Billy the Kid was born 158 years ago today. Whether you think he was a misunderstood old West hero or nothing but a cold-blooded killer, it's impossible to argue that he was an interesting man. Here are 10 facts to prove it.
1. HIS "REAL" NAME IS A TOPIC OF DEBATE.
Billy the Kid's real name? Henry McCarty. Or maybe William Bonney. Or Henry Antrim. Take your pick. He was born Henry McCarty, but there's some speculation that his dad may have been a man named William Bonney. Billy the Kid started using his name at some point in 1877. Antrim was his step-father's last name; he went by that for some time as well.
2. HE WORKED AT A CHEESE FACTORY.
Billy the Kid wasn't always engaging in illegal activities and shooting people; he once worked at a cheese factory—at least he did according to Charlie Bowdre, a man who would later be in Billy's posse, and was part owner of the cheese factory. Bowdre's descendants have said this is where the two of them met, although his employ was short.
3. HIS LEGEND MAY BE A BIT OF AN EXAGGERATION.
You may have heard the legend that Billy killed 21 people—one for each year of his rather short life. It's just that: legend. We only have evidence that Billy killed four people, two of them prison guards. He may have "participated" in the deaths of up to five more people.
4. CONTRARY TO POPULAR BELIEF, HE PROBABLY WASN'T LEFT-HANDED.
The reason this notion became widespread is because of the famous ferrotype of him that shows him wearing a gun belt with the holster on the left side. It was later discovered that the image has been reproduced incorrectly and flipped to show the mirror image of what really was. The picture actually shows Billy with his gun on his right hip.
5. SOME PEOPLE BELIEVE HE FAKED HIS OWN DEATH.
Many people—including some claiming to be Billy himself—have said Billy didn't actually die on July 14, 1881 in Fort Sumner, New Mexico, which is the official story. Many claim that Sheriff Pat Garrett didn't kill Billy, but actually helped him fake his death and happily ride off into the sunset. No evidence has ever been found to support this, though.
Men claiming to be Billy include Ollie "Brushy Bill" Roberts and a man named John Miller. Brushy Bill started claiming to be Billy the Kid in 1949, and knew quite a few intimate details about Billy's life and the Lincoln Country War. But there were several gunfights he was pretty clueless about, and photo comparisons using sophisticated computer programs show the men to have completely different bone structure and other features.
As for John Miller, his claims were basically put to rest in 2005 when his bones were disinterred and DNA samples were taken. They were compared to a blood sample thought to be Billy the Kid's and there was no match.
In the winter of 1956, Chrysler unveiled a series of improvements to their lineup of automobiles. There was LifeGuard, a latch that prevented doors from flinging open in the event of an accident. New windshield wipers promised to clean 10 percent more of the glass surface than the previous year’s model. And for those consumers willing to spend an extra $200—the equivalent of about $1700 today—there was the Highway Hi-Fi, a factory-installed record player mounted under the car's dashboard.
Using an “elastic three-point suspension,” the unit played “non-breakable” 7-inch records. In advertising copy, Chrysler touted that the discs would never skip, not even during sharp turns or while crossing railroad tracks. “It’s almost impossible to jar the arm off the record,” the company promised, anticipating the dubious looks of dealers and buyers alike.
As it turned out, attempting to spin a record while in a moving vehicle was every bit as problematic as it might sound. But before 8-tracks, cassettes, CDs, and satellite radio, the Highway Hi-Fi represented the first opportunity for drivers to have some control over what they were listening to. They had autonomy—freedom to deviate from radio programmers, invasive ads, and boring talk shows.
Naturally, radio stations hated the idea.
Courtesy FCA US
This bizarre automotive alteration was the result of an engineering genius who wanted to get his kid to shut up. Peter Goldmark was head of CBS Labs, a position which afforded him the resources to pursue other innovations. (He’s widely credited with ushering in the modern system of broadcasting color television.) He was the inventor of long-play (LP) records, which played vinyl at 33 and one-third revolutions per minute (RPM) instead of 78. Introduced in 1948, LPs revolutionized the music industry, packing more information onto the 12-inch discs by etching microgrooves into the vinyl and allowing producers to place up to 60 minutes of music on a side.
In the 1950s, Goldmark’s son observed that drivers had no influence over what was being broadcast via the transistor radios that had become standard in vehicles. While you could switch stations, you were still at the mercy of programming directors and their tastes in music.
As inventors tend to do, Goldmark identified the problem and then sought out a way to remedy it. His own creation, the LP, was far too big to have any practical application in a vehicle: The turntable would hang over a passenger’s knees. The 45 RPM record was much smaller but could only hold about five minutes of music on each side. Forcing someone to try and change records with such frequency while driving would likely result in accidents.
Goldmark devised a new option. Using a 7-inch record, he created a surface with ultra-microgrooves that played at 16 and two-thirds RPM. Each side could hold 45 minutes of music, a far more practical solution for people who couldn’t tend to the turntable easily. It also fit snugly under the dash, projecting out at the push of a button so the user could load a record and set the needle before pushing it back underneath and out of the way.
Goldmark made other adjustments. The vinyl records were thicker than standard LPs so they would be more heat-resistant during the summer months. He also developed a spring enclosure to absorb shocks and a counterweighted needle arm to make sure it wouldn’t leap off the record while traveling over bumps.
Goldmark tested it in a CBS executive’s Thunderbird. It worked flawlessly. He loved it.
CBS CEO William Paley hated it.
Paley equated the innovation to a form of self-sabotage. CBS had radio affiliates all around the country beaming their signals into millions of cars; those stations sold advertising spots to generate revenue. If drivers began listening to their own records instead of the radio, they were effectively diluting their own audiences. Paley thought sponsors would have a tantrum. He dismissed the idea entirely.
Perhaps feeling slightly petulant, Goldmark instead went directly to his potential customer: a car manufacturer. Visiting with Chrysler executive Lynn Townsend, Goldmark sold the company on the dashboard record player as a factory option. He rode along during a test drive, with Chrysler employees driving over bumps, railroad tracks, and other obstacles to see if the record skipped. It didn’t. The company ordered 18,000 Highway Hi-Fi units, a sizable investment that Paley couldn’t ignore.
CBS Labs mass-produced the devices, and Chrysler began instructing their dealers to pitch the add-on to prospective buyers. Each unit would come with six records, with the option to buy more through CBS-Columbia, a record label that manufactured the unique discs. Owing to Paley’s influence—he detested rock music—the choices were extremely placid. Car owners got the soundtrack to the Pajama Game Broadway musical, some Tchaikovsky, a jazz record, a dramatic reading of a George Bernard Shaw play, and songs from Disney’s Davy Crockett television series. (The latter was advertised to “help keep [kids] quiet.”) The catalog offered spoken-word reenactments of the Battle of Gettysburg.
Owing to their smaller grooves, the records couldn’t be played on conventional turntables. Given the selection, that was probably a blessing.
Courtesy FCA US
The limited selection was one problem. The functionality of the Highway Hi-Fi was another. Goldmark had tested the device in a Thunderbird and in high-end Chrysler vehicles, but the company offered the machine in their economical Dodge and Plymouth models, which both had modest shock absorption. The records could and did skip, and the models were the source of several claims against the car’s warranty coverage. Local mechanics weren’t audiophiles and didn’t have the knowledge to make simple repairs. As word spread, Chrysler went from selling 3685 Hi-Fi units in 1956 to just 675 in 1957.
The option was discontinued shortly thereafter, but that wasn’t quite the end for car-mounted records. In 1960, RCA thought they had resolved some of the outstanding issues with their Victrola, which played 45s and overcame the short running time problem by constructing a 14-disc changer. When one record was finished, the unit would automatically drop another in its place. Similar to a jukebox, the needle was upside down and the record lowered on top of it to reduce skipping. Records slid into a slot in a manner similar to the CD players that were decades away.
The Victrola was picked up by Chrysler. It performed better than the Highway Hi-Fi, was cheaper ($51.75), and didn’t force users to limit themselves to the paltry selection of CBS’s custom discs. But it didn’t last long either; it was discontinued in 1961. (Another option, the UK’s Auto-Mignon, played 45s with manual switching: Each of the four Beatles was said to own one.) Before anyone could think to improve upon it further, 8-tracks arrived and soon became the portable car sound source of choice. CBS never followed through on plans to equip taxis, airplanes, buses, and other forms of transportation with their devices. In the evolution of on-demand music and auto transportation products, the Highway Hi-Fi was one step best skipped.
Egypt and Israel had a salty relationship in the mid-20th century. In 1967, war broke out between the two and Israel captured the Sinai Peninsula next door. In response, Egypt attempted to cripple the Israeli economy by blockading the Suez Canal with sunken ships, mines, and debris—trapping 14 unlucky foreign cargo ships in the canal for eight years.
Marooned on the canal's Great Bitter Lake, the ships—British, French, American, German, Swedish, Bulgarian, Polish, and Czechoslovakian—“clustered in the middle of the lake like a wagon train awaiting an Indian attack,” reported The New York Times [PDF]. Israel controlled the east bank of the canal; Egypt, the west. The sailors watched helplessly as both sides exchanged gunfire and rockets over their heads.
“We were in a very comfortable prison,” Captain Miroslaw Proskurnicki of the Polish ship Jakartasaid. “The first month was like a holiday. The second month was very hard. By the end of the third month, it was terrible.” With nothing to do besides clean the ships and do basic maintenance, the boats puttered aimlessly around Great Bitter Lake in an attempt to keep the engines well-tuned. With nowhere to go, the crews eventually set aside their homelands' differences, moored together, and formed an unofficial micronation of sorts, calling themselves the “Yellow Fleet,” a reference to the windswept sand that piled on their decks.
Each ship adopted a special duty to keep the "country" running smoothly. The Polish freighter served as a post office. The Brits hosted soccer matches. One ship served as a hospital; another, a movie theater. On Sundays, the German Nordwind hosted "church" services. “We call it church,” Captain Paul Wall told the Los Angeles Times in 1969. “But actually it is more of a beer party.” (The Germans received free beer from breweries back home.)
Beer was the crew’s undeniable lifeblood—one of the few things to look forward to or write home about. “In three days we tried Norwegian beer, Czechoslovak beer and wine and Bulgarian beer and vodka,” Captain Zdzislaw Stasick toldThe New York Times in 1974. In fact, the stranded men drank so much beer—and tossed all of the bottles into the lake—that sailors liked to joke that the lake’s 40-foot deep waters were actually “35 feet of water, and 5 feet of beer bottles.” As the British captain of the Invercargill, Arthur Kensett, said: “One wonders what future archaeologists in a few thousand years’ time will think of this.”
It was like adult summer camp. The men (and one woman) passed the time participating in sailing races and regattas, water-skiing on a surfboard pulled by a lifeboat. They played bingo and cricket and held swim meets. It was so hot outside, they regularly cooked steaks atop 35 gallon drums. During the 1968 Tokyo Olympics, they hosted the “Bitter Lake Mini-Olympics,” with competitions in weightlifting, water polo, air rifle shooting, high jumping, and, of course, swimming. (Poland won the gold.) During Christmas, they installed a floating Christmas tree and lowered a piano onto a small boat, which roved around the lake and serenaded each ship. The Yellow Fleet dubbed themselves the “Great Bitter Lake Association” and made special badges. They even had a club tie.
By the mid-1970s, much of the cargo the vessels had been carrying was rotten. The original shipments of the remaining wool, rubber, and sheet metal—which had been loaded in places as far away as Australia and Asia—were no longer needed. The Yellow Fleet resembled a ghost town, manned by world-weary skeleton crews.
Their patience was rewarded. By 1975, approximately 750,000 explosives had been successfully removed from the Suez Canal, making escape possible. The Great Bitter Lake Association disbanded, and the vessels of the Yellow Fleet finally returned to their separate homes. But by that point, the crew had learned that, no matter your circumstances, home is truly where you make it.