Take one well-oiled effective killing machine, add a familiar hero on the ground, in the air, and on horseback; stir in a ghastly end that’s surely impossible to escape, add action, add passion, made on a shoestring budget at breakneck speed, and you’ve got the recipe for Republic Pictures. Who, after all, cannot forget The Atomic Kid, starring Mickey Rooney, or The Untamed Heiress, with an un-Oscar-worthy performance by ingénue Judy Canova? Exploding onto the movie scene in 1935, Republic Pictures brought the pop culture of the 30s and 40s to neighborhood movie houses. Week after week kids sank into their matinee seats to soak up the Golden Age of the Republic series, to ride off into the classic American West. And they gave us visions of the future. Visions that inspire film makers today. Republic was a studio that dollar for dollar packed more movie onto the screen than the majors could believe. From sunrise on into the night over grueling six day weeks, no matter how much mayhem movie makers were called upon to produce, at Republic Pictures it was all in a day’s work. Republic Pictures was the little studio in the San Fernando Valley where movies were made family style. A core of technicians, directors, and actors worked hard at their craft as Republic released a staggering total of more than a thousand films through the late 1950s. Republic Pictures was home to John Wayne for thirty-three films. Always inventing, Republic brought a song to the West. It featured the West’s first singing cowboy. Republic brought action, adventure, and escape to neighborhood movies houses across America. And they brought it with style. Scene from westerns such as The Three Mesquiteers and the Lawless Range gave screaming kids at the bijou a white-knuckle display of expert film making. Republic Pictures became a studio where major directors could bring their personal vision to the screen. Sometimes these were projects no other studio would touch such as The Quiet Man (which brought director John Ford an Oscar) and Macbeth. Killer Bs, Cowboys, Creatures and Classics: The Story of Republic Pictures is for anyone who likes B movies magic. It is the honest account of an extraordinary production house, one whose ability to turn out films quickly boded well for its transition into television production. Not only were its sets used for such shows as Leave it to Beaver and Gilligan’s Island, stock footage from Republic’s movies was used on such shows as Gunsmoke and The Life and Legend of Wyatt Earp.

Roy Rogers and Dale Evans ruled the West from the silver screen as the King of Cowboys and Queen of the West. Off screen, this husband and wife duo raised a family and lived the "Code of the West." Now the Rogers family shares the inside story of these beloved Western icons, detailing their personal struggles and rise to stardom, the lives of their children, the tragedies that befell their family, and their memories of Roy and Dale, and Trigger and other sidekicks on the silver screen and behind the scenes.

“Thompson-Hernández's portrayal of Compton's black cowboys broadens our perception of Compton's young black residents, and connects the Compton Cowboys to the historical legacy of African Americans in the west. An eye-opening, moving book.”—Margot Lee Shetterly, New York Times bestselling author of Hidden Figures “Walter Thompson-Hernández has written a book for the ages: a profound and moving account of what it means to be black in America that is awe inspiring in its truth-telling and limitless in its empathy. Here is an American epic of black survival and creativity, of terrible misfortune and everyday resilience, of grace, redemption and, yes, cowboys.”— Junot Díaz, Pulitzer prize-winning author of This is How You Lose Her A rising New York Times reporter tells the compelling story of The Compton Cowboys, a group of African-American men and women who defy stereotypes and continue the proud, centuries-old tradition of black cowboys in the heart of one of America’s most notorious cities. In Compton, California, ten black riders on horseback cut an unusual profile, their cowboy hats tilted against the hot Los Angeles sun. They are the Compton Cowboys, their small ranch one of the very last in a formerly semirural area of the city that has been home to African-American horse riders for decades. To most people, Compton is known only as the home of rap greats NWA and Kendrick Lamar, hyped in the media for its seemingly intractable gang violence. But in 1988 Mayisha Akbar founded The Compton Jr. Posse to provide local youth with a safe alternative to the streets, one that connected them with the rich legacy of black cowboys in American culture. From Mayisha’s youth organization came the Cowboys of today: black men and women from Compton for whom the ranch and the horses provide camaraderie, respite from violence, healing from trauma, and recovery from incarceration. The Cowboys include Randy, Mayisha’s nephew, faced with the daunting task of remaking the Cowboys for a new generation; Anthony, former drug dealer and inmate, now a family man and mentor, Keiara, a single mother pursuing her dream of winning a national rodeo championship, and a tight clan of twentysomethings--Kenneth, Keenan, Charles, and Tre--for whom horses bring the freedom, protection, and status that often elude the young black men of Compton. The Compton Cowboys is a story about trauma and transformation, race and identity, compassion, and ultimately, belonging. Walter Thompson-Hernández paints a unique and unexpected portrait of this city, pushing back against stereotypes to reveal an urban community in all its complexity, tragedy, and triumph. The Compton Cowboys is illustrated with 10-15 photographs.

Little Critter plays at being a cowboy.

Cowboy Small takes good care of his horse, Cactus. In return, Cactus helps Cowboy Small get work done on the range. Together they round up cattle for branding and live the good life. At night, Cowboy Small eats at the chuck wagon, sings with his friends, and sleeps under the stars.

Roping a buffalo, running off cattle rustlers, sitting out a winter storm in a cave--adventures like these were all part of everyday life for the cowboy. They're depicted here in stories that have stood the test of time, by writers whose words are just as funny and wise today as they were one hundred years ago. Covering all corners of the great Western expanse--from Montana to Mexico, California to the Mississippi--the stories in this collection represent not just the Anglo male perspective but also that of the blacks, Mexicans, and women who made their lives on the range. It features works by Owen Wister, Theodore Roosevelt, Frederic Remington, Isabella L. Bird, Nat Love, Bill Nye, Charlie Siringo, Zane Grey, Andy Adams, Mark Twain, E. Mulford, O. Henry (creator of the Cisco Kid), and many others, including some surprises by little-known authors.

Ranch roping is at the heart of all ranch work, and unlike the rodeo variation of calf roping, the “vacquero” tradition calls for techniques that result in a skillful and graceful throw and catch. Buck Brannaman, a world-renowned master of the art, describes the essential tools, the partnership between horse and rider (incorporating the Natural Horsemanship approach for which the author is famous), and the mechanics needed to become a successful ranch roper, whether in competition or in actual cattle work. One-hundred full-color photographs of Buck in action enhance the step-by-step methodology that leads to mastering this essential Western skill. Whether you ride or rope or just wish you could, here’s a book for everyone who is captivated by Western traditions and contemporary life.

The author tells of his experiences as a cowboy living and working in the Oklahoma panhandle territory.