Latest news with #BuffaloBill
Yahoo
23-05-2025
- Entertainment
- Yahoo
‘Heads or Tails?' Review: John C. Reilly Plays Buffalo Bill in a Wacky Italy-Set Western With Ambition to Burn
The Italian-U.S. co-production Heads or Tails? starts with a re-enactment of an actual historical event: Buffalo Bill (played here by John C. Reilly) and his traveling rodeo show's early-20th-century visit to Italy. But this freewheeling neo-anti-quasi-western, with its fictional yarn about young lovers (Nadia Tereszkiewicz and Alessandro Borghi) on the run from bounty hunters who encounter revolutionaries and train robbers, eventually goes well beyond printing the legend and wanders off into the realms of magical realism. The project — directed by Matteo Zoppis and Alessio Rigo de Righi (whose previous effort was The Tale of King Crab) — is nothing if not ambitious, even if its big swings don't always connect. Nevertheless, there's a freshness in seeing this kind of horse opera set in Europe itself, as opposed to having southerly locations on the continent pretending to be American landscapes, like they did back in the spaghetti western genre's 1960s glory days. The whole shebang is so metafictional, it loops back round on itself to become just fiction, but with a few weird bells and whistles. More from The Hollywood Reporter 'Yes' Review: Director Nadav Lapid's Decadent Romp Through the Madness and Misery of Post-October 7th Israel Cannes: Mubi Buys Wagner Moura-Starring 'The Secret Agent' for U.K., India, Most of Latin America 'The Six Billion Dollar Man' Review: Eugene Jarecki's Julian Assange Doc Is a Jam-Packed Chronicle of Legal Persecution At least one element rings loud, clear and true throughout and that's French actress Nadia Tereszkiewicz (Rosalie), who puts meat on the bones of a thinly written lead role. Perhaps because her character, Rosa, is meant to be French like the star herself, she's not given a lot of Italian dialogue and spends big chunks of screen time looking worried or sad as she stares off into the middle distance, sometimes while riding a horse. But her watchful, alert bearing imbues the character with a sort of unspoken backstory. Meanwhile, her poodle-curly blonde hairdo and bedroom eyes handily evoke Julie Christie in Robert Altman's McCabe & Mrs. Miller (1971), the OG revisionist western and just the sort of touchstone this film needs to conjure in order make its intentions clear. Like Christie's Mrs. Miller, it seems that Rosa was once a sex worker or at least moved in those circles. That's probably how she ended up being married to Ercole Rupe (Mirko Artuso), a degenerate gambler and the son of a wealthy local landowner Senor Rupe (Gianni Garko, once a spaghetti western star himself in the Sartana series). After watching Buffalo Bill's show, the younger Rupe and Bill agree to an equestrian contest to see who is better at breaking wild horses, Italians or Americans. A coin toss (hence the title) decides that the Italians' champion will be Santino (Borghi), and the handsome wrangler cannot resist the urge to win his contest despite the fact that he was told to throw it by Ercole so the latter could win his bets. Ercole and Santino argue in the stables, but it is the actions of Rosa, who moments before was making doe eyes with Santino, that seal their fate. Saddling up the white mustang that Santino tamed mere hours ago in the ring, Rosa and Santino ride out together into the dusty dunes beyond Rome, pursued by the elder Rupe's bounty hunters and Buffalo Bill himself. His flowery, none-too-accurate descriptions of the pursuit become the hyperbolic narration we hear throughout, underscoring for the millionth time in cinema history that fact and fiction seldom align in wild West tales. Indeed, most of the story beats of the script here (credited to de Righi, Zoppis and Carlo Salsa) could be mapped onto old oaters of yore — from the duplicitous cellmate Santino meets along the way to the anarchistic types who seem to offer the lovers succor in their hijacked train-car encampment but who have their own hidden agendas. But it's interesting to be reminded that while Mexican revolutionary Emiliano Zapata of Viva Zapata! fame was urging peasants to revolt at the turn of the 20th century, similar insurrections were going on in the only recently unified Italian state. As in North America, the expansion of the railway system became a locus for conflict, although here it's local workers who are toiling and singing in the hot sun while laying down tracks, not imported Chinese laborers, or American-born slaves or prisoners. The languages are different but the semiotics stay the same. When more fantastical elements start to bubble up into the dramatic mix, Heads or Tails? seems less certain of its goals, although the ride remains quite enjoyable all the same. It helps that most of this was shot on photo-chemical film stock, a mix of 35mm, Super 16mm and 16mm, with some digital work seamlessly spliced in as well. Nothing says 'western' like honking big grain texture, especially when coupled with lashings of magic-hour backlighting, all deliciously served up by DP Simone D'Arcangelo and his team. Now that's how the West was won. Best of The Hollywood Reporter Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV
Yahoo
20-05-2025
- Entertainment
- Yahoo
John C. Reilly Is Buffalo Bill in Cannes Film ‘Heads or Tails?,' a Deconstruction of Cowboys and Legends
John C. Reilly stars as Buffalo Bill in the surreal westerns- and heroes-deconstructing parable Heads or Tails? (Testa o croce?), the new feature from Italian writers-directors Alessio Rigo de Righi and Matteo Zoppis (The Tale of King Crab), which world premieres in Cannes' Un Certain Regard section. French-Finnish actress Nadia Tereszkiewicz (Red Island, The Crime Is Mine) and Italian actor Alessandro Borghi (Supersex, The Eight Mountains) lead the cast of the movie that dissects such themes as fame, myths, and storytelling. More from The Hollywood Reporter The Horror Buffs at Image Nation Abu Dhabi, Spooky Pictures Love "Cool Shit" and Have Unleashed 'The Plague' at Cannes 'Highest 2 Lowest': Spike Lee on Trump, Cannes Scandals and the Knicks' Championship Chances: "We're Going to Win!" UTA's Rich Klubeck Is Juggling Wes Anderson, Kelly Reichardt and Ethan Coen at Cannes The story, which the creator duo wrote with Carlo Salsa, begins with a documented 1890 Italy trip by frontiersman Buffalo Bill to bring his popular 'Buffalo Bill's Wild West Show' to European audiences, and with it, the legend of U.S. frontier life. At the show, Rosa (Tereszkiewicz), the young wife of a nobleman, falls in love with Santino (Borghi), an Italian cowboy, or buttero, who wins a contest against the crew of the legendary Buffalo Bill. 'When Rosa's husband is found dead, a bounty is placed on Santino's head,' notes the synopsis. Oh yeah, and Buffalo Bill ends up on their heels. 01 Distribution is releasing the buzzy title in Italian cinemas, while RAI Cinema International Distribution is handling sales elsewhere. Rigo de Righi and Zoppis talked to THR about the inspiration for their new film, how its themes relate to our time, the gusto Reilly brought to his role, the connection of the new pope to Buffalo Bill, and the myth of America. How much is a natural follow-up or continuation of some of the themes you explored in ? Zoppis It is a continuation for sure. Our collaboration started with our interest in oral tales and legends, and we heard the story, since we were kids, of how Buffalo Bill came here, and there was this rodeo. The mother of my grandmother apparently went to the Wild West Show and saw him, so it's something that we always heard and were very interested in. I'm half-American. So, in a way, at least personally, I like the fact that [the film] had America coming to Italy and intertwining the two cultures. Rigo de Righi I just read an interesting thing. The new pope's name is Leone XIV, Leo XIV. They choose a name to follow the path of a previous pope. And in this case, that was Leone XIII, who was the pope who received Buffalo Bill and the Native Americans when they came to Rome and Italy. You mentioned your interest in tales and legends. In your new film, you two tell a story, but you also present a reflection on storytelling and how it works. And the movie constantly makes you wonder who i good and who is bad. In the social media age, it seems everybody tells a story slightly differently. How much does the movie reflect modern issues? Rigo de Righi We believe that the story very much has something about the contemporary world we live in. It was our intent, when we built the script, to start the film with a classical setup, in which you have the male character, the good cowboy, the Italian cowboy who wins and seems to be the hero. And then slowly we deconstruct that throughout the film. Also this idea of fame and how that could change your life or perception is a contemporary feeling that you live through with Santino's character. When we made the first film, we did it about a famous legend in the countryside of Rome. We were attracted by how the story would change from mouth to mouth. And so this sort of myth is created. Zoppis We are from a generation that didn't have the internet, and then we had it at a certain point. And I remember how it affected us to be able to have access to information. Back then, we didn't have so much false news, and you didn't question reality so much. So this is part of us, it's part of what's happening. It's part of our society in general. Anybody who listened to stories as a kid will know this. We were fascinated by just standing there and listening to stories, and they did change. In another film, one of the characters says: Before, we used to sit in front of the fire and tell stories. There was no television back then. That's the point. America is in the news a lot these days. How did you think about the myth of America that Buffalo Bill talks about, including his highlighting of freedom? And I found it funny that Rosa says she would like to go to America, but Santino doesn't even know where it is… Zoppis We lived together in America, in New York. So for sure, there are some of the feelings we had living there. There is this dream of possibility, but then, reality is different. Those two things can be extremely, radically different. So, I think some of the things come from personal experience. The fact that the character doesn't know where America is was just supposed to have the characters be as far apart as they can be. We wanted to portray this American cowboy stereotype and somehow deconstruct it. From the very start, he's supposed to be the hero. He didn't do anything, but gets claimed for something he didn't do, and he feeds upon it. And then you realize that the real hero is her. We worked with Alessandro Borghi to find the tone of his character, a very simple character who has some vanity in him and a lot of pride that is hidden, and some defects that are also hidden. Rigo de Righi The film starts with that setup and it gives you the the idea of this new thing. The Wild West Show, I think, contributed to the creation of the myth of the West. And so the idea of America is portrayed there at the beginning of the film, and it's a thing Rosa understands. She listens to Buffalo Bills, so she starts dreaming. But then throughout the course of the film, you understand how the narrative is built by Buffalo Bill. You follow something with the character, and then we break that and it falls. And then you build it again, and then it breaks and falls again. That's what's interesting, because at the end you have your own conclusion. Zoppis You were talking about good guys, bad guys. There's always you with a movie. You experience and follow a human experience. You're part of that. And there are always different sides of the coin. You could say that the actors leap off the screen. How much did Nadia and Alessandro surprise you with what they brought to their characters? Zoppis There's something that happens with the characters and the interpretation of the actors, because we work a lot with them, talking about the script and about references, about our ideas, their ideas, and also giving them, of course, a lot of freedom, With all of them, there was a big surprise when we actually went shooting and saw the characters for the first time. It's a little bit different from what you imagine, but still familiar somehow. But what happened with Buffalo Bill, I think, was even more surprising for us because we had the idea in mind, we knew how we wanted the tone to be, but John brought a lot of his irony and human aspect to the character. How did John C. Reilly actually come on board? Zoppis John was exactly the same age as Buffalo Bill during his second trip to Rome. We had never worked with an American actor before. So everything was new. When he read the script and we got to talk to him, he had this long beard, and he was already proposing stuff. I remember we hung up, and we were so excited to say: 'Man, this is Buffalo Bill.' It's incredible – we saw that right away. It was not only that he resembled our idea of Buffalo Bill, but he brought to it a human aspect, understanding the tone and playing with it, including the irony aspect of it. How did you learn about Buffalo Bill and build that character and his voice? Rigo de Righi We read many, many books to start with, and then we also read many dime novels. There are so many old dime novels, and that's what the little booklet [you see in the movie] stands for. That was our way to k pull in the old dime novels that were basically stories of great adventures. We also did much research on him, and then we started how he could actually be. When John came on board, he was exactly what we were looking for, not only tonally. He also had some ideas and brought many insights into the character, including many ironic aspects, and what he could look like and what he could do. I remember John came up with how the character spoke. And he even proposed wearing the suit he wears in the second part of the film. So it was very interesting and wonderful. Did you ever find any video footage of Buffalo Bill? Rigo de Righi Yeah, there's footage. We even thought at the very beginning of using the footage. And then we said, no, this would become too historic. We wanted to focus on portraying the legend and how we imagined things. Rather than being historically accurate, we took liberties. What was the footage you found like? Rigo de Righi There's some old footage of Buffalo Bill crossing a river, and he's tracking somebody who doesn't exist. And there's somebody behind the camera, and Buffalo Bill is obviously acting. So tonally, when we saw it, we said this is exactly what we were looking for. I need to ask you about Nadia and her character. How much did you think about making it a female empowerment story? I really found myself rooting for her. Zoppis I'm happy that you say that, because it's actually what also happened to us. We were the directors and wanted to portray that character in a way that was a tricky task. Nadia played a huge role in that, because she brought a very intense performance and how do you say… Rigo de Righi Layers. And also subtle changes. She's very subtle. She did some very subtle things that we were very enthusiastic about. With the script, we wanted mostly to start deconstructing what's supposed to be the hero of the cowboy, and to lead the way for her to become the heroine of the film. How early did you know that the title would be for this one? Zoppis We never changed it. There's something strange that happens with titles. At some point, there is that title, and then it doesn't change anymore. It's how th movie goes. Rigo de Righi I think all the titles we have had in our films were there in a very early stage of the film. Zoppis The film was about fate and how things go if you flip a coin. That was the whole thing – taking control of your desires. Rigo de Righi It just resonated, this idea of the flip – not only the flip of the coin, the two faces of the same coin, but also the two characters. It just had a lot of the themes that we were trying to address. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Associated Press
09-05-2025
- Entertainment
- Associated Press
'POP! Goes the West' Pops into Cody this Spring
Warhol, Western Icons, and Pop Art Burst into the Buffalo Bill Center of the West in Cody, Wyoming. 'The artworks in 'POP! Goes the West' are playful, eye-catching, and the bright colors are important questions about what stories we tell about the West and who gets to tell them.'— Susan Barnett, Margaret & Dick Scarlett Curator of Western Art CODY, WY, UNITED STATES, May 9, 2025 / / -- This summer, the mythic West gets a Pop Art twist. The Buffalo Bill Center of the West proudly presents " POP! Goes the West,' a dazzling new exhibition opening May 24, 2025, in the Anne & Charles Duncan Special Exhibition Gallery. Running through January 26, 2026, this vibrant exhibition brings together more than 50 years of artwork at the intersection of western iconography and popular culture. 'POP!' showcases a dynamic blend of classic western subjects and the vivid visual language of Pop Art, featuring standout works from the Center's collections alongside notable loans from across the country. The exhibition explores how mass culture and storytelling traditions have influenced our vision of the American West. Central to the show are works from Andy Warhol's 'Cowboys and Indians' portfolio, featuring figures like George Armstrong Custer and Geronimo, rendered through the lens of celebrity. These iconic images set the stage for an exhibition that spans from familiar cowboys and Annie Oakley to abstract neon landscapes—each piece challenging convention through wit, irony, and cultural critique. Spanning five decades of bold, innovative work, the exhibition reveals how media and mass-market imagery have continually reshaped the visual story of the West. Visitors will encounter not only striking artworks by 30 contemporary artists, but also historical objects from the Center's collection—like Wild West posters, comics, and toys—that trace the roots of Pop Art in everyday western imagery. Interactive elements and hands-on activities will encourage audiences of all ages to look closer, think critically, and playfully engage with the evolving visual language of the West. With humor, color, and curiosity, 'POP!' invites visitors to see western art as an ever-changing, richly layered conversation. 'The artworks in 'POP! Goes the West' are playful, eye-catching, and insightful,' says Susan Barnett, the Margaret and Dick Scarlett Curator of Western American Art at the Whitney Western Art Museum. 'We're inviting visitors to consider how popular media and art have influenced their understanding of the West—its histories, peoples, and identities. The show is filled with dynamic visuals, but beneath the bright colors are important questions about what stories we tell about the West and who gets to tell them.' Highlights include: Billy Schenck's 'A Flight from Destiny,' which riffs on movie backdrops and classic western paintings. David Bradley's 'American Indian Gothic,' a striking reimagining of Grant Wood's iconic composition. Bently Spang's 'Photo Reclamation Series,' using commercial Indian figurines to critique cultural appropriation. Anne Coe's satirical 'At the End of Her Rope,' confronting western clichés with irony and flair. The exhibition also features accessibility enhancements, including a free digital guide on the Bloomberg Connects app. Visitors can hear from contemporary artists in their own words and engage with the artworks through audio, video, and multilingual features. A members-only opening takes place May 23, with related programming to follow, including artist residencies, gallery talks, and family-friendly activities throughout the exhibition's run. 'POP! Goes the West' is more than just eye candy—it's a conversation starter, a myth-buster, and a celebration of western art's evolving legacy. This is the West like you've never seen it before. For high-resolution images, interviews, or media access, please contact Ken Straniere, Public Relations and Marketing Manager, at [email protected]. ---"POP! Goes the West' is supported in part by a grant from the Wyoming Cultural Trust Fund, a program of the Department of State Parks and Cultural Resources, Diane Collection — Frère Family, and Reid Schell — Handle With Care.--- About the Buffalo Bill Center of the West: The Buffalo Bill Center of the West, located in Cody, Wyoming, is a world-renowned Smithsonian Affiliate dedicated to connecting people to the American West. The Center houses five unique museums under one roof —the Buffalo Bill Museum, Whitney Western Art Museum, Plains Indian Museum, Draper Natural History Museum, and Cody Firearms Museum— celebrating history, culture, art, natural science, and more, and offers a range of immersive experiences including chuckwagon dinners, live raptors, special events, and customized exclusive tours. With its diverse collections, the Center serves as a focal point for exploration, discovery, and hands-on education. Ken Straniere, PR/Marketing Manager Buffalo Bill Center of the West +1 307-578-4137 [email protected] Visit us on social media: LinkedIn Instagram Facebook YouTube TikTok X Legal Disclaimer: EIN Presswire provides this news content 'as is' without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the author above.
Yahoo
20-04-2025
- Yahoo
Local reporter recalls learning the identity of the Oklahoma City bomber
On April 19, 1995, I was about as far away from Western New York as you can get while remaining in the continental United States. I was sitting in a press trailer, across the street from the Los Angeles County Courthouse, in what was known among journalists at the time as Camp O.J. It was the compound that housed the operations of the news media organizations that were covering the 'Trial of the Century,' the murder case against Pro Football Hall of Famer, former Buffalo Bill and Hollywood actor O.J. Simpson. I was covering the case for WIVB-TV and CBS News and had been called at about 7:30 a.m. on the west coast with the news of the bombing of the Alfred P. Murrah Federal Building in Oklahoma City. By the time I reached the trailer an hour later, I was told to keep covering the trial, but not to expect to have stories aired that day. So I continued to cover the trial, while my News 4 colleague Jacquie Walker headed to Oklahoma City. Two days later, on April 21, I was still in the CBS News trailer, covering the Simpson case, when the FBI released a pair of sketches of two suspects who were believed to have been involved in renting the truck that contained the bomb that had blown up the Murrah building. The sketches were called 'John Doe 1' and 'John Doe 2.' I took note of the release of the sketches. I thought they looked like most of the artist sketches released by law enforcement, based on witness descriptions, which was to say, they were nondescript. Since the bombing story was not my assignment, I returned to the trial coverage, until I received a call from the News 4 assignment desk. Our afternoon assignment editor, Martha Meegan, had taken a call from someone who said he recognized Suspect #2. She asked me to speak to the caller and prepared to transfer the call to me. I protested. Pointing out that the caller was local and I was on the other side of the country, I thought a reporter back in Buffalo should take the call. I will never forget her reply. 'Ricco, you are our investigative reporter,' she said rather tartly. 'And you're not even doing a trial story today. You can take the call.' After that rebuke, I heard a clicking sound and a male voice on the other end of the line. The person on the line wouldn't give me his name, but did say, 'You know that bomber sketch they put out earlier?' Yes,' I replied, with a tone I will admit probably sounded like boredom or annoyance. 'John Doe 1 looks just like a guy I worked with doing security at Calspan by the (Buffalo) airport,' the voice said. 'His name is Tim McVeigh.' I thanked the caller for his information, suggested that he call the FBI, and hung up. Then I called Meegan back. After expressing my sense that this was likely a dead end, shot-in-the-dark, kind of call, she bluntly reminded me that it was my job to 'check it out.' So I called a reliable, well connected federal law enforcement source. When he picked up the phone, I laughingly said, 'Hey, sorry to bother you, but are you checking out some guy named McVeigh, who lives (in Buffalo) in connection with the Oklahoma City bombing?' My source's silence was deafening. But it sounded like he was in a car, driving. After what seemed like an exceptionally long pause, my source said, 'Look up that name in the phone book.' Remember, it was 1995, and people still relied on phone books. 'There's only one (McVeigh) in Pendleton,' he continued. 'Send a live truck. We're on our way there now.' And he hung up the phone. I was stunned. I called Meegan back. As she scrambled a live truck and crew to head to the Pendleton home of William McVeigh, I alerted the CBS techs and producers in LA about what I has just learned. I told them we had confirmed that the FBI was about to raid a home tied to a possible suspect in the Oklahoma City bombing. And that the suspect was named Tim McVeigh. They contacted the network's justice correspondent, Jim Stewart, one the most well connected law enforcement reporters in Washington, D.C. Stewart's sources confirmed what my source had told me. At about 4 p.m., CBS broke into its late afternoon programming and Stewart told people, for the first time, that one of the men believed to be involved in the horrific destruction of the Murrah building was Tim McVeigh of Pendleton. By 4:30 p.m. a News 4 crew was on the scene and reported that Bill McVeigh's home was being swarmed by a small army of federal agents. And by the next day, Tim McVeigh was being walked out of a Perry, Oklahoma jail for transport to Oklahoma City to be charged as the bomber. Sometimes news breaks in the most random of ways. When my source reached out, days later, and asked how I had known about McVeigh and his connection to the bombing, I told him, 'it was a phone call I didn't want to take.'
CBS News
27-01-2025
- Entertainment
- CBS News
Exhibit in Denver tells story of Filipino cowboys part of Buffalo Bill's Wild West
The history of William "Buffalo Bill" Cody here in Colorado extends all the way to the 1850s. His shows traveled the country in the late 19th century. What is perhaps lesser known is who was part of that show. Two University of Colorado Boulder professors, Yumi Janairo Roth and Emmanuel David, recently uncovered documents and photos that show a group of cowboys from more than 7,600 miles away joined Buffalo Bill's Wild West shows. A new exhibit in downtown Denver tells their story. Signs typically provide information or instructions. But the ones inside the David B Smith Gallery off Wazee Street tell a unique story. The signs, which are beautiful pieces of art, and are handmade from jeepney sign painters in Manila, Philippines. "A sign like this is probably a two-day sign, a sign like this is probably three or four days," said Roth, as she showed a CBS Colorado crew around the gallery. The exhibit is titled, "Last Year's Wonders All Surpassed." "It's about the untold story of the 'Filipino Rough Riders' in Buffalo Bill's Wild West," said David, an Associate Professor of Women and Gender Studies at CU. "They were recruited at the end of the Spanish-American War as examples of the new colonies of the United States." The exhibit features 130 paintings and a video that tracks the group's touring locations throughout the U.S. in 1899. Buffalo Bill's show was also known worldwide. "It traveled for nearly 40 years, both in the United States and in Europe and it was viewed by all kinds of political figures, royalty. It was probably the most important Wild West show," said Roth, chair of the Department of Art and Art History at CU. One of the many takeaways from this exhibit is the historical aspect, said Roth. Originally it was a trio of Filipino Rough Riders. But it eventually increased to eight, said Roth. "Somebody might walk in here and go like, 'Oh, I'm from Algona, Iowa," said Roth, "And all-of-a-sudden, they create this connection between themselves and this group of Filipinos." It's believed that the Filipino Rough Riders were originally hired soon after the shadow of the Philippine-American War by Buffalo Bill as part of the "Congress of Rough Riders of the World." Not part of the exhibit, but part of the professor's research, is a picture showing the actual Filipino Rough Riders. It's one of the only pictures known to exist. On the back of the photo is a note, saying "Remember to Buffalo Bill's wild west, the Filipino group. October 1900." "The reporting would cast them as unskilled horse people, but they were also winning these relay races," said David. Both Yumi and Emmanuel originally wanted to explore more of the background of Filipino immigrants in Colorado. The two started reading newspapers from during that time period, doing research at the Denver Public Library. "From there we started digging, it kept on unraveling in the sense that we discovered more and more," said David. What it showed them was something beyond their expectations. "When you think of the American West, the last thing you think of are Filipinos somehow involved in ideas of the American West," said Roth. But their research showed that Filipinos were a part of that time period. It even led to both professors to dig more into Philippine ranching culture, which is believed to have come from the country's Spanish colonization for hundreds of years. "So, for more than a hundred years, there had been a ranching culture prior to the United States coming at various islands in the Philippines," said Roth. At the gallery in Denver, there are pictures of some of the ranchers from Masbate Island. Every year Filipinos from this region hold a yearly rodeo festival called "Rodeo Masbateno." It's shining a light on this group which would otherwise go unnoticed. "The media from the time cast them as primitive, savage. And the more we dug into the story, we saw that they have full, rich lives. They tried to keep ties to the Philippines," said David. The exhibit is open now and runs through Febr. 22 at the in Denver.
