THE COWGIRL OF HIS DREAMS Jen Taylor is this close to becoming a world-champion barrel racer. But when tragedy strikes bull rider Colt Mead, she puts her ambitions on hold…temporarily. The playboy of the circuit suddenly has a child depending on him. She can't let her friend go it alone—no matter how much he hurt her… Colt knew Jen deserved better than a rootless bull rider. But caring for his orphaned half sister makes him realize how much he wants to be part of a family. And that family won't be complete without the woman he loves as much more than a friend. Will she give up her dream to be part of his?

"Jen Taylor is this close to becoming a champion barrel racer. But when tragedy strikes bull rider Colt Mead, she puts her ambitions on hold--temporarily. The playboy of the circuit suddenly has a child depending on him. She can't let her friend go it alone--no matter how much he hurt her. Colt knew Jen deserved better than a rootless bull rider. But caring for his orphaned half sister makes him realize how much he wants to be part of a family. And that family won't be complete without the woman he loves as much more than a friend. Will she give up her dream to be part of this?" -- Back cover.

All it takes is eight seconds . . . Cam O'Mara, grandson and younger brother of bull-riding champions, is not interested in partaking in the family sport. Cam is a skateboarder, and perfecting his tricks—frontside flips, 360s—means everything until his older brother, Ben, comes home from Iraq, paralyzed from a brain injury. What would make a skateboarder take a different kind of ride? And what would get him on a monstrosity of a bull named Ugly? If Cam can stay on for the requisite eight seconds, could the $15,000 prize bring hope and a future for his big brother?

A down-and-out rodeo champion follows a mysterious woman on the run with half a million dollars back to the bright lights of Las Vegas in the sequel to Hey, Cowboy, Wanna Get Lucky? “Baxter Black is Mark Twain served up with a little Groucho Marx.”—The Weekly Standard Two years after he won the average at the Las Vegas National Finals Rodeo by riding Kamikaze, the world’s most unridable bull, Lick is down on his luck, working on a ranch in the remote Nevada desert with Al Bean, an ornery old cowboy. Then into their lives crashes Teddie Arizona—T.A.—a woman of mystery who crawls out of the wreckage of her plane with a $500,000 secret. When T.A.’s “husband,” F. Rank Pantaker, dispatches his henchmen to retrieve the money—and the girl—Lick and Al find themselves trying to outrun the bad guys and protect a damsel in distress. Is T.A. out to cheat her cheatin’ husband, or is she really just trying to stop an illegal scheme cooked up by F. Rank and the infamous Ponce de Crayon, Vegas’s most glamorous tiger tamer? Is she playing Lick—or is it love? Will Al Bean’s cockeyed schemes, an able assist from Cody, Lick’s cowboy sidekick, a brigade of old-time rodeo reunioneers, and twenty miles of duct tape be enough to stop F. Rank’s nefarious schemes, reform a career party girl, and change the hearts and minds of ten of the world’s most thrill-seeking billionaires? Can Cody keep Lick from climbing onto raging bull Kamikaze’s back one more time? Can true love triumph over shoot-outs at the not-so-okay corral and close encounters with white tigers? With its colorful cast of characters, rip-roaring humor, and inventive language, this caper will have you riding high long after it gallops to a thunderously satisfying conclusion.

For years, goody-two boots AJ Foster wished her dream man Cord McKay would see her beyond the girl in pigtails. Now that she's old enough to stake her claim on him, she challenges the cowboy to teach her how to ride-- and she doesn't mean horses."

When someone says "Cowgirl Up!" it means rise to the occasion, don't give up, and do it all without whining or complaining. And the cowgirls of the early twentieth century did it all, just like the men, only wearing skirts and sometimes with a baby waiting behind the chutes. Women learned to rope and ride out of necessity, helping their fathers, brothers, and husbands with the ranch work. But for some women, it went further than that. They caught the fever of freedom, the thirst for adrenaline, and the thrill of competition, and many started their rodeo careers as early as age fourteen. From Alice and Margie Greenough of Red Lodge, whose father told them “If you can’t ride ’em, walk,” to Jane Burnett Smith of Gilt Edge who sneaked off to ride in rodeos at age eleven, women made wide inroads into the masculine world of rodeo. Montana boasts its share of women who “busted broncs” and broke ranks in the macho world of rodeo during the early to mid-1900s. Cowgirl Up! is the history of these cowgirls, their courage, and their accomplishments.

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.