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Finishing the Story – Steve Miller

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Strong arms and broad shoulders belie the image of a simple artist. Hands, while soft enough to make the most minute change to a delicate clay leg, have also fell towering trees. Guthrie’s Steve Miller wasn’t raised to be an artist or a successful salesman, but he became both. As a storyteller, recounting the narrative behind his art, he can’t be beat. Most things he says deserve quotation marks.

Miller grew up as a fourth-generation logger in Kalispell, Montana, more accurately, the Flathead Valley. His earliest memories were of long days and even harder work. “Most people in the western industry don’t know that about me. I felled timber, set chokers, skidded logs, and loaded and drove logging trucks. I could do anything in that world and was a pretty good hand,” he shared. “It was just what you did. I always tell people that know me now that it was like being born in a coal mining town in the Appalachians.”

Every summer vacation from the seventh grade on, Miller would do a man’s job in the woods with his father. The day he graduated high school, he applied and was hired for a job at a sawmill.

Still, he always gravitated towards art. “I have loved it since I was a little kid. I would look at mountain scenery, at the deer, the elk, the horses, and I would always think, ‘How do you make that with a brush? How do you paint that? How do you get that color?’” He added, “Like all young artists, that’s what I wanted to do, but I had to go to work. I’ve worked my whole life and my art was always pushed to the back as a hobby, because I got into careers I owed a lot of time to, and there was not enough time left over.”

While he recalls the work ethic he learned in his early years and his love of art, he remembers no aspirations of a better life. “You were just a logger. You didn’t have a choice, or, better said, you didn’t think of having a choice. There were no plans for higher education; you simply needed to get out of school and go to work. I’m lucky I finished high school, because there was that mentality, not only in the Valley, but even in my family, that you just quit school and go to work,” he shared.

Looking back from where he is now, Miller contemplates how different life could have been. “I can’t believe how short-sighted I was. I take full responsibility for that. I had no clue in my 20s that I could have gone to college or that there was a whole different layer to the world,” he said.

While a death-defying experience with grievous injuries doesn’t sound like a positive, Miller is adamant that an accident just prior to his 30th birthday was just that. “The best thing that ever happened to me was when I had a logging accident where a tree fell on me. I should have been killed, but I was limbing a big tree, and the one that fell on me knocked me off of that tree down to the ground. It landed on the big tree, and if I would have been limbing a smaller one, it probably wouldn’t have ended as well,” he said.

The resulting broken back led to unemployment. “I couldn’t go back to work in the woods. I was on food stamps and had two kids to support. I remember thinking, ‘What the hell am I going to do?’” he recalled.

In a twist of fate, Miller met a friend of his father’s who’d heard of his bad luck. The man offered to teach Miller how to be an audiometric technician. “That basically means you sell and fit hearing aids. I didn’t have a college degree, but he told me I didn’t have to, I just had to work under his supervision for a year,” Miller said.

It only took a week of work for Miller to realize he had a talent for sales. Just two years later he had worked up to being the Regional Manager of the Miracle Ear Hearing Aid Company and was one of the top 12 sales representatives in the nation.

A few years after that, the National Sales Director job came open, and Miller applied. “I’ll be darned if I didn’t get the promotion,” he laughed. Soon he was living in Minneapolis, working out of a corner office on the seventh floor. While his career was thriving, Miller himself was dying on the vine.

“I’m a team roper. I grew up in the country, but my horse was 50 miles away in a stable and I never got time to ride him. I took a Western Horseman magazine with me to work one day, made a list of every company that I might want to work for, wrote up a resume, and sent it out,” he said. “I got a call from Montana Silversmiths back in my home state. I interviewed for the job and got it.”

Miller has worked for Montana Silversmiths for nearly 30 years. He started his career as the Vice President of National Sales and Marketing. While he’s handed over the reins for most of his duties, he’s still an Ambassador at Large for the company. “I think my biggest claim-to-fame there is that I put together one of the best sales rep forces in the industry, so much so that I was approached by other major western industry companies to help with their sales staff,” he shared.

The Art

Miller never pursued art as a career, but he couldn’t help indulging in his hobby. “I can’t even tell you how many pictures I’ve given away. Drawings, paintings, you name it,” he laughed. If you find him sitting still for more than a minute, he’s likely roughing something out. “I’ve spent several long conference calls doing sketches.”

He had no formal training in art, but if he begins to question his ability, he reminds himself of Charlie Russell, a well-known American artist of the old American West. “Charlie Russell never had a lesson in his life, and he was able to do it. He’s my hero. I have read everything about him and know the names of most of his paintings. I was actually born on the same date he died, just different years, of course. I always say I hope I got a little piece of him,” Miller shared.

For a long time, he wondered where his artistic streak had come from, but he recently found out that it came from his mother’s side of the family. “That family is Norwegian. My great grandfather came here from Norway in 1904. Because of social media, I’ve been in touch with that side of the family, and they all make their living as artists in tv, film, and painting,” he shared. “My son, Jason, is a better artist than I’ll ever be, really, so we got that from somewhere.”

Miller began with acrylics, but found his talent lay in oil painting. “I feel like it’s easier for me to paint with and is much richer. My son got me into sculpting. I picked up some clay he sent me and took some coat hangers and bent them up for armatures, and started doing some sculpting, and wound up making more money on my sculptures than my paintings,” he said.

He did his first sculpture in the early 1990s, and by later in the decade, his hobby and his work finally collided. Montana Silversmiths was hoping to expand into the lifestyle sector. “They wanted to do sculptures that could be sold through Western stores at a reasonable price so that anyone could own a gallery quality sculpture for their home,” he shared. “Instead of paying $10,000 for a bronze, they could buy a resin one for $200. It wound up being a very successful line.”

Miller began working on the sculptures, which became the Steve Miller line that he called “My Vision of the West.” The series consisted of nine pieces, concentrating primarily on the people and times of the mid- to late 1800s. “It’s how I see the west. But the west as we know it started with the discovery of the New World. The first Europeans entered a new land, a land that to them seemed an empty wilderness to be settled and tamed.

“But the land they saw as empty wilderness was not empty, and it certainly would not tame easily. This land was home to many tribes, languages, and cultures of people. These were an innocent and primitive people, open, and even helpful to the culture that would soon overwhelm them. These were a people who did not work iron, copper, or steel, nor did they know of the wheel, or write their language. But they did know the land and how to live off its bounty. It provided all they needed, and they left it as they found it, unscarred and flourishing with animal life of every kind. The meeting of these two cultures would soon become a violent collision,” Miller explained.

“Of Stone and Steel” was the first in the line, showing a lone Indian curiously tapping his arrow against the railroad tracks; something strange that appeared during his time away from home. “I have no idea where the ideas come from. I just saw something and wonder what it would be like to be this young man. You see, this man was a Cheyenne, but the territory stretches from southern Nebraska up to Montana. These kids would go visit relatives far away for a few years to find a wife before heading home. What would it be like for him to go find a wife, start riding home, and then there is this monstrous looking snake crossing the prairie? What would he be thinking?

“I’d just be thinking about that, and then pretty soon I’d doodle a picture and then make a sculpture,” he shared.

That same thought process took him through the entire line. The remaining pieces were named His New Winchester, The Highest Price for Beef, When Beef Was Wild, When Cowboys Take a Dare, the Houlihan, the Crossing, When A Woman Knew Her Place, and Sittin’ Pretty.

The title of the artwork is important to Miller. “The stories behind the artwork make the piece, and I always said you can’t have a piece of artwork unless the title can tell you the story,” he shared. “It’s important to me that my work allows people to finish the story for themselves. The person looking at it has to decide how each of those stories end. For example, in the Highest Price for Beef the horse and rider are falling in the middle of this stampede. What happens? Does the cowboy pay the highest price? In the Crossing, does the rider make it to the other shore, or the distant shore?”

While the Steve Miller collection was exceptionally popular, selling out quickly, his most prized work did not make him a dime. He did a series of sculptures of three Cheyenne warriors killed in the Battle of Little Bighorn, which was commissioned by the tribe to raise money to mark the Cheyenne deaths on the battlefield.

“The Cheyenne don’t refer to it as Custer’s Battle. They refer to it as the Battle of Greasy Grass. That battle, outside of Napoleon’s Battle of Waterloo, is the most written about battle in history. When I started the sculptures, the only marker on the battlefield for a Native American was because a soldier had documented where he had fallen,” Miller said.

The three Native Americans Miller portrayed were Lame Whiteman, Limber Hand, and Noisy Walking, and all three men still have living relatives. “I roped with Dennis Limberhand, and that’s how I knew they were wanting to do this project. I made the sculptures, gave them to Dennis, and he took them to the tribal council,” he shared.

As with most of his works, Miller engrossed himself in the project. He shared the story of Noisy Walking. “He was a 14-year-old boy. His relatives told me he would have had four braids, because he hadn’t been in war yet. You can see he has a stake with a loop on it, and that’s because he was an Undefeated Warrior. The Native American’s don’t have a name for a Suicide Warrior, like we would call it. When the battle started, they were required to put that loop around their ankle and drive the stake into the ground. The only way they could retreat was if another warrior pulled the stake or they were killed. The night before the battle, him and about 14 other young men took the undefeated pact, not knowing there would be a battle the next morning,” he shared. He learned that Noisy Walking would have been armed only with a bow and arrow, and his sculpture reflects that.

He spent an incredible amount of time researching each man, then donated all his work, including foundry costs for the originals and molds. “They were trying to raise money to put markers on the battlefield, so it wasn’t something to make a profit on. It’s the work I’m proudest of,” he said. “I was able to help the Cheyenne Indians put markers on the battlefield where their family members died.”

In addition, Miller created the Miss Rodeo America pageant’s perpetual award and did a bronze of Bodacious with his son, both sculptures are in the ProRodeo Hall of Fame. He also created the bronze sculptures given to the Head and Heel Horses of the Bob Feist Invitational each year.

These days, Miller is focusing on his oil paintings, spending his time perfecting his technique. “I found I really enjoy doing portraits in oil and special projects for people, instead of just painting a picture and hoping someone likes it.  I love doing commissioned work.”

Learn more about Steve and his art in the August 2020 issue of Oklahoma Farm & Ranch.


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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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Country Lifestyle

Growing Something Better

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By Beth Watkins
There’s something about springtime that makes folks want to open windows, clean out closets, and maybe even peek out the front door to see if the neighbors are still alive and ready for a cookout. After a long winter of confusing, seesawing temperatures—where you needed shorts one day and a parka the next—March just rolls in with her own mysterious mood swings. Will she bring warm breezes and wild daffodils, or will she slap us with a late snowstorm and the flu for good measure?


March is the season of new growth. The earth starts greening up, baby calves find their legs, and every hardware store in the county sells out of tomato plants. Folks start making ambitious garden plans, fueled by equal parts hope, memory loss about last year’s weeds, and the siren song of heirloom seed catalogs. You find yourself petting baby chicks at Atwoods, thinking, “How hard can it be?” while conveniently forgetting you once killed a cactus.


But maybe this year, along with our gardens and yards, it’s time we put a little effort into growing something else: personal responsibility. And maybe even—brace yourself—neighborly love.


Now, I’m not talking about the kind of neighborly love where you let someone move in with their three untrained dogs, six boxes of drama, and a Wi-Fi password they never stop using. I mean the kind where we treat folks with basic kindness and decency, without expecting them to carry our groceries, fix our fences, or raise our children.


Somewhere along the way, it seems like society forgot that love and enabling are two different things. The Bible says to love your neighbor as yourself. It does not say to take your neighbor on as a dependent. Yet more and more, we’re seeing an attitude of entitlement blooming like crabgrass in what used to be tight-knit, self-reliant communities.


There was a time when being called “self-sufficient” was a compliment. It meant you could patch a roof with tar and a prayer, make a pot of beans stretch a week, and wrangle your own problems without immediately calling the government, your mama, or Channel 5 News. You didn’t expect handouts—you offered a hand up when someone else truly needed it. But lately, some folks have gotten real comfortable hollering “help me!” before they’ve even tried standing up on their own two feet.


Case in point: a woman on social media said she needed her oil changed and a chicken coop built. She had the supplies but no funds to pay for help. Fair enough—times are tough. But the very next day, she posted photos of her estate sale haul, bragging about how she “only” spent $400. Not even a month later, she’s showing off her custom steel gate entryway. Clearly it’s not a money shortage—it’s a priority misplacement.


That kind of thinking doesn’t just stunt personal growth—it chokes the roots of the community. I know people need help, and we are called to love our neighbors, but let’s get real, folks. Last year’s gold medal for gall goes to the woman hosting her child’s backyard birthday party who posted: “Can anyone bring enough food for about twenty people? The child loves spaghetti with all the trimmings, and a cake. Please deliver it hot, at party time.” You think I’m kidding? I’m not. I’m still in shock.


We weren’t meant to live like hermits, but we weren’t meant to sponge off the folks who are doing the work either. There’s a balance somewhere between “do-it-all-yourself survivalist” and “the world owes me a living.” And that sweet spot is where real growth happens.


Spring is a perfect reminder of that. You can’t just toss seeds in the dirt and expect a harvest. You have to work the soil, pull the weeds, and show up every day—even when it’s hot, dry, or swarming with grasshoppers. Same goes for character. You’ve got to tend it. Cultivate it. And not just when people are watching.


If you want a better world, you’ve got to start in your own backyard. Literally and figuratively. Pick up the trash that blew into your fence line, and since it came from your poly cart, go grab your soda can out of your neighbor’s yard too. Wave at your neighbor, even if he insists on mowing in Crocs and tube socks and blowing his grass trimmings into the street. A little physical kindness can go a long way.


I grew up being taught that if someone was struggling, lost a loved one, or just got over an illness, you found a way to help—even if it was just sending over a casserole. Honestly, our first instinct should be to offer help, not because we want a parade in our honor, but because it’s the right thing to do. If you’re swamped with work or kids or life, send a food gift card. If you’re short on funds, offer to mow a lawn, babysit for an hour, or just check in.


We should teach our kids and grandkids that it’s natural to struggle. That hard work isn’t punishment—it’s how things get built. It’s how we move forward. Asking for help in a crisis is fine, but leaning on others indefinitely is no way to grow tall and strong. A goal shouldn’t be “how do I get the best handouts” but rather, “how do I build a life I’m proud of?”


We all need each other, but we also need to pull our own weight. Otherwise, this whole wagon’s going to tip. There are programs out there to help folks get back on their feet, but they aren’t just hangouts—they’re meant to be springboards. To break the cycle. To build something better.


So maybe this spring, as the world begins to thaw and bloom again, take a quiet moment to reflect on the life you’re growing—both inside and out. Ask yourself what kind of neighbor you are. Are you showing love, or just expecting it? Are you helping things bloom, or draining the rain barrel?


There’s still a lot of good in this world. I see it every day—in farmers helping neighbors fix fence after a storm, in church ladies who deliver meals without a fuss, in kids learning to shake hands and look folks in the eye. But good doesn’t grow on its own. It takes effort. It takes intention. And sometimes it takes a little tough love with a smile.


So here’s to spring: the season of new beginnings, fresh starts, and maybe, just maybe, a collective shift back to kindness, accountability, and old-fashioned neighborly grace.


Let’s roll up our sleeves, open the windows, clean out the cobwebs. Let’s go through our closets and our abundance, and donate to local places that help people get back on their feet—places that believe in a hand up, not just a handout. That’s how we grow something better.

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