American Lifestyle Magazine - Issue 84

Compliments of John Davis Jr 

ISSUE 84 

SKY-HIGH RIDES 

PAGE 32 A trip to Knoebels Amusement Resort 

John Davis Jr 

REALTOR® 

Direct: (973) 944-5038 

Century 21 Cedarcrest Realty, Inc. 

460 Bloomfield Ave. 

Caldwell, NJ 07006 

display art at anthropologie 6 

urban realism 18 

ISSUE 84 

COVER PRICE $6.99 

84 53939 38570

TAKING PERFECTION 

FARTHER 

Front of Tear Out Card 1 

Dear Bill and Judy, 

Rolled-down windows to catch the breeze and an uptempo playlist 

pulsing through the speakers. Can you picture it? There's nothing like a 

good road trip. And artist James Randle would heartily agree. The 

subject matter of his urban realism paintings is often a gas station, a 

frequent sight for the Utah-born painter who travels in his van to art 

shows between Phoenix and Santa Fe on Route 66. 

A road trip can also be a much-needed respite from reality. This search 

for an escape is what spurred Jacob's Pillow founder Ted Shawn to buy 

a farm in the Berkshires in Massachusetts that he would later 

transform into a world-renowned dance center. Choreographers and 

dancers Jaime Shannon and Kevin Clark offer behind-the-scenes 

insight into the magic of the summer festival and the outdoor stage 

they have been honored to perform on. 

John Davis Jr 

REALTOR® 

Direct: (973) 944-5038 

E-mail: john@njpads.com 

www.njpads.com 




When the weather is warm and sunny, outdoors is the place to be. And 

Knoebels Amusement Resort in Pennsylvania makes that an easy task. 

This crowd-pleaser features traditional amusement park favorites like 

carousels, waterslides, pools, and roller coasters, as well as unexpected 

offerings such as pickles on a stick, an international food court, and 

even a history museum. 

As always, it's a pleasure to send you this magazine. 

John Davis Jr 

Making Dreams Come True! 

John Davis Jr 

REALTOR® 

Direct: (973) 944-5038 






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84 53939 38570 

John Davis Jr 

REALTOR® 

John Davis Jr 

Making Dreams Come True!

American Lifestyle 

magazine 

IN THIS 

issue 

6 | Anthropologie Designer Audrey Raudabaugh 

10 | Summer Sophistication 

18 | James Randle’s Urban Realism 

26 | Jacob’s Pillow: The Performers’ Perspective 

32 | Knoebels Amusement Resort 

38 | The Photography of Real Estate Masterwork Series 

42 | Royal Gorge Bridge

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HANDCRAFTED MODERN HOME FURNISHINGS

After a stint as a graphic designer for lifestyle brand Anthropologie, Audrey Raudabaugh 

decided to roll up her sleeves and tackle a new role in a new city in the same company— 

display coordinator. Raudabaugh reveals how her artistic childhood in Texas led to her 

pursuits as a designer, the challenges she faced during her career transition, and how her 

all about audrey 

anthropologie designer audrey raudabaugh 

interview with audrey raudabaugh | written by shelley rose 

go-with-the-flow attitude has helped her succeed. 

Where did you grow up, and 

how did that help shape who 

you are in your career? Do 

you still feel a connection to 

that place? 

I grew up in the suburbs of Dallas, Texas, in 

a town called Coppell. I was always doing 

something somewhat artistic as a kid— 

always making something, feeling free to be 

creative in any way that I wanted. I would 

make home movies, create clay animation, 

sew, and draw. My mom was an art director 

with Neiman Marcus, so she’s definitely been 

a creative inspiration to me, and I used to 

go on set with her and paint walls or just 

hang out with the production assistants and 

stylists—that was always the fun part. In 

high school, I took art classes, sang in the 

choir, and danced. 

You went to the Savannah 

College of Art and Design. What 

made you choose that school? 

I made a big leap without exactly knowing 

where I wanted to go, but I knew I wanted 

to make something or be involved in design. 

I was open-minded. I didn’t even tour the 

school first. I figured, “Let’s try it.” The first 

time I stepped foot on the campus was 

orientation week, and it all made sense. 

How did your internship with 

Anthropologie after graduation 

transition into your full-time 

position with the company? 

I worked as a graphic designer at the 

Anthropologie home office in Philadelphia. 

I produced print design, focusing mostly 

on store events, posters, e-mails, and 

invitations. We were opening new stores, 

and I would create collages with whatever 

scraps I could find, like old postcards, 

envelopes, and stripes. They were abstract 

landscapes that reflected the vibe and look 

of the cities that were launching the 

new stores. 

Now you work for Anthropologie 

in Tampa, Florida. How did your 

move to Florida come about, and 

what is your new role? 

I’d been thinking about being a display 

coordinator as a good way to stay with the 

brand that I love and a style identity I know 

so well. But I also wondered how I could 

expand my skills. I was really drawn to 

being away from the computer and having 

fresh projects every day. My then boyfriend 

(and now husband) Eoin and I had decided 

to move to Florida to be near family and 

the beach. As we were driving to Tampa, I 

received an e-mail notification alerting me to 

a job opening as a display coordinator. The 

rest is history. 

Are you responsible for 

conceptualizing the design 

for the retail store, as well as 

actually building and filling 

the displays? 

The majority of the design is conceptualized 

at the home office in Philadelphia. We 

then have creative freedom within that 

framework. It’s been a lot of learning by 

doing with tools I wasn’t familiar with— 

saws, hammers, nails, and drills. I’ve built 

giant facades and fixtures that hold product. 

We built a huge fixture that holds stationary 

6 | AMERICAN LIFESTYLE MAGAZINE americanlifestylemag.com | 7

and notebooks and home pieces. We 

don’t only work on the artsy, fun, organic 

installations. There are a lot of displays that 

hold product, and they have to be functional 

as well. 

There must have been a 

steep learning curve—going 

from graphic design to 

physically building and using 

tools like that. Do you think 

Anthropologie looks for people 

with building skills as well as 

design skills? 

I knew I had the craftsmanship and the 

attention to detail from working as a 

graphic designer—I was meticulous in 

that way. Understanding geometry, specs, 

and measurements is key as well. In my 

experience, I’ve heard all different stories 

from previous display coordinators. Some 

of them have been illustrators with no 

building experience from the beginning, 

and some have been strong builders, so it’s 

a wide variety. When I was getting more 

information about the position, I was told 

that graphic designers are desirable because 

of their craftsmanship. 

How often do you have to 

change the displays at the store, 

and what does the process for 

setting up the new displays look 

like? Do you work with a team? 

Spring and fall are our largest seasons, 

and summer and the holidays are when 

we usually take the existing displays and 

transform them slightly to fit the season. 

The visual team chips in occasionally, but I 

own the projects and do most of the work. 

I’m usually the one with a crazy bun and 

paint splatters on my jeans. I’m scurrying 

around, not always as composed as the 

associates. I work from six in the morning to 

three in the afternoon to take advantage of 

an empty store in the early hours. 

Do you feel like all of your team 

members have different traits to 

help balance out your work? 

Totally. I’m detailed and focused on the little 

details, and they often see the bigger picture 

and can discern what’s more important. 

Then we all throw our funky ideas into the 

pot, too, so it’s fun. 

Who would you say is the 

biggest influence on your work 

right now? 

Sheila Hicks. She does these amazing woven 

pieces of art. I love when art is a simple 

material but the material really speaks 

to the final product—like you look at your 

rope, and then you’re weaving it, and then it 

makes a meaningful statement. 

What is your favorite display that 

you’ve ever worked on? Why 

does that particular piece stand 

out to you? 

One fall, we made some beautiful flowers, 

which is kind of cliché. But they were desert 

flowers—red clover, thistle, and dandelions— 

and they were made from twist ties, straws, 

cupcake liners, and little tags. Everything 

was dyed or transformed slightly and then 

bundled together in large masses and totally 

transformed. From far away, they looked like 

these great flowers in muted purples and 

dusty pinks, greens, and tans—really pretty 

desert colors. But when you moved closer, 

you realized, “Oh, it’s made out of twist ties 

that have all been dyed or coffee filters that 

have been torn.” So that was a lot of fun. I 

was really satisfied with how it turned out, 

and it was right at the front of the store, 

so when you walked in, there were forty 

different big blossoms—four feet high in 

some cases. 

BUT WHEN YOU MOVED CLOSER, YOU REALIZED, “OH, IT’S 

MADE OUT OF TWIST TIES THAT HAVE ALL BEEN DYED OR 

COFFEE FILTERS THAT HAVE BEEN TORN.” 

Is it difficult for you to see a 

project that you’ve put so much 

time and creative energy into 

get taken down at the end of 

the season? 

It can be cathartic to dismantle them 

because they often go to new homes for 

others to enjoy. A lot of times we donate the 

displays to nonprofits, like schools, to put 

up in their library or auditorium or art room. 

Sometimes it is sad, though, and I think of all 

the hard work I put into it, but I’m ready to 

move on to the next challenge. 

How do you overcome 

creative blocks? 

When I put all that time and effort in, I want 

it to look really good, and that perfectionist 

tendency can slow me down. I’ve learned to 

pick my battles; I know when to dig in my 

heels and figure it out, and when I need to 

figure out a different solution. With creative 

blocks, it can help to relax and be open to 

a different approach. I’ve got a great team 

that I can bounce ideas off of, and they come 

up with awesome ideas, so it’s really a lot 

of fun. 

© Bonnie Raudabaugh 

If you weren’t following this 

passion or weren’t working as a 

display coordinator, what do you 

think you would be doing with 

your time? 

I do miss being a graphic designer, especially 

because I had reached a certain level of 

competency. It’s empowering to feel like 

an expert at something—like you’re really 

flexing your muscles. I dream about trying 

my hand at CAD design. It’s the opposite of 

what I’m doing. It’s getting on the computer 

and making 3-D objects come to life. There’s 

something about the technical challenge that 

makes me wonder, “Could I be good at that?” 

For more info, visit audreyraudabaugh.com 


Charred Eggplant 

(Baba Ghanoush) Risotto 

In this recipe, a large eggplant is charred and roasted, then puréed to make baba ghanoush, a Middle Eastern spread that adds a mildly 

smoky, creamy character to the risotto. 

summer sophistication 

recipes by dominic orsini | photography by ed anderson, sara sanger, damion hamilton 

FOR THE BABA GHANOUSH 

1 large eggplant (1 to 11/4 pounds) 

1/4 cup tahini (roasted sesame paste) 

3/4 teaspoon coarse sea salt 

2 tablespoons fresh lemon juice 

2 cloves garlic, smashed 

1/4 teaspoon ground chile powder 

11/2 teaspoons extra-virgin olive oil 

1/4 cup packed fresh Italian parsley 

or cilantro leaves 

FOR THE RISOTTO 

4 cups vegetable stock 

1 tablespoon extra-virgin olive oil 

1/2 cup finely grated yellow onion, with juices 

1/2 cup Carnaroli or Arborio rice 

1 teaspoon fine sea salt 

1/4 cup dry unoaked white wine 

1 large red bell pepper, roasted, peeled, seeded, 

and sliced 

2 cups packed arugula, coarsely chopped 

1/2 cup finely grated Pecorino Romano cheese 

2 tablespoons fresh lemon juice 

1. Make the baba ghanoush: Prick the eggplant all over with a fork. Place over a gas 

burner, over a fire in a charcoal or gas grill, or under the broiler and char the skin 

evenly, turning the eggplant as needed. 

2. Preheat the oven to 375°F (or continue to use the grill). Place the charred eggplant 

on a rimmed sheet pan and roast in the oven (or using indirect heat on the grill) until 

completely soft and slightly shriveled, about 30 minutes. Remove from the oven 

and let cool to the touch, then split the eggplant lengthwise and scrape out the pulp. 

Transfer the pulp to a food processor, add the tahini, coarse salt, lemon juice, garlic, 

chile powder, oil, and parsley, and process until smooth. Transfer to a bowl and 

taste for seasoning. Cover and refrigerate for at least 2 hours to allow the flavors to 

develop. Bring 1 cup baba ghanoush to room temperature for the risotto and save the 

remaining baba ghanoush for another use. It will keep in an airtight container in the 

refrigerator for up to 5 days. 

3. Make and serve the risotto: In a large saucepan, heat the stock just until it reaches 

a simmer, then keep it warm. In a second large saucepan, heat the oil over medium 

heat. Add the onion and sauté until translucent, 2 to 3 minutes. Add the rice and fine 

salt and lightly toast the grains, stirring every 30 seconds or so, for 2 minutes. Add 

the wine and cook, stirring constantly, until the wine has been fully absorbed. Add 1 

cup of the warm stock and cook, stirring constantly, until nearly all the liquid has been 

absorbed. Continue to add the stock, 1/2 cup at a time, cooking and stirring the rice 

until nearly all the liquid has been absorbed before pouring in the next addition, until 

the stock is used up, about 20 minutes. At this point, the rice grains should be tender 

but still intact. 

4. Add the 1 cup baba ghanoush, the bell pepper, arugula, pecorino, and lemon juice 

to the risotto and stir to combine and heat through. Taste for seasoning and add more 

fine salt if desired. Spoon into individual serving bowls and serve immediately. 

© Silver Oak Cookbook: Life in a Cabernet Kitchen by Dominic Orsini. Rizzoli New York, 2016. 

Images from Silver Oak Cookbook: Life in a Cabernet Kitchen © Ed Anderson, Sara Sanger, Damion Hamilton. 

SERVES 4–6 

10 | AMERICAN LIFESTYLE MAGAZINE 

americanlifestylemag.com | 11

Grilled Summer Vegetables with Romesco Sauce 

My family lives off grilled vegetables during the summer, when grilling is an easy and convenient way to cook. Romesco is a red pestostyle 

Catalonian sauce made from a combination of roasted red peppers, nuts, and bread crumbs. It’s a delicious base for a platter of 

charcoal-grilled vegetables. It also tastes great paired with grilled fish, shellfish, or chicken. 

FOR THE ROMESCO SAUCE 

2 large red bell peppers 

¹⁄₄ cup raw hazelnuts, toasted and skins removed 

¹⁄₄ cup dried bread crumbs 

1 clove garlic, chopped 

1 large egg yolk 

2 tablespoons sherry vinegar 

2 teaspoons smoked paprika 

¹⁄₂ teaspoon fine sea salt 

¹⁄₂ cup grapeseed oil 

FOR THE VEGETABLES 

1 pound eggplant 

1 pound assorted summer squashes 

1 bunch red kale 

8 ounces shishito peppers or small sweet peppers 

8 ounces pole or romano beans, stems 

and strings removed 

¹⁄₄ cup extra-virgin olive oil 

¹⁄₄ cup fresh lemon juice 

Fine sea salt 

Chopped toasted and skinned hazelnuts, 

for garnish 

1. Make the romesco sauce: Prepare a hot charcoal fire or preheat a gas grill to high 

for direct cooking. Grill the bell peppers until they are blackened all over, turning as 

needed. Transfer to a bowl and cover with plastic wrap; let steam for 15 minutes. 

Peel away the skin and remove the seeds and membranes, capturing as much pepper 

juice as possible. 

2. In a food processor, combine the flesh of the peppers and their juices, the 

hazelnuts, bread crumbs, garlic, egg yolk, vinegar, paprika, and salt and process until 

very finely chopped, about 2 minutes. With the motor running, add the grapeseed oil 

in a slow, steady stream, processing until emulsified. Transfer to a bowl. (The sauce 

can be prepared up to 2 days in advance. Cover and refrigerate until ready to use.) 

3. Grill the vegetables: If the grill is not already hot, prepare it for direct cooking over 

high heat. Cut the eggplant and squashes into 1/2-inch-thick slices and place in a large 

bowl. Remove the tough stems from the kale leaves and add the leaves to the bowl. 

Add the shishito peppers and the beans. Drizzle the olive oil and lemon juice over the 

vegetables and season with salt. Toss to coat the vegetables. 

4. Grill the vegetables over direct heat, turning as needed, for 8 to 10 minutes for the 

eggplant, 4 to 6 minutes for the peppers, beans, and squash, and 1 to 2 minutes for 

the kale. As the vegetables are ready, transfer them to a sheet pan. 

5. To serve: Spread the romesco sauce on a serving platter. Arrange the vegetables 

over the sauce. Garnish with the hazelnuts. 

SERVES 6 



Dirty Porterhouse Steaks 

with Heirloom Cherry Tomato Panzanella Salad and Chimichurri Sauce 

The porterhouse cut of beef combines the New York strip and filet mignon, connected by a T-shaped bone. It is undoubtedly the king of 

all steaks. The Italians call it bistecca alla fiorentina and grill the meat on a grate that rests directly on top of a thick bed of red-hot coals. 

The steak sears to a crispy blackened crust with a blood-red center. In this recipe, I’ve eliminated the grate and thrown the steak directly 

into the bed of hot coals. This technique has several names, such as dirty steak, caveman steak, and even Eisenhower steak, as the late 

president was known to entertain his guests by preparing a steak this way. 

FOR THE PANZANELLA SALAD 

¹⁄₂ cup thinly sliced red onion 

¹⁄₂ cup seasoned rice vinegar 

1 (1-pound) loaf day-old ciabatta bread 

2 cups heirloom cherry tomatoes, halved 

1 cucumber, peeled, halved, seeded, and cut into 

¹⁄₄-inch-thick half-moons 

12 fresh basil leaves, torn in half 

³⁄₄ cup extra-virgin olive oil 

Juice of 1 lemon 

1 teaspoon fine sea salt 

¹⁄₂ teaspoon freshly ground black pepper 

2 porterhouse steaks, each 1 to 1¹⁄₄ pounds 

and 1¹⁄₂ to 2 inches thick 

Coarse sea salt 

1 cup chimichurri sauce 

1. Make the panzanella salad: Combine the onion and vinegar in a small bowl and stir 

to submerge the onion. Let stand for at least 2 hours or refrigerate up to overnight. 

2. Preheat the oven to 325°F. Tear or cut the ciabatta into bite-size pieces and 

spread on a rimmed sheet pan. Toast until golden, about 12 minutes. Remove 

and let cool, then transfer to a large bowl. Drain the onion and add to the 

bowl. Add the tomatoes, cucumber, basil, oil, lemon juice, fine sea salt, and 

pepper. Toss the salad to combine thoroughly and taste for seasoning. 

3. Grill the steaks: Build a very large charcoal or wood fire with the final diameter of 

the coal bed wide enough to fit both steaks. Rake the coals into an even layer. When 

the coals glow orange-red, fan them with a newspaper to blow off any loose ash. 

4. Generously season the steaks on both sides with the coarse salt and press the 

salt into the flesh of the steaks to adhere. Place the steaks directly on the hot coals, 

spacing them about 2 inches apart. Grill, turning with tongs, until cooked to your 

desired doneness, about 4 minutes on each side for medium-rare. Lift the steaks off 

the coal bed and shake each one to dislodge any clinging embers. 

5. Use a basting brush to sweep off any loose ash, then transfer the steaks to a 

cutting board and let rest for 15 minutes. Carve each steak off the bone and 

cut the steaks against the grain into 1/4-inch-thick slices. Throw the bones 

back on the fire and char them on each side for 3 to 4 minutes. 

6. To serve: Place the charred bones on a serving platter and reassemble the steaks 

around the bones. Accompany with the salad and the chimichurri sauce. 

SERVES 6 



Lobster and Melon Summer Rolls 

with Nuóc Châm Dipping Sauce 

Nuóc châm is the Vietnamese term for a family of fish sauce–based table condiments used for dipping. Although fish sauce may sound 

too strongly flavored, it melds beautifully with the other ingredients used here, providing the crucial salty-umami backdrop that 

makes the sauce the perfect dip for these summery rolls. Crabmeat or shrimp can be substituted for the lobster. 

1 pound cooked lobster meat, diced 

2 cups diced melon (such as honeydew, 

cantaloupe, or watermelon), in ¹⁄₄-inch dice 

2 teaspoons minced pickled ginger 

Finely grated zest of 1 lime 

1 tablespoon fresh lime juice 

¹⁄₂ teaspoon fine sea salt 

¹⁄₄ teaspoon freshly ground black pepper 

12 (8-inch) round rice paper wrappers 

24 large fresh basil leaves 

2 ounces vermicelli rice noodles, rehydrated in 

hot salted water 

2 ripe but firm Hass avocados, halved, pitted, 

peeled, and cut lengthwise into 24 slices 

FOR THE NUÓC CHÂM SAUCE 

¹⁄₄ cup warm water 

2 tablespoons light brown sugar 

1 clove garlic, minced 

1 tablespoon thinly sliced green onion, 

white part only 

1 tablespoon finely chopped fresh cilantro 

¹⁄₄ cup fresh lime juice 

¹⁄₄ cup fish sauce 

1 small serrano or Thai chile, thinly sliced 

1. Make the filling: Combine the lobster, melon, ginger, lime zest, lime juice, salt, and 

pepper in a small bowl and stir to mix well. 

2. Assemble the rolls: Select a shallow bowl wide enough to accommodate a rice 

paper wrapper and fill the bowl with lukewarm water. Lay a damp kitchen towel on 

the work surface. Dip a rice paper round into the water just until it is relatively wet 

on both sides. Do not leave it in the water too long or it will collapse on itself and 

be impossible to handle. Remove the wrapper from the water, spread it flat on the 

kitchen towel, and leave it undisturbed for a bit until it softens fully and is pliable. 

Lay 2 basil leaves end to end in the center of the bottom one-third of the rice paper 

round. Layer a pinch of the rice noodles on top. Place a generous tablespoon of the 

lobster filling on top of the rice noodles, and top with 2 avocado slices, placing them 

end to end. 

3. Bring the edge of the wrapper closest to you up over the filling. Fold both sides of 

the rice paper toward the center, overlapping them by about 1 inch and covering the 

filling. Slowly start to roll away from you toward the top, keeping the roll snug as you 

work to form a tight cylinder. Transfer the roll to a tray or plate and repeat with the 

remaining ingredients. Cover the rolls with plastic wrap and refrigerate for at least 1 

hour or up to 6 hours. 

4. Make the nuóc châm sauce: In a small bowl, whisk together the warm water and 

brown sugar until the sugar has dissolved. Add the garlic, green onion, cilantro, lime 

juice, fish sauce, and chile and mix well. Cover and refrigerate for at least 1 hour to 

allow the flavors to develop. 

5. To serve: Cut each roll in half and arrange the halves on a serving plate with 

one half resting on its side and the other half standing up and resting against the 

horizontal half. Serve with the sauce for dipping. 

MAKES 12 ROLLS 



urban 

realism 

james randle 

interview with james randle 

written by shelley rose 

Oil painter James Randle grew up around other artists, including his own father. 

The Utah-born artist is heavily influenced by the places he travels, thoughtfully 

digesting each city and transforming those experiences into paintings that 

capture that emotion. 

What was it like growing up in 

Salt Lake City? 

My father is an artist who paints very 

traditional pastoral landscapes. As a young 

boy, I would go to the studio with him in 

downtown Salt Lake. I was always around 

other artists growing up. The seed was 

planted in me early, but I played a lot of 

sports like soccer, and I didn’t really take 

painting seriously until I got to college, 

where I met other artists, all of whom 

are still painting or sculpting or creating 


art in some respect. Being around other 

interesting artists inspired me and pushed 

me. Salt Lake City has a vibrant art scene, 

despite its conservative reputation. There 

is a rich history of talented painters in Salt 

Lake City. 

Did you specifically go to college 

for art? 

Yes. I went to the University of Utah and 

received a degree in painting and drawing. 

What does your father think 

about you being an artist and 

your art? Can he appreciate 

something different? 

He’s so excited about everything I do. I don’t 

think he cared that I went against the grain 

as long as I took pride in what I was creating. 

That’s the most important thing to him—that 

I work hard at my art and constantly grow 

and progress. 

What did the path to being a 

full-time artist look like? 

It took a couple years. When you step out 

of college, it’s not easy to start selling your 

work. After college, I lived in Nigeria for a 

few months doing construction. I also took 

a job in Sitka, Alaska, where I worked on a 

fishing boat. I wanted to test my stamina, 

and I knew that job would involve extremely 

long hours and repetitive duties. I wanted to 

prove to myself I could do it and not quit. I 

knew I wasn’t going to be in construction my 

whole life, and I certainly knew after being in 

Alaska that I didn’t want to be a fisherman. 

After Alaska and Nigeria, I went full time 

into art. I had an opportunity to sell artwork 

in Scottsdale, and I had some success down 

there and picked up a few galleries. I did 

some shows in Phoenix during the winters 

and eventually moved here full time several 

years ago. 

Did you ever doubt if you were 

on the right career path, being 

an artist? 

I didn’t doubt that I wanted to be an artist, 

but I worried about making enough money 

to support myself and have the lifestyle I 

wanted. It’s the first thing they tell you in 

college—don’t expect to be rich from this 

and maybe don’t even expect to be able to 

do it for a career. 

What is your state of mind while 

you’re painting? Do you sort of 

disappear into a focused place? 

What does it feel like? 

Sometimes I can lose myself in a painting 

and twelve hours go by. Other times it’s hard 

to manage thirty minutes of good painting 

by the end of the day. The easiest time for 

me to get in the zone is when I have a body 

of work and the first three or four paintings 

are done. Then I start to sense where the 

work is going. Some artists will say the most 

exciting time is starting a new body of work. 

For me, it’s the worst because I’m constantly 

questioning if I’m painting what I want to 

paint. Once I get halfway through a painting, 

it’s like I’m playing soccer against a really 

tough team and I’m up two goals. I’m feeling 

confident and I start playing better. That’s 

when I can really lose myself in the painting, 

get focused, and make bold moves. 

I’ve noticed gas stations and 

airstreams are two major 

themes. What do they represent 

for you? 

I think my work is so heavily influenced by 

where I live and places I’ve had experiences. 

Airstreams represent travel and moving 

around in between those places. They’re also 

fun to paint because they create a dynamic 

landscape where you see everything in front 

of you, above you, behind you, and in the 


“ 

One of my more popular paintings is called 2 Guns. It’s 

really monochromatic, and you can feel the sky. There’s 

hardly anything in the painting, but you can really feel the 

depth and the loneliness of the place. 

reflection. The gas stations are something 

that I see in the Southwest when I’m on the 

road. I travel a lot in my van going to art 

shows between Phoenix and Santa Fe on 

Route 66—it takes me through a piece of 

history to see all these abandoned places 

and airstreams in various settings. 

When I look at the gas station 

paintings, I feel a lot of emotion 

in them. Are there certain 

themes that you’re continually 

processing or working out in 

your paintings? 

I think I have a lot of empathy for places 

I’m painting; I think these places that other 

people have abandoned are really beautiful. 

I have to understand and feel the place to 

paint it; otherwise, it doesn’t feel like me. 

One of my more popular paintings is called 

2 Guns. It’s really monochromatic, and you 

can feel the sky. There’s hardly anything in 

the painting, but you can really feel the depth 

and the loneliness of the place. 

How do you define your style? 

I consider myself to be a realist painter 

but not a hyporealist or a photorealist. The 

word urban works as a description of the 

man-made element in my paintings. When 

you look through my work, you don’t see just 

a pastoral landscape. There’s always some 

sort of industrial or man-made or urban 

element in the work. 

I noticed in one of your 

paintings, it says “Let Go” on the 

street. Was that creative license, 

or does it really say that? 

It really says that. Cable cars in San 

Francisco are actually like an upside down 

ski lift, and when they intersect, the cable 

could get tangled up if the conductor were 

to not let go of it. I purposely put those 

words in your face and in the middle of the 

composition. The best feedback to hear is 

from people who look at my paintings and 

ask, “How can you paint something that 

I would never have considered wanting 

to look at and make it so beautiful and 

engaging?” Hopefully, when people look at 

my work, they see the value in looking closer 

at their surroundings and taking notice of 

everything around them. Everyone thinks 

that sunsets or a ripple in the tree is the 

most beautiful thing. There can be beauty in 

a pile of trash if it’s painted with empathy or 

photographed in a certain light. 

What medium are you using? 

I’ve always been an oil painter. It’s what I’m 

most comfortable with. Oil paint to me is a 

lot more malleable. It allows me to rework 


and cover things up and blend and soften, 

and I can eliminate or add things. 

I read that you use photographs 

and sketches as starting 

points. Are you interested in 

photography or only to the point 

that it’s a reference point for 

your paintings? 

I am a huge fan of photographers and 

their work, and I get so many ideas for 

composition. I do use photographs as a 

reference for my paintings. Some artists 

insist a painting can only be as good as your 

reference. I’m the opposite. If I have a really 

good reference, I get too attached to it, like 

I’m taking a piece of art and trying to turn 

it into another piece of art. I prefer to have 

a looser reference with vague information. 

I can figure out the rest, and it leaves me 

room for creativity so I’m not just copying 

a photograph. 

How do you feel about the 

word creativity? 

I think creativity is the ability to parlay 

your awareness of an experience into 

self-expression. I don’t think you can teach 

creativity. I went to college to learn how to 

paint. I didn’t need anyone to tell me how 

to be creative. I wanted the tools to 

self-expression. 

How do you gain more tools 

now that you’ve graduated? 

First and foremost, I gain tools by practicing 

my painting. I also think it’s very important 

to surround yourself with other artists and 

talk to them so you can evolve and create 

effectively. Look at other people’s art, go to 

events, and read books. I hear a lot of friends 

say they don’t want to go to a museum or 

look at other artists’ work because it will 

hinder their creativity and vision. I think it’s 

important to take ideas from everywhere 

and integrate them somehow into my work. 

I’m a firm believer that nothing comes 

out of a void. It’s all inherited from 

somewhere else. 

How would friends 

describe you? 

I tend to focus on people with a more 

negative opinion of me, so I can either work 

on those challenging traits or figure out how 

to channel them. I think people would say I’m 

eccentric and honest. I’m the kind of person 

who does things and then reflects later. 

Sometimes I can be a little abrasive and rub 

people the wrong way, but it’s really allowed 

me to find out who my friends are. 

Where are you when you’re 

not painting? 

I am hiking. I run a lot, and I play soccer. I 

like food and talking to friends. I spend a lot 

of time alone when I’m painting, so it is nice 

to socialize at other times. 

What is the atmosphere of 

your studio? Do you have 

music playing? 

I love all forms of art, and music is definitely 

something I’ve always been passionate 

about. I’ve collected music since I was quite 

young, and I have a huge music library. 

Sometimes music can be a little distracting 

because I have to think about what I want 

to listen to too much. Radio and podcasts 

can be very nice; I like to be informed about 

world news. 

Do you collect vinyl? 

I wish I did! When I was younger, before 

vinyl got popular again, I spent all my money 

on CDs. I have hundreds and hundreds of 

CDs. I told my girlfriend when we bought a 

house five years ago that I wanted a record 

player. She vetoed that idea because she 

knows I’m a collector. I would have probably 

spent $20,000 on vinyl by now. Instead, 

we’ve started collecting artwork. Whenever 

“ 

First and foremost, I gain tools by practicing my painting. I also 

think it’s very important to surround yourself with other artists 

and talk to them so you can evolve and create effectively. 

we have extra money, we love buying 

original artwork. 

Why do you choose to invest 

in artwork? 

Buying artwork can be just as gratifying 

as selling or painting. It is fun to meet the 

people who buy your paintings. It’s fun to be 

on the other side of it and see how artists 

react when you buy their work. It’s like 

looking in a mirror, I suppose. I love filling 

our house with art; I aspire to be a collector 

as well. 

Are you ever bothered by 

someone who buys your 

painting for the wrong reason? 

Yes! Most artists would agree we always 

want our most beautiful paintings to be 

in places where people can see them and 

appreciate them. It’s not my favorite thing 

to hear clients are purchasing a painting to 

match their couch, but I hope the painting is 

enjoyed just as much as the color scheme. 

And, for the most part, I have so many 

awesome collectors that have bought so 

much artwork. 

What career are you neglecting 

right now by being a painter? 

I would have been one of three things: an 

architect, an engineer, or probably 

a contractor. 

Have you figured out the 

meaning of life for yourself? 

I have a philosophy for who I am and what I 

want my life to be, and it’s pretty simple—to 

be satisfied and happy with what I do but 

to keep pushing myself. My biggest career 

goal is to reach as large of an audience as 

possible and for people to see my work; 

I want people to like my work and enjoy 

it. It would be validating to show in some 

high-profile galleries and to be part of that 

conversation. My goal in life and my career is 

to continually grow as a person and as 

an artist. 

Will you do this for the rest of 

your life? 

As of right this second—for sure. 

For more info, visit jamesrandleart.com 


opposite page 

The Ted Shawn Theatre is lit up 

at night. 

far left 

Ted Shawn’s Men Dancers 

performed choreography inspired by 

themes like American folk 

material, work, war, and sports. 

left 

Ted Shawn, founder of Jacob’s Pillow, 

bought the farm as a retreat. 

jacob’s 

pillow 

© John Lindquist © Harvard Theatre Collection 

© John Lindquist © Harvard Theatre Collection 

© Christopher Duggan 

the performers’ perspective 

interview with jaime shannon and kevin clark 

written by shelley rose 

Choreographers and dancers 

Jaime Shannon and Kevin Clark 

wax poetic on their experiences 

of performing at Jacob’s Pillow, a 

world-renowned dance center that 

hosts a summer festival in Becket, 

Massachussetts in the Berkshires. 

How would you describe your 

hometowns? And what motivated 

you to move to New York City, 

where you both currently reside? 

Jaime: My hometown is Milford, Connecticut. 

I spent most of my childhood there. I didn’t 

leave until I went to college. When I think 

about the town I grew up in, I remember 

a lovely little Connecticut town. Very nice 

energy, nice people, and a nice environment. 

I always knew I wanted to come to New 

York. The arts world is great. Dance was the 

main incentive, but my personality in general 

likes to be places like the city, where there is 

always activity. 

Kevin: I’m from Albuquerque, New Mexico, 

and I love it there—the spaciousness and 

nature. Albuquerque is all about the desert 

and the mountains, both of which are so 

engrained in Mexican and Native American 

culture. There’s this really lovely sense of 

time, or rather no sense of it. The philosophy 

is to do it tomorrow—take it easy and relax. 

This is really great, except it doesn’t push 

people toward ambition. Toward the end 

of my time there, I felt like I wasn’t getting 

much done. New York City is a great place to 

grow and challenge myself. It’s a city filled 

with people who want to push themselves 

and grow and find new ways of connecting. 

What are your earliest 

dance memories? 

J: My family was vacationing in the Bahamas 

together, and one night my parents decided 

we were all going to go listen to the hotel 

band and we were going to dance. It didn’t 

sound fun to my four-year-old brain, and I 

was being really stubborn and bratty. They 

took me onto the dance floor, and I started 

moving; it was like a switch had been 

flipped. It felt amazing. It felt like joy. It felt 

like home. I refused to get off the dance floor 

all night. I knew in that moment nothing 

made more sense to me than spending the 

rest of my life trying to feel that good. My 

parents signed me up for dance classes 

that fall. 

K: There’s a yearly festival in my hometown 

called the Albuquerque International Balloon 

Fiesta. It’s a huge event with over five 

hundred hot air balloons. I was there with 

my family when I was about six, and there 

was a stage and a band. They were playing 

Michael Jackson, and I started dancing. 

My parents took a video, and it’s very 

embarrassing. That’s my first dance memory. 

I should have known then, but I didn’t. 

How did your dance training 

evolve after that first memory? 

J: My dance studio, the Lee Lund Studio of 

Dance, became a second home from the 

ages of five to eighteen. The emphasis was 

on modern dance and theater jazz. After I 

graduated high school, I was a dance major 

at Hofstra University, where I studied a lot 

of modern dance and ballet. I then moved 

to the city to further pursue concert dance 

styles, like modern and contemporary, 

and began working with a lot of different 

choreographers and small companies. Six 

years ago, one of my best friends from 

college got involved in swing dancing. 

She was classically trained like me, and 

she stumbled on a flyer for swing dancer 

auditions. She made the team having no 

knowledge of swing dancing, but she was 

a great dancer and they trained her. One 

day, she called me up and told me she had 

to go back to Florida to work at Disney for 

a while, and she asked if I would consider 


How did you and Jaime meet? 

K: Jaime and I met at a party. The hostess 

below 

Jaime Shannon and Tony Fraser 

perform on the Inside/Out stage at 

Jacob’s Pillow. 

put on some music and encouraged me to 

swing dance with Jaime, who I had never 

met. When we realized we both knew swing 

dance and modern dance, we knew we were 

destined to work together. 

How did the first opportunity (in 

2014) with Jacob’s Pillow come 

about? Did they approach you? 

Did you know about this festival 

for many years? 

J: I’ve known about this festival for years. It’s 

world famous for modern and contemporary 

dance. My dance partner, Tony, sent 

somebody an e-mail along with videos of us 

performing and said, “Hey, we do this. What 

do you think? Can we be in your festival?” 

which is not the process you’re supposed to 

follow. But Tony doesn’t pay much attention 

to proper protocol. It was already late in 

the selection process, but they asked if 

they could do a phone interview with us. I 

told them about my ideas of fusing swing 

dancing into a structure that fits concert 

dance, and they agreed to give us a shot. 

They put us in the festival, and we were a 

big hit. They reached out to us the next year 

and asked if we were interested in applying 

again, and we were accepted for year two. 

I found out it’s quite rare to be invited back 

© Jamie Kraus | Jacob’s Pillow Dance 

meeting her dance partner, who now needed 

someone to work with. “You’re light and 

bouncy. You’ll be good at this,” she said to 

me. I went to a shag dancing class at Dance 

Manhattan and met Tony Fraser. After the 

class, we talked for hours, and he asked 

if I wanted to be his new dance partner. I 

couldn’t pass up the opportunity to train 

with this wonderful teacher and competitor. 

K: I was dating a girl named Cathy at the 

time who was in show choir, and they were 

doing a swing piece. She asked if I would 

help her work on some of the moves they 

were learning. I eventually caved and began 

learning to swing dance. And then I really 

fell in love with the dance—I traveled and 

competed a lot. 

How did you discover 

modern dance? 

K: I was invited to attend a modern 

dance rehearsal at the University of New 

Mexico, and I watched a piece that was 

choreographed by a student who has since 

become a mentor to me. The modernist 

piece was raw and physical and visceral 

and so exciting. I signed up for the class and 

was hooked. I got my degree in dance from 

the University of New Mexico, with a minor 

in chemistry. I did some work around New 

Mexico and established a teaching company 

called The Rhythm Project, which was very 

successful considering it’s in Albuquerque. 

I then realized it was time to head to New 

York City. 

THERE ARE SOME THEATERS THAT HOST INDOOR 

PERFORMANCES AND THEN THERE’S A BIG, BEAUTIFUL 

OUTDOOR STAGE, WHICH IS WHERE THE INSIDE/OUT 

SERIES HAPPENS. 

© Jamie Kraus | Jacob’s Pillow Dance 

for the Inside/Out series because they like 

to refresh the series and show something 

new every year for their audience. So, in year 

three, I decided to go through the traditional 

application process, knowing it was 

unrealistic to be asked back a third time but 

wanting them to know I had an interest. We 

were ecstatic to be accepted in year three. 

What is the Inside/Out series? 

J: Jacob’s Pillow has several performance 

series. They have a few different venues— 

there are some theaters that host indoor 

performances and then there’s a big, 

beautiful outdoor stage, which is where 

the Inside/Out series happens. You see the 


elow 

The Ted Shawn Theatre in the 1950s. 

© Jacob’s Pillow Dance Festival Archives 

“ 

trees, the mountains, and the landscape in 

the background. Every Wednesday through 

Saturday, the Inside/Out series presents 

half-hour pre-performances that are open 

to the public on the outdoor stage. It’s a 

one-time performance for us. We drive up 

to the Berkshire Hills, do our tech rehearsal 

and run-throughs, and then perform around 

six o’clock at night. We do a Q and A with the 

audience after the performance, and then 

we drive home. 

Do students come to the festival 

to take classes? 

J: They do have a school, and it’s a major 

part of the festival. Students from all over 

the world apply and audition to get into 

the school. There are different three-week 

sessions, like ballet, contemporary, and 

jazz. Students take class all day, probably 

six to eight hours a day, before the evening 

performances. The performances are not 

just for the students, though; they’re 

also open to the community and the 

general public. 

below 

The Ted Shawn Theatre in the 2000s. 

© Christopher Duggan 

Knowing the history of it and knowing what it created and how the entire 

modern and contemporary dance movement emerged from this festival—it’s 

very humbling to be on these grounds. 

What does it feel like to be a 

part of this festival, where there 

are so many kindred spirits 

all together? 

J: It feels amazing just to step foot on that 

property. It’s a National Historic Landmark 

by law because that farm has been around 

forever. It was a stop on the Underground 

Railroad way before it was ever a training 

ground for dancing. Knowing the history 

of it and knowing what it created and how 

the entire modern and contemporary dance 

movement emerged from this festival—it’s 

very humbling to be on these grounds. 

K: There’s an unspoken knowledge that you 

are with your family. It’s hard to overstate 

the emotional and historical significance 

of Jacob’s Pillow. Modern dance was 

popularized by Ted Shawn and his wife Ruth 

St. Denis when they formed the Denishawn 

Company and bought a retreat in the form 

of a farm called Jacob’s Pillow. After he and 

Ruth split personally and professionally, he 

began pursuing a new dream that began 

with a group of men he trained into a dance 

troupe. In their downtime, they built many of 

the structures that are still in use at Jacob’s 

Pillow. To raise money, they would host 

tea parties, with the dancers serving high 

tea outdoors to audience members, who 

would pay seventy-five cents for a cup. The 

audience would then be treated to a lecturedemonstration. 

It’s a testament to all the 

ways in which these artists had to struggle 

to make ends meet. There is so much 

energy and electricity in the air. You can feel 

the history. 

Where is your jumping-off point 

for choreography? 

J: For me, it always starts with the 

movement, not specifically with the dancers. 

I’ll have an idea in my head, whether it’s 

inspired by an emotion, an event, or a piece 

of music that I just heard. Then I figure out 

the movement quality and more specific 

choreography. I always have dancers in mind 

that I want to use. Once I have the cast set, I 

mold the movement even more to fit the skill 

sets of my dancers. 

© Cherylynn Tsushima 

During the Q and A at Jacob’s 

Pillow, you spoke about the 

importance of weaving dance 

styles. Do you still choreograph 

only contemporary, or is your 

focus really now on fusing 

swing and contemporary? 

J: I like choreographing both, but right now, 

most performance opportunities that have 

landed in my lap have been because people 

are requesting swing. So I’ve been focusing 

a lot on swing-based shows. Like you said, I 

like to weave the styles. I don’t want to show 

a traditional dance step from 1945 and have 

it look identical. I want to put some of the 

emotion and structure of concert dance into 

it. I’m always working to blend them and 

observe how they work together. 

Do you think this niche you fill, 

of swing dancing infused with 

concert dance, is part of the 

reason you keep getting invited 

back to Jacob’s Pillow? 

J: I think so. A lot of times, something like 

swing dancing is only seen as a novelty. It’s 

seen as something historical. You go out, 

you do a demonstration, you show people 

it looks cute, you make people happy, and 

then that’s it. To me, what I always loved 

about concert dance and contemporary 

dance was the artistry, the motion, and 

the depth that you can incorporate. When 

people kept asking me for swing, I wondered 

how I could take the structure, the emotion, 

the inspiration, and the depth that I have in 

modern and contemporary dance and put it 

into swing because, why not? It’s something 

that people aren’t doing, and it’s something 

that I think is important because the whole 

reason this music and this dance came about 

was purely human emotion. It was out of 

a time of depression and war and so much 

going on in the country. I want to bring 

some of that raw emotion back into it. I feel 

like it’s my job to take the stuff I learned in 

concert dance and the happy swing dancing 

stuff that people are asking me for and just 

mix it together and hope it makes sense. 

Kevin, what qualities does Jaime 

possess that make her such a 

special choreographer? 

K: I think there are three things that I would 

pick. First, because the work she’s doing 

is kind of new, she doesn’t have the worry 

or fear that some of the other groups have 

of fitting in with current trends. Even if 

more people were doing this, one of Jaime’s 

strengths is her fearlessness to do honest 

work, even if it goes against acceptable 

trends of the moment. Second, she has a 

mind-set that everything is going to work 

out—so let’s just get to the art making. 

The third quality is her ability to approach 

choreography using a very descriptive 

language to help dancers comprehend and 

portray their roles. 

Jaime, what made you choose 

Kevin, and why do you continue 

to enjoy working with him? 

J: When I met him at that party, I knew 

he was going to be good. I could tell by 

his passion and his drive, and because he 

was so set on moving to New York that he 

was already making connections. I hadn’t 

even really seen him dance, but I told him 

that night I would be casting him. The fact 

that he was both a contemporary dancer 

and a swing dancer was solid gold. He’s a 

great performer and a very close friend, 

and I’ll always work with him if he’s always 

available to do my work. 

K: Now I’m flattered. 

When you are seventy years 

old and you look back on this 

experience, what will you 

remember about performing at 

Jacob’s Pillow? 

J: I may not remember what dance I did 

or what song it was, but I’m always going 

to remember how I felt when I was there, 

standing on that stage and becoming part 

of the scenery, and giving something back 

to an environment that created so much 

for the dance world. That comfort, joy, and 

exhilaration of being a part of that legacy— 

it’s something that will never be erased from 

my memory. 

K: I will remember standing on the stage 

and looking up at the sky in this institution 

for dance, knowing I was there performing 

among people who genuinely care about 

the art. There’s an overwhelming sense 

of rightness. 

For more info, visit jacobspillow.org 

. 


Ever since I was a child, I’ve loved going 

to amusement parks. Like many kids, I 

enjoyed the spectacle of it all: the colors, 

the flashing lights, the food, and the fun. 

As a teenager, I got more daring with my 

ride choices, frequenting ones that whipped 

thrill-seekers like me around at dizzying 

speeds. I had my limits, though: roller 

coasters were still mostly off limits, as were 

free-falling rides. 

I continued going to amusement parks as 

an adult. Later, when my soon-to-be wife, 

Sandra, and I went to Disney World, our 

favorite ride was an indoor roller coaster. 

Maybe I was getting less fearful as I got 

older. Maybe I just wanted to impress her. 

sky-high rides 

and shortcakes 

knoebels amusement resort 

written by matthew brady | photography by knoebels amusement resort 

My kids have followed in my footsteps— 

and, in my son Jeff’s case, even beyond 

them. His first ever amusement park ride 

was a roller coaster. He was five years old. 

Of course, he went on with his mother, 

while our one-year-old daughter, Laura, and 

I watched from below. 

These are the sorts of memories that 

flooded my mind as I drove to our latest 

amusement park adventure: Knoebels 

Amusement Resort, a family-owned park 

and campgrounds located in a small central 

Pennsylvania town called Elysburg, which 

is about a seventy-mile trek north of 

Harrisburg, the state capital. 

Over the years, we’d heard a lot about 

Knoebels, and what we’d repeatedly heard 

were rave reviews. Our friends told us 

stories about how it’s unlike any other 

amusement park. Now that we were pulling 

onto Knoebels Road, we were about to find 

out for ourselves. 

I immediately noticed how much ground 

there is, even before we got near the park. 

It made sense because, when John Salter 

first purchased the land all the way back 

in 1775, it included 292 acres. In 1828, 


the Reverend Henry Hartman Knoebel 

brought it into his family when he bought 

the plot for $931, and the reverend’s 

grandson, Henry, led it in the direction of 

amusements—which we would soon 

be enjoying. 

As we followed the line of traffic, the 

expanse of the parking area unfolded 

before us. Sandra let out a “Wow” when 

she saw the number of vehicles; there had 

to have been thousands. We were led to 

a grassy area to park—without paying, as 

it turns out; Knoebels doesn’t charge for 

parking. Laura said, “I know I’m going to 

like this already,” and we got out to start 

our adventure. 

After walking for a few minutes, we entered 

the park area—which was easy because 

there’s no admission charge, so there is 

no waiting in long lines at ticket booths 

or going through turnstiles—and were 

immediately greeted by pavilions with 

several covered bench areas for birthday 

parties. This immediately gave the park the 

feel of a local attraction. 

As it was around one o’clock, we decided to 

eat first. We quickly found an eatery called 

Alamo Front Counter. There we stood in 

a short line, and my wife and son decided 

on burgers and my daughter a chicken 

sandwich. While we were waiting to order, 

a friendly face at the next counter (the ice 

cream counter, it turned out) yelled out, “Is 

anyone only ordering a pickle on a stick?” 

That was exactly what Laura was waiting 

to hear: her primary reason for wanting to 

go here wasn’t the rides or the games . . . 

it was to eat a pickle on a stick. So I darted 

into the next line and bought one, and 

Laura was in pickle paradise. 

As my family devoured their food, I went 

to a nearby ticket booth to buy ride tickets. 

I got thirty dollars’ worth of tickets, and 

then I took in our surroundings. It was 

almost a perfect day, around 75 degrees 

and sunny with a blue sky, and it somehow 

seemed sunnier here with the tree-lined 

mountains surrounding the park. In addition 

to the Ferris wheel, we were seated near 

a blue-and-yellow roller coaster that 

featured what looked to be a 90-degree 

drop (immediately prompting a “no” on my 

mental checklist), a kids balloon-themed 

ride, and a sky ride taking patrons on a 

slow trek up the mountain slope to observe 

the entire park. Also noteworthy were the 

dogs—several people had their pooch pals 

with them in the park—as well as the sheer 

amount of trees inside the park, which I 

figured would provide ample shade on this 

warm day. 

My family quickly finished their food, which 

meant it was time for rides. 

We walked through an entry to the next 

section adorned by a wooden Knoebels sign 

and saw the Grand Carousel. Our first ride 

came with a legacy: handcrafted in 1913, 

Knoebels purchased this carousel a mere 

ten days before the start of World War 

II. History notwithstanding, Laura loves 

carousels, so she and I got in line for the 

ride. We soon handed over our tickets and 

chose horses; her selection turned out to be 

a good one, since brass rings are dropped 

down a chute at one point in the ride, so if 

you’re on the outside, you can try to grab 

them for fun every time you pass by. 

After the carousel, we made a watery 

pit stop. We passed by the park’s large 

swimming pool and its four water slides, 

as well as one of the park’s two log flumes, 

Sklooosh. The kids and I ran to the latter’s 

observation deck to get soaked by the ride’s 

tidal wave. 

As it turns out, though, water hasn’t always 

been Knoebels’s friend. Tropical Storm 

Agnes flooded the park in 1972 by causing 

its creeks to rise six feet above their banks. 

The park also dealt with flooding in 1975, 

1977, 1996, 2004, and 2011, rebuilding and 

recovering each time. Perhaps the biggest 

challenge was in 2006, when 90 percent of 

the park was submerged in upwards of ten 

feet of water after heavy rains. Remarkably, 

within three days (and over 11,000 man 

hours) the park reopened on a limited basis. 

As you wander through the park today, you 

can see signs marking the various water 

levels of the floods—and reminding you of 

the park’s resilience. 

After our water adventure, Jeff wanted to 

try the nearby PowerSurge ride. As he and 

I made our way to the front of the line, we 

took note of a prominent sign that warned 

us that the park wasn’t responsible for any 

personal items that fell from the ride. I 

knew this one would be fun. 

And fun it certainly was. We each strapped 

ourselves into a tight over-the-shoulder 

harness, and off we went. This particular 

ride spins you and whips you every which 

way: one second, you’re looking straight 

up at the blue sky and the next your entire 

body is facing straight down while falling 

from fifty feet in the air. Within a minute, 

Jeff managed to say, “I’m never going on 

this again,” and I smiled. 

Next on the agenda was a swing ride with 

Laura (which resulted in her shouting, 

“This is awesome!”), and then my wife and 

daughter made a moment by going on 

a family roller coaster, Kosmo’s Kurves, 

together. Though reportedly terrified the 

entire time, Laura was happy to have 

tried it. 

We then split up, as the girls went to shop 

at the Christmas Cottage (which includes, I 

later found out, a North Pole in front made 

out of real ice) and played games while Jeff 

and I got in line for the Flying Turns wooden 

roller coaster. This was the only long line of 

the day, and we entered at the “45 minutes 

“ 

Our first ride came with a legacy: handcrafted in 

1913, Knoebels purchased this carousel a mere ten 

days before the start of World War II. 


from this point” marker. There are signs 

which served their purpose when Sandra 

To end our visit, we made our way to the 

thoughtfully placed throughout the line to 

commented to me about what life must 

Pioneer Train to tour the grounds. To get 

keep guests occupied, including revealing 

have been like for the miners doing that job. 

there, we crossed yet another bucolic 

the history of this coaster. As it turns out, 

bridge, passed the bumper cars (whose 

the ride is legendary: opened in 2014, it’s 

This led us to the back of the building, 

sign said were voted Best in America by 

a rebuilt classic coaster from the 1920s. 

which houses the Knoebels Museum. 

USA Weekend), and got in one final log 

But one sign in particular immediately 

Want to learn more about the centuries- 

flume dousing. The train is a popular ride, 

caught my eye: the one declaring that 

old Knoebels story? You’ll find it here in 

so the line was long (and included some 

everyone would be weighed (as there was 

a massive wall-length timeline, from that 

more chitchat with strangers); however, we 

a 400-pound maximum per car) and that 

first land exchange in 1775 to the resort’s 

were quickly aboard. Along the the mile- 

everyone had to hand over anything that 

opening in 1926 to the various rides and 

and-a-half ride around the park, we went 

could fly off, such as hats and glasses. 

attractions that have opened since then. 

under the popular Twister wooden roller 

You’ll also be entertained, as we were, 

coaster, through the resort’s wooded areas, 

The ride was exactly as billed: the world’s 

by the exhibits of old-fashioned carnival 

and past its various campgrounds. And, 

only wooden bobsled roller coaster. It starts 

games, rides, and even a jukebox from 

of course, when another train passed by, 

off like a typical wooden roller coaster, 

Knoebels’ past, and smile at the endless 

everyone waved to us, and we waved back. 

with the slow, ominous, uphill clanking of 

array of antique photos throughout 

It’s that kind of place. 

the gears over the wood planks. But then it 

the museum. 

whips you into a bobsled area, where you’re 

It’s family friendly. Kid friendly. Budget 

literally off the tracks—there’s nothing 

After Laura went on a nearby ride, we then 

friendly. Even pet friendly. It’s just 

but the winding curves and your car. You 

entered another museum, the Carousel 

amazingly, unassumingly friendly. The 

then repeat this experience a second, more 

Museum, which features over fifty antique 

Knoebels family has gone to great lengths 

prolonged time before the ride ends. As one 

carousel figures and other memorabilia 

to create a genuinely pleasant, nostalgia- 

of the signs aptly says, it makes you feel 

dating back to the late 1800s and early 

inducing amusement park experience—with 

like you’re flying. 

1900s. If you’re a fan of carousels, this is a 

really fun rides, games, and attractions 

must-stop. 

to boot. 

With that adventure over, it was time to 

eat again (or, in my case, eat for the first 

Afterwards, the girls played a few 

As we walked back to our vehicle and 

time). We walked to the far end of the 

nearby games (for as little as a quarter 

commenced our two-hour-plus drive, we 

park, past several games and shops, to the 

each), and we found our way toward the 

realized we wanted more. We hadn’t golfed 

International Food Court, which offers a 

host of food options. My family got in the 

American food line, where Jeff ordered 

another burger and Laura opted for chicken 

nuggets. Sandra, not very hungry, got 

some fries and gave in to the temptation of 

strawberry shortcake. Her succinct review 

of the dessert? “This is so good!” 

That’s one thing that certainly stood out 

about Knoebels: the food is much better 

than usual amusement park fare. For 

example, I had a difficult choice in the 

Mexican food line. Tacos, an enchilada, or 

a burrito? I opted for the shredded beef 

burrito and was quite happy with my 

decision. The veggies were fresh and the 

meat delicious and ample, all packed in 

a fresh tortilla. Sandra eyed the burrito 

enviously, so I let her have a bite. When we 

returned to this same spot later for dinner, 

she got a burrito, plus another strawberry 

shortcake for the family to share. The 

dishes were that good. 

Something else stood out at this food 

court, though—Knoebels employees 

write messages on the food trays. Ours 

said, “There are 2 things you’ll always 

find at the food court. Smiling faces and 

amazing food.” As I was bussing the tray, 

I quickly concluded that this was 100 

percent accurate. I can’t say enough about 

the food being amazing. But the staff is 

also incredibly nice, and even the fellow 

customers, caught up in the ambience, 

are super friendly as well, with at least a 

handful starting up mini conversations with 

me while waiting in lines. That cheerfulness 

was a microcosm of the overall experience. 

We then began the (mostly) nonride portion 

of our trip, and these unique offerings 

certainly help to set apart Knoebels from 

other amusement parks. Across from the 

food court is the dual Anthracite Mining 

Museum/Knoebels History Museum, which 

offered us a lot of opportunity for learning. 

Before we entered the museum, we gazed 

at the panning river and deliberated 

whether to pan for some raw materials. 

For time’s sake, we passed and instead 

entered the museum. One actually starts 

by going through the gift shop, which 

boasts a plethora of mining-related items 

to buy, including real rocks and gemstones, 

gemstone-themed jewelry (one of which 

Laura bought), kids’ mining hats, and 

other toys. 

With an amethyst necklace in tow, we 

went into the mining museum. It features 

a collection of various antique mining 

tools and artifacts, as well as black-andwhite 

photos and life-size exhibits, all of 

Americana section of the park, which 

features handcraftsmanship and wares 

of yesteryear, including a recreated wood 

shingle mill from the 1800s. You can 

watch artisans ply their trade; if you’d 

like a custom-made wood sign or perhaps 

handcrafted iron, you can observe them 

being made. Visit the Lost Logger to 

purchase an incredible handcrafted wood 

product, such as a wood basket, wood 

pumpkin, wood snowman, or life-size wood 

animal. (I wasn’t sure how I’d get the wood 

bear home, so I passed.) As impressed as I 

was by the skills I witnessed, I was equally 

impressed by the section of 220-year-old 

oak displayed prominently on a mining car 

in the middle of the area. 

at the miniature golf course, played laser 

tag, gone to either of the arcades (a miracle 

in itself), experienced the 4-D theater or 

haunted house, spent time in the pool, or 

seen the bald eagle exhibit; as far as rides, 

among the ones we didn’t go on were 

the two pirate ships, the Scenic Skyway 

chairlift ride above the park, and other 

roller coasters. 

This was all right, though, because we were 

already planning next year’s visit to this 

hidden gem tucked away in the mountains 

of central Pennsylvania. 

For more info, visit knoebels.com 


BIRD’S-EYE VIEW 

PHOTOGRAPHY OF REAL ESTATE MASTERWORK SERIES 

written by l.j. ramos | photography by air views 

Newport Center/Fashion Island 

July 1967 

© Fred Emmert Air Views Newport Center/Fashion Island 

© Fred Emmert Air Views Newport Center/Fashion Island 

© Fred Emmert Air Views 

July 1970 

December 1979 

A common “What if?” scenario that we’ve 

For that reason alone, photos play an 

and photography, became the first person 

the photos didn’t survive because of 

Wilbur Wright—who took meticulous photos 

all been asked is: if your home were on fire 

extremely important part in our lives, 

to use himself as his own subject in 1839. 

chemical reactions within the balloon. 

of his and his brother’s attempt to be the 

and you could only grab one item (assuming 

as they have for centuries. Before the 

James Wallace Black snapped the oldest 

first humans to fly—teamed with L. P. 

family and pets were safe), what would it 

nineteenth century, however, likenesses 

But photography reached new heights— 

known aerial photo still in existence two 

Bonvillain in France to take the first aerial 

be? Some people might say a treasured 

were mostly captured through the 

literally and figuratively—in the mid-1800s 

years later in Boston. Other subsequent 

photographs from a plane in 1908; Wright 

heirloom. Others would say their phone 

painstaking process of posing for paintings. 

with the advent of aerial photography. The 

means to get such images include attaching 

piloted the plane while Bonvillain took the 

or their laptop. Many others would say a 

That all changed when Frenchman Joseph 

first known attempt at capturing a bird’s- 

cameras to homing pigeons and kites. 

photos. Soon after, aerial photography was 

scrapbook, a photo album, or a flash drive. 

Nicéphore Niépce took the first photograph 

eye view occurred in 1858, when a French 

used as a tactical tool in both World War I 

The common thread? Wanting to preserve 

in 1826, a snapshot of his back yard. The 

photographer named Nadar hopped into a 

Since that time, aerial photography 

and World War II, as US planes documented 

something important or special—especially 

first selfie? A Philadelphian named Robert 

hot-air balloon with his camera to take an 

has been a vital tool across the globe— 

enemy locations. In addition, in the 1920s 

when it comes to people, places, or events. 

Cornelius, who enjoyed tinkering in science 

aerial view of French sewers; unfortunately, 

especially once planes were invented. 

and 1930s, photography pioneers in the 


usiness also started using it for surveying 

and mapping purposes. In a very real sense, 

these photographers were chronicling 

history—only from thousands of feet in 

the air. 

One industry that has truly taken advantage 

of this tool is real estate, particularly real 

estate developers. Think of your favorite 

mall, entertainment complex, or business 

complex. There’s a good chance its 

development was documented with aerial 

photography. It’s the first step of a process 

that leads to what can be a years-long 

project, and it can also help to chronicle the 

evolution of the complex over the years. 

As such, these pioneers were also 

creating a unique type of photographic 

art. Fred Emmert and Richard Frost dub 

such photos “masterworks” in their new 

book series, Real Estate Masterwork 

Series Half Century Aerial Photography 

Retrospective, which celebrates the art 

of real estate development through 

historical aerial photography. 

One such example of these iconic complexes 

is the massive Newport Center/Fashion 

Island development, the first masterwork 

featured in the Real Estate Masterwork 

Series. Set on ninety-three acres and 

located right off the Pacific Coast Highway 

in beautiful Newport Beach, California, 

this business, entertainment, and shopping 

complex features an upscale open-air 

shopping center that includes highend 

department stores and over thirty 

restaurants in the heart of the complex— 

all with a spectacular view of the 

Pacific Ocean. 

And it all began with the Boy Scouts. 

The plot of land that would become 

Newport Center/Fashion Island was part 

of the 93,000-acre Irvine Ranch, first 

developed in 1953 to host the International 

“ 

Fred Emmert and Richard Frost dub such photos 

“masterworks” in their new book series, Real 

Estate Masterwork Series Half Century Aerial 

Photography Retrospective, which celebrates 

the art of real estate development through 

historical aerial photography. 


December 2014 


black-and-white and color photos—from 

the bare land of 1953 to the construction 

commencing in the mid-1960s to the 

buildings being added to the spectacular 

shots through 2015 (including a shot that 

Frost says is “one of the most beautiful 

pictures of Newport Center/Fashion Island 

I have ever seen!”)—is like watching history 

come alive. 

That’s why, in a world that’s becoming 

accustomed to GoPro videos, virtual 

reality, and drone footage, such aerial 

photography is to be cherished, as Fred 

Emmert and Richard Frost are doing with 

their collection. These aerial photographs of 

Newport Center/Fashion Island immortalize 

the achievements of the past, giving us 

a visual pushpin of each advancement 

along the way and allowing us to see how 


December 2006 



August 2016 


innovation and daring to dream take flight. 

For more info, visit realestatemasterworkphotos.com 

Boy Scout Jamboree. After the success 

of that event (featuring over 50,000 

scouts and Vice President Richard Nixon), 

planning of Newport Center/Fashion Island 

began. The Irvine Company commenced 

with design studies in 1956, and it started 

planning and designing Newport Center in 

1961. By 1966, ground was being broken 

on Fashion Island (first known as Newport 

Town Center), which opened a year later, in 

September of 1967, with four department 

stores as its cornerstones. (As it grew in 

popularity, it grew in grandeur: for decades 

the complex was also renowned for having 

the largest Christmas tree in America.) 

Since then, both Newport Center and 

Fashion Island have transformed, with the 

former adding several businesses, including 

The Irvine Company headquarters; and 

the latter having gone through several 

renovations—including a three-year, $100 

million facelift starting in 2009. 

All of this progress was documented from 

the very beginning, thanks to over a halfcentury 

of aerial photographs, which the 

authors call a “chronological time machine 

of an untold story.” Seeing the mixture of 


October 2016 



“Bridges become frames for looking at the 

world around us.” — Bruce Jackson 

Everybody loves a road trip. In fact, every 

year, Americans travel well over 250 billion 

vehicle miles per month during summer. 

And wherever you may roam, you’ll likely 

come across a bridge that will help get 

you to your destination. These structures 

are what tie our travels together, allowing 

us to drive from sea to shining sea. 

Bridges have been an essential part of 

America’s infrastructure since the country 

was founded—and they number over 

600,000 today. 

ABOVE THE 

ARKANSAS 

RIVER 

ROYAL GORGE BRIDGE 

written by matthew brady | photography by eve nagode 

One of the most magnificent examples 

of these monuments of engineering can 

be found out west. If you’re traveling 

through Colorado and want a truly unique 

adventure, then take Route 50 through 

Cañon City to County Road 3A, where you’ll 

discover the Royal Gorge Bridge and Park 

attraction. Situated about an hour south 

of Colorado City and a little over two hours 

south of Denver, the Royal Gorge Bridge 

is the highest suspension bridge in North 

America. Standing at almost 1,000 feet 

above the Arkansas River, it encapsulates 

all that’s great about the American spirit, 

serving as an example of ingenuity, 

perseverance, and adventure. 

THE BEGINNING 

“The Royal Gorge was a popular tourist 

attraction even before the bridge was 

built in 1929,” says Peggy Gair, human 

resources and public relations manager 

for Royal Gorge Bridge and Park. Indeed, 

the Arkansas River, the sixth longest river 

in the country, started (very gradually) 

creating the Royal Gorge millions of years 

ago; today, the granite-encased gorge is 

almost 1,000 feet deep and ten miles long, 

yet it’s only approximately fifty feet wide 

at its base. Because of its location and its 

propensity for silver and lead, discovered in 

the mid-to-late 1800s, it became a booming 


egion and even caused a two-year railroad 

war over the rights to take passengers 

through the gorge. 

The popularity of the gorge (also dubbed 

“the Grand Canyon of the Arkansas River”) 

as a tourist attraction led to even grander 

plans—namely, constructing a bridge 

across the chasm. “Even though it wasn’t 

a new idea to build a bridge to connect 

the 1,000-foot walls of the Royal Gorge, 

money and know-how were always an issue 

until the 1920s,” notes Gair. “San Antonio 

businessman Lon Piper came to visit in 

1928, and he was instantly interested in 

building a bridge across the Royal Gorge. 

Having built a successful toll bridge across 

the Rio Grande, Piper thought he could also 

erect one here. 

“The 5,000-acre Royal Gorge Park was 

given to Cañon City in 1906 by the US 

Department of the Interior,” Gair adds. “In 

order to build the bridge, the Cañon City 

Council had to approve it, which they did. 

Piper hired engineer George Cole, a fellow 

Texan, who had previously built toll bridges 

for him, to be the chief engineer and 

general superintendent for this project.” 

With both funding and expertise in place, 

construction of the bridge started on 

June 5, 1929. Remarkably, it took under 

seven months for about eighty men to 

complete the massive structure; even 

more remarkably, there were no deaths or 

even serious injuries from the venture— 

something that Piper and Cole took great 

pride in. The grand opening was December 

8, 1929, and, as Gair notes, “It was popular 

from that very first day.” 

STRENGTH IN NUMBERS 

At the time it was built in 1929, the 

Royal Gorge Bridge stood as the highest 

suspension bridge in the world, a 

distinction it held until 2003. Its bridge 

deck stands 956 feet high, which, to put it 

in perspective, is higher than three Statues 

of Liberty. The bridge is 1,260 feet (about 

a quarter mile) long, and it is eighteen feet 

wide. In addition, the Royal Gorge’s main 

span is 880 feet, and its towers are 150 

feet high. 

A bridge of this size also needs to 

be fortified for safety and strength. 

According to Gair, there are 2,100 strands 

of galvanized wire in each cable, and the 

weight of the cables themselves is 300 

tons; in addition, there are another 1,000 

tons of steel in the floor of the bridge. With 

all that said, the bridge will support in 

excess of two million pounds. 

Speaking of millions, the cost to build 

the bridge in 1929 was $350,000. The 

replacement cost for the bridge today? At 

least $20 million. 

RISING FROM THE ASHES 

Such a unique structure does come with 

unique challenges, though. According to 

Gair, the bridge is inspected several times 

a year, and the maintenance is usually to 

replace some of the bridge’s wood planks. 

The bridge was also refurbished in the 

early 1980s: abutments were replaced and 

strengthened, the bridge was repainted, 

and a new wind cable was added. 

The biggest challenge by far, however, 

was a wildfire that threatened the very 

existence of Royal Gorge Bridge and Park. 

On June 11, 2013, stoked by dry conditions, 

the fire started west of the park, jumped 

the Royal Gorge, destroying both sides 

of the park, and blazed toward town— 

getting perilously close to Cañon City. In 

all, it burned over 3,100 acres’ worth of 

park, Bureau of Land Management land, 

and private land—including forty-eight of 

the fifty-two attractions and buildings at 

Royal Gorge Park. Thankfully, all 1,200-plus 

visitors and employees, as well as sixty 

animals, were safely evacuated. 


After the fire, the Royal Gorge Bridge 

new Visitor Center taking place on January 

the weather, wait twenty minutes, and it 

the bridge,” Gair continues. “Like most 

extremely popular adrenaline thrill ride. 

where guests can sit by the fireplace and 

stood defiantly above the rubble, with only 

30, 2014, and the entire park reopening 

will change.’” 

people, most dogs love it, while some don’t. 

Imagine being placed in a harness, being 

take in the awesome views of the gorge 

about 100 of its 1,292 boards charred and 

just in time for Labor Day weekend—a 

One dog was so scared, the owners put him 

drawn up to a 100-foot tower, and then 

and the Sangre de Cristo Mountains. You 

burned on the south side of the bridge; 

mere fourteen months after the fire. What 

If you’re daring enough to walk across the 

in their baby stroller with their child and 

swinging out, free-fall-style, over the Royal 

can enjoy some quality food, like burgers, 

these were immediately replaced. The park 

visitors experience now is an even more 

Royal Gorge Bridge, prepare accordingly. 

threw a blanket over his head.” 

Gorge at 50 miles per hour. The sensation 

sandwiches, and salads, at Café 1230—while 

didn’t fare so well. With over 90 percent 

exciting Royal Gorge Bridge and Park. 

Gair says that, depending on how quickly 

of diving into a 1,000-foot-deep chasm is a 

enjoying a view from 1,230 feet over the 

of the park razed, the only attractions left 

you walk and whether you stop to enjoy 

The bridge may be at the center of the 

once-in-a-lifetime experience. 

Arkansas River. History is incorporated into 

standing were the Royal Rush Skycoaster 

THE VISITOR EXPERIENCE TODAY 

the gorgeous views of the gorge, it should 

park (literally and figuratively), but there’s 

the Visitor Center as well: as a reminder 

and the Plaza Theater and Historical Expo. 

The Royal Gorge Bridge and Park is more 

take twenty minutes or less to walk the 

also something for everyone at the new 

You can also experience more down-to- 

of its rebirth, the front of the Visitor Center 

Major attractions such as the Aerial Tram, 

popular than ever. On average, the park 

span of the bridge. And what do you do 

and improved Royal Gorge Park. After 

earth fun at the park. The Plaza Theater and 

has the original milled burned bridge 

the Incline Railway, the vintage carousel, 

gets over 340,000 visitors per year and has 

if you’re suddenly spooked by the sheer 

the fire of 2013, the park recreated some 

Historical Expo offers a seventeen-minute 

planks from the fire of 2013 as part of its 

the petting zoo, the Mountain Man Town, 

welcomed over twenty-six million visitors 

altitude? “People can get a little freaked 

old attractions—but also added some 

film examining the history of the area, 

exterior wall. 

the Western Wapiti Wildlife Park, and the 

since its opening. It is open 365 days a 

out, especially those who suffer from 

very exciting new ones. One of the more 

including the building of the bridge and the 

Visitor Center were all lost. These losses 

year, weather permitting, and it’s busiest 

vertigo,” Gair admits. “They tend to walk 

popular new rides is the Aerial Gondolas, 

reconstruction after the fire. You can also 

The Royal Gorge Bridge and Park 

impacted the park and its employees, of 

during the summer months. Regardless 

down the middle of the bridge and won’t go 

six eight-seat enclosed Poma cabins that 

see artifacts and photos from the original 

certainly has come a long way as an 

course, but it went far beyond that, also 

of the time of year, though, Gair says the 

look over the side. We’ve had a few guests 

allow you to bask in the breathtaking views 

construction of the bridge displayed at the 

unforgettable travel experience—from 

impacting the economies of Cañon City and 

weather almost always cooperates: “This 

get out on the bridge and freeze up—they 

of the scenery all around you while the cars 

Expo. Then take the kids to Tommy Knocker 

its historic beginnings, through trials by 

all of southern Colorado. So having a quick, 

area experiences an average of 300 days or 

don’t want to go forward or backward! Our 

gently carry you across the Royal Gorge. 

Children’s Playland, which features gigantic 

fire, to its modern-day attractions for 

safe rebuild was imperative to not only the 

more of sunshine, so it’s generally beautiful 

park rangers are great, though, and they 

For more adventurous types, the Royal 

two-story climbing structures, crawling 

thrill-seekers. As such, North America’s 

park but also the entire region. 

weather, even in the winter. The wind does 

will offer them a ride back across the bridge 

Gorge Cloudscraper by ZipRider is for you. 

mounds, a fantasy-style carousel, and a 

highest suspension bridge stands as an 

blow quite often, which makes the bridge 

in their golf cart.” 

This extremely popular ride is actually 

splash pad. 

American landmark that not only bridges 

With that in mind, demolition began within 

sway a little bit (which can add some 

the highest zip line in America, taking its 

a 1,200-foot-wide natural chasm, but also 

a couple of weeks of the disaster. As it 

had when the bridge was originally built, 

this project took only seven months to 

complete, with groundbreaking for the 

thrills), and there is always a breeze at the 

center of the bridge. The park rarely closes, 

usually for a snowstorm. But even then, we 

have a saying in Colorado: ‘If you don’t like 

You can even make the trek across the 

bridge with your favorite pooch. “This park 

is dog friendly, so it’s not unusual to see 

dogs on leashes with their humans crossing 

riders across the gorge about 1,200 feet 

over the river. The Royal Rush Skycoaster, 

built in 2003 (and one of the two rides 

that survived the 2013 fire), is another 

The Visitor Center, which sits on the edge 

of the Royal Gorge, is practically brand new 

as well. While there, you can shop at the 

gift shop or walk out on a massive deck 

past and present. 

For more info, visit royalgorgebridge.com 


Front of Tear Out Card 2 

Dear Bill and Judy, 

Rolled-down windows to catch the breeze and an uptempo playlist 

pulsing through the speakers. Can you picture it? There's nothing like a 

good road trip. And artist James Randle would heartily agree. The 

subject matter of his urban realism paintings is often a gas station, a 

frequent sight for the Utah-born painter who travels in his van to art 

shows between Phoenix and Santa Fe on Route 66. 

A road trip can also be a much-needed respite from reality. This search 

for an escape is what spurred Jacob's Pillow founder Ted Shawn to buy 

a farm in the Berkshires in Massachusetts that he would later 

transform into a world-renowned dance center. Choreographers and 

dancers Jaime Shannon and Kevin Clark offer behind-the-scenes 

insight into the magic of the summer festival and the outdoor stage 

they have been honored to perform on. 

When the weather is warm and sunny, outdoors is the place to be. And 

Knoebels Amusement Resort in Pennsylvania makes that an easy task. 


carousels, waterslides, Back pools, and of roller Tear coasters, Out as well as Card unexpected 2 



(973) 944-5038 

john@njpads.com 




objects 

John Davis Jr 

Making Dreams Come True! 

Century 21 Cedarcrest Realty 

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Direct: (973) 944-5038 






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REALTOR® 

Direct: (973) 944-5038 






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