In this episode of American History Tellers, historian Paul Andrew Hutton explores how westward expansion shaped American identity through ideology, economic ambition, and mythmaking. The discussion traces the roots of Manifest Destiny from the colonial era through the frontier period, examining how figures like Daniel Boone became legendary and how their stories influenced American literature and culture.
The episode focuses on William "Buffalo Bill" Cody, whose life embodied the transition from frontier reality to popular entertainment. Hutton details Cody's career as a buffalo hunter and Army scout before examining his transformation into a performer and showman. The Wild West Show's cultural impact receives particular attention, including Cody's treatment of Native American performers and his role in embedding Western mythology in American and European consciousness. The conversation concludes with reflections on the tragic consequences of westward expansion for Native peoples and the ongoing obligation to address these historical wrongs.

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The westward expansion of the United States was driven by ideology, economic ambition, and mythmaking, shaping national identity while devastating those already on the land.
Paul Andrew Hutton explains that westward movement was a root cause of the American Revolution. The Proclamation of 1763 halted colonial settlement west of the Appalachians to preserve Native lands and the lucrative fur trade, angering land speculators like George Washington and pioneers like Daniel Boone. Speculators bypassed British restrictions by hiring agents and purchasing discounted land bounties from soldiers, incentivizing western settlement despite imperial edicts.
Thomas Jefferson envisioned an "empire for liberty," predicting America would become a refuge for dispossessed peoples worldwide, even foreseeing a population of 300 million—a prescient insight, according to Hutton. This ideology of Manifest Destiny, the belief that God ordained American expansion, entirely disregarded the rights of Native Americans and Hispanic populations who had inhabited these lands long before Jamestown.
Daniel Boone pioneered the Cumberland Gap, and approximately 300,000 settlers followed through the Wilderness Road into Kentucky, transforming it into a contested frontier with violent clashes against Native tribes and British forces. The harsh realities and legendary figures of the frontier quickly became mythologized in American literature. John Smith's tales of Virginia and Pocahontas began this tradition, while John Filson's book turned Boone into a national folk hero. James Fenimore Cooper's "The Last of the Mohicans," featuring a character modeled after Boone, became America's first bestseller and established enduring conventions for frontier narratives that would influence future Western icons like George Armstrong Custer and Buffalo Bill Cody.
William Frederick "Buffalo Bill" Cody was born in 1846 in Iowa. His family moved to Kansas, where his abolitionist father was stabbed during a speech and eventually died from his wounds—Cody viewed his father as the first martyr for liberty. Young Bill worked for Russell, Majors and Waddell, a company crucial to supplying western posts, serving as a cattle hand and eventually riding for the Pony Express. At seventeen, he joined the Union Army, maturing quickly amid the violence that defined the West during this era.
After the war, Cody worked for the Kansas Pacific Railroad as a buffalo hunter, earning his nickname by killing approximately 4,000 buffalo over two years to feed railroad workers. He hunted from horseback, mimicking Native American techniques and reloading his rifle while riding—showcasing his mastery of frontier skills. Cody next became a scout for the U.S. Army, rising to chief of scouts for the 5th Cavalry under General Phil Sheridan. He participated in numerous engagements, receiving the Congressional Medal of Honor for combat, including a notable victory against the Cheyenne at Summit Springs.
Cody's fame soared when General Sheridan staged buffalo hunts for Eastern millionaires and European dignitaries. Cody captivated guests with his striking appearance—buckskin attire, red shirt, sombrero, and flowing hair—cementing his reputation and legend.
In 1870, writer Ned Buntline met Cody and wrote a sensational tabloid story that made Buffalo Bill famous in the East. The popularity led to a stage performance, and when Cody attended, he was offered $500 weekly to play himself. After initially returning to the frontier, Cody eventually joined the show, recruiting fellow scout Texas Jack Omohondro. Despite poor writing, their frontier melodrama was a hit. Over the next decade, Cody starred in a series of such dramas, eventually asserting independence from Buntline by hiring his own writers and controlling his projects.
Cody observed that the frontier was disappearing and decided to bring it to audiences. Partnering with Nate Salisbury, an experienced impresario, they created Buffalo Bill's Wild West Show, which ran for 30 years beginning in 1883, playing across America and Europe and fundamentally shaping the image of the American West.
The show featured choreographed historical reenactments, including Custer's Last Stand and the Battle of Summit Springs, sharpshooting exhibitions by Annie Oakley and Johnny Baker, and demonstrations of frontier skills from diverse cultures. Cody distinguished his show by recruiting Native American performers, predominantly Lakota, paying them competitive wages and offering dignified employment. Native families traveled with the show, sold traditional crafts, and participated in an integrated company culture. Sitting Bull joined the show, receiving equal billing with Annie Oakley, and the two became friends, reflecting the show's respectful atmosphere.
Buffalo Bill's Wild West Show crossed the Atlantic, making Cody a cultural ambassador. In 1887, Queen Victoria attended a command performance, and European royalty flocked to see the spectacle. The show performed in major cities like Paris, Rome, and Berlin, captivating audiences and embedding Western mythology as a symbol of American identity. A young Winston Churchill even played hooky from school to see the show, becoming a lifelong admirer.
Despite its cultural influence, the show eventually succumbed to financial pressures from rising costs, competition, and the advent of motion pictures. In 1913, Harry Tamman, owner of a competing circus, called in the show's mortgage, forcing Cody into bankruptcy and ending the Wild West Show's run.
Buffalo Bill Cody's influence extends far beyond entertainment, significantly shaping the visual language, narratives, and symbolism of the American West. Much of his modern reputation originates from the Broadway musical "Annie Get Your Gun," which recast him as an older showman. Cody's shows laid the groundwork for Western narratives in literature and film—figures like Taylor Sheridan and John Ford are described as continuing his tradition. The conventions established by Cody's Wild West shows became foundational elements in Western media.
Cody's promotion of frontier mythology aligned with Frederick J. Turner's 1893 thesis, "The Significance of the Frontier in American History," which asserted that westward expansion fundamentally shaped American character. Cody and Turner, operating in entertainment and scholarship respectively, helped establish the American West as the unifying story of a diverse nation. Turner's framework influenced how history is taught in American colleges.
Theodore Roosevelt, America's first "cowboy president," brought frontier mythology into the White House in 1901. Drawing on values promoted by Cody's show, Roosevelt pioneered the conservation movement, focusing efforts on preserving wilderness and wildlife. Both Roosevelt and Cody became involved in buffalo restoration—Cody's herd provided critical genetic stock for conservation efforts. Today's buffalo population exceeds 400,000, a remarkable recovery from near extinction that traces its origins to the frontier nostalgia fostered by Cody and Roosevelt.
Paul Andrew Hutton underscores that while Manifest Destiny was grounded in ideals of liberty and self-determination, its implementation deeply violated those principles for peoples already living on the land. Hutton points out there was "a total disregard" for the rights of Native Americans and Hispanics in the West. The westward push led to a clash between American agricultural society and the buffalo-dependent cultures of Plains Native Americans—Hutton acknowledges this resulted in unavoidable devastation that "was done callously and ruthlessly." Western expansion featured relentless military campaigns, broken treaties, and systematic dispossession.
Cody began his career immersed in this culture of conflict, viewing warfare against Native Americans as necessary. Yet as he transitioned to show business, his perspective evolved. He came to recognize and respect the deep connection Native peoples had to the land, developing genuine empathy. Within his Wild West show, Cody celebrated Native American life rather than villainizing it. He defended Sitting Bull's resistance at Little Bighorn as understandable and justifiable, and treated his Native performers with dignity and fair pay.
Hutton notes that this legacy still shapes American society, stating "our generation is paying that price in the way we are reassessing ourselves." He insists on acknowledging the realities of Native American dispossession and taking action to remedy historical wrongs. The persistent socioeconomic and health disparities in Native American communities are direct legacies of 19th-century displacement. Hutton stresses that Americans today "could certainly do some things...to make right what happened to native peoples," signaling an obligation to address both the history and the enduring consequences.
1-Page Summary
The westward expansion of the United States is fueled by a powerful ideology and a complex mix of economic ambition, legal maneuvering, and mythmaking. This vast movement shapes both national identity and the fate of millions, often at the dire expense of those already inhabiting the land.
Paul Andrew Hutton explains that westward movement was one of the root causes of the American Revolution. The Proclamation of 1763, issued from London, halted all colonial settlement west of the Appalachian Mountains. This land was to remain Indian territory so the British could maintain control over the lucrative fur trade, which they regarded as the "oil of the 18th century." Having just fought a war with France for this territory, the British aimed to protect their Native American trading partners from disruption by American pioneers. This restriction stirred anger among both land speculators like George Washington and Benjamin Franklin, and pioneers such as Daniel Boone, the so-called long hunters pushing ever westward.
While some land speculators paid lip service to British authority, Hutton notes that pioneers largely ignored the rules and continued west. Even high-profile land surveyors and speculators like George Washington sought to profit by sending agents—including William Crawford—to secretly claim land in the western territories. Washington also acquired land bounties granted as payment to French and Indian War soldiers, snapping up these rights at a fraction of their value, wagering that the restrictions would not last. These investments incentivized further western settlement, showing how economic ambition fueled defiance of imperial edicts.
This expansionist spirit was sanctified under the ideology of Manifest Destiny: the conviction that God or nature ordained American expansion across the continent. Thomas Jefferson articulated this with his vision of an "empire for liberty," foreseeing America as a refuge for "all the dispossessed peoples of the world" and even predicting a future population of 300 million, an insight Hutton describes as uncannily prescient. The dream was to spread democratic ideals far beyond the original colonies.
However, Manifest Destiny entirely disregarded the rights of people already living in these lands. American ideology and ambition did not account for Native Americans and, as expansion moved west of the Mississippi, Hispanic populations who had settled regions like New Mexico, Arizona, and California long before Jamestown existed. These populations would face displacement, violence, and marginalization, establishing a recurring tragedy at the heart of American expansion.
The pursuit of fertile land and wealth drove pioneer families and explorers over the mountains. Among the most famous routes was the Cumberland Gap, carved out by legendary "long hunter" Daniel Boone, who scouted Kentucky and saw it as a paradise for future generations. Boone imagined not just personal fortune, but a future for his family, friends, and nation.
Westward Expansion and Manifest Destiny
William Frederick "Buffalo Bill" Cody was born in 1846 in Iowa, at the edge of the American frontier. His family soon moved to Kansas, where his father played a prominent role in the abolitionist movement. During this era of intense upheaval, Cody’s father was stabbed while giving an anti-slavery speech, eventually dying from his wounds. Young Bill witnessed his father’s fate, viewing him as the first martyr in the struggle for liberty and the abolition of slavery. Cody grew up amid violence, tragedy, and the sweeping changes of a nation divided by war and westward expansion.
As a boy, Cody found work with Russell, Majors and Waddell, a company crucial to supplying western posts and involved in the 1857 Mormon War in Utah. The company served as the logistical backbone for much of the American West’s growth and would become the foundation of the Pony Express as the Civil War erupted. Cody served as a cattle hand and took care of livestock for the supply trains, and eventually rode for the Pony Express, enduring a tough life among hard-bitten wagon train men who often tormented him because he was just a scrawny kid.
At seventeen, Cody joined the Union Army, just one more young man swept up by the Civil War’s violence. Like many of his generation, he matured quickly, hardened by constant upheaval, violence, and hardship that defined the American West during those years.
After the war, Cody’s frontier career expanded. He worked for the Kansas Pacific Railroad, an ambitious transcontinental line. During this period, Cody became a buffalo hunter—a role that would grant him his legendary nickname.
Buffalo Bill’s fame grew when he killed approximately 4,000 buffalo over two years to help feed Kansas Pacific Railroad workers. Cody used a breech-loading Springfield rifle, which he named Lucretia Borgia after the infamous Italian poisoner, and rode his horse, Brigham, with remarkable skill. The railroad men even composed a song about him: "Buffalo Bill, Buffalo Bill, Never Missed and Never Will." The company paid him for his hunting, giving rise to the moniker "Buffalo Bill."
Cody’s hunting style set him apart. He avoided the method later used by hide hunters who slaughtered buffalo for skins. Instead, he mimicked Native American techniques, hunting from horseback and skillfully reloading his single-shot rifle while riding—an impressive feat that underscored his mastery of frontier skills and respect for indigenous traditions.
Cody next became a scout for the U.S. Army, initially hired only for specific campaigns, but his abilities made him indispensable. He drew the attention of General Phil Sheridan, a Civil War hero and then-commander on the Southern Plains, who appointed Cody as chief of scouts for the 5th Cavalry. Cody remained active with the 5th Cavalry, participating in more engagements than most other plains soldiers. He fought bravely, receiving the Congressional Medal of Honor for combat, including a notable victory against the Cheyenne at Summit Springs, where he killed the leader of the Cheyenne dog soldiers.
Cody’s fame soared when General Sheridan staged two major buffalo hunts for prominent Eastern millionaires and European dignitaries. In these outings, Cody captivated his guests: riding into camp in dramatic buckskin attire, red shirt, a wide sombrero, and flowing long hair—his movie-star appearance dazzled onlookers. On one such hunt, he ensured Grand Duke Alexys of Russia bagged his first buffalo, after which baskets of champagne were uncorked in his honor. These celebrity hunts, and Cody’s charisma, only added to his notoriety and legend.
Buffalo Bill Cody's Life and Frontier Career
Buffalo Bill Cody observed that the frontier was disappearing and decided that if people could no longer experience the old West firsthand, he would bring it to them. He believed audiences in settled areas of America and beyond would be captivated by frontier experiences that were rapidly vanishing. To achieve this, Cody partnered with Nate Salisbury, an experienced show business impresario. Cody’s showmanship and Salisbury’s business sense formed Buffalo Bill’s Wild West Show, later expanded to Buffalo Bill's Wild West and Congress of Rough Riders of the World. The partnership resulted in a global, sustainable entertainment enterprise that ran for 30 years, beginning in 1883, playing across America and throughout Europe, fundamentally shaping the image of the American West and making the cowboy a lasting American icon. Salisbury’s contribution as a producer matched Cody’s dynamic ability to adapt and innovate the show, ensuring its long-term success.
The Wild West Show opened with a grand town parade: the whole troupe, led by Cody, marched through town in full costume, drawing crowds and building excitement. Audiences would then move to the arena, which buzzed with action—bucking horse competitions, roping tricks, and sharpshooting exhibitions headlined by famed marksmen such as Annie Oakley and Johnny Baker.
A major element of the show was its elaborate historical reenactments. Cody recreated dramatic moments like Custer’s Last Stand and the Battle of Summit Springs, staging spectacles that established many tropes and conventions that would later become standard in Western films and novels. For authenticity and excitement, Cody himself enacted a mock buffalo hunt and the dramatic rescue of a stagecoach under attack.
The program expanded beyond American frontier history, eventually becoming a Congress of Rough Riders of the World, demonstrating frontier skills from diverse cultures and cementing the show’s global appeal. Cody’s central role—whether leading hunts, staging rescues, or narrating the mythos of the frontier—remained a fixture.
Buffalo Bill’s show distinguished itself by recruiting Native American performers, predominantly Lakota. The show paid these performers competitive wages and offered dignified, regular employment at a time when opportunities on reservations were limited. Native participants often traveled with their families, enjoying a collaborative and integrated social atmosphere: Black, white, Asian, Native American, and Hispanic performers ate together, creating an environment of rare equality for the era.
Cody encouraged and enabled Native families to sell traditional crafts—beadwork, moccasins, and other items—on the showgrounds, providing opportunities for meaningful additional income and giving audiences a window into Native American culture.
A landmark moment came when Sitting Bull joined the show shortly after returning from Canada. Cody secured Sitting Bull as a headliner by offering equal billing with Annie Oakley, recognizing the chief’s celebrity status and invaluable promotional value. Sitting Bull and Annie Oakley became friends, and the chief received respect and dignity in his appearances. Cody and Sitting Bull developed a deep personal friendship, reflecting the show’s generally integrated and respectful company culture.
Buffalo Bill’s Wild West Show crossed the Atlantic, turning Cody into a cultural ambassador and using frontier mythology to showcase American ideals and perceived superiority. In 1887, Queen Victoria attended a command performance at Earl’s Court. When Cody and his troupe paraded the American flag before the queen, she rose and bowed her head, amid war whoops from Native performers and cowboy cheers, symbolizing cultural triumph.
European royalty and nobility flocked to see the spectacle, including the Prince o ...
Buffalo Bill's Wild West Show
Buffalo Bill Cody’s influence extends far beyond the Wild West shows, significantly shaping the visual language, mythology, and symbolic narratives that come to define both the American West and broader American identity. His cultural reach impacts entertainment, scholarship, politics, and the nation’s relationship with its natural heritage.
Much of Cody’s reputation in the modern imagination originates from the famous Broadway musical "Annie Get Your Gun," later adapted into a film starring Betty Hutton. This representation recasts Cody from the archetype of a handsome young frontiersman into an older, sequined, fatherly showman, establishing an enduring image that persists today. Show business became the primary medium through which his reputation and image spread and evolved.
Cody’s shows and persona laid the groundwork for Western narratives in literature, film, and theater. Taylor Sheridan and John Ford, both major figures in American storytelling, are described as disciples or children of Buffalo Bill, continuing his tradition of bringing the story of the West to audiences far beyond its borders. The conventions established by Cody’s Wild West shows—narrative tropes, visual symbols, plots, and character archetypes—became foundational elements in Western novels and films, persisting into modern entertainment.
The lasting influence of Cody’s brand of showmanship is seen throughout Western media, with many tropes originating from his Wild West spectacles. These tropes became ingrained in the cultural presentation of the American West and set the stage for how generations of Americans experience this history through popular media.
In 1893, Frederick J. Turner presented his landmark paper, "The Significance of the Frontier in American History," at the American Historical Association’s first meeting in Chicago—the same year Cody’s Wild West played at the Chicago World’s Fair. Turner’s thesis asserted that westward expansion fundamentally shaped the American character and exceptionalism, redirecting academic conversation around national identity.
Cody and Turner, operating in tandem though in different spheres—Cody in entertainment, Turner in scholarship—helped establish the American West as the unifying story of a diverse nation. The idea that the frontier experience is the “glue” binding Americans of different origins became a core narrative. Cody conveyed this mythology through live performance, while Turner provided the intellectual framework, offering a version for both popular and academic audiences.
Turner’s triumph in the intellectual realm led to the widespread adoption of Western history programs across U.S. colleges—a legacy that endures today. His framework solidified the significance of the West in forming national identity, influencing how history is taught and understood.
Theodore Roosevelt, America’s first “cowboy president,” brought the energy and virtues of frontier mythology directly into the White House in 1901. He embodied the image of rugged Western leadership, explicitly linking those values to governance and presidential authority.
Cultural Legacy and Influence on American Identity
The doctrine of Manifest Destiny defined westward expansion in America, yet its implementation was marked by tragic irony and enormous contradiction. While grounded in ideals of liberty and self-determination, the ideology propelled actions that deeply violated those very principles for the peoples already living on the land. Paul Andrew Hutton underscores that Manifest Destiny carried with it "a total disregard" for the rights of Native Americans and, as expansion moved west of the Mississippi River, also for the long-established Hispanic populations in New Mexico, Arizona, and California—communities whose presence predated Jamestown.
Manifest Destiny justified American colonization by asserting a supposed divine right and inevitability to settle the continent. In practice, this ideology erased the legitimate claims and humanity of Native Americans and Hispanics in the West. Hutton points out that there was a "total disregard for their rights," which starkly contradicted American ideals.
The westward push led to a clash between the American drive to establish an agricultural society and the buffalo-dependent cultures of the Great Plains Native Americans. Hutton acknowledges this was an inevitable conflict, arising from incompatible ways of life, and resulted in unavoidable devastation—"it was done callously and ruthlessly."
Westward expansion featured relentless violence: military campaigns swept through the Southern Plains and erupted in wars such as the Great Sioux War, most infamously marked by Custer’s defeat. Treaties were repeatedly broken, dispossession was systematic, and countless Native Americans were forced from their lands. Hutton is clear that while it theoretically could have been handled better, in reality the process was "callous and ruthless."
Buffalo Bill Cody began his career immersed in this culture of conflict, embodying the frontiersman's view that warfare against Native Americans was inevitable and necessary for survival. Cody, like other frontiersmen, presented himself as a warrior—adopting the long hair that made one's scalp a challenge and symbolized courage and defiance.
Yet, as Cody transitioned to show business, dramatizing his frontier experiences in the Wild West show, his perspective evolved. He came to recognize and respect the deep connection Native peoples had to the land—a bond he now identified with from his own experiences living on the frontier. Cody developed a genuine empathy, feeling he had more in common with Native Americans than with settlers or Eastern elites who drove the expansion.
Within his Wild West show, Cody celebrated Native American life rather than simply villainizing it. Sitting Bull, the iconic Lakota leader who resisted at Little Bighorn, performed for a season; the two men became friends. Cody defended Sitting Bull’s decision to fight at Custer’s Last Stand as a defense of family and survival, emphasizing that Native resistance was understandable and justifiable.
Cody also challenged contemporary conventions by treating his Native performers with dignity and respect. Most were Lakota, and he ensured t ...
The Tragic Irony of Westward Expansion
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