Monthly Archives: November 2016

Colorful Horsemen-Just Say’n

Our county is populated with some of western history’s most colorful Horsemen. I’ve ridden with them penning cows, I’ve visited (VIZ– ted) with them at the coffee shop, and at dances, at weddings and funerals (same difference) and I never get over how funny and honest, and inventive they can be.

We traded a bull once for a spotted horse for my wife. He was a leopard Appalooskey. He could work cows, and rope, and even could hit a lick with a walking horse gait going down the road. We called him Willy, after his previous owner, an old tradition in our county. (Horses that people buy from me get called Doc.) When we got him to our place, Willy told my wife “now, don’t you worry none about them little spots of blood on him, I had to pop him with a 410 to get him up out of the pasture! ” Then he told me, “if you start off to rope, don’t open your mouth, he’ll run so fast you can’t close it! ” And finally this advice, “don’t close him in with a gate. He’ll stomp the gate flat. But he respects a Bob wire gap! “Then there were the two old cowboys who were arguing about how a certain horse was working while the third was riding. One says “I don’t like the way the horse is going” the other laughs and says “it ain’t nothing wrong with the horse, it’s who’s in the saddle! ”

I’ve heard horses described as “worthless as TWO hot watermelons.” Or that he couldn’t outrun a fat woman carrying two tubs of water! Another old Ranney advised us to teach a horse to neck rein by crossing the reins under the horse’s neck.

Finally, the old codger who was looking at a young woman’s horse. He said “there’s only one thing wrong with this here horse.” She responded all flustered “well what is that?”

“He ain’t mine!”

Reaching Out to Youth Riders

“Artists are people who create a lie to tell the truth ” -Picasso

Watching a group of kids ride (mostly girls, sadly in the US we have a shortage of little boys fascinated with horses now days) I observed a phenomenon that made me reflect on my own riding. To get their horses to move they reared back and kicked the bejeepers out of their ribs. Then to turn they jerked the reins this way and that. At first I wanted to run out and lecture them about how sensitive horses mouths are. Then I remembered the verse in the Bible, “don’t criticize the spec in your brother’s eye until you’ve done something about the log in your own!”

My mind went back to previous rides when my hands were high in the air, or when I was leaning or twisting my body around, or waving my legs about or even kicking the horse’s rib cage. Then I remembered watching The master riders I’d had the good fortune to watch. The riders appeared to just sit up like kings and queens, doing nothing while the horses performed incredible feats (feets?) This is true of dressage, reining, cutting and versatility trials, among others. First of all, these are riders who understand the language of position and pressure, who in turn are riding horses who, over time have learned the same language and don’t need more than a slight suggestion, or a very specific signal to know to perform a movement. Early in my life I watched open mouthed as the old pros performed! Now years, books, clinics and videos later, I still hear “what are you doing with your hands in the air?” But I’m beginning to catch on, and I want so much to share these concepts with those club riders, but I know no more how to reach them than to control my own mistakes. Yet, like MLK said “I have a dream! “

Andslusian National Show 1991

One of the most inspiring horse acts I’ve ever seen was one which I witnessed while being the announcer at the 1991 Andslusian National show in Fort Worth Texas. We were ramping up for the Saturday night performances, and everybody was teasing me because it was rumored that Bo Derek’s horse would be there. About that time, up the stairs to the announcer’s stand came a young Mexican man with crewcut and blue pearl snap cowboy shirt handing me a cassette tape. “These Bo Derek music, fi’ minit” (holding a hand with all five fingers up) “play loud!” And he was gone.

That evening they radioed up that Centauri Bo was ready. I had no idea what he was to do. From beneath me I see a black horse coming into the arena. I’d started out to say “Centauro ridden by… ” until I saw no saddle. Then Sonna Warvell walked out in leotards. So I said “excuse me handled by…. ” and I slammed in the cassette. The music rocked and pulsed. The horse ran away, then ran back, circled around her, kneeled, and she got on bareback with no bridle and proceeded to perform every high school movement known to man. At the end, dead silence. I said “you can breathe now! “And the applause was deafening!

Later in the parking lot Ruben Cardenas introduced us to Sonna, and then to Ramon Becerra. “Oh yes he’s the driver who brought the horse!” I said. Ruben then informed me “yes, and he’s the trainer as well. He trained Centauro, and Sonna met the horse for the first time tonight in the arena!” I fell to my knees on the asphalt in honor of the young woman’s skill and the man’s talent! Since then they have racked up a staggering record of horse training feats and exhibitions, including their performances at EuroDisney. Ramon and I spoke again, later, in San Antonio, where he told me “Glenn, I no work horses any more” I was in the process of bewailing the loss of a truly great horse trainer when he added “I just play with them!”