A Walkin’ Chunk a Mean-Mad: Pretty Boy Floyd & Robin Hood
— Woody Guthrie (1940)
Legend
On October 22, 1934, Charles Arthur “Pretty Boy” Floyd – a bank robber suspected by the FBI as a gunman in a 1933 Kansas City shootout that killed four lawmen and a criminal fugitive in their custody – died in a hail of bullets in a cornfield in rural Ohio. Named Public Enemy No. 1 the previous July (after John Dillinger lost the title in a pool of blood in a Chicago alleyway), Floyd was perhaps the most enigmatic of the larger-than-life, non-Mob criminals who thrilled newspaper readers and led cops and G-men on serpentine chases throughout the American Midwest during the bleak years of the Great Depression and Dust Bowl.
An unassuming, Georgia-born Oklahoman who liked to bake pies when he wasn’t masterminding robberies, Floyd seemed ill cast in the role of loathsome evildoer. Mug shots consistently show a man uncomfortable with the camera – tousle haired but snappily dressed, with a broad, sad face. Unlike Dillinger (or Bonnie and Clyde) he took no exhibitionistic delight in his notoriety, nor did he rage wild-eyed at authority like the sociopathic George “Baby Face” Nelson. His path from hayseed to federal pariah seemed less preordained than accidental: the hard luck story of a poor country boy who, thwarted by hardship and limited life options, turned to crime incrementally – from teenaged petty thief to repentant ex-con to bootlegger’s hired gun to bank heist adept blamed for all manner of atrocities he did and didn’t commit. To the end, he denied participating in the most serious crime with which he was charged – the so-called Kansas City Massacre – and, with fitting ambiguity, there’s evidence that both supports and refutes his claim.
Such inscrutability invites myth-making – the grafting of a focused identity onto an indistinct figure – and more than any other outlaw of his era, the disenfranchised farmers and laborers hit hardest by the 30s’ hard times held Floyd up as a hero. With reason: tales of “Pretty Boy” (a press nickname he despised) shredding mortgage documents during hold-ups to free farmers from debt, unlikely as they sounded, were in fact true, and these and other acts of insurrectionist wealth redistribution elicited sympathy from a rural working class that blamed banks and big business (also with reason) for their miseries. From such class disparities legends are born.
Lore
Well, gather ‘round me children
A story I will tell
‘Bout Pretty Boy Floyd the outlaw
Oklahoma knew him well
Five years after his death, this unlikely hostis publicus was immortalized in broadside-style song by a fellow Oklahoman, eight years his junior – populist balladeer Woody Guthrie, who in “Pretty Boy Floyd” painted a compelling poetic license portrait of the armed robber as a modern-day Robin Hood. While “Floyd” has been covered by everyone from traditional folkie Ramblin’ Jack Elliott to new wave noirists Wall of Voodoo, versions by Guthrie (1940) and The Byrds (1968) capture the song’s homespun charm and subversive spirit in thematic collections that enrich the ballad’s meaning by contextualizing it within larger wholes.