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German postcard by Ross Verlag, no. 5020/1, 1930-1931. Photo: Universal. Publicity still for The Galloping Kid (Nat Ross, 1922).
Hoot Gibson (1892-1962) was a rodeo champion and pioneering cowboy star of silent Westerns. With his easy combination of light, breezy, boyish charm comedy and riding abilities, Hoot filled a gap between the austere William S. Hart and the flamboyant Tom Mix and appealed both to adults (especially women) and kids. During the 1920s, he was one of the most popular children's matinée heroes, ranking second only to Mix, and one of Universal's top paid stars. In his real life, however, he had an expensive love for fast cars, motorcycles and airplanes and lead a rather painful rags-to-riches-and-back-to-rags career.
Hoot Gibson was born Edmund Richard Gibson in 1892, in Tekamah, Nebraska. As a child he grew up 'horse crazy' and received his first pony at the age of two and a half. His family moved to California when he was seven. At age 13 the adventurous youth ran away from home and joined a circus for a time. At B-Westerns.com, Hoot recalled: "First job I got was on the Postal Telegraph. I was then 15. I rode that for about three months and liked it fairly well. I got a job at the Owl Drug Co., delivering drugs and packages to the different homes throughout southern California or that part of Los Angeles. That is where I got the name of Hoot. It came from Owl and later the boys started calling me Hoot Owl, then it got down to Hoot and Hoot has stuck with me ever since." Later work included punching cows in both Wyoming and Colorado. While working as a horse wrangler, Hoot developed a strong, active interest in the rodeo scene. In 1907 he signed a four-year contract with the Dick Stanley-Bud Atkinson Wild West Show, which toured throughout the US and later Australia. By 1910 Hoot started his film career with the Selig Polyscope Co. as one of the industry's first stuntmen. He was paid $2.50 for performing stunts, training horses and doubling for Selig stars. Director Francis Boggs was looking for experienced cowboys and stunt doubles to appear in his Western short Pride of the Range (Francis Boggs, 1910) starring Tom Mix. Gibson and pal Art Acord did riding and stunting jobs for the film. Gibson made a second film for Boggs The New Superintendent (Francis Boggs, 1911) with Herbert Rawlinson. Hoot lost a solid Hollywood contact in Boggs, however, when the director and his working partner, producer William Nicholas Selig, were both shot in October, 1911, by a mentally disturbed employee. Selig was injured, but Boggs was killed. Gibson also found stunt work in such prolific Western shorts as The Two Brothers (David Wark Griffith, 1910), starring Henry Walthall, and His Only Son (Jack Conway, 1912). Acting for Gibson was then a minor sideline, and Hoot continued to forge a name for himself on the rodeo circuit with his pal Art Acord. In 1912, at age 20, he won the title 'All-Around Champion Cowboy' at the famed annual Pendleton (Oregon) Round-Up. He also won the steer-roping World Championship at the Calgary Stampede. While on the circuit, he met fellow rodeo rider Rose August 'Helen' Wenger. They eventually married and she took on the marquee name of Helen Gibson. She even found film stunt work herself and eventually was chosen to replace Helen Holmes as star of the popular movie serial The Hazards of Helen (J. Gunnis Davis a.o., 1914) during mid-filming. Hoot himself had the job doubling Helen Holmes and doing the stunts from horses to trains in the Universal cliffhanger. Hoot picked up new connections in the film industry with Western star Harry Carey and director John Ford. With Ford, Gibson developed a lasting friendship and working relationship. Gibson gained some momentum as a secondary player in a few of their films, including Cheyenne's Pal (1917), Straight Shooting (1917), The Secret Man (1917) and A Marked Man (1917). With the outbreak of World War I, however, Gibson's film career was put on hold. He joined the US Army, eventually attaining the the rank of sergeant while serving with the Tank Corps, and was honorably discharged in 1919. He returned immediately to Universal and was able to restart his career.
At Universal, Hoot Gibson quickly worked his way up to co-star status in a series of short Westerns, often directed by John Ford. The two-reelers usually co-starred either Pete Morrison or Hoot's wife Helen, or sometimes both. Films such as The Fighting Brothers (John Ford, 1919), The Black Horse Bandit (Harry Harvey, 1919), Rustlers (John Ford, 1919), Gun Law (John Ford, 1919), The Gun Packer (John Ford, 1919) and By Indian Post (John Ford, 1919) eventually led to his solo starring success. During this prolific period, he was also directed by George Holt in The Trail of the Holdup Man (1919), Phil Rosen in The Sheriff's Oath (1920) and Lee Kohlmar in The Wild Wild West (1921). Around this time, Hoot and Helen divorced. In the early 1920s, Hoot went on to marry another Helen, vaudeville actress Helen Johnson. They had one child, Lois Charlotte Gibson, born in 1923. The couple divorced in 1927. By 1921, the demand for cowboy pictures was so great, Gibson began receiving offers for leading roles. Superstardom came with the Western Action (John Ford, 1921), which was taken from The Three Godfathers story. It starred Hoot, Francis Ford and J. Farrell MacDonald as a trio of outlaws on the lam who find a baby. Action propelled Gibson to fame and fortune and he remained at Universal for the next 10 years. Boyd Magers and Bill Russell at B-Westerns.com: "What made Gibson so popular over the years? He was not what one might call handsome, being a little on the homely side, nor did he cut a dashing figure on horseback, although he could ride like a demon. Neither was he a polished scrapper of the Bob Steele school of fisticuffs, but could mix it up with the best of them. He mostly never wore a gun in the standard cowboy hero way, instead shoved it in his belt or boot. So what made this cowboy hero one of the greats? You could call it character, a certain boyish charm, or simply a naturalness that appealed to the western fan. He had a contagious smile, and while most heroes had a sidekick who provided the comedy routine, Hoot was his own best sidekick." During his Universal years, Gibson starred in such classics as the exciting The Ridin' Kid from Powder River (Edward Sedgwick, 1924) , the humorous Chip of the Flying U (Lynn Reynolds, 1926) and the more serious and dramatic The Flaming Frontier (Edward Sedgwick, 1926) with Dustin Farnum, he would occasionally step out of his Western roles for a non-Western feature. By 1925 Hoot Gibson was making approximately $14,500 a week and spending it about as fast as he was making it.
Hoot Gibson successfully made the transition to talkies and, in 1930, married popular Jazz-era actress Sally Eilers, a third party to his previous divorce. The couple made three features together: The Long, Long Trail (Arthur Rosson, 1929), Trigger Tricks (B. Reeves Eason, 1930) and Clearing the Range (Otto Brower, 1931). When she found celluloid success on her own with the Oscar-winning Bad Girl (Frank Borzage, 1931), Sally decided to split from Hoot professionally and personally. They divorced in 1933. Hoot lost his Universal contract in 1930, which signified the start of his decline. During the early 1930s, he secured contracts with the Poverty Row outfits Allied Pictures and First Division Pictures, but the quality of his films suffered. Hoot had already begun to feature race cars and airplanes in his films such as The Flyin' Cowboy (B. Reeves Eason, 1928) and The Winged Horseman (B. Reeves Eason, Arthur Rosson, 1929). Gary Brumburgh at IMDb: "Airplanes in particular became a large, expensive passion of his. In 1933 he crashed his biplane during a National Air Race in Los Angeles, which had pitted him against another cowboy star, Ken Maynard. Fortunately, he survived his injuries." With the advent of talking films, singing cowboys such as Gene Autry and Roy Rogers were becoming the new rage, and both Hoot and Tom Mix felt the kick. Yet he managed a couple of comebacks by pairing up with others stars. He joined old silent film teammate Harry Carey and 'Guinn Big Boy Williams' in the 'Three Mesquiteers' Western Powdersmoke Range (Wallace Fox, 1935), and was billed second to Ray Corrigan in the Republic serial The Painted Stallion (Alan James, Ray Taylor, William Witney, 1937). Gary Brumburgh: "Hoot left films and toured with the Robbins Brothers and Russell Brothers circuses during 1938 and 1939 before retiring from show business altogether. His multiple divorces and reckless spending habits had taken their toll on his finances. For a time he found work in real estate before Monogram Pictures offered the stocky-framed actor a chance to return in 1943. Hoot teamed up with cowboy star Ken Maynard in the popular 'Trail Blazers' series, and the duo were later joined by Bob Steele. Chief Thundercloud replaced a difficult Maynard on a couple of the films, but by the end of the series Gibson and Steele were riding alone together." The nearly dozen films in the series began with Wild Horse Stampede (Alan James, 1943) and ended with Trigger Law (Vernon Keays, 1944), the latter being his last hurrah in films. Hoot then returned to real estate. By the time he appeared as a surprise guest on the popular sitcom I Married Joan (1952) starring Joan Davis, his Western features of the 1930s and 1940s, as well as those of Maynard, Steele and others were a large staple of films seen by a TV audience that couldn't get enough Western fare. He did a favour for old friend John Ford by appearing in a cameo role in the director's The Horse Soldiers (John Ford, 1959), starring John Wayne and William Holden. His last movie spotting was a guest cameo in the 'Rat Pack' film Ocean's Eleven (Lewis Milestone, 1960). Hoot married a fourth and final time in 1942, to 22 year old yodeler and actress Dorothea Dunstan. This marriage took hold and lasted for 20 years until his death. By the 1960s Gibson was on the verge of financial collapse after a series of bad investments. Gary Brumburgh: "Diagnosed with cancer in 1960, rising medical costs forced him to find any and all work available. He was relegated at one point to becoming a greeter at a Las Vegas casino and, for a period, worked at carnivals. It was an unhappy end for a cowboy who brought so much excitement and entertainment to children and adults alike." In 1962, Hoot Gibson died of cancer at the Motion Picture Country Home in Woodland Hills, California, just a couple of weeks after his 70th birthday. He was interred in the Inglewood Park Cemetery in Inglewood, California.
Sources: Gary Brumburgh (IMDb), Boyd Magers and Bill Russell (B-Westerns), Wikipedia and IMDb.
august. raya break. twenty thirteen.
jie would sleep in. i would do some work at home. we would have late breakfast together after she got up. i would leave her to her own devices while i go change.
i would drop her off at popo's and get into office really really late...around noon.
that was the pattern during school holidays.
jie had coco crunch for breakfast today.
Going home on this soggy Sunday in Vancouver. We're heading for the Burrard Street Bridge and Sunset Beach just beyond.
THANKS SO MUCH FOR YOUR VIEWS, COMMENTS AND
FAVES, ETC. I APPRECIATE IT. XO
Home! Orbital dynamics and our work schedule allowed me my first picture of Germany today. Is it really summer there?
Zuhause! Orbitaldynamik und unser Arbeitsplan ermöglichten mir heute mein erstes Bild von Deutschland. Ist dort wirklich Sommer?
Credits: ESA/NASA
931_3049
(...)
Eu amei as casas os recantos das casas
Visitei casas apalpei casas
Só as casas explicam que exista
uma palavra como intimidade
(...)
(Ruy Belo, Poemas Portugueses. Antologia da Poesia Portuguesa do Séc. XVIII ao Séc. XXI, Porto Editora, 2009)
-----------------------------------------------------------
(rough translation)
I loved homes the corners of homes
I visited homes I touched homes
Only homes can explain that there is
a word such as intimacy
(Ruy Belo)
I'm going to sit down on the red couch, which is my favorite spot to relax at home. Let's put my glass of wine on the table and get comfortable.
Phenomenal design for a modern home. There's a great lighting setup, including that amazing chandelier. The overall design blends perfectly
Seattle, Washington
Home.
I am not there, but occasionally my mind or heart is........Independence Day is tomorrow and I dream of BBQ, family, friends and beautiful sunsets such as this...especially since Seattle is having some of the best weather for this time of the year in a long time......!
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The project of converting the garage to a studio is finally ready to go! (iphone panorama). This is what it looks like when the car and truck are parked outside.
By Steven Erat Photography (© 2011 Steven Erat - Please do not use without permission)
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Metra F40PH-2 159 leads an outbound Union Pacific West Line train under the eastbound approach signals for Tower A-2, while a Milwaukee District train approaches A-2 in the distance. To the left is UP's California Avenue coach yard, where a few tracks are used for freight. To the right of the main tracks is an employee flag stop for the coach yard.
Thanks for your visit, hope you enjoyed, kindly leave your comment that will be very rewarding
Believe me View On Black is a must.
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If you intend to use any of my pictures, for any usage, you need to contact me first.
Thank you.
Returning Home :
For last one month I was travelling to India, this time not much time for photography, but did managed to take a few.
This was taken during the sunset on the river Tista in Jalpaiguri. That evening we decided to visit the riverside and it was evening my wife and relatives decided to take a short boat trip while some of us waited at the river side.
The Shot :
2 shots stitched in Photoshop, hand held capture .
This is not an HDR image.
I would also like to thank all my Flickr friends , last week crossed more than a Million hits, I can't wait to see your beautiful captures...
Muskrats build these homes out of cattails and other plants of the marsh, unlike beavers who use felled logs and sticks.
Along with being a dry home for muskrats on the inside, geese will use the outside of the home as a raised platform to nest on.
My virtual route home for the current weather panic got hung up. This lane is off Nimbus Road southwest of Logtown. Nimbus is a great name for the road should the Denver panic have held up. The winds are signifying the kinds of storms Colorado is sending east. This driveway could get really crusty after a two foot snow. Boy, that is a lot of plastic petroleum fencing. I was on my virtual way back onto the flats from the hills and found this private lane to another of the many prairie castles that now blight the landscape. This abode appears to be the carriage house. No, this is not my place. I would never put in this kind of upkeep to stroke my vanity like America's wealthy jihad.
Lefthand Creek accounts for the line of fall trees browning directly as seen in the background. The name may sound lame to outlanders but I'll explain yet again. Lefthand is English for the Arapaho name of Ni-wot. I assume that the father and son were left-handed. Each was a tribal chief. The son was well educated. Both were Indians you would gladly meet after a trek across the prairie. They would treat. William Bent of Bent's Fort claimed trappers called them "dirty stinkin'" Indians but he noted the Arapaho bathed daily while you could smell the trappers coming even if they were not yet over the hill. Ask the righties how easy it is to judge.
Looking at the blank sky, I am not sure I will get the five miles back home in time for the snow. The Denver TV weather panic was prognosticating a couple of feet of snow on Monday even though the last blast left little detectable snow. I expected some snow this time, but only on the grass. Midmorn and none was on the ground yesterday. The sun started to show but then came a badly ill wind. Well, back to autumn. Thanks Koch Bros.
The BNSF Sweet Home Logger heads for home at Albany. The train is cruising along at 40 MPH on some of the best branchline track in Oregon, shared with shortline Albany & Eastern.
Less than a year later, AERC commenced operation on the BNSF trackage to Sweet Home and Foster.
Have you ever wondered why some people you may have loved have disappeared under masks of superficial lifestyles....they are alive and yet they remain 'dead' to you.
they are 'busy' living a life that is far from real and or meaningful...
they choose to surround themselves with those who 'glitter like tinsel in the wind'...
and the ones ...who served as plastered casts...are far forgotten and no longer are needed.
fly back home...
photo and thoughts by
diane kramer aka she wolf.
This eagle was sitting on the beach in Homer, Alaska. The Homer Spit is really neat piece of land that drifts into the ocean. There is one road in and one road out. People camp right on the beach and there is a fire that stays lit all summer long. During the day you can fish for Halibut, and later that night cook it over an open fire as the sun goes down around midnight. I am not a big fish eater, so I spent my time at a local Thai resturant. Some of the best Thai I have ever eaten, but the people with me thought I was a little crazy.
Hoy presentamos nueva serie de nuestra visita a Cabo Home.
"Cabo Home sunset"
14mm, f11, ISO 100, 20 segundos y 8300k
Sistema Lucroit 100 + anilla T77-1 + degradado inverso 3 pasos + degradado suave haida 3 pasos + ND Firecrest 6 pasos
Más info y video making of en www.lightbrothers.es/2016/08/cabo-home.html
Cabo Home forma parte do Parque Nacional Marítimo Terrestre das Illas Atlánticas,Trátase dunha zona de costa, aberta ao océano Atlántico, que está protexida polas Illas Cíes e conta cun importante complexo dunar.
Cangas-Pontevedra
Bain News Service,, publisher.
Homer
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.29046
Call Number: LC-B2- 4958-2