Inspired by Franklin D. Roosevelt’s speech, The Four Freedoms, dated January 6, 1941, Norman Rockwell (who I wrote about here) painted a series of freedom paintings, the first of which was The Freedom of Speech. Here is that segment of FDR’s speech mentioning the four freedoms:

In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.

The first is freedom of speech and expression — everywhere in the world.

The second is freedom of every person to worship God in his own way — everywhere in the world.

The third is freedom from want, which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants — everywhere in the world.

The fourth is freedom from fear, which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor — anywhere in the world.

I think it no coincidence that freedom of speech and expression is at the top of his list. Certainly, with Hitler’s tyranny against the slightest criticism and silencing of all forms of expression but Naziism, and with WWII then raging, Roosevelt saw a need to aggressively defend this particular freedom.

The Guardian UK published an interesting timeline of the history of free speech a few years ago. Here are a few dates that caught my eye:

399BC Socrates speaks to jury at his trial: ‘If you offered to let me off this time on condition I am not any longer to speak my mind… I should say to you, “Men of Athens, I shall obey the Gods rather than you.”‘

1516 The Education of a Christian Prince by Erasmus. ‘In a free state, tongues too should be free.’

1770 Voltaire writes in a letter: ‘Monsieur l’abbé, I detest what you write, but I would give my life to make it possible for you to continue to write.’

1859 ‘On Liberty’, an essay by the philosopher John Stuart Mill, argues for toleration and individuality. ‘If any opinion is compelled to silence, that opinion may, for aught we can certainly know, be true. To deny this is to assume our own infallibility.’

1929 Justice Oliver Wendell Holmes, of the US Supreme Court, outlines his belief in free speech: ‘The principle of free thought is not free thought for those who agree with us but freedom for the thought we hate.’

1989 Iranian leader Ayatollah Khomeini issues a fatwa against Salman Rushdie over the ‘blasphemous’ content of his novel, The Satanic Verses. The fatwa is lifted in 1998.

1992 In Manufacturing Consent, Noam Chomsky points out: ‘Goebbels was in favour of free speech for views he liked. So was Stalin. If you’re in favour of free speech, then you’re in favour of freedom of speech precisely for views you despise.’

Hate Crimes

Hate crimes, also known as bias motivated crimes, occur when the victim is targeted because of his membership in a certain group - racial, religious, gender, age, etc. I’m thinking of the lynching of African-Americans, ethnic cleansing in Bosnia, the Holocaust.

History of hate crimes legislation: The federal hate crimes statute (18 U.S.C. § 245) was originally created to protect civil rights workers in the 1960s. There were serious issues of violence regarding African-Americans enrolling in public schools, enjoying public establishments, travel issues, and more. This statute deals with racial, ethnic, national origin, and religious bias, and does not include sexual orientation. However, almost all states have much broader hate crimes legislation that does include sexual orientation.

The hype today is hate crime legislation targeting anti-gay sentiment. As far as assaults on gay people or destruction of property, or other violence toward homosexuals, there are already laws in place to deal with these crimes. So why is legislation being considered that criminalizes one’s moral or religious opposition to homosexuality? This clearly conflicts with the First Amendment guarantee of freedom of speech. If someone is inciting others to violence with their speech, this is another issue, but anything less than that is simply criminalizing one’s thoughts. Is this America?

The expression of moral judgment is the right of a free person in a free society, whether one agrees with it or not. There are community standards and a consensus that help guide social mores, and clearly, there is not consensus on the homosexual issue.

In 2007 the House passed HR 1592 before it was put away by the Senate. This was an attempt at expanding federal hate crime legislation and will be back. I like what Congressman Ron Paul had to say about HR 1592 (emphasis mine):

May 7, 2007

Last week, the House of Representatives acted with disdain for the Constitution and individual liberty by passing HR 1592, a bill creating new federal programs to combat so-called “hate crimes.” The legislation defines a hate crime as an act of violence committed against an individual because of the victim’s race, religion, national origin, gender, sexual orientation, gender identity, or disability. Federal hate crime laws violate the Tenth Amendment’s limitations on federal power. Hate crime laws may also violate the First Amendment guaranteed freedom of speech and religion by criminalizing speech federal bureaucrats define as “hateful.”

There is no evidence that local governments are failing to apprehend and prosecute criminals motivated by prejudice, in comparison to the apprehension and conviction rates of other crimes. Therefore, new hate crime laws will not significantly reduce crime. Instead of increasing the effectiveness of law enforcement, hate crime laws undermine equal justice under the law by requiring law enforcement and judicial system officers to give priority to investigating and prosecuting hate crimes. Of course, all decent people should condemn criminal acts motivated by prejudice. But why should an assault victim be treated by the legal system as a second-class citizen because his assailant was motivated by greed instead of hate?

HR 1592, like all hate crime laws, imposes a longer sentence on a criminal motivated by hate than on someone who commits the same crime with a different motivation. Increasing sentences because of motivation goes beyond criminalizing acts; it makes it a crime to think certain thoughts. Criminalizing even the vilest hateful thoughts–as opposed to willful criminal acts–is inconsistent with a free society.

HR 1592 could lead to federal censorship of religious or political speech on the grounds that the speech incites hate. Hate crime laws have been used to silence free speech and even the free exercise of religion. For example, a Pennsylvania hate crime law has been used to prosecute peaceful religious demonstrators on the grounds that their public Bible readings could incite violence. One of HR 1592’s supporters admitted that this legislation could allow the government to silence a preacher if one of the preacher’s parishioners commits a hate crime. More evidence that hate crime laws lead to censorship came recently when one member of Congress suggested that the Federal Communications Commission ban hate speech from the airwaves.

Hate crime laws not only violate the First Amendment, they also violate the Tenth Amendment. Under the United States Constitution, there are only three federal crimes: piracy, treason, and counterfeiting. All other criminal matters are left to the individual states. Any federal legislation dealing with criminal matters not related to these three issues usurps state authority over criminal law and takes a step toward turning the states into mere administrative units of the federal government.

Because federal hate crime laws criminalize thoughts, they are incompatible with a free society. Fortunately, President Bush has pledged to veto HR 1592. Of course, I would vote to uphold the president’s veto.

McCain-Feingold

Have you ever wondered recently why Dr. Dobson won’t support John McCain for President? It’s partly because of the federal legislation that John McCain (R-AZ) pushed through in 2002, the Bipartisan Campaign Reform Act, known as the McCain-Feingold Act. It basically restricted political free speech by placing new regulations on the financing of political campaigns - both in how much money can be raised and how and when groups can place political ads. For example, the Act requires advocacy groups to name their financial donors if they run ads within 60 days of a general election or within 30 days of a primary, if those ads were targeting candidates. In effect the McCain-Feingold Act limited the ability of groups like Focus on the Family to contact constituents about upcoming legislation.

George Will commented on it last November:

It was in 2002, when Congress was putting the final blemishes on the McCain-Feingold law that regulates and rations political speech by controlling the financing of it. The law’s ostensible purpose is to combat corruption or the appearance thereof. But by restricting the quantity and regulating the content and timing of political speech, the law serves incumbents, who are better known than most challengers, more able to raise money and uniquely able to use aspects of their offices — franked mail, legislative initiatives, C-SPAN, news conferences — for self-promotion.

Has anyone noticed how left-wing political speech (especially if you’re a Muslim) is protected and conservative political speech (especially if you’re a Christian) puts you in jail?

And did you notice how House Speaker Pelosi exercised her free speech to call President Bush a “total failure” yesterday (inciting and fueling hatred of America?), yet Pelosi referred to conservative talk-radio as “hate” radio and wants to bring back the Fairness Doctrine (effectively censors conservative opinion on TV and radio).

It’s only “hateful” speech if it’s anything under the sun the liberals disagree with; otherwise it’s “fairness.” Apparently only liberals/Muslims/gays/anybody-but-conservative-Christians deserve free speech (and deserve to hate).

Are you disturbed about infringements on free speech?

Technorati Tags: faith, McCain-Feingold, Nancy Pelosi, free speech, First Amendment, Four Freedoms, Norman Rockwel, hate speech, hate crimes, Ron Paul, Dr. Dobson, Focus on the Family

I don’t promise much better at this point because the topic of religious liberty is so vast and convoluted by bizarre interpretations of the First Amendment that I can’t think straight. I’ve been looking at early original writings on religious liberty, a church history book, and modern writers on the subject. Then there’s the ACLU, the atheists, and the activist judges who muck it all up.

Here’s what we all know from the First Amendment:

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.— The First Amendment to the U.S. Constitution

The horrors of the Old World still near in their minds, the Founders in the New World wanted a fresh approach. The high price of enforced religious conformity, with its untold thousands of martyrs, was the climate in which the Founders were seeking true religious freedom of conscience.

I was listening to a Focus on the Family broadcast a few days ago, featuring historian David Barton, in which he talks about the large percentage of people who actually think the term “separation of church and state” appears in the Constitution, and mistake the Founders’ intent for the government to leave people alone in regards to their religion, with some twisted idea of a religion-free public life.

Here is an excellent piece on the Founders’ view of religion in public life:

The Founders’ View of Religion in Public Life

But far from wanting to expunge religion from public life, the Founders encouraged religion as a necessary and vital part of their new nation. They sought the official separation of church and state in order to build civil and religious liberty on the grounds of equal natural rights, but never intended–indeed, roundly rejected–the idea of separating religion and politics.

The Founders opposed the establishment of a national church (though the federal government did not do away with state establishments); church doctrine would not determine the laws, and laws would not determine church doctrine. However, the Founders did favor government encouragement and support of religion in public laws, official speeches and ceremonies, on public property and in public buildings, and even in public schools.

Indeed, the official separation of church and state allows and encourages (just as true religious freedom depends upon) a certain mixing of religion and politics. On the day after it approved the Bill of Rights, Congress called upon the president to ‘recommend to the people of the United States a day of public thanksgiving and prayer, to be observed by acknowledging, with grateful hearts, the many signal favors of Almighty God.’ President Thomas Jefferson regularly attended church services held in the House of Representatives and allowed executive branch buildings to be used for the same purpose. Jefferson seemed to find nothing wrong with the federal government supporting religion in a non-discriminatory and non-coercive way.

Even after the ‘republican revolution’ of 1800, President Thomas Jefferson praised America’s ‘benign religion, professed, indeed, and practiced in various forms, yet all of them inculcating honesty, truth, temperance, gratitude, and the love of man; acknowledging and adoring an overruling Providence, which by all its dispensations proves that it delights in the happiness of man here and his greater happiness hereafter.’ From The Meaning of Religious Liberty by Matthew Spalding, Ph.D.

The phase “separation of church and state” comes from a letter Thomas Jefferson wrote to the Danbury Baptist Association, and can be read here in its entirety. In fact, this letter is the only record of Thomas Jefferson ever mentioning this phrase, and none of the other 90 or so men involved in the writing of the Constitution ever talked in terms of a “wall of separation between church and state,” but in the past 50 years, it’s been cited over 3,000 times by the courts, typically to justify the eradication of religious expression from public life.

Here’s what’s taken terribly out of context: these Baptists in Danbury, Connecticut were opposed to a “religion clause” even being in the Constitution at all. The reason is because they feared that religious privileges would thus be viewed as “favors granted” from the state, not as inalienable rights. They felt that the government guaranteeing religious liberty was a “degrading acknowledgment” and “inconsistent with the rights of freemen.”

Jefferson replies that the Danbury Baptists need not worry, that he completely agrees with them that “religion is a matter which lies solely between man and his God.” The assurance of the “wall of separation between Church and State” that Jefferson mentions in this letter is a promise and commitment to this group of Christians that the language of “make no law respecting an establishment of religion, or prohibiting the free exercise thereof” was simply meant to “restore to man all his natural rights.” Coming from the religious tyranny of England, it’s no wonder the Founders felt a need to be very explicit about religious freedom.

I discovered an interesting phrase in this very letter in which the “separation of church and state” is mentioned by Thomas Jefferson. It’s an overlooked phrase, one that has incredible bearing on current events regarding religious liberty and free speech. Are you ready?

“…the legislative powers of government reach actions only, and not opinions…”

Wow. I’ll be discussing Free Speech next week, but for now, I’ll just say that I find it quite ironic that the “separation of church and state” phrase has been latched onto and used mercilessly to eject any and all Christian thought from American public or political discourse, but this phrase has been conveniently disregarded. This phrase, were it made law by the Supreme Court, as has the “separation” phrase, should preclude such religious intolerance and government meddling like telling public schools what prayers they can or can’t say, what language is acceptable and what is not, or telling a private photography company that it violated state law by refusing (for religious reasons) to take a job photographing a lesbian commitment ceremony.

Those Danbury Baptists had some very valid concerns and clearly anticipated the religious/political landscape we now call Post-Modern America. I’m grateful for the inclusion of the Establishment Clause, however, America needs a return to the intent of the Founders before her people find themselves again under total religious tyranny at the hands of the government.

Technorati Tags: American Revolution, religious liberty, religious freedom, First Amendment, Establishment Clause

The Tomah Area School District in Wisconsin has a policy that bans Christian symbols in students’ artwork, leading to a high school student receiving a Zero on his illustration depicting a landscape with a cross and the lettering “John 3:16.”

Michelangelo, Raphael, Da Vinci, Caravaggio, Rembrandt, Giotto, and the rest of the famous artists who produced the religious masterpieces of the world: I’m forever grateful that you didn’t live in 21st century America where you have to sign away your freedom of religious expression.

Technorati Tags: art history, famous artists, First Amendment, religious expression

After a visit to the southern part of Salta in 1996, with his wife Ursula, Don Hess was directed to Cafayate, the center of wine production in the region. It was there that he drank an intriguing Malbec-Cabernet blend from Colomé, and there that he began fermenting the idea that he could plant a world class vineyard at over 9000 feet. As Hess explained,

When I go into the wine business, it is always because of the microclimate, and secondly, to have a good story. When you do something no one has done, like climb a mountain, it is a risk. If it works, I’ll have a great story and hopefully very good wine.

Hess now owns a vineyard in Colomé, along with a stunning hotel and art gallery which he built, about a four hours’ drive from Salta, in northwest Argentina. Colomé’s vineyards include century old vines that pre-date the deadly vine disease phylloxera, being planted on original French rootstock. This land encompasses about 96,000 acres, and then, of course, there is the 60,000 acres at Altura Maxima (near Payogasta) and another 865 acres at nearby El Arenal. Currently, just under 300 acres are being cultivated.

It’s the Altura Maxima property that is gaining fame these days, as this vineyard currently holds the world record for vineyard at the highest altitude. In a country where bottles of wine are marked with the specific altitudes of their vineyards, there is a machismo contest going on amongst the landlords over who can go the highest. To give an idea of the heights, the California vineyards top out at 3,000 feet, and Europe at 4,300 feet. In Argentina, vineyards average 5,500 feet, and Altura Maxima boasts vineyards at close to 10,000 feet.

The high altitude, while still a very experimental thing, is thought to be viticulturally advantageous. The extreme elevations give the vines an abundance of solar radiation, and some researchers think this increases the level of healthy polyphenols in red wine. The thinner air and lower humidity seem to cause the grapes to develop thicker skins, resulting in a more flavorful, aromatic, and tannic grape.

Argentina is clearly a special place for Donald and Ursula Hess, who now spend half the year there. They love the people, and in fact, when they bought Colomé, they inherited not only the oldest winery in Argentina, dating back to 1831, but also its 400 inhabitants. Hess has been kind to these natives, who previously were forced into slave labor. Colomé employs at least one person from each extended family. Hess takes time to train them, provides them with health insurance and has built facilities to meet their needs: a clinic, community center, and church.

Hess also takes great care of the land itself. At Colomé, he installed an Italian-made hydro-electic turbine for energy, he grows everything from the vines to the food he cultivates for the hotel using traditional biodynamic principles, and the entire estate is self-sufficient. You’ll find sheep and cattle there producing organic meat and milk, and their manure fertilizing the vines and gardens.

If you think you might want to go start a vineyard, keep in mind the timetable. Hess realizes that Argentina will probably be the cap of his career, because these ventures take a great deal of not only money, but time. Here is his projection:

If you start from scratch, it takes two years for the soil preparation, one year to set up the drip irrigation, five years to have a sixty percent crop. That makes eight years. Then another two aging in the winery, three for a reserve wine. So it’s a decade before you get your first money back.

Time will tell if Donald Hess’ high altitude experiment will pay off. As he battles the unique hurdles of the region - frost, hail, wild donkeys, minimum oxygen, and the Argentine leaf-cutting ant (which destroyed 13 acres of his first planting), Hess still presses on.

The Hess Group produces four wines at its Colomé vineyards, just three of which you can find in the United States in very limited quantities: Colomé Torrontes, Colomé Estate Malbec, and Colomé Reserva. If you have the opportunity to travel to Argentina, you’ll want to stay at Hess’ Estancia Colomé.

photo credit: Estancia Colomé and USA Today

Technorati Tags: Argentina, biodynamic viticulture, Coloma, Donald Hess, organic farming, high altitude viticulture, Salta, vineyard, viticulture, wine making, winery

What is one tidbit of your family history?

Here is my answer, and I’d love to hear from you…

My dad was proud to a “hillbilly” from West Virginia and quite enjoyed referring to himself as such. He loved his native state and often spoke (in his southern drawl) of Appalachia’s rugged mountains and rivers (and cricks and hollers). And can you believe he had my oldest sister baptized all swaddled up in the Confederate flag? Growing up (in Arizona and then Michigan), I never knew anyone else from West Virginia and hadn’t met my dad’s relatives. So I never made one particular connection - I had no idea he had an Appalachian accent.

I was about 22. My dad had already died (cancer), and I was on a college trip to rural Appalachia with Habitat for Humanity. We were deep in the hills of Tennessee, and an older local gentleman who was helping our crew stopped to ask me a question. That moment is still vivid in my memory, because out of his mouth seemed to come my dad’s voice. Only then did I have the revelation. My dad was not the only person to speak with his peculiar dialect - he was one of many and belonged to a people that I suddenly felt connected to.

Close to Mt. Vesuvius, the land is layered with mineral-rich deposits of volcanic ash, remarkably favorable to vines, producing a grape with very distinctive flavors and aromas. Many of the vines used by Feudi di San Gregorio are centuries old, including the oldest Aglianico vines in the country, a grape with origins in ancient Greece. When a food writer and wine lover set out to find Italy’s oldest vineyard, his quest eventually led to one of Feudi di San Gregorio’s vineyards, about which he was told:

It dates back to the time of San Gregorio Magno. That is 590 AD and the secrets of centuries old cultivation techniques have been jealously kept alive by local farmers.

This is an ancient grapevine, not a tree:

Enzo Ercolino and his wife Mirella Capaldo started Feudi di San Gregorio, and along with Italian enologist Riccardo Cotarella, they have taken every advantage of the natural conditions of Campania, and added a modern technology twist to make exquisite modern wines from ancient vines. You will not find them stomping grapes with their feet, despite the ancient history. Feudi di San Gregorio took a high spending approach, building a $25 million winery and hospitality center.

The sleek new wine cellar has capacity for 5,000 barrels, and their state-of-the-art technology includes vineyards equipped with solar-powered meteorological stations which are constantly gathering weather data. This high tech method actually minimizes the need for artificial viticulture. The Feudi di San Gregorio estate also includes a gourmet restaurant, a stunning glass enclosed tasting room, a wine shop, lush landscaped gardens, and an outdoor amphitheater. It’s well positioned to be a world-class tourist destination.

And the wine, ah, I hear it’s good.

The first time I had a Feudi di San Gregorio wine, it was just a dark red wine in a glass that someone handed to me at a tasting. I swished it back and was bowled over by a set of flavors that I had not yet experienced before. It was my first glass of old-vine Aglianico and my first glass of Feudi, and my brain snapped to attention and demanded to know more. If you haven’t ever had any wines made from Greco di Tufo, Fiano de Avellino, Falanghina, or Aglianico, I would be hard pressed to recommend a better place to start exploring these and other fantastic Italian varietals than at the competent hands of Feudi di San Gregorio.

photo credits: New York Times, Vinography

Technorati Tags: aglianico, Campania, Feudi di San Gregorio, Italy, ancient vines, viticulture, technology, vineyard, wine making, winery

I fell in love with wine when my uncle decided to buy three vine parcels in Chåteauneuf-du-Pape to re-create the family vineyard, Domaine du Banneret, which originally dates back from many centuries.

This begins the story of Domaine Rouge-Bleu. Jean-Marc Espinasse, the charming man behind this Provençal vineyard, went on from that first wine making adventure to begin his very own vineyard just over a year ago. He was offered 25 acres of old vines, and with his lovely American wife Kristin and their children, began the amazing task of creating Rouge-Bleu, along with renovating a nearly 400 year old Provençal farmhouse. I was immediately drawn into this story because of that endearing quality of a man living out his dream.

I stumbled upon Jean-Marc’s blog recently, and was excited when I saw that he and his wife were doing a west coast tour! But, I read his blog a few days too late, as he had already passed through Portland, just hours from me. I left a comment on his blog anyway, mentioning our dream of a vineyard on our property someday. I was so surprised to see an email several days ago titled Vineyard in the desert, from Jean-Marc! He asked the telling question:

Do you have underground water at around 5-10 yards deep in the soil?

I knew immediately I was in trouble. I responded that it was quite doubtful, since we had to drill through over 60 feet of solid rock, plus another 200 feet, to hit water when we installed our well. Monsieur Espinasse is a gracious but straightforward Frenchman, and gave me no-nonense advice:

I am afraid but I don’t think that vine is the kind of plant that would behave well where you live. I am also “deeply” convinced that irrigation is the worst thing you can give to a vine since they have natural genes to get rooted deep to find the water. I am sure you can find another farm crop to do there. Making wine is great but farming in general is always rewarding. Cheers.

Ah, well, let’s talk about Rouge-Bleu! Their “Dentelle” Cuvée is scheduled to be bottled in just over a week, and I imagine everyone is very excited. Organic and ancestral practices at Rouge-Bleu call for some interesting viticultural procedures. Jean-Marc’s latest post involves egg whites — don’t worry, they won’t end up in your bottle. Evidently, the albumin contained in egg whites aids in the clarifying process, and using them allows Jean-Marc to avoid too much filtration, which kills the natural sediments so vital to their natural wines.

What are the benefits of organic grape farming? Jean-Marc says that the combination of natural cultivation and harvesting at low yields allows the vines to produce their very best. The result will be good levels of alcohol, high levels of acidity, the right balance of sugar, and a promising aging.

Another term you’ll hear around Rouge-Bleu is biodynamic viticulture. It’s hard to define, as each grower will modify his practices to suit his needs, but it seems to go beyond organic farming. Biodynamic farming will also take into account timing, and, for example, apply certain soil applications according to traditional seasonal markers. A biodynamic approach to a vine disease, for instance, would be not to focus on how to kill the disease, but to ask why the plant is sick in the first place. There is something depleted in the soil, let’s fix the soil, instead of, there’s just something wrong with the vine. This makes sense, but biodynamic philosophy can also lead into mysticism, at which point I would depart.

Here’s a nice sampling of how Jean-Marc practically applies his farming philosophy:

Our Carignan grapes are very weak towards Oidium [fungus]. Using our tractor that pulls the sulfateuse would damage some vine shoots and would not permit to spray straight on the grapes. Since the surface we have is small, I decided to use the traditional manual sulfateuse last week which allowed me to be much more precise while spraying the grapes.

Due to all the rain we had, our baby vines have been completely surrounded with “weeds.” Leaving them would damage our vines because those herbs would drink all the water in the soil. But since we don’t use chemical weed killers and since our décavailloneuse can’t recognize a baby vine and would kill them, we have to remove those herbs by hand.

Provence is an ideal location for wine making, as Jean-Marc is discovering. The Mistral, which is the strong, cold northwesterly wind that blows through southern France and into the Mediterranean, can be deadly; however, the dry Mistral winds minimize vine disease and can return health to the vineyard. The stony ground and soil rich in calcium carbonate is quite amenable to vines and little else. The Mediterranean climate is famously favorable to the vines.

If you have any questions about Rouge-Bleu, be sure to check in at Jean-Marc’s website. I think I’ll be asking how to get my hands on some bottles of the upcoming Dentelle Cuvée and also the Mistral, which is scheduled to be released later this year. If you live in Houston, Texas, you’re in luck — French Country Wines imports the Domaine Rouge-Bleu wines.

photo credits: Rouge-Bleu

Technorati Tags: bottling wine, Provence, organic farming, biodynamic viticulture, Rouge-Bleu, vineyard, winery

However, passing time and a view through a lens clarified by our own humanity is providing a fresh take on Rockwell. Are we not in need of art that springs from sentimentality about American values? Is there not a desperate call to understand the dignity of the common man? Isn’t this a time to celebrate democracy and the individual? Do we not need hope for our nation in the face of economic and international uncertainties? The engaging power of Norman Rockwell paintings are for such a time as this.

If one judges Norman Rockwell by popular appeal, he has always been wildly successful. Though derided by the art world, he was embraced by the people. Though his storyteller style was out of fashion in the modern, abstract art establishment, Rockwell was clearly understood. Rockwell wrote in 1936:

The commonplaces of America are to me the richest subjects in art. Boys batting flies on vacant lots; little girls playing jacks on the front steps; old men plodding home at twilight, umbrellas in hand — all of these things arouse feeling in me. Commonplaces never become tiresome. It is we who become tired when we cease to be curious and appreciative.

Rockwell was born in 1894 in New York. He was a prolific painter, producing over 4000 original works. It’s fitting that one of his first jobs was art editor for the Boy Scouts of America, and Rockwell’s annual contributions to the Boy Scouts’ calendars between 1925 and 1976 have earned him a permanent place in the hearts of millions. Steven Spielberg has said that Rockwell’s scouting paintings inspired him to pursue his life’s work.

Norman Rockwell was best known for his Saturday Evening Post covers, of which he painted hundreds over a period of 47 years. Of these, there are four from 1943 that are among his most famous and influential works. The Four Freedoms series, published in 1943, was inspired by president Franklin D. Roosevelt’s speech in which he set forth four principles for universal rights: Freedom from Want, Freedom of Speech, Freedom to Worship, and Freedom from Fear. The wartime effect of the bold statements made by these powerful paintings cannot be underestimated.

FREEDOM OF SPEECH, Norman Rockwell

Lest we forget what American life was like in the 20th century, we have Rockwell. We can remember the best of America and the worst of America, but always with benevolent affection. The everyday happenings of everyday people were the subject of most of his work, painted with accuracy and an appealing sense of tradition.

Resources:
Norman Rockwell Museum
Norman Rockwell: Pictures for the American People
Norman Rockwell 2008 Calendar

Technorati Tags: art history, Boy Scout calendar, Norman Rockwel, Saturday Evening Post, The Four Freedoms

There are volumes written about the genius of da Vinci, and it can be hard to know where to start, but if you’re interested in a unit study on this magnificent artist, I would begin with Janis Herbert’s book Leonardo da Vinci For Kids, His Life and Ideas - 21 Activities. Only 90 pages, Herbert’s book neatly breaks up the study into four sections, each including historical and artistic information, and activities for students to do at home or in the classroom: 1) A Boy in Vinci; 2) The Young Apprentice; 3) A Genius at Work; and 4) “I Shall Continue”. Herbert takes some literary license in her book, and creates some wonderful dialogue and scenarios, that while not authenticated, brings Leonardo da Vinci to life for young minds. I’ll highlight some of the activities Herbert has created for each section.

ONE: A Boy in Vinci

Leonardo di ser Piero da Vinci was born on April 15, 1452, in the small village of Vinci, in a region of Italy called Tuscany. He was the illegitimate son of a peasant woman and an ambitious notary. Probably because of his illegitimate status, Leonardo had little early education, other than the local priest teaching him how to read and write and use an abacus. Shuffled around to various family members as a child, Leonardo was left to himself quite often, and perhaps this solitude is what we’re still grateful for five centuries later, as he spent his days outdoors studying birds, plants, and nature.

Activity: Brush up on Birds (pp 4-5)
Materials:
Watercolor paints
Paintbrush
Cup of water
Absorbent paper

When you draw or paint something, you notice things you may not have seen before. That’s why Leonardo grew up to be a great artist and a great scientist. He was one of the first artists to draw things exactly as he saw them in nature. While sketching and painting birds, he learned a lot about their anatomy, or body structure.

Play with your paints! Get used to holding your brush and trying different strokes. See what it’s like to use a little water or a lot on your brush. Mix paints to get new colors. Then, take your tools outside. Sit in your yard near a bird feeder or go to a park or the zoo–anyplace where you can find birds. Sit quietly until a bird lands nearby to model for you.

For the head, dab a wet brush into the paint. Hold the brush so it is vertical (straight up and down) to the paper. Press it down, then twist it to the right with your fingers. (These instructions are for right-handed artists. If you’re left-handed, just reverse them.) To paint the bird’s breast, dab some more paint on the brush and hold it horizontally (sideways) to the paper. Place it on the paper and pull it down toward you. For the wing, hold the brush vertically, press it down and draw it toward you. Taper off at the end by lifting up your hand. Paint the tail feathers by starting at the end of the tail. Hold the brush vertically and touch just the tip of it to the paper. Paint up toward the body. Fill in the details of the bird’s legs, feet, and beak. Look for the distinctive markings and paint them in, using just a small amount of paint on the brush.

Some birds have black eye masks, some have striped wings. Some birds have spotted breasts–hold the brush vertically and dot the paint onto the paper. To paint streak markings, hold the brush the same way and make very small lines. You’ll see that birds come in many different colors, shapes, and sizes.

TWO: The Young Apprentice

When Leonardo was 14, his father sent him to Florence, where the young boy became apprenticed to the renowned master Verrocchio. It was with Verrocchio that young Leonardo was trained in all the countless skills of a traditional workshop - not only drawing, painting, sculpting and modelling, but drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry.

According to the artist biographer Vasari, Leonardo and Verrocchio worked together on the painting Baptism of Christ (1472-1475). Vasari wrote that Leonardo painted the young angel holding Jesus’ robe so skillfully and with such superior quality to his master that Verrocchio put down his brush and never painted again.

New ideas in painting, and indeed culture, were rising up in Florence around this time, as the Renaissance was blossoming. Oil painting had just been introduced to Italy from northern Europe, and Leonardo spent a lot of time mixing different materials, and soon surpassed everyone in his use of the new medium. Leonardo also brought new perspective and depth to painting, as he used his skills in math and geometry to calculate the placement of lines in his drawings and paintings. And perhaps foremost to the new Rensaissance art was Leonardo’s passion to draw things as realistically as possible. He sketched incessantly and was an ardent observer of nature, animals, plants, people.

Activity: Animal Art (p. 20)

When Leonardo was a young apprentice in Florence, he spent all of his spare time drawing. Often, he went to the Medici family’s private zoo and drew the animals there. Take a trip to the zoo to sketch the animals or draw your pet at home.

Materials:
Pencils
Sketch pad

The most important thing to do when learning how to draw is to learn how to look. Study Leonardo’s sketches of horses. What is special about the shape? The parts of the body? Note the horse’s rounded haunches, barrel-shaped body, and powerful muscles. These are the features you will want to emphasize. The second most important thing to do is practice. Even if you think you can’t draw, give it a try. Can you draw circles and ovals? That’s all you need to start.

Draw the animal using geometric shapes. For the horse, you might start by lightly drawing a large circle for his rear, a long oval for his body, and another circle for his chest. Draw his neck and head as ovals. Draw narrow cylinders for his legs and small ovals for his feet. While making this preliminary sketch, notice proportion (for instance, the size of the head compared to the body).

Go over the shapes, building on them with heavier lines. Hold and move the pencil in different ways to get different effects. Draw soft, shaded lines lightly with the side of the pencil. Press down hard and move it back and forth for a hard, jagged line. Pencil in the distinctive features, such as the hooves and tail. For the horse, use soft, short strokes with the pencil held slightly at an angle to capture the texture of his hair. Use longer lines of different sizes for his flowing mane.

THREE: A Genius at Work

When Leonardo da Vinci was 30 years old, he left Florence for Milan, where he spent the next 17 years. At the persuasion of Lorenzo de’ Medici (hoping to secure peace between Florence and Milan), Da Vinci presented himself to the Duke of Milan, Ludovico il Moro. Leonardo wrote a letter to Ludovico, offering himself as a military engineer, and came before the Duke with a lira da braccio, lute, which he made himself and beautifully played before the court. Leonardo’s letter told of all the weapons and fortifications he could design to keep the city safe.

Leonardo was fascinated by technology and the workings of machines. He invented fire throwers and missiles, and made an early design for a machine gun. Hundreds of inventions were sketched out in his notebooks - tanks, helicopters, bicycles, submarines, hang gliders, pulleys, cranes, bridges, and more.

Leonardo’s love of music led him to study the science of sound, and he was one of the first to liken it to the motion of waves. He was also one of the first to note that il sole non si muove, the sun does not move - a remarkable observation in a day when people thought the sun revolved around the earth.
Anatomy was another passion of Leonardo. He went to hospitals to watch operations, he visited morgues to dissect bodies of the dead. He measured muscles, diagrammed organs, discovered the way blood flows through the body, and made important conclusions about lungs and oxygen. His knowledge surpassed the doctors of his time. Leonardo applied this deep understanding of the human body to his art, and excelled in drawing proportional anatomy.

In 1484 the plague struck Milan, and the thousands of dead people were left to rot in the streets. Leonardo, being the ultimate problem solver that he was, turned his attention to disease prevention. He designed a layout of the city that had wide streets and canals in place of the narrow ones, wide enough for proper sewage disposal, and a system for washing the streets automatically with locks and paddle wheels. It was a two-tiered town design, with the top streets for homes and churches, and the bottom streets to be used for deliveries and wagons.

Throughout all of these other pursuits, Leonardo da Vinci continued to paint. His patron, Ludovico, was invaluable during his time in Milan. Ludovico had Leonardo paint his friend Cecilia Gallerani, and Leonardo called the painting Lady with Ermine. It was so lifelike that a poet commented that “Nature herself was jealous.”

Leonardo also received a commission to paint an altarpiece, for which he created Virgin of the Rocks, a stunning work which reflects his interest in nature. One of Leonardo’s most famous paintings, The Last Supper, was also painted in Milan. It took him over three years to complete this painting. Leonardo’s work habits are best reflected in The Last Supper. He often didn’t even finish his work, so the world is fortunate to have this masterpiece. Here’s how Herbert describes his work on The Last Supper:

Leonardo would sometimes appear at the refectory at sunrise and paint until dark without ever once putting down his brush to eat or drink. On other days he would simply stand in front of his work for hours with his arms folded. Sometimes he could be seen racing down the streets to the monastery where he would grab a brush, climb up the scaffolding, add a couple of brushstrokes to the mural, and abruptly leave. Sometimes weeks would go by and he wouldn’t show up at all.

When Leonardo finally finished, the painting was immediately acclaimed as a masterpiece, with superb design and characterisation. However, because Leonardo had used tempera paint over a ground of mostly gesso, instead of the more reliable fresco, it rapidly deteriorated. The Last Supper has undergone extensive restoration over the centuries, but is still one of the most reproduced works of art ever.

Activity: Leonardo’s Lute (p. 31)

Leonardo’s silver lute captured the heart of Ludovico. You can make a musical instrument from items found around the house. Adult supervision is recommended for this activity.

Materials:
Pencil
Empty shoe box with lid
Utility knife
Piece of cardboard, about 1 1/2 by 3 inches
Scissors
Ruler
Tape
Newspaper
Silver spray paint
6 rubber bands of varying thickness

Draw a horse’s head (approximately 3 by 3 inches) at one end of the lid of the shoe box. Ask an adult to help you cut the shape out carefully with a utility knife. Make a 1 1/2 inch slit in the lid of the box 3 inches from the other end as shown. Make a bridge for the lute out of the small square of cardboard.

Cut it into a T-shape so that the bottom of the bridge is 1 1/2 inches and the top is 3 inches. Make 6 slits in the top of the bridge. Insert the bridge into the slit in the box. (The bridge will raise the “strings” off the box, making the sound better.) Tape the lid firmly to the bottom of the box.

Now take the project outside or to a well-ventilated area. Spread the newspaper out and spray paint the box and bridge with the silver paint. Leave it several hours to dry. When dry, stretch the rubber bands around the box, putting each one through one of the slits in the bridge.

FOUR: “I Shall Continue.”

With Italy at war with the French, Leonardo returned to Florence in 1500. In 1502, Leonardo entered the services of Cesare Borgia, the Duke of Valentinois. Borgia helped the French conquer Milan, and had ambitions to conquer all of central Italy. Borgia hired Leonardo da Vinci to be his military engineer, and Leonardo traveled all over Italy with him, examining castles and fortresses, and suggesting improvements for fortifications.

Around this time, Leonardo painted the Mona Lisa, beginning in 1503, the most famous painting in the history of art. Leonardo took the painting with him everywhere. Many historians say the Mona Lisa wasn’t finished when he left Florence, and that he completed it during his final stay in France. After Leonardo died, the painting was given to the king of France, and today, it hangs in the Louvre in Paris.

It is now known that the identity of the woman in the portrait is Lisa di Gherardini, the third wife of a Florentine silk trader named Francesco del Giocondo. Lisa di Gherardini was 26 years old at the time of the sitting and had recently lost a child. Herbert invites students to question the portrait:

And what is she thinking? Why does she smile? A story is told that Leonardo had musicians and clowns in his bottega as the woman sat for her portrait, so that she would smile as he painted. But this smile has appeared in other paintings by Leonardo. Is he trying to tell us something? Is this a peaceful smile or is it a little disturbing? Why does she smile when she wears a black veil and all around her is dark and gloomy?

Leonardo was back in Milan by 1508, and then moved to France at the behest of King François in 1516. He settled in the Loire valley in the beautiful manor house Clos Lucé, near the royal chateaux in Amboise, France, and became First Painter and Architect and Engineer of the King. Leonardo and King François visited together often, discussing philosophy, art, science. Though now paralyzed in one arm, Leonardo could still draw and supervise the work of his pupil. Leonardo wrote in his notebooks, “I shall continue,” and he never gave up his studies or his work. Leonardo died on May 2, 1519, and French legend tells us that he died in the arms of King François.

Activity: The Craft of Cartography (p. 65)

When Leonardo became a military engineer for Cesare Borgia he created many maps. Mapmakers are also called “cartographers.” Leonardo was one of the first cartographers to draw maps from a vista d’uccello, a bird’s-eye view.

Materials:
Stick, at least 8 inches long
Maps to use as examples
Sheet of paper, 8 1/2 by 11 inches
Pencil
Ruler

Things to consider when making a map are direction, scale, and symbols. With these things in mind, you can make a map of your neighborhood, showing the way from your house to your friend’s house or from your house to school.

First, figure out the compass points (north, south, east, and west). Here is a simple way to do that. On a sunny day, push a long stick into the ground at an angle so that it is pointing to the sun and so that it is not making a shadow. Leave for about an hour. When you return, because the sun will have moved farther west, the stick will have a shadow and the shadow will be pointing east. Face east and the south will be to your right, north to your left, and west behind you.

Next, choose a scale for the map. Look at other maps for examples. Often the scale is something like 1 inch for every 10 miles. On your map, 1 inch could equal 1 block. Indicate the scale you are using so anyone who reads it can measure out the inches and calculate distances. Create symbols for landmarks such as houses, bridges, and railroads. Churches can be shown with a steeple, schools with a flag. Made a “legend” or explanation, so the reader will know what the symbols mean.

Lastly, draw the streets and label them. Use the symbols you invented to show landmarks and buildings. You can draw your map in different colors, like Leonardo did, to show water, land, and roads. Draw the compass points so the person reading your map knows which way is north, south, east, and west. See if a friend can follow your map.

I highly recommend Janis Herbert’s book, Leonardo da Vinci For Kids. These and many more activities can be found in her engaging book. She includes biographies of other famous Renaissance artists and historical figures, web sites to explore, and a helpful glossary.

Other Resources:

WebMuseum, Paris
Leonardo’s Workshop
National Gallery of Art
Enchanted Learning da Vinci Coloring Pages
Museum of Science: Exploring da Vinci
The Notebooks of Leonardo da Vinci

Technorati Tags: art activities, art for children, art history, inventions, Leonardo da Vinci, Mona Lisa, The Last Supper

His birthplace Leiden, a sophisticated and intellectual university town, claiming to have the most academic and research-oriented university in the Netherlands, today has a statue commemorating his life there. Rembrandt first opened a studio in Leiden in 1624, and never strayed too far from these roots.

Looking at Rembrandt’s most famous work, Night Watch (De Nachtwacht), is instructive for understanding this phenomenon – of Rembrandt and his work as an embodiment of what it means to be Dutch, even today. On display in the Rijksmuseum, Amsterdam, Night Watch was painted in 1642. It is, at first glance, an action shot, much like something that a modern newspaper photographer might capture. This is intensely modern, and a break from the earlier art focus on set pieces, stage scenes or portraits. It also resembles modern photography with its dramatic light and dark elements.

Night Watch is variously called a portrait of a militia company or portraits of several leading citizens in their roles as citizen-soldiers, or a portrait of local leaders in the set roles of protectors of the citizens. It was commissioned by a group of local leaders, as was the custom of the time.

But looking closer at Night Watch, you see something much more vibrant, modern and open-minded than a set group portrait of civic leaders. For example, in a place of prominence in the front and center is a child – a female child. For patriarchal society in 1600’s Netherlands, this was quite a departure.

This portrait, with its sense of motion captured in an instant, and its large crowd, complete with lights, drums, weapons, and other accessories, has a party verve – it’s almost a caricature of warlike behavior – as if the locals gathered in a party mode, and are putting on a show of militia behavior, and yet it’s not a war at all, and no one is taking it seriously. The presence of the girl front and center adds to this sensibility. It’s as if these locals are saying in this picture – here we are, and we are ready to be a militia if we have to be, but really we aren’t, and we are entirely too civilized to take it very seriously.

Night Watch down through the ages, along with the remembrance and legacy of Rembrandt in general, has lived a most interesting life with a jaunty air thoroughly in this original spirit. Early in her life, Night Watch suffered the ignomy of having her edges cut off, removing a number of townsfolk from the picture, for the simple reason that the picture was too big for its position on a wall (Night Watch remains a whopping 11 feet by 14 feet in size).

In the 1800’s the Netherlands, in deference to the continuing centrality of Rembrandt and his work, specifically built its new state museum with rooms to accommodate Night Watch and other Rembrandts. Since moving into its new quarters in 1885, Night Watch has left only three times – most dramatically when the Nazis invaded the Netherlands. The Dutch, in preparation for the invasion, detached Night Watch from her frame, rolled her up, and hid her, as well as a number of other Dutch masters, in secure quarters under sand dunes near Limburg. Night Watch was hidden for several years, and restored to her prominence after the war, never having been found by the Nazis.

Night Watch was attacked a couple more times after World War II – not this time by a concerted invasion, but by mentally unstable individuals. Both attacks resulted in minor damage, which has been repaired.

Rembrandt remains central to Dutch identity, and a primary transitional painter into early modern times. His use of light and dark as intrinsic design elements, his willingness to flout earlier conventions of painting, his modern sensibilities in creating both action pictures and in individualistic portraits that resonate with more modern self-interest, all make him relevant to modern viewers, despite the passage of over three centuries.

This piece was written by my sister, Nancy Robinett. Nancy is a lawyer in Arizona and Washington and studied law at Leiden University in the Netherlands as part of her law school education. She has seen Night Watch in Amsterdam and highly recommends the experience to anyone traveling to Europe.

What many people don’t realized are the struggles of the Impressionist painters, who were critically mocked, shunned by their profession, and considered to be outrageous, lacking talent, and even anarchist, in their time.Success in the French art world was defined by acceptance at the Paris Salon, the greatest biannual art exhibition of its time. Art was expected to be refined, conservative, and in the Classical tradition of the Old Masters, drawing with clear, defined lines. The refreshing, lively approach of the Impressionist style should have flourished in the belle époque of France after the 1848 revolution, but the art establishment refused to make room.

Born in Limoges, France, to a working class family, Renoir worked as a boy in a porcelain factory and also painted hangings for overseas missionaries. In the early 1860s he began to study art under Charles Gleyre in Paris, where he met some artists who would be very influential in his Impressionist style: Claude Monet, Alfred Sisley, and Frédéric Bazille.

These four men formed lasting friendships, and he painted with them in the Barbizon district, and met regularly with them and other painters of the Impressionist group at the Café Guerbois in the Batignolles region of Paris - animated discussions on art and literature could be heard there almost daily from around 1866-1870. Renoir’s relationship with Monet was particularly close during this time, and the two often painted together at La Grenouillère, a beautiful swimming spot along the Seine. As Renoir and Monet practiced painting light and water, they discovered that the color of shadows, rather than brown or black, was actually the reflected color of the surrounding objects.

During the 1860s, the Salon rejected so many submissions from Renoir and other Impressionist painters that an alternate exhibition was set up, the Salon des Refusés, where work refused by the Salon could be hung. The poverty of these painters was a shame, and at times during the 1860s, Renoir could not even afford paint. His work was considered crude and unfinished, and critics said he lacked the ability to draw. One particularly vicious critic had this to say about Renoir’s Nude in the Sunlight, painted in 1876:

Try to explain to M. Renoir that a woman’s torso is not a mass of flesh in the process of decomposition with green and violet spots which denote the state of complete putrefaction of a corpse!    

The painting, in fact, was an elegant, sensual work which highlighted Renoir’s fascination with light and color.

Independent Impressionist exhibits were staged during the 1870s, and most were disastrous. Renoir, along with some other painters of the Impressionist group, became disheartened with the labels they were receiving, and by the early 1880s, the cohesiveness of the group dissolved, with many going their own ways. For Renoir, he focused on nudes and portraits, and felt that “he had gone to the end of Impressionism.”

By the late 1870s and 1880s, however, Renoir began to achieve some success. He painted from his garden at Montmartre, and then began to travel in the 1880s. He visited Algeria, Spain, and Italy. In 1883, at the island of Guernsey off the English Channel, he created 15 paintings in one month.

His later paintings were sometimes crisper, sometimes with duller coloring, but always timeless subjects, very accessible and appealing, and above all, with lovely women. “Why shouldn’t art be pretty? There are enough unpleasant things in the world.” And as a lover of the female form, he commented “I never think I have finished a nude until I think I could pinch it.”

In 1890, Renoir married Aline Victorine Charigot. The Renoirs had three sons. One son, Jean, became a filmmaker, another son, Pierre, became a stage and film actor. Many of his paintings after his marriage portray domestic scenes and family life.

Renoir began to suffer from rheumatoid arthritis, and moved to the south of France around 1907, close to the warm air of the Mediterranean coast. Renoir continued painting during the last 20 years of his life, despite arthritis severely limiting his movement. He was wheelchair bound by 1912, but had a paintbrush strapped to his paralyzed fingers and kept at it.

Impressionism, like many ideas and many individuals not appreciated in their time, has now been judged by history as a tremendous, liberating movement. Renoir certainly did his part to influence both French painting and world art, and his influence in painting continues to this day in the use of loose brushwork, a feeling of movement and light, and the use of pure, bright colors.

My family is participating in the Veterans History Project as part of a homeschool history project. We will be interviewing a family friend who is a Vietnam veteran. You don’t have to submit the oral history you collect to the Project, but it’s really simple and would benefit us all if you’d be willing to contribute and help preserve these stories as part of America’s folklife.

The Veterans History Project is primarily focused on first-hand accounts of U.S. veterans from the following wars:

• World War I (1914-1920)
• World War II (1939-1946)
• Korean War (1950-1955)
• Vietnam War (1961-1975)
• Persian Gulf War (1990-1995)
• Afghanistan and Iraq Conflicts/Wars (2001-present)

The Project also invites U.S. civilians to share their stories of their active support of the war efforts, such as war industry workers, USO workers, flight instructors, and medical volunteers.

The participation guidelines are straightforward, and includes a Veteran’s Release Form, which is included in the Project Kit. Only one interview, between 25-90 minutes long, is allowed per veteran or civilian interviewee.

Sample interview questions for veterans are available at the Project website, and are an invaluable resource! The questions are divided into segments, making it easy to conduct interviews in sessions if required: Jogging Memory, Experiences, Life, After Service, and Later Years and Closing. “Do you recall the day your service ended?” is a question I’m sure all veterans will have no trouble recollecting.

This weekend my children were in two different Veterans Day parades. My son, who is a Cub Scout, marched with his troop in the neighboring town on Saturday, and my daughter, who is a Brownie (Girl Scout), marched with her troop on Sunday in our town. I took several photos of veterans who lined the streets with the other parade watchers, and I so wish I could have sat down with them all right there and heard their stories! Here are some of my favorite shots:

A World War II veteran:

Two Vietnam veterans:

Navy Lieutenant Commander, veteran of WWII, the Korean War, and the Vietnam War:

Since I walked the parade route, I only had time to stop and ask permission to take a photo, and thank these men for their service to our country. From this last fellow, though, I had the privilege of hearing a snippet about his thirty year military career.

No matter where your politics lie in regard to war, please be pro-veteran. Someone handed my husband a card which said Pro-Troop. War-Neutral. That’s a nice non-partisan way to honor our military men and women.

Please let me know if you participate in the Veterans History Project!