Relates some of the legends of Pecos Bill, from the moment he bounced out of his family's covered wagon to the day his long-lost brother appears and explains that Bill is not like the coyotes that have raised him.

When Brady Blankenship loses his wife in a tragic accident, he is left with a newborn son. Brady's grief takes him to a family cabin, Cloud Shadow, secluded in the mountains of New Mexico, where he rages against the sorrow that engulfs him while struggling to learn the necessities of fatherhood. Warming bottles, changing diapers, giving baths—these small tasks are the only activities pushing him forward, providing purpose in his grief-driven life. But his quiet retreat is soon interrupted when a woman named Hannah Ortiz hurts her ankle on Brady's mountain and stumbles into his life. Now Brady must make room for her as she nurses her sprained ankle—and her broken past. Brady cannot comprehend the fear that lurks in her eyes, but during a mountain storm, Hannah reveals her scars. Some were created with a hateful knife, scoring Hannah with permanent reminders, but the deepest scars, those that make her cower in fear at the sound of thunder, are invisible to the eye. Ten years after this tragic attack, Hannah is still running from her fear, a fear that turns out to be all too real. Caught between grieving his wife's death and learning to heal through an unexpected friend, Brady discovers there is no timetable for loss or for love. His friendship with Hannah blooms quickly—too quickly for Brady's conscience—at Cloud Shadow and neither can decide if his wife's recent death will bring them together or ultimately leave them both haunted by their own terrifying pasts.

Music in the Western: Notes from the Frontier presents essays from both film studies scholars and musicologists on core issues in western film scores: their history, their generic conventions, their operation as part of a narrative system, their functioning within individual filmic texts and their ideological import, especially in terms of the western’s construction of gender, sexuality, race and ethnicity. The Hollywood western is marked as uniquely American by its geographic setting, prototypical male protagonist and core American values. Music in the Western examines these conventions and the scores that have shaped them. But the western also had a resounding international impact, from Europe to Asia, and this volume distinguishes itself by its careful consideration of music in non-Hollywood westerns, such as Ravenous and The Good, the Bad, and the Ugly and in the “easterns” which influenced them, such as Yojimbo. Other films discussed include Wagon Master, High Noon, Calamity Jane, The Big Country, The Unforgiven, Dead Man, Wild Bill, There Will Be Blood and No Country for Old Men. Contributors Ross Care Corey K. Creekmur Yuna de Lannoy K. J. Donnelly Caryl Flinn Claudia Gorbman Kathryn Kalinak Charles Leinberger Matthew McDonald Peter Stanfield Mariana Whitmer Ben Winters The Routledge Music and Screen Media Series offers edited collections of original essays on music in particular genres of cinema, television, video games and new media. These edited essay collections are written for an interdisciplinary audience of students and scholars of music and film and media studies.

Winner, 2020 Al Lowman Memorial Prize for Best Book on Texas County or Local History There is a deep and abiding connection between humans and the land in Pinto Canyon—a remote and rugged place near the border with Mexico in the Texas Big Bend. Here the land assumes a certain primacy, defined not by the ephemera of plants and animals but by the very bedrock that rises far above the silvery flow of Pinto Creek— looming masses that break the horizon into a hundred different vistas. Yet, over time, people managed to survive and sometimes even thrive in this harsh environment. In the Shadow of the Chinatis combines the rich narratives of history, natural history, and archeology to tell the story of the landscape as well as the people who once inhabited it. Settling the land was difficult, staying on it even more so, but one family proved especially resilient. Rising above their meager origins, the Prietos eventually amassed a 12,000-acre ranch in the shadow of the Chinati Mountains to become the most successful of Pinto Canyon’s early settlers. But starting with the tense years of the Great Depression, the family faced a series of tragedies: one son was killed by a Texas Ranger, and another by the deranged son of Chico Cano, the Big Bend’s most notorious bandit. Ultimately, growing rifts in the family forced the sale of the ranch, marking the end of an era. Bearing the hallmarks of an epic tragedy, the departure of the Prieto family signaled a transition away from ranching towards a new style of landownership based on a completely different model. Today, Pinto Canyon’s scenic and scientific value increasingly overshadows the marginal economics of its past. In the Shadow of the Chinatis reveals a rich tapestry of interaction between humans and their environment, providing a unique examination of the Big Bend region and the people who call it home.

It's the Cowboy Way! tells the full story of the amazing true adventures of group members Ranger Doug, Woody Paul, Too Slim, and Joey "The CowPolka King" for the first time, from their first gigs at "Herr Harry's Phranks 'N' Steins," in Nashville, to their rise to the top of the Grammy heap. Since 1977, Riders In The Sky has faithfully tended a musical tradition kindled by singing cowboy legends, such as Gene Autry and the Sons Of The Pioneers. Throughout its long career, the group has branded the genre with its own mark, crafting a well-balanced mix of both classic and original western songs—smooth harmony, hot licks, and comedy. Over the past quarter of a century, and more than 4,500 shows, 290 national TV appearances, 203 public radio shows, nearly 700 Grand Ole Opry appearances, 2.3 million miles on the road, two Grammy Awards, three television series, and 31 albums down the trail, a group that began with a commitment to carry on an American musical tradition has itself become a national treasure.

The first systematic inquiry into the Texas Rangers did not begin until 1935 with Walter Prescott Webb’s publication The Texas Rangers. Since then numerous works have appeared on the Rangers, but no volume has been published before that covers the various historians of the Rangers and their approaches to the topic. Editors Bruce A. Glasrud and Harold J. Weiss Jr. gather essays that profile individual historians of the Texas Rangers, explore themes and issues in Ranger history, and comprise archival research, biographies, and autobiographies. Several approaches in Texas historiography have influenced the writings on the Texas Rangers and serve to organize the chapters in the volume. Traditionalists (Chuck Parsons, Stephen L. Moore, and Bob Alexander) stress the revered happenings in the nineteenth century that brought about the Lone Star state and its empire-building Ranger force. To these historical writers the Texas Rangers were part of a golden age. Revisionists (Robert M. Utley, Louis R. Sadler, and Charles H. Harris) pull back from this adulation, emphasize the importance of overlooked ethnic and racial groups, and point out misbehavior on the part of Rangers. They also want to separate fact from fiction. Some Ranger historians (Frederick Wilkins and Mike Cox) straddle both traditional and revisionist approaches in their works. The final group, Cultural Constructionalists (Gary Clayton Anderson, Américo Paredes, and Monica Muñoz Martinez), continue the work of Revisionists and focus on an interconnected past that includes theoretical approaches and the study of memory and regional identities. Several themes emerge throughout the book. One is how the Rangers changed from unorganized mounted militia, dragoons in the modern sense, to organized cavalry forces with six-shooter firepower who served as a military arm of the state and nation. A second is how the dichotomous views of the Rangers—as either patriot warriors or bloody avengers—left their imprint on Anglo and Hispanic society. This divergent examination especially derived from incidents in the US-Mexican War, the period from 1910 to 1920, and the lower Rio Grande valley in the 1960s. And yet another theme is how the Rangers first resisted and fought against, yet ultimately absorbed, all creeds and colors into their ranks over two hundred years as they evolved into police officers: Anglo, Black, Hispanic, Indian, and women Rangers.

In this gritty exposé, a firsthand look inside U.S. undercover operations targeting the immigrant smuggling, counterfeiting, and drug rings of Mexico’s dangerous mafia. Living under an assumed identity and risking his life were all in a day’s work for U.S. Government Agent Hipolito Acosta. He worked regularly in high-stakes undercover operations infiltrating Mexico’s murderous immigrant smuggling rings and drug cartels. Acosta’s investigations are legendary, both inside law enforcement and the crime cartels he helped neutralize. He had himself smuggled from Mexico to Chicago with a truckload of poor immigrants; worked his way into the confidences of a gang of international counterfeiters; socialized with some of Mexico’s most vicious drug lords; arrested a female smuggler by luring her across the U.S. border for an amorous rendezvous; and was the target of multiple murder plots by the criminals he put in jail. For three decades, Hipolito Acosta’s work routinely made national headlines, and he quickly gained a reputation as a daring crime fighter who used his intelligence and audacity to stay one step ahead of those who would kill him if his cover were ever blown. Acosta’s stories read like chapters from a page-turning crime novel, but The Shadow Catcher is more than a front-seat ride through the criminal underworld along the U.S./Mexico border. This heartbreaking exposé goes beyond sensational headlines and medals of honor to divulge what an agent endures in order to ensure that U.S. law is enforced and to reveal the unseen human side of illegal immigration.

Authoritative guide to everything in print about lawmen and the lawless—from Billy the Kid to the painted ladies of frontier cow towns. Nearly 2,500 entries, taken from newspapers, court records, and more.