The American Rodeo Gallery celebrates the history, people and events of the West’s truly indigenous
sport. Sponsored by Lynn Hickey, the Museum’s unrivaled rodeo holdings inform and entertain the
visiting public in a colorful and dramatic interpretive gallery encompassing 6,500 square feet.
The striking architectural design--evoking a 1950s rodeo arena--joins with audio-visual and
interactive programing to create a unique museum environment imparting a tangible feeling of
real activity and excitement. The American Rodeo Gallery presents nearly 450 rare artifacts
throughout its six thematic areas: The History of Rodeo; Women in Rodeo; Trick Riders, Fancy
Ropers and Clowns; Trophies and Regalia; The Rodeo Historical Society; and The Main Events.
Upon entering the gallery, visitors are drawn to the heroic-size bronze statue of all-around champion
Bill Linderman. The first sculpture in artist Bob Scriver's Rodeo Series, this imposing work captures
the individuality and competitive spirit inherent in the sport's athletes past and present.
Moving to the left of the entrance, the first thematic area encompasses eight exhibit cases that
interpret the history of rodeo from its rustic origins over a century ago to the dynamic spectacle
of today's National Finals. These cases present the artifacts and images typical of various eras and
trends in the development of the sport, and most feature the biographies and memorabilia of personalities
who achieved renown or made notable contributions to rodeo's growth and prominence.
Rodeo was born in the casual roping and riding contests held at roundups in the 1860s and 1870s. Such
"cowboy fun" tested the cowboys' basic skills in saddle bronc riding and steer roping. These informal
tournaments had no arenas, no paying spectators, no entry fees, no rules and no prizes--although wagering
by the cowboy contestants might be quite brisk.
Starting in the 1880s, Wild West shows presented similar cowboy tournaments around the country--and the
world--for more than 30 years. As a result, the American cowboy was transformed into a romantic and daring
figure whose dauntless horsemanship and athletic skill were identified with competitive sport.
Wild West shows opened doors to African American and Hispanic cowboy performers like steer wrestler Bill
Pickett and famed trick and fancy roper Vincente Oropeza. But cowgirls, such as Lucille Mulhall and Bertha
Kaepernik, benefited the most from participation in Wild West shows, which provided them with a natural
stepping stone into the rodeo arena.
By the early 1900s, formal rodeo matches enlivened county fairs and Fourth of July celebrations across the
West. Under the management of independent promoters and producers like Charles Irwin and Tex Austin, rodeo
emerged as a truly competitive spectator sport between 1900 and 1920. Championship venues from Cheyenne to
New York began to draw nationwide attention.
The regulation and organization of rodeo started in the 1930s with the Rodeo Association of America (RAA)
and the Cowboys Turtle Association (CTA). Rodeo contenders and leaders like Everett Bowman and Bill Linderman,
whose memorabilia is featured in this area, were instrumental in guiding the sport toward the prosperity and
professionalism it enjoys today.
To the benefit of both contenders and spectators, rodeo has continued to organize throughout the decades.
Today, the Professional Rodeo Cowboys Association (PRCA) and the Women's Professional Rodeo Association (WPRA)
are largely responsible for the thriving condition of the sport.
In recent decades, rodeo has experienced phenomenal growth in commercial sponsorship, nationwide publicity
and professional participation. Nearly 750 PRCA-sanctioned rodeos are held annually in 46 states and four
Canadian provinces. These attract a well-trained pool of talented athletes and a total audience estimated
at 22 million.
Ranking contestants usually compete in more than 120 rodeos per year for total prize money in excess of 26
million dollars. They strive to qualify for the National Finals Rodeo, the ultimate venue of champions,
which offers an additional three million in prize monies. In recent years, such potential wealth has created
a growing number of "million-dollar" contestants.
Leaving the area treating rodeo history and moving around the outside of the arena, the visitor next
encounters a series of eight exhibits interpreting the achievements, disappointments and ultimate prominence
of women in rodeo sport.
Rodeo cowgirls were among the first women in the United States to achieve recognition as professional,
competitive athletes. Between 1890 and 1915, virtually all grew up on western ranches, and all shared fine
equestrian skills and a willingness to challenge the accepted gender roles of the time. By 1920, women had
achieved a prominent place in rodeo as rough stock riders, trick riders and relay racers.
The 1920s and early 1930s marked a "Golden Age" in women's participation in rodeo. Versatile contestants
like Tad Lucas thrived and prospered in the sport as they could nowhere else. A six-time World Champion
Cowgirl, Tad Lucas won permanent possession of the coveted Metro Goldwyn Mayer Trophy after three consecutive
wins as the All-Around Champion at Madison Square Garden.
Beginning in the 1930s, however, competitive cowgirls declined in number and prominence. Male-dominated
rodeo organizations ignored women as serious participants, opting instead for glamorous but non-athletic
"Ranch Girls." With Gene Autry's monopoly of big-time rodeo in the 1940s, the place of female contestants
In 1948 the Girls Rodeo Association (GRA) was founded to ensure women's future participation in legitimate
rodeo. All-girl rodeos gained prominence in the 1950s and 1960s, but are now less common. Today, under the
auspices of the Women's Professional Rodeo Association (WPRA), female rodeo athletes concentrate on barrel
racing, a timed event with more than two million dollars in annual prize money. Second only to bull riding
in popularity among today's rodeo fans, this contest combines superb horsemanship with all-out speed.
Prominently featured in this area is the memorabilia of the unrivaled barrel racing phenomenon, Charmayne
James. Beginning in 1984, she and her horse, Scamper, dominated the event for a solid decade, capturing 10
consecutive World Champion titles. Along the way, she won six NFR titles and became the first woman in rodeo
to earn more than a million dollars.
Women have been pacesetters in rodeo dress since they entered the sport, and this fashion element is treated
in two exhibits within this area. Influenced by Wild West attire, most early contestants favored shirtwaists
with embroidered vests and divided leather riding skirts adorned with fringe. Enormous, ten-gallon hats and
finely decorated, custom-made boots were standard dress elements, and they would remain in vogue well into
As glamor replaced real competitiveness in the 1940s, however, most rodeo "Ranch Girls" adopted colorful,
western-cut clothing by custom tailors like Nudie and Rodeo Ben. Such well-tailored and eye-catching outfits
became regular arena dress in RCA-sanctioned rodeos during the 1950s. Today, WPRA cowgirls compete in
contemporary western wear, still maintaining their traditional attractiveness--and skill--in the arena.
This gallery area also features biographical presentations devoted to the exploits and artifacts of distaff
rodeo greats Lorena Trickey, Tad Lucas, Florence Randolph and Alice Greenough. Here the visitor finds an
impossible-to-duplicate assemblage of saddles, trophies and personal memorabilia.
Moving along the far side of the sunken rodeo arena, the visitor encounters an area devoted to the
ancillary contests and skills of rodeo. Unfamiliar to many fans today, trick riding and fancy roping were
a popular part of rodeo from 1910 until the early 1930s, when their status changed from contested events
to contract entertainment.
Rodeo programmers adopted trick and fancy riding from the equestrian feats of Cossack performers in Wild
West shows. A popular spectacle, trick riding drew both male and female contestants--sometimes in direct
competition with one another.
These contestants combined daring, acrobatic skill, superb timing, and real showmanship to successfully
perform dangerous maneuvers like crupper somersaults or handstands while moving around the arena on a
Trick and fancy roping originated among the charro riders of Old Mexico, where it was known as floreo de
reata, or "making flowers of rope." Vincente Oropeza introduced stylish roping to the United States in
1894 with Buffalo Bill's Wild West Show, and Will Rogers popularized the skill across the nation during
the early 20th century.
Trick roping involves capturing from one to as many as 10 running horses (and their riders) using various
horizontal or vertical loops. Catches are made by "casting" the loop onto the target and drawing the
slack, or by "setting" the loop and allowing the target to run into it. Catch ropes usually are made
of maguey, a stiff plant fiber that allows control in throwing large loops like the Ocean Wave and the
Fancy roping involves spinning or twirling a loop at different speeds in flat and vertical combinations.
Expert fancy ropers can create a variety of loop shapes, movements and positions using forward and
backward twirling motions--while on foot or on horseback. Spinning ropes are made of soft, braided cotton
for smooth motion in creating intricate patterns like the Spanish Flat, Butterfly, Lift-Over, Roll-Over
Yet another important facet of rodeo sport is found in the performance of rodeo clowns. Good athletes
in their own right, rodeo clowns entered the arena in the early 20th century, becoming an established
part of most programs by 1920. Some came from Wild West shows or circuses, but many were competing
cowboys who made extra money by entertaining during the idle time between events. Early clowns delighted
audiences with spontaneous gags, slap stick routines and well-rehearsed acts that included everything
from trained mules to exploding cars.
With the introduction of aggressive Brahma bulls in the late 1920s, rodeo clowning took on a more
serious function. Because Brahma bulls would attack a downed contestant, bullfighting clowns, who
distracted the animal while the rider scrambled to safety, became a real necessity. These fearless
funnymen risk their lives to save bull riders from serious injury or death in the arena.
Today many clowns continue to enliven rodeo programs with traditional skits and humorous dialogue.
Others specialize around the bull riding event, either as bullfighters or as barrelmen. Bullfighters
bait the animal head-to-head, relying on superb quickness and athletic ability to elude the angry beast.
Barrelmen use a heavy, reinforced "walking" barrel to distract the bull and protect themselves if charged.
In the midst of this interpretive area, visitors may pause on bleachers that overlook the arena. Here
they can enjoy a colorful, eight-minute movie presentation--narrated by county-western singer Reba McEntire
and famed rodeo announcer Clem McSpadden--that traces the history and evokes the character of rodeo from
its beginnings to the present day.
Entering the darkened hallway beneath the arena judges' stand, visitors encounter an area devoted to the
trophies and regalia of rodeo sport. Here can be found some of the rarest and most valuable artifacts in
the Hall's rodeo collections.
Throughout the history of rodeo in the United States, trophy prizes have served as tangible symbols of
excellence to both contestants and spectators. Usually taking the form of engraved belt plates, inscribed
silver loving cups, or finely carved and silver-mounted saddles, the most exquisite of these prizes were
created by expert silversmiths, jewelers and saddlers between 1900 and 1940.
Businesses with special interests in the West, such as the Union Pacific Railroad, the Denver Post
newspaper or Ranch Romances magazine, sponsored many rodeo trophies. Commercial firms with more direct
rodeo associations included the Plymouth Cordage Company (ropes), the Levi Strauss Company (jeans), the
Stetson Hat Company and the famed Hamley Saddlery Company.
Displayed here are examples of these and other preeminent and prestigious prizes, including a Roosevelt
year-trophy, the Jack Dempsey Trophy, McAlpin Hotel trophies, the Doff Aber Memorial Trophy and the
famed Metro Goldwyn Mayer Trophy.
Leaving the trophy hall, patrons encounter a single exhibit case devoted to recent inductees of the
Rodeo Historical Society. Organized under the auspices of the National Cowboy Hall of Fame in 1966,
the society memorializes the great personalities of the sport. Today, almost 500 active members belong
to the Society.
Currently, the Society has inducted some 220 outstanding rodeo personalities--both living and
deceased--into its Rodeo Hall of Fame. Adjacent to this exhibit case are two state-of the-art,
touch-screen computer terminals that allow visitors to review the biographies and selected images of
each of the society's inductees. This prestigious group includes the greatest contenders from 1900
to 1970, as well as notable rodeo promoters, stock contractors, clowns, trick riders and fancy ropers.
In addition to these regular inductees, the Society also recognizes outstanding western women through
the Tad Lucas Memorial Award, and prominent representatives of the western character and spirit through
the Ben Johnson Memorial Award. The latter award is represented in this area by an evocative equestrian
bronze of Ben Johnson by western artist Mehl Lawson.
Having circumambulated the gallery, visitors enter the rodeo arena proper by a ramp that puts them right
in the action. To the left, a rearing saddle bronc breaks from the chute with a determined cowboy aboard.
To the right, a bellowing cross-bred Brahma awaits his chance at a contestant. Overhead and all around,
the voice of rodeo announcer Clem McSpadden calls the action through the roar of the crowd.
The rodeo arena is the ultimate forum for cowboy athletes. Here, they compete in a series of events
combining the skills of the working cowhand with the spectacle of the Wild West show. Saddle bronc
riding, calf roping and steer roping represent historic range practices. Bareback bronc riding, steer
wrestling and bull riding are feats of cowboy daring added to the sport during the 20th century.
Each of these six rodeo events are interpreted within this arena in a kiosk arrangement combining
displays of typical equipment, the memorabilia of an outstanding champion, and an entertaining pop-up
video that provides an overview of the action and little-known facts about the event.
Perhaps the most dangerous and dramatic spectacle in rodeo, bull riding pits determined cowboys
against cantankerous bulls weighing from 1,700 to 2,000 pounds. Because the bulls spin as well as
buck and will attack a downed contestant, this event is considered the ultimate in rough stock
riding. Among rodeo spectators, no event surpasses bull riding in popularity.
Among the greatest bull riders ever, Harry Tompkins captured five bull riding championships, as well
as winning two all-around titles and a single championship in bareback bronc riding in a 13-year
period. Blessed with exceptional balance and coordination, Tompkins was noted for riding with a slack
rope and looking off into the arena crowd while in action.
Evolved directly from the traditional tasks of branding time, calf roping pits the contestant and his
well-trained horse against the clock and a 250 to 350-pound calf. As in other timed roping events
(steer roping and team roping), success hinges on the smoothly coordinated efforts of horse and rider.
One of the greatest calf ropers in the history of rodeo, Dean Oliver combined size, speed and smooth
coordination to become one of rodeo's finest athletes. Oliver captured the calf roping championship
an unprecedented eight times (since equaled by Roy Cooper), and he also won three all-round
championships through skilled bulldogging.
First demonstrated by African-American cowboy Bill Pickett in the early 1900s, steer wrestling is
strictly a rodeo event. Often referred to as "bulldogging," early contestants actually bit the steer's
nose or lip to gain control. Today's arena contestants combine skilled horsemanship, expert timing and
brute strength to bring down a 550 to 650-pound steer from a galloping horse.
Undeniably the finest steer wrestler, or bulldogger, of all time, Homer Pettigrew made getting down on
a hard-running steer look deceptively easy. His strength and superb coordination won him an
unprecedented, and still unequaled, six championship titles in steer wrestling, as well as three
reserve championships, in the years between 1940 and 1950.
A time-honored practice among historic, working cowboys, steer roping requires perfect coordination
between the contestant and his horse. Performing against the clock, the cowboy must pursue, rope and
tie down a big, powerful steer. Often called "jerk down" roping or "fairgrounding," this timed event
is now held at only a few rodeos because of frequent stock injuries.
Among the best and most colorful steer ropers in the sport, Bob Crosby was also an all-around
contender. In 1925, 1927, and again in 1928, he won the combined, all-around titles at both Pendleton
and Cheyenne, thus retiring the coveted Roosevelt Trophy--a feat equal to a three-time, all-around
championship for that era.
The classic contest of rodeos past and present, saddle bronc riding evolved directly from the
traditional horse-breaking tasks of the 19th-century cowboy. More than brute strength, this exciting
judged event demands flamboyant style and superb balance on the part of the cowboy contestant, who
must stay atop a 1,200-pound bucking horse for the bone-jarring, eight-second qualifying time.
Arguably the greatest bronc rider of all time, Casey Tibbs remains the only rodeo contestant ever to
win the saddle bronc and bareback bronc riding championships in the same year (1951).
His skill brought him an unequaled six saddle bronc titles, as well as two all-around championships,
in 11 years.
Like the steer wrestling event, bareback bronc riding developed strictly as a contest within the
sport of rodeo. Never practiced by working cowboys, it has been a standard event at sanctioned-rodeos
only since the mid-1950s. A rough stock contest, bareback bronc riding combines exceptional strength,
balance and coordination with dramatic action.
Perhaps the finest rough stock contestant ever to compete in rodeo, Jim Shoulders dominated rodeo
throughout the 1950s, capturing an unequaled 16 championship titles, four of which were won in bareback
bronc riding. His strength, coolness and flamboyant spurring style also won him five all-around cowboy
Rodeo personifies the colorful drama, rugged individualism and competitive spirit of the 19th-century
American West. Yet the sport is more than mere historical spectacle. It embodies the heritage of
thousands of men and women whose skill and perseverance has been matched through the years by a
growing dedication and professionalism. Many of their stories--and the tangible legacies of their
vibrant sport--are here in the new American Rodeo Gallery.
Text by Richard Rattenbury, Curator of History
Lambert Brother's Jewelers, 1920
Awarded by the McAlpin Hotel at the Cheyenne Frontier Days Rodeo, this prestigious women's trophy came with
an all-expense-paid trip to New York City. The relief-cast bronze plaque, finished in gold and enamel, was
captured by Lorena Trickey, winner of the "Worlds Championship Cowgirls Relay Race."
The Metro Goldwyn Mayer Trophy
Lambert Brother's Jewelers, 1927
The most prestigious and valuable trophy made for female rodeo contenders, this extravagant silver piece
was commissioned by the Metro Goldwyn Mayer Studio in 1927 at a cost of $10,000. Honoring "Champion Cowgirls"
at the Madison Square Garden World Series Rodeo, the coveted trophy was won by Florence Randolph in 1927.
Tad Lucas became the permanent holder of the MGM trophy after three consecutive championship victories in
1928, 1929 and 1930.
The Permanent Roosevelt Trophy
Lambert Brother's Jewelers, 1928
Sponsored by New York City's Roosevelt Hotel in honor of "Cowboy President" Theodore Roosevelt, this rare
and coveted trophy was permanently retired by Bob Crosby after he captured three "World's Champion Cowboy"
titles at both Cheyenne and Pendleton in 1925, 1927 and 1928--a rodeo record equivalent to three all-around
championships in that era. Previous winners were Yakima Canutt in 1923, Paddy Ryan in 1924, and Norman Cowan
Bronc Riding Saddle
Hamley Saddlery Co., 1933
Developed in 1919 by the Pendleton, Cheyenne, Walla Walla and Boise rodeo committees (in consultation with
Hamley Saddlery), "Committee" or "Association" saddles became standard equipment in the bronc riding event.
Built on the old Ellensburg tree, the saddle was made without a roping horn and incorporated a somewhat
undercut, swell-fork pommel and a slightly dished, five-inch cantle. This specimen belonged to bronc rider
Trophy Belt Plate
R. Schaezlem Silversmiths, 1931
This gold-overlaid, silver belt plate were awarded by the Rodeo Association of America to bull rider Johnie
Schneider, the "World's Champion Cowboy" in 1931. Representing rodeo producers, the RAA declared the annual,
event and world champions from its founding in 1929 until 1954. In 1946, the organization became the
International Rodeo Association.
Trophy Belt Plate
Schaezlein Silversmiths, 1957
Engraved and gold-overlaid, this large silver belt plate was awarded by the Rodeo Cowboys Association to
three-time "World's Grand Champion Cowboy" Jim Shoulders. Organized in 1945 as the successor of the Cowboy
Turtle Association, the RCA represented rodeo contestants and declared annual, event and world champions
beginning in 1945. In 1975, the RCA became the Professional Rodeo Cowboys Association, the organization
which today dominates rodeo administration.
Bohlin Saddlery, circa 1925
Custom-made by Hollywood's "Saddler to the Stars," Edward H. Bohlin, this extravagant example reflects Tex
Austin's showmanship as rodeo promoter and manager. The piece has a nicely floral-tooled seat, while the
fenders, skirts and sweat leathers are finished in exotic lizard skin. These elements, and the horn, pommel,
cantle, and stirrups, are trimmed in silver with gold overlays.
Ladies' Bronc Riding Saddle
O. J. Snyder Saddlery, circa 1925
Designed especially for female bronc riders, this saddle incorporates a short, deep-dish seat with high
cantle and wide-swell fork for stability. The piece has large ring stirrups to avoid entanglements and
secures with single, center-fire rigging. This saddle belonged to champion bronc rider Bonnie McCarroll,
who was fatally injured in an arena accident at the Pendleton Roundup in 1929.
Fanny Sperry Steele
Buckeye Blake, 1982
Sculpted by well-known western artist Buckeye Blake, this bronze evokes the athletic grace and inherent
dignity of Fanny Sperry Steele, one of the early heroines of women's rodeo. Among the sport's most dedicated
competitors, she excelled in relay racing and bronc riding for two decades, capturing two consecutive bronc
riding championships in 1912 and 1913 at the Calgary and Winnipeg Stampedes.
Western Boots and Spurs
Maker Unknown, circa 1945
Crockett Bit & Spur Co., circa 1945
86.11.11 A&B and 86.11.12 A&B
Custom-made for Sam Garrett during his years as a western performer in California, these boots have calfskin
vamps with wing-tipped toes and heels, and colorful butterfly and floral motifs inlaid on the uppers. The
spurs are overlaid with hand-engraved silver carrying Sam Garrett's initials. The accompanying leathers,
from N. Porter Saddlery, are floral-tooled and feature engraved button covers and buckles of silver.
Trick Riding Saddle
N. Porter Saddlery, circa 1925
This special saddle, with its extended horn, auxiliary straps and crupper handholds, was used extensively
by the great trick rider Leonard Stroud. The back of the cantle is stamped: "Porter Trick Saddle / Designed
Especially For Leonard Stroud," and his name appears along the edge of the stirrup leathers. The carpeted
pad beneath the saddle also carries Stroud's initials.
Western Boots and Bronc Riding Spurs
Hyer Boot Co., 1928
McChesney Bit & Spur Co., circa 1925
R.238.7 A&B and R.238.6 A&B
Custom-made for rodeo champion Tad Lucas, these diminutive cowgirl riding boots incorporate floral-inlaid
uppers and tan, kangaroo vamps over high, underslung heels. The silver-mounted spurs have drop shanks with
chap guards and 12-point rowels, and auxiliary heel straps for greater stability and security in the arena.
Western Boots and Spurs
Hyer Boot Co., circa 1925
Crockett Bit & Spur Co., circa 1922
R.237.21 A&B and R.237.22 A&B
Featuring 15 rows of ornamental stitching on the uppers, these dainty cowgirl boots were custom-made for
famous saddle bronc and trick rider Florence Hughes Randolph. Overlaid with her initials, the spurs were
worn in ladies' bronc riding events. They feature nine-point rowels, drop shanks with chap guards, and
Hamley Saddlery Co., 1923
Sponsored by the Al Cadre Temple Shrine, this handsome trophy saddle was awarded to "First Prize, Girl's Relay
Race" winner Lorena Trickey at the Pendleton Round-Up in 1923. The saddle is embellished with floral carving
and eight engraved silver corner ornaments. This was the last ladies' trophy saddle awarded at Pendleton;
after 1923 the women's events became non-competitive exhibitions.
The following materials are available for review in the Research Center.
GV1834.A55 1998 Allen, Michael. Rodeo Cowboys in the North American Imagination. Reno: University of Nevada Press, .
GV1834.A58 1996 Alter, Judy. Rodeos: The Greatest Show on Dirt. New York: Franklin Watts, .
VC00037 Amundsen, Michael and Allen, Rex. "Take Willy With Ya": The Riding Greenoughs and the Golden Age of Rodeo. Videorecording, Los Angeles: Michael Amundsen, .
GV1834.C55 1952 Clancy, Fog Horn. My Fifty Years in Rodeo: Living with Cowboys, Horses and Danger. San Antonio: Naylor Company Publishers, .
F694.C66 1937 Collings, Ellsworth and England, Alma. 101 Ranch. Norman: University of Oklahoma Press, .
GV1834.E53 1979 Englander, Joe. They Ride the Rodeo: The Men and Women of the American Amateur Rodeo Circuit. New York: Collier Books, .
F596 .F568 1999 Flood, Elizabeth Clair and Manns, William. Cowgirls: Women of the Wild West. Santa Fe: Zon International Pub., .
GV1834.55.W47F74 1985 Fredriksson, Kristine. American Rodeo: From Buffalo Bill to Big Business. College Station: Texas A & M Univ. Press, .
GV1833.6.P5H38 Hanes, Bailey C. Bill Pickett, Bulldogger: The Biography of a Black Cowboy. Norman: University of Oklahoma Press, .
GV1834.H4 Helfrich, DeVere. Rodeo Pictures. Colorado Springs, CO: Western Horseman, .
GV1834.5.J67 1994 Jordan, Bob. Rodeo History and Legends. Montrose: Rodeo Stuff, .
GV1834.L3 Lamb, Gene. Rodeo: Back of the Chutes. Denver: Multi-list, Inc., .
GV1834.5.L38 1982 Lawrence, Elizabeth Atwood. Rodeo, an Anthropologist Looks at the Wild and the Tame. Knoxville: University of Tennessee Press, .
GV1834.55.W47L43 1993 LeCompte, Mary Lou. Cowgirls of the Rodeo: Pioneer Professional Athletes. Urbana: University of Illinois Press, .
GV1834.5.L66 1974 Long, Al. Rodeo Action Photos: Today's Rodeo Cowboys. Stephenville: Rodeo Sports News, .
GV1834.M32 McGinnis, Vera. Rodeo Road: My Life as a Pioneer Cowgirl. New York: Hastings House Publishers, .
VC00109 Merrill, Kieth. The Great American Cowboy: A Rainbow Adventure Film. Video-recording, Walt Disney Productions, .
GV1833.5.M68 1992 Moulton, Candy Vyvey and Moulton, Flossie. Steamboat, Legendary Bucking Horse: His Life & Times, and the Cowboys Who Tried to Tame Him. Glendo: High Plains Press, .
GV1834.N67 1993 Norbury, Rosamond. Behind the Chutes. Missoula: Mountain Press Publishing Company, .
GV1833.5.P67 1982 Porter, Willard H. Who's Who in Rodeo. Oklahoma City: National Cowboy Hall of Fame, .
GV1834.F56 Professional Rodeo Cowboys Association. Finals: A Complete History of the National Finals Rodeo. Colorado Springs: Professional Rodeo Cowboys Association, .
GV1833.R43 1999 Reddin, Paul. Wild West Shows. Urbana: University of Illinois Press, .
GV1834.R6 Robertson, Mary S. Rodeo: Standard Guide to the Cowboy Sport. Berkeley: Howell-North, .
GV1833.R87 Russell, Don. The Wild West: or, a History of the Wild West Shows, being an accounting of the prestigious, peregrinatory pageants pretentiously presented before the citizens of the Republic, the crowned heads of Europe, and multitudes of we-struck men, women, and children around the globe, which created a wonderfully imaginative and unrealistic image of the American West. Fort Worth: Amon Carter Museum of Western Art, .
F596.S234 1996 Savage, Candace Sherk. Cowgirls. Berkeley: Ten Speed Press, .
GV1834.5.S47 1994 Serpa, Louise L. and McMurtry, Larry. Rodeo: No Guts No Glory. New York: Aperture, .
GV1833.6.M85S73 1985 Stansbury, Kathryn B. Lucille Mulhall: Her Family, Her Life, Her Times. K. B. Stansbury, .
GV1834.5.T95 1977 Tyler, Ronnie C. The Rodeo of John Addison Stryker. Austin: Encino Press, .
F704.A15W34 1999 Wallis, Michael. The Real Wild West: The 101 Ranch and the Creation of the American West. New York: St. Martin's Press, .
GV1833.5.W45 1997 FOLIO Weiland, Victoria Carlyle. 100 Years of Rodeo Stock Contracting. 1st ed. Reno: Professional Rodeo Stock Contractors Association, .
GV1834.5.W47 1948 Westermeier, Clifford P. Man, Beast, Dust: The Story of Rodeo. Lincoln: University of Nebraska Press, .
VC01982 Wildbill, Cedric and Wildbill, Tania. American Cowboys. Video-recording, Wildbill Productions, .
GV1834.5.W64 1993 Woerner, Gail Hughbanks. Fearless Funnymen: The History of the Rodeo Clown. 1st ed. Austin: Eakin Press, .
GV1834.5.W636 1998 Woerner, Gail Hughbanks. A Belly Full of Bedsprings: The History of Bronc Riding. Austin: Eakin Press, .
GV1834.5.W66 1996 Wooden, Wayne S. and Ehringer, Gavin. Rodeo in America: Wranglers, Roughstock, & Paydirt. Lawrence, KS: University Press of Kansas, .objects.