Warner’s initial concept of a simple networking community quickly evolved into an all-out quest to interview today’s top Canon photographers. Their unique stories, tips and techniques are shared with other photographers through his LensFlare35’s weekly podcast episodes. “The masters of today’s digital photography are blending technique, technology and an amazing level of artistic talent to achieve their desired results,” stated Warner. “My vision for LensFlare35’s peer-to-peer community is that all photographers will be able to leverage this shared knowledge to enhance and inspire their own work,” concluded Warner.

The initial lineup of episodes is a who’s who of some of the most sought-after photographers in the country, including: ‘famous faces’ portrait photographer, Brian Smale; painted portrait artist Sandra Pearce; global photographer and author, Rick Sammon; photographer, blogger and social media expert, Rosh Sillars; nationally-renowned wedding photographer, David Ziser, to name just a few. Podcasts are designed to be intentionally informal and entertaining, drawing attention to the person behind the camera. Each segment includes a video with example images and a narrative by the photographer.

For more information about LensFlare35 and a list of upcoming episodes, visit the website or contact David E. Warner. Canon is a registered trademark of Canon USA, Inc.

About LensFlare35:

Lensflare35 is an audio podcast community for professional Canon® photographers to stay informed, network, and leverage tips and techniques from today’s most admired photographers. Weekly episodes are designed to make relevant information available in short, entertaining segments. Topics range from developing an artistic style, digital darkroom techniques, strategic marketing trends, tips and tricks from the masters, to the latest technology gadgets.

The national defense initiatives to enhance logical and physical security since the events of September 11^th, 2001 are unprecedented. One of the most significant endeavors was the creation of The Department of Homeland Security to consolidate bits and pieces of information coming from disparate agencies in an effort to better protect the nation. This undertaking is the largest government reorganization since 1927, covering two dozen agencies and 180,000 federal employees with different missions and methods of operation. Adding to the complexities of this new initiative is the realization that government alone cannot protect the nation from today’s cyber and physical attacks. It requires a partnership with the private sector that owns and operates over 85% of the nation’s critical infrastructure assets.

A two-way flow of information and warnings between the public and private sectors is essential and not without challenges.

• Cultural—can we trust you with this information?
• Legal—what are the legal liabilities involved in sharing information? Who will see this information and how will it be used?
• Clarity—to whom should we direct information? What roles and responsibilities do we have?
• Cross-sector Environment—how do we share information when it involves multiple industries? How secure is it? How easy is it to use? Does the environment fit our business strategy for disseminating threat information?
• Private-sector Adoption: Is the threat still significant? What cost/benefit ratio should we expect? How will participating in a shared homeland security initiative enhance my business?

Effective response to cyber or physical threats can be achieved through relevant and reliable  crisis communication, collaboration and information-sharing across multiple sectors by empowering private industry with the technology tools necessary to share in the nation’s security initiatives. This paper explores the use of a centralized technology platform to facilitate education and awareness, threat response, and operational management as well as the cultural shift and private sector adoption necessary to achieve The Department of Homeland Security goals.

Read the full report…

The bay air is particularly thick today laced with the smell of bay bottom muck. It must be low tide I think to myself as I settle onto the chaise of the outer deck with my coffee and paper. I notice the snowy egret next door scrounging for bait scraps left by the old timer’s early morning fishing trip.  Word has it this egret has been showing up each morning for the past 13 years. At least some things remain constant, I chuckle to myself as I browse the headline. “Texas Governor seeks single contact for hurricane evacuation…he gets a committee of ten.” Guess the egret is not the only constant. Galveston politics has always tilted a bit left, in my opinion, and this was just the latest in a string of decisions made by a city government too politically correct to be effective. Every island problem…environmental, economical, or political… ends up in a black hole committee with no expectation of action.  The island’s endless supply of committees has bolstered many a resume over the years…most with political agendas where fence sitting is a much sought after trait by the controlling handful of old money families.

I felt the sun’s heat on my face as I closed my eyes and contemplated our move back to DC.  The silent moment was abruptly broken with the sound of our energetic Springer spaniel, Baxter, leaping the steps of the outer deck with the lease in his mouth
and my husband, Dave, in tow. “I’m taking Baxter for a walk…better catch the news when we get back, sounds like that storm is heading right for us.”  In the background, I could hear the storm radio going off.  It’s a blood curdling sound that can stop a person in their tracks.  It’s a way of life for people who live on the coast. Six months out of the year you live in fear of hurricanes coming up the Gulf of Mexico, and the other six months of the year you spend talking about the last one that hit and just how bad the next season will be.  Hurricanes are a sobering balance to the otherwise peaceful lifestyle.

The past few years, the hurricanes have been more intense and destructive. Forecasters say we’re in the middle of a ten year trend of really bad storms.  Katrina and Rita were among the worst in history to hit the Gulf coast. Even the scrappy west-enders, who brag about staying through hurricane Carla as if it was a badge of honor, left the island.  It was an unprecedented, massive evacuation of two million people. I never understood how coming face to face with a hurricane was anything but crazy.

The storm tracker shows hurricane Arlene has strengthened to a Category 3 and is expected to continue to strengthen as it moves through the Yucatan peninsula out into the warm waters of the Gulf. A twinge of concern creeps in as I remember my sister saying that if the turtles cross IH 3005 from the beach to the canal side of the island, we’re in for a big one.  I wonder if she has seen any turtles today.

At this stage, most residents are busily tying down and boarding up; waiting for evacuation notices. If Arlene hits the open bay waters it’s just a matter of hours before it hit the coast. Where it will make landfall is the million dollar question.

The phone rings  it’s Yuri, a researcher friend from the Biohazard Level 4 facility on the island.
“What’s up Yuri?”
“We’re in the middle of a lock-down procedure here so I can’t talk long, but I wanted to check with you to see where you were going to evacuate if this things gets nasty?” We will be heading up to the hill country more than likely. What about you? “I don’t know at this point, I hate to leave the animals here, especially Adam.”  “I’ll be here until the last light goes off, it’s the only way I know to keep the primates calm…they are already bouncing off the sides of their cages trying to get out.” “I think they sense something is about to happen.” “You are welcome to join us if they call for an evacuation,” I suggested. “I’ll have my cell with me if you want to connect up.” “Thanks Caitlyn, talk with you later.”

I met Yuri, a Russian immunologist, a few years back when I was working on a disaster recovery project for the island’s new biohazard facility. He is one of the few highly regarded infectious disease scientists who haven’t gotten lost in the bureaucracy. I remember a candid discussion with him one day about what keeps him up at night. Yuri tells it like it is—a refreshing character trait in a university setting. I guess his reputation has earned him a little leeway with the university powerbrokers.  In research, grants are the name of the game; and Yuri’s name associate with a grant request just about guarantees approval.

Progress and island time are usually opposing notions. The fact that a Level 4 national laboratory could be voted in and constructed within a few years is a remarkable feat. Politically, it was a shear masterpiece of work.  Level 4 facilities work with some of the nastiest diseases known to mankind. Before my work with the facility, I had no idea that many of the diseases had to be created first in order to be studied. Diseases like smallpox, malaria, and plague are being created in a handful of labs scattered about the United States. I’m sure most of the citizens of this island community are just as naïve about their newly constructed national laboratory.

I’ll never forget the first conversation I had with Yuri. “Why do you suppose a 32-mile island off the coast of Texas is such a great location for a level 4 facility?” When I didn’t answer immediately, he answered for me, “It can be easily quarantined —locked off from the mainland.” As I said, Yuri doesn’t mince words; he tells it like it is —unless, of course you are asking about his life —anything personal is quickly diverted to another subject.

Dave was pulled away from the news by an email alert on his Blackberry. I swear that holstered device could interrupt the most intimate of moments, thinking to myself. It was the Homeland Security official that was negotiating the final details of his new assignment in DC. Few techies can speak government. Dave is an exception making him a much sought after consultant on aviation technology and disaster response procedures.

Dave and I became acquainted about ten years ago through our interest in aviation technology. Retired Air Force, Dave has a global network of friends in the aviation/aerospace industries that most competitors would kill for. I was finishing my commercial pilot rating when I met Dave. He couldn’t resist the opportunity to engage in some verbal sparring with a female pilot. He was a quick-witted air traffic control supervisor who had mastered the art of weaving humor with sexual innuendos that traveled well under the radar scope of most people’s thinking.  My mother would be appalled to think that her well-bred, Irish Catholic daughter could pick up on such things without blushing. Dave was refreshing and exciting to me. I was always ready for the next adventure and Dave was my connection to a world full of interesting places and fascinating people.

“You have that look—what’s going on?” I asked as Dave entered the room. “Something’s off.” “This last email was more than a bit weird.” “We have a hurricane breathing down our necks and they want me on the next plane to DC.” “You’ve gotta be kidding,” I questioned with more than a bit of attitude. This is so typical, I though to myself.  “You know the government …they schedule things at their convenience, not ours,” he added.  “It looks like an evacuation is inevitable if this storm keeps tracking the way it has been.” “Can you handle this alone?” We found an old turkey ranch in the hill country that was far enough away from the coast as our evacuation spot.  “Get to the ranch as soon as they call for an evacuation, and I will join you as soon as I can.” I could tell he was concerned by his tone. It was more of an order than a request. Normally, I would take offense to what sounds like and order…but I’ve known Dave long enough to know it is his way of protecting me.  “And for God sake, remember…I will come to you if anything happens…you are to stay put,” he added in a scolding tone. Dave wasn’t one to leave things to chance and after 9/11, his military training kicked into high gear with plans and procedures.

Life changed for everyone after 9/ll. On the Texas gulf coast we typically worried about hurricanes, tornadoes or the occasional refinery exploding. Now, we worry about terrorist threats to blow up the ship channel, or the possibility of releasing some kind of biohazard in downtown Houston. Hell…if all of that isn’t enough, Mexican nationals protesting immigration laws last week threatened to take back Texas!  Life has been anything but boring.

Guests are invited to talk with Eminger about her dessert creations and sample her famous strawberries stuffed with New York Cheesecake and then dipped in white or dark chocolate. This is a rare opportunity for Texans to experience the original Eminger Berry from Maine.

The Food Network’s “Road Tasted” with Jamie and Bobby Deen cookbook, featuring the Eminger Berry recipe, will be available for sale during the evening. Eminger will be on-hand throughout the evening for book signings.

About the Village of Salado:

The Village of Salado is located in Central Texas approximately fifty miles north of Austin. The Village is a popular tourist destination due to its rich history, historic shopping district, idyllic setting on the Salado Creek, and its growing arts and cultural community. Salado has been home to many esteemed Texas notables including authors,Liz Carpenter and A.C. Green, Governor James E. Ferguson, Governor Miriam “Ma” Ferguson, and numerous historical figures have visited, such as Sam Houston and General George Custer. For more information visit the Village of Salado Web site at www.salado.com, or contact Debbie Charbonneau at 254-947-8634 – email saladotourism@vvm.com.

The three-day chocolate celebration promises to satisfy all the senses with chocolate, wine tastings, music, demonstrations, chocolate sculpting, a gourmet chocolate & champagne brunch, and gallery tours. The festival kickoff begins on Friday evening with an Evening of Chocolate & Wine from 7:30 p.m. to 10:00 p.m. at the Salado Wine Seller. Guests will be invited to savor the taste of premier Texas wines paired with decadent chocolates. The Evening of Chocolate & Wine will feature the finest in artisan chocolates, and wine tasting from Texas vineyards. Carriage rides and Belgian horses will provide transportation from both the Stagecoach Inn and Holiday Inn Express to the event location.

A Day of Chocolate & Art is scheduled for Saturday, October 11th. The first event takes place from 11:00 a.m. to 3:00 p.m. at the Stagecoach Inn. This event will feature chocolate cooking demonstrations from Chef Denice, an instructor at the Texas Culinary Academy, along with Jackie Parchman and Jennifer McClintock. There will also be a fun/educational class on wine and chocolate pairings from Jane Nickles entitled “Like Wine for Chocolate” along with live music and children’s chocolate activities.

Participants will have an opportunity to sample some delicious desserts made by Pastry Chef Denice Woods, each paired with a wine hand selected by Sommelier Jane Nickles. “We’ll see how the wine and chocolate interact, and keep tasting until we find the perfect wine and chocolate match,” stated Jane Nickles. Carriage rides and the Belgian horses will be available to transport guests to and from the event.

Gallery Night in October will open Saturday evening activities with all nine Salado galleries hosting featured artists and art enthusiasts with a wine and cheese reception between the hours of 5:00 p.m. and 9:00 p.m. Chocolate sculpting demonstrations will also take place at several galleries. Specific times and locations will be announced at a later date.

A special highlight of Gallery Night in October is the appearance of Susan Eminger at Prellop Fine Art Gallery. Eminger received national acclaim with her Eminger Berry recipe in The Food Network’s “Road Tasted” with Jamie and Bobby Deen. Eminger will be showcasing her famous dessert stuffed strawberries at the gallery between the hours of 5:30 p.m. and 8:30 p.m. Guests will be able to sample her famous strawberries stuffed with New York Cheesecake. The berries are dipped in dark and white chocolate. Eminger will be providing booklets full of recipes and stories from her experience. Don’t miss this opportunity to experience the original Eminger Berry. The business has closed. This is simply Eminger’s way of reaching out to Salado visitors. “I have found a new joy in this community,” stated Susan Eminger. “What better way to share the magic than through the chocolate festival?” concluded Eminger.

The three-day event will conclude on Sunday, October 12th with a spectacular Chocolate and Champagne Brunch between the hours of 11: 00 a.m. and 1:00 p.m. Participating restaurants and inns will dazzle guests with their finest chocolate and gourmet recipes. Menu selections incorporate the finest chocolate and gourmet selections, including Adelea’s cocoa rubbed beef tenderloin thinly sliced and placed on a bed of field greens with a raspberry vinaigrette and dark chocolate mousse with fresh raspberries. A complete list of Chocolate and Champagne Brunch locations and menus can be found at www.saladochocolatefestival.com.

For festival details and ticket information, visit us online at www.saladochocolatefestival.com or contact the Village of Salado Tourism office at 254-947-8634.

About The Village of Salado:

The Village of Salado is located in Central Texas approximately fifty miles north of Austin. The Village is a popular tourist destination due to its rich history, historic shopping district, idyllic setting on the Salado Creek, and its growing arts and cultural community. Salado has been home to many esteemed Texas notables including authors, Liz Carpenter and A.C. Green, Governor James E. Ferguson, Governor Miriam “Ma” Ferguson, and numerous historical figures have visited, such as Sam Houston and General George Custer. For more information visit the Village of Salado Web site at www.salado.com, or contact Debbie Charbonneau at 254-947-8634 – email saladotourism@vvm.com.

Bascom Heard’s Hill Country landscapes, were a real hit, as was his spectacular Art Fair poster, with the edition almost sold out. Chuck DeHaan’s horses were a sight to behold with extraordinary detail and lifelike qualities. Travis Keese from Kerrville had a remarkable scenic with deer walking through a hill country stream. Raul Gutierrez‘s western scenes exhibited his unique flair for blending backgrounds with an aged quality that was reminiscent of old-world paintings. George Boutewell, a Salado icon, has a consistency in quality and depth in his bluebonnet landscapes, that never fails to delight the crowds. And, Larry Prellop’s latest moonlit seascape, was exceptional with the light streaking through the waves as they begin to crest and break along the beach. There were so many wonderful painters in one room, one was hard pressed to pick a favorite.

Ron Wells’ bronze work was spectacular as you entered the door of the Celebration Center. The scale and patina on his bass bronze definitely had the ‘wow’ factor. Around the corner you could see Edd Hayes’ life-size figurative bronzes depicting early frontier life, where even women were required to pick up a rifle. Another big hit in the 3-D category was the metal botanical work of Charles Allen. His skill with cutting and bending metal into tiny, delicate flowers is simply extraordinary.

Playing background music for the show was Shelly King, an outstanding musician. It’s easy to see why the State of Texas chose her as the 2008 Musician of the Year. And, speaking of state artists of the year…the State of Texas Poet Laureates were well represented by Larry Thomas and Alan Birkelbach. These two extraordinary writers kept the crowds entertained with stories and personalized autographs of their poetry and writings.

Throughout the evening you could see artists meeting for the first time and many rekindling old acquaintances. The food, cocktails and spirit of the evening were on par with the level of art on display. Texas’s rich heritage in the arts was well represented in this small Village of Salado.

For pictures of the event, click here.

SALADO, TEXAS — Organizers of the hottest art show of the year just kicked it up a notch with participation by Texas Commission on the Arts’ Texas Originals artisans and the Texas State Artists. This includes some of the greatest painters, sculptors, musicians, and poet laureates from around the state. Art fans that have been traveling to the banks of Salado Creek for the past 42 years are in for a real treat this year. The quality and variety of artistic expression has never been greater.

The Salado Chamber of Commerce will host over 100 Texas artists and artisans at the 42nd Annual Art Fair August 2nd and 3rd at Pace Park and the new ‘Best of the Best’ Texas Fine Art Sale & Reception at Celebration Center on August 2nd.

“This is a very exciting year for both Art Fair fans and serious art collectors,” stated Larry Prellop, President of the Salado Chamber of Commerce. “Never before has there been such an extraordinary level of artistic talent… from top Texas artists that have rarely, if ever, exhibited together,” added Prellop.

Texas Original artisans working in a wide variety of media including clay, glass, fiber, wood, metal, stone, and more will be exhibiting along with Art Fair favorites at Pace Park on Saturday, August 2nd from 8:00 a.m. to 5:00 p.m. and again on Sunday, August 3rd from 8:00 a.m. to 4: p.m.

Texas State Artists will be honored at the inaugural “Best of the Best” Texas Fine Art Sale & Reception on Saturday evening from 6:00 p.m. to 9:00 p.m. at Celebration Center. This one-evening event offers art enthusiasts a unique opportunity to meet and mingle with some of their favorite Texas artists and poet laureates. Participating artists include: Dalhart Windberg, Roy Lee Ward, George Boutwell, Lee Herring, Ed Hayes, Kathy Vargas, Ralph White, David Keens, Jack Terry, B. Herd, Raul Gutierrez, Alan Birkelbach, and the 2008 Texas State Musician of the Year, Shelley King.

“The Texas Originals and Texas State Artists are two programs that we are very proud of, “stated Gaye Greever McElwain, Director of Marketing and Development for the Texas Commission on the Arts. “These artists represent the depth of the state’s artistic talent and its rich cultural diversity,” added McElwain. “Many of these artists began their careers at the Salado Art Fair,” noted McElwain. “I can’t imagine a better venue to showcase these two state programs,” concluded McElwain.

For ticket information, contact the Salado Chamber of Commerce at 254-947-5040 or visit them online at www.salado.com.

About Salado Art Fair: Salado Art Fair, held the first weekend in August, is one of the oldest open-air art exhibits in the state of Texas. For the past forty-two years, thousands of artists and artisans have traveled to the banks of Salado Creek to showcase their work. Over the years, many nationally recognized Texas artists have participated in the event, including George Boutwell, B. Herd, and Ron Wells. The Salado Art Fair is a Salado Chamber of Commerce event that brings over 5,000 arts enthusiasts and visitors to the community each year. For more information about the Salado Art Fair and other Chamber events call 254-947-5040 or visit them online at www.salado.com.

About the Texas Commission on the Arts TCA was organized in 1965 by the Texas Legislature to develop a receptive climate for the arts in Texas. TCA supports a diverse and innovative arts community in Texas, throughout the nation and internationally by providing resources to enhance economic development, arts education, cultural tourism and quality of life. For more information on TCA and its programs, please visit www.arts.state.tx.us.

About Texas State Artists Every two years, the Texas Legislature honors talented Texans for their years of excellence and dedicated commitment to the arts by designating them as Texas State Artists. Texas State Artists are native Texans or five-year residents of the state that have received recognition for high levels of excellence and success in their respective disciplines and are named as Texas State Poet Laureate, Musician or Visual Artist. Texas State Artists serve one-year appointments and demonstrate the essence of what art in Texas is all about. Previous winners include James Dick, Lee Herring, Ray Benson, Damian Priour, Red Steagall, Sharon Kopriva, and George Boutwell, just to name a few. The Texas Commission on the Arts (TCA) oversees the Texas State Artist program. The next call for Texas State Artist nominations will take place in the fall of 2008. More information, including a complete list of past Texas State Artists, is available online at www.arts.state.tx.us.

About Texas Original Texas Original (TxO) was created by the Texas Commission on the Arts (TCA) to help preserve Texas’ unique arts and crafts heritage and was designed to achieve three primary goals:

• promote original work by Texas’ craft artists;
• provide a method for buying/selling original Texas artwork and crafts;
• preserve traditional methods for creating hand-crafted work to ensure those methods are passed on to future generations.

Texas is home to an extraordinary number of talented craft artisans working in a wide variety of media including clay, glass, fiber, wood, metal, stone, and more. Artists included in the Texas Original program have been through a review process overseen by the Texas Commission on the Arts. Only artisans and crafts people who meet the highest business, quality and artistic standards are granted the title of Texas Original. When you see the TxO brand, you know you are looking at a high-quality, authentic, original work by a Texas artist. For more information on the Texas Original program, please visit www.txoriginal.com.

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As I look around my office, I see mementos of one success after another. So why is it that so many of us at this age begin to feel inadequate and fight to stay relevant in a world made up of young ‘kids’ with little knowledge and even less experience?

One would think the years of service, knowledge and wisdom gained by the time you reach the second half of your life would be an asset to just about any company. So why is it that when you send out hundreds of resumes, you never hear anything? Or, when you do, it’s an auto reply thanking you for applying. Then your resume goes into the deep dark hole, never to be discussed again.

Over the last few years, I talked to many colleagues from engineers, mortgage brokers, CEO’s of companies, to sales and marketing people over fifty. Everyone experiences a similar transition. It would be easy enough to write it off as age discrimination, but is the problem something deeper? Is there some light switch that turns off the moment we hit 50? As if you are smart and relevant up to the end of your 49th year…and then, abruptly, when the clock strikes midnight…you become stupid and irrelevant?

I suppose we could blame the marketplace with so many people at all ages continually floating their resumes and competing for the same jobs. It used to be that if you weren’t employed by the same employer for over two years, they considered you to be a job-hopper. Today, 1-1/2 to 2 years is the norm. The volume of resumes for each job is astounding and I’m sure most end up filed away until it’s time for the shredder.

Is it the marketplace…or is it us? Does our attitude change after 50? Are we less patient, burned-out, and tired of the same old routine? Have you caught yourself saying with a sigh, “same deal…different day?” Or, perhaps it’s one of my favorites “been there, done that, and have many t-shirts to prove it?” Or, the typical, “this is not my first rodeo.” What message are we sending?

Are we simply bored with the whole idea of working? Do we have so many medals that the everyday world of business lacks the fun, passion, creativity, and fulfillment that it once held for us?

Several years ago, while attending the funeral of my uncle, my sister said something so profound that it gives me a chuckle every time I think of it. There were four or five of us sitting in circle discussing career choices and, bragging about our accomplishments in business. When my sister was asked, “So, Mary, what do you do for a living,” she excitedly interjected “work has never appealed to me!” We giggled and resumed the conversation. Instead of feeling left out, she was happy to be on the outside looking in. She couldn’t imagine business would hold anything of interest for her. She had crafted a remarkable life of a ‘Martha Stewart’ clone outside the normal rate race that all of us were so consumed with. Not being part of the ‘inner circle’ was just fine with her. In fact, it was better than just fine.

Isn’t it about time to start working your passions? You know, those things you absolutely love to do but never had a chance to do them due to the long work weeks, burning both ends of the candle, and keeping the midnight oil burning for too many years. Trust me…we’ve earned the right to take this blank canvas and do something creative with it. Let’s write this 2nd chapter of our lives so that it is something worth talking about…and this time…let’s do it with passion!

“The worst loneliness is not to be comfortable with yourself.”
Mark Twain

It was damp and cold under the bleachers where I sat crouched so no one could see me. I could hear faint voices from the adults perched in the gazebo nearby as they watched the other children playing. I looked forward to this day for a longtime. I couldn’t wait until the end of school. This was it. The last few days of the school year were reserved for the class picnic. At 10-1/2 years old, it doesn’t get much better than a picnic of hot dogs and games in the park. And, this was Moorland Park. My favorite place in the world. Or, it used to be. Today is was lonely, cold and dark.

The rain started slowly coming over the hills. I could smell it from my hideaway. Parents and children began swarming the gazebo. In the commotion, I heard my mother ask about me. At first it was a casual interest, and then I could hear in her voice…she was more than a little concerned. I had a birds-eye view of the frantic search beginning, but I had no intent of letting her know where I was. I was angry and hurt. If she wanted me to go away, I intended to go away… and stay away.

When we first arrived at the park, several out-of-town classes emerged on us. They were all about the same age; however, there was something different. They were from a larger town nearby. They walked in as if they owned the place. I immediately felt that they were interfering in our picnic. Who did they think they were moving in on our picnic!

Being shy was definitely a handicap; nevertheless, I decided to be friendly and ask them to join us. I got no closer than ten feet from them when they quickly dismissed me as if I were bothering them and not cool enough to begin to consort with their group. They began laughing as I walked away.

I looked around to find someone I knew. No one was around. Returning to the fire pit, I realized that my classmates had ventured out on a hike. No one was around except for the parents sitting in the gazebo. I decided the best course of action would be to sit with my mother until my classmates returned.

Walking slowly up to the gazebo, several mothers greeted me as I entered the stairs. As I approached, my mother asked why I wasn’t playing with the other children. Before I could explain, she abruptly pushed me away insisting that I try again to play with the new children. When tears began to well up, she stood up and pushed me off the gazebo telling me, “go away, you are embarrassing me in front of my friends.” It was as if someone had punched me in the stomach. It never occurred to me that I would be rejected… especially by my mother. For the first time in my life… I felt loneliness. That was forty years ago, yet I can remember it like it was yesterday.

I was a lanky, tall, flat-chested young woman growing up. My grandmother, who was a wonderful seamstress, commented on several occasions that “my clothes looked better on the hanger than they did on me.” She was a wonderfully strong woman, who served to shape my life more than I would have ever realized during those years. Her name was Arlene Ida Roberts Hartnett, from Welsh decent. She was a survivor from the age of four when her mother died leaving ten children for her father to raise. As one of the youngest, she was sent off to live with the Mohawk Indians for the summers. It was a common practice for large families in difficult times. The older children went off to work to help support the family. There were no daycare’s or others to baby-sit.

Listening to my grandmother tell stories of her summers with the Indians was a favorite pastime growing up. She knew more about mushrooms, wild greens, wildlife and life in general than most. Her practical approach to life’s dilemmas and her gentleness of spirit created a personality that is, still to this day, unlike anyone I’ve ever met.

On one cold morning, I noticed my grandmother hanging clothes on the line to dry. It was still winter and the clothes were likely to freeze on the line, which my brother, sisters and I thought was great fun to punch as we walked by. As she was pulling one piece out of the laundry basket, she looked down and noticed a garden snake had wrapped itself around her ankle, seemingly for warmth. Smiling she excitedly stated, “isn’t that cutest thing you’ve ever seen?” I was desperately afraid of snakes, still am. I could see nothing…and I mean nothing…cute about a snake around her ankle. But, that was my grandmother. She looked at life differently than most women.

It wasn’t until her death at 82 years of age that I realized just how interesting a life she lived. Sitting on her bed looking through her personal belongings with my siblings, I found hundreds of letters and published articles. She was a fabulous writer. The words were eloquent and carefully chosen to paint a wonderful visual picture. I loved what I was reading and couldn’t wait to discover more.

This unique product emerged out of frustration with traditional scar solutions for women. ScarArt was designed by a woman for women. This temporary tattoo stays in place for up to three days, even in the harshest of environments involving sun, sand, and water exposure.

Until ScarArt, women with abdominal scars had few realistic options. While traditional cream-type products help to diminish a scar’s appearance, the scar is always visible. The only other option was a permanent tattoo to disguise the scar. While permanent tattooing has gained popularity, for many women the pain, lengthy process, and the dis-figuration only add to the problem. ScarArt is the first realistic product on the market that offers women a temporary solution in the form of an adhesive accessory that looks great and stays in place.

ScarArt is made with FDA Regulated Adhesives and Colors in the US. It is waterproof, smear proof, and is designed to stay in place for up to three days. The real value in ScarArt is how it empowers women to feel sexy and confident, no matter what they are wearing.

ScarArt initial market focus is tummy tucks and c-section scars. Products range in price from $19.95 to $29.95. Additional products in development target the pediatric market with adhesive strips designed for vertical scars left from open heart surgery. These ScarArt designs allow children to temporarily hide their scars with fun, colorful designs. For more information about ScarArt, contact Darin Barrow, President of Sales at 866-964-SCAR (7227) or visit www.scarart.com.

Galleries will be showcasing the work of local, regional, and national artists. Exhibitions include Kingfisher Fine Art & Music’s Spring Show featuring new work by Susan Kirchman and Neil Cronk; WW Treenware Folk Art Gallery & Studio will be featuring artists working in treen, watercolor, polymer clay, pottery, fused glass, mask making, and photography. At Enye Gallery, artists working in jewelry, oil, fiber art, beads, ceramics, oil and photography will be showcasing their work. Bremond House Gallery opens its Legends of Tanach Show, with artist Dan Grife working in acrylic & copper. An added feature to this show is Grife’s storytelling sessions at the gallery scheduled for 1pm, 3pm and 5pm Art Walk day. Bremond House is also hosting a book signing with author E. C. Gibson and his new murder/mystery novel, Nine Lords of the Night, during the Art Walk beginning at 6pm.

Local businesses or ‘other wall’ locations host many of the local and regional artists working in oil, watercolor, fused glass, beads, photography and origami. Hosting businesses include Blue Moon Auction and Mercantile, A Flower Connection, Stanberry & Associates Realtors, Elgin Depot Museum, Franklin Bank Community Room, Jeanette Shelby Realty, Elgin Outfitters, Main Street Optical, Back Forty Chiropractic, Nirvana Smoothies & Café, and Lickity Splits Ice Cream Parlor.

The Oncor Electric Delivery offices will host the first children’s art component to the Elgin Art Walk. Children’s face painting will be done by artist Kristen Rendulic and a Children’s Art Contest with the theme Texas Springtime, will be hosted by Susan Snelson and artist Ava Barker of the Elgin Arts Association, The children’s events will run from 5:00pm to 9:00pm.

Elgin Art Walks are scheduled on the second Saturday of the months of March, April, May, June, September, October, November and December, from 6:00 p.m. until 9:00 p.m. The Elgin Art Walk is in the Historic Downtown District and takes place in existing commercial galleries, non-profit arts spaces and what are called “other walls”; restaurants and retail stores. Art Walk exhibits are free and open to the public. For more information about exhibits and a detailed walking map, visit www.artinelgin.com/.

Salado has a large population of resident artists, galleries, one-of-a-kind specialty shops and restaurants, cultural festivals, and numerous bed & breakfast accommodations – all nestled into one of the most scenic areas of Texas. It has been a treasured arts destination for several decades. The brand repositioning campaign will broaden Salado’s definition of the arts to include all expressions of creativity; fine arts, literary arts, handmade crafts, cultural displays, performing arts and music. The campaign is a cohesive plan that incorporates an artistic theme into every visitor touch point.

“Collectively we can do more to promote interest in our community and businesses than we can do individually,” stated Larry Prellop, President of the Salado Chamber of Commerce. The “Artfully Yours” initiative has unprecedented public and private cooperation,” added Prellop.

Salado has hired Austin-area communications firm, Embella, Inc., to create momentum in the hearts and minds of travelers as they contemplate weekend getaways. “We chose Embella because of their history of energizing developing arts communities and their understanding of our local markets,” added Prellop. Embella plans an integrated marketing and public relations strategy consisting of media tours, feature stories, press releases, online marketing, advertising and events strategy, and collateral repackaging. Embella expects to ignite interest from the Austin, Dallas, Fort Worth, San Antonio and Houston markets – areas that range from forty-five minutes to three hours driving distance from Salado.

“Salado’s re-branding effort is aimed at leveraging its core strength as an arts destination with a refreshed, more relevant message for younger generations who may not be familiar with the brand,” stated David E. Warner, CEO of Embella. “What we’re undertaking is a significant change in how Salado views itself, how businesses interact, and how Salado’s originality and uniqueness is communicated… ultimately translating into a heightened experience for visitors and increased tourism revenue,” concluded Warner.

There is an emerging trend among small communities to embrace their cultural assets to attract tourism dollars, and for good reason. According to the Travel Industry Association of America, (as reported in The Historic/Cultural Traveler, 2003 Edition) eighty-one percent of the 146.4 million U.S. adults who took a trip of 50 miles or more away from home in the past year can be considered cultural and heritage tourists. These travelers spend more per visit: $623 vs. $457 and stay longer: 5.2 nights vs. 3.4 nights than other travelers.

About Embella

Embella is a full-service marketing and communications agency specializing in economic development through arts and cultural initiatives. Services include management consulting, research, marketing, publicity/public relations, promotions, advertising and Web site development. Embella’s client list is varied and includes Fortune 500 as well as small to mid size organizations. For more information about Embella, visit their web site at www.embella.com or call 866-505-3400.

About Salado

The Village of Salado is located in Central Texas approximately fifty miles north of Austin. The Village is a popular tourist destination due to its rich history, idyllic setting on the Salado Creek, and its growing arts and cultural community. Salado’s population of 3,944 is unique for a small rural town with 70% of its population having attended college and earning higher household incomes compared to the US average. Salado has been home to many esteemed individuals including authors, Liz Carpenter and A.C. Green, two Texas governors, Governor James E. Ferguson and Governor Miriam “Ma” Ferguson and numerous historical figures such as Sam Houston and General George Custer. For more information visit the Village of Salado Web site at www.salado.com; contact Debbie Charbonneau at 254-947-8634 – email saladotourism@vvm.com, or Suzi Epps at 254-947-5040 – email saladochamber@vvm.com.

It goes without saying that if you can buy an original piece of art…do so! The reality is, however, that budgets and art buying tastes aren’t always in balance.

For those of you who aren’t ready to invest in an original, but love an artist’s work and are considering an original print or a reproduction of that work, let me offer some guidance regarding the world of reproductions and prints.

Not all prints are created equal as you will quickly see. And, unlike what some writers would have you think…there is no concerted effort by the major publishers coming up with ways to mislead the marketplace with confusing jargon. Misleading the public is a surefire way to end a career in publishing very quickly. The short-term gains would never measure up to the long-term relationship a publisher has with its clients.

The truth is that print publishing technology and the technical ability of artists using the computer as a medium to create original works has changed so much over the past twenty years that the industry terms used to describe the difference between an original print and reproductions have become blurred, misused, and confusing.

To simplify, think of it this way. A print is either an original or a reproduction. Both original prints and reproductions can be printed on canvas or paper. Giclee prints are most often reproductions, but they can also be original prints. Confusing enough for you? To understand the difference in terms, one needs to consider the print making process.

Original Prints:

The artist is personally involved throughout the process of making an original print, thus in the eyes of collectors giving it the highest value in the print market. The artist begins the process by making the plate. This is often done by painting, drawing or etching on a block of wood, stone, metal, etc. The block is then used by the print-maker to make a plate from which individual prints can be pulled. The artist monitors the entire process and approves each print as it is pulled. As a final task, the artist personally signs and numbers his/her original print edition. Edition sizes are typically low in this process as it is very labor intensive. And, yes…crazy as it sounds…the word original does not mean that only one is printed as you may assume. The word original means that this image never existed in an identical form in any other medium. These numbered original prints are called ‘multiples.’ A Provenance Card or Certificate of Authenticity should accompany an original print with the information about the artist, publisher, edition size, and in the case of a Provenance Card an ownership history of the print.

Reproductions:

Conversely, if the artist were to create a painting, photograph it, make a plate, and have it run off on a press, the result would be reproductions or copies of the original. Reproductions can be limited in edition size or open editions, numbered and signed by the artist. Limited editions with lower numbers typically have a greater perceived value in the eyes of a collector than open editions. The same applies to the artist’s signature. If each copy is individually signed and numbered by the artist, it will hold a higher perceived value than those that were signed only on the original and copies made of that signature. Also, reproductions that are numbered under 10 hold a special appeal as they would with original prints. For this reason, you will find many artists reserving the first five of an edition rather than releasing them to the market.

A reproduction also holds a lesser value compared to an original print in the eyes of a collector because it has little or no involvement from the artist in the making of a print. That being said, most reputable publishers will have the artist or artist’s agent ‘sign off’ or approve color and consistency as an accurate representation of the original work if the artist is living and the estate whenever possible if the artist is deceased. In such case, this information would be stated on the Certificate of Authenticity that would be included with your purchase of a print.

Now that we have built a foundation of understanding comparing an original print to a reproduction, let us mix it up a bit to see if you have been following along.

What would you call a print made by an artist who uses the computer as his/her medium to create an original image, and then personally prints each print with no other person involved in the process?

What if they create the original work on the computer and hire a service to print the work out for them, as is often done with Giclees?

If you are thinking it is not a reproduction because it does not exist in any other form, you are correct. The artist is involved in the first question from beginning to end. In this case, it would have to fall into the original print category.

What about when the artist creates the original using the computer as his medium, and then takes it off to have someone else print it? This is where it becomes a bit more complicated from my perspective. I would want to know how involved the artist was in the selection of paper, size, edition size, color, etc. Did they stand by and approve every step of the process much as if the artist traditionally has done working with a print-maker? If so, it would lend credence to the belief that this work should fall within the original print category, especially if it is a limited edition size, signed and numbered by the artist. Some would argue that it should be valued as an original print on the fact that it does not exist in any other form, and perhaps they have a point. I personally place a higher value the more involved the artist is in the process. This is certainly a point for debate.

Can’t tell the difference between a Giclee print on canvas and an original?

You’re not alone. The quality can be so good that even curators can be fooled at first glance. The first thing I would recommend is to look for brush strokes by viewing the piece from the sides. This can be a bit misleading because some Giclee prints are now embellished with brushstrokes. However, you will notice that the embellished vanish strokes tend to be done randomly rather than the intentional brushstrokes of an original. If you’re still not sure, ask for the frame to be removed so that you can inspect it further. You will notice the uncoated paint around the edges of an original. On a giclee, the image will have a razor sharp edge…a true indication of a print or reproduction. Also, you can hold an original up to the light and often notice the artist’s drawings under the paint.

If you are causing a scene at the gallery or artist’s booth with your Inspector Kluso analysis, it may be wise to revert to your questioning… at least until the crowd disappears!

It doesn’t take long to see how confusing the world of prints can be. If you take away one tip from this blog, remember to work with people you trust. If you know of a reputable gallery owner or print dealer ask questions. Always insist on a Certificate of Authenticity when buying limited edition prints. And, if you are buying directly from the artist, do your homework and inquire as to how the print was created. Many artists are not as knowledgeable as they should be when it comes to selling reproductions of their work and often miscommunication rather than intentionally mislead.

Whether you buy an original, an original print, or a reproduction take the time to ask questions. If a gallery owner or an artist doesn’t jump at the opportunity to answer your questions…walk away.

While it may sound cynical on the surface, it is human nature to look at change from a very personal vantage point. After all, you are asking people to alter course and set their sails for the unknown.  Changing course means taking risks and risks can come with all sorts of political ramifications.

Using the arts as a stimulus for economic growth seems like a no-brainer to those of us involved in the arts; however, for others it’s a new concept. No matter how many articles you throw at them to support your vision, or how many cities you point to with success stories, it’s likely you will still hear, “but it could never work here.” This single statement is like the screeching of chalk on a chalkboard for change makers. Of all the things that will frustrate even the most impassioned group, this single statement will take the wind out of their sails ‘faster than a duck on a June bug.’ So, the evangelical approach to herding cats has its limits. Trust me…we’ve experienced it first hand.

Translating “it could never work here” into something usable may take some thought, but the time spent looking at it from the other guy’s perspective is time well spent.  Unless their statement is backed by solid facts, they are in essence telling you that they are not convinced the effort and risks are worth it. Once you’ve arrived at this juncture in the conversation, there is no turning back. You must now consider the political, monetary, and sociological aspects of your vision. Who are the heroes and heroines in your vision? If the community embraces your idea how will it play out? Obviously, there is no way to guarantee a successful outcome, but you are asking them to put their reputations on the line and for that you will need to mitigate as many of the risks as possible.

Our turning point came in a single meeting of interested parties. Once the dialogue changed from whether it should happen to what is required to ensure success, we knew we had taken the first steps in realizing the vision. The one-on-one meetings prior to the group meeting gave us the lay of the land and were helpful in gauging the pulse of future meetings. Our community had a number of artists residing in the area and a couple of events each year at which they could exhibit their work. What we were suggesting to them in branding the community as an arts destination wasn’t a huge leap, but it was a leap of faith in trusting that it could really happen and in a short span of time.

Herding cats in search of buy in requires patience, an understanding of human nature, and a forgiving attitude for all the toes you are likely to step on in the process of selling your vision.

My husband and I lived in Austin, twenty miles away, for twelve years and never noticed anything special about Elgin. The only impression we had of the town was that of traveling Hwy.290. It looked…well, let’s just say…it didn’t evoke images of a charming little town with lots of cultural potential.

When we turned the corner from Hwy 109 onto Main Street, that’s when it hit us. A brown TxDOT sign with the words “Historical District” flashed in my head like a neon light. We traveled up and down the tree-lined street several times, taking in the historic homes and the charm of the downtown. In less than an hour, our vision of Elgin had been totally transformed.

For all those years traveling from Austin to Houston, we had no idea that Elgin had a gem of a downtown several blocks away. It was charming, architecturally interesting, and bustling with local activity. When we took a closer look, we discovered that Elgin had more elements for success at becoming a great arts destination, than any other city we looked at. We were sold, hook, line, and sinker.

The vision of what Elgin could be haunted us for months before we decided to take up roots here. It was like nothing we had ever experienced. The vision of a culturally vibrant downtown with shops, restaurants, and galleries was crystal clear. The more we researched…the more people we spoke with…the more impassioned we became. We quickly discovered there was no turning back. One meeting led to another and the concept began to take shape. We had embarked, quite unexpectedly, on an adventure that continues to unfold.

A gallery visit should be an enjoyable experience. It should be an approachable environment where you can enjoy the art, ask any question that comes to mind, and learn about artists and their techniques. Only then, should an art enthusiast feel free to part with their money and purchase a work of art.

Unless you are an art history major, many of the terms used by gallery staffers can be confusing. From my perspective, knowledge of some very basic terms will help to guide you through the art jargon maze.

First of all, if we take a 40,000 foot view of art we would consider two primary categories: two dimensional and three dimensional works. The 2-D category is art that typically hangs on the wall. This work includes oil paintings, watercolor, acrylics, pastels, etc. 3-D work tends to be free standing or something that you would place on a tabletop. This category includes sculptures of bronze, glass, stone, wood, metal, etc.

Drilling down a little further, the next term you will hear is medium. As you might guess, the “medium” is what the piece is made of. For example, the medium in a painting could be oil, acrylic, or watercolor. You might also hear the term, mixed media. Mixed media would include two or more mediums in the piece. A piece that uses oil, acrylic and metal in the painting would be considered mixed media.

Style is another term used frequently by gallery staff to describe an artist’s work. A cursory overview of styles includes contemporary or traditional at a high level and within these categories you have abstract, cubism, expressionism, fauvism, impressionism, pointillism, pop art, postimpressionism, primitivism, realism and surrealism.

The best way to acquaint yourself with the styles of art is to look at the work of famous artists. For example, Chagall and Picasso painted in Expressionism and Cubism styles; Salvador Dali’s style became known as Surrealism; Leonardo Da Vinci’s paintings were done in the Realist style; Monet and Renoir painted in an Impressionist style; and Jackson Pollock’s paintings are considered Abstract style. Once you see the work associated with a specific style, you will find it much easier to identify art styles of some local or regional artists.

Another term you may hear when describing art is composition. Composition includes such elements as: the image area, depth or the perspective, line (the direction the viewer’s eye travels when looking at a painting), value (the use of light or dark values within an image to create the mood), proportion, and the relationship between form and space.

Instant recall of these terms is not necessary for you to appreciate art. However, an awareness of the thought process an artist goes through when creating a piece of art will enhance your gallery visits—and perhaps, give you a little added confidence when you interact with the super intelligent, sophisticated, and generally cooler than thou gallery staffers.

The first thing you want to consider when selecting art is your taste. Now, I know what you’re thinking—what if you have no taste? Rest assured everyone has a preference when it comes to art. People just have a hard time articulating what they want. To complicate matters further, many people find that their spouse or roommate have very different tastes when it comes to art. If this is the case, you will need a small dose of art therapy. The kind of art therapy I’m talking about requires several field trips together visiting museums and art galleries. (It’s the perfect date idea for you and your husband…except, perhaps, during football season!) Once you start communicating openly about your likes and dislikes, you will be able to find some common ground to work with.

After determining your taste in art, you will want to consider art from both primary and secondary markets. In the primary market (the first time art is sold), you will be purchasing art directly from the artist or the artist’s representative. The primary market offers a great opportunity to discover and support emerging artists. This market is more speculative than the secondary market since the artist/artist representative instead of the market is determining the value.

If you are considering pieces from the secondary market (resale), there are several things you will want to consider before purchasing:

Authenticity – Determine that the work was done by the artist to whom it is ascribed.
Quality – The work should rank among the best work of the artist.
Rarity – The rarer the piece within an artist’s body of work, typically the more monetary value will be attributed to the piece.
Condition – Does the piece need restoration? If there are signs of previous restoration, was it done properly?
Provenance – The seller should be able to provide the buyer with a complete history of who previously owned the work.
Value – The value will include the variables mentioned above and any information regarding secondary market sales for the artist.

No matter which end of the spectrum your taste in art happens to fall, the more time you spend educating yourself about art, the better purchasing decisions you will make. So, don’t just buy a piece of art to match the sofa…take the time to find art that truly speaks to you! If it happens to look great with the sofa…that’s all the better.

The point is—do we really know—which artists will be considered historically important in the year 2112? If the great masters of art were alive today would the industry readily recognize their talent? Or, is their talent a product of historic review—considered edgy and provocative looking back at that moment in time. Certainly, quality and good technique play a vital role in accessing an artist’s work…but what about style? Would their work be considered important or relevant if they were painting today?

The ARTnews article represented the opinion of over 30 experts. From that group of industry leaders across the globe, approximately 170 artists were named. Only six artists were mentioned more than once.

Andy Warhol (6)
Bruce Nauman (5)
Jasper Johns (3)
William Kentridge (3)
Yoko Ono (3)
Kara Walker (2)

Andy Warhol’s Pop Art led the pack with Bruce Nauman’s contemporary American sculptures as a close second. It will be interesting to see how these names play out 105 years from now.

Hopefully, someone is jotting this down in their calendar!

As children we start out with no inhibitions about what we think or what we draw. We believe everything is good. Our early drawings of a house, a tree, and the dog down the street are all wonderful works of art until someone tells us differently.

It would be hard to imagine an artist growing up today without criticism of some type, but imagine for a moment that a person could be protected from all outside influences. What would their work look like? Would it become stale and uninteresting without outside input? Or, would it be the ultimate in pure, raw talent, showing us something we’ve never seen before?

I’ve come close to seeing raw talent over the years. One artist, in fact, came in the other day that came close. He lives out on a ranch far away from the rest of the world. He has never received any formal art training, yet his drawings are exceptional. I noticed, as he described how he created his work, that his approach was unorthodox yet every bit effective. I also notice the unusual level of detail he insists on before releasing his work to the market. He isn’t worried about whether his work will be deemed historically important, or rushing to get to market quickly. He competes with no one but himself.

I often wonder if most artists have become overly susceptible to the influence of a very fickle art market, and that in the process we are recycling the same concepts over and over again to the point of homogenizing creativity. The art world is full of opinions and critics with great influence, yet no personal artistic skill to support their opinions. In listening to these critics we end up creating a lot of ‘stuff’—but truly raw talent—now that’s something to see. If only there was a way for artists to forget what they have learned from the critics, and return to the days of childhood when they could freely act on each and every impulse to create. If only raw talent could be rekindled, imagine the art that could be created.

This encounter got me to thinking. How is it that people see such different things in a single piece of art? We’ve probably had two or three hundred people look at that piece and no one else had mentioned seeing a pink giraffe. Is it a reflection of ones own input? Perhaps, it is created in the mind’s eye? Webster’s Dictionary defines the mind’s eye as “the mental faculty of conceiving imaginary or recollected scenes.” If that is the case, then are we conjuring up images each time we look at a piece of art based upon our own creativity and not necessarily that of the artist’s?

Skynear says the best thing he can do when he is working on a piece is to “get out of the way and let the art happen!” This being said, one could conclude that great art is often less intentional than it is accidental. Perhaps that is what we love best about art…the hidden personal surprises revealed when we allow our imagination to play free.

When I think about Dad’s life I would have to say that he was probably best known for his naturally reserved nature. He was a quiet, unassuming man that would get excited about the simplest of things…a great Sunday meal at Holly’s…a new edition of Motor Trends…seeing a new aircraft fly overhead…lunch with his friends at the community center…the way Mom’s cat rubbed up against his legs…the pride he felt watching his grandchildren grow into young men and women. Simple things meant the most to him.

There were so many things about Dad that few of us really knew. He wasn’t the type of person to brag or even talk about himself much. Unless you asked him point blank…you would never know that he drove for General Patton during the war…or that he was a expert violinist… An accomplished figure skater…Or the fact that he built the early cockpit environments that are still used in aerospace today. I bet you didn’t know about the roadster that he and his brother built in the back yard? Yes, these things were extraordinary for such a quiet, reserved man. Other things were not so spectacular, but every bit as extraordinary…little things like keeping every note and card that he ever received for birthdays and holidays. The way he would phone out of the blue…just to say hello. The way he would remember to ask about the new car you just bought or how the kids were doing. Simple gestures…simple kindnesses. Nothing too fussy…grand, or overdone…that wouldn’t have been his way.

His expectations about life, wealth and happiness were few. He didn’t need a castle, riches or a new sports car every year to validate who he was (although I think he would have liked the new sports car every year). He was content with simple pleasures of surrounding himself with a loving family and lifelong friends.

If Dad could speak to us now, he might suggest that we look beyond this time of sadness and notice some of the simple things that gave him so much pleasure. He might also suggest that we look for him in ordinary places. He also might suggest listening to the words of this Hopi Indian prayer when the sadness starts to overtake you.

Do not stand at my grave and weep;
I am not there, I do not sleep.
I am a thousand winds that blow.
I am the diamond glints on snow.
I am the sunlight on ripened grain.
I am the gentle autumn rain.
When you awaken in the morning’s hush
I am the swift uplifting rush
Of quiet birds in circled flight.
I am the soft stars that shine at night.
Do not stand at my grave and cry;
I am not there, I did not die.

by Mary E. Frye

We will be looking for you Dad in the winds that blow, the spring rains, and the quiet flock of birds that passes over head.

Oh! I have slipped the surly bonds of earth
And danced the skies on laughter-silvered wings;
Sunward I’ve climbed, and joined the tumbling mirth
Of sun-split clouds – and done a hundred things
You have not dreamed of – wheeled and soared and swung
High in the sunlit silence. Hov’ring there,
I’ve chased the shouting wind along, and flung
My eager craft through footless halls of air.
Up, up the long, delirious, burning blue
I’ve topped the wind-swept heights with easy grace
Where never lark, or even eagle flew -
And, while with silent lifting mind I’ve trod
The high untrespassed sanctity of space,
Put out my hand and touched the face of God.

John Gillespie Magee, Jr.

The first time I saw this poem I was in the LaPorte, Texas FBO’s (fixed-based operator’s) front office waiting for my instructor to surface from a four-hour aerodynamics class. Boring stuff, to say the least, but all of us knew we’d better understand it if we wanted to get our rating. You’d think I was getting ready for combat the way my knees were shaking. It was the day I would solo.

A solo flight for a student pilot is a major milestone. It’s the point of being accepted into a fraternity that few women find themselves wanting to belong. “Today is the day,” I kept repeating to myself. The more I tried to stay calm, the more my knees would shake. Reading High Flight was the only thing that seemed to calm me. It was, without a doubt, the most beautiful poem I had ever read. I felt every word as if they were my own.

Flying for me began with my uncle who owned an old Stearman, PT-17 in Houston. He’d take me up to practice barrel rolls, snaps, lazy eights and stalls. That open-cockpit was an amazing experience. The wind blowing in my face as I peered down from 10,000 feet was like nothing I had ever seen. It was addictive. My uncle didn’t have much use for female pilots, much like most his age, but he was fascinated with my thrill at taking the stick.

He explained to me that flying was not a sport suited to women. Nonsense, I thought. Just look at all the great women aviators, Louise Thaden, Bobbi Trout, Amelia Earhart, Fay Willis and Marjorie Brown. These women started their own race when the Bendix Race wouldn’t allow women in 1929. They called it the Women’s Air Race, which was later dubbed the Powder Puff Derby by Will Rogers. These were women not afraid to take on a challenge and I was determined to join them.

Little did I know when I set out to get my pilots license that I would be scared to death to solo. It wasn’t as if I didn’t have the training. I met the 40-hour requirement and had done well in most of my sessions. There was just something about the instructor leaving the plane that made me nervous. I knew if he was there, nothing could go wrong no matter how badly I messed up. Now, there would be no safety net. It was all up to me.

Around the corner came my instructor with a happier than usual demeanor. He was thrilled that I was about to solo. We quickly did our pre-flight check and jump in. After taking it “around the park” (within the landing pattern of the airport) he told me to taxi over and let him out. He said, “you’re as ready as you’ll ever be!” I was trying to play it cool, but the perspiration above my upper lip gave me away. I kept thinking, “he really doesn’t know what I don’t know. If he did, he wouldn’t let me take this plane up by myself.” I felt like my bluffing finally got the best of me. I had fooled my way into an awful situation. I thought I would embarrass the heck out of my self by wrecking the plane, or worse yet, I’d die. I even imagined friends and family mourning my passing from this solo flight.

As I taxied to the take off threshold, I took a deep breath and gave the throttle a quick push forward and away I was. The plane hopped right up to 400 feet with a gentle wind lifting the Cessna’s wings. The freedom was amazing. It wasn’t as scary as I thought it would be. I was actually having fun. The only problem was that I had to come down, and preferably in one piece.

I entered downwind and began my approach checklist. I kept going over the High Flight words, those that I could remember anyway, in an attempt to calm myself. I checked things two and three times just to make sure I didn’t mess anything up. Coming in on final approach I barely took a breath. I felt I was a bit high for the runway and quickly adjusted. I was so busy at this point that I didn’t have time to be scared. I landed without much more than a little wobbling from ground effect.

I taxied over to my instructor who had a big grin on his face. He got in and said, “you didn’t think you could make it, did you?” He was right. He had more confidence in my than I had in myself. Since that day, every time I hear High Flight I think of that February afternoon and the words that got me through the most frightening hour of my life, my solo flight!

About High Flight: An American pilot and officer serving with the Royal Canadian Air Force composed High Flight. He wrote this poem in September 1941 and died three short months later from a mid-air training collision. This poem was mailed to his parents and has been associated with great airmen since World War II. In fact, President Reagan quoted from it during the Challenger disaster.