Victor Adamson—who often billed himself as Denver Dixon and relentlessly courted the aura of cowboy superstar Tom Mix—pulled off one of the era's stranger legal maneuvers to keep cashing in on a borrowed identity. When Fox/Tom Mix threatened legal action over Adamson's use of the virtually identical screen name Art Mix, Adamson didn't quietly relent or change his marketing; according to director Richard L. Bare, he went to the Los Angeles phone book, found an Arthur S. Mix, persuaded the real man to legally adopt him, and thereby created a juridical shield that let him continue billing himself as Art Mix. The price of the charade was literal: Adamson reportedly paid Arthur S. Mix 10 percent of his earnings for several years to retain the name. The stunt was less about personality and more about box-office cachet—Adamson was trying to trade on Tom Mix's fame to sell cheap westerns—an act that exposed how porous trademark norms and studio pressures could be in the silent-era western market. The gambit also presaged Adamson's habit of pseudonymous legerdemain: when his own dentures made him unfit to play the parts, he hired George Kesterson to carry on the Art Mix identity for real, handing off the persona so the marketing value could survive even if the original man could not.
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