Cowboy Saloon Quotes

I want to be a cowboy, but only long enough to barge into a saloon and bellow, "Who's the yellowbelly that stole my happy trail?

Oh honey, someday a real man is going to make you see stars and you won't even be looking at the sky." Excerpt from Grace Willow's Last Minute Bride

Such is the life and death of a good cowboy.

He envied her, sensing that she lived each day as if it was her last.

It's true, I'd never understood whether this vogue for apologising is a sign of humility or of impudence: you do something you shouldn't have done, then you apologise and wash your hands of it. It reminds me of the old joke about a cowboy riding across the prairie who hears a voice from heaven telling him to go to Abilene, then at Abilene the voice tells him to go into the saloon and put all his money on number five. Tempted by the voice, he obeys, number eighteen comes up, and the voice murmur, Too bad, we've lost.

You can scare off a lot of cowboys just by looking mean, I guess.

He couldn’t jeopardize the saloon because of some silly infatuation with an outlaw. Even one as beautiful as Mariah Ayers.

I rode my horse to the saloon, but it was out of business. The cowboy I spoke with said the bartender served the saloon’s last drink on March 5th, 1882. Guess I shouldn’t have taken so long to shower and get ready. Ah, but that’s life, no?

This sheriff goes into a saloon and says, “I’m lookin’ for a cowboy wearing a brown paper vest and brown paper pants.’ He waited a beat, making sure Sara was listening. ‘The bartender says, “What’s he wanted for?” And the sheriff says, “Rustling.

When Bay was done she looked down at herself, dressed in a plain white bra, torn bikini underwear, and cowboy boots. “I feel like I’m dressed for the midnight show at the Crazy Horse Saloon,” she muttered. Her mouth went dry when she looked at Owen, who was left wearing cowboy boots and black Calvin Klein’s. The knit cotton underwear hugged him lovingly from waist to thighs. He was a female’s fantasy come to life. They stared at each other, enjoying what they saw. And realizing just how close they’d come to losing their lives. “You look good,” he said.

Whiskey Jacks Saloon. He’s playing country western music, and wearing a plaid button down shirt and fringe along the sides of his tan chaps that cover his jeans, no less. Who can’t appreciate a cowboy in plaid and fringe? There are so few of us who can actually pull that off. Usually I’m all about acoustic guitars, but not tonight. At the moment, my mind is

Inside the saloon, a band of plump, middle-aged gentlemen in Stetson hats and leather jackets crooned about an Ibaloi girl from Bahong. Like the roses of Bahong Ambrosial and winsome If they uproot it and bring it to Manila They will kill it They sang in mellow, baritone voices.

With my own money, I bought a Bauer Super 8 camera, intent on putting my newly accumulated filmmaking knowledge to use. I would make a Peckinpah-style splatter pic with a few Old West nods to Leone and a killer title: Cards, Cads, Guns, Gore, and Death. The plot of this two-minute silent masterpiece-in-the-making was simple. Three cowboys are playing poker in a dusty saloon. One takes exception to the other’s winning hand and shoots the winner dead. Then the third guy shoots the shooter dead. A fourth guy, the sheriff, comes upon the scene and shoots the third guy from behind, killing him. Then he shakes his head in disgust, lamenting the waste of it all. The end. That was the easy part. The hard part was authentically portraying the carnage on a nonexistent budget. In my curiosity about filmmaking, I took to bending the ears of everyone with a specialized job on the sets I worked on. A special-effects guy gave me the intel on how they did gunshot wounds in Bonnie and Clyde and The Wild Bunch.

Just a few days earlier half a dozen Chinese railroad workers had been gunned down by a group of drunken cowboys. The sheriff arrested the killers and brought them before Sweetwater’s brand-new judge, who had also opened a saloon. The judge considered the case, pursed his lips, opened a couple of law books just to make sure his first bone-deep feelings about the case were correct, then issued his judgment: “Gentlemen,” he ruled, “I have examined the laws of the United States carefully and I do not find any law which says that a white man shall be punished for killing a Chinaman.” The judge, named Roy Bean, let the killers go. Isaac

Saddle horses lined the hitching-rails as far as Brite could see. Canvas-covered wagons, chuck-wagons, buckboards, vehicles of all Western types, stood outside the saddle horses. And up one side and down the other a procession ambled in the dust. On the wide sidewalk a throng of booted, belted, spurred men wended their way up or down. The saloons roared. Black-sombreroed, pale-faced, tight-lipped men stood beside the wide portals of the gaming-dens. Beautiful wrecks of womanhood, girls with havoc in their faces and the look of birds of prey in their eyes, waited in bare-armed splendor to be accosted. Laughter without mirth ran down the walk. The stores were full. Cowboys in twos and threes and sixes trooped by, young, lithe, keen of eye, bold of aspect, gay and reckless. Hundreds of cowboys passed Brite in that long block from the hotel to the intersecting street. And every boy gave him a pang. These were the toll of the trail and of Dodge. It might have been the march of empire, the tragedy of progress, but it was heinous to Brite. He would never send another boy to his death.