[Menage Amour: Erotic Cowboy Menage a Quatre Romance, M/F/M/M, bondage, sex toys, public exhibition] Callie will do anything to save her grandfather's farm. She's even ready to offer her body to one of the wealthy Black brothers in exchange for peace of mind. What she doesn't expect is how much she loves being dominated by the kinky trio. But can she trust the known playboys with her heart? Colton and his brothers can't get enough of the feisty blonde cowgirl with the wicked tongue and killer curves. They love playing their naughty games with Callie but never want the fun to end. Before they can convince her that she belongs to them, they'll have to prove their intentions are honorable. ** A Siren Erotic Romance

Rodeo people call their sport "more a way of life than a way to make a living." Rodeo is, in fact, a rite that not only expresses a way of life but perpetuates it, reaffirming in a ritual contest between man and animal the values of American ranching society. Elizabeth Atwood Lawrence uses an interpretive approach to analyze rodeo as a symbolic pageant that reenacts the "winning of the West" and as a stylized expression of frontier attitudes toward man and nature. Rodeo constestants are the modern counterparts of the rugged and individualistic cowboys, and the ethos they inherited is marked by ambivalence: they admire the wild and the free yet desire to tame and conquer. Based on extensive field work and drawing on comparative materials from other stock-tending societies, Rodeo is a major contribution to an understanding of the role of performance in society, the culturally constructed view of man's place in nature, and the structure and meaning of social relationships and their representations.

First published in 1968, The Eastern Establishment and the Western Experience has become a classic in the field of American studies. G. Edward White traces the origins of “the West of the imagination” to the adolescent experiences of Frederic Remington, Theodore Roosevelt, and Owen Wister—three Easterners from upper-class backgrounds who went West in the 1880s in search of an alternative way of life. Each of the three men came to identify with a somewhat idealized “Wild West” that embodied the virtues of individualism, self-reliance, and rugged masculinity. When they returned East, they popularized this image of the West through art, literature, politics, and even their public personae. Moreover, these Western virtues soon became and have remained American virtues—a patriotic ideal that links Easterners with Westerners. With a multidisciplinary blend of history, biography, sociology, psychology, and literary criticism, The Eastern Establishment and the Western Experience will appeal to a wide audience. The author has written a new preface, offering additional perspectives on the mythology of the West and its effect on the American character.

"Weird Westerns is an exploration of the hybrid genre of the weird western, analyzing movies, TV shows, and comic books such as Django Unchained, The Walking Dead, and Wynonna Earp"--

The American West is often seen from the historical accounts recorded from the beginning of the Civil War to after the Reconstruction Era. Many of the accounts include historians that promote a European/Anglo-Saxon perspective; these accounts have often led readers to stereotypical perspectives concerning minorities. These accounts also give birth to the “white savior” concept in which white men assume the role as savior to lesser races in movies, such as saving the African Americans during slavery or in the case of many White Westerners: being the hero to Native American people. Hollywood’s portrayal of Westerners did not happen by accident, but many historians in the late 19th and early 20th centuries purposely ignored the accounts and contributions of other races. The narrative trope of the white savior is one way the mass communications medium of cinema represents the sociology of race and ethnic relations, by presenting abstract concepts such as morality as characteristics innate, racially and culturally, to white people, not to be found in non-white people. In other words, had Hollywood sought accurate information and represented it in the narratives for shows like The Lone Ranger, the show would have been cast with an African American actor since the role was based solely on the life of black lawman, Bass Reeves. A White Savior film is often based on some supposedly true story. Second, it features a nonwhite group or person who experiences conflict and struggle with others that is particularly dangerous or threatening to their life and livelihood.

This volume offers new critical insights into the increasingly mythological figure of the American cowboy and “The West” in the 21st century while seeking to explain how these components of American identity continue to fit into our shared culture narrative.

History of the relationship between the US Government--and Indians of the US.