Much has happened since we last visited, most of it was good.
Some of it wasn’t.
Things got more confused than usual when the Roundup’s editorial offices changed locations five times in nine months–from Nebraska to three places in California, back to Nebraska, and back to California. So if your Issue #4 of the Roundup or something you ordered didn’t arrive please let us know.
Nine months may be symbolic. During that period we gave birth to an Internet site on the World Wide Web. In California’s Silicon Valley we think everybody is vitally interested in Internet activity and that anyone without a fabulous Web site with cool animated graphics and other fancy stuff will not survive. Outside Silicon Valley most folks say, “What’s that?” or “You’ll never get me up in one of those things.” Nevertheless, your intrepid editor is now a Webmaster, of sorts, having put not one, but two sites on the Web. If you have Internet access, check out the CowBoy Heritage site at http://www.cow-boy.com. (If you're reading this, don't bother. You're already there.)
Though the world’s richest man is promoting the Internet so he can get richer, the sun will probably rise at about the same time it ordinarily would, whether we’re on the net or not. Come to think of it, the last two winters have been extremely cold, and there has been unusually heavy flooding. I wonder . . .
Well, be that as it may (and it may be) the Web is kind of fun, and it is worldwide, and there is a lot of stuff on it, some of it cowboy-oriented. Roy and Dale have a site. Mark Allen has one. Todd Baum promises one. Many sites have cowboy merchandise, poetry, and more. This issue of Lone Prairie Roundup is on the Web, and later all issues will be there.
Meanwhile, since we last did this, I have checked out the Gene Autry Oklahoma Film and Music Festival, The Elko Cowboy Poetry Gathering, and the Wild West Arts Club Convention. Good stuff and we’ll cover some of it in this issue.
Whether you knew him or not, you lost a good friend in December when Crawford Clark died. See page 5.
Hats off to Judith Pannebaker, John Swenning, and Doug Brewer for enhancing the Roundup’s literary quality this issue.
Judith is a freelance writer and rodeo fan from Baltimore who also operates, with husband Bill, a shop that sells cowboy memorabilia and decorator items. Judith’s article on the great bull rider, Cody Lambert, starts on page 7.
John writes and recites cowboy poetry, and The American Cowboy magazine recently accepted one of his poems. He also serves as an Undersheriff of Fresno County, California. You can read one of his poems on page 10.
Doug writes cowboy poetry on many subjects, and his book, Life, Fun, Hard and Worth It! gets high marks for rhyme and reason. We haven’t had much scandal on these pages, so when we found out Doug wrote a confession, we jumped at the chance to print it. It’s on page 11.
Elvin and Flo Sweeten did their usual unusually fine job at the Gene Autry Oklahoma Film and Music Festival. Among the performers at the festival: Jim Gough of Texas, Tex Hill of Arizona, and Bruce Dillman of wherever he happens to be. Stanley Rojo from California was amongst the vendors. Shirley Blovin came from Vermont, Dorothy Strianko from Pennsylvania. The Addisons, Rose Marie and Ray came from Missouri. So did Bud and Mary Boyer. John Birdeno and George Morgan were there from Kansas, Bill Hale and Paul Mix from Texas.
When Bruce Dillman (with his entourage, Bob) made a personal appearance at Larry Pugno’s Stage Stop book store in San Jose, he howdied and shook with Bruce Hoskinson, Larry Kluger, Stanley Rojo, Robert Van Heusen, David Severson, Todd Baum, and Linda Lanphear.
Mark Allen, Jim Slade, Dusty and Sharon Johnson, and Bromley and Pandora Steele were at the Wild West Arts Club Convention at Buffalo Bill’s near Las Vegas. See story on page 6. Earlier, Mark appeared on “CBS This Morning.” Dusty Johnson operates Pleasant Valley Saddle Shop. It turns out that Pleasant Valley is in Arizona, although the shop is in Loveland, Colorado. See Dusty’s horse and saddle on page 2.
The Western Music Association recently elected Tex Hill, the last big-screen singing cowboy, to its Board of Directors.
The Light Crust Doughboys were honored with an exhibit at the 1996 State Fair of Texas.
Todd Baum moved Any Thing Western from Sunnyvale, California, to Ben Lomond. They joined Gary Taylor in a 1000-square-foot room of Western Americana for sale. Grand Opening April 19 & 20.
Our first club members in Germany are Brian and Gwen Dillman (they moved from Chicago). The first member in France is Paul Lazarus.
With Issue #5 club members got a questionnaire to help the staff make plans. One question was about changing the name to something with more pizzazz. Some people actually returned that questionnaire, and every one of those folks said to keep the name as it is. Some were quite vehement about it.
So the name stays the same.
Some members have asked how they can remain in the club after their one-year free memberships run out. Especially concerned are ones who are into the third year of that one-year membership. Others are wondering how the club makes ends meet, since it has no income. Among the latter are those who pay for printing and postage. So here’s the new deal. Everybody joining from the first edition of The CowBoy Handbook, which is about extinct, is automatically a Charter Member for life (yours or the club’s) with all rights and privileges.
Lone Prairie Roundup is free to charter members for one year or four issues, whichever comes first. After that members may subscribe for $6.00 ($8 outside North America) for 4 issues. If you have Internet access, you may forgo the hard copy and read it free on the Worldwide Web at http://www.cow-boy.com.
The Lone Prairie Cowtalog included with Issue #5 of the Roundup gets mixed reviews. It was a learning experience, and one of the learnings is: there may be a better way. A couple of complications came up. First, the office moved a few times, and some orders may have been misplaced. If you ordered something from the cowtalog and did not receive it, let us know so we can fill your order. We apologize for the inconvenience.
The part about sources for collectibles was really awkward, so instead of writing in, look for those sources in the classified advertising section on page 14.
Second, the Readers of the Purple Sage catalog we advertised took a little longer to publish than we figured. It’s available now and worth reading. Call 800 684-3075 for your copy.
Goodwill Industries, headed by former Iowa Congressman Fred Grandy, is one of the nation’s largest retailers. Since their merchandise is donated, Goodwill stores can be a source of vintage (old) cowboy clothing and other items at lower-than-antique-store prices. How good a source depends on the store’s location.
Timing is important. The best time is before Halloween. Then all the unusual clothing is pulled out of storage somewhere, called Halloween costumes, and priced lower than usual.
At high-priced Goodwill stores in California last fall your reporter acquired four prime shirts, two not-too-bad hats, and a silk scarf for a total of $24.50.
Life is full of crossroads. In fact, every instant brings us another fork in the road, another opportunity to make a choice. Most of the time we are busy doing something else, so when we come to those crossroads, we keep going in the same direction. Thus, when we actually change directions at some intersection, it usually sticks in our memory.
I remember crossing a Wichita street several years ago. The man with me said, “How would you like to go to Lincoln, Nebraska?”
At the time I was selling advertising for the High Plains Journal in Dodge City. I had been talking with this man about a job with his radio station in Wichita, so the Lincoln proposition was a bolt from the blue. It was a crossroad, a choice point. I could stay where I was. I could go to Lincoln. I could do something else. As you can tell by the return address, I went to Lincoln.
The man at that crossroad was Crawford Clark.
A few years later in Kansas City I got into a conversation about various esoteric topics, and I heard about an interesting book. That book started me on new paths which led to an interesting hobby, then a fascinating occupation. The man at that crossroad was Crawford Clark.
Still later I found myself writing The CowBoy Handbook. A well-respected, creative salesman said, “I think you’ve got something. You write it, and I’ll sell it.” The man at that crossroad was Crawford Clark.
He started with a market test and encouraged the start of the CowBoy Heritage Club. Then Crawford ran into some health problems. The treatments took up his time, sapped his strength, and impaired his memory. Even then this idea man was thinking up new plans.
When I saw him in September we planned to meet in December to take on a new project. But that didn’t happen
On my birthday, December 3, Crawford Clark died.
At the memorial service people who knew him remembered a special man–intelligent, spiritual, creative, humorous, friendly, fun. To put it in CowBoy terms, he would do to take along.
Three times, when I approached major turning points, Crawford Clark was there. Make that four times. Now that he’s gone, life can’t really be the same for me, for his wife Joan, his son Brian and family, for his other friends and associates. But we’re mighty glad we knew him.
D. J. Smith and Cactus Jack are trick ropers. They do Texas skips and spin big loops and belong to the Wild West Arts Club. D. J. is 12 years old. Cactus Jack in 84. Most of the other members are somewhere in between, and about 200 of them got together in Nevada in March for the 7th National Convention.
People from across the globe gathered to teach, learn, and perform with ropes, guns, knives, tomahawks, and whips. Some yodel. Members are professionals, beginners, and folks who just like the atmosphere and the people.
Montie Montana was there. So were Montie Montana, Jr., Mark Allen, and people who kept the arena occupied most hours for three days. All these arts take dedication and practice, but folks who do them enjoy the practice. Anyone can attend the convention, anyone can join the club, and they all seemed to have fun.
Trick and fancy roping (floreo) came from Mexico around the turn of the century, and enough people took it up that it was a contest event at many rodeos until the 1920s. Then it disappeared from the arena, except for contract specialty acts.
Rope spinning left the public consciousness until The Will Rogers Follies came to Broadway in the 1980s. That show not only spotlighted rope spinning, but it also pointed out the fact that the art is still alive and flourishing, as rope twirlers suddenly appeared as if by magic.
For their own and other people’s amusement, folks around the world are practicing trick and fancy roping and the other surviving skills from Wild West arenas and movie sets. About 700 of these folks belong to the WWAC. At last year’s convention winners of three awards were from Germany. This year’s winners included college student D. J. Gillilan, who performed in The Will Rogers Follies in Las Vegas and D. J. Smith.
The International Trick and Fancy Ropers Association started in 1980, and it was reorganized and expanded into the Wild West Arts Club ten years later. Interest in all these arts is growing, and unless you are involved, it’s hard to appreciate the dedication and intensity these folks have. One clue is to look at a Mark Allen Productions catalog. Most of its 34 pages are devoted to equipment, instructional books and videos, and stage props for Wild West Arts.
WWAC is affiliated with other organizations of related interests– International Jugglers Association, International Knife Throwing Alliance, Single Action Shooting Society, and World Fast Draw Association.
You can write to Wild West Arts Club, 3750 South Valley View #14, Las Vegas, NV 89103 USA. Phone: 1-800-858-5568. Email: MAllen1946@aol.com Membership dues are $30 for the first year, $25 for renewals.
“You’ve got to not dwell on whether you should be riding or not. If I’m wondering whether I should be riding...then I probably shouldn’t,” commented Cody Lambert, ten-time National Finals Rodeo competitor. “I can see it’s [retirement] just around the corner and . . . it’s going to be really hard.”
Words can be self-fulfilling prophecies. PRCA member since 1980, Lambert, veteran bull and saddle bronc rider, has hung up his spurs. Last October the 35 year old cowboy ended his pro rodeo career at the Professional Bull Riders (PBR) Bud Light Cup World Finals in Las Vegas.
In an emotional farewell, rodeo great Ty Murray presented his friend and traveling buddy with the PBR Ring of Honor, commemorating his contributions to the sport. Mega-stars Murray and Tuff Hedeman credit Lambert with teaching them their craft. “Clete’s” simple approach appealed to hotshot bull riders: you either made the whistle or you bucked off–no excuses.
Rodeo statistics confirm his impressive wins, but Lambert has been plagued recently with nagging injuries. Disaster struck again last summer with a torn posterior cruciate ligament in his right knee coupled with a medial collateral ligament separated completely from the bone. At that time, he stated, “I want to go to the PBR Finals. Then I’ll reevaluate. It hurts when I ride now, but it’s nothing I can’t stand.” After learning that he faced arthroscopic surgery and nine months recuperation, however, Lambert ceded, “You can’t be 35 and go nine months without getting on a bull.” He reluctantly announced his retirement before a capacity crowd which gave him a standing ovation, Lambert rode his last bull, “Mr. Two Jacks,” ending his 16-year professional career with a solid 81.5 ride.
Although he is leaving roughstock riding, Lambert will remain active behind the chutes. He was instrumental in developing the `Bull Proof’ vest now used extensively during competitions. Working with a Canadian sports product manufacturer, he perfected the safety device for rodeo contestants. In 1993, Lambert wore the first protective vest at the NFR. By 1995, all top 15 bull riders sported them. In an interview by Kendra Santos, Lambert commented, “It surprised me that everyone started wearing one that fast. It makes me feel good when someone tells me about a bad wreck he walked away from.” Rodeo Moms and Dads everywhere are especially grateful for his contribution to their kids’ safety.
Retirement gives Lambert the opportunity to spend more time with his family, wife Leanne and son Riley,10. Riley hasn’t yet expressed an interest in riding bulls and that’s how his dad prefers it. “I’ve got an arena at my home and every once in awhile Riley says he wants to ride some calves and I say, `Aw, let’s don’t. Let’s play a little ball,”‘ Lambert laughed. “And that’s what we do.” He continued, “Two of my best friends (Lane Frost and Brent Thurman) were killed riding bulls and they were Riley’s friends, too. He lost them, too. He knows exactly what can happen. I’m real happy with him playing other sports.”
Author Jeff Coplon in his book, Gold Buckle, an in-depth look at bull riding, quoted Lambert, “Spending time in a stock saddle, gatherin’ cattle on ranches and brandin’, that’s cowboy stuff If I didn’t rodeo, that’s what I’d be doing every day.”
Growing up in hard scrabble El Paso, Texas, he remembered, “All I ever wanted to be was a cowboy.” Maybe now he’ll get his wish. Ropin’, ranchin’ and maybe ridin’ a bull or two, Lambert embodies cowboy traditions and values. “Every time they called my name, I showed up...I never thought of quitting while I could still ride,” he stated plainly. He’ll approach retirement as he did rodeoing, by pulling his rope and nodding for the gate–with no excuses. When Lambert rode his last eight seconds, rodeo fans lost a giant, a “cowboy’s cowboy.”
In his excellent book, For A Cowboy Has To Sing, Jim Bob Tinsley wrote that motion pictures did more to spread cowboy music any other medium. Radio, however, was crucial to this development.
Humans had sung on the job for thousands of years by the time 19th century cattle herders discovered that singing to an assembled herd of semi-wild longhorn cattle might prevent stampeding. The resulting cowboy songs cut a wider swath than the average folk songs. In the early 20th century movies had no sound, so stage, radio and record performers brought cowboy songs sto the public.
Jules Verne Allen was among the first cowboys to record in the ’20s, and Victor Records designated him as “The Singing Cowboy.”
Most radio stations had something for everyone and stations from New York to Fort Worth to Kansas City to Los Angeles featured folks singing cowboy songs. Those folks included Tex Ritter, Smiley Burnette, the Sons of the Pioneers, Eddie Dean, Jimmy Wakely, Monte Hale, and Rex Allen.
Movie makers discussed combining sound recording with motion pictures. Successful studios had a good thing going, so they rejected the idea. Warner Brothers, not that successful, made a sound movie and started a revolution. Conventional wisdom said sound was OK, but only for indoor films where microphones could hide in plants or lamps.
Well, Western talkies came along, awkwardly at first, and in 1929 Ken Maynard sang cowboy songs in a cowboy movie. That proved it could be done. Ken’s singing didn’t significantly increase the lines at box offices.
Young Robert Bradbury, Jr., making movies as Bob Steele, tried singing in a couple of flicks with similar results. Then Bob’s friend Marion “Duke” Morrison, making movies as John Wayne, tried it in Riders of Destiny (1933) directed by Bob’s father. Wayne played Singing Sandy, a secret government agent, who broke into song before disposing of a bad guy. Wayne “sang” in several other films.
Forty years later, the Duke told Phil Dohohue his singing was a three-man operation involving him, the one who played the guitar, and the one who did the actual singing. Primitive technology made it difficult to identify the singer. Several were accused–mostly Smith Bellew, who vehemently denied it. Research indicates it may have been Bill Bradbury, Bob’s brother.
Wayne said it was awkward when fans asked him to sing and he told “them” that if they wanted a singing cowboy, “get the most popular radio singer and put him in the movies. That was Gene Autry.”
Fact or fantasy? You judge. Whether “they” listened to him, we don’t know. We do know that Autry did get into movies and did increase the lines at box offices By the mid-1950s B Westerns were history and “adult” Westerns were showing up on television. In the early 1960s, however, young Tex Hill made seven extra-low-budget musical Westerns, most of which were never released. But Tex got paid, so he was happy,and thereby, he became the last of the big-screen singing cowboys.
All this is to introduce our reviews of a new Gene Autry CD, an old John Wayne movie, and a bookstore which features the Tex HillMuseum.
Gene Autry, Blues Singer: 1929-1931. Columbia, 1996.
In 1929 there were no Country Music radio stations. The name “Country Music” was unknown. There was hillbilly, mountain, hill, old-time, Western, and cowboy music. As 1929 approached its end New York pedestrians tried to avoid stock market speculators jumping from tall buildings after the crash; Ken Maynard sang cowboy songs from movie screens across the country.
Jimmie Rodgers, (“The Singing Brakeman, “The Blue Yodeler,” The Father of Country Music”) was so popular that record companies were looking for their own blue yodelers. The American Record Company (later Columbia) signed one of the best, Gene Autry, who recorded blue yodels from just before the 1929 Market Crash until November, 1931. The records went out under several names (Bob Clayton, Jimmy Dodd, etc.) for American’s many labels. This CD has 23 cuts–songs written by Rodgers, Carson Robison, Frankie and Johnny Marvin, and Autry himself. Well-known (“In the Jailhouse Now,” “Waiting for a Train,”) and less well-known (“Dust Pan Blues,” “Stay Away from My Chicken House”)
Some of these recordings are so rare they were digitized from 78 rpm records in Gene Earle’s private collection. The accompanying booklet (formerly called liner notes) has rare photographs and background and comments by Jon Guyot Smith.
Smith, who really knows his subject, calls them as he sees them. He sees them this way: “With sparse accompaniment and none of today’s and none of today’s technological enhancements, [Autry’s] earliest recordings show that he was simply a remarkably gifted performer as convincing in the blues idiom as he was while singing cowboy songs.”
Smith also answers a question which has come up over the years. “Why has Gene Autry met with worldwide acclaim? He is one of the best singers of our time . . .” We agree.
The Man from Utah with John Wayne, Yakima Canutt, George Hayes. Directed by Robert Bradbury. Lone Star Productions. 1934.
Of all John Wayne’s movies, a list of the top ten would not include The Man from Utah.
Nor would a top 20 list. Nor the top 50. Nor . . . Well, you get the idea. Yet The Man from Utah has a certain interest and charm. Made before The Duke became a major movie star, this film is a fine example of the Poverty-Row flicks of the 1920s and ’30s. Producers operated out of their hats and put pictures together on a shoestring using rented equipment, budget actors, and stock footage.
The Man from Utah has handsome young John Wayne in the title role. Rodeo champion , silent-film star, and premier stunt man Yakima Canutt plays a bad guy and does Wayne’s stunts. A lightly bearded, pre-“Gabby” George Hayes is a U.S. Marshal. The picture opens with Duke riding a big, white horse across the plains, playing a guitar, and singing a song. Then he gets into town, is mistaken for a bank robber, and recruited as an undercover agent by the marshal.
The plot involves a rodeo (which they pronounce road AY oh) in Dalton, Nevada. There is some great stock footage of a huge rodeo (probably Cheyenne) with a huge Indian contingent and an audience that seems larger than the entire population of Nevada in those days.
For a picture shot in less than a week, this one has a lot of stuff. Be alert for (1) George Hayes with lines he used ten years later with Roy Rogers and Wild Bill Elliott, (2) the real rodeo scenes with cowboys and Indians, (3) Wayne’s weird gunslinging (4) Canutt’s rodeo riding, and (5) the two guys going over the cliff into the river. The Man from Utah won’t be on any “Duke’s Best” list, but it is fun.
Readers of the Purple Sage, 90 East Apache Street, Wickenburg, AZ 85390. 800 684-3075.
The movies’ last singing cowboy, Tex Hill (now “The Rhinestone Ranger”) had a circus gig in Alaska. When he returned home to Wickenburg, Arizona, his wife, Claudia (the author) said, “While you were gone, I opened a bookstore.”
Well, she did it right–from the rawhide-lashed mesquite-pole shelves to the Tex Hill Movie Museum to the Western decor. Its Dude Ranch Capital location, adds to the atmosphere, and it has a great selection of “Books, Music, and Movies of the West.” If you can’t get to Wickenburg in the near future, call 800 684-3075 for your copy of the brand new 34-page catalog.
In the rare, used, and out-of-print category Stage Stop Books has a good selection of books on The West and searches for scarce items. Contact Larry Pugno, 1261 Lincoln Ave, #104, San Jose, CA 95125. 408 448-3806. Email: firstname.lastname@example.org.
Editor’s note: This piece is from Doug Brewer’s book, Life! Fun, Hard and Worth It! Doug has rhymes and reasons for many things. Here you get to find out how he thinks. Given the choice of anything in his book, I picked a piece that doesn’t rhyme, because of its reasoning—and, hey, it’s a confession.
And here’s where I confess.
I was only a full time cowboy while I was growin’ up.
Since my youth, I’ve only been a would be if I could be cowboy.
But tho’ I lived in the city, I sqoze a lot in. And I know that doesn’t look like the way you spell squoze, but squoozed didn’t look like it sounded right, and squeezed was worse than both!
Anyway, I did. Wye, when I was 10, I rode with a posse, 300 miles along high mountain ranges to Jackson Hole, Wyoming! Honest truth. Ask m’ brother Stan.
A lot of my cowboyin’ was riding my horse on the outskirts of Ogden, Utah, racing up and down the barrow pits and int he vast fields around dad’s radio stateion KOPP. ‘Needed a lot of undeveloped land around radio stations back then—no neighbors to complain about their reception gettin’ fouled up. Good thing. ‘Meant there was a lotta “range” way out there on west 12th street.
“Wayne Moss—Trail Boss,” the resident DJ (before the term “DJ” was invented) always helped friend Tom and me got our saddles on Sonny and Spike after school. And we’d ride into and out of every sunset there ever was. And secret caves behind waterfalls!
I lived for summers to stay with relatives on ranches in Idaho. ‘Saw a Utah license plate that read IDAHO on it a while back. I can understand that.
Dad was a hardworking grocer who “invested” in just enough cattle and sheep ranches up there to indulge a bit, and like me now, dreamed he could somehow go back and drink in a little of the cowboy life he’d grown up with.
My topics are less about lassos and dallies and hackamores and hoolihans and more about a cowboy way of looking at everyday struggles and events of today’s unfortunately more-and-more urban human family.
Despite bold claims to the contrary, crises and catastrophes—cratastrosies—aren’t limited to agriculture. Nor is good humor, altho’ today’s TV polution has everything so muddled up, it’s pretty tough for modern day to compete.
I guess my credentials if I got any, are that even tho’ ol’ Sonny died and I grew up and left home and went to college and got married and had kids and all, I can proudly say that I never remember quittin’ bein’ a cowboy.
Do they excommunicate you for lack of ownin’ a horse? Nope. You and I know that ain’t the cowboy way.
From the book, Life! Fun, Hard and Worth It! Copyright © 1996 Doug Brewer. Used by permission of the author.
Classified ads are free to club members
Cowboy books, music, movies. 34-page catalog. Readers of the Purple Sage, 90 East Apache Street, Wickenburg, AZ 85390. 800-684-3075.
Books of the West—new, used, out-of-print. Stage Stop Books. Computerized book search. 1261 Lincoln Ave. #104, San Jose, CA 95125. Email westbks@ricochet. net. 408 448-3806.
Western Americana–largest collection for sale on the West Coast. Frontier Room, Ben Lomond Antiques. Todd Baum, 651 El Ranchito Way, Mountain View, CA 94041. 415 967-0484.
Gene Autry and other cowboy memorabilia. Buy, Sell, Trade. Stanley Rojo, 2995 Park Lane, San Jose, CA 95127. 408 272-2711.
Cowboy memorabilia, movie and other, mint and near-mint. Frank O’Donohugh, 1146 Lake Street, San Francisco, CA, 94118. 415 387-2520.
Hollywood Holsters, top quality, 1950s style, created for you by internationally known saddlemaker/ author, Dusty Johnson. Pleasant Valley Saddle Shop, 1220 South County Road 21, Loveland, CO 80537. 970 669-1588.
Custom saddles and leather goods. Trailbusters Custom Saddles, 3900 South Higyway 66, Claremore, OK 74017. 018 343-0059.
Wild West Arts equipment–trick riding, roping, shooting, whips, knife & tomahawk–equipment, books, videos. 34-page catalog. Mark Allen Productions, 3750 South Valley View, #14, Las Vegas, NV 89103. 800 858-55698.
Gene Autry Oklahoma Film and Music Festival September 1997 at the Gene Autry Oklahoma Museum. For information write to Box 67, Gene Autry, OK 73436, or call 405 389-5335.
Western Swing—Get the latest from the first –The Light Crust Doughboys, going strong after 65 years. CDs, audio cassettes, and historic video. 800 311-9741.
Cowboy cassettes & CD’s, big selection. Readers of the Purple Sage, 90 East Apache Street, Wickenburg, AZ 85390. 800 684-3075.
Make saddles, chaps, holsters. Learn how from books, video tapes, or in person. Pleasant Valley Saddle Shop, 220 South County Road 21, Loveland, CO 80537