Mission: Improbable - Practicing Law in Ukraine

Peter Teluk chooses Baker & McKenzie\u27s Kiev office over a federal clerkship and mixes multinational business with cowboy law at its finest

Can I Get a Yee-Haw and an Amen: Collecting and Interpreting Oral Histories of Texas Cowboy Churches

With more than 850 Christian cowboy ministries worldwide and approximately 160 individual cowboy churches in Texas, the cowboy church movement is an immensely important religious movement that speaks volumes about contemporary culture. Cowboy churches\u27 Low Barriers Model Christianity attracts many disenchanted with traditional evangelicalism\u27s assumed sterilized and feminized religion. Despite the cowboy church movement\u27s exponential growth since the late-1980s, few outside the movement understand the complexity cowboy churches envelop. Using Cowboy Christians\u27 oral histories, Jake McAdams argues that the cowboy church movement is a suburban seeker church movement centered around the mythic cowboy identity in which participants have a sincere religious experience. Gaining invaluable primary sources and understanding the cowboy church movement in its historical contexts provides a voice to Conboy Christians and allows interested individuals to better understand the complexities of contemporary Texas and American society

Carry On, Cowboy: roast beef Westerns

Most critical discussions of non-American Westerns have centred on films by Italian and German filmmakers, such as Sergio Leone and Harald Reinl. There has, however, been little attention paid to the Westerns produced by British companies and British-based filmmakers. They are surprisingly numerous, with a particular concentration in the silent period (though most of the films are now lost) and in the heyday of the European-shot Western in the 1960s and 1970s. This article will focus on the latter, and will attempt to explore the commercial and industrial factors which led British and British-based producers such as Michael Winner, Euan Lloyd, Irving Allen and Charles H. Schneer to undertake a genre which is not typically associated with UK production houses. The particular characteristics of the British-made Western will be identified with the analysis of a small selection of the more than thirty examples from the period, and an attempt will be made to account for their relative neglect by critics and historians. The films themselves are, like the Italian and German varieties, most often co-productions with one or more other countries and are rarely recognisably “British”, hence do not lend themselves to the discussion of national identity which characterises much critical discourse on British and European cinema. One other reason for their neglect, it will be argued, is their generally poor quality and failure to produce a distinct group style or identity or an “auteur” director specialising in the form. In this respect the article will broach questions of artistic value and critical judgment that are themselves often neglected in recent explorations of generic and national cinemas, and will discuss to what extent they should be admitted into historical and industrial accounts of film production and reception

The Official Student Newspaper of UAS

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Cowboy Art Song: A Contextual and Musical Analysis of Libby Larsen\u27s Cowboy Songs

This dissertation sprang from a combination of two personal interests: cowboy culture and classical art song. The union of my cowgirl heritage with my career as a classical vocalist has long fueled an interest in a particular niche of repertoire: soprano art song with thematic connections to the North American cowboy. A conducted state of research reveals no scholarly literature exploring this specific topic. Libby Larsen’s collection, Cowboy Songs, fulfills the aforementioned niche, successfully capturing the spirit, musical idioms, and cultural themes of the North American cowboy. Chapter I lays a contextual foundation for cowboy song, providing a catalogue of critically accepted “cowboy art songs” in the classical vocal canon as well as a brief state of research, and discussing the difficulties of creating a cowboy-art song fusion. Chapter II presents a biography of Libby Larsen and establishes her compositional philosophy. Chapter III provides an analysis of Cowboy Songs utilizing the parameters of Larsen’s self-stated compositional philosophy. Chapter IV informally notes three additional “cowboy art songs” by Larsen, Ives, and Previn, then delivers its closing remarks. The document includes three appendices containing the full email interview with Larsen, a letter of permission to use the score, and the appropriate IRB approval letter

WHITHER COWBOY POETRY?

As a cultural phenomenon the explosion in popularity of cowboy poetry in the past dozen years has been nothing short of spectacular. Until the first full-scale cowboy poetry gathering at Elko, Nevada, in late January 1985, poetry was arguably the one aspect of cowboy culture that had not been expropriated into American popular culture. Certainly the mental picture of the cowboy himself-big hat, high-heeled boots, silk neckerchief, leather chaps-has long since become an icon that represents the very nation: wear a cowboy hat and you will be taken for an American anywhere in the world. The two essential working skills of the cowboy-roping cattle and riding bucking horses-long ago have been transformed from actual ranch work into one of the nation\u27s largest spectator and participant sports: rodeo. And the idealized, romanticized image of the cowboy (certainly far removed from the low-paid, hard-working hired man on horseback who actually works with cows, horses, and four-wheel-drive pickups) has become, through pulp fiction, television, and film, a symbol of justice and right, a hero who both represents and defends the American Way. Finally, cowboy songs, although often mistakenly lumped together with country-and western music, comprise a well-defined subgenre of popular music, particularly those songs associated with the singing cowboy of the silver screen

LUCKY LUKE AS THE AMERICAN COWBOY HERO AS REFLECTED IN JAMES HUTH’S LUCKY LUKE MOVIE

Seseorang dapat disebut sebagai pahlawan apabila orang tersebut telah berjasa untuk masyarakat, bangsa, dan negaranya. Pahlawan mendapatkan tempat yang terhormat di mata masyarakat, sebab masyarakat dapat menilai secara objektif kontribusi apa saja yang diberikan pahlawan kepada masyarakat, bangsa dan negara. Pengorbanan dan perjuangan seorang pahlawan dapat memberikan kontribusi berupa nilai-nilai moral kepada masyarakat. Dalam skripsi ini, penulis tertarik untuk menganalisa seorang tokoh cowboy di Amerika yang dianggap sebagai pahlawan masyarakat Amerika. Untuk menganalisa hal ini, penulis menggunakan pendekatan eksponensial dan antropologi. Dalam film Lucky Luke menggambarkan dengan jelas seorang cowboy yang memiliki peranan penting sebagai seorang sherif di kotanya. Perjuangan dan usahanya dalam menjalankan tugasnya menjadi seorang sherif membawanya menjadi sosok pahlawan yang dikagumi. Karakter seorang pahlawan memberikan nilai-nilai moral yang baik kepada masyarakat. Sehingga, pesan-pesan atau nilai moral dari seorang tokoh pahlawan biasanya dapat disampaikan melalui cerita rakyat, dongeng, maupun legenda. Karena cerita rakyat, dongeng maupun legenda merupakan cara yang mudah dalam menyampaikan nilai-nilai moral dan budaya dari kehidupan seorang tokoh pahlawan