Country Lifestyle
June 2018 Profile: Steve Boaldin
Cowboys on Canvas
By Laci Jones
He never dreamed he would be on television. The humble artist with a kind smile expressed his vision to tell the stories of cowboys through his art, but God had other plans for the artist. Through his new television series titled “Art of a Cowboy,” Steve Boaldin meets with different cowboys and ranchers across the Midwest to share their stories on the screen as well as on canvas.
A cowboy himself, Boaldin’s own story began on a ranch in Elkhart, Kan., in 1962. The most enjoyable part of his childhood was working cattle as a family.
“I was very fortunate that God allowed me to be born and raised on a ranch or none of this would’ve happened,” the cowboy explained. “We were big farmers and ranchers, but my particular interest was ranching.”
His father made sure all five of his children knew how to ride horses. They attended many rodeos throughout the years, a sport that Boaldin picked up on. His parents did not want him riding rough stock because of the danger involved, but the 10-year-old cowboy had other plans.
“I had three buddies who had already been riding steers for a couple of years, and I wanted to do it so bad,” he added. “One of my teachers secretly entered me in a steer riding contest in Clayton, N.M. I told my parents I was just going to go and watch the other guys.”
The young steer rider placed fourth in the rodeo and won a belt buckle.
“I had to hide that buckle for a couple of weeks because I did not know how to tell my parents,” he added.
Boaldin finally told his parents the truth. While he was in trouble for deceiving them, they decided to give him another chance at the sport. He went on to win first place in the next three rodeos. He started riding bareback broncs and continued to rope calves, but bull riding was his best sport.
“Cowboys are a symbol of rugged, tough Americans,” he said. “Cowboys will always be something that’s bigger than life to me.”
The cowboy lifestyle would become the focal point of his art, which started at three years old. Boaldin told funny stories with his little cartoons.
His family fostered his passion for drawing by keeping his artwork. His grandmother, who was also a good artist, noticed the young artist’s talent. She gave him Walter Foster art books that helped young artists learn how to draw. She also encouraged him by providing him with his first paint set.
A self-described “average student,” Boaldin did not attend a formal college after graduating high school but worked on the family ranch instead.
“I had no plans to go to school because I was just young and did not know what I wanted to do,” he added.
The year before he got married, some locals met a traveling art teacher named George “Dord” Fitz and took a few classes. The locals told the artist about Boaldin’s abilities and suggested he help the young artist.
“His first thoughts were ‘There is no way an 18-year-old was going to be serious about art,’” Boaldin explained. “He was in his 70s at that time, but we just clicked when we met.”
Fitz was generous and allowed the Kansas native to take two classes for the price of one for two years. Before, he had worked primarily with black and white, but he began to learn to understand color theory and how to apply paint from Fitz. He described the experience as “a whole new world.”
“It was a big change for me because not only do you have to pay attention to the values, but you have to pay attention to hues,” the artist explained.
At the end of those two years, Boaldin married his high school sweetheart in 1981, and he quit taking classes to focus on providing for his family.
In 1982, he decided to get serious about his art and moved to Amarillo, Texas, where Fitz had a gallery. He picked back up on taking lessons from him while working full-time in feedlots. Boaldin lost many hours of sleep, but his hard work paid off when his mentor began selling his pieces.
“Even at that age, he was very encouraging,” he explained. “He would tell people ‘Someday this guy is going to be famous, and you need to get in on his early work.’”
While he almost expected to be famous, Boaldin said it did not work quite that way.
“I heard this guy say it takes thousands of miles of canvas to improve,” the artist said. “That is basically what I’ve found to be true. We want to throw some stuff away, but at the same time, it’s good to see where you come from.”
In 1985, the Boaldins moved to Elkhart, Kan., where he started working in feedlots and with his dad on the ranch. However, it did not take the artist long to realize he could not support his family there, but he wanted to stay in the industry.
“I couldn’t get the cowboy stuff out of my blood,” the cowboy explained.
Throughout the next few years, he worked on various feedlots in Texas, but he found he enjoyed the ranch life better. He took a job in Miami, Texas, managing 19-sectioned pastures. They ran 1,200 head of yearlings and farmed 600 acres of wheat.
“It was 10 days a week,” Boaldin joked. “It was one of those deals where I really had to grow up really fast. I knew that was not a place where I was going to end up, but I’m thankful for the experiences. I know what it takes when I do a painting because I’ve been there.”
The experiences on ranches and feedlots gave him a subject for his art, but his wife Donna was credited for pushing the artist to pursue his passion. She knew he wanted to be an artist, and she suggested Boaldin get a commercial art degree.
“I knew I would never be able to work 60, 70 or 80 hours a week on a farm and be an artist,” he explained. “Realistically, I needed to get in the field in some way.”
They relocated to Edmond, Okla., where he was able to get a grant to further his education. The Kansas native enrolled in production art at Platt College.
Boaldin was later hired by “The Oklahoman” in their advertising department, but he became an editorial artist within six months. The artist honed his skills drawing illustrations, which he said helped his art grow.
“I’ve always studied the illustrators of the ‘70s,” Boaldin added. “Those guys got to paint and draw every day. By the time computers started coming in, the artists didn’t have to do as many illustrations.”
The artist was fortunate to have several opportunities to work on illustrations. He also learned how to work quickly, a skill that benefited him later. He was a commercial artist for “The Oklahoman” for a total of 24 years. When he was laid off in October 2016, he did not know what God had in store for the next chapter of his life.
“I do believe in God,” he began. “I believe in his timing. He always kind of pushes me to the last second.”
His next chapter began when the owner of the Dean Lively Gallery in Edmond, Okla., Elaine Dean, hosted an opening night for the artist. Saraa Kami left her card with his wife Donna.
At the urging of his wife, the husband-wife duo met with Kami the following day. The artist told her about visiting with a client, who happened to be a Drummond, at the Tallgrass Art Gallery in Pawhuska, Okla., earlier that year.
“I wanted to get some different cowboys and go to a different ranch,” Boaldin recalled.
He visited their ranch in Hominy, Okla., in spring 2017, where he took approximately 1,200 pictures of the cowboys, animals and scenery. He then used the material to create more art for his collection.
“I said this is something that just really hit me,” he recalled. “I would love to go to ranches all across the United States and tell their stories.”
When he told her this, Kami knew how to tell their stories to the masses. She envisioned a television series centered around the idea of visiting ranches and telling their story on canvas as well as on screen. Ralph and Helen Mason sponsored their new endeavor.
“Within five days of conception of the idea, we were on my family’s ranch filming the first episode,” the artist recalled. “It was that quick, and believe me, I was a deer in the headlights.”
They had enough footage to create a trailer for “Art of a Cowboy,” which Kami sent to the Oklahoma Education Television Authority. OETA bought the idea from that trailer, listing Kami and Boaldin as co-creators of the show.
Pick up the June issue of OKFR to read more about Steve Boaldin and “Art of a Cowboy.”
Country Lifestyle
A Better Fire Pit Season
By Ann Asher
The first cool evenings of September make sitting outside sound good again. After months of Oklahoma heat, a fire pit, a few chairs and an evening outdoors can finally feel inviting.
Before you strike the match, take a few minutes to make sure your fire pit area is ready for fall.
Start with location. Set a fire pit on a level, noncombustible surface such as concrete, brick or patio blocks, not directly on dry grass or other vegetation. The National Fire Protection Association recommends keeping fire pits at least 10 feet from anything that can burn, including decks, siding, fences, overhanging branches and outdoor structures.
That distance matters even more after a dry summer. Even when evenings cool down, dormant grass, fallen leaves and other dry vegetation can catch a spark fast. Clear leaves, sticks and other debris from around the pit before you use it, and skip the fire on windy evenings.
Check whether your county or town has burn restrictions in place. Drought can linger well into fall, and local rules may change with fire danger. A fire that was fine one weekend may be a bad idea the next if conditions have worsened.
For wood-burning pits, use clean, dry, seasoned firewood. Don’t burn trash, treated lumber or painted wood. Never use gasoline or other flammable liquids to start or relight a fire. Commercial fire starters or ordinary kindling are much safer.
Once the fire is going, keep it manageable. A backyard fire pit doesn’t need to become a bonfire to keep you warm. Smaller fires are easier to control, throw fewer embers and are much easier to put out at the end of the evening.
Keep children and pets well away from the pit, and set chairs far enough back that no one sits directly over the heat or in the path of sparks. The NFPA recommends a three-foot child-free zone around the fire.
Look at what else is nearby before everyone settles in. Blankets, loose clothing, outdoor cushions and even the stack of firewood beside the pit can become hazards if they sit too close.
Keep a way to put out the fire within reach. A garden hose, a bucket of water or a shovel and dirt can all work, depending on your fire pit. Never leave a fire unattended, even if it seems to be dying down.
When the evening is over, make sure the fire is completely out. For a wood fire, water the coals, stir them and water them again until no heat, glow or flame remains. Let ashes cool completely, then store them in a metal container with a secure lid, away from anything that can burn.
A fire pit doesn’t need much to become one of the best parts of fall. A safe spot, a little preparation and a manageable fire are usually all it takes. Then all that’s left is finding a comfortable chair and enjoying an Oklahoma evening that is finally cool enough to stay outside.
Country Lifestyle
Canning 101
By NTFR Staff
It seems to happen every summer. The garden suddenly produces more tomatoes, cucumbers and green beans than anyone could possibly eat, and before long someone asks, “Maybe I should learn to can?”
For many families, canning is a tradition passed down for generations. For others, it’s a new hobby that offers the satisfaction of stocking pantry shelves with homegrown food. Either way, getting started can feel overwhelming. Pressure canners, boiling water baths, jars, lids, processing times and safety recommendations are enough to make anyone wonder where to begin.
Home canning isn’t difficult once you understand the basics.
Canning preserves food in sealed jars by heating them to destroy microorganisms and create a vacuum seal. The USDA approves only two methods for home canning: boiling water bath canning and pressure canning. Which one you use depends entirely on what you’re preserving.
A boiling water bath is exactly what it sounds like. You submerge filled jars completely in boiling water and process them for a specific amount of time. Because boiling water only reaches 212 degrees Fahrenheit at sea level, this method is safe only for foods that are naturally high in acid or have enough added acid to prevent dangerous bacteria from growing.
That makes water bath canning a good fit for jams, jellies, fruit preserves, pickles, chutneys, fruit butters and many tomato products that have the proper amount of bottled lemon juice or citric acid added according to a tested recipe.
Pressure canning works differently. A sealed canner traps steam, and the temperature climbs well above the boiling point of water to about 240 degrees Fahrenheit. That higher temperature is necessary to destroy Clostridium botulinum spores, which can survive ordinary boiling and produce the toxin that causes botulism.
Because of that, you must pressure can low-acid foods such as green beans, corn, carrots, potatoes, meats, poultry, seafood and soups. A boiling water bath isn’t safe for these foods, no matter how long you boil the jars.
For most beginners, water bath canning is the easiest place to start. The equipment costs less, the process is simpler and recipes like strawberry jam or dill pickles are forgiving enough to build confidence. Many people who enjoy preserving fruit eventually buy a pressure canner once they want to put up vegetables or homemade stock.
Pressure canning doesn’t need to be intimidating, either. Modern pressure canners include multiple built-in safety features and are far different from the exploding canners in the old stories many people heard decades ago. Like any kitchen tool, they’re safe when used according to the manufacturer’s directions and with tested recipes.
Whichever method you choose, one rule never changes: always use recipes that have been scientifically tested. Family recipes may taste wonderful fresh, but they aren’t always safe for canning. Changing ingredient amounts, thickening soups with flour, adding extra vegetables or reducing vinegar can all affect the safety of the finished product. The USDA and the National Center for Home Food Preservation remain the gold standards for home canning recipes and processing recommendations.
Today’s recommendations may also differ from the ones your grandparents followed. Research has improved over the years, and food safety guidance has changed with it. Methods like open-kettle canning, oven canning and sealing jars by turning them upside down are no longer considered safe for shelf-stable foods.
If you’ve never canned before, you don’t have to preserve an entire garden your first weekend. Start with one recipe. Learn how to prepare the jars, measure headspace, remove air bubbles and process them correctly. Once you hear that satisfying “ping” as the lids seal, you’ll understand why so many people find canning rewarding.
Opening a jar of peaches in January or serving homemade salsa long after the tomatoes are gone is a special kind of reward. With a little knowledge, the right equipment and a commitment to tested recipes, anyone can preserve the harvest safely for months to come.
Country Lifestyle
The Price You Pay
By Bryce Angell
My eyes are glued up to the shelf, a brand-new pair of Mucks. They’d be in my possession, but I lack the certain bucks.
I could go without my Pepsi for a month or maybe two. But the headache would be pounding like a freight train passin’ through.
I’ve got my Visa plastic for emergencies and such. The boots are kinda spendy. Do I really care that much?
I grab my precious cargo and I’m tingling to my roots. The clerk says, “Hundred eighty.” Must be gold in them there boots!
To purchase I can justify. It’s more than just a treat. No more sittin’ in the saddle with my cold and frozen feet.
I’ve waited days to wear them. Time to saddle up Ol’ Blue.
But my boots won’t fit the stirrups. What’s a broke cowboy to do?
The boots ain’t never goin’ back. I burned the dang receipt. My wife will never know the cost. Is that what’s called deceit?
The Co-Op might be open. I’ve seen stirrups there to buy. They close at 6:00 p.m. It’s 6:05 p.m. No use to even try.
I’ll drive out to the shoppin’ mall. They’ve got a western store. But their prices are extravagant, not for the country poor.
I’m riflin’ through the stirrups. Find a pair that fits my Mucks. I take ’em to the clerk. She says, “Two hundred twenty bucks.”
This time I cough and choke on down my Wrigley’s Spearmint chew. The clerk said, “Sure they’re spendy, but they’re made for guys like you.”
I wonder what she meant ’cuz I ain’t got the cash to spare. I swear she meant hi-rollers with their nose up in the air.
Still, I bought the brand-new stirrups with my plastic, once again.
Does it hurt to use my Visa card, every now and then?
The smuggish patrons, back in line, are giving me the stare.
They’re prob’ly thinkin’, “Poor cowboy.” I hurry out of there!
I’m addin’ up my purchases. Looks like four hundred bucks. And with the Gov’ner’s share I’m in the class of stupid clucks.
I burned the Visa card receipt, so that should take care of it from where I stand. I’m wonderin’ now if my warm feet are worth the half a grand?
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