Zig Jackson is a Mandan photographer from the Fort Berthold reservation in South Dakota. King references Jackson’s photographic series “Entering Zig’s Indian Reservation,” which features photos of Jackson walking around San Francisco in a feathered headdress, and the amused looks his appearance receives from White onlookers. King uses the photographic series to illustrate how Whites only see “Dead Indians” (Indians who resemble the stereotypes depicted in Western films, for example, that evoke a time long since passed) while “Live Indians” (real Indians) remain largely invisible to them.