Remembering “The Wyoming Trip”

A black and white photo of six people standing, and one seated, in a room with a fireplace. The individuals are smiling and dressed in formal and casual attire. The scene includes bookshelves, a lamp, and a table with papers.
The Hand family in the West Wing with then-White House chief of staff Dick Cheney, 1976.

Fifty years ago, I turned 12 years old, and America turned 200. Today, with America reaching 250, and me at the ripe old age of 62, I look back with fading memory on my participation, for the Great State of Wyoming, in the celebration of our nation’s Bicentennial.

I am proud to say that I started attending the University of Wyoming in kindergarten. Back then, the College of Education played host to a (now sadly and shockingly shuttered) school where students in the college got to learn and practice their trade by assisting their professors in educating children. Throughout those years of my youth, I had three passions: collecting stamps, American history, and leafing through atlases—my love for maps was such that I dreamed of growing up to become a cartographer.

My parents encouraged me in all three of these things and many more. Dad passed his own stamp collection down to me, helped me to memorize the names of the Presidents, and pored through maps with me. At some point—I was likely eight or nine—I noticed, thanks to Rand McNally, how many of the American states (and even a Canadian province) were home to places named “Wyoming.” A city in Michigan, a township in Wisconsin, a town in Iowa, a county in West Virginia—my state’s name seemed to be everywhere.

I asked my dad about this, and he, ever inquisitive, used it as an opportunity to pursue his own curiosity about the strange word. The origin of the word “Wyoming” is unknown, with only unproven theories backing various claims for meaning. My dad never believed any of those claims, and he suggested, “Why don’t you write a letter to the postmaster of each of these places, asking them what they believe ‘Wyoming’ means and what its origin is, and you will have a great collection of postmarks from all these various ‘Wyomings’ for your stamp collection?”

A canoe oar inscribed with the message "Presented to Manus Hand by the City of Wyomming, Minnesota, June 13, 1976
A celebratory oar presented to Manus Hand by the City of Wyoming, Minnesota. This item can be seen in the AHC’s “Wyoming Voices: Our Stories of America” exhibit, on display now.

And so I did. And responses came back from each and every one of these Wyomings, each writer charmed by this nine- or ten-year-old and his curious questions about their locality and its name. Some postmasters decided to forward my letter to the local elementary school, encouraging the kids my age to help answer my question, and to become pen pals with me. I wrote back and forth with a great many kids, although no more light seemed to be shed on the origin of the word “Wyoming.”

1976 was approaching, and my father, ever the idea man, decided that it would be a great way to celebrate the Bicentennial if the State of Wyoming were to confer Honorary Citizenship on the citizens of each of these municipalities, and that I, the precocious 12-year-old, should personally deliver the plaque and proclamation of this honor to these 26 places.

My dad and I drove over the hill to Cheyenne, where I presented a simple poster board and mimeographed proposal to the Wyoming Bicentennial Commission in one of the meeting rooms of the State Capitol. In my little-boy leisure suit, I must have charmed them enough, because the Commission decided to grant $1,200 for the project on the condition that I raise a matching amount.  This money would cover the cost of the Honorary Citizenship plaques as well as the road trip from Laramie to the east coast and back.

I imagine that the members of the Commission thought I would raise the other $1,200 by selling lemonade or going door-to-door like a normal kid. But when the grant was announced, my dad grabbed my arm, walked me to the other wing of the Capitol, demanded an immediate audience with Governor Ed Herschler, and told me to make the same presentation I had just made. The Office of the Governor provided the matching $1,200 on the spot, and we drove back to Laramie fully funded for what became known as “The Wyoming Trip.”

My parents did most of the planning. I’d be the wrong person to ask about how difficult all of that must have been. As the stamp-collecting, Star Trek-loving brother of five younger sisters, the youngest not quite two years old, I left the determination of all of the dates and times and places, the creation of the plaques, and, well, everything else up to my folks. My job was to sit in the car and put up with those five sisters, and to create a daily record of the trip (a requirement of the grant) to be placed in the Wyoming State Archives, where you can go and read it today.

A museum display. A dinner plate with the phrase "Wyoming, Ohio, 1874, 1974, queen of suburbs" is featured. In the backround are a key to a city, a commemorative 7-Up can, and a canoe oar.
Commemorative plate from Wyoming, Ohio. Behind-the-scenes photo taken during the install of “Wyoming Voices: Our Stories of America” exhibit.

The Wyoming Trip made national news. I remember being at a friend’s house at 5th Street and Park Avenue when we happened to catch Walter Cronkite on CBS Evening News mispronouncing my name as he told the nation about our planned trip. But still I didn’t know what I was in for.

My first memory of the trip was waking up after the first day’s drive and hotel stay (I believe it was in Rapid City, South Dakota), knowing that the day would bring us to our first Wyoming, a town in Minnesota. Our family station wagon, with its “5-WYOS” license plate, was packed with two adults, six kids, and all the gear needed to sustain such a crowd. About 10 miles from our destination, we were suddenly joined by multiple police cars, their lights swirling, that escorted us to the arena where I was welcomed, and where I would present Wyoming state citizenship to the Minnesotans. Television cameras were there to record what I said and did for the local news, and hundreds of people shook my hand and thanked me for what I was doing and for coming to honor their humble home.

It was like that everywhere. Every single Wyoming welcomed me and my family with open arms. We were treated to local cuisine and taken around to visit all the local tourist sites. I was showered with keys to their city, mayoral proclamations of “Manus Hand Day,” and a great many souvenirs from municipal anniversaries and other celebrations. All of these gifts hung in the basement of my parents’ house until they downsized, when we happily donated them all to the American Heritage Center.  My family and I hope that you will stop by and see them!

A series of memorabilia on display. A large wooden plaque in the shape of a key reads "Wyoming, Nebraska, 1976." Below it are three buttons. One reads "Illinois Celebration '76" and features an illustration of a top hat and beard. The second has an illustration of a woman in a bonnet and bow, and reads "Centennial Belle: Wyoming, Ohio Centennial, Oct. 13–19, 1874–1974." The third includes an illustration of a man tipping a bowler hat, and reads "Brother of the Brush, 1874–1974, Wyoming Ohio Centennial, Oct. 13–19."
A collection of memorabilia from The Wyoming Trip, including a key to the community of Wyoming, Nebraska, and souvenir buttons from Illinois and Ohio.

I won’t go through each of the over two dozen municipal visits; you can read about them all at the Archives or at the AHC, but I have fond memories of each one. Among so many experiences, I will list that I spoke at many school assemblies, walked through Mark Twain’s home, watched in fascination as food was packaged in a Kraft factory by conveyor belts and machines, and huddled in a city hall basement while tornado warning sirens sounded in my ears for the first time.

Although the name “Wyoming” is found in a few of of the original 13 states (Pennsylvania, New York, New Jersey, Massachusetts, Rhode Island, Delaware, and West Virginia—initially part of the state of Virginia), my dad found an excuse visit each of them on the trip. I’ll always remember how he scoured a map and decided that the name of the town of Warwoman, Georgia—which lies only a few miles from the state’s northern border, and so could be reached quickly without much delay in the trip—was “probably a corruption of the word Wyoming.”  That’s my dad.

With New Hampshire also a necessary drive-through, Dad made sure we got to Bath, Maine, where the “Wyoming,” the largest wooden schooner ever built, was constructed and launched. If you haven’t seen the display featuring this great ship in Coe Library (a large model of the vessel, with a framed poem written my my dad himself about its heroic fate), stop in there and see it!

What else? Well, we ran out of gas in bumper-to-bumper traffic right at Times Square in New York City. To this day, I think my dad did it on purpose, just to say it happened, because it was something that we joked about before even leaving Laramie.

We also visited Washington, D.C. and the White House. Dick Cheney was Chief of Staff at the time, and because he and my mother were classmates in Casper growing up, he gave us a private tour of the Executive Residence. Although I didn’t set foot in the Oval Office, I was able to peek into it through an open door, where I saw President Ford behind his desk reading a newspaper.

My family and I have countless stories about those two (three? more?) weeks we spent traveling the nation and Canada. From singing a million songs together (especially John Denver’s “Take Me Home, Country Roads” while driving through West Virginia’s mountains) to my dad’s reactions to the misbehaving kids in the seats behind him (“Cotton PICKIN’!!” and “Judas Priest!”), to the way my one-year-old sister Mollie was just beginning to form words and sentences (“What DOIN’ down dere, guys?”), we share a lot of happy memories. My mother only recently revealed to me (she thought I knew this—and I should have!) that for her, wrangling six kids in an out of a car across two countries, The Wyoming Trip was a very trying experience. Mom had begged my dad to make it a father-son trip, but he wouldn’t have it.

It was always a half-formed dream to reprise the trip on America’s 250th, to drive those same highways, return to all the Wyomings, and reiterate their eternal honorary citizenship and full fellowship with the people of the Equality State. Alas, those 50 years passed all too quickly, and as 2026 arrived, I realized that the dream that my family would find ourselves watching semiquincentennial fireworks in Wyoming, Ohio, or Wyoming County, Pennsylvania, or Wyoming, Ontario, Canada, or in any of the other places where we hope we might be remembered, sadly faded away.

All that remains now are the memories, and I thank the American Heritage Center for inviting me to write a few of them down for you. Go Pokes! And Go Wyo, wherever in the continent you might be found!

Post contributed by Manus Hand.

Posted in American Heritage Center, American history, Wyoming, Wyoming Culture | Tagged , , , , , , , | 1 Comment

Engineering Building Cornerstone Placed 100 Years Ago

On the morning of April 30, 1926, a ceremony was held on campus to commemorate the laying of the cornerstone of the new Engineering Building. The event was so special for the university, morning classes were dismissed so that all students and faculty could attend the ceremony.

A large group of people overlooks the foundations of a building. In the foreground are large beams of lumber assembled into a triangular building frame.
Cornerstone Ceremony, April 30, 1926. Governor Nellie Tayloe Ross offers remarks from the temporary stage. Source: Ludwig & Svenson Studio Collection, American Heritage Center, University of Wyoming

Plans for a new building to house the College of Engineering began to take shape in the spring of 1925 when the Trustees approved funding for building plans, which were drawn by local architect Wilbur Hitchcock and Frederick Porter of Cheyenne. On September 23, 1925, the building contract of $133,000 (approximately $2.6 million dollars in 2026) was awarded to W. J. Wilseck of Cheyenne. Survey work began in late 1925, and in late January 1926, earthwork commenced. By late April the historic cornerstone was ready for placement. The building stone came from the UW quarry located approximately nine miles north of Laramie.

Drawing of a large campus building. The building has many windows and a central section that reaches higher into the sky. Below the drawing is the text "Engineering building, University of Wyoming. Laramie, Wyoming. "Wilbur A. Hitchcock, Architects, Frederick M. Porter"
1925 drawing of proposed Engineering Building design by Wilbur Hitchcock and Frederick Porter. Due to building costs, plans were revised for a smaller building. Source: Ludwig & Svenson Studio Collection, American Heritage Center, University of Wyoming.

At 11 a.m. on Friday, April 30, 1926, the important cornerstone celebration began with music provided by the university band before the Masons from the local Masonic Order placed the cornerstone. State Engineer Frank Emerson delivered a talk titled “Service – the cornerstone.” Governor Nellie Tayloe Ross then spoke of the growing importance of engineering in the state. Engineering Dean Earl D. Hay offered remarks, which were followed by a benediction and the singing of the alma mater by the entire student body.

A building is under construction. Scaffolding sits above the right side of the building. The rest is nearly complete.
View of the nearly completed building, 1926. Source: Ludwig & Svenson Studio Collection, American Heritage Center, University of Wyoming.

The Engineering Building was completed nearly 100 years ago when the handsome stone building was ready for occupancy when the new spring term commenced on March 29, 1927.

Post contributed by AHC Archivist and UW Historian John Waggener.

Posted in 20th century, Ross, Nellie Tayloe, University Architecture, University of Wyoming | Tagged , , , , | Leave a comment

The Need for a Hero: Comics in World War II

The Golden Age of Comics

Comic books have been around since the beginning of the 19th century, but with World War II on the rise, America was in need of a hero—a super hero. The Golden Age of Comics is generally agreed to have taken place from 1938 to 1956. Comics were inexpensive, gave hope, provided inspiration, functioned as a news source for younger audiences, and were a teaching tool for children and soldiers. Super heroes were meant to embody American ideals. During this dark time, comics were able to bring joy and spread support for real American soldiers through fictional stories.

We’ll look at three examples of Golden Age comics in this post: Captain America, Terry Toons, and Wonder Woman. Captain America, the loveable WWII soldier, first made his appearance by punching Hitler in the face. Terry Toons covered a lot of different topics, but in a short issue explored the injustice happening in Germany. Wonder Woman’s first appearance was in October 1941, saving an American WWII pilot from death and joining the American cause. These cartoons were not just for children, but to inspire teens and adults to “do the right thing.”

America’s Savior

In “Meet Captain America” we start on a disturbing scene. Two Nazis have infiltrated the United States Army and detonated buildings that are vital for America’s defense. The unnamed President Roosevelt initiates the Super Soldier program. Huddled in a secret lab, Agent X-13, Arthur Grover, Steve Rodgers, Professor Reinstein, and an unnamed high-ranking official gather for an experiment.

Steve is injected with a super-soldier serum and turns from a weak, gaunt figure to a large, strong, handsome man. Reinstein gives Steve his secret identity, Captain America. As it turns out, the high-ranking official is actually a Nazi spy; he shoots Professor Reinstein in the heart. Captain America wastes no time in demonstrating his new abilities and punches him across the room into electric coils.

At the end of this first issue there are instructions of how to join Captain America’s cause: by sending 10 cents and promising to uphold American ideals, you too can join “Captain America’s Sentinels of Liberty” fighting Nazi spies and assisting the Allied Powers.

Joe Simon and Jack Kirby were amazing artists and writers. They had a strong influence during the Golden Age of Comics, and were some of the few comic artists who were given credit for their work. This being said, in their comics they would exaggerate the features of non-American enemies, as shown above.

Terry Toons, Kids News

Terry Toons issue 52 came out in January of 1947. Terry Town is a city where cats and mice (typically) live in harmony. Chizzler Cheshire, a cat pursuing law, is expelled from law school because of his unorthodox practices. Upon being kicked out of the door, he sees a cat chasing a mouse. Mr. Cheshire decides that he has an opportunity to practice law once more.

He hears both of their stories out. The cat wanted to eat the mouse; the mouse did not want to be eaten. Mr. Cheshire, with all of his judicial knowledge, decides that the mouse is guilty for depriving a cat of his constitutional rights of eating the mouse. Mr. Cat will punish Mr. Mouse by chasing, catching and eating him. But passing by, Mighty Mouse comes in to save the day! Once both the mice depart, Mr. Cheshire decides because of this mistreatment of law, he will be taking over Terry Town.

The next day, all mice are locked up for the smallest of crimes. The jury consists of chained mice, with cat cops watching their every move. Mighty Mouse swoops in, disturbed by the town’s emptiness. A cat cop tries to give Mighty Mouse a ticket for causing a disturbance. He appears before Mr. Cheshire’s court and is proclaimed guilty, but flies out the window, contemplating what to do next.

A page from a Mighty Mouse comic. The scene shows Mighty Mouse in a courtroom with cats dressed as police and mice behind a jury box. He is found guilty, but then flies out a window, glass splintering behind him
Mighty Mouse is found guilty, flies away, and contemplates the injustice in Terry Town.

A young mouse, Ms. Sydney, arrives in town to visit her cousin only to find he’s been locked up. The cats tell her that she will also be locked up because of her lack of passport and illegal contraband (yarn). Mighty Mouse swoops in to save Ms. Sydney and fix the whole system. He reveals the chained jury, locks up Mr. Cheshire, and frees the innocent mice.

Fighting America’s War

Cover of a Wonder Woman comic. Wonder woman rides a horse into battle, whipping a lasso around as she confronts a trench full of soldiers

In “Introducing Wonder Woman” an American pilot crashes on to the island of the Amazons while chasing down a Nazi spy. Two Amazons, Mala and Princess Diana, find him and take him to a hospital. In the days that follow, Diana nurses his wounds and began to fall in love with him. Queen Hippolyta and Diana use a Magic Sphere to learn of the strange man’s arrival on their lands. They discover that the pilot—Steve Trevor—was attempting to chase down Nazis when his plane ran out of fuel and crashed.

After learning of the war between men, Hippolyta asks the Amazonian Goddesses, Athena and Aphrodite, for advice. The goddesses tell her that this war threatens democracy, peace, and equal rights for women. Hippolyta must return Steve to America with her best warrior to help the Allied cause.

There is a great tournament to decide which Amazonian warrior will accompany Steve. Diana is forbidden to enter, but disguises herself with a mask and wins the tournament. Hippolyta relents and allows her to go, gifting her a patriotic costume and a new identity: Wonder Woman. Diana leaves her home to take up the cause and fight for America.

She gets Steve to an American hospital and decides to explore town. The townspeople call her a “hussy” and are concerned of her “nakedness”. She quickly realizes that in this new land she has no authority and is given no respect. Wonder Woman takes on the strains of battle, and a new struggle for equality.

Cartoons for Everyone!

The popularity of comics did not stop when you reached the Armed Forces. Walt Disney offered his studio to create propaganda and military training videos. A few popular propaganda pieces include “Education for Death,” “Malaria Control,” “Protection Against Chemical Warfare,” “Reason and Emotion,” “High Level Precision Bombing,” “Der Fuehrer’s Face,” and “Chemical Warfare.” Each was crafted with the goal of educating children and soldiers on why they were at war and how to fight. Comics were able to give America new heroes and a common goal: to fight evil.

Newspaper clipping featuring the headline "Cartoons aid in ASFTC Training"
Top: Scenes from the short Disney propaganda film “Education for Death: The Making of the Nazi” based on the book by Gregor Ziemer. Bottom: A newspaper story on how cartoons aid in military training.

I wanted to give a shout out to my friend Rachel Sayer who has done a lot of research on this topic and inspired me to do my own! I wanted to thank Jess for helping me find research materials and helping to rephrase things. And finally, I wanted to thank Internet Archive for having a lot of these comics accessible online!

Post contributed by Photo and A/V Archives Aid Tom Hillhouse

Sources

Cartoons Aid in ASFTC training, Box Number 1, Folder The Fort Wood News, Howard Estabrook Papers, Collection Number 03766, American Heritage Center, University of Wyoming. 

Education for Death, Box Number 10, Folder Number 6, Gregor Ziemer Papers, Collection Number 08176, American Heritage Center, University of Wyoming. 

Evanier, Mark. Kirby: King of Comics. New York, Ney York: Abrams Comic Arts, 2017. 

Kirby Jack, Simon Joe (w), Jack Kirby Joe Simon (p), “Captain America” Captain America Comics #1 (March 1, 1941), Marvel Comics. 

Lee, Stan (w), Al Avison, Chad Grothkopf, Don Rico (p) “Captain America” Captain America Comics #13 (April 1, 1942) Marvel Comics. 

Marston, William (w) Harry Peter (p) Harry Peter (i), “Wonder Woman” Wonder Woman #1 (June 3, 1942), DC Comics. 

Terry-Toons #52, Box Number 114, Folder Number 42, Stan Lee Papers, Collection Number 8302, American Heritage Center, University of Wyoming. 

“The Golden Age of Comics.” History Detectives Special Investigations. PBS, accessed February 2, 2026. https://www.pbs.org/opb/historydetectives/feature/the-golden-age-of-comics/ 

Posted in Comic book history, Comic Book Villains, Marvel Comics, Propaganda, World War II | Tagged , , , , , , , | 1 Comment

2026 Wyoming History Day Contest Results

The American Heritage Center hosted the 2026 Wyoming History Day State Competition on Monday, April 20, 2026, at the Coe Library and Wyoming Union on the campus of the University of Wyoming. Students completed year-long research projects inspired by the National History Day theme, “Revolution, Reaction, Reform in History,” and presented outstanding papers, documentaries, exhibits, performances, and websites.

An auditorium full of students. The students all look to something out of frame
Students at the 2026 Wyoming History Day competition.

Hundreds of students from across the state participated in regional contests, with 135 advancing to the state competition in the 46th annual Wyoming History Day.

Several students also received special awards made possible through the generosity of sponsors including WyoHistory.org, the University of Wyoming Global Engagement Office, National Society of Colonial Dames of America in Wyoming, Jim Gatchell Memorial Museum, Wyoming Archaeological Society, Wyoming Association of Professional Archaeologists, Wyoming State Society of the Daughters of the American Revolution, and the American Heritage Center.

Two people in bandanas and 1960s era clothing pose on a stage. Between them sits a stack of logs with a pot sitting on top.
Truly Homer-Wambeam and Winifred Homer-Wambeam of Laramie Homeschool performed their winning project, “Voices of a Revolution: How the Reaction of Folk Musicians Influenced Reforms in 1960s America” at the 2026 Wyoming History Day competition at the University of Wyoming.

Since 1999, the American Heritage Center has administered the Wyoming History Day state contest, a premier K–12 academic program that helps students build skills in research, creativity, communication, and critical thinking through the study of history. The program’s continued success is supported by the leadership of Bryce Mittelstadt. Additional support is provided by Wyoming State Parks and Cultural Resources and National History Day. The American Heritage Center also extends sincere thanks to the dozens of volunteers whose time and expertise make the competition possible each year through judging, event support, and day-of operations.

First- and second-place winners in the junior and senior divisions of each category will advance to the National History Day Competition at the University of Maryland this June.

For more information about Wyoming History Day, visit https://www.wyominghistoryday.org/ or contact whd@uwyo.edu

Two people pose in front of a trifold history exhibit. The exhibit text reads "Reaction to Injustice: The Black 14's Drive for Reform"
Emily Mai of Laramie High School poses with Black 14 member John Griffin. Mai interviewed Griffin for her nationally qualifying project, “Reaction to Injustice: The Black 14’s Drive for Reform,” for which she won the Voice of Wyoming Award.

Category Award Winners

Junior Group Documentary

First place: Harmony Johnston and Camille Croft, of Worland Middle School with teacher Deborah Keller, “The Wright Brothers: Heavier Than Air Powered Flight.”

Second place: Paislee Erickson and Lexxi Miller, of Worland Middle School with Keller, “Life of Leadership.”

Senior Group Documentary

First place: Iris Woltman and Alex Wise, of Lander Valley High School with teacher Stacey Polson, “Dalit Women’s Movement: Revolution, Reaction, and Reform.”

Second place: Ryder Allen and Roxanne Melinkovich, of Pinedale High School with teacher Rose Robertson, “The Historical Impact of Miranda Rights and How it Revolutionized the Way Confessions are Received Today.”

Junior Group Exhibit

First place: Matteo Oldani and Ryder Benjamin, of Jackson Hole Middle School with teacher Greg Poduska, “The Shadow of a Second Sun.”

Second place: Portia Melinkovich and Sari Cenac, of Pinedale Middle School with teacher Mitcham Irrgang, “Anne Frank and the Holocaust.”

Senior Group Exhibit

First place: August Gutwein and Henry Spellman, of Jackson Hole High School with teacher Nicholas Bauman, “Los Alamos.”

Second place: Nick Barlow Harignordoquy, Rocco Oldani, Rowan Bruner and Kade Mallen, of Jackson Hole High School with Bauman, “Forgotten Guardians.”

Junior Group Performance

First place: Truly Homer-Wambeam and Winifred Homer-Wambeam, of Laramie homeschool with teacher Laurie Homer, “Voices of a Revolution: How the Reaction of Folk Musicians Influenced Reforms in 1960s America.”

Second place: Temperance Olsen and Joanna Tadlock, of Worland Middle School with Keller, “Shattering Stereotypes.”

Senior Group Performance

First place:  Kate Furmanek, Anni Hansen, Mia Grohne and Joy Hayashida-Ludington, of Jackson Hole High School with teachers Jeff Brazil and Bauman, “The Beatles.”

Second place: Kai Noojibail, Miles Krasula and Ryder Witt, of Jackson Hole High School with Bauman, “A Revolution in Misinformation.”

Junior Group Website

First place: Blake Mergl and Jack Irrgang, of Pinedale Middle School with teacher Mitcham Irrgang, “Cuban Missile Crisis.”

Second place: Kayson Herebia and Colt Collingwood, of Greybull Middle School with teacher Michelle Stebner, “The Green Revolution.”

Senior Group Website

First place: Dodge Hamilton and Jackson Thornton, of Pinedale High School with Robertson, “Iron Age Ship Building.”

Second place: Hannah Kaiser and Taylor Wickham, of Pinedale High School with Robertson, “Yellowstone National Park- Frontier to Forever.”

Junior Individual Documentary

First place: Kershaw Finlay, of Jackson Hole Middle School with Poduska, “War in Paradise: The Second Samoan Civil War and the Tripartite Convention of 1899’s Reform of the Samoan Islands.”

Second place: Alysa Brown, of Jackson Hole Middle School with Poduska, “A Whistle for Society-Violet Palmer.”

Senior Individual Documentary

First place: Ellie Baker, of Jackson Hole High School with Bauman, “The Howls of Wyoming: How an Ecological Revolution Triggered a Tremendous Reaction in the West.”

Second place: Adrienne Jones, of Pinedale High School with Robertson, “Reaction and Reform Through Music in Anti-War Culture of the 1960s and ‘70s.”

Junior Individual Exhibit

First place: Jessie Jensen, of Shoshoni K-12 School with teacher Jordan Becker, “The Cuban Missile Crisis.”

Second place: Tucker Bass, of Shoshoni K-12 School with Becker, “The Navajo Code Talkers.”

Senior Individual Exhibit

First place: Oliver Steinberg, of Jackson Hole High School with Jeff Brazil and Bauman, “The Vietnam War: Changing War With Private Contractors.”

Second place: Emily Mai, of Laramie High School with teacher William Plumb, “Reaction to Injustice: The Black 14’s Drive for Reform.”

Junior Individual Performance

First place: Roma Beaulier, of Laramie homeschool with teacher Anemone Beaulier, “The Conservation Revolution of the 1906 Antiquities Act and the Reaction and Reform That Followed.”

Second place: Dagny Lee, of Cody Middle School with teacher Gretl Class, “The Price Paid: The Story of the St Valentine’s Days Massacre.”

Senior Individual Performance

First place: Lilla Beaulier, of Laramie Homeschool with Beaulier, “The Life and Death of Cattle Kate: The Revolutionary Homestead Act, the Wyoming Cattle Barons’ Reaction, and the Resulting Reforms to the Open Range.”

Junior Individual Website

First place: Violet Dunn, of Shoshoni K-12 School with Becker, “Florence Nightingale.”

2nd Place: Ezra Ferguson, of Worland Middle School with Keller, “The Industrial Revolution Upclose.”

Senior Individual Website

First place: Morgan DeStefano, of Kelly Walsh High School with teacher Marc Fleming, “The Women Who Demanded Change: The Lowell Mill Girls.”

Second place: Parker McDowell, of Jackson Hole High School with teacher Jeff Brazil and Bauman, “Bob Woodward and Watergate.”

Junior Paper

First place: Dietrich Otto, of Greybull Middle School with teacher Michelle Stebner, “The Berlin Wall.”

Second place: Sandra Reed, of Jackson Hole Middle School with Poduska, “The Emergence of Nicaraguan Sign Language: ‘It Happened on the Playground.’”

Senior Paper

First place: Madison Schroefel, of Kelly Walsh High School with teacher Marc Fleming, “Revolution of 1994: The Violence Against Women Act and the End of Marital Immunity.”

Second place: Jacob DeMott, of Cheyenne Homeschool with teacher Ron DeMott, “Peter the Great: Reforming Russia.”

Special Award Winners

The Wyoming Voices Award honors an outstanding senior division History Day project that showcases exceptional research, storytelling and insight into the history of Wyoming, sponsored by WyoHistory.org. The winner is invited to become a student contributor to WyoHistory.org, collaborating with Kylie McCormick, Wyoming historian and WyoHistory editor, to share their History Day journey and research topic in a published feature. This year’s winner is Mai, of Laramie High School, for “Reaction to Injustice: The Black 14’s Drive for Reform.”

The Family History Award is given for the best use of family history or genealogy, sponsored by the National Society of the Colonial Dames of America in Wyoming. This year’s winner is Wacey Myers, of Shoshoni K-12 School with Becker, for “How Picasso Reformed Art.”

The Jim Gatchell History of Science Award is given for an outstanding project in the history of general, medicinal, technological or veterinary science, sponsored by the Jim Gatchell Memorial Museum. This year’s winner is Katherine Levenson, of Jackson Hole High School with Bauman, for “Deep Impact Space Mission: How Deep Impact revolutionized planetary and Cometary Science.”

The Mark A. Greene Excellence Award is given for an outstanding demonstration in the use of primary sources, sponsored by the AHC. This year’s winner is Mai for “Reaction to Injustice: The Black 14’s Drive for Reform.”

The Pieces of the Past Award recognizes a project that explores a topic related to archaeology and what we learn from ancient objects and places. The award is sponsored by the Wyoming Archaeological Society and the Wyoming Association of Professional Archaeologists. This year’s winners are Hamilton and Thornton for “Iron Age Ship Building.”

The Outstanding Women in History Award honors a project demonstrating outstanding women in history. The award is sponsored by the Wyoming State Society of the Daughters of the American Revolution. This year’s winner is Dunn for “Florence Nightingale.”

The Global Engagement Award for Excellence in International History recognizes an outstanding project that demonstrates exceptional research, analysis and interpretation of international history or global affairs. The award is sponsored by the UWYO Global Engagement Office. This year’s winners are Anneke Bradley and Vada Haling, of Jackson Hole High School with Bauman, for “The Royal Question: A People’s Reaction and the Reform of a Divided Nation.”

The George and Linda LaBarre Scholarship, which includes $1,500, split between winners, is for an outstanding entry for a high school junior or senior student attending a college in Wyoming or UW. The award is sponsored by the AHC. This year’s winners are Melinkovich and Allen, of Pinedale High School with Robertson, for “The Historical Impact of Miranda Rights and How it Revolutionized the Way Confessions are Received Today.”

The Gerald and Jessie Chambers Scholarship, for $3,000, is for an outstanding entry for a high school junior or senior student attending a college in Wyoming or UW. The award is sponsored by the AHC. This year’s winner is Jones for “Reaction and Reform Through Music in Anti-War Culture of the 1960s and ‘70s.”

A person poses in front of a backdrop. The backdrop is branded with wyoming history day logos, which feature a graphic of a bison
AHC Educator and History Day Judge Kendall Diaz poses for a photo.

Post contributed by AHC Head of Education and Outreach Brigida Blasi and Wyoming History Day Coordinator Bryce Mittelstadt.

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The Nat King Cole They Knew 

When Nat Cole was a teenager in Chicago, he couldn’t always afford to get into the clubs where the great jazz pianists played. So he found another way in. His first wife, Nadine, recalled that he would slip around to the alley behind the venue and listen through the wall. 

The pianist he was listening to was Earl Hines. 

Cole stood in that alley night after night, absorbing every run and figure he could hear through the bricks. Eventually he worked up the nerve to go inside, introduce himself, and ask Hines if he could sit in. Hines said yes. In his early playing, Nadine remembered, Cole sounded unmistakably like Hines. Then, gradually, something else emerged. As she put it simply: “He developed his own style.” 

Nat King Cole performs in a nightclub. He wears a white tuxedo, leaning back with a stand microphone as he sings.
Nat King Cole performing at Chez Paree, a Chicago night club. Box 98, Ernest Tidyman papers, Collection No. 9178, American Heritage Center, University of Wyoming.

That arc — the shy kid in the alley who becomes something entirely new—is the story of Nat King Cole in miniature. It survives in one of several oral histories gathered in the 1980s by screenwriter Ernest Tidyman and his wife, Chris Clark-Tidyman, who were researching a television biopic of Cole’s life. Those recordings are among the materials now held in the Ernest Tidyman papers at the American Heritage Center. This post draws on four of them—interviews with Cole’s first wife Nadine, his older sister Evelyn “Bay” Coles, his road manager Baldwin “Sparky” Taveres (also spelled Tavaros), and the songwriter Bobby Troup—each offering Cole’s story in the words of someone who shared it with him. 

A Shy Guy 

Nathaniel Adams Coles was born in Montgomery, Alabama, in 1919. His family moved to Chicago when he was still a boy, where his father, Reverend Edward Coles, led a Baptist congregation and his mother Perlina was the church organist. The music was not taught — it arrived. Nadine was clear that Cole did not study in any conventional sense; he simply played, picking out two-handed melodies by ear from the age of four or five. 

His sister Bay described a household that was big and always full of people — but the boy at its center was, in private, strikingly self-contained: 

“The echo that people saw on stage or as a performer was a totally different type of person, because he was very shy. He was very bashful and shy. And very low key, very quiet in general. The loudest thing about him was his laugh. Because when he laughed, he just let it all go.” 

— Evelyn “Bay” Coles, Nat’s older sister 

In the late 1930s, Nat even wrote a song about it, called “I’m Just a Shy Guy.” Nadine recalled it with a quiet laugh — completely overlooked, she said, lost in the noise around “Straighten Up and Fly Right.” But it was true. 

Bay’s childhood memories have the texture of something lived rather than recalled for posterity. She remembered what happened whenever Nat spotted her coming down the street while he was with his friends: 

“I would see him, maybe he’d have a piece of candy or ice cream, and he’d be with his friend, and he’d hand it to his friend, if he see me coming, so he could say it was his friend’s.” 

—Bay Coles 

He told his mother: “One day my name will be up in lights.” By fifteen he was performing professionally. At seventeen he left home as pianist and band director for Shuffle Along, a traveling musical revue, where he met Nadine, a dancer in the show. They married on the road — twice, as it turned out, the first ceremony in Ypsilanti, Michigan hasty enough that they held a proper one in Ann Arbor shortly after. When the show folded in California, Nat and Nadine were stranded. 

A small newspaper clipping announcing the application for a marriage license by Nat King Cole and Nadine Robinson
Marriage license application for Nathaniel Coles and Nadine Robinson, Kalamazoo Gazette, January 26, 1937.
Source: Newspapers.com.

The Trio 

Stranded in Los Angeles, Cole formed a piano-guitar-bass trio and began working small clubs. The origin of the group carries an irony that Taveres enjoyed recounting. Asked how the Nat King Cole Trio came to exist, he had a one-line answer: 

“Lee Young is the reason for the Nat King Cole Trio. He didn’t show up for work that night.” 

— Sparky Taveres, road manager 

Lee Young—drummer, brother of saxophonist Lester Young, and a close friend of Cole’s—was supposed to be in the band the night the trio format was born. Cole went on without him. Nadine described what the trio sounded like once it found its footing: after six or eight months together, she said, the three musicians sounded like one. Taveres added that during those years, Cole never played the same song twice in the same night. 

Henry Miller, who joined the talent agency General Artists Corporation in 1943 and was assigned to Cole’s account, remembered the moment “Straighten Up and Fly Right” broke through: the trio was earning $225 a week for all three men combined, playing a 90-seat cocktail lounge, and suddenly “people lined up all around the block to get in this club every night.” The manager Carlos Gastel signed Cole to personal management and made a deal with Capitol Records. Cole moved through the sudden fame with a steadiness that Miller never forgot: “He was so calm and so cool. Always just like he was when he was making $225 a week.” 

The Night Route 66 Almost Didn’t Happen 

Among the songs most closely identified with Cole is “(Get Your Kicks on) Route 66,” written by Bobby Troup. Troup described the night he played it for Cole at the Trocadero on Sunset Boulevard — having finished writing it on the drive west after his discharge from the Marines: 

“I got up, and the bandstand was on a riser, and the counter bench was kind of close to the edge of the riser. And I got up and sat down, and the legs of the piano went over the riser, and I fell over backwards.” 

— Bobby Troup, songwriter 

Cole, watching a man fall off the back of a piano riser, was not immediately impressed. But Troup played on. When he got to “Route 66,” Cole’s demeanor changed. He said he’d record it. Troup—who had almost no money—went out and bought a house on three mortgages. Capitol pushed “Route 66” ahead of twenty other ready releases. Years later, Cole sat down with Troup after a show and said: 

“With Mona Lisa, with Nature Boy, and all the things that I’ve done and the popularity that they’ve enjoyed — I’d like you to know that the song I am most identified with of all my songs is your song, Route 66.” 

— Nat King Cole, as recounted by Bobby Troup 

The Nat King Cole Trio performing “Route 66.”

Troup also offered a musician’s view of what made Cole technically extraordinary: most pianists, when they sing, drop back to simple chord support. Cole didn’t. He ran full melodic figures with his hands while his voice carried the song — in two worlds at once. “I’ve never heard anyone do it as beautifully as he did.” 

The Road 

Fame did not insulate Cole from the realities of race in America. It was Taveres’s job to travel ahead of the show and clear a path. He was not a man who absorbed the indignities quietly: 

“The worst cities in the world, believe it or not, were always in the north. New York, Philadelphia, Detroit — and you run into them, and they are the worst bastards. But I always had something to tell a clerk. I’d give them a fit after the manager would tell them to give me the room.” 

— Sparky Taveres 

In Las Vegas, the opening engagements came with their own theater of humiliation. At the Thunderbird Hotel, where Cole was the headliner, he had to enter through the back door. Management set up a lavish buffet in the dressing room. Taveres remembered it clearly: they didn’t touch it. “We wouldn’t even touch it, drop it. Nothing in there.” When a hotel boss later came backstage wanting Cole to dedicate a song to a friend, offering $10,000, Taveres’s answer was immediate: “I don’t tell you how to run a casino. Don’t you tell me how to run my stage.” 

Cole’s approach to the broader fight was characteristically his own. Miller described him as someone who pushed at barriers without raising his voice: “He was just determined to help break it down without being a rabble rouser about it.” Cole bought a house in the all-white Hancock Park neighborhood in Los Angeles; when neighbors objected to “undesirables,” he replied, “Neither do I, and if I see any, I’ll be the first to complain.” 

A one-column newspaper clipping. The headline reads "Negro to live in fashionable area."
An Associated Press report on Cole’s purchase of a home in the Hancock Park district of Los Angeles. The News-Star (Monroe, Louisiana), August 3, 1948.
Source: Newspapers.com.

Cole was the first Black performer to play a Southern tour with an integrated company, including Ted Heath’s band from England. In April 1956, in Birmingham—the city of his birth—men rushed the stage and assaulted him mid-performance. When the NAACP pressed him to become a public spokesman, Cole’s response, as Bay recalled it word for word, was: 

“I will not join you in speaking because I am not an orator. I am a performer and I will join you in the way I can.” 

— Nat King Cole, as recalled by Bay Coles 

The Stage 

Onstage, the private, self-contained man Bay knew became someone else entirely. She described the moment the lights came up: 

“When you walk out on that stage you just had a little, call it a sneaky smile … and lit up a stage. He never came off panting … He enjoyed what he was doing. In fact, he felt safer out there than he did anywhere.” 

—Bay Coles 

That safety was earned. Bay was unambiguous about the standards he held: “Out there he was so much fun, but he was more serious about his work out there than he was anything else. Don’t play with him on that stage. Don’t miss a cue.” Cole never considered himself a singer. Taveres put it plainly: “You could compliment him on the piano playing, and you’d get a bigger smile out of him than you would if you said he was a singer.” 

There was one evening in Philadelphia that illustrated this. A young woman in the audience told Cole that if he played more piano, he’d be the biggest thing in her world. Cole laughed so hard he could barely respond. At the next show, he played three piano tunes in the second half, looking down at her table the whole time. She sent him flowers the next day. 

Cole explained the demise of his NBC television variety show, which ran for 64 episodes in 1956–57 with guests including Harry Belafonte, Ella Fitzgerald, and Bing Crosby, with characteristic economy: “Madison Avenue is afraid of the dark.” Miller, who traveled with him to Japan, Korea, Australia, and New Zealand, recalled Cole’s response when a Korean orchestra played completely out of tune the night before a concert. Cole turned to him and said: “Henry, three days from now we won’t even be worrying about it, will we?” 

The Final Years 

The relentlessness of Cole’s schedule was something Taveres had watched with alarm for years. In his final months, that alarm became something else. Taveres described Cole staying up until six or seven in the morning in Las Vegas, reviving himself with the steam room before the evening’s shows, while a local doctor dismissed his declining health as exhaustion.  

Cole eventually flew to San Francisco for a proper examination. The x-ray found a tumor. By January 1965, surgeons had removed his left lung. It was too late. 

In those final weeks, something had shifted between Cole and the man who’d been at his side for over a decade: 

“Just the last two weeks before they took him to the hospital for the cancer, he wouldn’t allow anybody to touch him but me.” 

— Sparky Taveres 

Nat King Cole died on February 15, 1965. He was 45. He was eulogized by Jack Benny. His hits—“Route 66,” “Mona Lisa,” “The Christmas Song,” “Unforgettable”—have never left the air. 

Glenn E. Wallichs’ personal tribute to Nat Kine Cole after Cole’s death. A small line-drawn illustration of Nat King Cole's face appears in the bottom right. The name "Glenn E. Wallichs" appears in cursive at the bottom.
Glenn E. Wallichs’ personal tribute to Nat Kine Cole after Cole’s death. Wallichs was the Chairman of the Board of Capitol Records. Box 98, Ernest Tidyman papers, Collection No. 9178, American Heritage Center, University of Wyoming.

Miller, who spent decades working with hundreds of artists, offered a verdict with the weight of a long career behind it: “Very rarely do you find somebody that calm. He was sort of like a quiet giant.” The boy who stood in a Chicago alley listening to Earl Hines through a wall became one of the most recognizable voices of the twentieth century. He did it by being, in Nadine’s quiet phrase, something entirely his own. 

The Ernest Tidyman papers at the American Heritage Center hold an extensive collection of materials gathered by Tidyman and his wife — among them oral histories with a range of people who knew Cole personally and professionally. Ill health prevented the project’s completion. But the interviews survived, and with them candid, first-hand accounts of Cole’s life and career from the people who shared it with him.  

By AHC Writer Kathyrn Billington and AHC Archivist Leslie Waggener. 

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Krazy George and the Wave

This story expands on “‘From Sparti and His Spear to Pete and His Pistol,” a WyoHistory.org article by University Archivist John Waggener that tells the story of the first Pistol Pete mascot, Don Bogdan.

When Don Bogdan handed his San Jose State roommate a drum at a football game in 1967, he had no idea he was launching one of the most unique careers in sports entertainment history.

George Henderson, who would become known worldwide as “Krazy George,” credits Bogdan with transforming his path. “My whole life would have never changed without Don Bogdan,” Henderson recalled in a 2023 oral history interview. “He put me on a whole other track that I never knew.” That track would lead Henderson to become forever associated with one of the most recognizable stadium traditions in the world: the Wave.

In this 2014 autobiography, George Henderson reflects on his life and career. Box 1, Donald Bogdan Pistol Pete papers, Coll. No. 300070, American Heritage Center, University of Wyoming.

Henderson’s journey from accidental cheerleader to professional sports icon began simply. Bogdan, already an enthusiastic San Jose State fan, brought a drum and bugle to a football game and convinced his roommate to join him. “I couldn’t play the bugle—that takes talent,” Henderson remembered. “So he handed me the drum. I would hit it once in a while.”

By the third game, they had three student sections following them. When the head cheerleader approached them at season’s end and asked, “Why don’t you guys go out for cheerleader?” Henderson resisted. But Bogdan was, as Henderson describes him, “possessed” and “driven.” Bogdan insisted they try out. Despite Henderson’s admittedly terrible performance at the formal routines, both made the squad for the 1968-69 seasons. While Bogdan went on to create the elaborate fiberglass Sparti costume and later become Wyoming’s first Pistol Pete, Henderson continued cheerleading and became a professional.

Don Bogdan as Pistol Pete as seen in the Branding Iron, February 12, 1971.

Henderson traces the Wave back to his evolution as a crowd-engagement specialist. At San Jose State in 1968, he pioneered a sectional cheer with three student sections standing in sequence to spell out “San-Jose-State.” He refined the concept in 1980 while working for the Colorado Rockies NHL team in Denver, creating a continuous cheer where sections would stand and sit in sequence around the arena.

But Henderson claimed that the technique reached its full form on October 15, 1981, at an Oakland Athletics playoff game. Henderson describes starting the cheer with four sections, watching it die, having those sections boo to embarrass the rest of the crowd, then trying again. On the third attempt, the wave traveled all the way around the stadium. On the fourth, “it was like a freight train,” Henderson recalled. “It just never stopped for like, you know, six, eight times.”

The crowd reaction was so powerful that Henderson marks this as the day he “invented” the Wave, though he acknowledges he had been developing the concept for years. The tradition spread rapidly through professional sports and exploded globally when it appeared at the 1986 World Cup in Mexico, where international audiences dubbed it “the Mexican Wave.”

Henderson’s professional cheerleading career spanned more than 100 teams and over 3,000 games across five decades, making him possibly the only person in history to make a living solely by leading crowd cheers at sporting events—no corporate appearances, no mall promotions, just three hours a week firing up fans. His friendship with Don Bogdan remained strong throughout their lives, and in 1987, they even opened a restaurant together called Krazy’s in Aptos, California, featuring eleven TV screens, three satellite dishes, a garden railroad circling the ceiling, and a Formula race car mounted upside down above the dining room.

A 3:45 minute video recorded in 2024 in which “Krazy George” reminisces about inventing the Wave at the Oakland Coliseum.

When Bogdan was diagnosed with cancer and died in 2014, Henderson preserved his friend’s legacy by donating Bogdan’s original Sparti costume to San Jose State University for permanent display. The story of these two San Jose State roommates—one who created Wyoming’s Pistol Pete, the other who created the Wave—reminds us that the innovations that define modern sports culture often begin with simple moments: a drum handed to a friend, an invitation to try something new, and the relentless enthusiasm to make crowds come alive.

This story is based on an oral history interview with George Henderson conducted by John Waggener on September 19, 2023. The interview is part of the Donald Bogdan Pistol Pete papers at the AHC.

Note: The invention of the Wave is disputed, with the University of Washington also claiming to have originated the tradition on October 31, 1981.

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The Good Kind of Desert Dust

If you’ve spent any time driving through Wyoming, you’ve probably seen huge herds of wild horses on the roadside. These beautiful animals are an icon of the American West, and Frank “Wild Horse” Robbins spent his whole life working with and protecting wild horses. Frank Robbins was born near Box Elder Creek near Glenrock, Wyoming on November 7, 1894. He was a rancher and a cowboy his whole life. For a time, he even broke horses for the Army’s Remount Service during World War I. In 1935, after his time working for the Army, he moved back to Glenrock and began catching wild horses. He mainly worked out of the Red Desert, which is between Rawlins and Rock Springs, Wyoming.

Frank Robbins on his ranch near Glenrock.
Envelope 1, Frank Robbins papers, Collection No. 10496, American Heritage Center, University of Wyoming.

In March of 1943, the U.S. Grazing Service (today called the Bureau of Land Management) held a meeting to discuss reducing the population of wild horses on federal ranges in Wyoming. At that time, an estimated 100,000 wild horses lived on this land. Robbins attended this meeting and presented a plan to gather the wild horses and put them to use instead of just getting rid of them.

Robbins created “horse traps” (corrals constructed a certain way to prevent horses from escaping them) all over the Red Desert. After a few attempts at gathering wild horses had been disrupted by a mail plane flying overhead, he began to gather horses more efficiently by herding the horses with small planes. He captured an estimated 30,000 horses which were either sold as rodeo stock or sent to Europe to supply meat during World War II. Robbins would also take the best roan and buckskin mares back to his ranch near Glenrock and breed them with American Quarter Horses to create a breed called “Robbins Roans.”

Wild horses being corralled during a Robbins’ round up.
Box 1, Andrew Springs Gillespie papers, Collection No. 175, American Heritage Center, University of Wyoming.

On a July morning in 1945, Robbins caught a wild palomino stallion which he later named “Desert Dust.” Verne Wood, a Rawlins photographer, happened to be riding along with Robbins on the day Desert Dust was captured. He took a photo of the stallion that soon became one of the most famous wildlife photos of the American West.

Desert Dust.
Box 714, James L. Eherberger papers, Collection No. 10674, American Heritage Center, University of Wyoming.

Verne Wood hand-tinted the photo and distributed several copies, including one to the Cheyenne Capitol building and one to Senator Joseph C. O’Mahoney’s office. The photo caught the attention of newspapers and magazines across the United States, and even the attention of Hollywood. In 1946, Universal Studios created an Oscar-nominated short film called “Fight of the Wild Stallions” which featured Robbins, Desert Dust, and Robbins’ method of using airplanes for wild horse gathering. Robbins even used the photo to promote his own “Robbins Wild Horse Rodeos,” which were held each year around July 4 at his ranch and used horses Robbins had gathered.

Desert Dust in action, Robbin’s Rodeo – July 4-5, 1947.
Box 1, Andrew Springs Gillespie papers, Collection No. 175, American Heritage Center, University of Wyoming.

In the end, Desert Dust’s fame attracted the wrong sort of attention. In 1952, Desert Dust was killed in a drive-by shooting. The killer was never caught. Frank Robbins passed away on July 5, 1984, and was inducted into the Wyoming Cowboy Hall of Fame in 2016. Even though Robbins and Desert Dust aren’t around anymore, you can still see their impact on today’s world. The corrals and rock formations Robbins used to capture wild horses, Desert Dust included, are still standing near Wamsutter, Wyoming. Desert Dust and Robbins’ work with wild horses also helped inspire the passage of the Wild Horse Protection Act of 1959 and later, the Wild and Free Roaming Horse and Burro Act of 1971. Both of these acts protect wild horses in the West.

Post contributed by Archives Aide Sarah Kesterson, AHC Reference Department.

#alwaysarchiving

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Marguerite Shepherd: Assistant to “Ace of Aces” Eddie Rickenbacker

Marguerite “Sheppy” Shepherd (1894-1983) was the longtime personal assistant to ‘Ace of Aces’ Eddie Rickenbacker (1890-1973), a World War I fighter pilot, race car driver, automotive designer, government consultant in military matters, air transport pioneer, and longtime head of Eastern Air Lines.

Rickenbacker featured on the cover of Knights Templar magazine four years after his death in 1973.
Box 2, Marguerite Shepherd papers, American Heritage Center, University of Wyoming.

Ms. Shepherd was born and raised in Hamilton, Ontario, Canada, and, in 1923, became Rickenbacker’s secretary at the Rickenbacker Motor Car Company in Detroit, Michigan. In later years, she became his executive secretary at Cadillac Motor Company, Fokker Aircraft Company, American Airways, and Eastern Air Lines. Shepherd was for many years a member of the Seraphic Secretaries of America and the Women’s Traffic Club of Greater New York.

Sheppy Shepherd (left) with Amelia Earhart at the Pittsburgh airport en route to the Indianapolis Motor Speedway 500 Mile Race, May 29, 1935.
Box 2, Marguerite Shepherd papers, American Heritage Center, University of Wyoming.
Group of newspapermen, broadcasters, and others en route to Indianapolis Motor Speedway 500 Mile Race, May 29, 1935. Amelia Earhart just below Dick Merrill, pilot. Sheppy Shepherd is third from right in front row.
Box 2, Marguerite Shepherd papers, American Heritage Center, University of Wyoming.

By the time Ms. Shepherd became Rickenbacker’s secretary, he was already had a well-established reputation as daredevil par none, but he was also on his way to going bankrupt. He had started the Rickenbacker Motor Company in 1920, selling technologically advanced cars incorporating innovations from auto racing. Probably due to bad publicity from other car manufacturers who feared the competition for their inventory of two-wheel braking autos, the company had trouble selling its cars and eventually went bankrupt in 1927. Rickenbacker went into massive debt but was determined to pay back the $250,000 he owed, despite personally going bankrupt. Eventually, all vehicles manufactured in the U.S. incorporated his four-wheel braking.

Rickenbacker’s career did not want for adventure with at least two near death mishaps, the bold purchase of Eastern Airlines for $3.5 million in 1938 (also $60M in today’s dollars), and a World-War II era fact-finding trip into Russia for the U.S. War Department, and more. Ms. Shepherd was with him during the ups and the downs of his career.

Eddie Rickenbacker with wife Adelaide and sons William and David taken at LaGuardia Airport, December 1942.
Box 1, Marguerite Shepherd papers, American Heritage Center, University of Wyoming.

Shepherd’s papers contain Rickenbacker’s business correspondence; photographs of Shepherd, Rickenbacker, Eastern Air Lines events and personnel, and tributes to Rickenbacker; and programs, speeches, newspaper clippings, and other printed material about Eastern Air Lines. There are also books and magazines by and about Rickenbacker and scripts for radio interviews with Shepherd regarding her secretarial career and her membership in the Seraphic Secretaries of America.

Post submitted by AHC’s Simpson Archivist Leslie Waggener.

#alwaysarchiving

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Remembering the Good and the Bad: AHC Collecting COVID-19 Continues into Holiday Season and Spring 2021

The holidays starting with Halloween through the Chinese New Year in January have traditionally been a time of celebrations, parties, and gatherings with co-workers, friends, family, and loved ones. With the continued spread of COVID-19 globally, the CDC and Department of Health recommendations for preventing transmitting COVID-19 include limiting in-person interactions, especially with people outside of your residence. The AHC wants to know how you adapted your traditions, celebrations, and normal routine to stay connected with your nearest and dearest through this uncertain time in Wyoming. We’ll preserve your stories for current and future generations.

Participating in this project is easy. The AHC wants our community members to express their observations and feelings about the pandemic in a manner that is best suited for them. We encourage our contributors to take photographs, write stories, create artwork, interview friends and family, participate in the AHC survey, and submit essays that tell us what you see, feel, hear and what has changed over the last few months.

How did you celebrate Thanksgiving? Did you trying cooking your first turkey? Did you create menus with friends and family to share the experience via Zoom?

Al Hovey carving the Thanksgiving turkey at Willow Glen, which was the Nichols family home near Encampment, Wyoming, November 24, 1955.
Box 15, Photo #15845, Collection No. 1005, Lora Webb Nichols Papers, American Heritage Center, University of Wyoming.

Will you host a virtual new year’s party? Will it have a theme? Will you play virtual background bingo? Will you be hosting a Netflix party to watch a holiday classic film?

Group of young people at Christmas or New Year’s Party, 1922.
Box 4, Negative #9065a, Collection No. 167, Ludwig & Svenson Studio Photographs, American Heritage Center, University of Wyoming.

Will you drive around town to look at the holiday lights? Did you participate in your town’s holiday decoration contest?

Christmas lights at the Albany County Courthouse, Laramie, Wyoming, December 1934.
Box 20, Negative #21894, Collection No. 167, Ludwig & Svenson Studio Photographs, American Heritage Center, University of Wyoming.

Did you send holiday cards? Did you send handwritten family letters?

Photograph of children for Christmas cards at the Children’s Home in Stockton California, January 1946.
Box 13, Photo #13400, Collection No. 1005, Lora Webb Nichols Papers, American Heritage Center, University of Wyoming.

Did you finally try making popcorn and cranberry garland? Did you catch your grandpa snooping under the tree at the presents?

Christmas tree, 1900.
Box 91, Negative #D3-3084 & B-31532, Collection No. 400044, Samuel H. Knight Collection, American Heritage Center, University of Wyoming.

The AHC encourages you to be creative and express how this pandemic has impacted your life professionally and personally. Gathering these stories now for long-term preservation ensures an accurate and more complete narrative about your experiences.

While the links to the AHC COVID-19 Collection Project and survey have been taken down, the AHC, in partnership with the Wyoming State Archives, Wyoming State Museum, and Wyoming Historical Societies, have created a joint online platform to display the submissions we received. Your stories are now available for others to interact with and may provide a sense of understanding and comfort.

This blog was updated in 2024.

Happy Holidays! #COVID19WY #alwaysarchiving

Union Pacific Christmas trees and decorations at the old stone roundhouse, Laramie, Wyoming, December 1928. When this roundhouse was no longer being used for the railroad’s operation, it was converted into a community center where holiday parties and other events often were held.
Box 12, Negative #15387, Collection No. 167, Ludwig & Svenson Studio Photographs, American Heritage Center, University of Wyoming. 

Posted in community collections, Coronavirus outbreak, COVID-19, Current events, Digital collections, Holidays, Pandemics, Public health, Wyoming history | Tagged , , , , , , , , | Leave a comment

Superman’s Pal – Mort Weisinger

After World War II, superhero comics, which had been a welcome diversion for American servicemen, stalwart champions of War Bonds, and other support for the home front during the conflict, largely lost their audience and were gradually replaced by comics with horror, romance, science fiction, war, and western themes.  Following the setbacks to the industry by the establishment of the Comics Code Authority in 1954, superhero comics all but vanished with only Superman, Batman, and Wonder Woman continuing to be regularly published.  It wasn’t until 1956 that the genre revived when DC Comics editor Julius Schwartz, published issue #4 of “Showcase” which featured a reimagining of the Golden Age character, “The Flash”.

Mort Weisinger (1915-1978) began writing for pulp magazines while in college and, along with his good friend Julius Schwartz, founded the first literary agency to specialize in the related genres of science fiction, horror, and fantasy.  Weisinger joined National Periodicals (later DC Comics) in 1941 and, much like his contemporary, Stan Lee over at competitor Marvel Comics, he was very much a part of the comics community throughout both the Golden and Silver Ages of Comics.  In addition to editing “Batman” and creating such characters as “Aquaman”, and “Green Arrow, Weisinger was also the editor of the Superman comic books from 1945-1970 and the story editor of “The Adventures of Superman” television show which ran from 1952-1957.

Weisinger’s tenure on Superman was marked with a number of new concepts, story ideas, and supporting characters which became standards in the Superman mythos, which are recognizable today by millions of people who aren’t otherwise familiar with the character.  These include the introduction of Supergirl, Krypto the Superdog, the Phantom Zone, the bottle city of Kandor, the Legion of Super-Heroes, and a variety of types of kryptonite.  It was also under Weisinger that the rationalization that Superman’s powers stemmed from his being from another planet and living under Earth’s yellow sun (instead of Krypton’s red sun) was first used to explain the character’s abilities.

Advertisement for a talk by Mort Weisinger at the University of Kansas, 1974. Box 1, Mort Weisinger papers, American Heritage Center, University of Wyoming.

The Mort Weisinger collection at the American Heritage Center contains materials relating to Weisinger’s work as a writer and editor from 1928-1978. The collection includes correspondence (1932-1978) mostly regarding his work as a writer and editor for “This Week” and other magazines and with companies who were included in “1001 Valuable Things”; the galleys and manuscripts for “The Contest,” “The Complete Alibi Handbook” and “1001 Valuable Things”; the manuscript for an unpublished novel about a U.S. President (ca. 1975); legal agreements between Weisinger and “This Week” and Bantam Books (1954-1978); and photographs of Weisinger, the Weisinger family and various celebrities.  The collection also includes newspaper clippings on Weisinger and Superman (1928-1978); a script for the motion picture version of “The Contest” (1971); 2 16 mm films from “The Adventures of Superman” television show (1957); 5 scrapbooks; comic books; miscellaneous art work for the Superman comic book; and the board game “Movie Millions,” which was developed by Weisinger.

Anyone interested in the history and inner workings of the comics industry in the United States is invited to explore both the Mort Weisinger and Stan Lee collections at the American Heritage Center to learn more about this fascinating aspect of American popular culture.

Post contributed by AHC Collections Manager Bill Hopkins.

#alwaysarchiving

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