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Biographical information about Wyatt Earp
Biographical information about Wyatt Earp
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Biography of Wyatt Berry Stapp Earp
Wyatt Berry Stapp Earp was born on March 19, 1848 in Monmouth, Illinois. His father Nicholas was a lawyer who preferred a life of farming. From an early age, Wyatt learned from his father to stand up for what was right. When Wyatt was two years old, the family moved to Iowa. In 1861, the Civil War broke out, and Wyatt's father and three older brothers joined the Union Army. Soon after, Wyatt ran away to enlist, but his father caught him and sent him back home.
In 1864, Nicholas left the army, and the family set out for the West. It took seven months to travel from Iowa to California. On the way they encountered Indians at Fort Laramie. The Earps settled in San Bernardino, where Nicholas bought a ranch. It was assumed that Wyatt would study to be a lawyer, but instead he became a stagecoach driver for the Banning Stage Line. He traveled between Los Angeles and Prescott, Arizona. In 1868, Wyatt went to work for the Union Pacific Railroad in Wyoming, where he was able to save some money. In 1870, he returned to Monmouth, where he married a girl named Urilla Sutherland on January 10, 1870. Sadly, she died a few months after their marriage from typhoid. After the death of his wife, Earp moved on to Lamar, Missouri, where he worked as the town Marshall for a year.
Ellsworth was mean, and it was ugly. The stench of the its streets fell second to the odor of the unbathed saddle tramps who had just delivered 150,000 cattle from San Antonio to its freight yards. Adding to these smells were the blends of whisky, tanning leather, kerosene and carved carcasses, a revolting combination. Gunfights were spontaneous, either over a woman or a card game. When Wyatt crossed the Smoky Hill River into Ellsworth in 1873, he may have remembered the "rules of the gunman," but had no intention of employing them. The two main “rules of a gunman” were to take his time and always be armed. Although many people had warned him that it would be naive to go westward without being properly armed, Wyatt didn’t own a gun. All he hoped for was to find a peaceable job. But, only hours after hitching his horse in town he began to wonder if perhaps everyone was right. The most boisterous spot in town was Brennan’s Saloon, off Ellsworth Square; its faro and poker tables buzzed 24 hours, bartenders tapped beer and ...
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...rnia. Wyatt Earp died on January 13, 1929, and his fame as a lawman has continued to grow since his death. Wyatt Earp literally shot his way into the hearts of Western America. He is familiar to the nation’s people, young and old. From Ellsworth, Kansas to Tombstone, Arizona, he cleaned the streets of desperadoes in town after town. He shot coolly, he shot straight, and he shot deadly, but only in self-defense. Like any other person whose reputation leaned on firepower, there were those who wanted to test, to see if their draw was a split second quicker or if they could find a weak spot. Wyatt put many of their doubts to rest. When the history of the western lawmen is placed in view, Earp’s name leads the parade of Hickok, Masterson, Garrett, Tilghman and all the rest.
Bibliography
The Wild West. 12 Mar. 2000. 30 Apr 2001 http://www.thewildwest.org/
The O.K. Coral. 5 Jan. 2001. 30 Apr. 2001 http://www.tombstone-epitaph.com/
Tombtown. 2 May 2001. 2 May 2001 http://www.tombtown.com/bios/wyatt.htm
Tefertiller, Casey. Wyatt Earp: The Life behind the Legend. Wiley, John and Sons. 1998
West, Paul. O.K. Corral, the Earps and Doc Holliday. Simon and Schuster Trade. 2000
McMurtry, Larry. 2005. Oh What a Slaughter: Massacres in the American West: 1846-1890. 10th Ed. New York, NY: Simon and Schuster.
Professor Thomas Slaughter has provided a most thorough overview of the Whiskey Rebellion, which he asserts had by the time this book was conceived nearly two centuries after the episode transpired, had become a largely forgotten chapter of our nation's history since the time of the Civil War. He cites as direct evidence of this fact the almost complete absence of any mention of the event in many contemporary textbooks of the conservative era of the 1980's, which this reviewer can attest to as well, having been a high school student in the late 1970's, who never heard of the Whiskey Rebellion until years later. Building off of his own dissertation on the topic, the author convincingly shows that the Whiskey Rebellion was in fact an event of tremendous importance for the future of the fledgling United States of America, which was spawned by the head-long collision of a variety of far-reaching forces and factors in the still quite primitive environs of western Pennsylvania that summer and fall. Slaughter contends that one must place the frontier at the center of the great political debates of the era and fully explore the ideological, social, political, and personal contexts surrounding the episode in order to fully understand the importance of its place in American history. In doing so the author has produced a very readable work that may be enjoyed by casual readers, who will likely find the individual vignettes which open each chapter particularly fascinating, and a highly useful basis of further research by future scholars into the importance of the frontier region as it relates to events on a national scale in those early days of the republic.
Earl Lloyd was born on April 3, 1928. Earl grew up with his father Theodore Lloyd and his mother Daisy Lloyd and his two older brothers Earnest and Theodore Lloyd. Earl grew up in Alexandria, Virginia. “Well, it was not a lot of fun” said Lloyd, “I could never understand as a young kid why people were allowed to trea...
The setting of the essay is Los Angeles in the 1800’s during the Wild West era, and the protagonist of the story is the brave Don Antonio. One example of LA’s Wild West portrayal is that LA has “soft, rolling, treeless hills and valleys, between which the Los Angeles River now takes its shilly-shallying course seaward, were forest slopes and meadows, with lakes great and small. This abundance of trees, with shining waters playing among them, added to the limitless bloom of the plains and the splendor of the snow-topped mountains, must have made the whole region indeed a paradise” (Jackson 2). In the 1800’s, LA is not the same developed city as today. LA is an undeveloped land with impressive scenery that provides Wild West imagery. One characteristic of the Wild West is the sheer commotion and imagery of this is provided on “the first breaking out of hostilities between California and the United States, Don Antonio took command of a company of Los Angeles volunteers to repel the intruders” (15). This sheer commotion is one of methods of Wild West imagery Jackson
In the movie Wyatt Earp was getting ready to move to California to marry. Then he got word that his brother Virgil was in danger and needed his help with a rowdy bunch of cowboys. Dee Brown said, "Wyatt decided Dodge was too tame for him and at the end of the season he, Doc, and Big-Nose Kate left for Tombstone." His arrival in Arizona with Doc and Kate was already a problem since highly acclaimed Wyatt Earp was riding in with the cold-blooded killer, Doc Holliday. The film portrayed Wyatt's brothers as being very wary of Doc's presence, but they already knew what he had done for Wyatt so they had accepted him as friend, but that did not go for the rest of the town.
As history cascades through an hourglass, the changing, developmental hands of time are shrouded throughout American history. This ever-changing hourglass of time is reflected in the process of maturation undertaken by western America in the late nineteenth century. Change, as defined by Oxford’s Dictionary, is “To make or become different through alteration or modification.” The notion of change is essential when attempting to unwind the economic make-up of Kansas in the 1880’s and 1890’s. Popular culture often reveres the American cowboy, which has led him to become the predominate figure in America’s “westering” experience (Savage, p3). However, by 1880 the cowboy had become a mythical figure rather than a presence in western life. The era of the cowboy roaming the Great Plains had past and farmers now sought to become the culturally dominant figure and force in the American West. Unlike the cowboys, farmers were able to evolved, organizing and establishing the Populist Party. The farmers’ newly formed political organization provided them with a voice, which mandated western reform. Furthermore, the populist ideas spread quickly and dominated western thought in the 1880’s and 1890’s. The period of the 1880’s and 1890’s marked the end of the American cowboy and gave farmers a political stronghold that would forever impact the modernization of the West.
Gunfights were common and took place regularly. The earliest gunfighters, or gunslingers, were born in the early 1800’s, and most men got recognition as slingers in the 1850’s. The founder of gunfighting was “Old Man Clanton”, or N. H. Clanton. In 1816, Newman Haynes "Old Man" Clanton was born in Davidson County, Tennessee. On January 5, 1840 Newman Clanton married Mariah Sexton Kelso in Callaway County, Missouri and together they had five boys and two daughters. John Wesley, Joseph Isaac, Phineas Fay, William Harrison, Alonzo Peter, Mary Elise and Ester Ann made up the Clanton Gang. He did not participate in many gunfights though he instigated many of them. Old Man Clanton took care of business swiftly. If he did not like somebody, he would simply point them out, and one of his sons would provoke an argument and shoot the man down in “self defense”. Old Man Clanton had formed a “cowboy party” which consisted of some of the deadliest men in the West. Curley Bill, John Ringo, Tim and Frank McLaury, Joe Hill, Pony Deal, Jim Hughes, Frank Stillwell and many other lieutenants, who had over four hundred frontier outcast under them, formed this group. He stole over $100,000 from ranchers in the south, and anyone who opposed was quickly exterminated. Old Man Clanton’s final days ended with a stolen-cattle drive. While he was passing through Guadeloupe Canyon, he and six other men were ambushed and shot dead out of their saddles. "Old Man" Clanton was buried where he fell in Guadalupe Canyon, New Mexico.
While the western frontier was still new and untamed, the western hero often took on the role of a vigilante. The vigilante’s role in the frontier was that of extralegal verve which was used to restrain criminal threats to the civil peace and opulence of a local community. Vigilantism was typical to the settler-state societies of the western frontier where the structures and powers of government were at first very feeble and weak. The typical cowboy hero had a willingness to use this extralegal verve. The Virginian demonstrated this throughout with his interactions with Trampas, most notably in the interactions leading up to the shoot out and during the shoot-out itself. “Others struggled with Trampas, and his bullet smashed the ceiling before they could drag the pistol from him… Yet the Virginian stood quiet by the...
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
In 1862, William Ashley (yes, his middle name was Ashley) Sunday was born to a fatherless home in Ames, Iowa. His father had died whilst serving for his divided country in the Civil War. Billy had received his name from his brave and valiant father.
When one thinks of the United States of America, they probably consider our history, our culture, our media, our impressive cities and the extremely wide variety of beautiful wildernesses that we are lucky enough to still enjoy. We are lucky enough to have a melting pot of cultures in this country, and many different kinds of people. However, when thinking of an original, all-American figure, cowboys come to mind for many people. Our history and the settlement of the U.S. was unlike any other country, and the development of the country in the more western states came with the unique and fascinating time period referred to now as “The Old West”. The Old West was a crucial time in American history, and though it was a simpler time it also came with its share of excitement. Some of the most memorable details about the Old West were the characters that came with it, and some extremely interesting ones were the least conforming- the outlaws. Jesse Woodson James was one of the most notorious outlaws in American history. His name would go down in history as one belonging to a tough as nails and fearless bank robber who led a group of outlaws across the mid-west robbing banks and trains, and even murdering people. When we look at the big picture of what the U.S. has become today, The Old West certainly has had a large impact on our culture, and Jesse James certainly had a large impact on the Old West. Though most would argue that he was not a decent or moral person, one cannot argue that he was still a very interesting and unique icon of the west. So how did Jesse Woodson James change and leave his mark on the United St...
Over the years, the idea of the western frontier of American history has been unjustly and falsely romanticized by the movie, novel, and television industries. People now believe the west to have been populated by gun-slinging cowboys wearing ten gallon hats who rode off on capricious, idealistic adventures. Not only is this perception of the west far from the truth, but no mention of the atrocities of Indian massacre, avarice, and ill-advised, often deceptive, government programs is even present in the average citizen’s understanding of the frontier. This misunderstanding of the west is epitomized by the statement, “Frederick Jackson Turner’s frontier thesis was as real as the myth of the west. The development of the west was, in fact, A Century of Dishonor.” The frontier thesis, which Turner proposed in 1893 at the World’s Columbian Exposition, viewed the frontier as the sole preserver of the American psyche of democracy and republicanism by compelling Americans to conquer and to settle new areas. This thesis gives a somewhat quixotic explanation of expansion, as opposed to Helen Hunt Jackson’s book, A Century of Dishonor, which truly portrays the settlement of the west as a pattern of cruelty and conceit. Thus, the frontier thesis, offered first in The Significance of the Frontier in American History, is, in fact, false, like the myth of the west. Many historians, however, have attempted to debunk the mythology of the west. Specifically, these historians have refuted the common beliefs that cattle ranging was accepted as legal by the government, that the said business was profitable, that cattle herders were completely independent from any outside influence, and that anyone could become a cattle herder.
In the story it reads: He rode on, walking the dun, and the three wheeled their mounts and came toward him at a canter. A tall man rode a gray horse in the van. The other two were obviously cowhands, and all wore guns. The tall man had a lean face with a knife scar across the cheek. You there! He roared, reining in. “What you doin’ ridin here?’’ Kim Sartain drew up, his lithe trail hardened body easy in the saddle. “Why, I’m riding through,’’ he said quietly, “and in particular hurry. You got this country fenced against travel?’’ “Well it ain’t no trail!’’ The big man’s eyes were grey and hostile. “You just turn around and ride back the way you come! The trail goes around through Ryerson.” “That’s twenty miles out of the way,” Kim objected, “and this here’s a nice ride. I reckon I’ll keep on the way I’m goin’.”” (L’Amour 194). This quote also shed light onto his possessiveness over the land: “As for you” Kim’s eyes turned on the tall man “you’d best learn now as later how to treat strangers. This country ain’t fenced, and from the look of it, ain’t used. You’ve no right to keep anybody out of here, and when I want to ride through, I’ll ride through! Get me?”(L’Amour 195). Jim Targ and Sherman both had the same belief that they could have whatever they wanted no matter the cost. They had a twisted view on how to handle things; they both used violence to rein in
The West has always held the promise of opportunity for countless Americans. While many African Americans struggled to find the equality promised to them after the Civil War, in the West black cowboys appeared to have created some small measure of it on the range. Despite this, their absence from early historical volumes has shown that tolerance on the range did not translate into just treatment in society for them or their families.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.