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A group blog for students in HIST 159
 

John Henry and Songs

October 19th, 2011 by Charli

Historians use songs often, but not necessarily for the purposes of basing their information off of the songs. Most authors use lyrics in the songs to be the names of chapters or books. According to the book on page 27, “songs usually fail our litmus test for a good document”. The songs are sort of like the oral histories because they both are normally updated, misremembered, and transformed. Fortunately with the African American track liner’s songs, they had been passed down like documents but without paper.

One of the disadvantages to the songs is that even though the words stayed the same, the way the song was sung was misconstrued which lead to people misinterpreting the meaning of the songs. The modern singing of the songs has different speed, phrasing, and rhythmic accompaniment which has led for the songs to be interpreted to happy and upbeat and makes John Henry seem like a hero who accomplished something impossible. But the truth is that hammer songs are not normally upbeat and about heroes. Most of them are about cursing hard work, their bosses, and unfaithful women. Many of the songs today focus on John Henry’s victory over the steam roller and how his hard worked paid off. The hammer songs that were about John Henry actually focused on his hard work, his suffering, and his death. And instead of hard work paying off, the songs were actually about escape. The story of John Henry was a warning, not a praise. Singing these dark lyrics warned them that if they worked too fast that they would die an ugly death.

Some of the advantages that using songs is the affect that they have on history now and the information that you can get out of them. The rhythms of the track lining songs was used to help base most music today like blues, jazz, and country. Also, the work songs used by the track liners give us more information about their experiences that were otherwise silenced in written documents. The lyrics give us a closer look to what the track liners had to experience daily, their dreams, and how they felt about the network of rails. These songs also give us a closer look at the work ethic of the liners’. They used certain words to be code for certain actions that they needed to perform. This resulted in less backaches and muscle strains, and their pace of the lyrics determined the pace of their work. The songs also show the true history of what would really happen on the rail lines instead of the stories that make the work seem much happier than what it really was.

Billy in Movies cont’d

October 19th, 2011 by Charli

After receiving my feedback on my last blog post, I wanted to go and research some more into the movie The Left Handed Gun and why Billy was portrayed the way he was. Where I ended wasn’t exactly there but I found a website, http://www.aboutbillythekid.com. This website doesn’t exactly talk about the movie, but a lot of the facts on it show how much Billy’s history was changed for the movie. One of  the interesting facts that I found is that Billy the Kid holds the record for the most motion pictures made on an individual in film making history. Also, Billy the Kid’s original tintype photo is worth $100,000-300,000 making it one of, if not the most, valuable historical photographs of the Old West.

Last week I mentioned how the movie portrayed that Billy the Kid was illiterate. On the website, you are able to access some of the letters that Billy wrote, which proves that Billy wasn’t actually illiterate. Also in the movie, Charlie was portrayed as one of Billy’s close companions and followed Billy and helped him seek revenge after Tunstall’s death. According to an interview Billy did for The Las Vegas Gazette in 1880, Billy and Charlie were just owners of a ranch.

Also in the movie, while Billy is in jail, a reporter comes to visit him. The reporter in the movie supports Billy and brings him chocolates and articles that are saying good things about Billy. According to an interview that Billy did for Mesilla News in 1881, Billy says that the reporter was creating a prejudice against him and “trying to incite a mob to lynch me”. Billy felt like it was taking advantage of him because he was not able to defend himself.

Also in the movie, Billy’s first crime was said to be murder when he was 11 in El Paso. He supposedly stabbed somebody for mocking his mind. Billy’s first crime actually was not committed until he was about 14 or 15. His crime was stealing several pounds of butter from a rancher. Billy did not commit his first murder until he was around 16. It was an act of self defense, but he was still wanted for murder. Another big misconception in the movie was that Billy was left handed. Billy was ambidextrous, but he mainly used his right hand. People assumed  that Billy was left handed because he had his revolver positioned on the left side, but the image was reversed.

Modern-ish Songs About the Kid

October 19th, 2011 by Eric

This week, since the John Henry book talked so much about songs as a form of document, I thought I’d investigate songs about Billy the Kid from around the end of the 20th century. There was an interested grouping of songs by people such as Tom Petty, Billy Joel, Charlie Daniels, and Billy Dean.

The Tom Petty song doesn’t actually have much to do with Billy the Kid. The speaker only compares himself to the outlaw in the chorus, saying:

“I went down hard
Like Billy the Kid
I went down hard
Yeah I got up again”

From this, it seems that Tom Petty viewed the Kid as a resilient character who was destined to fall. At the very least, it implies that Billy the Kid is very well known for his death. This song seems more like a result of the Kid’s legend rather than a propagator of it.

The Billy Joel song, “The Ballad of Billy the Kid”, sacrifices historical accuracy for a good story. It seems Joel had heard some vague stories about the Kid as an outlaw, and he expanded them into an orchestrated ballad. He makes mistake after mistake, claiming the Kid was born in West Virginia, traveled alone, robbed banks, never had a girlfriend, and ended up being hung in front of a large crowd. All these statements are far from the truth, but the musical score also tells a story. There are high energy string swirls and melodies that float around throughout the song, giving it a celebratory, almost triumphant feeling. These positive emotions are transferred from the music to the subject of the song.

Charlie Daniels takes a more historical approach, sticking to relatively established facts. He portrays the kid in a sympathetic light, talking about him as if he were just a poor boy growing up in a time when evil pervaded the land. The Kid is “a mile ahead of Garrett and a step outside of Hell” and apparently fated to fall. This is an classic approach, blending pity for the Kid with disgust at his deeds, that serves to highlight how far wrong this one boy has gone. The song ends on a cautionary note, saying “and I guess you’ll go down shootin and like all branded men/When you shake hands with the devil you get burned”.

Billy Dean, on the other hand, romanticizes the legend. The chorus is:

“I miss Billy the Kid!
The times that he had!
The life that he lived!

I guess he must’ve got caught,
His innocence lost…
I wonder where he is?
I miss Billy the Kid!”

The rest of the song chronicles the speaker’s desire to be free like the Kid was in his own childhood. He touches on the morality of the Kid, saying he doesn’t know which side of right and wrong to be on, but he ends up yearning for simpler times of the Wild West again.

I don’t really know what caused all these songs to be released around the same time. There was a mild resurgence in Western movies around this time, so I would guess that rapid changes to the world were causing a nostalgia for the ‘simpler times’ of the late 1800s. We already saw another resurgence in the late 50s, so perhaps as the Baby Boomer generation aged into roles of responsibility, they were anxious for the same characters that defined their childhood. These songs, no matter what the artists intended them to be, helped define Billy the Kid for their audience: the parents and teachers of future generations.

Billy Dean. “Billy the Kid.” Billy Dean. Chuck Howard, 1992.

Billy Joel. “The Ballad of Billy the Kid.” Piano Man. Michael Stewart. 1973.

Charlie Daniels. “Billy the Kid.” High Lonesome. Paul Hornsby. 1976.

Tom Petty and the Heartbreakers. “Billy the Kid.” Echo. Rick Rubin, Tom Petty, Mike Campbell. 1999.

Will the Real John Henry Please Stand…Never Mind, It’s Not Really Important Anyway.

October 19th, 2011 by Eric

 

            John Henry, as told to me in elementary school, was a hard working railroad man who picked up a hammer in each hand and beat a machine in a spike driving race, dying in the process. The only motivation I heard was that Henry needed to prove that man was greater than machine; I did not know about the tracts of land supposedly promised to his coworkers. As such, it seemed to be a nice enough folk tale, but I was intrigued when Scott Nelson claimed to have found the man behind the myth. Scott Nelson found a plausible John Henry, however the man himself is only one small part of the greater legend.

            History has lost the documents that could positively identify John Henry, but Nelson has picked out a believable man. Nelson’s Henry is a young New Jersey man, barely over five feet tall, who ended up working on the railroad as a leased prison laborer (39). At first glance, this appears to be the complete opposite of the massively large freedman Henry is often described as.

            Nelson, however, thoroughly explains how time and changing interests had morphed John Henry’s tale. By looking at the songs sung about John Henry slightly after his death, the author decides that they were originally cautionary tales meant to deter men from working too fast (32). Nelson made the point that dozens of men died at the construction sites, and lung trouble probably killed the rest, but their deaths are largely forgotten under the shadow of John Henry’s (90). The steamdrill race became part of the story later on, once the workers realized every second on the job was part of a struggle against approaching mechanization (92). Over the years, this idea became simplified and restructured until it was John Henry who singlehandedly battled the machine, and it was only John Henry who died in the process.

            Throughout the book, the author does not try to address the concrete details of the man who inspired the myth. His major sources are songs, which provide plenty of details about the legend but none about the man. He traces some prison records, but even these are woefully incomplete. In his conclusion he calls Henry “almost infinitely mutable” (172). This lack of proof, however, does not detract from the big picture.

            I agree with Nelson’s point of view that John Henry the man is far less important than John Henry the legend. Unlike other more historically based figures, knowing the specifics of a man named John Henry does not really help put the myth in any more context. The larger story was already contained in the work songs and pictures of John Henry; it only took someone to decode them. When presented to children, John Henry is often called a “folk hero,” so kids are already expecting him to be not quite real. The larger story of black oppression, monolithic railroads, and human struggle existed all along, and John Henry was only the vehicle for it.

            Nelson admits that the man behind the legend is unknowable, since crucial details like cause of death, date/place of birth, and family history were never recorded. If Nelson’s Henry is to be accepted, it is remarkable that, in light of all the changes his myth endured, his name was never altered along the way. In any event, the overarching themes of the legend say more about our history than the biographical details of the man.

How Newspapers of the Time Portrayed the Kid

October 12th, 2011 by Eric

This week, I looked at Billy the Kid: Las Vegas Newspaper Accounts of His Career, 1880-1881. The accounts begin with the circumstances leading to his capture, and then they report on his escape and death. The content of the pieces is much like the other descriptions I have read, but I was really looking to see how they portrayed the bandit. The coverage is surprisingly straightforward, with the expected villification of Billy the Kid, but they still seem to relish his deeds.

The newspapers seem to love everything about the saga. They talk up Pat Garrett, the sheriff, using language such as “this modest man, who has little to say, but is always ready for action” and “the terror of all evil-doers in this loser country” (5, 23), but they also bill the Kid as “THE DARE DEVIL DESPERADO” and continually refer to his shrewdness and daring (19, 20). They do not portray him as popular, however. In describing the Kid’s escape from the jail, the editors explain that he was not stopped due to a mixture of fear and sympathy, and they lambast those who preferred to see him go free. In one article from May 9, 1881, one paper got the erroneous report that Billy the Kid had been killed. They describe it as not likely, but go on in detail about what would happen if he were to die. The piece says that the kid burned whatever sympathy the public had for him by his continued killing of innocent men, and that should he die, “no tears, will be shed, no requiem chanted in token of his earthly departure, but. . .silhouettes of an evil life will arise to accuse and condemn him” (20). Another article by a different paper published on the following day says essentially the same thing, saying that death is the only justice for a man such as Billy the Kid. When the Kid actually is killed, the newspapers stick to their word for the most part, praising Garrett and writing off the Kid as a bad man who got what as coming. The writers sometimes slip adjectives like “promising” and “remarkable” into their descriptions, however, creating some confusion as to their true feelings (27). If everything is taken at face value, the newspapers do not seem to be responsible for the Kid’s ascent into myth.

The prevailing attitudes of the papers of the day seem to be that the Kid is just another outlaw, memorable only for being a little brasher and younger than the rest of desperadoes of the west. The editors elevated him a little, but nothing compared to the job Siringo does, describing him as the friendliest, bravest fellow there ever was. So somehow, the public took these straightforward accounts and found a darling criminal to love within them. Part of it may have to do with how vehemently the writers decried some of the Kid’s actions. People, having no exposure to the reality of the killings, took these descriptions and romanticized them into the version of the Billy the Kid that appears in the 1920s. It may also have to do with the outlaw culture of the West at the time. From the lack of surprise in the language of the articles, one can assume that murders and thefts were fairly common. Perhaps the story of Billy the Kid appealed to the outlaw, renegade spirit that was inside of many settlers, and so they took it in turn and imagined it into something greater.

Billy the Kid: Las Vegas Newspaper Accounts of His Career, 1880-1881. Waco: W. M. Morrison, 1958. Print.

Billy in Movies

October 12th, 2011 by Charli

This week I watched a movie on Billy the Kid. I actually found The Left Handed Gun on Netflix.

The movie caught my attention in the very beginning with the song. I went on YouTube to try to find the name of the song, but to my surprise, there are many songs about Billy the Kid. The song was the opposite of what I think when I hear Billy. The song describes Billy as being a “gentle” boy that never meant wrong and that he should be treated gently. When I hear Billy the Kid, my first impression is outlaw that killed 21 men. In the beginning, Billy is also portrayed as being quite which is also the opposite of the way that he is portrayed  in many stories. In the sources that I have read, Billy has been made out to be outspoken.

In 05:06 of the movie, Billy’s first crime is introduced. The man said that Billy stabbed a drunk because he said “a word against his mind” and it killed the drunk. The crime was committed while Billy was 11 in El Paso. There is also a part at 00:8:41 where Billy is talking to a man about Spanish and the man asked Billy if he learned Spanish while he was in Kansas City and Billy tells him that he lives in the South. I don’t know if this is suggesting that Billy was from Kansas City or if that was one of the places that he lived, but none of the sources that I have read have mentioned anything about Billy being in Kansas City.

At 9:40, Billy is portrayed as being illeterate. This also goes against many of the sources that I have read about Billy. All of the sources that mentioned Billy’s education said that Billy could read and that he would read often. The movie still showed Billy as having an interest in books, but he was never able to read throughout the movie. Billy’s loyalty is also portrayed very well in this movie. Billy had not been with Tunstall for a while, but he races to his side after he gets shot. He volunteers for the men to put the body on his horse and he promises to seek revenge for his death.

When the movie moves along and we start seeing the more open side of Billy, his character seems very childish. There is a scene at 00:18:50, after Tunstall’s funeral, where Billy starts dancing around and it’s almost like watching a kid dance. When he starts talking to Tom and Charlie about his plan to seek revenge, he turns serious again. His childishness is shown again at 00:41:47 when him and his friends start getting excited over ther party, girls, and getting drunk. While at the party, he encounters Grant and comes close to a draw. After that incident, he leaves the party and he seems to become almost delusional.

I feel like this movie does shows Garrett’s and Billy’s relationship more in depth than any other sources I have seen. They are good friends until Billy shoots Hill at Garrett’s wedding and that is when Billy decides to accept the offer to become the sherriff. At 1:11:10, Billy shows a side that you really don’t see during  the movie, which is a mature side. He lets Tom leave and he offers him more catridges for his gun, advice about when to travel, and helps him unto his horse. However, at 1:13:05, he starts showing his delusional side again when he is talking to himself about Tom leaving him and Charlie.

This movie also shows that Garrett starts doubting his decision about bringing Billy in after the hanging sentence was passed. It aslo shows how Billy is friendly with his guards like many sources mentions. There is a lot of controversy about how Billy actually died, but in this version, Garrett shoots Billy while he is unarmed.

Oral Histories: Inferior or Just Different?

October 12th, 2011 by Eric

The issue of written versus oral history has come up before in class. When discussing Sacagawea, for instance, the question of her death depended entirely on whether one chose to regard documents or stories as more reliable. Historians, when fulfilling their role as presenters of truth, should always have documentary evidence to fall back on, but they should also use oral histories when possible to corroborate or explain their findings.

Written histories and oral accounts provide two different services for historians: the first are facts as presented at the time of writing, and the latter are facts as described at the time of the telling. Both are useful, but both have their flaws. A historical document’s strength is its inability to change. A written history from a reliable source, when combined with other reliable sources, can provide definitive facts from a time period like nothing else. However, a lone written source of questionable reliability is not very useful at all. The danger of these sources comes from the tendency of researchers to regard all documents as both accurate and reliable, without subjecting them to the proper scrutiny. If, for instance, a document is nothing more than a transcription of an oral account, then it’s value changes significantly. Oral accounts do not often provide factual information, but they do offer insight about the values and opinions of the people telling them. As such, a transcription of an oral tale provides a snapshot of the time period, and can be instrumental in tracking a myth’s metamorphosis over time. Interestingly, ‘family histories’ from some sources can fall into the same trap as written sources. Researchers will assume that, since the storyteller is related to the subject, the account is accurate. This tends to happen with Harriet Tubman, as her descendants base many of the stories they tell off of the fictionalized accounts that appeared in the intervening years (312). The property that makes them less desirable than written sources, namely their malleability, makes them ideal for anthropologists or other historians looking to learn about the culture and prevalent attitudes of the time.

Sernett agrees with this position, as he states that “oral history or ‘family lore’ is important, but it does not in and of itself offer proof of authenticity” (313). He applauds Larson’s book, which has its foundation in documents, and supports Humez and Larson’s practice of using “family lore” to contextualize their other sources (313). Essentially, oral histories can provide previously unknown lenses to analyze the past through, but as sources of fact, they play second fiddle to written documents. In the event that an unverifiable oral history comes into conflict with sketchy written documents (as in the case of Sacagawea), it is up to the reader to decide what is correct, as it is impossible to create a certain truth out of the situation. Optimally, the two will work in tandem to create a rich, colorful, verifiable picture of the past.

Harriet the Christian

October 11th, 2011 by Charli

I think Tubman’s Christianity was much different than her admirers and her biographers. According to the book, “Most nineteenth-century Christians believed in the power of prayer. It was a form of talking to God” (pg.137). In the African American Christian culture, God would talk back. Many of the ways that God would talk back was through dreams and visions, and this fact was what many of Tubman’s early white supporters couldn’t wrap their mind around.

Some of Tubman’s biographers downplayed her “mystic” religious abilities that helped her get through her life. Bradford’s religion saw God as being more two sided. One side was “the kind savior who welcomed the good into heaven, and the stern, intimidating judge who who would ultimately punish evildoers” (138). Tubman’s view of God was an approachable unfailing supportable God for those who were righting wrongs. Bradford participated in silencing some of Tubman’s religious abilities when it came to Franklin B. Sanborn’s letter. Bradford thought that Sanborn gave wonderful instances of Harriet’s dreams and visions but she did not include them into her book because she “thought best not to insert anything which, with any, might bring discredit upon the story” (136). Bradford, however, still capitalized on Tubman being a saint and seer for the sake of women suffrage.

Sanborn, in his article for Commonwealth in July 1863, tried to explain Harriet’s seer like abilities. He said that her ability to always escape while operating the Undergroung Railroad was because of her “quick wit” and her “warnings’ from Heaven”. According to Sanborn’s account, Tubman inherited her psychic powers from her dad. He said that her knowledge of the future came to her in dreams and the only thing strange about this is that she remembers the places that she’s gone to and the people she’s met, in reality, from her dreams.

Rosa Bell Holt also wrote about Harriet Tubman’s religious side in an article in the Chautauquan in1896. Holt compared Tubman to Joan of Arc because of the women believed in their visions from God and lead people because of these visions.

Earl Conrad, another major biographer for Tubman, tried to credit Tubman’s visions to her narcolepsy. He felt that the deep sleeps that Tubman fell into were the reason for her visionary dreams. He sought several consults from prominent hospitals and research centers, but did not get back the results that he wanted. He could accept the fact that Tubman suffered from narcolepsy, but he could not accept the suggestions that Tubman had mental disorders. In the end, Conrad did not include the references he got for Tubman’s dreams. He did still include her religion because he knew that black Americans found the religion of Southern folk culture important. He still felt that the religious factor of Tubman “was by no means the important thing” in relation to her achievements.  He felt like if he attributed her deeds to God than she wouldn’t receive the credit that she deserved.

Harriet has been perceived as a Christian, but her early supporters could not begin to fathom her beliefs in Christianity. They believed in the same God, but Tubman’s God performed in very different ways than what they were used to.

Harriet the legend

October 5th, 2011 by Charli

I think Tubman I had a small influence over the making of her own legend.Harriet was known to be a story teller and did enjoy telling people about the trips that she made.  The first biography of Harriet Tubman, Scenes, was based off of what stories she told Sarah Bradford. I think at this point, however, is where Harriet’s influence stops and others influences start.

 Tubman was illiterate so she was not able to write an autobiography or to read the things that other people wrote about her. Also when people want to get a point across, they tend to fudge the details a bit. One example is with the differences between Sarah Bradford’s 1869 and 1886 biography of Harriet Tubman. The 1886 version is more about the facts of Harriet Tubman because that book was written with haste since Bradford was leaving the country soon. By Bradford’s 1886 biography, the facts seemed to be a lot bigger than what they were in the beginning biography. For example, the number of trips and people saved increased tremendously. In the 1869 version, it was said that Tubman had made eight trips and saved about 50 people. By the time 1886 came, Tubman was said to have made 19 trips and saved over 300 people. This dramtic increase clearly shows how much the legend of Harriet Tubman grew. Also there were many people who used Harriet Tubman as an example when they gave their speeches. Most of the time in these speeches, the speakers would target the legends of Harriet to be able to get their point across. For example, in the speech that Frances Ellen  Watkins Harper gave, she refers to Harriet as ” a woman who has gone down into the Egypt of slavery and brought out hundreds our people into liberty”.

Also, many  of the abolitonists and helpers of the Underground Railroad would talk about the great things that Harriet did and the stories that she told them. After telling the story so many times, it is sure to be misconstrued.

The way that many of the things about Tubman spread reminds me a lot of telephone. For cheerleading, we would host a cheerleading camp during the summer for younger kids. Of course their attention spans were not long enough to be able to do cheerleading all day so we would have to play games with them. One of the popular games happened to be telephone. You never knew what the end result would be because some of the girls would try to actually remember what was said in the beginning and some of the girls would purposely change what was said.

Because of all these facts, I believe that Tubman only had a small role in her legend. She provided the stories and others took the stories and turned them into legends.

Lucky Billy

October 5th, 2011 by Charli

I have finally gotten one of the books that I was interested in, Lucky Billy. It is very interestingly written and it’s not like other historical books that I have read before. I have only read the first chapter, but you can immediately tell the difference after reading the first sentence. I feel like Lucky Billy reads more as a narrative. It reads very simple like a children’s book, but it obviously not meant for kids because it does contain profanity and some graphic content during the death scenes. It is also very hard to tell the difference between fact and fiction in Lucky Billy mainly because it reads as a story. I do think, however, that it would be beneficial to keep reading it because it shows a good example of how Billy the Kid has grown into a legend over the years. I also plan on reading other books so I can get a better idea of what is fact and what is fiction.

There is also another book that I have found in the library that I haven’t checked out yet, but I plan on doing it soon. It is titled Billy the Kid:The Endless Ride. According to one book review, http://route66news.com/2007/03/25/book-review-billy-the-kid-the-endless-ride/, this book should do a better  job of seperating the fact from the fiction.

There is also another interesting book that I have found in the library by the name Billy the Kid: The Best Writings on the Infamous Outlaw. This book is a collage of all things Billy. It has everything from the biographies of Billy, plays, newspaper articles, songs, movies, poems, and short stories. I think this will also give a good idea of what is actually fact about Billy and what has been made up about him throughout the years. I’m also hoping that I will be able to get more information about Billy off of the internet.

Back to the book Lucky Billy, so far it has been talking about the escape of Billy from prison on April 28, 1881. Althouth this part is mainly dialogue and narrative, I have noticed some of the facts that I have been able to find on other pages. Some of these facts are about how secure Billy was kept, playing poker with the guards, and Billy’s escape. There is a lot of dialogue between Billy and the guards that I haven’t heard of before. The description of the death scene is very gruesome and I don’t think I have came across any other source that has described the scene. Billy also seems a little bit off balanced because his train of thought quickly switches and he’s not really sure if he is talking to himself or talking to the crowd of people who had gathered around the prison.