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Take one well-oiled effective killing machine, add a familiar hero on the ground, in the air, and on horseback; stir in a ghastly end that’s surely impossible to escape, add action, add passion, made on a shoestring budget at breakneck speed, and you’ve got the recipe for Republic Pictures. Who, after all, cannot forget The Atomic Kid, starring Mickey Rooney, or The Untamed Heiress, with an un-Oscar-worthy performance by ingénue Judy Canova?

Exploding onto the movie scene in 1935, Republic Pictures brought the pop culture of the 30s and 40s to neighborhood movie houses. Week after week kids sank into their matinee seats to soak up the Golden Age of the Republic series, to ride off into the classic American West. And they gave us visions of the future. Visions that inspire film makers today. Republic was a studio that dollar for dollar packed more movie onto the screen than the majors could believe. From sunrise on into the night over grueling six day weeks, no matter how much mayhem movie makers were called upon to produce, at Republic Pictures it was all in a day’s work.

Republic Pictures was the little studio in the San Fernando Valley where movies were made family style. A core of technicians, directors, and actors worked hard at their craft as Republic released a staggering total of more than a thousand films through the late 1950s.

Republic Pictures was home to John Wayne for thirty-three films. Always inventing, Republic brought a song to the West. It featured the West’s first singing cowboy. Republic brought action, adventure, and escape to neighborhood movies houses across America. And they brought it with style. Scene from westerns such as The Three Mesquiteers and the Lawless Range gave screaming kids at the bijou a white-knuckle display of expert film making.

Republic Pictures became a studio where major directors could bring their personal vision to the screen. Sometimes these were projects no other studio would touch such as The Quiet Man (which brought director John Ford an Oscar) and Macbeth.

Killer Bs, Cowboys, Creatures and Classics: The Story of Republic Pictures is for anyone who likes B movies magic. It is the honest account of an extraordinary production house, one whose ability to turn out films quickly boded well for its transition into television production. Not only were its sets used for such shows as Leave it to Beaver and Gilligan’s Island, stock footage from Republic’s movies was used on such shows as Gunsmoke and The Life and Legend of Wyatt Earp.

In a time when notorious Depression Era criminals were terrorizing the country, the Barker-Karpis Gang stole more money than mobsters John Dillinger, Vern Miller, and Bonnie and Clyde combined. Five of the most wanted thieves, murderers, and kidnappers by the Federal Bureau of Investigation in the 1930s were from the same family. Authorities believe the woman behind the band of violent hoodlums that ravaged the Midwest was their mother, Kate “Ma” Barker.

Ma Barker is unique in criminal history. Although she was involved in numerous illegal activities for more than twenty years she was never arrested, fingerprinted, or photographed perpetrating a crime. There was never any physical evidence linking her directly to a specific crime. Yet Ma controlled two dozen gang members which jumped to her behest. FBI Director J. Edgar Hoover called her a “domineering, clever woman who coldly and methodically planned the abduction of two of the nation’s most wealthy men.”

Ma’s misdeeds were well plotted, schemed, and equipped. “The most important part of a job is done weeks ahead,” she is rumored to have told her boys. She is remembered early on as a woman who took her four sons, Herman, Lloyd, Arthur, and Fred to church every Sunday and to every revival meeting that came along. She was also known as a woman who never admitted her sons were capable of wrong doing. She ruled the family roost, defending her brood against irate neighbors whose windows had been shattered by the boys, and later against the police when the boys began their lives of crime in earnest. At a young age they were involved in everything from petty theft to murder.

From the earliest days of the western frontier, women heeded the call to go west along with their husbands, sweethearts, and parents. Many of these women were attached to the army camps and outposts that dotted the prairies. Some were active participants in the skirmishes and battles that took place in the western territories. Each of these women-wives, mothers, daughters, laundresses, soldiers, and shamans-risked their lives in unsettled lands, facing such challenges as bearing children in primitive conditions and defying military orders in an effort to save innocent people.

Soldier, Sister, Spy, Scout tells the story of twelve such brave women-Buffalo Soldiers, scouts, interpreters, nurses, and others-who served their country in the early frontier. These heroic women displayed a depth of courage and physical bravery not found in many men of the time. Their remarkable commitment and willingness to throw off the constraints of nineteenth-century conventions helped build the west for generations to come.

This collection of short stories of the women who entertained the West in makeshift theaters and palaces built to showcase the divas who were beloved by emigrants to the “uncivilized” West will feature well-known and lesser known dancers, singers, and actresses and their exploits. Author Chris Enss will bring her comedic timing and long experience writing about the time and culture of the West to this collection.

Colorado Territory in 1864 wasn’t merely the wild west, it was a land in limbo while the Civil War raged in the east and politics swirled around its potential admission to the union. The territorial governor, John Evans, had ambitions on the national stage should statehood occur–and he was joined in those ambitions by a local pastor and erstwhile Colonel in the Colorado militia, John Chivington. The decision was made to take a hard line stance against any Native Americans who refused to settle on reservations–and in the fall of 1864, Chivington set his sights on a small band of Cheyenne under the chief Black Eagle, camped and preparing for the winter at Sand Creek.When the order to fire on the camp came on November 28, one officer refused, other soldiers in Chivington’s force, however, immediately attacked the village, disregarding the American flag, and a white flag of surrender that was run up shortly after the soldiers commenced firing.

In the ensuing “battle” fifteen members of the assembled militias were killed and more than 50 wounded Between 150 and 200 of Black Kettle’s Cheyenne were estimated killed, nearly all elderly men, women and children.

As with many incidents in American history, the victors wrote the first version of history–turning the massacre into a heroic feat by the troops. Soon thereafter, however, Congress began an investigation into Chivington’s actions and he was roundly condemned. His name still rings with infamy in Colorado and American history. Mochi’s War explores this story and its repercussions into the last part of the nineteenth Century from the perspective of a Cheyenne woman whose determination swept her into some of the most dramatic and heartbreaking moments in the conflicts that grew through the West in the aftermath of Sand Creek.