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Not Even Past

Two Bowies, One Knife

by Erika Bsumek and Penne Restad

Bowie was a “tall, raw-boned man with deep set eyes, fair hair, and an open and frank disposition.” Convivial and generous, he was a man, it was said, who loved music. That Bowie was James, not David.

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Street sign for Bowie St., Austin, Texas, changed by a fan the week of January 10, 2016, when David Bowie died.

Born in 1796, Jim Bowie was a speculator, a solider, and an adventurer who worked smuggling slaves with his brothers.   Bowie was ambitious and scheming. He gambled at cards and knew how to fight. His weapon of choice, a very large hunting knife, secured him a reputation as the South’s most formidable knife fighter. He famously disemboweled one opponent in a brutal fight.  Noah Smithwick, who was with him at the Battle of Concepción, called him “a born leader.” He eventually made his way to Texas and, like other legendary figures, died in 1836 defending the Alamo.

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James Bowie by George Peter Alexander Healey (c. 1820). Via Wikipedia

Even if Jim Bowie could have known that his name would live on, associated with the long blade he favored, he could never have imagined that his name would be adopted nearly two centuries later by a luminary of pop music—David Bowie. David took the frontiersman’s surname as his own and sought to create, as he told Terry Gross in a 2002 interview, “the 21st century in 1971.”

David Bowie

Masayoshi Sukita (1972)

While David Bowie never killed anyone, he did subtitle his concept album, Outside “the Ritual Art-Murder of Baby Grace Blue: A non-linear Gothic Drama Hyper-Cycle.” As the album title reveals, the two Bowies’ sensibilities and histories could not have been more different. Yet, they two men share much. Both were pioneers, both were fighters, both were adventurous, both collaborated with their equally famous peers, and both were political. Both Bowies are still controversial. And both were adept with the Bowie knife.

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The “Bart Moore” Bowie knife. The Moore family claims that this was Jim Bowie’s knife, found at the Alamo.

David Bowie was born David Robert Jones.  He played with several name changes, in part to avoid association with Davy Jones of The Monkeys. In 1966, he settled on Bowie. As he explained to Rolling Stone, the name came from the Bowie knife. “I was into a kind of heavy philosophy thing when I was 16 years old, and I wanted a truism about cutting through the lies and all that.” In any case, to Bowie—David—the Bowie was  “The ultimate American knife.  It is the medium for a conglomerate of statements and illusions.”

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Western Tales (#32, March 1956). The Jack Kirby Museum.

In considering the connection between Jim Bowie and David Bowie we might reflect on how legends are made, die, and are reborn. James’ out-sized life was commemorated in books, movies, and action figures, along with Davy Crockett and Col. William Travis as the lore surrounding the Alamo grew to epic status.  Jim Bowie was transformed into a cultural icon, a symbol of the gritty determination of the American spirit. He lives on now as a hero to those who wish to restore an older, whiter version of Texas’ past. David Bowie, master of alter egos, couldn’t have picked a more ironic choice for a namesake.

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By appropriating the name Bowie, he did what he set out to do.  A bold adventurer, he slashed through cultural norms. He repeatedly created new identities and genres.  He startled popular culture with his public declaration as gay in 1972, and a few years later, as bi-sexual. His choices and changes in music were equally daring.  He embraced hybridization and androgyny.  He mixed genres and did so self-consciously.  David Bowie made his own legend, lived up to it, and then he remade it—numerous times over: Ziggy Stardust, the man who fell to earth, the sexual adventurer, glam rocker, fashion icon, Off-Broadway lyricist. He saw rock – and life — as theatre. In so doing, he showed those of us who grew up with his music how to be the hero of our own stories.

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Perhaps, then, we’ve reached the logical end to an age of heroic action. After all, if each of us has become our own hero, how can we hope to become more than we already are?  David Bowie’s life suggests that we might reach beyond our own imagination. Although he apparently had a fascination with American culture, there’s no indication that he particularly looked for meaning in the life of James Bowie and the heroes of the epic Battle of the Alamo. David Bowie instead chose the knife as his talisman — Jim Bowie’s frontier weapon — and remade it into a cultural weapon.  As it turns out, a dramatically effective one.

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The First Texans: An Exhibit in Jester Hall

By Nakia Parker

Tucked away in a corner on the second floor of Jester Residence Hall at UT Austin stands a thought provoking exhibit that pays tribute to Native Americans, the “First Texans.” Many times I have hurriedly passed by this area and only given it a casual look. In fact, the day I went to visit the exhibit,, students were standing directly across from it, laughing, doing dance routines, and hanging out with friends. No one even glanced in the corner. However, I strongly encourage taking the time to explore this well-constructed and respectful gallery honoring the first inhabitants of Texas.

Clovis point (replica) from Domebo mammoth kill site in Oklahoma.
Clovis point (replica) from Domebo mammoth kill site in Oklahoma.
Artist Rendition of Leander Indian Woman
Artist Rendition of Leander Indian Woman

The idea for the exhibit was hatched by Floyd Hoelting, Executive Director of the Division of Housing and Food Service. With the help of his staff members, student leaders, the Institute of Texan Cultures, and other experts in the field of archaeology, sociology, and anthropology, the commemoration became a reality. In six panels, the gallery traces the history of Native Americans in the region, commencing around 13,000 bce, to the arrival of the Spanish in the early 16th century. But the displays do much more than simply chronicle the experiences of indigenous people who lived thousands of years ago. It also seeks to dispel common stereotypes surrounding these cultures and to demonstrate that Texas history does not begin and end with the Alamo. For example, the second plaque discusses the populating of the Texas region by the Clovis peoples. Archeologists and anthropologists had previously described the Clovis as a nomadic band of hunters, but they were actually were a sedentary people who participated in farming and created complex architectural structures to protect themselves from the elements. In addition, artifacts such as bowls, hunting instruments, and drinking utensils aid the visitor in reconstructing what life was like for indigenous people in centuries past. Visitors should also make sure to pay attention to what is under them as well as around them, because complementing the panels and artifacts nicely is the beautiful design found on the floor of the exhibit, which features a map of Native American archeological sites located in every section of the state.

Clovis Artifacts from Gault Site, Central TX.
Clovis Artifacts from Gault Site, Central TX.

The First Texans exhibit is a part of Jester Hall’s Gallery of Texas Cultures that showcases over thirty different ethnic groups of the state, highlighting the specific role each played in molding and influencing the politics, education, and culture of Texas. According to its website, “as a visual resource, the gallery is intended to increase the knowledge of the history and contributions of ethnic groups among students, faculty, staff and visitors while as a physical resource, the gallery is intended to provide the venue to inspire conversation, learning and a greater understanding of others.” Visitors who take the time to see The First Texans display will surely agree that it achieves its intended purpose.

Wall Paintings at Seminole Canyon State Park
Wall Paintings estimated to be 4,000 years old at Seminole Canyon State Park

You can see some of the exhibit at The Gallery of Texas Cultures website.

You may also like in Texas History:

Confederados: The Texans of Brazil

“The Battle of Bandera Pass and the Making of Lone Star Legend”

A Texas Ranger and the Letter of the Law

“The Die is Cast”: Early Texans Face the Comanches

Standard Oil writes a “history” of the old south

Stephen F. Austin visits a New Orleans bookstore

 

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Images courtesy of Nakia Parker

 

The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

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