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
When Peppers Bite Back
Most of us have been there. You take a bite of something that looks harmless enough, and within seconds, your mouth is on fire. Your eyes water, your nose runs, and suddenly you’re questioning every decision that led you to that moment. Whether it’s a jalapeño that packed more punch than expected or a sauce someone swore “wasn’t that bad,” peppers have a way of keeping people humble.
There is, however, a way to measure that heat before you ever take a bite. It’s called the Scoville scale, and it’s the standard used to rank just how hot a pepper can be. The measurement is expressed in Scoville Heat Units, or SHU. The higher the number, the more heat you can expect. A bell pepper sits at zero, meaning no heat at all. Jalapeños usually land somewhere between 2,500 and 8,000 SHU, while the upper end of the scale climbs into the millions.
The system dates back to 1912, when pharmacist Wilbur Scoville developed a method to test pepper heat. His approach was simple, if not a little impractical by today’s standards. Pepper extract was diluted with sugar water until a panel of tasters could no longer detect the burn. The more dilution required, the hotter the pepper. It worked, but it depended heavily on human perception, which is far from consistent.
Today, the process is far more precise. Instead of relying on taste, scientists measure the concentration of compounds called capsaicinoids using laboratory equipment. Those numbers are then converted into Scoville Heat Units. It takes the guesswork out of the equation and gives growers, processors, and consumers a reliable way to compare peppers.
Capsaicinoids are the group of compounds responsible for heat, with capsaicin being the main contributor. Contrary to what a lot of people believe, the seeds are not where the heat lives. Most of it is concentrated in the white inner ribs of the pepper. The seeds can seem hot because they come into contact with those oils, but removing the inner ribs is the most effective way to dial the heat back while keeping the flavor.
That burning sensation you feel isn’t actually heat in the traditional sense. Capsaicin interacts with receptors in your mouth that are designed to detect pain and temperature. Your brain reads that signal as burning, even though there’s no physical damage being done at typical levels. Depending on how much you’ve had, that sensation can linger anywhere from a few minutes to well over half an hour.
One thing worth keeping in mind is that not all peppers are created equal, even within the same variety. Growing conditions, soil, weather, and maturity all play a role in how much capsaicin a pepper develops. Two jalapeños from different fields, or even different plants in the same field, can vary more than you might expect.
At the far end of the scale are peppers that push the limits of what most people would consider edible. Varieties like the Carolina Reaper have recorded levels exceeding 2 million SHU. That’s well beyond the point of casual consumption and into territory where even a small amount can be overwhelming. While some people seek that level of heat for the challenge, it’s not something to take lightly.
For everyday use, the Scoville scale is less about chasing extremes and more about making informed choices. If you know your comfort level, you can select peppers that add flavor without overpowering a dish. It also helps explain why a recipe that calls for “one pepper” can turn out very differently depending on what you pick up at the store or out of the garden.
In the end, that moment when your mouth feels like it’s on fire isn’t as mysterious as it seems. There’s a system behind it, and a little understanding of the Scoville scale can go a long way in keeping your next bite from turning into a regret.
Country Lifestyle
Pollinators on the Ranch
When most people think about wildlife on a ranch, they probably picture deer slipping through the trees, turkeys moving across a pasture or quail flushing from cover. Those species matter, and many landowners manage with them in mind. But some of the most important wildlife on a farm or ranch is much smaller. Bees, butterflies, moths, beetles, flies, wasps, hummingbirds and even bats all play a part in keeping native plants and food systems working.
Pollinators move pollen from one flower to another, which allows many plants to produce seed, fruit and the next generation of growth. That matters in gardens and orchards, but it also matters in pastures, prairies and native rangeland. According to the article provided, the United States Department of Agriculture reports that 75 percent of the world’s flowering plants and about 35 percent of the world’s food crops depend on animal pollinators to reproduce.
For Oklahoma ranchers, pollinators are more than something nice to see on a warm afternoon. They are tied to plant diversity, soil cover, wildlife habitat and the overall health of the land.
A pasture with flowers, seed-producing plants and a mix of grasses and forbs usually supports more life than a pasture with only one or two plant types. That does not mean every acre has to look wild or unmanaged. It means diversity has value. A ranch that supports many kinds of plants can also support many kinds of insects. Those insects feed birds, turkey poults, quail chicks, bats and other wildlife. Some predatory insects also help keep pest insects in check.
Pollinators are a sign that something is working. If butterflies, bees and other beneficial insects are present, the land is likely offering food, cover and seasonal blooms. If they are absent, it may be worth asking why. There may not be enough flowering plants. Grazing pressure may be too heavy at the wrong time. Herbicide use may be reducing the plants pollinators need. The issue may be drought, timing or a lack of plant variety.
The monarch butterfly is one of the best-known examples. Monarchs need milkweed because it is the only food source for their caterpillars. Adult monarchs also need nectar plants, especially during migration. Oklahoma sits in an important part of that migration route. In spring, monarchs moving north need milkweed for reproduction. In fall, monarchs moving south need blooming plants for energy before continuing toward Mexico.
That fall food source can be easy to overlook. A pasture may have plenty of grass and still offer little for a migrating butterfly if there are no flowers in bloom. Late-season plants such as Maximilian sunflower, blazing star, goldenrod, asters and cowpen daisy can make a difference. In the Noble Research Institute article, Will Moseley said their monarch monitoring showed a simple result: butterflies were found where flowering plants were present, and they were not found where flowers were absent.
That is a useful lesson for any landowner. Pollinator habitat does not have to be complicated. It starts with plants.
For ranchers, the goal is not to turn working land into a flower bed. The goal is to manage in a way that leaves room for useful plants to grow, bloom and set seed. Grazing management can help. If the same pasture is grazed hard at the same time every year, the same plants may get set back again and again. Changing grazing timing, leaving rest periods and avoiding overuse can give more plants a chance to bloom. Rotational grazing, when planned well, can benefit both livestock and pollinators.
Prescribed fire can also be useful when used carefully and legally. Fire timing matters. Burning every acre the same way at the same time can favor some plants and reduce others. Varying burn timing across years and pastures can create a more mixed plant community. That variety can help pollinators, ground-nesting birds and grazing animals.
Herbicide use is another consideration. There are times when herbicides are needed, especially for invasive or problem plants. But broad use can also remove the forbs that bees and butterflies depend on. Spot spraying, proper timing and targeted control can help landowners manage weeds while keeping beneficial plants in the pasture. Every place is different, so the best plan depends on the ranch’s goals, plant community and problem species.
Pollinators also need nesting sites. Not all bees live in hives. In fact, many native bees nest in the ground, hollow stems or cavities in wood. Leaving some undisturbed areas, standing stems, brushy edges or bare patches of well-drained soil can support native bees. A perfectly clean landscape is often less useful to wildlife than one with some structure and variety.
Water can help as well. Shallow water sources, damp soil or safe access around ponds and tanks can be useful, especially during dry weather. The key is to avoid drowning hazards. Small stones, floating wood or shallow edges can give insects a place to land.
For landowners interested in beekeeping, honey bees can become another small enterprise. A few hives may provide honey for family, gifts or local sales. Local honey often has a strong market, and bees can fit well on small acreages or larger ranches. Still, honey bees are livestock and need management. New beekeepers should start small, learn from an experienced mentor and understand seasonal care before investing heavily. The Noble article shared advice from Josh and Brook Gaskamp, who recommended getting a mentor, starting small and experimenting until finding what works.
Beekeeping is not the only way to support pollinators, though. A person can help pollinators without owning a single hive. Planting native flowers, protecting milkweed, reducing unnecessary pesticide use and allowing some areas to bloom can all help. Even fence rows, field corners, creek banks and lightly used areas can become valuable habitat when managed with pollinators in mind.
Pollinators also add enjoyment to the land. There is something rewarding about seeing monarchs on fall flowers, bumble bees working a patch of blooms or hummingbirds visiting trumpet-shaped flowers near the house. Those moments remind landowners that a ranch is more than livestock, fences and forage. It is a living system.
For many producers, the practical reason to care about pollinators is simple. What helps pollinators often helps the whole ranch. More plant diversity can mean better soil cover, more wildlife habitat, more insects for birds, more seasonal forage options and a landscape that can better handle stress. Pollinators are part of that bigger picture.
A ranch does not have to be managed only for bees or butterflies to benefit them. In many cases, good land stewardship already points in the right direction. Avoid overgrazing. Encourage plant diversity. Leave some blooms. Be careful with chemicals. Think about timing. Watch what shows up.
The smallest wildlife on the ranch can tell a big story about the health of the land. When the flowers are blooming and the pollinators are working, it is a good sign the pasture is doing more than growing grass. It is supporting life from the ground up.
Country Lifestyle
Apple Fritter Quick Bread
Total Time: 1 hour and 40 minutes
Servings: 10
2 medium apples (any type), peeled, cored & diced
1/3 cup brown sugar
1 tsp cinnamon
1/2 cup unsalted butter, softened
2/3 cup granulated sugar
2 large eggs
1 1/2 tsp vanilla extract
1 1/2 cups all-purpose flour
1 3/4 tsp baking powder
1/2 cup milk
For the Glaze:
- 1/2 cup (60g) powdered sugar
1–2 tbsp milk
1/4 tsp vanilla extract
Instructions:
Preheat oven to 350°F. Grease and line a 9×5-inch loaf pan with parchment paper.
Peel and chop apples and place in a bowl with brown sugar and cinnamon. Toss and set aside.
In a large mixing bowl, cream together butter and granulated sugar until light and fluffy. Beat in eggs one at a time, then add vanilla. In a separate bowl, whisk together flour and baking powder. Gradually add dry ingredients to the butter mixture, alternating with milk, mixing until just combined.
Next, pour half of the batter into the loaf pan, top with half of the apple mixture, then repeat with remaining batter and apples. Lightly swirl with a knife for a marbled effect.
Bake for 50–55 minutes, or until a toothpick inserted in the center comes out clean.
Cool in pan for 10 minutes, then transfer to a wire rack to cool completely.
In a small bowl, whisk together powdered sugar, milk, and vanilla until smooth. Drizzle over cooled bread.
Slice and enjoy warm or at room temperature.
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