Once upon a time, a little girl named Stevie Myers, who happened to be the daughter of a man who wrangled horses for cowboy actor Tom Mix, owned a sorrel Arabian and quarter horse mix named Sweetie Pie. This may not seem like anything all that special, but, trust me, it was. For Pie, as he was dubbed by Jimmy Stewart, was one of the most featured horses in films during the heyday of westerns.
For a period of twenty-two years, Jimmy Stewart rode Pie in a total of seventeen films. Some of the more famous ones are: Broken Arrow (1950), The Man from Laramie (1955), The Man Who Shot Liberty Valance (1962), How the West Was Won (1962), and The Cheyenne Social Club (1970). In addition to Jimmy Stewart, Pie was also ridden by Kirk Douglas, Audie Murphy, Glenn Ford, Richard Widmark, Yvonne DeCarlo, and Yul Brynner. That’s quite a resume for a horse on the small side, who was said to be very choosy when it came to who he liked, and uncooperative when he didn’t much care for his rider.
He loved Jimmy Stewart, however, and Jimmy Stewart loved him. The actor was able to get Pie to perform on command even when his trainer wasn’t around. One of the most famous stories about Jimmy Stewart and Pie’s incredible rapport happened during the filming of The Far Country (1955). Pie was supposed to walk down the middle of the street alone, without a rider, with a bell ringing. Before the cameras started rolling, Jimmy Stewart took Pie aside and whispered in his ear, telling the horse to what to do. When Pie was released, the horse perfectly executed the instructions and in only one take. Everyone was amazed.
It’s said Jimmy Stewart tried to buy Pie from Stevie, but she wouldn’t part with the horse. Henry Fonda, who was good friends with Jimmy Stewart, painted a picture of the horse, and it hung in the Stewarts’ home for many, many years. Jimmy Stewart also wrote a poem about Pie which was included in his much-treasured book, Jimmy Stewart and His Poems. And though he was never able to buy the horse, Pie was buried on the Stewart ranch after his death at the ripe old age of thirty.
First, being aggressive makes me think of a bully. When I think of a cowboy, I think of John Wayne in movies where his character stood up for those who needed a champion. Big Jake and The Cowboys come to mind as examples. He stands up for what’s right, does what needs to be done no matter what the personal cost, and he certainly isn’t a reckless driver. See me shaking my head over this one yet again. He may take a risk, but he’s not reckless or as Webster says, “acting without thinking or caring about the consequences of an action.”
A cowboy possesses what some today call old-fashioned manners and values. They’re willing to work hard and can be counted on to finish the job. The words “yes, ma’am” are part of their vocabulary, and more importantly, used. No matter what their age, they call their parents’ friends Mr. and Mrs. to show respect. When I wrote my first novel with a cowboy hero Big City Cowboy, (which happened to be the only idea of that type I had at the time), the inciting incident forced my hero to go to New York to model. However, I wanted a reason other than to save his ranch. I asked myself what a cowboy loved more than his ranch or his horse. The answer his mom popped into my head. For me, that’s the kind of values a cowboy possesses. He values hard work, family, his heritage, and respects women.
Army medic Katya Smith is unable to get past the experience of losing a fellow soldier. She can’t go back to her unit until she can keep from melting down, so she takes a job as a medic for the pro bull riding circuit in an effort to recover her mojo. She doesn’t expect to become attached to the sport or the riders, especially the king rider of them all, Cam Cahill. Cam is a two-time world champion, but those years have taken a toll. It is time to retire, but he can’t imagine himself off the circuit. Katya does wonderful things for his body, but he is not certain he is ready for the things she does for his heart. She has made it plain this is a temp job, but if he could get her to stay, he can see a whole new future. 
Judge Henry Garth owns “Shiloh,” the largest ranch in and around Medicine Bow, Wyoming. When feuding ranchers and Indians from “up north” want to meet to settle their differences, Garth offers Shiloh as a neutral venue. He has two house guests: Ben, a city-slicker newspaperman come to visit Garth’s daughter Betsy, and the Indian Affairs agent who’s supposed to settle the whole mess. Garth wants a peaceful solution to the Indian/rancher problem, but his plans go awry when a group of thugs takes over Shiloh. He finds himself a hostage in his own home along with Betsy, the journalist, the Indian agent and Randy, his singing cowboy. His other hands are all at the roundup.
Where will it all end? How will it all end, with every escape blocked?
As you can see from House’s paintings, she and her models succeeded in portraying woman every bit as formidable, compelling and fierce as the original actors. To add emphasis, House made the paintings 1.25 times larger than life to ensure these western women towered over people. These paintings portray images of strong, capable women who can handle anything life sends their way.
ignored. You weren’t a victim. You played the hand you were dealt.
Take a look at number four—Do what has to be done. Life is oftentimes messy. Our days are filled with ups and downs, and we make choices all the time. This is about choosing to get done what has to be done, then getting on with life.