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June 2018 Profile: Steve Boaldin

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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

Apple Fritter Quick Bread

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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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Country Lifestyle

The Almanac: Old Wisdom, New Uses

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By Savannah Magoteaux

It may seem old-fashioned in today’s world of instant weather apps and precision farming tools, but for generations, farmers and ranchers have kept something tucked alongside their feed store receipts and fencing pliers: the almanac.

If you’ve ever wondered what makes an almanac different from a regular calendar—or how you can actually use one on the farm today—you’re not alone. The truth is, there’s a reason the almanac has stuck around for more than two centuries. It’s part tradition, part practical guide, and part good old country common sense.

What Exactly Is an Almanac?

At its simplest, an almanac is an annual publication that contains a wide variety of information:

  • Weather forecasts (both short-term and long-range)
  • Moon phases and sunrise/sunset times
  • Best days for planting, harvesting, and other chores
  • Tide tables
  • Astronomical data (eclipses, meteor showers)
  • Farming advice
  • Home and garden tips
  • Folk wisdom and humor

The Old Farmer’s Almanac, founded in 1792, is probably the most famous, but there are many versions today—including regional editions designed for specific areas of the country.

What sets an almanac apart is that it doesn’t just tell you what is happening; it often tells you when and how to do things based on seasonal rhythms, tradition, and long-standing patterns of nature.

How Are Almanac Predictions Made?

One of the most famous parts of the almanac is its weather forecast section.
While the exact methods are often kept secret, most almanacs combine:

  • Historical weather patterns
  • Solar cycles (like sunspots)
  • Lunar phases
  • Meteorological data

They aren’t as precise as modern radar forecasts, but they’re designed to give a general idea of what to expect for an upcoming season. Many readers use them more for planning and tradition than strict prediction.

Interestingly, some almanacs claim accuracy rates of around 80%, though independent studies suggest they’re closer to 50–60%. Still, for long-range planning—like when to schedule planting, hay cutting, or even branding days—many farmers find them helpful.

How to Use an Almanac Today

If you flip open an almanac today, you’ll find it offers much more than weather. Here are a few practical ways to use one on your farm or ranch:

  • Planting by the Moon: Many people still plant certain crops according to the waxing and waning of the moon, believing that different phases influence root growth, fruit production, or hardiness.
  • Scheduling Hay or Harvest: Long-range dry or wet forecasts can help you pick safer windows for cutting and baling hay.
  • Livestock Planning: Some ranchers time breeding, calving, or vaccinations according to signs in the almanac (or at least avoid unlucky dates!).
  • Gardening Tips: Almanacs are packed with advice on companion planting, pest control, and organic practices.
  • Household Projects: Need to set fence posts or pour concrete? Some almanacs recommend the best days for setting things in the ground to “set stronger.”

Even if you don’t follow it to the letter, it can still offer a broader way of thinking seasonally—something that technology sometimes encourages us to forget.

Tradition Meets Technology

Many almanacs now have companion websites and apps, offering digital versions of their classic wisdom.
Still, there’s something satisfying about flipping through a paperback almanac, circling dates, and marking notes in the margins just like the generations before us.

It’s a reminder that even in a high-tech world, farming and ranching are still closely tied to the rhythms of nature—and a little old-school wisdom never hurts.

References:

  1. The Old Farmer’s Almanachttps://www.almanac.com
  2. Farmers’ Almanachttps://www.farmersalmanac.com
  3. University of Illinois Extension – Understanding the Farmer’s Almanac Weather Predictions
  4. National Weather Service – Historical Weather Patterns

SIDEBAR_

5 Fun Facts About the Almanac

1. It’s Older Than the U.S. Constitution.
The Old Farmer’s Almanac was first published in 1792—one year after George Washington was elected President.

2. There’s a “Secret Formula” for Weather Predictions.
The Old Farmer’s Almanac claims it uses a top-secret mathematical formula, created by its founder Robert B. Thomas, that factors in sunspots, tidal action, and planetary positions.

3. It’s Not Just One Almanac.
There are actually several famous almanacs, including the Old Farmer’s Almanac and the Farmers’ Almanac, and they’re produced by different companies with slightly different forecasting methods.

4. Moon Phases Matter.
Many planting and farming guides in the almanac are based on the waxing and waning of the moon. According to tradition, above-ground crops do better when planted during a waxing moon, and root crops thrive during a waning moon.

5. It Once Had a Hole in the Corner.
Early editions of the almanac were printed with a hole punched through the corner. Why? So farmers could hang them on a nail in the barn or outhouse for easy reading (and sometimes, as a backup to toilet paper)!

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Country Lifestyle

The Sounds of the Country

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Daylight in the country is busy. There are engines, gates, dogs, birds, wind, and people moving with purpose. Even when it feels quiet, there is usually something making noise. It is familiar noise, the kind you stop noticing because it belongs there.

Night is different.

When the sun drops and the work winds down, the sounds change. Some disappear entirely. Others step forward like they were waiting their turn. It is only then that you realize how much the land talks after dark.

The first thing most people notice is how far sound carries at night. Voices travel farther. A truck door slams a half mile away and still feels close. Coyotes sound like they are just beyond the fence, even when they are scattered across an entire section.

There are reasons for that. Cooler nighttime air is denser, allowing sound waves to move more efficiently. During the day, sunlight heats the ground unevenly, creating air layers that bend and scatter sound. At night, temperatures even out, and sound travels straighter and farther. The land does not get louder. You just hear more of it.

Coyotes are often the headliners. Their howls, yips, and barks are not random noise. They are communication. A single howl can be a location check. Group yipping can signal territory or reunite scattered pack members. What sounds like chaos is often a coordinated conversation that carries for miles.

Owls tend to follow. Great horned owls announce themselves with deep, rhythmic calls that sound older than fences and roads. Barred owls ask their unmistakable questions from creek bottoms and timber. These calls serve the same basic purpose as the coyotes’. Territory, presence, and pair bonding, all broadcast into the dark.

Insects fill the gaps. Crickets and katydids create a steady background hum that changes with temperature and season. In late summer, their calls are loud enough to drown out distant traffic. In early fall, the rhythm slows. By winter, silence settles in where that sound once lived.

Frogs take over after rain. Stock tanks, ditches, and low spots become stages. Each species has its own call, its own timing, its own volume. To someone unfamiliar with rural nights, it can sound overwhelming. To those who live with it, it becomes reassurance that water is present and life is moving.

Livestock contribute their own nighttime sounds. A cow bawling for a calf. Horses shifting and blowing softly in the dark. The occasional thump of hooves when something unseen moves through the pasture. These noises are usually brief, but they catch your attention because they break the expected rhythm.

Some sounds are seasonal. In the fall, migrating birds pass overhead, calling to one another in the dark as they navigate by stars and landmarks. In spring, night birds return, filling the air with calls that have been absent for months. The land sounds different when life is arriving versus when it is leaving.

What surprises many people is how much quieter the country can be without human interference. With fewer buildings, less traffic, and minimal artificial lighting, natural sounds are not masked the way they are in towns and cities. Even distant highways fade into the background, leaving space for subtler noises to emerge.

That quiet can feel uncomfortable at first. Silence magnifies small sounds. A branch snapping or leaves shifting can sound larger than it is. Over time, you learn what belongs and what does not. The land teaches you what is normal.

Nighttime sounds also slow you down. There is less pressure to move, to fix, to finish. Sitting on a porch or leaning against a fence, you start to listen instead of scanning. The dark removes visual distractions, leaving only sound to tell the story.

Those sounds carry information. Weather is changing. Animals are moving. Seasons are turning. Without realizing it, you begin to recognize patterns. You notice when the coyotes are quieter than usual, or when frogs call earlier than expected. The land speaks in small signals long before anything obvious happens.

Most of these sounds go unnoticed unless you stop and listen. They are not dramatic on their own. They do not demand attention. But together, they form the soundtrack of rural life after dark.

In a world that rarely slows down, nighttime in the country offers something increasingly rare. A chance to listen without interruption. To notice what has always been there. To understand that even when the lights are off and the work is done, the land never really rests.

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