Wild West Podcast
Welcome to the Wild West podcast, where fact and legend merge. We present the true accounts of individuals who settled in towns built out of hunger for money, regulated by fast guns, who walked on both sides of the law, patrolling, investing in, and regulating the brothels, saloons, and gambling houses. These are stories of the men who made the history of the Old West come alive - bringing with them the birth of legends, brought to order by a six-gun and laid to rest with their boots on. Join us as we take you back in history to the legends of the Wild West. You can support our show by subscribing to Exclusive access to premium content at Wild West Podcast + https://www.buzzsprout.com/64094/subscribe or just buy us a cup of coffee at https://buymeacoffee.com/wildwestpodcast
Wild West Podcast
What Makes a Story Truly Humorous? Clay Calloway's Journey Through Dodge City's Wild Past
Ever wondered how true American humor differs from its European counterparts? Clay Calloway joins the Wild West Podcast to reveal the secrets behind genuine frontier storytelling through his introduction to "The Legends of Dodge City: The Enterprise."
Calloway's masterful analysis connects human anatomy to narrative structure, using the "funny bone" as a metaphor for how great stories deliver their impact. Unlike the immediate burst of a comic tale, true American humor bubbles along gently before delivering a lingering intellectual jolt. The distinction lies not in content but in delivery – grave, wandering, and punctuated by powerful pauses.
The conversation reveals how Dodge City wasn't born from traditional city planning but from entrepreneurs who "simply uncorked a barrel of whiskey, pitched a tent, and laid down a few boards." This reckless pursuit of profit created a legendary legacy that outlasted both the mighty buffalo herds and the whiskey that once flowed freely through its streets. Calloway's introduction frames the book's approach to telling the stories of Dodge City's founders with authentic frontier humor.
Drawing from the ancient theory of the four humors, Calloway creates a fascinating framework for understanding different storytelling temperaments. This classification system reveals that genuine humor isn't born from pure levity but emerges from understanding life's contradictions and absurdities. As he notes with philosophical insight, "There is no laughter in heaven because there is nothing to laugh at" – humor serves as our weapon against life's hardships.
Join us for this captivating episode that offers not just a preview of an exciting new book but a masterclass in the art of storytelling. Subscribe to our podcast on iTunes or visit wildwestpodcast.com to ensure you never miss an episode. Have thoughts or want to contribute to future discussions? Reach out to us at wildwestpodcast@gmail.com – we'd love to hear from you.
Select the link to order the dime novel “Legends of Dodge City: The Enterprise.”
Greetings everyone. My name is Mike King and it's my distinct pleasure to serve as both the writer and producer of the captivating Wild West podcast. Today, we are set to embark on an exhilarating journey as we unveil a fascinating new book titled the Legends of Dodge City the Enterprise. To inaugurate our program, I am thrilled to extend a warm welcome to the exceptionally talented author behind the book's first article, whose pen name is Clay Calloway. Clay, it's a true honor to have you join us today. Please share a little about yourself with our audience and delve into the creative vision that fueled your compelling narrative, exploring the rich and vibrant history of Dodge City's legendary past.
Speaker 2:Thank you, Mike. A bit about myself I am a professional voiceover artist and writer, passionate about breathing life into the written word. Artist and writer passionate about breathing life into the written word. Over the past two years, I've collaborated closely with 11 Labs, lending my voice to various projects. When you contacted me about the opportunity to write and narrate the first chapter of your new book, my excitement was palpable. I've been an ardent follower of you and Brad Smalley for the last five years, and both of you have continually inspired me to pursue my craft in Western writing and narration. Well, thank you, Clay.
Speaker 2:In the Legends of Dodge City, the Enterprise I can confidently proclaim it is poised to become a classic. Your ingenious organization of the content, paired with your masterful introduction of narratives that precede the tales of Dodge City's founders, is nothing short of brilliant. This book offers a refreshing and unprecedented perspective on Dodge City. Instead of merely depicting it as an emblem of a flourishing civilization, it brings to light the spirited marketplace driven by the relentless pursuit of profit that sprang to life. Sprang to life. Ironically, this reckless chase for wealth forged a legendary legacy that would outlast the once mighty buffalo and the intoxicating allure of whiskey. It underscores a profound truth that some of the most significant and lasting achievements often arise from the most unrefined and fleeting intentions.
Speaker 1:Thank, you again, clay. Initially, my vision for the book was to focus on the ten old-timers of Dodge City. However, in light of circumstances involving one of my closest friends, I chose to pivot and tell the story in a different light. I maintained my original aim of narrating the tales of Dodge City's founders while infusing humor into the narrative. I also aimed to conclude the book with the story of the remarkable Charles Bassett, honoring the vital role of law enforcement. This book is dedicated to Brad's father, who devoted many years serving as a Kansas Highway patrolman. A remarkable journey of a man who ascended through the ranks.
Speaker 2:I can only echo that you have achieved this goal masterfully, mike. It's a book that deserves to be in everyone's hands. In this engaging dime novel, you vividly recount the rich tapestry of Dodge City's founding history. With a delightful blend of humor and sharp insight, you bring to life how, rather than erecting a traditional city, these bold innovators simply uncorked a barrel of whiskey, pitched a tent and laid down a few boards to conjure up the birth of Dodge City, not through standard foundations but through the joyous, unrestrained act of celebration. I particularly appreciated your vivid portrayal of the moment when the Atchison, topeka and Santa Fe Railway rolled into town. Atchison, topeka and Santa Fe Railway rolled into town and the streets came alive with buffalo hunters, gamblers and saloon owners trading not in high art and architecture, but in the enticing chaos of rotgut whiskey and the thrilling pandemonium of frontier life.
Speaker 1:Thanks, clay. Now shall we dive into reading the book's first introductory article, to give our audience a tantalizing glimpse of the narrative that awaits them, absolutely.
Speaker 2:Let's get started On the art and anatomy of a humorous story. Introduction Essay by Clay Calloway. Before we begin our stories of the legends of Dodge City, the Enterprise, we must first define the style that will structure the introductory narratives. As a man of my age and disposition, I have learned to view the universe as a conspiracy of malevolent forces. The world, contrary to what poets suggest, is not a grand stage for human drama. Rather, it resembles a booby trap, a low comedy contraption, filled with door jams, loose cobblestones and precariously balanced inkwells, all designed by some celestial prankster to afflict the righteous and the unwary.
Speaker 2:Just the other day, in a moment of profound contemplation, I was contemplating the moral vacuity of Congress, a topic requiring full attention. I took a sharp turn in my study and unintentionally introduced my elbow to the unyielding edge of a bookshelf. This encounter was sudden and unwelcome. The result was not simple pain. Unwelcome, the result was not simple pain. It felt like an electric shock, a bolt of white-hot lightning shooting from my elbow down to my little finger. This left a lingering, tingling sensation, a pins-and-needles feeling that possessed all the charm of a tax collector's smile. As I stood there, shaking my arm, trying to shake off the discomfort, I was struck by a thought more painful than the injury itself.
Speaker 2:The English language, in its baffling poverty, has conspired to call this particular spot the funny bone. Funny, there is nothing humorous about it. This sensation inspires profanity, not laughter. It is as amusing as a funeral dirge or a sermon on a sweltering July afternoon. Yet despite its irony, the term persists. This grievous terminological error led me to a more profound inquiry that has occupied my waking hours and disturbed my sleep. How did this specific bone, the long bone of the upper arm, known scientifically as the humerus, become entangled with the notion of humor? Is it merely a case of two words that sound alike, a cheap pun festering in our vocabulary like a bad tooth? I think not. I suspect a deeper connection, perhaps a more ancient and intricate relationship. So I have taken it upon myself, as a public service, to conduct a thorough investigation.
Speaker 2:We shall embark together on a literary and anatomical expedition. We will dissect this matter with the precision of a surgeon, though, I trust, with considerably more wit and less formaldehyde. We will examine the bony structure itself, delve into the very fluids once thought to govern a man's temperament, his humor, and finally we shall arrive at the delicate art of telling a truly humorous story. I have a sneaking suspicion that the anatomy of a good story can be found right there, in that most grievously and mirthfully afflicted part of a man's arm, the bony framework of a tale. Before a man can tell a story, he must have a structure, a scaffold upon which to hang his narrative thread. A tale without a solid framework is like a house built of fog and good intentions it collapses at the first gust of critical wind. It seems to me that the Almighty, in his occasional moments of architectural clarity, provided us with the perfect model for this structure in the very bone we have set out to investigate. Therefore, let us begin with a brief and, I promise, only moderately tedious anatomical lecture.
Speaker 2:The humerus, as the medical professionals call it, is a long bone, and a noble one at that, running the full length of the upper arm, from the shoulder to the elbow. Its very name is a testament to its importance, derived from the Latin humerus, meaning shoulder, the seat of burdens and responsibilities. At its upper extremity, it possesses a magnificent, nearly hemispherical knob, known as the head or kaput humeri, if you wish to sound scholarly, which fits snugly into the glenoid cavity of the scapula or shoulder blade. Just below this head is a slight constriction called the anatomical neck, a feature of such subtlety that it rarely breaks. Below that, however, lies the surgical neck, a far more vulnerable point and a frequent site of fractures, much like the promising beginning of a story that is snapped in two by a clumsy narrator before it has a chance to unfold.
Speaker 2:From this head, the long shaft of the bone descends. Anatomists describe it as being cylindrical in its upper portion and more prismatic below, which is a fine and poetic description. Is this not the very shape of a proper story? It begins as a simple, rounded narrative and as it progresses it should reveal more complex facets, unexpected angles and sharp edges of truth. This long, sturdy shaft is the perfect model for the kind of meandering episodic journey I have always favored in my own chronicles, a story similar to the Antic Tales of Luke Maglou. The Dodge City Prankster features a master of mischief engaged in playful antics in his unique view of the world. Despite the chaos of his mischievous deeds, the narrative is united by a strong central theme the power of humor, the Antic Tales of Luke Maglou.
Speaker 2:But it is at the bottom end of this bone, the distal extremity where it meets the forearm, that we find the true secret. Here the humerus flattens out and ends in a broad articular surface flanked by two projections called the medial and lateral epicondyles. It is in this region, this point of connection with the world, that we find the story's climax, and it is precisely here that we discover the exposed nerve of the entire operation. For the funny bone, you see, is a misnomer. It is not a bone at all. It is the ulnar nerve, which runs down the arm from the shoulder and for most of its journey is safely protected by muscle and ligament. But as it passes the elbow it travels through a small channel, shielded from the cruelties of the world by nothing more than a thin layer of skin and fat. When you strike your elbow, you are not hitting bone. You are compressing this vulnerable nerve directly against the humerus. And here we arrive at the heart of the matter.
Speaker 2:The sensation of striking the funny bone, that startling, painful yet strangely tingling shock, is the perfect physical metaphor for the effect of a truly great humorous story's nub or punchline. As I have explained elsewhere, a common comic story bursts upon you with a loud and obvious point. It is a firecracker, a sudden explosion of mirth that quickly fades. But the true American humorous story. The high and delicate art does not burst, it bubbles gently along. Its point is not shouted but slurred, delivered so casually that it takes a moment for the listener to catch it. The effect is not an immediate guffaw but a delayed dawning realization. It is an intellectual jolt, it is a strange lingering tingle. It is in fact the precise sensation of having one's intellectual funny bone struck. The goal of a proper humorous story, then, is not to make you laugh out loud, but to deliver a memorable jolt to that exposed nerve in your soul.
Speaker 2:On the four humors of man and the four tempers of a tale. If the very architecture of a man's bones can so perfectly model the structure of a story, it stands to reason that the fluids within him must influence the type of story he is inclined to tell. This line of thinking is not my own invention. It is based on an ancient and respected science that governed medical practice for 2,000 years. This fascinating idea, though it may seem absurd, deserves to be revisited and appreciated. I am, of course, referring to the theory of the four humors.
Speaker 2:The old masters, such as Hippocrates and Galen, believed that the human body contained four cardinal fluids blood, yellow bile, black bile and phlegm. They claimed that a man's health depended on these four liquids, maintaining a state of perfect balance, a condition they called Eukrasia. If one of the humors was in excess or deficient, it resulted in Dyskrasia or disease. This system was linked to the four elements of the ancient world earth, air, fire and water along with the four seasons and the four essential qualities of hot, cold, moist qualities of hot, cold, moist and dry. For example, an excess of phlegm, which is cold and moist like water, was believed to be more prevalent in winter and was blamed for coughs and lung ailments. This intricate and fascinating system, though seemingly nonsensical, is quite admirable. Seemingly nonsensical is quite admirable. Moreover, it did not only pertain to physical health.
Speaker 2:These four humors were also thought to determine a man's temperament, disposition and personality. A man with an excess of blood was considered sanguine and cheerful. An excess of yellow bile made him choleric and angry, too much black bile rendered him melancholic and sad, and a preponderance of phlegm made him phlegmatic and dull. It strikes me that this ancient theory provides a surprisingly effective framework for classifying different types of storytellers. After all, a man's narrative style is simply his temperament, expressed through words. I have therefore taken the liberty of preparing a small chart, a physician's guide, if you will, to the various temperaments of a tale.
Speaker 2:This classification system, as you can see, is both scientific and irrefutable. However, it reveals something more profound. Notice that what we refer to as a man's humor, his temperament, is inextricably linked to states of being that involve suffering. Collar represents anger, while melancholy embodies sadness and fear. This confirms a truth I have long believed Genuine humor is not born of pure levity. Instead, it arises from sorrow and represents a complicated view of life, an understanding of life's contradictions, cruelties and absurdities. As I have mentioned before, there is no laughter in heaven because there is nothing to laugh at. Laughter serves as a weapon, and one does not require weapons in paradise. It is here, in this flawed and absurd world, that we truly need it.
Speaker 2:The American Method or the Delicate Art of the Draw. Having paid our respects to the venerable, albeit profoundly misguided, medical theories of the old world, it is time to dismiss them as the entertaining foolishness they are. That system of humors is a foreign import, much like French cooking or English manners, overly complicated and ultimately unsatisfying. We in America have our own way of doing things, and this is nowhere more evident than in the high and delicate art of storytelling. Now, having just spent a chapter poking fun at the ancients for their rigid formulaic systems, it may seem somewhat hypocritical for me to present my own set of rules. I recognize this irony and invite you to savor it. It is part of the method.
Speaker 2:I am about to outline the principles of the American humorous story with the same unblinking dogmatic authority that Galen used to prescribe bloodletting, and I expect you to take me just as seriously. The first principle, and the most important, is this the American humorous story's effect depends on the manner of the telling, while comic and witty stories depend on the content. An Englishman might tell you a story about a man who falls down a well, and the humor lies in the fact of the fall. An American, on the other hand, might tell you a story about a man who buys a loaf of bread, and the humor is in the telling itself. The subject matter is of little consequence. It is the delivery. That is everything. This leads to the second principle the story must be told gravely.
Speaker 2:The storyteller should do everything in his power to conceal any indication that he suspects there is anything funny about it. The European storyteller, poor fellow, often announces that he is about to relate one of the funniest things he has ever heard. He tells it with eager delight and is usually the first to laugh at the conclusion. It is a rather pathetic sight. In contrast, the American artist maintains an air of solemn innocence. American artist maintains an air of solemn innocence. Furthermore, the tale may be spun out to great length and may wander about as much as it wishes. This is not a flaw, it is a feature. The rambling episodic structure is essential to the effect, lulling the listener into a state of comfortable relaxation before the final jolt.
Speaker 2:Third, consider the matter of the nub. The nub, or main point of the story, should not be shouted at the audience. The comic storyteller might emphasize it heavily, using italics and exclamatory punctuation. The American artist, however, will drop the point in a casually indifferent manner, pretending not to know it is the nub. The great Artemis Ward was a master of this technique. He would introduce the story's main point so subtly that the audience might not grasp it for a moment. Then, when the laughter finally rippled through the hall, he would look up with gentle, innocent surprise, as if wondering what the audience found so amusing.
Speaker 2:Finally, we arrive at the most powerful tool in the American storyteller's arsenal the pause. The pause is a thing of beauty, a moment of profound silence that can be more impactful than any word. I learned the value of the pause during my own lecturing days, particularly when telling the old ghost story of the secret of the stone house. You recount the tale of how the jubilant sounds were suddenly interrupted by a piercing scream that sliced through the air like a knife. The boy came tumbling down the polished walnut staircase, his small face, pale and streaked with tears that glistened in the daylight. Building suspense. Just as the ghost appears, you lean in and pause. You let the silence linger in the air, allowing the audience to lean forward their hearts in their throats. You stretch it until it is nearly unbearable and then deliver the final line.
Speaker 2:A machine could recount the comic version of a story, but only an artist can masterfully use the pause, the whole anatomy of the thing. So there you have it. We have journeyed from a bruised elbow to the dusty halls of ancient medicine and then on to the lecture platforms of the American frontier. We have examined the topic from every angle and we find that all the parts connect.
Speaker 2:The truly great American humorous story is a complex and marvelous creation and we can now finally describe its full anatomy. It must be built upon a solid framework of a premise, with a clear structure, a long and winding narrative and an impactful conclusion that resonates strongly with its audience. It should be animated by well-balanced temperament, a perfect blend of the four humors the sanguine good nature of Luke Maglue, the choleric bite of social satire, the phlegmatic tendency to ramble and the melancholic depth that acknowledges the sorrow from which all true humor arises. When this magnificent creation is brought to life by a true artist, someone who understands the serious tone, the meandering path, the subtle nuances and the powerful pauses, the final effect is not merely a simple laugh. It is a jolt to the soul's funny bone. It is a surprising, lingering and delightfully curious pain that reminds you that you are alive.
Speaker 2:This is my introduction to you before you delve into our series of stories. Beyond the captivating preface, within these pages you will discover the true and humorous tales of those who founded and capitalized on an enterprise centered around buffalo hides and the sale of vice, all in the interest of benefiting humankind. Let us enjoy Legends of Dodge City, the Enterprise. Now, if you will excuse me, this lengthy discussion has been quite exhausting. I will be sending you my bill in the morning and it will not be humorous.
Speaker 1:Clay, thank you for the book's introductory article. It was beautifully narrated, effectively setting the stage for the themes and key concepts. It was beautifully narrated, effectively setting the stage for the themes and key concepts that will be explored throughout. Your portrayal of the author's intentions to tell a humorous story and the overall narrative style were engaging and insightful, inspiring many to dive into the upcoming chapters. I also want to highlight that an essential resource for developing this narrative is the foundational text how to Tell a Story, the Humorous Story, an American Development.
Speaker 1:This insightful analysis by David Widger explores the unique characteristics that distinguish humorous stories from other forms of comedic writing, such as comic or witty tales. Widger's examination emphasizes the nuances of humor, focusing on elements like timing, character development and the interplay of language. These factors all contribute to the overall effectiveness of a humorous narrative. This work serves as a vital resource for understanding the intricate mechanics that make a story not only funny but also resonant and engaging. Additionally, I would like to provide a special note.
Speaker 1:The stories in the book titled the Legends of Dodge City the Enterprise, were created, written and designed by the author, who portrays himself through pen names in the introductory articles to give the narrative depth and character. That brings us to the end of our journey. For today, we sincerely hope you enjoyed the compelling narrative of the first chapter of the Legends of Dodge City, the Enterprise. If you're captivated by the tale and wish to delve deeper into it, we've conveniently placed a link for you to purchase the book in the description of this podcast. I'm also thrilled to share that Brad will be making his much-anticipated return next week. While we haven't quite decided which enthralling story we'll explore next, it will spark curiosity among our devoted listeners. With that said, I'll hand the reins over to Clay to gracefully wrap up our show. Take it away, clay.
Speaker 2:That's it for now. Remember to check out our Wild West podcast shows on iTunes or wildwestpodcast or on our YouTube channel at wildwestpodcast Mike King YouTube. So make sure you subscribe to our shows listed at the end of the description text of this podcast to receive notifications on all new episodes. Thank you for listening to our podcast. We encourage you to visit the Western Cattle Trail Association website at westerncattletrailasoscom to explore our upcoming events, including a special presentation by Dr Jeff Broom on the Sand Creek Battle. If you have any comments or would like to contribute to our series, please contact us at wildwestpodcast at gmailcom. We look forward to hearing your thoughts in future episodes. You.
