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Rex Trailer (September 16, 1928 – January 9, 2013) was an American regional television personality, broadcast pioneer, cowboy and Country and Western recording artist. He is best known as the host of the children's television show Boomtown which initially ran from 1956 through 1974.

Key Information

Early life

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The hired hands on the ranch were rodeo cowboys. One of these men taught him trick roping, one taught him how to handle a bull whip, and another taught him how to play the guitar. Trailer recalls, "All those cowboys were good at what they taught me, but after I learned each (skill), I was the only one of the bunch who could do all three!"[1]

As a young man in Texas, Trailer found other opportunities to employ his skills. At age 16 he started his own band, "The Ramblin' Rustlers", which performed locally. "I was always a ham who loved to perform", he said. "I could always play guitar, sing and tell stories." Trailer also began calling square dances.[2]

At 18 years old, Trailer left Texas for the national rodeo circuit. "I traveled the country a little bit", Trailer reminisced. "The audiences got a kick out of a teenager being out there and trick riding and roping and bull whips and singing."[3]

In 1948, Trailer was working in the traveling rodeo when he met Western movie star Gabby Hayes backstage at Madison Square Garden. That meeting proved to be life-changing. An impressed Hayes hired him to work at his Catskills summer ranch for kids as entertainment director. Trailer was the oldest child in a large family, and so was already practiced at engaging the young ones. Hayes, recognizing Trailer's rare natural talent over the course of that summer, encouraged him to break into the fledgling world of children's television as an on-air personality.[4][5]

Television pioneer

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Souvenir photo of Rex and Goldrush. Boulevard Shopping Center, located at Cottman Ave. and Roosevelt Blvd. in Northeast Philadelphia, was the site of appearances by Trailer in the early 1950s.

Around 1947 Trailer, not yet out of his teens, had gone to work for the DuMont Television Network in New York City. He started out as a scenery painter, but quickly rose to the position of production coordinator, and soon after to assistant director. Then in 1949, acting on Hayes' advice to seek on-air work, he responded to a casting call for a cowboy who could do stunts; Trailer overwhelmed the competition and became the host of the network's Oky Doky Ranch (formerly The Adventures of Oky Doky).[3] The show featured Trailer as a cowboy and Oky Doky, a cowboy puppet, operated by Dayton Allen.

The Oky Doky series was successful, but it ended when its production company went bankrupt. Dayton Allen went to NBC and soon joined the cast of the nascent Howdy Doody show. Meanwhile, Trailer heard that the Westinghouse TV station in Philadelphia (WPTZ) needed a host for a Western-style children's show. Trailer and his horse "Gold Rush" moved to Philadelphia and hosted a number of television shows from 1950 until 1956. "Ridin’ the Trail with Rex Trailer" featured him as the host for movie Westerns on Saturday mornings, with some live action segments featuring Trailer spliced in. "They sort of built me into the movie," Trailer explained. "The kids loved it because they never knew where or when I was going to show up in the action." He also had a daily 15-minute program featuring songs, games, dances, lore and lessons. This was the only one of the shows that was just Trailer and the kids; called "Hi-Noon with Rex Trailer," it ran from 1950 to 1955, achieving high ratings as it entertained the kids who came home from school for lunch. "Rex Trailer's Ranch House" was a half-hour variety show on Saturday nights. With its self-explanatory title, "Saddlebag O' Songs" was yet another show he hosted in that era.[5]

Recording artist

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While his television career was continuing to advance, Trailer concurrently found success in recording Country and Western Music for ABC-Paramount Records, among other labels. At one time, around 1950, he recorded with Bill Haley and his Saddlemen, who gained fame later as Bill Haley and His Comets. In 1955, "Cowboys Don't Cry" and a song later used regularly on the Boomtown show, "Hoofbeats", were released together in the 78 rpm and 45 rpm vinyl record formats. Trailer released at least two 3313 rpm 12" vinyl albums, as "Rex Trailer and the Playboys", one titled Country and Western in 1960 and one titled Good Old Country Music, released by Crown records (CLP 5484 monaural), date unknown. Another album with some overlap in playlists also exists, by "Rex Trailer and his Cow Hands", titled Western Favorites, which was released in 1961 on Spin-O-Rama records.

The 78 rpm version of "Hoofbeats" and "Cowboys Don't Cry".

In his later years, Trailer offered a CD through his website, called All the Best. "Boomtown", "Hoofbeats", "Cowboys Don't Cry", "Pow Wow the Pony" and other songs from the 1950s and 1960s were included, along with some more recently recorded songs. Trailer recorded introductions for each track.

Trailer was a featured guest on the 2002 eponymous Nate Gibson and the Gashouse Gang album. He played and sang on two songs written by Gibson, "The Remote to the T.V." and "Immaculate Confection," the latter being a tribute to Necco Wafers candy.

The Boomtown/Boston years

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The Philadelphia station that employed Trailer was sold to NBC. The young star, with short time remaining on his contract to Westinghouse Broadcasting, was presented a choice of two Westinghouse station cities as his next stop: Cleveland or Boston. In 1956, with a wealth of broadcasting experience and not yet out of his twenties, Rex Trailer chose the move to Boston to host a new weekend-morning children's show Boomtown on WBZ-TV.[3] Trailer was already familiar with Boston, having performed as a specialty act when he traveled with big bands that played the Copley Plaza Hotel.

WBZ launched Boomtown (as Rex Trailer's Boomtown) on April 28, 1956, as a two-and-a-quarter-hour Saturday morning series. As originally conceived, the show was strictly a showcase for Trailer, who demonstrated trick riding and roping, sang cowboy tunes, and told western stories. Between Trailer's segments, the program presented old western films.[6] Trailer named the show after the title of a Clark Gable film he saw on TV at the time. Though the original commitment was only for a few months, this series proved to be his greatest success, airing on WBZ through 1974. It became so popular that it was expanded to three-hour slots on both Saturday and Sunday mornings.

Boomtown established Trailer as a major (and enduring) local celebrity within the signal of Boston TV's Channel 4. Trailer performed songs while playing guitar, and showed off his authentic cowboy skills with horse-riding tricks, rope tricks, skilled use of the bullwhip, and shooting (though he banished weapons from the show after Robert F. Kennedy’s assassination in 1968).

Each episode of Boomtown opened with Rex Trailer on an indoor "bunkhouse" set, singing or engaging in comedy routines with a sidekick, in the manner of the popular Howdy Doody program. The first sidekick was actor Dick Kilbride as Mexican-dialect buddy Pablo (1956-1967); after Kilbride's death he was replaced by actor Terrence Currier as bewhiskered Cactus Pete (1967-1969). Musician Bill O'Brien joined Trailer and Currier as cavalry soldier Sgt. Billy O'Brien. The "bunkhouse" scenes were always pre-recorded in a studio. A film clip of Trailer riding his horse into town served as a transition from the bunkhouse to Boomtown, resembling an old western town with hitching posts, opera house, storefronts, and jail. Here the show was staged live, with dozens of kids in attendance. The young viewers "adored him for his consistent kindness and competence."[7]

Trailer was aided by many guests, such as John MacFarland of the Franklin Park Zoo (for "Critter Corner"). Very occasionally, Boomtown would be broadcast from remote locations, like the May 7, 1961 episode at the Pleasure Island amusement park in Wakefield, Massachusetts.[8]

The show's western films were replaced by Popeye the Sailor theatrical cartoons, and then by Hanna-Barbera's made-for-TV cartoons. In the live segments, Trailer presided over a series of audience-participation games and stunts, with prizes furnished by local merchants. One embarrassing episode had Trailer giving away a transistor radio emblazoned with a prominent Pepsi logo. Trailer said he had heard from parents asking if this was a real radio, and he demonstrated by turning the radio on. As the camera lingered on a close-up of the Pepsi logo, the radio (tuned to sister station WBZ-AM) was playing a Coca-Cola commercial. Trailer chuckled and explained, "These things happen when you're on live television." Another favorite stunt was having boys in the crowd wearing oversized long johns over their clothes, and having girls in the crowd stuff the suits with inflated balloons. Trailer would then take a pin and pop each balloon, while the crowd counted along with Trailer.

One of the show's weekly features was a masquerade, in which an appointed "sheriff" and "deputy" were shown a photo of a kid in a western disguise. Their job was to look at the faces of all the kids passing in review, and try to identify the one kid who had been disguised. The feature was not only a clever way to fill time on the air, but it gave every youngster in the studio a chance to appear on television.

Rex Trailer's fame, good name, and crowd-pleasing talents made him a dependable draw at many personal appearances in the area, with his TV sidekicks usually accompanying him. He also teamed with a local travel agency in chaperoning children on an annual series of group school-vacation trips to California tourist attractions.

As advocate

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Rex Trailer was recognized as a strong advocate for children with disabilities.[9] In 1961, Trailer (and Gold Rush) led an actual wagon train across the state of Massachusetts ending at the State House in Boston, to call public attention to the needs of those with intellectual disabilities, and the organization The Arc (then called the Association for Retarded Citizens). Trailer insisted on including children with disabilities in his show, and is said to have been one of the first to do so.[10] In addition, Trailer also encouraged his young fans to hold neighborhood charity fund-raisers called "Backyard Carnivals Against Dystrophy", offering how-to kits on air. As a result of such efforts, Trailer came to be perceived as the "cowboy with a conscience" on and off the air.[7]

Shooting live three-hour shows in the Brighton studio every Saturday and Sunday morning left Trailer little opportunity at that time to contemplate his place in television history. "We just did it. It was a blast," he said, adding that the show was the most enjoyable thing he'd ever done, because its genuineness made the fun contagious. "We were doing educational TV before there was educational TV," Trailer asserted. "Children need role models. I wanted them to understand their obligation to take care of each other."[2]

When Boomtown ended on WBZ-TV, Trailer briefly put his Western costume aside and hosted Earth Lab, a syndicated science series that aired across the country until 1979. A second, short-lived run of Boomtown aired on WXNE-TV, Boston on Saturdays and Sundays for a year in the late 1970s. In addition to Rex Trailer himself, the WXNE-TV version of the show also brought back his sidekick Sgt. Billy, Uncle Sam Donato and the Boomtown Band, and added magician "Denver Dave," played by David Rich. Rich had been a one-time audience member of the show in the early 1960s. This iteration of the show was complemented by weekday afternoon "Good Time Gang" inserts, during which Trailer and other featured players of Boomtown introduced episodes of pre-produced children's programming and gave away prizes.

Rex Trailer was part of the successful "I Love New York" tourism campaign, playing a New Hampshire fisherman in a 1982 TV commercial.[11] Trailer had a minor but memorable role as a doctor in the 1990 Cher/Winona Ryder movie Mermaids, saying to Ryder's character, "Then why did you think you were pregnant? You're still a virgin!"[12] Later, he co-hosted Boomtown Revisited on Continental Cablevision in the early 1990s.[4]

Besides his cowboy, musical and broadcasting skills, Trailer had other talents. He was a licensed pilot, having flown fixed wing craft including the Boeing 747 as well as helicopters and gliders, the latter at the (now defunct) Northeast Gliderport in Salem NH. He would often arrive at personal appearances at the controls of a helicopter, sometimes seasonally accompanied by Santa Claus. Once, Trailer was flying with Bozo the Clown (Frank Avruch) in his helicopter; engine trouble forced them down in a Western Massachusetts field, where they were greeted by incredulous children who had followed their descent.[4] Trailer co-owned a helicopter shuttle company in the 1960s and 1970s that at its peak transported 500-600 passengers a day. He was an accomplished sky diver, scuba diver and water skier. Trailer also worked as a travel agent and was a certified hypnotherapist.[13]

Later career

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In his later years, Trailer continued to work in the television industry. He owned a video production company in Waltham, Massachusetts, and taught on-air performance at Emerson College in Boston, both until his death. Among his past students are WHDH-TV Channel 7 news anchor Jonathan Hall, Fox 25 morning news host Gene Lavanchy, NESN sportscaster Bob Rodgers and Entertainment Tonight correspondent Maria Menounos.[4] He made regular personal appearances, and performed on occasion, including sets at Boston rock clubs in his later years as a special guest. Trailer was also a perennial participant in Natick's annual July 4 parade, in which he rode Goldrush. Trailer’s initial association with the parade ran from 1955 into the early 1980s; Trailer revived the tradition beginning in the early 1990s, continuing it each year until 2012.[14] In 2013, he was named “grand marshal in memoriam” by Natick Friends of the 4th.[15]

On December 10, 2006, Trailer performed several songs (including the Boomtown theme and some of his own Christmas songs) and signed free autographs for hundreds of fans at That's Entertainment in Worcester, Massachusetts. The event was part of Trailer's official "50th Anniversary of Boomtown" celebration tour. Then Worcester Mayor Tim Murray officially proclaimed it "Rex Trailer's Boomtown Day" throughout the city to mark the occasion, and Worcester City Councilor Frederick C. Rushton read the proclamation to the crowd.[16]

In 2011, Trailer donated his three .45-caliber revolvers with staghorn handles to the Massachusetts State Police Museum in Grafton, Massachusetts. Just prior, the gun shop where Trailer was storing them had gone out of business. The guns very nearly went on the auction block before Trailer and Michael Bavaro learned of the situation and retook possession.[17]

Trailer meets the artist for The Phantom comic strip, Paul Ryan, at That's Entertainment in Fitchburg, Massachusetts, on September 11, 2011.

On September 11, 2011, Trailer appeared at That's Entertainment in Fitchburg, Massachusetts, to meet fans, sing songs and sign free autographs as he marked the 55th anniversary of Boomtown. The appearance coincided with the tenth anniversary of the September 11 attacks, and Trailer sang a song he had written to honor the victims of 9/11, "I Appreciate You".[18] He had first performed this song on 2002/09/10 at the Comedy Connection in Faneuil Hall. He explained the song's significance before that earlier event: "Ever since 9-11, the world has changed for all of us. We have to stick together, protect each other, and let those you love, respect, and admire know how much you appreciate them."[19]

On December 18, 2011, Trailer wrapped up his 55th Anniversary Tour in Waltham, Massachusetts, at Café on the Common. Trailer debuted a long-lost Boomtown segment called “Pablo’s Used Cars,” which featured the physical comedy of Trailer’s beloved sidekick, Pablo (actor Richard Kilbride).[20]

In 2012, Trailer continued to appear at events in towns all around Massachusetts. On September 15, 2012, Trailer was at the Ayer Town Hall, where a gathering of fans joined him for his 84th birthday celebration.[21]

Family

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Trailer's family remained largely out of the public spotlight throughout his career. Trailer was married to Karoline "Cindy" Trailer (maiden name: Waldron),[22] a two-time beauty pageant winner, from 1956 until her death on May 30, 2011. They had one child, Jillian. Between raising her daughter and attending charity events, Mrs. Trailer had dedicated her time to helping people in need through volunteer work with hospitals and various organizations. She also gave her time to Friends of Animals as well as to animal shelters, and opened their Sudbury, Massachusetts home to many lost or abandoned pets.[citation needed]

His daughter Jillian Trailer said, “One of the most important lessons I learned from my father was to appreciate both big and small opportunities. Learn from the tough experiences and most of all appreciate every day of life.”[23] She recalled that her father was much the same person in public and private life, and that he had a talent for making everyone feel special.

Recognition and legacy

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The retrospective book Rex Trailer: The Boomtown Years by Shirley Kawa-Jump was published in 1997.[24]

Trailer was inducted into the Massachusetts Country Music Hall of Fame in 2000. He received the 2005 Governor's Award from the National Academy of Television Arts & Sciences, Boston/New England chapter and inducted into the Academy's Gold Circle in 2008 for 50 years of service to the broadcast industry in New England. He was included in the first group of honorees inducted into the Massachusetts Broadcasters Hall of Fame in Brockton, Massachusetts, on May 5, 2007.[citation needed]

A documentary film titled, Rex Trailer's Boomtown was produced by Milford, Massachusetts native Michael Bavaro. The film was broadcast on WBZ-TV on June 18, 2005 as a special and was nominated for a New England Emmy award for best historical documentary. Jay Leno, Jimmy Tingle, Mayor Tom Menino, Steven Wright and more than 100 grown-up kids share their Boomtown memories, and attest to the enduring stature of its host. The broadcast version of the film and archive material were presented to and are now part of the permanent collection at the Museum of Television & Radio in New York City. The film enjoyed an encore presentation on WGBH Boston on August 26, 2010.[citation needed]

Trailer was honored for his lifetime of contributions to people with mental and intellectual disabilities at the 50th anniversary Gala for The Arc of Massachusetts on September 10, 2005. In 2011, The Arc chapters in Massachusetts launched a state wide event called "All Aboard the Arc!" This bus caravan event was modeled after the wagon train led 50 years before by Rex Trailer. Trailer was honored at the 2011 event. The organizers note, "Sadly, his horse was not invited."[10]

In March 2012, the Massachusetts tourism and cultural development committee endorsed Trailer's proposed designation as the state’s "official cowboy."[7] The bill, officially called S 1704,[25] is sponsored by Senator Susan Fargo (D-Lincoln).[26] Sen. Eileen Donoghue (D-Lowell), co-chair of the committee, said during the executive session, “His history and connection to Massachusetts is very strong. Not only is he a cowboy from Massachusetts, but he is a wonderful role model who gave a lot back.”[9] On April 7, 2014 the bill, now sponsored by Fargo's successor, State Senator Michael Barrett, passed the Senate. “Long before PBS he was engaging kids in valuable ways. And long before The Americans with Disabilities Act he was determined to make his youthful audience inclusive,” stated Barrett. Barrett chairs the Senate committee on children, families and persons with disabilities.[27]

Rex Trailer died in 2013, when he was visiting family in Florida for the holidays. He fell ill with pneumonia, and died on January 9 at the age of 84.[28][29] Trailer's life was celebrated at a memorial service held at Cutler Majestic Theatre at Emerson College on March 12, 2013. The Rex Trailer Memorial Fund was established to support the causes the man championed.[30]

Comedian Jay Leno eulogized his boyhood hero: “I’ve met a lot of people, a lot of important people, but no bigger star than Rex.”[31]

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia

Rex Trailer (September 16, 1928 – January 9, 2013) was an American television host, performer, singer, and producer renowned for pioneering children's programming with authentic Western themes. Born in Thurber, , and raised near Fort Worth, Trailer acquired genuine ranching skills during summers on his grandfather's quarter operation, distinguishing him from scripted performers of the era. His career began in 1950 hosting shows on Philadelphia's WPTZ, where he introduced interactive elements like live animal segments and audience participation. Trailer achieved lasting prominence from 1956 to 1974 as host of Boomtown on Boston's , a Saturday morning staple that drew regional audiences with skits, music, and educational content featuring sidekicks like Sergeant Billy and puppets, fostering a generation's affinity for cowboy culture. Post-Boomtown, he hosted Earth Lab, produced educational videos through Rex Trailer Video Productions, and collaborated on advocacy efforts, including awareness campaigns with disability organizations. Inducted into the Broadcasters Hall of Fame, Trailer's legacy endures as a bridge between authentic frontier heritage and early broadcast entertainment.

Early Life and Formative Influences

Childhood in Texas

Rex Trailer was born on September 16, 1928, in Fort Worth, Texas. He grew up in Thurber, Texas, a small town near Fort Worth, during an era when rural ranching still shaped daily life in the region. As a child, Trailer spent his summers on his grandfather's quarter horse ranch in Thurber, immersing himself in practical ranch operations. There, he acquired his first horse and honed foundational skills in horsemanship, roping, and riding under the guidance of ranch hands, many of whom were experienced rodeo performers. These experiences provided Trailer with direct, empirical exposure to Western ranching techniques, fostering abilities grounded in necessity rather than entertainment. This early ranch involvement distinguished Trailer's proficiency from that of urban-based entertainers who emulated roles without comparable fieldwork, establishing a baseline of authentic competence derived from repeated, hands-on practice with and equipment. Following his youth, Trailer's family relocated, transitioning him toward broader opportunities beyond the ranch.

Development of Cowboy Skills

Rex Trailer acquired his cowboy expertise through practical immersion on his grandfather's ranch in Texas, where he spent summers during his youth. The ranch hands, who were off-season rodeo professionals, instructed him in essential skills such as trick roping and bullwhip handling, emphasizing techniques honed for real-world ranch operations rather than performative spectacle. He also gained proficiency in horse handling, including riding maneuvers, after acquiring his first horse on the property, which facilitated hands-on practice in mounting, controlling, and performing basic tricks under guidance from these experienced riders. These abilities stemmed from functional demands, such as managing livestock and terrain, contrasting sharply with the stylized, often safety-constrained demonstrations of Hollywood Western actors. Trailer's training prioritized and —roping for corralling and whips for driving herds—lending an authenticity derived from causal necessities of rural labor, as corroborated by contemporaries who noted the veterans' influence on his grounded proficiency. This real-world foundation distinguished him as a genuine Texan , capable of executing skills without reliance on scripted props or doubles prevalent in productions. His budding interest in blending these competencies with performance emerged through participation in local and traveling s as a teenager, where he showcased roping, riding, and work to audiences, marking an organic shift toward public exhibition without formal entertainment training. These early outings verified the practicality of his ranch-acquired talents, as circuits demanded verifiable competence to compete and engage spectators effectively.

Initial Career and Entry into Media

Pre-Television Work

In 1947, at approximately age 17, Rex Trailer secured employment with the in , beginning in a manual role as a scenery painter after approaching the network's facilities and demonstrating his painting abilities to a shopkeeper at the back entrance. This entry-level position marked his initial foray into the nascent television industry, where he handled the physical construction and maintenance of sets amid the logistical challenges of early broadcasting, including limited resources and rudimentary production techniques. Trailer's observed reliability and aptitude for operational tasks enabled a swift promotion to production coordinator within months, reflecting a merit-based ascent in an era when television infrastructure demanded versatile, hands-on contributors. In this capacity, he coordinated behind-the-scenes elements such as set assembly, equipment handling, and workflow management, acquiring practical expertise in television logistics that informed subsequent roles without yet involving on-camera performance. Parallel to these duties, Trailer pursued ancillary interests in music and informal performances, which sharpened his stage awareness through local engagements, though documentation remains sparse prior to the 1950s.

Early Broadcasting Roles

Trailer began his on-camera broadcasting career at the in , transitioning from behind-the-scenes roles as a scenery painter and production coordinator starting in 1947. Encouraged by actor George "Gabby" Hayes, whom he met during network work, Trailer secured his first hosting position on Oky Doky Ranch (initially The Adventures of Oky Doky), which aired from 1948 to 1950. The live program experimented with cowboy-themed content tailored for children, featuring Trailer as a performing rope tricks, songs, and skits alongside a cowboy named Oky Doky, reflecting the nascent medium's reliance on variety formats over scripted narratives. These early appearances occurred during television's formative years, when broadcasts were entirely live, transmitted in black-and-white on bulky cathode-ray tube sets with frequent technical glitches like signal interference and limited studio resources, demanding performers' real-time adaptability without the safety net of or rehearsals. Trailer's versatility in improvising routines—drawing from his experience—bridged production logistics to audience-facing performance, as evidenced by the show's network retention amid DuMont's competitive struggles against established radio holdovers. Viewer engagement, gauged through direct mail feedback and on-air polls where children selected Trailer for the role, sustained the program's run until DuMont's financial decline prompted its cancellation, underscoring empirical via sustained broadcasts rather than promotional claims. This period built Trailer's resume through regional variety experimentation, paving the way for subsequent on-air contracts without reliance on formal acting credentials.

Pioneering Television Career

New York Beginnings

Trailer entered the television industry in around 1947, joining the at the age of 19. He initially worked as a scenery painter but swiftly progressed to production coordinator, producer, and director roles amid the network's resource constraints and innovative push for original content. During this era, Trailer hosted his debut children's program, Oky Doky Ranch, on , which incorporated cowboy elements to appeal to young viewers in an environment dominated by live broadcasts and competition from established radio personalities transitioning to the medium. The show reflected broader national fascination with Western serials, such as those popularized by figures like , providing Trailer early exposure to formatting kid-oriented programming without originating the genre. Productions faced technical limitations inherent to early black-and-white television, including strictly live transmissions without for editing, small budgets that restricted sets and props, and the demand for real-time —particularly in Trailer's demonstrations of roping and riding skills adapted to studio confines. These challenges honed his versatility in an industry where DuMont, as the upstart fourth network, prioritized affordable live variety over prerecorded content from rivals.

Philadelphia Shows

In 1950, Rex Trailer signed a contract with Westinghouse Broadcasting Company's WPTZ-TV in to host Western-themed children's programming, leveraging his authentic cowboy background to fill the station's need for a host in that genre. This marked the start of a five-year tenure from 1950 to 1955, during which he fronted multiple shows that emphasized ranch for urban youth through films, music, and participatory segments. Trailer's programs included Ridin' the Trail, a Saturday morning slot airing western films such as Riders of the Black Hills (1938) and Hit the Saddle (1937), typically running 1 to 1.5 hours; Rex Trailer's Ranch House, which featured songs, games, and dances in 15- to 30-minute episodes on Saturdays and weekdays; and Saddlebag O' Songs (later renamed Hi-Noon), daily quarter-hour segments focused on western tunes and casual conversation. Additional airings, such as Thursday afternoons and early evening dailies, allowed format experimentation, with interactive elements like games drawing crowds of children to studio events. Guest appearances enhanced engagement, including early features of young talents like Margaret Annemarie Battivio (who later became Little Peggy March) in 1954, alongside props like an engraved presented to Trailer. These shows' sustained run and public events, such as parades and fundraisers, reflected strong appeal among Philadelphia's city-dwelling kids, who embraced the ranch fantasies as a counter to everyday surroundings, fostering Trailer's refinement of live interaction and content pacing ahead of national opportunities.

The Boomtown Era in Boston

Launch and Format of Boomtown

debuted on in on April 28, 1956, as Rex Trailer's Boomtown, initially under a 13-week that unexpectedly extended to an 18-year run ending in 1974. The program launched as a Saturday morning series spanning two and a quarter hours from 7:45 to 10:00 a.m., later expanding to include Sunday mornings for three-hour live broadcasts each weekend. Produced inexpensively as a local offering amid a landscape of national syndicated children's programming, it capitalized on the enduring popularity of Western themes to attract family audiences in , where Trailer himself expressed initial skepticism about regional interest in cowboy content. The core format centered on Trailer as a host, blending musical performances, rope tricks, and comedic skits within a Western-themed studio set evoking a and frontier town. Episodes incorporated live elements such as Trailer riding his onto the set for authentic stunts, alongside audience participation contests—often featuring a weekly "wanted man" selected from attending children—and interspersed cartoons for variety. This structure emphasized real animals and hands-on demonstrations over scripted props, fostering an immersive, low-budget production model that sustained viewer engagement through direct interaction and thematic consistency.

Key Features, Sidekicks, and Productions

Boomtown's signature bunkhouse segment opened each episode with Trailer performing comedy routines alongside his , often involving improvised gags like rousing a lazy character from slumber before transitioning to the main set. This pre-recorded portion emphasized Trailer's authentic cowboy expertise, including roping demonstrations and horseback maneuvers with his horse Goldrush, drawing from his background to maintain realism without scripted polish. Sidekicks played central roles in the , evolving over the show's 18-year run due to cast changes from deaths and practical replacements. The initial was , portrayed by Kilbride as a Mexican-accented bunkhouse hand involved in vaudeville-style sketches; Kilbride's tenure ended with his death in 1967. This was followed by Cactus Pete, played by Terrance Currier, before Bill O'Brien assumed the longest-lasting role as Sergeant Billy, a soldier character who joined at age 15 and matured on-air, contributing to ongoing humorous interludes and bridging segments. Productions adapted through sidekick successions and occasional live-TV mishaps inherent to the unedited format, with tech shifts like color transition in later years enhancing visual authenticity. Holiday-themed content included 1964 segments featuring Trailer and Pablo touring Boston's Enchanted Village display, accompanied by original songs like "Happy Holiday" to tie into seasonal viewer interest. Guest appearances, such as actor in character segments, added variety without altering the core western structure.

Audience Engagement and Educational Elements

Boomtown encouraged audience participation through live games and stunts, including the weekly "wanted man" segment in which children from the studio audience served as "sheriff" and "deputy" to identify a disguised participant among them, fostering interactive excitement and community involvement. An estimated 200,000 children appeared on the show during its run from 1956 to 1974, reflecting high levels of direct viewer engagement via on-set visits and contests with prizes from local merchants. An officially endorsed Rex Trailer further built community ties among young viewers, encouraging ongoing interaction beyond broadcasts through shared enthusiasm for the theme. Trailer's greeting of "Howdy Folks!" elicited responsive chants from audiences, reinforcing a sense of collective participation during episodes and personal appearances. The program's educational elements emerged implicitly through skits, songs, and demonstrations of skills like roping and horsemanship, which conveyed practical lessons in responsibility, coordination, and respect for western traditions without overt . These activities reached generations of children across , with approximately four million exposed via television or live events, promoting empirical benefits such as heightened awareness of and social cooperation.

Musical Contributions

Recording Career

Rex Trailer initiated his recording career in 1955 with the country and western single "Hoofbeats" backed by "Cowboys Don't Cry" on ABC-Paramount (45-9662), cut at in . This release aligned with his emerging persona, and "Hoofbeats" was subsequently used in his program for transitional segments. A follow-up single in 1956 paired "Mountain Gold" with "El Dorado" on the same label (45-9695). Trailer's album output in the late 1950s and included Western Favorites (1959, Spin-O-Rama MK 3054), featuring 14 tracks of traditional western tunes such as and "Big Rock Candy Mountain," sometimes credited under pseudonyms like Shorty McMillen and His Westerners. He followed with Country and Western (1960, CLP-5158/CST-186) alongside the Playboys, offering standards like and "Sweet Betsy from Pike." These efforts, often involving local session musicians, reinforced his image from television but remained regionally oriented without national chart penetration. Additional collaborations extended to folk material, such as the 1962 album Folk Songs (Coronet CXS 168) with Ed McCurdy, encompassing tracks like "Squid Jiggin' Ground." Trailer also penned and recorded original compositions, including the Boomtown theme "Lovin' You Is Like a ," composed in 1956 for the show's debut, which aired as part of episodes alongside his performances at fairs and venues.

Performances and Collaborations

Trailer began his live performance career as a trick rider on the national circuit shortly after leaving at age 18 in 1946. During these engagements, he performed at venues including in New York, where he met Western film actor George "Gabby" Hayes, who mentored him and hired him for work at his ranch, fostering early synergies in cowboy entertainment skills. In his and television periods from the mid-1950s onward, Trailer's live performances integrated musical elements with collaborative skits alongside sidekicks, peaking during the 1956–1974 run of . Key partners included Richard Kilbride as (1956–1967) for comedic routines often featuring guitar-accompanied songs, followed by Bill O'Brien as Sgt. Billy from 1967, who complemented Trailer's and singing through synchronized buffoonish acts emphasizing physical and vocal interplay. These collaborations extended to live audience events, such as at Pleasure Island in , where sidekicks joined in staged rescues and musical interludes with Trailer on guitar. Regional live appearances post-Philadelphia, aligned with Boomtown's Boston broadcasts, involved Trailer riding his horse Goldrush into venues for routines and guest interactions, drawing on dynamics for educational skits and without venturing into national tours. The format's highlighted Trailer's rodeo-honed paired with partners' comedic timing, sustaining audience engagement through direct, elements in studio and off-site gigs.

Advocacy and Public Engagement

Environmental Initiatives

Following the conclusion of Boomtown in 1974, Trailer hosted Earth Lab, a nationally syndicated series produced by Group W Productions () that ran until 1979. The program featured Trailer demonstrating scientific experiments and concepts related to the natural world, including basic and , through interactive segments designed for elementary school audiences. Trailer drew upon his early experiences summers on his grandfather's ranch, where he acquired practical knowledge of handling and from rodeo-affiliated workers, to emphasize principles in Earth Lab content and subsequent public talks. These efforts promoted awareness of conservation practices, such as sustainable and habitat preservation, without documented large-scale policy influence or measurable ecological outcomes.

Educational Outreach

Trailer extended the safety and civic responsibility segments from into public appearances and live events, delivering messages on personal safety, public awareness, and rooted in cowboy archetypes of and resourcefulness. These outreach efforts emphasized practical lessons for children, such as road safety and , mirroring the show's integration of with moral instruction. In , Trailer organized and led a wagon train expedition across , comprising 16 covered wagons that traveled from Greenfield along the and to , to educate the public on the needs of children with intellectual disabilities. This initiative, conducted in partnership with the Association for Retarded Children (ARC), aimed to build empathy and support through and direct community interaction, reaching thousands via participant involvement and widespread media coverage. Trailer's seminars and talks often reinforced broadcasting standards for youth-oriented content, advocating for that promote ethical behavior and self-sufficiency without overt , as evidenced by his later instructional role at starting in 1977, where he trained students in responsible on-camera techniques applicable to educational programming. Public events, including frequent regional visits through the and beyond, drew substantial attendance from families, with media reports noting enthusiastic turnouts at parades and celebrations that amplified these messages.

Later Professional Ventures

Post-Boomtown Television

Following the conclusion of Boomtown in 1974 after an 18-year run on WBZ-TV, Trailer transitioned to hosting Earth Lab, a syndicated science series produced by Westinghouse Broadcasting that aired nationally from roughly 1974 to 1979. Unlike the Western-themed adventure format of Boomtown, Earth Lab emphasized educational content, featuring scientific experiments, environmental demonstrations, and hands-on learning segments targeted at children and teenagers. Trailer shed his cowboy persona for this program, adopting a more straightforward presenter role to align with the era's growing focus on structured science education in youth media. The show's shorter lifespan—approximately five years—contrasted sharply with Boomtown's enduring local success, amid evolving market dynamics in children's television. By the mid-1970s, regulatory pressures from the , including the Children's Television Report and Policy Statement of 1974, pushed broadcasters toward more explicit educational programming, while the rise of like PBS's (debuting 1969) fragmented audiences and reduced demand for syndicated live-action alternatives. Local and regional kids' shows faced competition from national syndication and early cable experiments, diminishing the viability of formats reliant on host-driven variety. Trailer's pivot to science reflected these trends but failed to recapture Boomtown's cultural foothold, as viewer preferences shifted toward animated series and specialized edutainment. No further regular television hosting roles followed Earth Lab, though Trailer made occasional public media appearances into the 1980s and 1990s, adapting to a landscape dominated by cable expansion and niche programming. The decline of live children's TV in network affiliates, coupled with economic pressures on independent production, limited opportunities for figures like Trailer, whose strengths lay in personality-driven, community-engaged content rather than the scripted, high-production-value shows increasingly favored by advertisers and regulators. This period underscored broader industry challenges, where aging local stars struggled against homogenized national content, contributing to the end of an era for hosts and similar archetypes.

Video Production Business

After the conclusion of his long-running children's television program in 1974, Rex Trailer established Rex Trailer Video Productions in , marking his transition into independent video production. The company, also referred to as RTV Productions, focused on creating commercials, industrial films for corporate clients, and documentaries, capitalizing on Trailer's established on-camera presence and authentic persona to deliver engaging, trustworthy content. Trailer initially set up operations on Trapelo Road in Waltham upon scouting locations shortly after arriving in the area in 1956, later relocating within the city to sites including the corner of Main and Moody streets. Among its outputs were targeted advertisements, such as a commercial for Crimson Travel featuring Trailer alongside his former sidekick Sgt. Billy, which highlighted his enduring regional appeal in promotional work. The business sustained operations for nearly four decades, demonstrating practical viability through consistent production of client-specific videos that emphasized Trailer's straightforward, narrative-driven style suited to educational and promotional needs. Rex Trailer Video Productions remained active until Trailer's death on January 9, 2013, with ongoing collaborations, including work with producer Michael Bavaro on commercials and documentaries as late as 2011, underscoring its adaptability and endurance in a shifting media landscape.

Personal Life and Family

Marriages and Children

Rex Trailer married Karoline "Cindy" Trailer on June 1, 1956, in Boston Public Gardens, with the ceremony followed by a reception at the Ritz-Carlton Hotel. The couple remained wed for 55 years until Cindy's death in 2011. Their marriage provided a stable family foundation amid Trailer's demanding career in television and public appearances, which often involved extensive travel and community engagements across . Trailer and Cindy had one child, a daughter named Jillian Trailer-Rollock, born in 1957. Jillian survived her father and was noted in family announcements following his passing, reflecting the close-knit nature of the unit. No other children or marriages are documented in public records.

Residences and Lifestyle

Rex Trailer was born on September 16, 1928, in , and raised in the nearby area, where he developed foundational cowboy skills during summers spent on his grandfather's quarter horse ranch near Thurber. His career trajectory involved successive relocations from to in the early 1950s, followed by , and then in 1956, aligning with professional opportunities in broadcasting and performance. In later decades, Trailer established his primary residence in , a suburb west of , reflecting a settled phase after years of urban shifts. He also maintained a family home in , where he visited relatives during holidays; it was there, in December 2012, that the 84-year-old Trailer contracted , leading to his hospitalization and death on January 9, 2013. Post-television career, Trailer adopted a low-profile existence centered on family and occasional community ties in Sudbury, while preserving ranch-honed abilities like horsemanship from his Texas youth into advanced age.

Death, Recognition, and Legacy

Final Years and Passing

In the , Trailer remained involved in media production through his Waltham-based video business, producing content that occasionally revisited his television legacy. A notable project was the 2005 documentary Rex Trailer's Boomtown, directed by Michael Bavaro, which premiered on on June 18 and utilized archival footage to chronicle the original show's history; it received a Emmy nomination. Trailer continued public appearances into his early 80s, including meetings with political figures such as Congressman in September 2011. By late 2012, he had relocated seasonally to for family visits. Trailer died on January 9, 2013, at age 84, while at his family's home in Miami, , after falling ill with during holiday travel; the precise cause was not publicly detailed beyond complications from the illness. Following his death, tributes came swiftly from broadcasting peers and former colleagues, with issuing a statement noting his pioneering role in children's programming, and manager Michael Bavaro confirming the circumstances to media outlets.

Awards and Honors

Trailer was inducted into the Massachusetts Country Music Hall of Fame in 2000, recognizing his contributions to country music through performances and recordings tied to his program. In 2005, he received the Governor's Award from the Boston/New England chapter of the of Television Arts & Sciences, honoring lifetime achievement in regional . Trailer earned a Gold Circle Award from the same organization, acknowledging over 50 years of sustained excellence in television, presented in connection with a 2008 tribute video highlighting his career. He was inducted into the Massachusetts Broadcasters Hall of Fame in 2007, cited for pioneering children's programming that combined entertainment, education, and community engagement over decades in the state. A 2005 documentary on his series, broadcast by , received a nomination for a New England Emmy Award in the historical documentary category, reflecting regional acclaim but no national Emmy recognition for Trailer's work.

Long-Term Cultural Impact

Rex Trailer's exemplified interactive local children's programming that persisted amid the dominance of national networks like ABC and , which prioritized syndicated Westerns such as . Running from April 28, 1956, to 1974 on in , the program integrated live audience participation—drawing thousands of children annually to events where they donned cowboy attire and engaged in skits—which set a template for regional broadcasters seeking to foster community ties over remote viewing. This approach influenced later local efforts, including WGBH's early pilots for youth-oriented shows that borrowed from Trailer's emphasis on viewer involvement. Preservation of 's content relies on archival clips and oral histories rather than formal reruns, with digitized segments circulating on since the early 2010s, amassing views from nostalgic audiences. An Emmy-nominated documentary produced around profiles Trailer's role in pioneering such formats, drawing on surviving footage to illustrate the blend of authentic skills—Trailer performed himself—and staged Western narratives. This authenticity, rooted in Trailer's pre-television career as a Texas performer from 1948 onward, differentiated Boomtown from purely fictional counterparts, sustaining interest in its historical value for media scholars examining 1950s-1970s regional TV. The program's cultural footprint remains confined to demographics born roughly 1950-1970, with from viewer testimonials indicating high recall rates among that cohort for its role in local identity formation during post-World War II suburban expansion. However, its era-specific dependence on the cowboy genre's peak popularity—fueled by films like (1952)—contributed to obsolescence as and diverse programming eroded demand for repetitive live-action Westerns by the late 1970s, absent any syndication beyond the original 18-year run. No significant scandals marred its record, though critiques in retrospective analyses note formulaic repetition in episodes, limiting broader archival revival.

References

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