Clairborne, Joseph Isaac (“Ike”) Clanton, Florentine Cruz, George (“Big Nose”) Curry, Bob Dalton, Emmett Dalton, Grattan (“Grat”) Dalton, Morgan Earp, Virgil Earp, Warren Earp, Wyatt Berry Strapp Earp, Robert Ford, Patrick Floyd Garrett, William (“Curly Bill”) Brocius, John Wesley Hardin, James Butler (“Wild Bill”) Hickok, John Henry (“Doc”) Holliday, Thomas (“Black Jack”) Ketchum, Nashville Franklin (“Buckskin Frank”) Leslie,” Harvey (“Kid Curry”) Logan, Frank McLaury, Thomas McLaury, Sherman McMasters, Edward J. Masterson, James P. Masterson, William Barclay (“Bat”) Masterson, Dave H. (“Mysterious Dave”) Mather, “Johnny Behind the Deuce” O'Rourke, Commodore Perry Owens, Robert LeRoy (“Butch” Cassidy”) Parker, William F. (“Little Bill”) Raidler, John Ringo, David Rudabaugh, Thomas J. (“Bear River Tom”) Smith, Henry (“The Bearcat) Starr, Frank C. Stilwell, Ben Thompson, James Younger, John Younger, Robert Younger, and Thomas Coleman Younger.

Although dated (it debuted in 1940), this volume, published by the University of Oklahoma Press, offers a treasure trove of information for readers and writers alike. Not the least of this information are the photographs of the gunfighters: there are nearly sixty of them.


In his “Introduction,” O'Neal discusses the difficulties of defining the term “gunfighter” and in determining which criteria should be used to identify them.

In the process, he disabuses his readers of some of the myths, or mistaken beliefs, that have collected about Western gunfighters, often as a result of their glamorization.

For example, O'Neal says, “The primary misconception . . . concerns the fast draw” (3). In fact, “the speed of the draw was insignificant” (4). The technique of fanning a gun's hammer was never used, because “a snap shot rarely hits anything but the ground or the sky” (4). 

Furthermore, O'Neal observes, “gunfighters frequently did not even carry their weapons in holsters. Pistols were shoved into hip pockets, waistbands, or coat pockets and a rifle or shotgun was almost always preferred over a handgun” (3).

Another false belief among many fans of Westerns is that gunfighters were serial killers, most having many victims to their credit. In reality, O'Neal points out, “most gunfighters killed but few men during their careers” (4). According to O'Neal's estimates, Masterson killed only one man; Billy the Kid, perhaps four; and Clay Allison, no more than a dozen (4).

Gunfighters, O'Neal found, fought for and against the law, often earned their living in professions requiring skill with a gun, such as “a law officer, detective, buffalo hunter, or army scout, or a rustler, thief, or hired killer.” In addition, some “men became gunfighters by accident” (4).

As a result of his research, O'Neal decided, “with some exceptions” and “somewhat arbitrarily,” that, for his purposes, a gunfighter had to have “been involved in at least two verifiable shootouts—usually but not necessarily fatal ones” between 1861 to 1900 (4).

His “Introduction” also includes a list of the 33 deadliest, or “greatest,” gunfighters. Here, I include only the top ten. (The number in parentheses after the gunfighter's name represents the number of men he's known to have killed.) The list may surprise some readers:


Jim Miller
  1. Jim Miller (12)
  2. Wes Hardin (11)
  3. Bill Longley (11)
  4. Harvey Logan (9)
  5. Wild Bill Hickok (7)
  6. John Selman (6)
  7. Dallas Stoudenmire (5)
  8. Cullen Baker (5)
  9. King Fisher (5)
  10. Billy the Kid (4)

Wild Bill Hickok

In the case of a tie in regard to the number of gunfighters' victims, it's unclear how O'Neal ranked the killers. He includes the numbers of gunfights in which the gunfighters were involved, but he doesn't use this additional information to rank the men.

For example Wes Hardin (i. e., John Wesley Hardin) was involved in 19 gunfights, during which he killed 11 men, which equals a kill ratio of 57.8%: 11/19 = 57.8), but Bill Longley participated in 12 gunfights, killing 11 of his opponents, which equals a much higher kill ratio than that of Hardin: 11/12 = 91.6, or 91.6%. Why, then, is Hardin ranked above Longley?


Wyatt Earp

Wyatt Earp, who was a participant in five shootouts, occupies the next-to-lowest (32nd) place on O'Neal's list of the “greatest gunfighters” (6), because he killed no one (although Earp took credit for killing Billy Clairborne, is said to have killed Curly Bill Brocious, and may have killed Frank Stilwell and others during his vendetta ride). 

Doc Holliday, killed two men in eight shootouts (a 25% kill ratio), but is ranked in 19th place, just ahead of Pat Garrett, Billy the Kid's killer. The list is obviously controversial, but it does give fans, readers, and writers of Westerns some data upon which to reflect and about which to debate.


The Hanging of Black Jack Ketchum

O'Neal's research also allows him to draw a few more conclusions regarding gunfighters. Most were born and died in Western states. A third died peacefully, the others violently, by gunshot, lynching, or suicide. On the average, their lifespan was 47 years.

Gunfighters earned their living in a variety of ways, often devoting themselves to several careers at different times over the years: law enforcement (110 of O'Neal's 587 gunfighters were lawmen at one time or another), cowboys (75 of 587), ranchers (54 of 587), farmers (46 of 587), rustlers (45 of 587), hired gunmen (35 of 587), soldiers (34 of 587), bandits (26 of 587), gamblers (24 of 587), laborer (22 of 587), saloon owner (19 of 587), clerks (14 of 587), train robbers (14 of 587), miners (10 of 587), and/or prospectors (10 of 587) (8).

Other professions in which gunfighters earned a living at one time or another are in the single digits. Nine out of the 587 gunfighters were army scouts, stagecoach robbers, or teamsters (8).

Eight were bank robbers or buffalo hunters. Seven were range detectives or stagecoach drivers (8).

Six were actors, ranch foremen, or railroad employees (8).

Five were bartenders or bronco busters (8).

Four were butchers, freighters, livery-stable owners, or criminals (8).

Three were bounty hunters, cafe owners, carpenters, hotel owners, lawyers, politicians, private detectives, racketeers, sportsmen, or whiskey peddlers (8).

Two were con men, counterfeiters, customs collectors, dance-hall owners, dispatch riders, horse breeders, hunters, printers, school teachers, speculators, or surveyors (8).

One was an arsonist, an author, a baker, a blacksmith, a building contractor, a businessman, a cattle broker, a dentist, a doctor, an engineer, an express-company superintendent, a ferryman, a gunsmith, a harness maker, an Indian agent, an Indian fighter, an inspector, an insurance executive, an inventor, an irrigation manager, a jailer, a jeweler, a lecturer, a livery-stable employee, a movie producer, a movie scenarist, a newsboy, an oil wildcatter, a packmaster, a page, a postmaster, a prison warden, a racetrack employee, a railroad guard, a realtor, a sailor, a salesman, a school superintendent, a sheepherder, a shotgun guard, a showman, a slave trader, a spy, a stagecoach contractor, a stage-station employee, a telegraph runner, a tinsmith, a trail boss, a train brakeman, a trapper, a wheelwright, a whiskey smuggler, a Wild West show performer, and/or a woodcutter (8-9).


Bob and Grat Dalton

As O'Neal points out, a number of gunfighters were also brothers, brothers-in-law, cousins, nephews, parents and children, in-laws, or other relatives of shootists.

Brothers were often involved in gun play as a team: the Beckwiths, the Clantons, the Daltons, the Earps, the Horrrells, the Jameses, the Logans, the Mastersons, the McCluskies, the McLaurys, the Olingers, the Tewksburys, the Thompsons, and the Youngers, among them (9).

Most gunfights between 1861 and 1900 occurred in Texas (160), but Kansas and New Mexico (each with 70 gunfights to its credit) were not far behind, and all the Western states were prone to such violence, O'Neal observes (10).

O'Neal's “Chronology of the Gunfighters' West,” another intriguing table in his “Introduction,” offers brief (usually a sentence) accounts of the gunfights his encyclopedia treats in detail in the articles that follow (10-14). The first summary indicates the nature of the others:

1861    Shootout between the “McCanles Gang” and Wild Bill Hickok (July 12, Rock Creek Station, Nebraska).


Bear River Tom

Nicknames were plentiful among Western gunfighters, O'Neal says, many deriving from “physical characteristics and appearance” (Cockeyed Frank Loving); from “personality traits” (Mysterious Dave Mather); from “locations” (Bear River Tom); or from “occupational tendencies” (Doc Holliday) (14-16).

Following his “Introduction,” O'Neal begins his profusely illustrated accounts of the 587 gunfighters whose stories make up his encyclopedia.

All in all, it's a fascinating, rich treasury of facts and lore concerning one of the most intriguing groups of men to have inhabited America's nineteenth-century Wild West.


Tuesday, September 17, 2019

Tombstone Entertainment: The Birdcage Theater

Copyright 2019 by Gary L. Pullman


One of the challenges faced by Billy Hutchinson and his wife Lottie, the owners of The Birdcage Theater in nineteenth-century Tombstone, Arizona, was how to make their business appealing to their customers, the region's miners, cowboys, and ranchers.
 

In 1881, before wedding Lottie, Billy had spent considerable money—$600—to build the theater. Now, he had to offer incentives to customers to keep them coming back for more. Fortunately, Billy had worked in show business, and he had the answer: “entertaining shows, refreshing drinks, games of chance, dancing, private conversation[,] and adult comfort.”

The eclectic “entertainment” offered by the theater wasn't exclusively theatrical. Prostitutes, who worked behind the drawn curtains of the “elevated boxes” suspended from the ceiling, also kept the establishment's patrons entertained at $25 per night. (Private rooms in the basement went for $40 per night.) 

Uncle Tom's Cabin was performed at The Birdcage in June 1882. Not all of the action went as written in the script:
Chaos occurred when little Eliza was being pursued by Simon Legree and his bloodhound while crossing the icy river. An inebriated cowboy, caught up in the drama, pulled his sixgun and plugged the dog. The audience was outraged and pounced on the clueless cowboy who was finally rescued by a peace officer and hauled off to jail. The next day the cowboy, now sober and repentant, offered his horse to the troupe as recompense for the dog.
In addition, The Birdcage Theater featured wrestling matches, one of which, between Peter Schumacher and Professor Dan Milo, occurred on February 6, 1886, each party receiving $100. Admission to the floor was 50 cents; for reserved seats, a dollar. The match was advertised in the town's famous newspaper, The Tombstone Epitaph, two days before the event took place.

The variety of entertainment that The Birdcage featured virtually guaranteed there was something for everyone, “including leg shows, bawdy humorists, and fast-paced variety acts.” The variety acts featured such performers as The Happy Hottentots and their “Grotesque Dancing, Leg Mania, and Contortion Feats”; Mademoiselle De Granville, “The Female Hercules,” who claimed to have “an iron jaw” and picked “up heavy objects with her teeth”; comedians, including “the Irish comic duo of John H. Burns and Matthew Trayers, the comic singer Irene Baker,” and comedienne Nola Forest; “a serious opera singer” Carrie Delmar; acrobats and trapeze artists; Ella Richter, aka Mademoiselle Zazel, “the Human Cannonball”; masquerade balls attended by transvestite entertainers David Walters and Will Curlew; and “The Flying Nymph,” who “flew” across the theater “on a rope.” 

The Human Fly was certainly “one of the most unusual” performances:

. . . women (dressed in the usual theatrical tights and abbreviated costumes) walked upside-down on the ceiling over the stage. It was not an illusion—they actually were suspended above the stage . . . . The trick was that their shoes had special clamps on them that fitted into holes bored into the ceiling to support them . . . . In another version the human fly” women wore suction cups on their feet as they walked up and down on a platform high above the stage.


As one might suppose, such acts were dangerous. In both versions, one or more of “the human fly” performers died when equipment failed.

Among the other unusual entertainments the theater boasted was a 24-hour poker game that continued non-stop for eight years, five months, and three days, during which $10 million were bet. To be admitted to the game, a player had to be willing to spend at least $1,000. Those who tried their hands at the game include Doc Holliday, Bat Masterson, Diamond Jim Brady, and George Hearst. The house took 10 percent of the winnings, so, over the years that the game lasted, The Birdcage received a whopping $1 million! 


Eddie Foy, Sr.
Lotta Crabtree

Among other entertainers who performed at The Birdcage were Eddie Foy, Sr., Lotta Crabtree, Lily Langtree, and Lola Montez. However, despite the entertainment the theater offered, the frequent shootings and low company prevented many women from patronizing the establishment, and, despite the weekly Ladies' Nights on which women were admitted free of charge, “respectable ladies in Tombstone never went near the Bird Cage.


Lillie Langtree
 
Lola Montez
The Birdcage Theater is something of a time capsule. Located at the corner of Allen Street and Sixth Street, it survived the devastating fire that swept through Tombstone in the early 1880s because it was built entirely of concrete, and, “when it closed its doors in 1889, everything inside was left in place”; in 1934, when the doors were opened again, “Tombstone found itself with a perfect window into its past.”
 


List o f 19th-Century U. S. Western Frontier Forts, Part VIII: Montana

Note : This is the eighth of a series of lists of the  U. S. forts of the Wild West. It is intended for use in research by writers, readers,...