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Drug Lords, Cowboys, and Desperadoes examines how historical archetypes in violent narratives on the Mexican American frontier have resulted in political discourse that feeds back into real violence. The drug battles, outlaw culture, and violence that permeate the U.S.-Mexican frontier serve as scenery and motivation for a wide swath of North American culture. In this innovative study, Rafael Acosta Morales ties the pride that many communities felt for heroic tales of banditry and rebels to the darker repercussions of the violence inflicted by the representatives of the law or the state. Narratives on bandits, cowboys, and desperadoes promise redistribution, regeneration, and community, but they often bring about the very opposite of those goals. This paradox is at the heart of Acosta Morales’s book. Drug Lords, Cowboys, and Desperadoes examines the relationship between affect, narrative, and violence surrounding three historical archetypes—social bandits (often associated with the drug trade), cowboys, and desperadoes—and how these narratives create affective loops that recreate violent structures in the Mexican American frontier. Acosta Morales analyzes narrative in literary, cinematic, and musical form, examining works by Américo Paredes, Luis G. Inclán, Clint Eastwood, Rolando Hinojosa, Yuri Herrera, and Cormac McCarthy. The book focuses on how narratives of Mexican social banditry become incorporated into the social order that bandits rose against and how representations of violence in the U.S. weaponize narratives of trauma in order to justify and expand the violence that cowboys commit. Finally, it explains the usage of universality under the law as a means of criminalizing minorities by reading the stories of Mexican American men who were turned into desperadoes by the criminal law system. Drug Lords, Cowboys, and Desperadoes demonstrates how these stories led to recreated violence and criminalization of minorities, a conversation especially important during this time of recognizing social inequality and social injustices. The book is part of a growing body of scholarship that applies theoretical approaches to borderlands studies, and it will be of interest to students and scholars in American and Mexican history and literature, border studies, literary criticism, cultural criticism, and related fields.
A different kind of range war erupts between cowboys and ranchers in The Day the Cowboys Quit from seven-time Spur Award-winning author Elmer Kelton. The time is 1883, the place is the Texas Panhandle. Cowboys refuse to be stigmatized as drinkers and exploited by the wealthy cattle owners who don't pay liveable wages. Those very same ranchers want to take away the cowboys' right to own cattle because this ownership, the ranchers believe, would lead to thieving. So the dictum is set: If you're a cowboy, you can't own a cow. When rumors of such legislation travel from wagon to wagon, the cowboys decided to rally and fight for their rights--they gather together and strike. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Includes an excerpt from Bad hombres (pages 293-315).
The Western genre has long been associated with right-wing and libertarian politics, and is said to promote individualism and free-market economics. In a new look at the Western, however, Ryan McMaken shows that the Western is in fact often anti-capitalist, and in many ways, the genre attacks the dominant ideology of nineteenth-century America: classical liberalism. The classical Westerns of the mid-twentieth century often feature wealthy capitalist villains who oppress the cowardly and defenseless shopkeepers and farmers of the frontier. The gunfighter, a representative of the law and order provided by the nation-state, intervenes to provide safety and justice. In addition to attacks on capitalism, the Western attacks other prized values of the bourgeois middle classes including Christianity, education and urbanization. McMaken examines these themes as used in the films of John Ford, Anthony Mann, and Howard Hawks. These pioneers of the classical Westerns are then contrasted with later innovators such as Sergio Leone, Sam Peckinpah, and Clint Eastwood. Also included are discussions of the role of the LITTLE HOUSE ON THE PRAIRIE series, Victorian literature, and the nature of crime on the historical frontier. With a foreword by Paul A. Cantor, author of GILLIGAN UNBOUND and THE INVISIBLE HAND IN POPULAR CULTURE.
The wild, true story of the Mutiny, the hotel and club that embodied the decadence of Miami’s cocaine cowboys heyday—and an inspiration for the blockbuster film, Scarface... In the seventies, coke hit Miami with the full force of a hurricane, and no place attracted dealers and dopers like Coconut Grove’s Mutiny at Sailboat Bay. Hollywood royalty, rock stars, and models flocked to the hotel’s club to order bottle after bottle of Dom and to snort lines alongside narcos, hit men, and gunrunners, all while marathon orgies burned upstairs in elaborate fantasy suites. Amid the boatloads of powder and cash reigned the new kings of Miami: three waves of Cuban immigrants vying to dominate the trafficking of one of the most lucrative commodities ever known to man. But as the kilos—and bodies—began to pile up, the Mutiny became target number one for law enforcement. Based on exclusive interviews and never-before-seen documents, Hotel Scarface is a portrait of a city high on excess and greed, an extraordinary work of investigative journalism offering an unprecedented view of the rise and fall of cocaine—and the Mutiny—in Miami.
A new approach to business ethics is quietly taking hold in executive suites and corporate boardrooms across America. Frustrated by an epidemic of misbehavior at all employee levels, management teams are getting back to basics—back to the idea that personal character and individual responsibility are the ultimate keys to integrity, just as they were back in the days of the Open Range. A decade ago, the book Cowboy Ethics first inspired businesspeople to look to the Code of the West. Once they did, they discovered that its simple, common-sense principles can be more effective guides to business leadership than a truckload of corporate mission statements, rules, and ethics manuals. “Cowboys are role models because they live by a code,” says author James P. Owen. “They show us what it means to stand for something, and to strive every day to make your actions line up with your beliefs. And isn’t that as good a definition of integrity as you can find?” In the years since, the book’s “Ten Principles to Live By” have been embraced by scores of companies, universities, and even a state government. This updated Tenth Anniversary hardcover edition traces the evolution of this grassroots business movement in brand-new chapters while preserving the inspirational lessons and stunning photography of the original. It’s ideal for corporate gifts, the new graduate, business students, or any career person who cares about doing the right thing.
With Captain's Rangers and The Day the Cowboys Quit, this omnibus by legendary Western writer Elmer Kelton offers two novels of the American West at one low price Captain’s Rangers In 1875, nearly forty years after the Mexican War, Mexicans and Texans are still spilling blood over ownership of the Nueces Strip—a hot, dry stretch of coastal prairie that bushwackers and horse thieves have turned into a lawless hell. Captain L.H. McNelly, a complex and determined Confederate veteran, is brought into the Nueces Strip for one purpose: to keep the peace. His measures are harsh and controversial, but McNelly wasn’t sent to be popular. In this boiler pot of killing and racial hatred, however, even his methods may not be enough to bring lasting peace. The Day the Cowboys Quit 1833. Canadian River cowboy country is changing as a different breed moves in—big outfits backed by Eastern syndicates and run by power-hungry “managers” who figure to make a profit, even if it means crowding a cowboy too far. Wagon boss Hugh Hitchcock tries to keep the peace between rancher and cowboy. But when the ranchers steal his cattle, lynch his friend, and hire a back shooter to put him in his grave, he joins the fight himself. They may take everything he has, but they cannot touch his pride—or his willingness to fight to the bloody end. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Joyce Aros combines her considerable artistic skill with careful research plus a fair amount of intuition, thus giving us a new and refreshing look at a variety of Cochise County "cowboy" characters associated with stories about the Earps.Heretofore, the "cowboys" have been portrayed as gun-slinging, snaggle-toothed bad guys bent on destruction with no family history, morals, or redeeming qualities.This book gives us a better understanding of the Earp enemies who have been written off as little more than scoundrels and scallywags. Certainly most of these men rode dark trails, but the Earps were not exactly choir boys. Tough times bred tough men.This is another side to the Tombstone story.
The anthology "60 WESTERNS: Cowboy Adventures, Yukon & Oregon Trail Tales, Famous Outlaws, Gold Rush Adventures" encapsulates the essence and ethos of the American frontiers, offering an exploratory journey through the diverse terrains of Western literature. This collection is remarkable not only for the breadth of its geographic and thematic scope but also for the variety of its literary styles, including adventure tales, reflective narratives, and depictions of historical events. The selected works engage deeply with the complexities of frontier life, reflecting on the themes of bravery, exploration, conflict, and the relentless pursuit of freedom and prosperity. Standout pieces within the collection vividly reanimate the rugged landscapes of the American West, making tangible the untamed spirit of its inhabitants and the period's cultural ethos. The contributing authors and editors to this comprehensive collection bring a wealth of perspectives to the evocation of the Western experience. Comprising icons such as Mark Twain, Jack London, and Willa Cather, among others, the anthology intersects with critical historical, cultural, and literary movements spanning the tumultuous Gold Rush era to the mythic storytelling of the Yukon. The magnitude of contributing talents provides a panoramic view of the West, delving into its legends, its hardships, and its enduring allure. Collectively, their works offer profound insights into the transformation of the American landscape and identity. "60 WESTERNS" invites readers to traverse the rich and varied landscapes of Western American literature. Each story, drawn from a unique voice and perspective, weaves together a broader narrative of struggle, survival, and triumph against the backdrop of some of history's most defining moments and locales. This anthology stands as an indispensable resource for students, historians, and literature aficionados alike, fostering a deeper appreciation for the multifaceted tapestry of Western American culture and the narrative potential it holds. Through engaging with this extensive collection, readers are given the unique opportunity to explore the frontiers of human experience, guided by some of the most influential voices of American literature.