OVERTURE, DIM THE LIGHTS! WESTERN MUSICALS - Meg Mims

Who doesn't love a great musical, on stage or at the cinema? And a Western musical is even BETTER! Sure, it might not show the real wild and woolly west, and today it might be considered old fashioned and silly. But for pure fun and some sweet (and heart-tugging) romance, check these classic Western musicals that made their way to film.

As a kid, I always woke up in the summer sunshine streaming in the bedroom window, stretched and thought, "Oh, what a beautiful morning..." So naturally I loved this musical's songs.

Gordon Macrae and Shirley Jones head up a fabulous cast. Rogers & Hammerstein first teamed up for the musical score - and what songs they were! Had I ever been to Oklahoma? Nope. I'd never seen the prairie, only read about it in the Little House series. But there's something about "Oh What a Beautiful Morning" that makes you feel glorious. My husband had lived in Texas during part of his Army career, and also loved the play. We still tease each other whenever one of us says, "Oh--" with "OOOOOOOOOOOOKLAHOMA where the wind comes sweeping 'cross the plains..."

There are plenty of fabulous Western musicals to consider -- and remain classics to this day.

One of my favorites (and my daughter's too) is SEVEN BRIDES FOR SEVEN BROTHERS. The handsome actors, the dancing, the music, the romantic story -- it may be quaint now, of course, but we still love it. The costumes are colorful, if not accurate to the times, but who's noticing anyway? Howard Keel and Jane Powell! The dancing, and the acrobatics by the brothers in the spectacular Barn Dance! The musical is just marvelous. Fun for the whole family.

CALAMITY JANE -- "America's Sweetheart" Doris Day gets a chance to "rough it" - ha! - in this musical, also starring Howard Keel. Doris doesn't seem to fit the authenticity of the real Calamity Jane, but neither does Howard Keel act like Wild Bill! Some of the songs are plenty of good fun, though. Keel seemed to be the go-to guy when it came to the hero in these musicals. Really disliked how he called Doris "Calam" which seemed silly. Oh well.

SHOWBOAT -- Talk about a real showboat!! This musical is another true favorite of mine because it has *everything.* Great costumes (not always accurate, of course), a wonderful setting, an in-depth complex story, great actors who can sing their hearts out! Joe E. Brown provided both a comedic and sympathetic air, and Agnes Moorhead was also great as a harridan with heart. Ava Gardner was gorgeous, and this time Oscar Hammerstein teamed up with Jerome Kern to give us such fabulous numbers. William Warfield singing Ol' Man River! Marge and Gower Champion, dancing! Kathryn Grayson, trained for the opera since she was 12 years old! And of course, Howard Keel. Yes, some may claim the 1936 film is more authentic, showing the true poverty on the river, the dockworkers, the issue of miscegenation, but I loved this film and still shed a tear while watching it.

ANNIE GET YOUR GUN -- Betty Hutton and Howard Keel team up as Annie Oakley and her husband Frank. Urp. There's something about Hutton I never liked -- quite possibly her gravelly voice, along with her attitude as shown in her performance here and in other films. Not a favorite. But here it is if it's one of yours. Keel comes through once again as the hero.

PAINT YOUR WAGON -- Clint Eastwood? in a MUSICAL? Yup. Along with Lee Marvin, who is hilarious. A fun film, based on the Lerner & Lowe theatrical musical, that rips and roars its way through a Gold-Rush era California mining camp (No-Name City). I confess I've only seen bits and pieces, but I do know that many friends love this film. And really, Clint Eastwood? Singing?? Gotta admit, he was good compared to Lee Marvin. But this song sums up the film best.

THE HARVEY GIRLS -- Judy Garland, John Hodiak and Angela Lansbury! Virginia O'Brien and Ray Bolger! Chill Wills and Marjorie Main! And accurate costumes when the girls come to town in Arizona on the Atchison, Topeka and Santa Fe, at least! It faces off the Harvey Girls, waitresses who come for a job and a husband, if they meet one in a wild western town, against the local "soiled doves" working at the local saloon. If you've researched the real Harvey Girls, the women did bring a touch of civilization to wherever they went. And petite Judy is fun to watch in this film, squaring off against the conniving gambler-owner who stole the restaurant's meat.

Sure, there are other musicals we could revisit, but that's enough for now. Hope you enjoyed some of the videos and songs!

Mystery author Meg Mims lives in Southeastern Michigan with her husband and a 'Make My Day' Malti-poo dog.Meg loves writing novels, short novellas and short stories, both contemporary and historical. Her Spur and Laramie Award winning Double series is now among the Prairie Rose Publications book list. Meg is also one-half of the D.E. Ireland team writing the Eliza Doolittle & Henry Higgins Mystery series for St. Martin's Minotaur. WOULDN'T IT BE DEADLY is out now! It's based on George Bernard Shaw's Pygmalion, play and film, with a nod to Lerner & Lowe's My Fair Lady -- so Meg does love musicals! Book 2, MOVE YOUR BLOOMING CORPSE, will be out in 2015. You can find Meg (and D.E. Ireland) on Twitter, Facebook and Pinterest. 

WESTERN WOUNDS -- HOW ACCURATE IS THAT?

I've been mulling over all month about a topic. Western weather, and how brutal cattle drives and prairie farming must have been. Another real life western hero, or heroine... or a plug about my re-release of the Spur-Award winning Double Crossing (trust me, it's at the end of this post.) But then I thought about one of the most popular Western Fictioneer members, Dr. Keith Souter (w/a Clay More) and thought, "hey, he's a doctor. I have some questions about stuff I see in movies or books."

So that's what we're chatting about today, western wounds. The image to the left is an antique medical bag. Cool, huh? I love including photos on my blog posts. Okay, back to three types of common western wounds. Recovering, surviving, should-this-be-used-in-your-next-book kind of thing, which is called a genre trope. I call it a "how come they did that instead of ... " type of thing. I have a few beefs (or is that beeves?) about what I've read or seen in westerns.

We'll start with something simple and work our way up.

MEG:  Hey, howdy, Dr. Keith! Many thanks for agreeing to participate in "Ask the Expert" today. I've seen a few movies where either the western hero or an Indian *cuts palm* and then waits for the other guy to do the same so they can make a blood bond ... another friend HATES that and claims that injury is too severe, especially in a medieval when they'd pick up their sword or bow and arrow and try to use the weapon. So, maybe they should use their thumb instead?

Dr. Keith Souter:  Cutting the palm will produce a lot of blood, as anyone will know if they have cut themselves with a knife. A very superficial cut would be enough to allow for symbolic mixing of the blood. Of course, with our knowledge about communicable blood-borne diseases nowadays, one would realize that to become a blood-brother in such a ceremony, where severed surface was placed against severed surface, would have a very good chance of transmitting infection. But back then HIV had not developed.

A deep cut would endanger the superficial palmar arch, a ring of arteries formed from branches of the radial artery and the ulnar artery. I have attached a plate from Gray's Anatomy, which has been one the main textbooks of anatomy used by medical students and doctors since it was first published in 1859, by Henry Gray, of St George's Hospital in London. (There is a TV show called Grey's Anatomy, that is a play on the name - note the different spelling). A deep cut would risk arterial damage, which would cause spurting of blood. That would be a significant wound. There would also be significant danger of nerve damage. A superficial hand wound takes a week or so to heal. Deep wound could take weeks and even months, if there was a lot of damage.

However, nature is not so dumb, and we have a protective tissue called the palmar aponeurosis, which protects those deeper structures. That is important considering all the potential trauma that could happen to the palm. It is an extension of the palmaris longus muscle. It can be seen when you flex your hand, as the single tendon in the middle of the wrist. 

14 % of people do not have that single tendon, but they will still have an aponeurosis. I have attached another of Gray's illustrations of the palmar aponeurosis and you can see how it protects the arterial ring.

So, although nicking the thumb would seem adequate for the purpose, cutting the palm superficially would work. The depth of the palm wound would determine whether it could be used. For a simple superficial one, then yes you could use a sword, fire a gun and hold a bow. Wrap it up and grip. It would hurt, but it could be used. A deep wound with a sword or dagger could damage an artery or a nerve. That would not be so usable. And of course, if you breach the palmar aponeurosis and you cut through the muscles that operate the fingers and thumb, the hand will be useless.

Meg:  Wow, this is fabulous. Okay, question number two. In Hell on Wheels, the widowed wife of the surveyor is shot in the shoulder with an arrow. I've read tons of books where heroes are shot in the shoulder, too. I have a problem with them using that arm afterward, or staunching the bleeding and going on about their business. Just how credible is that?

Dr. Keith Souter:  You are quite correct. A shoulder wound is an awful thing to receive. You would have a large chance of smashing the humerus, or worse, damaging the joint itself. And then there is a huge chance of catastrophic bleeding and nerve damage. I have attached another of Gray's illustrations of the arteries and the nerves in the shoulder. This does not include the veins, of course, but they are in close proximity. The artery is in red and the nerves are in yellow. 

The nerve supply is called the brachial plexus. It is the M shaped grouping that you see. Essentially, nerve roots from the cervical part of the spine amalgamate to form the brachial plexus. The three branches of the M are respectively, the radial nerve, the median nerve and the ulnar nerve. Hit or damage any of them and you will produce paralysis of those parts of the arm and hand that they supply.  

Shoulder gunshot wounds are horrific and if you want  a wound that you can carry on with, it should be a flesh wound to the upper arm. Even that will be incapacitating, but it is more plausible.

Having said that, human beings are capable of amazing feats of endurance when they are in danger. But as for fighting with a shoulder wound? Not easy!

Now an arrowhead is a filthy thing. The arrowhead must be removed, but the yanking out that you see and read about will not work. It simply leaves the arrowhead in where it will fester. That could then develop into septicaemia and result in death. I have researched this and will quote Dr J.H. Bill from the American Journal of the Medical Sciences, 1862, a surgeon with real and extensive experience of treating arrow wounds. "An arrow is designed so that its head will detach. Generally, when an arrow is fired it is designed to kill, not to maim." Read my April blog post, The Doctor's Bag, along with a few comments about poisoned arrow tips and how they made the poison.

Pistol balls would not travel as fast and made less of a mess than the Minie ball/bullet, which was used in the Civil War. It expanded and traveled faster and made more mess. But the thing about bullets is that they travel and get so hot they burn off microbes, so they are less liable to get infected than are arrow wounds. Shoulder gunshot depends on weapon caliber and if anatomical structures are damaged. If the bone is injured or nerves are damaged then it is useless and can't be used for a month or more and gradual recovery.

MEG:  Thanks for verifying, wow. I'll just grit my teeth if I see or read that kind of thing again. Since I'm fairly new to the western genre, I've been reading a lot of books where a character is "gut shot." I did not want to include a gut wound picture, because they are SOO GROSS! This will have to do, LOL. So does that mean - "you're dead?" How bad is being gut-shot? Can anyone survive or walk around with a wound in the gut?

Dr. Keith Souter:  Gut shots were always regarded as potentially fatal, but Dr George Goodfellow became the gunshot expert. I have talked about bullet wounds in my last blog. You had a chance of survival if it was a lower calibre weapon .32 or less, in the lower abdomen (below the umbilicus). Upper abdomen, or high calibre, very little chance. Check out the blog, Dig it Out, Doc - Part 2, Bullets, by clicking the link. Abdominal gunshots again depend on weapon caliber and site plus how much internal damage, depending on its direction - you could hit several vital organs, which could prove fatal. You would not be capable of fighting. Recovery would necessitate surgery and several months of healing. 

MEG:  Got it. Think LOWER when writing gunshot battles. Too much stuff in the upper area, I suppose, with the stomach, liver, spleen, etc...  Here's an encore question -- just because it's one of my favorite Clint Eastwood movies: How did good ole Clint survive the hanging in Hang 'Em High? I mean, he did survive and I believed it and figured it was accurate. But why? Just curious as to anatomy.

Dr. Keith Souter:  Hanging produces death either from breaking the neck, such as occurs on a gallows and there is a sudden drop, or from blockage of the airways, obstruction of the venous drainage in the brain by pressure on the jugular veins in the neck, or by obstruction of the arterial flow to the brain by pressure on the carotid arteries. It is also likely that the heart can suddenly stop as the result of vasovagal inhibition. 

In judicial hangings with a drop of six feet there is likely to be fracture dislocation at the level of the 2nd and 3rd cervical vertebrae or the 3rd and 4th vertebrae. This would tear the cord from the medulla of the brain. 

If someone is hoisted up from the ground, then the cervical fracture and dislocation and sudden death is less likely. The other causes mentioned above are likely eventually. In England in medieval days, the crime of treason was death by being hanged, drawn and quartered. The victim was hanged until he passed out, then he was cut down, revived and then the rest of the execution proceeded. Horrifically grisly, but they developed torture and execution into a fine art.

When people commit suicide by standing on a chair and then toppling it over, they usually do not break their neck (because the drop is not long enough) but will succumb by the other methods mentioned.

In a matter of life or death, people are able to do remarkable things - drag themselves around, stagger to safety. The fight or flight reaction comes into action and you pump up so much adrenaline that you can get extra strength to override the pain matrix. In addition, in battle - from studies in world War II - wounded soldiers often felt remarkably little pain even in the face of quite major trauma. According to the Gate Control theory of Melzack and Wall, put forward in 1965,  it is possible to close one or more of the gates in the transmission of pain from the site up to the brain. 

Meg: Interesting! Odd how that illustration shows the men with their mouths closed and eyes shut, where I would think they'd be gasping for breath. Hm. I'm so grateful to you, Doc, for chatting about such great western stuff! Thanks again. Readers can find Clay More's books here.

Meg Mims is an Award-winning author and artist -- her first published book, DOUBLE CROSSING, won the WWA Spur Award for Best First Novel in 2012. A blend of True Grit and Murder on the Orient Express, it has over 30 five-star reviews on Amazon. The sequel, DOUBLE or NOTHING, is also available and continues the story of heroine Lily Granville and hero Ace Diamond.

CLEAN FICTION IN THE OLD, DIRTY WEST

When I think of the "Old West," I imagine dirt. Yep. Lots and lots of dirt, dust and cactus and flies. No trees. Flat dry land. Yep, even though that's not the case at all - given the Rockies, the trees along the creeks, the hills and gorgeous prairie flowers, the variety of grasses and habitats... remember RANGO? The dust and dirt in the movie reminded me of "the Old West" image hammered into my brain. I must have watched too many Hollywood movie and TV westerns as a kid!

Mind you, I'm an eastern greenhorn. We have lots and lots of trees. We have dirt, too, but you don't see it much. You gotta dig for it. But the point of my rambling is not the actual dirt, but the "down and dirty." In language. The cuss words that a lot of western characters use in westerns - books, movies, etc. And also HOT stuff - sexy romance, even erotica - in western books and movies. Now don't get me wrong, I've read and seen plenty of family-friendly westerns, both books and films. But it's a wide open range out there. Let's face it. Sex sells. I'm not into 50 Shades of anything, except on a paint canvas.

Someone sent me a note recently that surprised me. "It's rare to find a western these days that isn't filled with cuss words and adult situations." I was glad, and grateful, that a reader enjoyed Double Crossing. If they buy the sequel, they'll find the same thing in Double or Nothing. When I first considered a publishing contract, I made a commitment to writing clean fiction. And I'm not judging others' books or films. Write and publish whatever you're proud to put your name on. Read what pleases you. I choose clean fiction for both.

It's a personal choice.

Do you realize how hard it is to *not* put in a cuss word when you have a cowboy hero? However, I wrote both books in the Double series in First Person Point of View -- and Lily Granville is a lady. Back in the Old West, men would never have cussed in front of a lady. In fact, when Ace first meets Lily, he's recovering from being knocked cold by a muleskinner, and has to be prodded into remembering "there's a lady present." Since my publisher for Double Crossing, Astraea Press, is all about clean fiction so I took out the cuss words (hell and damn, pretty minor.) I applaud their commitment, too. I also feel free from having to worry about what my family, my daughter, my friends and neighbors, my church family thinking about any sex or cuss words in my books.


Now, for Double or Nothing, I have a scene between newlyweds. How "sexy" could I get without really getting into detailed "pink parts" or more? It was quite a challenge! But I have to admit, it worked -- it can be done. I could have included an excerpt, but it might make you blush. (wink wink nudge nudge - just kidding, of course!) It's a bit too far into the book, and has a spoiler or two. Sorry!

As for cuss words, I've learned to suggest them. My cowboy hero has to be realistic, after all. Here's an excerpt from Double Crossing, when Lily is talking with Aunt Sylvia and her husband Lord Vaughn, right before Ace Diamond enters the picture.

“Lily, you have no idea of the dangers. My husband traveled to Nevada earlier this year,” Aunt Sylvia said. “Neither you or Mr. Mason have considered the impropriety of this.”

     “He’s a gentleman for escorting me.”

      “I can see for myself what you both are—”

     

     A blood-curdling yell, similar to what I’d read about an Indian war cry, stopped her cold. The moment I glanced up, the window exploded. Shards of glass rained on us and a man rolled over the table. Scattering plates, flatware, cups and teapot, before he crashed onto the floor—unconscious, and half-draped in the tablecloth among the broken china and glass.

     

     Mere inches from my feet....

####

     

Horrified, I stared at the young man on the floor. Bright scarlet blood streamed from a deep cut above his left eye. I grabbed a clean napkin from a nearby table and knelt to staunch the heavy flow. Tossing the soaked linen aside, I grabbed two others.

     

     “Good heavens, Lily, you’ll ruin your suit,” Aunt Sylvia chided. “Get up this instant.”

     

     Ignoring her, I untwisted the young man’s arm behind him but he failed to wake. “It’s obvious he needs help. It’s my Christian duty. And yours, Charles.”

     

     “He may be a criminal for all we know,” he said, but handed me more napkins.

     

     Sir Vaughn huffed. “Quite right, Mr. Mason. He’s bleeding all over your skirt, Miss Granville, so leave him be. The proprietor will carry him out to the street.”

     

     “He’s waking up.”

     

     I surveyed the young man’s calloused palms and fingers, his blood-stained knuckles, the sawdust in his tangled dark hair which needed a barber’s clippers. The crack of one boot sole proclaimed a man down on his luck. He smelled of sweat, leather and tobacco. Stubble on his cheeks and square jaw added to his gone-to-seed appearance. He opened one blue eye.

     

     “Oof.” Wincing, he raised a hand to his head in slow-motion, and then let it fall back against his shoulder. Fresh blood stained his shirt. “What the—”

     

     “Shh. You’re hurt.”

     

     He rolled to one side as if he hadn’t heard me, groaned and then sat up. “That stinkin’ muleskinner packed a punch. I’ll be da—”

     

     “Watch your language,” Sir Vaughn said and prodded him with his cane. “There are ladies present. Now take your leave or we shall send for the local sheriff...”     

Meg Mims is an award-winning author and artist. Her first book, Double Crossing, won the 2012 Spur Award for Best First Novel from Western Writers of America and was named a Finalist in the Best Books of 2012 from USA Book News for Fiction: Western.  Double or Nothing is the sequel.

Meg also wrote two contemporary romance novellas, The Key to Love, and Santa Paws – which reached #6 on the Amazon Kindle Bestseller list for Dogs.

Click here to see Meg Mims' books!