Cowboy Cavalry

When Native and Métis unrest escalated into the Northwest Rebellion of 1885, white settlers in southern Alberta`s cattle country were terrified. Three major First Nations bordered their range, and war seemed certain. In anticipation, 114 men mustered to form the Rocky Mountain Rangers, a volunteer militia charged with ensuring the safety of the open range between the Rocky Mountains and the Cypress Hills. The Rangers were a motley crew, from ex-Mounties and ex-cons to retired, high-ranking military officials and working ranch hands. Membership qualifications were scant: ability to ride a horse, knowledge of the prairies, and preparedness to die. The Rangers were resolutely prepared to fight, as mounted cavalry, should the rebellion spread. This is their story, inextricably linked to the dissensions of the day, rife with skirmishes, corruption, jealousies, rumour, innuendo and gross media sensationalizing . . . all bound together with what author Gordon Tolton terms "a generous helping of gunpowder."

When Native and Métis unrest escalated into the Northwest Rebellion of 1885, settlers in southern Alberta's cattle country were terrified. Three major First Nations bordered their range, and war seemed certain. In anticipation, 114 men mustered to form the Rocky Mountain Rangers, a volunteer militia charged with ensuring the safety of the open range between the Rocky Mountains and the Cypress Hills. The Rangers were a motley crew, from ex-Mounties and ex-cons to retired, high-ranking military officials and working, ranch-hand cowpokes. Membership qualifications were scant: ability to ride a horse, knowledge of the prairies, and preparedness to die. This is their story, inextricably linked to the dissensions of the day, rife with skirmishes, corruption, jealousies, rumour, innuendo and gross media sensationalizing . . . all bound together with what author Gordon Tolton terms “a generous helping of gunpowder.” Tolton’s meticulous research reveals unexplored perspectives and little-known details. Be prepared for surprises!

A cowboy with a lot to prove meets his match when he falls for a mysterious beauty… The truth about his family's past has always haunted rancher Frankie Hastings. Determined to prove what happened more than a century ago, the black-sheep brother plans to chronicle the story in a documentary. But a mysterious descendant connected to that truth could jeopardize everything. So charming Kate West becomes the first step in securing her support. Falling for the gorgeous skeptic is a welcome follow-up. And yet, despite their electric attraction, it's clear Kate's mind is filled with things beyond their sizzling kisses. Then his simple project turns deadly and Frankie has more questions than answers. Like how far will he go to protect the woman he suddenly can't live without?

Papers from a conference held at the Glenbow Museum in Sept. 1997.

The mount of Captain Miles W. Keogh, Comanche was the legendary sole survivor of Custer's Last Stand. As such, the horse makes an electric connection between history and memory. In exploring the deeper meaning of the Comanche saga, His Very Silence Speaks addresses larger issues such as the human relationship to animals and nature, cross-cultural differences in the ways animals are perceived, and the symbolic use of living and legendary animals in human cognition and communication. More than an account of the celebrated horse's life and legend existence, this penetrating volume provides insights into the life of the cavalry horse and explores the relationship between cavalrymen and their mounts. Lawrence illuminates Comanche's significance through the many symbolic roles he has assumed at different times and for various groups of people, and reveals much about the ways in which symbols operate in human thought and the manner in which legends develop.

Termed a "Southern gothic musical," Ghost Brothers of Darkland County was scripted by novelist Stephen King with the music coming from maverick heartland rocker John Mellencamp, a collaboration a bit left-field for both artists. This set includes Mellencamp's songs interspersed with key dialogue from King's libretto, and while the story might be too complex -- essentially, it's the tale of two brothers involved in a murder/suicide whose ghosts haunt an isolated cabin and whose tragic deeds and consequent fate seems about to be repeated by their living nephews -- to be truly appreciated in single-disc form like this, so it's Mellencamp's songs, sung by the likes of Elvis Costello, Neko Case, Sheryl Crow, Dave and Phil Alvin (real-life brothers whose estrangement with each other ended while working on this project), Taj Mahal, Ryan Bingham, Clyde Mulroney, Rosanne Cash, and Kris Kristofferson (Mellencamp only sings on one song here, the summing-it-up last track "Truth") that are really left to carry things. They certainly work as songs, and may well be among the best Mellencamp has ever written, while the overall sound of the whole musical suite, crafted by T-Bone Burnett, is kind of like a sparse and shined-up version of a late-period Tom Waits album, due in part to the presence of multi-instrumentalist Marc Ribot on most of the tracks, and the tight, spare rhythm section of Jay Bellerose on drums and David Piltch on bass. The performances? Elvis Costello sounds gleeful and sinful on "That's Me" (identity and fulfillment are key themes of Ghost Brothers of Darkland Country, that and history's tendency to repeat itself), Neko Case is sassy and sure on "That's Who I Am," Kris Kristofferson sounds old, wise, and weary on "How Many Days," Taj Mahal rages through "Tear This Cabin Down," and Sheryl Crow is confident and cocky on "Jukin'," while Rosanne Cash turns in a delicately worn and wise reading of "You Don't Know Me," and for a story that spans decades and generations, it's obvious that everyone is singing about who they are, who they ought to be, and who they ended up becoming. It's difficult to say how good this musical is just from the songs and pieces of dialogue presented here, but the songs have a weary, inevitable flow to them, as if fate forced them into a dark room with little light or air or chance of redemption. Redemption comes with acceptance of who one is, the songs and story here seem to say, and only then can the real truth about what has happened to anyone really be revealed. It's a ghost story, after all. ~ Steve Leggett

" Winner of the 2003 Ray and Pat Browne Book Award, given by the Popular Culture Association The contributors to Hollywood's White House examine the historical accuracy of these presidential depictions, illuminate their influence, and uncover how they reflect the concerns of their times and the social and political visions of the filmmakers. The volume, which includes a comprehensive filmography and a bibliography, is ideal for historians and film enthusiasts.