My Cowboy Hat Still Fits

In his own words, a champion bull rider recounts the story of his rodeo career from the beginning as a boy in New Jersey at the Cowtown Rodeo through his time at the University of Wyoming and the triumphs and disappointments of competing around the country as one of the very few black rodeo cowboys.

From the Wild West shows of the nineteenth century to the popular movie Westerns of the twentieth century, one view of an idealized and mythical West has been promulgated. Elyssa Ford suggests that we look beyond these cowboy clichés to complicate and enrich our picture of the American West. Rodeo as Refuge, Rodeo as Rebellion takes us from the beachfront rodeo arenas in Hawai‘i to the reservation rodeos held by Native Americans to reveal how people largely missing from that stereotypical picture make rodeo—and America—their own. Because rodeo has such a hold on our historical and cultural imagination, it becomes an ideal arena for establishing historical and cultural relevance. By claiming a place in that arena, groups rarely included in our understanding of the West—African Americans, Native Americans, Mexican Americans, Native Hawaiians, and the LGBT+ community—emphasize their involvement in the American past and proclaim their right to an American identity today. In doing so, these groups change what Americans know about their history and themselves. In her journey through these race- and group-specific rodeos, Ford finds that some see rodeo as a form of escape, a refuge from a hostile outside world. For others, rodeo has become a site of rebellion, a place to proclaim their difference and to connect to a different story of America. Still others, like Mexican Americans and the LGBT+ community, look inward, using rodeo to coalesce and celebrate their own identities. In Ford’s study of these historically marginalized groups, she also examines where women fit in race- and group-specific rodeos—and concludes that even within these groups, the traditional masculinity of the rodeo continues to be promoted. Female competitors may find refuge within alternate rodeos based on their race or sexuality, but they still face limitations due to their gender identity. Whether as refuge or rebellion, rodeos of difference emerge in this book as quintessentially American, remaking how we think about American history, culture, and identity.

The lure of cowgirls and cowboys has hooked the American imagination with the lure of freedom and adventure since the turn of the twentieth century. The cowboy and cowgirl played in the imagination and made rodeo into a symbolic representation of the Western United States. As a sport that is emblematic of all things “Western,” rodeo is a phenomenon that has since transcended into popular culture. Rodeo’s attraction has even spanned oceans and lives in the imaginations of many around the world. From the modest start of this fantastic sport in open fields to celebrate the end of a long cattle drive or to settle a friendly “who’s the best” bet between neighboring ranches, rodeo truly has grown into an edge-of-the-seat, money-drawing, and crowd-cheering favorite pastime. However, rodeo has diverse history that largely remains unaccounted for, unexamined, and silenced. In Gender, Whiteness and Power in Rodeo Tracey Owens Patton and Sally M. Schedlock visually explore how race, gender, and other issues of identity complicate the mythic historical narrative of the West. The authors examine the experiences of ethnic minorities, specifically Latinos, American Indians, and African Americans, and women who have continued to be marginalized in rodeo. Throughout the book, Patton and Schedlock questioned the binary divisions in rodeo that exists between women and men, and between ethnic minorities and Whites—divisions that have become naturalized in rodeo and in the mind of the general public. Using iconic visual images, along with the voices of the marginalized, Patton and Schedlock enter into the sometimes acrimonious debate of cowgirls and ethnic minorities in rodeo.

They ride horses, rope calves, buck broncos, ride and fight bulls, and even wrestle steers. They are Black cowboys, and the legacies of their pursuits intersect with those of America's struggle for racial equality, human rights, and social justice. Keith Ryan Cartwright brings to life the stories of such pioneers as Cleo Hearn, the first Black cowboy to professionally rope in the Rodeo Cowboy Association; Myrtis Dightman, who became known as the Jackie Robinson of Rodeo after being the first Black cowboy to qualify for the National Finals Rodeo; and Tex Williams, the first Black cowboy to become a state high school rodeo champion in Texas. Black Cowboys of Rodeo is a collection of one hundred years of stories, told by these revolutionary Black pioneers themselves and set against the backdrop of Reconstruction, Jim Crow, segregation, the civil rights movement, and eventually the integration of a racially divided country.

Revised to include presidential hats, new celebrity hats, and a fully updated resource listing of custom hatters. The Cowboy Hat Book features an impressive array of cowboy hats, showcasing the wide variety of styles, colors, and fabrics used to create the cowboy hat, now a symbol of America and western culture that is recognized all over the world. Beginning with a brief history of the cowboy hat, the authors go on to explain the building of the perfect hat, its care and feeding, hat etiquette, hat hair, and more. Beautiful photos of real cowboys and movie cowboys sporting their trademark hats illustrate how creases, brims, shapes, and trims are unique to the individual who wears each hat. The Cowboy Hat Book celebrates the history and importance of this unique piece of clothing that hasn't fundamentally changed in more than 100 years. Ritch Rand's family has been making handcrafted hats for over twenty years. His hats have rested on dozen's of famous heads-from presidents to kings and heads of state to movie stars. He lives in Billings, Montana. William Reynolds is president and CEO of the marketing, PR, and advertising agency Banning Company, Inc. The company has a special division that services the western and equine industries. He lives in Malibu, California.

GANG OF ONE is the remarkable true story of one man's journey from a Glasgow orphanage to a notorious gang-infested prison in Texas. Driven by his desire to return to his son in England and haunted by the increasingly frustrating search for his missing daughter, Gary Mulgrew attempts the impossible task of surviving the prison's gang culture. Told with wit and humanity, GANG OF ONE shows a man constantly confronted by the moral and physical challenges of prison life, where everyone is encouraged to turn their back and 'see nuthin''. Gary's choice - to walk away and let a man die, or intervene and lose the chance to get home - makes GANG OF ONE a book as unforgettable as it is enthralling.

Peggy Prilaman Marxen grew up near the town of Meteor in northwestern Wisconsin’s Sawyer County, isolated by geography yet surrounded by close-knit extended family. Multiple generations of her family witnessed changes to rural Wisconsin that altered the fabric of their lives and the lives of all in their community, including the introduction of new farming techniques, school consolidation, and revolutions in transportation and technology. They supplemented their subsistence herd of dairy cows by hunting, fishing, and selling timber and maple syrup. For many years, her home, like those of her neighbors, lacked indoor plumbing, electricity, and a telephone. As a young child, Peggy attended a one-room schoolhouse and walked, biked, or sledded the three miles to school and back, no matter the weather.