My Martin

One of my best lifetime pals, albeit inanimate, is my Martin guitar. Purchased in 1951, just after I finished my second year at Morris Harvey College, I saw the Martin in the Galperin Music Store in downtown Charleston. The sales people knew me; I was in the store often, visiting with friends who played on local dance bands, as I did. So the sales manager agreed to sell me the Martin on time, at no interest. The cost was $80.00. The Martin, a “double-aught 17,” formally a model 00-17, was built in 1948. Incidentally, the 00-17 has been a great seller, and is still made by Martin.

With excitement, I told Kenny that we were now in business. At the time I owned an $8.00 guitar — “Stella,” which was virtually unplayable, but I had been whacking at it as Kenny and I sang duets. Now, this new instrument gave us what we needed: a nice-sounding accompaniment. Kenny was in town for the summer from college at the University of Cincinnati, where he was an engineering major, so we were both free in the evenings after work. In his dad’s car, we would ride out to Little Coal River, not far from town, to an isolated spot to swim and make music. Hot weather. We’d first jump in the river, splash for a few minutes, get out and dry off. Then sing country favorites like “Bury Me Beneath the Willow,” “An Acre of Diamonds,” and so forth. It all came together with the Martin, playing rhythm and chords.

From there, we began going to the local drive-in restaurant, The Parkette, in downtown Charleston. We’d roll the windows down, order a grilled cheese and coffee — probably about 30 cents, tune the Martin, and sing. It happened often enough that we would see other customers who were familiar with our routine, and even pull up close to us to listen. (More recently, having told the drive-in tale to someone, we are now known as the “Parkette Brothers.”)

From there, the Martin was with me on every camping trip, or virtually so, during the next sixty years. The sad news: I mistreated the Martin badly, because I had never bought a case. So after years of leaning against a tree overnight, lying on its back in the tent, it became weather-worn, scratched, and finally with a serious crack in the box. But play on I did. At some juncture, all that stopped, and the guitar went to the front closet.

Then, Leslie became really interested in playing and I gladly gave here the Martin to take home and use. She took it on herself to have it overhauled/rebuilt, and it is now as good as new. The company that did the work was fascinated by the guitar, and especially interested in the name “Galperin Music” at the top of the neck, still readable with a logo. Nowadays, when Leslie and I attend our annual Bluegrass Camp in N.C., the Martin is one of the main items of interest.

About the sound: this guitar is easy on the fingers, perfectly playable, with a sound that is neither aggressive nor timid — just lovely and confident. Beyond these words you’d simply have to hear it. Everyone who has ever played it has commented on the lasting quality of the instrument.

A scary event: Leslie, Sherwood and Hannah have a “music room” in their house, just the right size to hold a baby grand, cello, three guitars and sound system. Shortly after Leslie returned home with the Martin, they were out one evening and upon returning home found that the house had been broken into. What was missing? The Martin. Leslie became a sleuth: working with law enforcement, going to pawn shops, the works. Then: a break. The intruder had hocked the guitar, and it was returned to Leslie. This is a very short version of a very numbing event. It’s hard to imagine that guitar ever being in any family but mine. Of course, the Martin will belong to Leslie someday — perhaps sooner than later, depending on how much longer I want to bang on it.

My Musical Instruments

My first musical instrument was the flute. The flute had been bought for David, who four years earlier found more interesting things to do than blow across that mouthpiece. So when I reached fourth grade, it was determined that it was my turn with the flute — band lessons at school. Mr. Raspillaire, our band director at South Charleston High School, came to our school — Zogg O’Dell Elementary — weekly to teach our band class.

The above is a long introduction for a very quick ending. After three or four lessons, I told Mom that the flute was hard to hold up to my mouth with my right arm, and that I was not destined to be a flautist. So much for that. I was allowed to become a Raspillaire dropout.

Then, in fifth grade, we all got Tonettes — those plastic whistle-like instruments with holes to cover, changing the pitch — like a flute. Alice and I formed an immediate duet; we picked up on how to play songs, in harmony yet. Of course, by that time Alice had taken over the flute business, and continued to play for sixty years or so. More later on that. Anyway, we became the hottest act of our fifth grade, and showed our stuff at every chance.

About that same time, I had a sick spell and stayed home from school for about a week. Listening to local radio all day became a real bore, so one day Mom brought me a Marine Band Harmonica. I played my first tune, “Silent Night” I think, about two minutes later. Later on, I got a Honer Chromatica with the side button to play half steps. It was 1939; we had very little, so I don’t know where Mom found the money to pay for that “French Harp,” but somehow she did.

Then, one day Dad came home with a mandolin. Actually a banjo mandolin — strung and played like a mandolin with the body of a banjo — a round body with a skin top, with threaded screw-like tighteners all around the top edge. Dad had played a mandolin in his youth and someone gave him this one, so he was going to resume his own musical career. Sadly, I learned that Dad was no mandolinist, nor could he carry a tune or beat a rhythm. But I was proud of him anyway. The mandolin, of course, was donated to me, and I had real fun teaching myself how to use the pick across pairs of strings and play simple tunes. “Old Joe Clark” became my favorite. I never became a really good mandolin player; my young life was taking off in so many other directions — watching girls, all that, that music was merely a pleasant but brief part of my day.

Seventh grade: junior high school. Alice was having such fun with the flute, talking all the time about band practice, etc., that I got the bug again. So I went to Mr. Raspillaire and told him I was back for more, that I wanted to be in the band. I said the drums would be good. He started me with a pair of drumsticks and a practice pad, and I was ready to go. I carried my drumsticks with me all day at school, tapping on every desktop, railing, book — anything that had a flat surface. Then one day I was too energetic with the sticks and snapped the bead off one of them on the newel post at the bottom of the stairwell. You guessed it — I was a Raspillaire dropout for the second time.

Pete Raspillaire – Band Director, South Charleston High School

By that time Alice and I filled the house with music every day — she with her flute, me with the harmonica and mandolin, and both of us singing silly duets. I knew I really liked music — I just hadn’t found my niche. Alice and I both joined the youth (“Young Peoples’”) choir at church, and David was teaching me to jitterbug in the living room — Les Brown’s “Leap Frog” was the song of choice, playing every few minutes on the radio. 

Ninth grade. That fall, Alice had her high school band uniform. Dazzling orange and black, with a leather shoulder strap. One Saturday she got dressed in the uniform early in the day. When I asked why so early, she airily mentioned that the band was going to an away game, on a school bus, no less. Then she added that the band traveled a good bit, and band members never had to buy a ticket to a game. I was intrigued. Go to a Black Eagles football game free? Ride the band bus to away games? What had I been missing! Of course, it was too late to join the band for the rest of football season, but in January, I went to “Pete” Raspillaire and told him I wanted to join the band. My motive, of course, was partly about the band bus, but I really did want to join for the music, having watched Alice’s progress for several years. I just don’t know why, but Mr. Raspillaire gave me yet a third chance! I do know that since Alice was a budding star, he perhaps had a soft spot for the Farley twins. In any case, he told me to see him after school that Friday. 

So when I went to the band room on Friday, he presented me with a baritone sax that was school owned, and gave me a single sheet of paper with the C scale fingering diagram drawn in pencil. He said to take the sax home over the weekend and come back on Monday ready to show him what I could do. That was my big break. I took, or rather lugged the sax home, took it from the case and went to work. I soon found out that some of the keys didn’t totally close over their holes, there were loose springs, worn-out pads and the rest, but after several hours’ work it was playable. I looked at the C scale drawing, and, remembering the Tonette, I was in business. I fiddled around with the side keys, some Tonette fingering combinations, and the rest, and felt ready. I was so proud I even got Mom’s silver polish and cleaned the sax to a presentable shine. After working out the C scale, I actually learned a couple of others — probably F and G, along with three or four simple melodies. 

When I played for Pete on Monday, he said OK, I was now a band member. Obviously, that changed my life forever, but that’s another story.

That spring, after four months in the band, I was selected to play baritone sax in the All-County Band. So I joined Alice and we were off.

My next instrument: cymbals. That fall, Pete understood that the baritone sax made no sense in a marching band, so he told me to play cymbals in the drum section. He gave me a quick lesson and I was up and running with yet another instrument. Of course, I couldn’t wait for concert season, when I would get back to the baritone sax. But that was not to be. You guessed it . . . my next instrument.

Oboe. A new student had moved to town, and she could really — really — play oboe. Her name was Jean Pike. In November, after football, I went to band class, got the sax out of its case, and we had our band rehearsal. As the bell rang Pete — I’m calling him by his nickname now because it’s so much easier than keying Raspillaire every time, and we all called him Pete behind his back — Pete told me to wait after class. I did, and to my surprise so did Jean Pike. Pete told me he’d like me to play oboe, but that I had a choice. Of course, the way he laid it out: every fine band has two oboe players, and so on. So I didn’t really have a choice. How could I turn Pete down after all the chances he had given me? So I said OK. Jean took me on as a student, and for the first time I had a true mentor who knew the instrument. I had never had a real lesson — even if you count the flute, the Tonette, the drumsticks, the harmonica, the mandolin, even the sax. I learned quickly — the fingering was so similar to that of the sax, and the double reed part came fairly easily. I was very, very proud to be named to the All-County Band that year, on a different instrument.

I finished high school as an oboist — neither Pete nor I had any ideas about new instruments.

By the way, when we were juniors, Pete asked Alice and me to play something in the Lions Club Minstrel Show, an annual fundraising event. Reluctantly, we agreed, not knowing just what to do. I told Alice I simply would not stand on stage with an oboe at a minstrel show. Bad match. So we got creative: flute and harmonica duet. We played “Waitin’ On the Robert E. Lee,” a ragtime-era train song, by popular request, and then we knocked ‘em out with “Temptation,” a sultry, Latin-type tune with lots of parallel major chords and chromatic runs. Lots of fun to drag those chords out of the Honer, with its chromatic button.

Morris Harvey Swing Band; Alan is on far right of front row

So, when I entered Morris Harvey College, I naturally signed up for band, chorus, music theory, etc. — all part of my curriculum as an announced business major. I guess my mind and heart were in two different places. The college owned a baritone sax, which I played. Then, because I was really into dance band and jazz, I talked Dad into signing off on the purchase of a new King Super 20 tenor sax. My rationale to Dad was that I could earn money for school by playing on weekends, which was true, and which I did. The tenor cost $180, and I was paid about $9.00, the then-Union scale, for a three-hour dance gig. So if you do the math you can see that the tenor paid for itself, and of course I made the monthly payments to Gorby’s Music for the purchase. Incidentally, I had to sell the tenor to my good friend Eddie Beulike two years later for $180 — enough to stay in school another semester. 

A note here: when the college learned what I already knew; that I was a music major, the woodwind teacher found out about my oboe days in high school, and immediately announced that I was an oboe major. So be it, I thought. I finished my degree as an oboist, played my graduation recital, and went on to play occasionally with the Charleston Symphony Orchestra. But I also continued to play sax in local bands for ten or so years, until we moved from Charleston to Roanoke.

Back to 1950: My next instrument was my first guitar — bought at Gorby’s Music in South Charleston for $8.00. My excuse was that, with no piano at home, I could use the guitar to work out chords, etc. for my music theory class. The real reason? It’s no secret that I really loved country music along with all the other varieties, and the song Wildwood Flower, as performed by Maybelle Carter, had a fascinating guitar solo. I really bought that Stella so I could learn to play Wildwood Flower. Actually, the guitar did help — a little — with my theory class.

As is well-known today, in 2014, I bought a Martin guitar when I was 19. It stands in my front room as I write these memories, and it is in fine condition, ready to pass on to Leslie at any time now. Back then, I learned some bluegrass stuff like the Lester Flatt G Run, and I could do a weak mimic of Earl Scruggs’ style. So that guitar and I, along with Kenny and his ukulele, had some real fun. Leslie played an important role in the repair and rehabilitation of my Martin, and it’s the sweetest sounding, easiest playing guitar I’ve ever picked up. Leslie loves it, and it is hers. And the Martin knows Leslie; knows she can pick.

When I think about it, the oboe, the tenor sax, and the guitar were my all-time favorite instruments. The oboe and sax were around for just a few short years, while I’ve been picking the Martin for sixty-one years.

My next instrument wasn’t really mine . . . it was Leslie’s piano. We purchased a Yamaha piano for Leslie when she was about eight. She studied well, practiced well, and was basically well-taught by her (second) teacher. She took the piano with her when she moved to Charlotte, NC after college, and then traded it for a Yamaha Clavinova (electronic) piano, better known as a “keyboard.” That was in about 1987. Later, when she moved to Raleigh, she bought a very fine Yamaha Grand, and gave me the Clavinova, which stands beside the Martin guitar in the front room. I have always loved piano, and while I had no training whatever, I’m able to get around with a few chords and play favorite pop tunes, along with a couple of very fundamental works by Bach, Chopin and Beethoven. But the popular songs from my jazz/dance band days are my real favorites. I don’t play well enough for public performance, but as my own audience I am not displeased.

Finally, I suppose I should tell you of my most long-lasting musical instrument: my singing voice, for the voice is a musical instrument in the truest sense.

I think I began singing as soon as I could talk. As a young kid, Mom sang to and with me, teaching me songs from her own youth, as well as the best known western ballads, along with a smattering of pop tunes. As I mentioned earlier, Alice and I, being together all the time, sang together with progressively more advanced vocal abilities. We were in the youth choir at church together, and so on. Then, in high school I joined the chorus, and went on from there. I sang with a couple of my dance bands, and was in my college choir for four years. Along with all that, I sang, sang, sang to myself — all brands of pop, country and classical. And today, with my raspy voice, I sing, sing, sing. Aloud, but to myself. 

I started as a soprano — ninth grade — and was a tenor in college (not by choice or voice quality; the director needed tenors more than baritones and I was elected), and today I am a true baritone. You probably wouldn’t think much of my singing — I’m actually an amateur at it. One semester of voice in college, and that’s it. But I know the basics very well — voice placement, breathing, diction, phrasing, projection, etc. etc. And you have read from my teaching days that I had really good high school groups, along with a really fine church choir. 

So while my fingers grow stiff, and my facility with my hands fades, my last remaining musical instrument will probably be my voice. With its signature asthma-induced wheeziness, it’s mine and I’m keeping it.

Finally, while at Columbia I learned that — at Columbia at least — the conductor’s baton is considered a musical instrument. When I first head that I wondered “what’s going on here?” But as I had declared conducting as my chosen performance medium, it occurred that they were absolutely right; that the conductor is performing music with the baton.

Aside from incidental clarinet and alto sax work with dance bands, there you have it — the story of my musical instruments. They have their own stories too, but except for the Martin guitar and the keyboard they’re not around to tell those stories. I have to think — or certainly hope — they liked me as much as I liked them, for I took good care of them, they were played well and responded in kind — they fulfilled their life missions. I guess you know by now that music is my joy, my private and public fun time, a deep well of life memories. While I have had many, many exciting experiences in my profession as an educator, and while my interests include reading, writing, research, and the rest, it always — always — comes back to music. I’m talking, of course, about those motivations aside from family and friends, which are truly the essence of who we are. So if I’m remembered as the guy who couldn’t go through a day without a musical experience of some sort, that’ll please me greatly.

My First Car

When I was a kid we never had a car at home. I figured my Dad could drive, but we just didn’t have one, and I never asked him or myself why. When I finished high school and enrolled at Morris Harvey College, I rode the local transit company’s buses for four years. But even then, I didn’t wonder about why we had no car in the family. We just didn’t.

So I finished college without even thinking about having to own a car. Then reality struck. I was offered a teaching job (music) where I’d have to teach kids in ten elementary schools, plus my “real job,” directing two junior high bands. With only a couple of weeks to do the car deal, I was recommended by a musician friend to the local Ford dealer. We came to an agreement on a 1953 Ford Fairlane for $2,100. That’s when the fun began.

I went to see my grandfather (Granddad Henry Hale), who was a retired coal miner. His miner’s pension was $50.00 a month. I told him about the teaching deal and the Ford, and asked him if he could loan me the down payment: $500! We were sitting on his little front porch, where he always sat while chewing Favorite Chewing Tobacco. He spat and said he’d be right back.

He went into the house, leaving me wondering what was up. He returned, sat down and showed me his money belt — which no one knew about. It was like a cartridge belt — snap-close leather pouches all the way around. He fished into a couple of pouches, and produced five hundred dollars, which he handed to me.

Then he said to wait a minute. He pulled a pencil and a scrap of paper from his shirt pocket, and wrote on it: IOU Henry Hale $500, signed: Alan Farley. I signed the note — smiling to myself — and promised I’d pay him back as soon as possible. With a teaching salary of $280 per month for ten months, that was a heavy debt.

I then went to the Ford dealership with my $500. We signed papers for three year financing, and then the salesman gave the keys and said “the car is yours.” He pointed to the Ford Fairlane which sat on the showroom floor. It was only then that I knew that I had to drive that car home, and that I did not, had not, had no license to drive. Had never driven.

Without making much of it, I took the keys as though I were an old hand, got in the car while they opened the wide glass drive-in entrance through which display cars were moved. Gulp. I knew I’d have to fake it and drive home, but I hadn’t counted on taking that car out of the showroom.

Somehow, I made it out of the showroom on onto the street.

That’s about it. I drove without a license for a few days, avoiding main-traveled roads. Then I went to the State Police barracks where they conducted behind-the-wheel tests for issuing drivers’ licenses. (There was no written test at that time.) The sergeant got in the car with me, gave me the test, which I passed. Then he asked, “How did you get here to take this test?” “Well, I drove this car.” “You drove this car to the State Police barracks without a driver’s license?” I turned red. “Just kiddin’,” he said.

A little more than a year later, I went to my grandparents’ home and told granddad that I had the final payment on the $500 loan. He said, OK. I gave him the money and he reached in his pocket and produced the original IOU.

Then he said, “You’re thirty dollars short. Six percent interest is thirty dollars.”

I wrote him a check for the additional thirty dollars, knowing that he was just teaching me a lesson about money. He chewed, spat, and laughed. And I laughed with him.

My Second Car

I literally drove the wheels off that Ford. My teaching duties required a lot of travel, and, being the proud owner of a CAR, I drove it everywhere. Kenny and I hung out in the evenings at the local drive-in (Parkette, later to become Shoney’s), and so on. We would sit in the car, order a grilled cheese and coffee — about thirty-five cents, and he with his uke, I with my Martin, would pick and sing, drink coffee, wave at regulars, and just have a big old time. So my Ford gathered a lot of miles in less than three years — about 95,000. And it was time to trade. You have to understand that cars in those days were built to last for only three years — planned obsolescence, they say, and my Ford was about worn out.

Kenny was in school at the time at the University of Cincinnati, studying mechanical engineering. He was on a work-study program where he’d go to school for seven weeks and come home to his job with the State Road Department for the next seven weeks. So although he was in school, we saw each other often, and car talk was part of the deal. Kenny got going about British sports cars, and I latched on. I wound up at the local foreign car dealership and traded the worn-out Ford for a 1956 MGA Roadster.

Amazing!! It was the first year for that model, and it was a truly wow-level car. A short time later, Kenny bought a used Austin Healey — red — and we had many two-car rallies up and down the mountain roads around Charleston. What a time.

At that time I was still playing bari sax in a local big dance band. Of course, the sax wouldn’t fit in the MG boot, so it rode up front in the passenger seat. Kinda cramped my style, actually. . . I couldn’t take anyone with me to a dance job, or “gig,” as we called it.

The MG cost $2,800 new. That was a lot back then. As my second car, it was a truly neat driving experience. We were a sporty pair, and had great fun wheeling around West Virginia, which is a wonderful driving range for imported sport roadsters. We even wore the classic British caps — hot stuff.

I — we — drove the MG until after Carol and I were married, and traded it for spiffy Alfa Romeo Spyder. Then Carol got pregnant, so we went for a used ’55 Chevy just before Patrick was born. Obviously there would be no room for Carol and me and Patrick in that Alpha. No regrets; as much fun as the roadsters were, Patrick became the center of our universe until we had Leslie three years later, and Amy a few years later. Our universe simply expanded.

Carol driving the Alpha Romeo in a SAHS Homecoming Parade

The Ford was special, as my first car. The MG moved the bar. Fifteen or so cars later, they bring a good feeling. But I do go on.

Debut

This happened in the spring of 1948. Alice and I were juniors in high school, totally wrapped up in the band. Alice, by that time, had become a really fine flutist, and played with the Charleston Symphony Orchestra. She was fiercely dedicated, and was by far the more accomplished musician of the two of us. I, on the other hand, was into 40s style big band jazz, along with my affection for bluegrass and other music styles. But — aside from my baritone sax, I did have a special instrument: a chromatic harmonica, upon which one could play the most sultry chords and melodies.

Our band director, Pete Raspillaire, was a member of the local Lions Club. (Huh? How did we know that? Well, we didn’t.) We didn’t until he asked us to stay after band class one day, which had Alice and me looking at each other with raised eyebrows. When the band room cleared, he sat down with us and said that we were going to perform at the Lions Club Spring Minstrel Show, and annual fund raiser for the club.

One never questioned Pete. If he said something, it was so. But as we looked at him quizzically, he simply told us the dates — two nights — and to work it out; we were to perform some kind of music for the cause. No mention of what kind of music, or which instruments. I assumed he meant flute and saxophone, so he was in for a small surprise. (It occurred to me much later that, being the local band director, the club had told Pete it was his job to provide musical entertainment for the show.)

Being my usual brain-dead teenage self, I had no idea what a “Minstrel Show” was. We asked at home, and were told it was entertainment in which white “folks” dressed up like “black folks,” along with blackened faces, and did comedy for an all-white audience. Of course, the history books say the Minstrel shows were hugely popular in white America at that time. Online photos of blackface actors and playbills will jar your senses.

That’s what it was, and we were there. So Mom fixed us up in matched outfits: Alice in a dress of course (in 1948 it was a dress or skirt and top, never ever pants or slacks), and I in my khakis and long-sleeved shirt. After visiting a rehearsal for about 10 minutes when we were shown when and where to make our appearance, we were ready.

What we didn’t understand was the blackface. At the rehearsal all the Lions were just regular people; they hadn’t blackened their faces nor were they in costume. So on the night of the show, we were peeking out from backstage and saw all that and were well, stunned. But when our cue came we went on stage, smiled, bowed, curtsied, and did our act. 

Alice with her flute, I with the harmonica, played the great Perry Como hit “Temptation.”

Talk about sultry. That song was made for my harmonica: C Major chord to C# Major and back, simply by pressing the side button. Damn, I was cool! And of course, the flute solo was equally exotic. We received a roaring ovation, and cries for an encore. We were ready. I played a solo on Waiting for The Robert E. Lee, followed by our singing of that Mississippi River showboat song in harmony. Then another harmonica chorus and out. More applause.

That was our debut in show business. Talk about mixed emotions. We loved the experience of public performance, and the applause, but were really frustrated by the shock of blackface. We just weren’t ready for that. While we had knowledge of the issue of race, we hadn’t encountered the bald reality of racism in any real sense. We both went on to solo performances which weren’t scarred by that experience. Alice played beautifully with various groups, while I eventually turned to the baton as my performance medium. I can say, and Alice would agree, that to please an audience with one’s talent is truly exciting and rewarding. And if Alice could say so, she would agree that our debut was a terrific experience in spite of the strange circumstance. And the best part of it all was that we did it together. We were a real twin-brother-sister act in every way in those days. Being a twin can’t be described, so I’ll leave it at that.

Music

I’ll be brief here. Only to say that music permeated my life. It rang in my head at all hours from a very early age. And at about eight, I started to memorize, without thinking about it. “A Tisket, A Tasket,” sung by Ella Fitzgerald: I remember where I was when it first came to mind — I was walking on a dirt path close to the house in, I think, 1939.

And so on. The rest of this is just a sketch of my time with music. I could make this a “chapter,” but that would go beyond the intended purpose of these writings. This has to be either too brief or too long; for your sake, I have chosen brief. You will find other references to my ‘music days’ elsewhere in these pages.

It goes like this:

First instrument: In fifth grade, we all had Tonettes, a plastic whistle-like instrument with finger holes to change notes. Alice and I excelled at Tonette, playing lots of duets — just by basic aptitude. (See a later piece called “my musical instruments”, which tells the stories of all my instruments.)

High school band: baritone sax, cymbals, bass drum, and, finally, oboe.

College: started as “business major,” but took freshman band, choir, theory. From there on I was a music major, just didn’t know it until the end of my sophomore year. I took virtually every music course offered. During that time I was saturated with music: dance bands, U.S. Army Reserve Band, college band, college choir, church choir, and college courses. Took a Bachelor of Music degree in 1953.

While most of my music activity was at the “serious,” or “classical” level, I had from an early age learned to love country music — I suppose it was somehow tied to the “country” side of my family: the Hales were true country folk, and Granddad Hale played banjo, clawhammer style. I found “The Grand Ole Opry” on Saturday night radio, and learned many country songs by listening to early bluegrass music. And I had a guitar, which is still with me today — a Martin, purchased in 1951.

After two initial years of local band directing, I became music director at St. Albans High School, teaching band, choir, stage band, general music, and theory. The music program grew to about 350 students. All this time I was playing in a large dance band, had a church choir, played in the Army Reserve Band, and became music director for the Charleston Light Opera Guild, directing the music for several Broadway musicals such as Oklahoma, South Pacific, The King and I, and so on.

In 1957 I began a master’s degree program at Teachers College, Columbia, where I chose conducting as my performing medium. (I went during summers only; kept my job at St. Albans.) I was a winner of conducting competition twice while there, and took a Master’s in Music and Music Education in 1959. It was there that I learned how to memorize a musical score — in the conducting competition we had to conduct from memory. From that time forward I never directed a public performance otherwise, except for the Broadway shows, which of course were so involved with staging, cues to singers, watching the crowd and watching for the unexpected that working from memory was not possible — for me, at least.

In 1963, we moved to Salem, Virginia, where I became band director at Andrew Lewis High School. Then in 1968 I left the classroom for work in research and development of innovative programs, with the hope of helping make school a better place for students beyond my classroom.

During my teaching career, I received high compliments for the performances of my students, for which I was grateful. I experienced moments of pure joy when my performers — my students — played and sang beyond their notions of their individual abilities. As with most musicians, I can cite specific times and places when that kind of magic occurred. When it does occur, everyone is aware of it; that is, all those involved in the performance. Not just the performers — the conductor as well. You’re all part of it, equal in all respects, having the same “out of body” experience. You just know. Both in performing and attending performances by others, I have been brought to moments of true joy countless times by the sheer beauty of great music well presented. A lot of people never have the chance to experience that, and for those who do — well, it’s what you live for. It can happen any time — in rehearsal, in a public performance — anywhere.

So it was with a sense of uneasiness, in 1968, that I went on to other pursuits. Leaving the classroom was one of the toughest decisions I ever made, but looking back, I have no regrets, for my ‘second’ career, in curriculum development, research and other administrative areas, was challenging, enriching and enjoyable. While I missed the daily pleasure of being with my students as we engaged music, I believe that in taking on a “new” career I did, in at least a small way, help make school a better place for students. But leaving the classroom was not just leaving music, and there remained a part of me that wanted to be with my “kids,” my fellow musicians, for all the remaining days of my career. But music has never left me, nor have I left it. There is nothing more enjoyable, nothing more agreeable, refreshing, moving, inspiring, fun, entertaining, powerful — than music. It still rings in my head constantly. My career in music was satisfying beyond description. While I went on to other things, both academic and personal, music has been the one constant in my life, and so it will surely remain. I still bang on the keyboard, pick the guitar, and sing when it pleases. And I hear, though not often enough, the music of Mozart, Scarlatti, Beethoven, Mahler, Ravel, Bach, Chopin, Palestrina, Verdi and the rest, and it is always as if I’ve never heard it before.

Early Jobs

I was a lucky young kid. I guess I just fell into it; never gave it much thought. I learned how to work for money. There were several jobs that came available in my early life, and they were all great experiences. And since I grew up in the Great Depression and World War II, it was expected of many boys my age. The benefit to the whole family was significant: any wage earner in the family lessened the pressure on the “man of the house.” Remember, in those days a great percentage of mothers were stay-at-home moms, so a kid who could earn his own spending money was a family plus.

I hasten to add that if I had a true need for money, my parents would find a way to provide it. But there was an unspoken family understanding that money was scarce, and that only our most pressing needs could be afforded. So we — Dave, Alice and I — lived by that understanding. The money I got from my jobs was mine to save, spend or share. I shared some with Alice; she was my twin, and she was a girl — girls back then didn’t work at any job until they were old enough to “babysit,” the only job available to them. Dave? Well, Dave was four years older than I, and had had paper routes, etc.

My first job for money (I did a few things around the house as part of parental expectations, but that wasn’t what I would call a “job.”) was helping my uncle Paul dig a basement beneath his house. He had dug out an area about ten feet square, and hired me to come to his house when I could, and take shovel in hand, fill the wheelbarrow, and push it out back and dump it behind the back lot. I was about twelve at the time. The deal was I would get lunch, and he would pay me fifteen cents an hour. (The minimum wage in 1941 was thirty cents an hour, but it didn’t apply to me, and this was a family deal.)

Well, that sounded just fine — better than sitting around the house and getting nothing. So I started the job. I weighed no more than 60 or 70 pounds, so pushing that wheelbarrow was really tough, and if I filled it too full I couldn’t push it at all. Then one day, after about four weeks on the job, I strained my lower back — to a point of some real pain. Paul said that was enough, my health was more important than our arrangement. We totaled up my time, and he paid me in full: six dollars. A small fortune for Paul, and probably undeserved. Plus the lunches. That was the only job I had that summer. I was more proud than you can imagine of that six dollar bulge in my pocket. 

The next summer I went big time: a paper route for the Charleston Gazette. I would report at 5 a.m. every morning, fold my papers, put ‘em in a shoulder bag and make my deliveries to about 110 customers. Then every Friday I would go to each customer on the route and collect for the week’s papers: thirty-five cents. From that I would pay the “substation manager,” a guy who worked full-time for the Gazette, whatever they charged, and kept the rest. That’s when I learned about incentive: the better I collected, the more I could keep.

My customers were mostly very nice about paying, but some were hard to catch at home. There was one guy in particular who was never at home on Friday, so his ‘bill’ had run up to about three dollars: a small treasure. It happened that as I was delivering my route one Saturday morning before daylight, his house was alive with laughter and noises. I knocked on his door. He came, and in a tipsy voice asked who the hell I was. I told him, and that he owed me three dollars for his papers over the past few weeks. He smiled, forked over a five, and said keep the change. Then he invited me into his party. I said I was busy with my route. Scared to death.

One more quick story about my paper route: On August 14, 1945, our manager called all the delivery boys to the substation. He told us that an “Extra was coming out and that we could sell them on the street. “JAPAN SURRENDERS!!”

My route included the employee entrance to the Union Carbide plant on U.S. Route 60 in South Charleston, so I grabbed a big bundle of papers and hightailed it to the plant entrance. Since it was part of my “territory,” I claimed possession of the plant entrance. Luckily, employees were reporting for the evening shift, which began at 3:00 p.m. And the day shift guys were coming out of the plant. I had customers going both ways, and sold every paper within about twenty minutes.

The excitement of Japan’s WWII surrender was electric. Workers were literally throwing money at me. One guy gave me a dollar bill and kept running. (The papers cost five cents.) Money-wise, I cleaned up, and that was in itself momentous. But beyond that, I got caught up in the enthusiasm of the event — the surrender of Japan — to the point that I was like a kid at the circus. We had been in a terrible Pacific war that every kid knew about. We had followed it since December 7, 1941. And now it was over. What a day.

And that evening, on the streets of downtown South Charleston, people were in the streets, yelling, laughing, celebrating. Cars were going up the main highway to Charleston with people shouting out the windows. (Gasoline was rationed; most drivers had little to spare.) Everything was scarce — I saw people in one car going up the highway to celebrate, and the wheels of their car had no tires! Driving on the rims, it was that big a deal to them. Tires or not, the war with Japan was over. It was that kind of a crazy day and night, and I — me — scrawny, thirteen-year-old Alan Farley, had had a part in it. Just think about that. As I said before, what a day.

After that, I had summer jobs as a car hop in a root beer drive-in, an usher in a theatre, and a stock room boy in a hardware store. Some of the time I worked two jobs at once. Then, my last “early” job was really different. The City of South Charleston, under the direction of the Police Department, decided to paint parking ‘stripes’ on the main streets. The parking was side to side, angled to the curb. The stripes were to be in yellow paint, about five inches wide. I somehow heard they were looking for someone to help the painter, and got the job. The painter was Shorty, a really scruffy short guy who was a sometime house painter. He was actually very nice to me, friendly to all, and a known regular around the local beer halls. Shorty and I would report to Police headquarters at 4:00 a.m., and a cop would drive us, along with our buckets and brushes, to that day’s starting point. Shorty would stand back from the curb, squint, and decide the angle of the stripe. Then we would paint — freehand! No guides, just Shorty’s eye. By the end of the summer, those stripes were at all possible angles; some slots were wide, others narrow. Here’s part of the reason: Al Wells’ pool room, located at the midpoint of all our work locations, opened at nine. Every morning at about five till, Shorty would tell me to keep painting; he’d be right back. Most mornings, when he returned, Shorty would be strangely glassy-eyed and very happy — and that’s when the paint lines would start to wander. The cop who transported us would also drop by to see if we were OK. He would just shake his head and drive on.

It was a great job for two summers. I was paid pretty well, there was no pressure, and Shorty was responsible for all the mistakes. I was home by about 12:30, in time for lunch and then catch a bus to Rock Lake Pool. At the pool I’d tell my buddies the latest Shorty story. Who says that work isn’t fun? I have to say that I was more fortunate than many other kids. I knew plenty of boys who would have done as I did — they just didn’t get the chance, either because they lived in very rural areas or for family reasons. 

(Back then, and later and later as an adult, I became accustomed to physical work. Work that involved pick and shovel, mowing scythe and ax, digging, pulling, lifting, sweating, cussing the tools and the boss — the kind of work that brings a certain satisfaction no other activity can provide. One does those things and gains enormous respect for those whose lives are tied to hard hat, blue collar stuff, day after day. I wish the politicians would be required to live that life for a few months. Just think.)  After high school, I continued to work summers — at more substantive yet physical jobs — until I was through college, and early into my teaching career. But those weren’t “early” jobs, so I won’t go into that.

College

When I was in high school most kids my age didn’t think too much about going to college. I read somewhere that the national statistics showed that 1953 was the first year that the dropout rate was less than fifty per cent. While it wasn’t nearly that bad at South Charleston High School, only a rather small percentage of students went on to college. I remember that almost every fall, when school started up again, I would notice that some of my classmates from the prior year didn’t show up. Most left school to take a job in one of the chemical plants, or some related employment. The idea was that college was for the elite, or always had been, and that for a factory town kid from a blue collar family to aspire to higher education was a concept that was new, an after effect of WW ll. 

Somehow, it didn’t work that way for Alice and me. Dave had already been in and out of the navy, and was working at Carbide. There was very little discussion about college at our dinner table, but it was tacitly understood that we would be continuing our educations. There was no way the family could afford to send both — or either — of us to college, so I had looked for work-study programs, and applied to Antioch College in Ohio, as well as Berea College in Kentucky. Berea was a work-your-way-through school for rural kids, and I was rejected because I lived in a non-rural area. Antioch accepted me, but I just didn’t want to go there — they had no forestry program. I wanted to major in forestry — or so I thought, but West Virginia University — which had a fine forestry program — was not an option, money-wise. So I wrote a letter to the Secretary of the Interior — how I got that idea I don’t remember — stating my desire to study forestry, and to do so at the University of Alaska. I offered this plan: if the Department of the Interior would pay my way, I would upon graduation spend whatever time it took as an employee of the Forest Service in Alaska as repayment. Remember: this was in 1949, and Alaska was still a territory, so the University was operated under the auspices of the Interior Department. 

I received an answer to the effect that the Secretary was very sorry that the Department had no program of assistance such as I had requested, so there was no deal. I’ll have to say that I was really disappointed; I had high hopes that my letter would get a good response. Instead, I was back a square one, and my only option was to go to Morris Harvey College, a private liberal arts school right there in Charleston. Dad agreed to pay one semester’s tuition, and that I could live at home at no cost. That’s where I found myself that September. With that preface, here’s how it went: 

I showed up on campus — which was a really nice gymnasium and four WW2 surplus barracks buildings. Took the entrance exam, passed it. Learned later that that exam was the AGCT: Army General Classification Test, which meant if you were smart enough to get in the U.S. Army, you could go to Morris Harvey College. Actually, the state college entrance was easier: if you had a high school diploma you could enroll at any college within the state system, including WVU. Of course, there was no guarantee you’d be allowed to stay — you had to prove yourself capable of college work. For the next four years I lived at home. Arose every morning at six or so, caught a 7:00 bus to the train station, changed buses and rode to campus for an 8:00 class. Going home, same deal in reverse. Four buses a day for four years. No big deal; I never even thought about it. And since there was no “campus” in the manner of most colleges, I never thought things could have been better. Since that time I’ve been very, very glad that my kids had a true campus life experience. So I was now a student. Asked what I wanted to study, I said “business administration.” I had no idea that that was what I wanted or even what it was, but Dad suggested it, so I said it. The advisor said to sign up for the usual liberal arts courses, including freshman English and Western Civilization. Otherwise, go for your favorites. So, in addition to English and Civ, I signed up for — you guessed it — band, choir, music theory, music history. As a “business” major, I couldn’t have been happier with my schedule. All the classrooms were in the barracks buildings that first year. The second year was different — a new classroom building had been constructed, and we felt we had really arrived. I’ll not go through all the coursework I had over four years; not important. Only to say that after two years, as I was getting ready to enroll in the upper division business program, I was told no, actually, I was a music major. I shrugged and laughed; okay by me. 

Morris Harvey had an enrollment of about one thousand students. We had no dorms; almost all the students were local and lived at home. So campus life in the conventional sense was almost nonexistent; rather, it was go to class, hang out with your classmates, go to ball games, etc. But no parties downtown, no frat houses, no meal tickets, none of that. But there were three fraternities and three sororities, so I pledged with Kappa Sigma Kappa. Big deal. We met every Thursday at noon in a classroom, and had a spring formal. (Obviously, no frat or sorority houses.) 

I was a pretty good student. Dean’s list first semester, skated on that for a year or so, and picked it up again my final two years. The thing was, I became immersed in music. Good instructors, good performing groups, good friends — what more could one ask? My most admired professor, Henry Wolfe, really got me going with serious music. He was a fine pianist, an intellectual, and had a good sense of fun. And he was deadly serious about Bach, Brahms, Stravinsky, Hindemith, Bartok, and all the others. He really knew his stuff about composition, form and analysis, instrumentation, etc., so I signed up for all his courses. 

Alice and I worked a deal: that first year, Alice went to the Charleston School of Commerce downtown and got a diploma, following which she took a job at the local Social Security office. So she was earning and saving for college, at the same time helping me when I would run short. Two years later, she enrolled at WVU , and after I started teaching, I was able to help her in return. That way, we both made it through school with a financial squeeze here and there. She also went to summer school at Morgantown, and graduated a year early. 

I was able to scratch out my tuition, books, bus fare, and a little spending money by playing with local dance bands on weekends, plus Saturday jobs and summer work at the Carbide plant. But it was tight. I had bought a King Super 20 tenor sax (dad cosigned the note), and I paid for the sax — about $180.00 — as well as the other stuff. I know that $180 doesn’t sound like much, but one semester’s tuition was about $160.00! So that’s an idea of what money was like back then. Oh, and bus fare was 10 cents each way — 20 cents a day. To put all that in perspective, I earned about eight or nine dollars for a three-hour dance job. And the minimum wage my first summer at Carbide was about 75 cents per hour. I ran short of tuition money for my fourth semester, so I sold my tenor sax to a good friend for $180.00. That put me through a semester, and without the sax (oh, did I hate to sell that sax!) I used an old baritone sax that belonged to the music department for my weekend dance jobs. It was called making ends meet. I say emphatically that all that financial stuff was not a real bother to me; I always felt I had a good deal at home, and that a lot of people my age couldn’t do what I did. 

A note about the sax: I had insisted that I be allowed to major on saxophone. Insisted? To the department? Huh. They said nothing doing, that a saxophone was not a legitimate wind instrument in the conventional, “classical” sense. And further, they found out (I had never mentioned it) that I had played oboe in high school. Therefore, it was declared that I was an oboe major. And that was that. I played my graduation recital (kind of like orals) on oboe. Actually, I liked that school-owned student model Linton oboe, and learned to make reeds, replace springs and corks, and all the stuff that goes with oboes. I got to be fairly conversant with the instrument, and even performed with the Charleston Symphony on rare occasions when they were in need of an extra oboist. But down deep, tenor sax was my real instrument. 

During those years, the United States was embroiled in the Korean war, or conflict, or police action. I had joined the Army Reserve Band, stationed in Charleston, and was subject to call to active duty at any time. (By the way, I was paid for that: about $10.00 a month, paid quarterly.) My enlistment date, which was several months before the Korean conflict began, was helpful in that I did not have to face being drafted into the armed forces while in school. But I, and all my reserve buddies, married or otherwise, were ready for active duty if called. (I stayed in the Reserves for ten years, and was considered a diehard by the time I took my discharge.) 

College was great. The highlight of the music year was our spring choir tour, when we’d go on the road for a week, performing in small towns around the state, usually presenting evening concerts at local churches and morning programs in local high schools. We would leave Charleston on Sunday morning on a chartered Greyhound bus and return on Saturday. Our choir was very good; about 30 members. We performed a lot of sacred music by Bach, Brahms, Randall Thompson, and others, as well as folk music and other selections. Our director, Harold Ewing, was chairman of the department; a very nice, starched-collar Presbyterian from Michigan who was fearful of laughter. We liked and respected him, but we also wished without success that he’d loosen up just once in a while. 

My great friend and fellow music major was Albert Mingrone, a pianist-bassoonist from Logan, West Virginia. He was one year behind me in school. A really fine pianist, we clicked immediately. Among many other things he joined the Army Band, so that was another connection. We became a real pair, and we had a great time. His music forte was classical; my basic interest was jazz. In all respects we reflected ourselves upon each other and the bond was very strong. More later about this, but for now I’ll say that our friendship has been strong ever since. We try to get together at least once a year. Albert is one of the good guys. 

On one of our tours we went to Greenbrier County. The tours worked like this: we would stay overnight with families from the church where we would perform. They would feed us supper before the concert and breakfast before we left the next morning. The family which hosted Albert and I lived on a farm close to Alderson. Alderson: ring a bell? That’s where Dad grew up, where I spent summers with my grandparents Fred and Lelia Farley, so it was a little like a ‘reunion‘ with that quaint town. Anyway, this family was nice. It was Sunday afternoon, and the man of the house was a big baseball fan. And very religious. He invited Albert and me to listen to the Cincinnati Reds (my team too!) on his little radio. He would listen intently, talk about the players, like a real fan. At the end of each inning he would turn the radio volume down. Then back up when play resumed. I finally asked him why he did that. His answer was simple: the radio broadcast was sponsored by Burger Beer of Cincinnati, and they would do a beer commercial between innings. “Baseball I love. But beer is sinful. There will never be any mention of beer in my house.” I wondered for a long time if he realized that he had compromised something, somewhere. 

The next morning we performed at Lewisburg High School in downtown Lewisburg. Little did I know that I would one day be the Superintendent of Schools in Greenbrier County, with that campus one of many over which I had administrative responsibility. So our stop in Greenbrier County that year was memorable, mainly for two reasons: baseball but no beer, and my yet-to-be future with the school system. 

In the spring of my sophomore year, my fraternity brothers encouraged me to run for president of the junior class. I thought that was pretty cool, and told them I’d think it over. Then . . . then, they suggested to me that if I were to begin dating the president of the most popular sorority on campus, that would enhance my election chances. Just think, they said. You can’t miss with her at your side.

Well, nice girl that she was, I had no real desire to date her, and besides, I wasn’t into that kind of political setup. I had just about decided not to run anyway. So I told my “brothers” no, I wouldn’t go for that deal at all, it kinda smelled. They weren’t happy at all and told me so. After a few days of mulling it over, I went to the next meeting and told them that (a), I wouldn’t do that deal, (b), I was resigning from Kappa Sigma Kappa, and (c), I had decided to run for class president as an independent. They were really displeased about that, and vowed that I would lose the election, by their own machinations if necessary. But being a very small college, I had gotten to know a lot of the students. And I had a little credibility: I was the band drum major, had been to all the games, had face recognition. So I played on that, started a rumpus about Greek control of the campus, etc. And I won. Of course, it was a big deal about nothing: following the election everyone, including the frat brothers and the sorority president, forgot about the ill feelings and we were once again a happy student body. By the way, the only duties of the junior class president were: first, to speak to incoming freshmen the first day of school the following year, and second, to be in charge of the junior-senior prom the following spring. Piece of cake. Went fine. Until, after the college gave me a budget for the prom with instructions to take care of everything, I did just that: I hired a local band to play the dance. Trouble was, the band was, umm, black. At a Methodist, southern, all white school in 1952. But it worked. I had known the band, played with most of them — they were buddies, and they played the gig at base cost. It didn’t occur to me there would be a problem, and . . . they were good. The prom was a huge smash. While I knew there were some expressions of consternation at the administrative level, I heard very little about what they surely judged to be my misguided action, and in some small measure, a barrier came down. (I hasten to say that during the time that all this was happening I was totally oblivious to the implications of what I was doing. It never entered my mind. I was just looking for a good band at a good price. But in those days, I was totally oblivious about a lot of things. Still am . . . a lot of stuff goes right by me.) 

That’s a lot of talk to tell a very short story . . . but I enjoyed telling it. 

My senior year, Albert’s older brother, with whom he lived, had moved to New York and he — Albert — had no place to stay. Like me, he was on his own financially, and was in a tight spot. At the time, Alice was in school at WVU, Dave had re-enlisted in the military — Army, this time, and we had twin beds in my room, so I asked Mom — first — and then Dad, if Albert could live with us that year. It was a deal, so we were roomies for a year.

We were inseparable, and did everything together: rode buses, walked downtown, flirted with girls, raided the refrigerator late at night, studied, you name it. We had no money, no car, no cares. We had a small phonograph and a few LPs on the table between our beds, and every morning Albert would put a record on at high volume: a Beethoven piano concerto, a Schumann symphony, a Richard Strauss tone poem: that was Albert. Try waking up to that five days a week. If anyone was more wrapped up in music than I, it was Albert. We had a fabulous year. He was able to move into one of the old athletic dorms the following year, and finished his degree a year behind me. 

As an aside, I must mention that Albert and Kenny got to know each other during that time, and we were often the three caballeros, riding the streets of Charleston, trying to put together a really good singing trio (never happened), and just doing fun stuff together. 

I graduated from Morris Harvey College in May 1953 with a Bachelor of Music degree. Four years spent as a mostly carefree-but-serious-enough student who had gained some knowledge and skills but didn’t really know much about long term goals. It was a great time for me, and it served me well during my teaching career. Even now, I try to visit the campus during my rare visits to Charleston. 

Three years later I entered the (summer school) master’s program at Ohio State. Meanwhile, Albert had gone to New York to live with his folks for the summer and enrolled at the Teachers College, Columbia University. New York City. Unbelievable. What a place. I had learned at Ohio State that to earn a degree there would take about six summers, and Albert came back to Charleston (we were both teaching there at the time) with the news that his program at Columbia could be completed in three summers. That did it. The following summer I was at Columbia — with Albert. It seemed we always found ourselves in the same place at the same time. So for three summers Albert and I were back to our old stuff. But by then we were both much more serious students, and spent a lot of time studying together, poring over orchestral scores, practicing with our batons, reviewing notes from our classes. For recreation, we played frisbee at noon, and on weekends I’d go to his parents’ home in White Plains, where we’d go to movies and so forth. 

Interjection: after my first summer at Columbia, Carol and I were married on November 15, 1957. As far as my job and school were concerned, nothing changed. Just my life. In the most positive way. There is much to say about that elsewhere, but for now, I’ll stick to the topic. 

I won’t go into much more about Columbia, except to say it was an eye-opening experience for me. Learning from the recognized experts how to really conduct music — how to teach with the baton as well as with the eyes, and gestures, and body movement. Also, aside from the classroom: riding the subway downtown on Saturdays to watch the crowds. Interacting with other students from across the country, some from renowned institutions like Eastman and Juilliard. Going to outdoor concerts at Lewisohn Stadium. Living on fifteen dollars a week — in New York. But more than anything — learning. Soaking it up. Every single day. The professors there were fabulous. One professor had a 7:30 a.m. class. Thirty of us were enrolled. Over a hundred were there every morning, just to listen to this great educator. His name was James Murcell, and he is internationally renowned even today for his great work. 

I finished my M.A. at Columbia in 1959, and it changed who I was as a teacher, as a conductor, and most importantly, as someone who could probe, explore a work of music in a more comprehending and insightful way. 

Years later, I went on to complete an Ed.D. at Virginia Tech. It was a good program for me, and I wouldn’t slight it in the least. But it was coursework, research, and writing, mainly. I continued my full-time job and commuted to Blacksburg from my home in Roanoke County. Aside from going to class, my family and work life didn’t change, so I have no tales to tell about this experience. Perhaps the most important note in all this is that during those three years Carol, Patrick, Leslie and Amy supported me totally, never complained when I couldn’t be there for an event, took care of the matters of housekeeping and school, and always, always stood behind me, as they always had and always have. 

My advising professor there was Wayne Worner, an extraordinarily fine teacher and mentor, who understood my goals and stepped in constantly to help me achieve them with minimal inconvenience to my “regular” life. He steered my program and worked with my committee through the whole process, allowing me to complete the program on schedule and without a hitch. And to this day he and his wife Kathie are fine friends whom I see on occasion. I owe him a great deal for helping me in my transition from teacher to researcher / writer / educational leader. Several years later, it was my good fortune to have his son Scott join our staff of building principals in Spotsylvania County, where he served with distinction in several important roles. 

All considered, my “higher” education experiences were certainly of great importance in my life. “Grad school” was fine and pivotal for me professionally, certainly at Columbia, and in an equally meaningful way at Virginia Tech. All the above having been said, “College,” to me, was defined in every way by those four years at Morris Harvey. That was truly the time that gave direction to my life. Had I not gone to college, I would have done okay, I think. But the “I think” part of that would have never happened.