The Western Cowboy and Arabians in the Rockies
Author: Unknown
Date: 2020-03-14T00:00:00+00:00
Keywords: Arabian horse; Cowboys -- West (U.S.); Lazy VV Ranch (Colo.)

The Project Gutenberg eBook of The Western Cowboy and Arabians in the Rockies

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Western Cowboy and Arabians in the Rockies

Creator: Trinidad Bean & Elevator Company

Release date: March 14, 2020 [eBook #61611]
Most recently updated: October 17, 2024

Language: English

Other information and formats: www.gutenberg.org/ebooks/61611

Credits: Produced by Stephen Hutcheson and the Online Distributed
Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE WESTERN COWBOY AND ARABIANS IN THE ROCKIES ***

The WESTERN COWBOY
and
ARABIANS IN THE ROCKIES

PRICE $1.00
Copyright 1948, Trinidad Bean & Elevator Co.
Denver, Colorado

The WESTERN COWBOY

Call him bronco buster, cowpuncher, cattleman, or just plain ranch hand ... the western cowboy to those who know him best, has always been “just a plain, everyday upstandin’ man!” He is courageous and fearless ... loyal to his outfit and to his friends, and does his best to live up to the code of his colorful calling.

An oldtimer might tell you that the cowboy’s code calls for “courage and loyalty, uncomplaining cheerfulness, laughter at danger and hardships, lack of curiosity regarding another’s past, and respect for womanhood.”

The cowboy may change with the times, but so long as the West raises cattle he’ll be with us ... riding the range, testing his skill at the rodeo ... “doin’ his job” as he upholds the proud traditions of the West and one of its greatest industries ... the cattle business.

1

ON THE MOVE

The cowboy and the horse he rides are the result of a way of life. The man and the animal have developed together, adapting themselves to a type of life and work unfamiliar to millions of our present generation.

The dime-novel, two-gun characters of fiction, the movies built around these stories, and the occasional rodeo performance, are the basis for the average person’s impressions about the Western cowboy. Overlooked are the real life and the important daily tasks of these men on horseback who provide the meat for the nation’s tables.

The cowboy knows no hours. From sunup to sundown, in blizzard, rain and sunshine, he watches and cares for his herd.

The pioneers who built the cattle business into a tremendous industry used the saddle for making history. The modern cowboy following in their path is still using a saddle for a throne from which he upholds a tradition ... and never will he forsake that saddle for a jalopy to help him over the rough places.

2

ON GUARD

Probably no other American spends a greater part of his time outdoors than the Western cowboy. Certainly no other form of activity is so dependent upon the whims of Nature and animals. A calf may stray among jagged rocks, and a horse break a leg in recovering him. Rider and horse are always flirting with danger! Sickness in a herd or among the horses calls for expert knowledge and kindness. Broken fences, storms, mountain lions and the elements themselves present problems which to many of us would seem insurmountable. Gopher holes lurk in hidden places to throw both horse and rider; turbulent streams with their slippery boulders must be forded; high ledges and snowy precipices must be traversed under varying conditions.

Yes, it’s a rugged life and one which calls for strong men with clear eyes and steady hands. Under these men must be sturdy, sure-footed horses.

This combination of man and horse has contributed greatly to the romantic history of America; and, even today, typifies a way of life unlike any other.

3

It’s no wonder that this Western life has developed a strange and flavorful language of its own ... distinctly different from that used in other walks of life. It’s natural, too, that special clothing should be worn. Above all, it is essential that the cowboy’s greatest asset, the horse, should be specially bred and trained.

There are many of the words of the trail and cow camp in these pages. You’ll become familiar with the type of clothing worn by the Western cowboy. Most of all, you’ll see and learn about the magnificent horses that he rides. At work, at play and in the show ring ... the horse is dominant!

HIGH PLACE

4

“A RANCH IS NO BETTER THAN ITS HORSES”

FRIEND AND SERVANT

A good cow horse must possess strength and intelligence, and be well trained to use both. He has a natural instinct for sensing direction and detecting danger, both by day and by night. He is game and brave and will drop dead in the performance of his work, if need be. He is well adapted to his place ... tough and inured to the hardships of his life. His lightness of foot and quickness of motion fit him better for this work than any other type of horse.

He must have good feet, good limbs, a strong heart and strong lungs to meet the demands of his work. The cow horse soon learns to know his rider as they work together, and his good sense is his outstanding characteristic.

5

CLOTHES ARE WORN FOR A PURPOSE

THE COWBOY’S CLOTHES

A generation ago the East knew the cowboy as a bloody demon of disaster, reckless and rowdy, weighted down with “six guns,” wearing a ten-gallon hat, bright silk shirt, woolly chaps and clanking spurs. Today, except for his hat, high-heeled boots and spurs, you’ll find few cowboys in complete regalia except on show days at the rodeo.

Nowadays, the cowboy wears each garment “a-purpose.” For example:

CHAPS | are worn primarily to protect his legs from high brush, cold wind and rain.

SPURS

are not worn for ornament, neither are they worn to punish; the cowboy uses them as “reminders” to help him control his horse and urge it to quick action.

STETSON

the wide-brimmed, high-crowned hat is an earmark of the West, has “six times a dozen” everyday uses. It serves as shade, protection from the elements, a drinking cup for horse and rider, and when waved it’s extremely handy to turn stock.

BOOTS

high-heeled boots are a mark of distinction, the sign of a riding man. The high heels keep his feet from slipping through the stirrups. The heels also serve as an aid on the ground, allowing the cowboy to dig in when he is throwing his rope or holding stock.

GUNS

the cowboy “totes a gun” only for protection against Nature’s hazards to his work. The days of the “two-gun man” and the “quick-draw artist” have been relegated to the realm of the Wild West story and movie.

A cowboy’s working clothes usually consist of sturdy Levis, high-heeled boots, “Stetson” hat, heavy shirt, and chaps when needed.

6

CALF ROPING

A COWBOY’S WORK IS ALSO HIS FUN

The rodeo is purely and exclusively a cowboy’s sport. In fact, it is a popular sport which originated in America. At first it was simply a demonstration of the cowboy’s skill, usually performed before other cowboys. Contesting naturally followed and, of course, such thrilling exhibitions of skill and courage soon attracted more and more spectators. Today, rodeos are national and international events. Experts in bronc riding, calf roping, steer wrestling and bull riding often pocket prize money amounting to as much as $35,000 in a year.

Now, regularly scheduled events, staged by popular demand, rodeos are attracting larger and larger crowds. Be they big or small, a thrilling performance is assured the spectators.

7

Bronc riding is one of the most exciting of rodeo events and is always popular with the cowboy himself. A man who follows the hazardous trade of horse-breaking as a steady business has to be good. He must have courage, experience and unusual ability; a good one is hard to find. The best cow hands can ride the “snuffy” ones, but won’t.

Good bronc riders stay with their horses. When they feel themselves going they do not throw away the reins, start relaxing and look for a soft spot to land. With skill, muscle and grim determination they will wage a desperate battle to stay aboard.

A “RARE” OCCASION

More and more cow horses are being broken to ride by patience and gentleness. Today’s horse is rarely a wild mustang caught on the prairie and broken by a “buster.” Usually he is of special breeding, intended to develop him for his particular type of work.

The bucking horse, seen in rodeos, is trained to buck; many of them such as “Midnight” and “Five Minutes To Midnight” have become world-famous for their skill at throwing riders.

Usually bucking horses or “broncs” are part of a “string” provided for rodeo use. Many of these “wild” horses live to a ripe old age and have many peaceful years grazing in lush pastures long after their bucking days are over.

8

“TWISTIN’ HIM DOWN”

BULL DOGGING

This breathtaking feat consists of a dive from a horse at full gallop to the horns of a full-grown steer and throwing the animal by hand. One of the most dangerous stunts in the rodeo business, it also requires extraordinary strength and agility on the part of the cowboy. The bull dogger must stop the animal and “twist him down” so that all four feet are off the ground on the side in which the head is pointed. The record time for this event is three and two-fifths seconds.

Bull dogging is purely an exhibition trick, but it has developed into a regular rodeo event, with many outstanding bull doggers contesting for the large prize money offered for it.

9

A “ROLLIN’” HORSE

BAREBACK BRONC RIDING

Actually, this is less dangerous than riding a bronc with a saddle, but more difficult to stay aboard.

Balance is all-important, since the cowboy is without benefit of stirrups or saddle and must depend upon his knees for controlling his position on the horse. One hand holds the halter and the other must swing free, never touching the horse.

Even the good bareback riders are often thrown, but the fall as a rule is “clean” and results only in the cowboy being thoroughly jarred.

10

BIG BRAHMA AND COWBOY PART COMPANY

BULL RIDING

This is an extreme test of balance and courage. Bull riders are usually “top hands” and represent the cream of fancy riders. Brahma bulls are ridden with only “bull rigging,” which consists of two ropes, one around the flank and one serving as a cinch with a bell to irritate and infuriate the animal. They are always unpredictable and hard to ride.

The Brahma bull’s skin is very loose, like that of a dog, and the rider must stay on by sheer balance. Oftentimes the bulls become mean and dangerous unless distracted by a man in the arena. A so-called “clown,” actually an expert at distracting the bulls, is a part of the rodeo performance, and it is he who prevents the animals from turning on thrown cowboys.

Adding to the excitement at these events is the fact that Brahmas can and do quite often leap an eight-foot fence.

11

MORE TRANQUIL MOMENTS

Not all of a cowboy’s life is rough, back-breaking work or exhibitions. There are long hours of pleasant sunshine and companionship with friends, including his “best friend,” his horse.

Moving the cattle to new pastures often brings long, leisurely rides beneath brilliant sunshine, over sage-scented prairie or along verdant trails amid the world’s most beautiful scenery. Large ranches now operate with plenty of help and many modern conveniences. Good food is essential to a cowboy’s health and happiness, and the wise rancher provides plenty of it. Comradeship and loyalty are predominant characteristics of ranch life, and few real cowboys would exchange it for any other way of life.

“THE PAUSE THAT REFRESHES”

12

“BEAUTY AND PRIDE”

ALWAYS ... THE HORSE

The very existence of the cowboy revolves around his horse. Proudly he poses on him, for to be pictured without him would make the cowboy feel “naked.”

Ranch conversation is mostly of horses; horses do the work, provide the transportation and the amusement; horses cause many of the trials and sorrows. Thus the breeding of these intelligent animals is an ever-interesting, never-ending process.

Most popular among stockmen and cowboys today is the “quarter horse”; however, there is an increasing demand for horses of part Arabian blood which are the result of the breeding of purebred Arabian horses to the native stock. With only around 3500 living Arabs today, it is a lucky cowboy who gets to own or ride one. The Arabian blood brings to the cattle pony the spirit, the sturdiness, the courage and, above all, the great intelligence of the Arab, combined with the “stockiness” of the range animal ... priceless ingredients in the making of a fine cow horse. You’ll be particularly interested in the world-famous TRINIDAD ranch where these gentle Arabians are bred pure.

13

THE ARABIAN

ZARIFE

From the hot desert sands of Arabia, the purebred Arab horse has brought us all of his beauty, affection, strength and glory. For over 4,000 years the Arab steed served the desert Bedouins in peace and war, ofttimes meaning the difference between life and death for his master. He lived in the tent of his owner, as a member of the family. In his noble heart this developed an affection unsurpassed.

Pasture land and water are very scarce in the desert country, but the Arab horse does not require the food and water of an ordinary horse—because of his small stomach. This was invaluable to the Bedouin, who then could travel for days on a fiery charger without sighting pasture or a water hole. Thus, the Arab has become known to us as “Drinker of the Wind.”

Although from this courageous lineage have descended all light breeds of horses known to the world today—the Thoroughbred, Standard Bred, 14 American Saddle Horse, Morgan, and so on down the line ... still we cannot tell you the origin of the purebred Arab. That belongs to the dim and distant past. God gave him to us and is preserving this precious blood through the generous hearts of a handful of large breeders, mostly located in the United States.

Why the United States? Because, with the advent of the automobile in Arabia, the Bedouins learned they could travel faster and farther in “war cars” than by Arabian horses; so they discontinued the use of horses in warfare. This resulted in diminishing the breeding of pure Arabians in the desert. Then, during World War II, many of the large European Studs, which had been established from desert horses, were completely demolished.

To give you a word picture of the purebred Arab, the United States Department of Agriculture, in its bulletin, “Breeds of Light Horses,” has this to say:

“A typical Arabian horse has a wedge-shaped head; small nose; dish face; wide, deep jaws; eyes set low, wide apart, and near the middle of the head; a relatively large brain capacity; one less lumbar vertebra than most other horses, giving a short weight-carrying back; one or two less vertebrae in the tail, which is set up on a high croup and gaily carried; ribs spring wide and deep; large knee, hock, tendon and hoof; dense bone; small stomach capacity, with small feed requirements and the ability to assimilate rough feed; and a marked prepotency in the Stud.

“Generally the Arabian horse in action shows only the walk, trot, and canter. The usual height is from 14 to 15.1 hands, and the weight from 850 to 1,100 pounds. Bay, gray and chestnut are the predominating colors, with an occasional white or black. White marks on the head and legs are common, but purebred Arabians are never piebald or spotted, notwithstanding an erroneous impression created by circus horses that are commonly called Arabians.”

15

BLYTHE SPIRIT

The love for the purebred Arab horse is so great that there are hundreds of Arab owners, but only a few large breeders. Among these few large breeders is The Van Vleet Arabian Stud, owned and operated by The Trinidad Bean & Elevator Company. Started by L.W. Van Vleet, President of the company, it is located on The Lazy VV Ranch near Nederland, Colorado. This ranch is now the mountain home of over 90 purebred Arabians.

The Lazy VV Ranch lies at an altitude of 8,500 to 13,000 feet, in the heart of the Colorado Rockies. This Arabian Stud was started with a foundation herd of about 30 head. Today it is the largest stud in our country, excepting the Remount Depot at Pomona, California, owned by the government. Trinidad, alone, has probably done as much toward proving the merits of the Arabian as anyone else in this country.

One of the main purposes of this venture was to prove that the Arabian horse could adjust himself to any climate and adapt himself to any use, without injurious effects. So, to the Continental Divide, from the hot sands of Arabia, the Arab horse has ascended.

16

Living and working at that high altitude, the Arab is developing greater wind and lung capacity, harder muscle, denser bone. Plenty of pure mountain water and native hay are his sustenance. In return, he gives much! Mares and colts receive no unusual care; are often exposed to freezing temperatures and trying conditions which require remarkable stamina.

Many Arab stallions can do twice the work of native stock horses ... with no signs of fatigue, poor legs, or other bad conditions which will develop in cold-blooded horses. The Arab is less susceptible to equine diseases than other breeds, and requires nothing in the way of pampering.

To know an Arab is to love him ... to love him is to want him. He is a rare and priceless possession.

JUST A LITTLE FELLOW

17

With ears alert for the slightest sound, ZARIFE—head stallion of Trinidad’s Arabs—depicts everything to be desired in a purebred horse. At his ripe age, he still participates in the long cattle drives of The Lazy VV Ranch and holds a major position in the Stud’s extensive breeding program.

Unlike his desert ancestors, he is never left at home base when there is active work to be done. Bedouins’ stallions were used for breeding but not in warfare. A stallion, being much noisier than a mare, would be apt to disclose the approach to an enemy tribe.

A list of ZARIFE’S colts is as long as your arm. He is represented by his colts in all parts of the United States today. The insatiable demand for his blood continues.

Although ZARIFE’S coat is now white, his skin (like that of all purebred Arabs) is coal black.

MONARCH OF ALL HE SURVEYS
ZARIFE—A.H.C. No. 885
(Bred by Prince Mohamed Aly of Cairo, Egypt, and imported to U.S.A. in 1932 at the age of 4 years.)

18

PROUD WORKER
RIFAGE—A.H.C. No. 1286
Foaled October 28, 1936

Nearing the end of a two-day cattle drive, RIFAGE shows no signs of fatigue. When his sharp ears have assured him no calves are lagging, he will proceed on the drive. A wayward cow or calf may take him off into the brush, up a rocky hillside or down to a boggy stream, but he will get the job done and love doing it.

A son of International Champions, RIFAGE takes up the challenge of every large-sized man who questions the little stallion’s ability to carry him. Though only a little over 14 hands high and weighing less than 900 pounds, RIFAGE has easily carried a third of his weight for long hours. He returns to the Ranch with a dry coat, dancing and prancing; still ready to go. As much cannot be said about his rider!

RIFAGE, one of Trinidad’s principal stallions, has fathered many fine colts. His colts are as large or larger than those of other stallions on The Lazy VV Ranch.

Even during the heaviest of the breeding season, RIFAGE is doing his share of the necessary work with the cattle. He is really a splendid cow horse and a favorite of many of the cowboys.

19

HOMEWARD BOUND ZARIFE at far left KABAR at far right

Approaching the entrance gate of The Lazy VV Ranch, the two-day cattle drive will soon be over. When cows and calves have had an opportunity to “mother up” and get several days’ rest, the Arabs will escort them to the mountain range; there they will pasture for the next few months.

During each week, the stallions you have seen on the foregoing pages make regular trips to the Continental Divide to check cattle and their feed. These trips take many hours each day. Perhaps a pastern will be cut on the edge of some sharp rock; or a shoe may be lost; but these sturdy, spirited horses will not be stopped or hindered. Their masters have a job to do; and, as in the days of Arabian warfare, the master’s most effective ally is his horse.

The satisfaction any man enjoys from the use and ownership of a fine horse is doubly enhanced when the animal is an Arabian. Its dependability, gentleness and loyalty to him are unsurpassed.

20

Like that of his brothers, KABAR’S work is perfection.

Branding half over, there is a pause for refreshment! Horses are fed and watered. All participants at the branding are served some of the Ranch’s delicious, piping hot Baked Pinto Beans, with pork chops.

ANTICIPATION

AROUND THE BEAN POT

Yum! Yum! Trinidad Ranch Beans sure taste good. Easy to prepare, delicious and nourishing ... they “hit the spot” and “stick to the ribs,” as any cowboy will agree.

21

“UP MOUNT BALDY”
ZARIFE RIFAGE
GAZYL A.H.C. No. 2820 Foaled April 26, 1944

GAZYL has not been mentioned heretofore; but, like his sire ZARIFE, he is making a good name for himself. Being of light chestnut color, with flaxen mane and tail, he is being used primarily for breeding chestnut-colored mares. This is the only true law of color breeding—a chestnut bred to a chestnut will produce a chestnut colt.

Having driven The Lazy VV cattle to the lower part of the summer mountain range, these stallions carry their masters to an altitude of 12,500 feet, to check the grazing land and to determine how long the cattle should be kept in the lower mountain country. This will depend on the condition of the grass.

This mountainside is steeper than it appears. Study the taut muscles in the hind quarters. This is the work which builds better bone and muscle and develops greater lung capacity in Trinidad’s Arabs.

When shipped to low altitudes, mountain-bred Arabs frequently can outdo the native horses.

22

“SHEPHERDING HER BACK”
KAHAR, A.H.C. No. 1159
Foaled April 21, 1935

As does every other stallion in Trinidad’s band of Arabs, this beautiful bay works hard at rounding up the cattle of The Lazy VV Ranch and dragging in his share of the calves to be branded.

One day, while gathering the cattle for the branding of the calves, KAHAR was trailing a wayward cow in a belly-deep, ice-cold mountain stream. His leg was caught underneath the water by a straggly willow growth. Too anxious to stay with his chosen bovine victim, KAHAR lost his footing in that willow growth. His rider landed in the stream and KAHAR was carried fifty feet away in the swift water before he gained his footing and climbed up the muddy bank, shivering. Did he run away from his rider? No, he walked slowly back to the spot where he entered the stream and waited for his water-soaked rider to mount again and take up the chase.

KAHAR’S beauty is readily detected in the colts he sires. For the most part, those colts are out of daughters of RIFAGE, which are grand-daughters of ZARIFE.

23

Because of the scarcity of water in Arabia, the Arab horse who spoiled it was punished, of necessity. This respect for water has been so deeply bred into the Arab that it takes a bit of training to change him.

Though small rations of water were the fate of desert Arabs, on The Lazy VV Ranch a horse can bathe in it—as shown by KABAR, who unhesitatingly trails a cow and two calves through a belly-deep stream.

KABAR is typical of the horse desired by ranchers and stockmen. He is what is known as the “strong type” Arab. The other two types are the “beautiful” and the “racing.” ZARIFE, RIFAGE and KAHAR belong in the “beautiful” classification. The only “racing” type stallion raised on The Lazy VV Ranch was BAREK, who is making his home with the Mexican Government in Mexico City.

Most of the stud colts sired by KABAR have been sold to individual ranchers, who are using them to produce better stock horses.

“WHERE YOU GO ... WE GO”
KABAR—A.H.C. No. 748
Foaled April 19, 1930

24

MAMAS AND THEIR BABIES

The life of an Arab mare on The Lazy VV Ranch differs greatly from her desert sisters’ existence. In the desert, a mare carried her master in tribal warfare, while the stallions stayed at home.

Any mare without a colt at her side is assigned the task of taking Lazy VV Ranch riders over the high, rocky mountain trails. Brood mares are left in the lush pastures to frolic and play with their colts. However, not even the brood mares are coddled; they live and graze in the rugged outdoors, year-round. Lazy VV Arabs must learn to care for themselves.

At the age of one year, these Arabs are halter broken; at two, they are trained on the longe line, and some are driven; at three, they are trained under saddle. Mares of sufficient size are bred at the age of three, and every year thereafter.

25

A TYPICAL LAZY VV ARAB MARE AND HER FILLY COLT

Since Bedouins rode their brood mares in warfare right up to foaling date, this little stud colt, if born during such a raid, would have been destroyed immediately. Happily, at The Lazy VV, he receives gentle care.

26

From a far end of one Lazy VV pasture, this little girl brought some yearling fillies by calling and rattling the feed bucket. They are determined to feed, but she can’t let them know they were fooled.

FRIENDLY TWO-YEAR-OLD FILLIES CRAVE COMPANIONSHIP

27

From the day it is born, a Lazy VV Arab knows nothing but love and affection. The horse trainers have often said it is a “snap” to halter-break a yearling Arab, because he is so used to arms encircling his neck.

Everyone is encouraged to play with and become acquainted with the Arabs. Such treatment brings out the innate affection of this breed.

AFFECTIONATE FRIEND

Curious, too! Realizing the friendship of man, they will investigate anything new and can make a job hard to accomplish. One colt investigates Jack Kuhne’s camera, when he really wants to get the colt’s picture for “Sons of Courage.” This technicolor short was made for 20th Century-Fox, and is still showing throughout the country. Also still showing is “Arabians in the Rockies,” the technicolor short released by Warner Bros.

INQUISITIVE, ISN’T HE!

28

WINTER FROLIC

When snow covers the pastures, the mares and colts are more anxious than ever for feeding time.

After these heavy snowfalls, RIFAGE must satisfy himself that all are present and in good shape, for some of these colts are his.

WORK KNOWS NO SEASON

29

SUNDAY SHOW

Soon after Trinidad established its pure Arab Stud on The Lazy VV Ranch, numerous people would stop by the Ranch with the hope they could “just look at those Arabian horses.” These callers interrupted the routine ranch work to such a degree that the decision was reached to set aside Sunday morning, at which time the public might see the Arabs in various phases of action.

These Sunday morning crowds outgrew the three stands which were originally built to accommodate 150 spectators. The remaining hundreds willingly stand around the railing from 9:45 until 11:30 A.M., to view these gorgeous creatures going through their paces. This opportunity is only provided during the three months of summer—mid-June through August.

Crowds prove the education is worth the discomfort. There is probably no place in this country where a person can see so many Arabs, or learn more about them during a two-hour period than by listening to the announced comments and other information which is given as the Arabs are shown.

It is truly a colorful spectacle to see 1,500 people from all walks of life, dressed in varied attire, so intent and interested as they encircle the Arab horse show ring at The Lazy VV.

30

POETRY IN MOTION

Though authentic in cut, these Bedouin robes are not authentic in color. Bright greens, reds, blues and gold add a sparkle to the Sunday showing of the Arabs, while the Bedouins would be donning drab gray or brown colors.

Lazy VV Arabs are not groomed and put up in stalls a day or so before the Sunday crowds see them. These are the same horses that work the cattle, make the various trips over rough mountain trails, or romp and play in pastures during the week.

SHOW-OFF

31

MASTER AND MIGHTY STEED

Festive desert robes are donned to lend atmosphere and color to the Sunday showing. Simulating their ancestors of 2,000 years ago, the Arabs carry the riders of The Lazy VV in true Arabian style. Cameras click and spectators thrill with joy as these jaunty “Arabians” charge into the ring.

DESERT HORSEMEN

32

THE “BOSS”

L. W. Van Vleet, President of The Trinidad Bean and Elevator Co., does the announcing and tells the Sunday show crowds about the purebred Arab. This takes time and research, but the pure Arab is worthy of proper presentation.

33

CRADLED AT THE FOOT OF THE DIVIDE

THE LAZY VV RANCH AND ITS SETTING

If you would care to read more about Trinidad’s purebred Arabs, and their home on The Lazy VV Ranch, perhaps your local library can furnish you with the following publications:

Christian Science Monitor—September, 1942

Travel Magazine—October, 1943

Country Gentleman—January, 1944

Liberty—November, 1945

The Horse—March-April, 1944

The Horse—November-December, 1945

The Horse—May-June, 1947

The National Horseman—May, 1948

Denver Post Empire Magazine—June, 1949

Travel—July, 1949

Flair—July, 1950

Also you might prevail upon your local theater manager to arrange a showing of the beautiful technicolor shorts which were made on The Lazy VV Ranch. In them you will see the purebred Arabs at work.

“Arabians in the Rockies” was released by Warner Bros. in January of 1946.

“Sons of Courage” was released by 20th Century-Fox in February of 1947.

“Kings of the Rockies” was released by Warner Bros. in January of 1950.

These movies are still showing throughout the country. If you haven’t seen them, you should have an opportunity to do so.

34

Just a Word About
TRINIDAD RANCH BEANS

Purchased in all Western growing areas, TRIAD RANCH BEANS are carefully cleaned, sorted and graded. Always select quality, they are identified by the famous COOKQUIK trademark which assures you of easy preparation and good eating.

Delicious recipes are printed on all cartons to enable you to cook these beans the way the cowboys like ’em, the way everyone likes ’em!

Ranch beans “stick to the ribs,” contain the same nutritional elements found in meat ... at a much lower cost. Remember, there are hundreds of ways you can enjoy them!

All of the following varieties are available in one-pound cartons or sturdy, sealed, one and two-pound cellophane bags:

PINTOS

GREAT NORTHERNS

SMALL REDS

SMALL WHITES

LARGE LIMAS

BABY LIMAS

BLACKEYES

PINKS

CRANBERRIES

RED KIDNEYS

Also ask for

TRIAD RANCH WASHINGTON-IDAHO PEAS

WHOLE GREEN PEAS

GREEN SPLIT PEAS

WHOLE WHITE PEAS

YELLOW SPLIT PEAS

FANCY LENTILS

35

PACKED FOR YOUR CONVENIENCE

36

OTHER PREMIUMS YOU’LL ENJOY[1]

For 5 box tops from COOKQUIK TRIAD RANCH Cartons, or 5 empty COOKQUIK TRIAD Cellophane Bags, and 25 cents, you may have your choice of—

⇒1 One of a series of beautiful pictures, suitable for framing, of The Lazy VV Ranch and its Arabs.

⇒2 A bright, colorful, Round-Up Bandana—just like the Cowboys and Cowgirls wear.

BE SURE TO STATE WHICH PREMIUM YOU PREFER WHEN MAILING IN YOUR REQUEST.

Thank You

It has been a pleasure to bring you this picture-and-story book of Western Cowboys and Arabians in the Rockies.

We are very proud of this Western land, our products and our horses. It is believed that you, too, will experience pleasure in learning about them.

THE TRINIDAD BEAN & ELEVATOR COMPANY
820 COOPER BUILDING
DENVER 2, COLORADO

Cookquik TRIAD RANCH BEANS-PEAS

[1]Does not apply in states where such offers are prohibited by law.

37

Transcriber’s Notes

- Silently corrected a few typos.

- Retained publication information from the printed edition: this eBook is public-domain in the country of publication.

- In the text versions only, text in italics is delimited by _underscores_.

*** END OF THE PROJECT GUTENBERG EBOOK THE WESTERN COWBOY AND ARABIANS IN THE ROCKIES ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- The WESTERN COWBOY and ARABIANS IN THE ROCKIES

- The WESTERN COWBOY

- FRIEND AND SERVANT
- THE COWBOY’S CLOTHES
- A COWBOY’S WORK IS ALSO HIS FUN
- BULL DOGGING
- BAREBACK BRONC RIDING
- BULL RIDING
- MORE TRANQUIL MOMENTS
- ALWAYS ... THE HORSE

- THE ARABIAN

- THE LAZY VV RANCH AND ITS SETTING

- Just a Word About TRINIDAD RANCH BEANS

- OTHER PREMIUMS YOU’LL ENJOY[1]
- Transcriber’s Notes
- THE FULL PROJECT GUTENBERG™ LICENSE