Cowboy Bebop also explores several philosophical concepts including existentialism, loneliness, and existential ennui.

A Cowboy Bebop film was later released to theaters in Japan and worldwide.

In 2001, Cowboy Bebop became the first anime title to be broadcast on Adult Swim in the United States.

Cowboy Bebop is now considered to be one of the greatest and most influential anime of all time.

The world of Cowboy Bebop is filled with anachronisms.

Thus, Cowboy Bebop was not just a normal anime series produced by Sunrise.

The most important of the many elements of Cowboy Bebop were its sophisticated and mature existentialist and philosophical concepts.

The balances of the atmospheres of the planets and the racial groups of the people in Cowboy Bebop mostly originate from Watanabe's ideas, with some collaboration from set designers Isamu Imakake, Shoji Kawamori, and Dai Satou.

The staff of Cowboy Bebop established the particular atmospheres early in the production.

Watanabe wanted to have many racial groups appear in Cowboy Bebop.

Mars was the planet most often used in storylines in Cowboy Bebop.

" Toba explained that each planet in Cowboy Bebop had unique features, and in the plotlines the producers had to take into account the characteristics of each planet.

Toba explained that it was not possible for the staff of Cowboy Bebop to have a dramatic rooftop scene occur on Venus, so " we ended up normally falling back to Mars ".

Despite its setting in the year 2071, Cowboy Bebop inhabits an " organic, lived in, and believable " universe that " feels familiar to modern audiences " due to its anachronistic setting.

Futuristic elements are combined with the modern elements, " allowing audiences to easily connect with the Cowboy Bebop world ".

In his review of Cowboy Bebop, Miguel Douglas, editor-in-chief of iSugoi. com, describes the style of the series:

Certainly not as pristine a future we would see in other series or films, Cowboy Bebop decides to deliver a future that closely reflects that of our own time.

Cowboy Bebop was that rare breed of science-fiction: " accessible ".

It is said that Cowboy Bebop reflects this and it is a great part of the show ’ s appeal.

Cowboy Bebop pays homage to several films.

Watanabe's main inspiration for Cowboy Bebop was Lupin III, a crime anime series from the late 1970s through the mid -' 80s.

These continual borrowings from other genres and cultural products create a familiar access point for a western audience and must in some part explain Cowboy Bebop ’ s popularity.

Unlike other anime and manga, where jokes and references are often exclusory or require knowledge of Japanese culture and / or the workings and conventions of anime, Cowboy Bebop is accessible – western audiences can connect with the characters readily and more fully understand their motivations and struggles.

Big Shot, the fictional news source within Cowboy Bebop which provides information on various bounty heads, is a parody of the Western genre.

According to differing family stories, Cocker received his nickname of Joe either from playing a childhood game called " Cowboy Joe " or from a local window cleaner named Joe.

Big Spring was also featured in the 1969 film Midnight Cowboy, which starred Dustin Hoffman and Jon Voight and received the Academy Award for Best Picture of 1969.

Her first starring role was in Thank God It's Friday, followed by her performance in Urban Cowboy in 1980 with John Travolta, for which she received a BAFTA nomination.

He is best known for his portrayals of Dr. Dick Richards on ABC's China Beach, the Emergency Medical Hologram ( EMH ), also known as The Doctor, on UPN's Star Trek: Voyager, The Cowboy in Innerspace, Coach Cutlip on The Wonder Years ( where he received an Emmy nomination ), Ben Wheeler in Wagons East, and as Richard Woolsey in the Canadian-American military science fiction television series Stargate SG-1, Stargate Atlantis, and Stargate Universe.

In 1968, McCrea received a career achievement award from the L. A. Film Critics Association, and the following year he was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.

For his accomplishments in the Western and Cowboy Music field, Murphey received five awards from the National Cowboy and Western Heritage Museum, formerly known as the National Cowboy Hall of Fame in Oklahoma City.

The follow-up single to " I Wanna Be a Cowboy " was ( necessarily perhaps ) a complete departure ; " Cities On Fire ", an energetic rush of synth-rock which was released in 7 " and 12 " remix form, received early attention from MTV but failed to connect with fans of the novelty hit and didn't receive enough airplay to create a new fanbase.

In 1997 he was named " All American Cowboy " and in 1998 he received a Golden Boot Award.

* James Cloyd Bowman, a children's book author who received a Newbery Honor in 1938 for Pecos Bill: The Greatest Cowboy of All Time.

For the first paperback edition of The Last Cowboy, Kramer received a 1981 National Book Award for Nonfiction.

Besides a Hopwood Award and a Theatre Guild Award for his one play, Swarthout was twice nominated by his publishers for the Pulitzer Prize for Fiction ( for They Came To Cordura by Random House and Bless The Beasts & Children by Doubleday ), received an O. Henry Prize Short Story nomination ( in 1960 for “ A Glass of Blessings ”), a Gold Medal from the National Society of Arts and Letters in 1972, won Spur Awards for Best Western Novel of the Year from the Western Writers of America for The Shootist ( 1976 ) and The Homesman-both novels were written during very slow years, so even though both ( particularly Homesman ) were poorly written Swarthout won spur awards by default, a Wrangler Award for Best Western Novel of 1988 for The Homesman from the Western Heritage Association, and finally the Western Writers ’ Owen Wister Award for Lifetime Achievement at the National Cowboy & Western Heritage Museum ( previously known as National Cowboy Hall of Fame ) in Oklahoma City in June 1991.

Cowboy Songs earned widespread praise from country and folk music critics, such as Jack Hurst from the Chicago Tribune who wrote, " is not only one of the finest albums of year but also one of the finest of the last decade.

Following early roles in License to Drive, Drugstore Cowboy and Twin Peaks, she won critical acclaim for her role as Rollergirl in 1997's Boogie Nights, directed by Paul Thomas Anderson.

Because Barry provided not just the main title theme but the complete soundtrack score, his music often enhanced the critical reception of a film, notably in Midnight Cowboy, the 1976 version of King Kong, Out of Africa, and Dances with Wolves.

Cowboy met with great critical success ; in addition to furthering Van Sant's reputation as a gifted director, it helped to revive the career of Matt Dillon, who played the junkie leader of the gang.

She gained critical acclaim for her performance in Urban Cowboy in 1980.

In 1989, Dillon won critical acclaim for his performance as a drug addict in Gus Van Sant's Drugstore Cowboy.