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CONTENTS FALL 2018
FEATURES 30 | FUN AND FOLKIE The Carrera Room is where Gamble Rogers polished his picking and the cool kids got a buzz from caffeine and camaraderie. By Bob Kealing, additional material by Randy Noles 40 | CROSS AT THE CREEK When Marjorie Kinnan Rawlings was sued for invasion of privacy, Rollins College supporters rallied behind her. By Randy Noles, additional research by Christelle Ram, digital art by Will Setzer 58 | IT’S ALL ABOUT FALL Let’s have some fashionable fun along Winter Park’s peerless Park Avenue. Photography by Rafael Tongol, styling by Marianne Ilunga, makeup and hair by Elsie Knab
DEPARTMENTS EDUCATION 16 | A COLLEGE’S CIVIC TUITION Everyone agrees that Rollins College enhances cultural and intellectual life. But it’s also an economic powerhouse with an irrefutable Midas touch. By Randy Noles DINING 84 | CRUSTACEAN DESTINATION Blu on the Avenue occupies a comfortable niche, offering fresh seafood — most notably lobster — in an urbane but informal setting where families will feel right at home. By Rona Gindin, photography by Rafael Tongol
6 WIN T E R P A R K M A G A ZI N E | FALL 2018
BREAST CANCER What you need to know.
• • • • • •
Questions and answers Signs and symptoms Managing your risk Diagnosing a diagnosis Screening guidelines Cancer care navigators
A SPECIAL PUBLICATION BROUGHT TO YOU BY WINTER PARK MAGAZINE AND THE AMERICAN CANCER SOCIETY BREAST CANCER 101
BREAST CANCER 101 WHAT YOU NEED TO KNOW In cooperation with the American Cancer Society, and in recognition of Breast Cancer Awareness Month in October, Winter Park Magazine presents a special section on the prevention, diagnosis and treatment of breast cancer, which is the second-most common cancer in the U.S. and the secondleading cause of cancer death in women. It’s information you need to know to reduce your risk, protect your health and explore treatment options if you’re diagnosed.
IN EVERY ISSUE 8 | FIRST WORD 12 | COVER ARTIST 94 | EVENTS 104 | ARTSBEAT
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THE QUALITY REVOLUTIONARY
From his home base in Winter Park, Philip B. Crosby impacted businesses all over the world. Each week, hundreds of corporate bigwigs traveled here to learn about his approach to quality improvement, which he described in 1979’s Quality is Free.
hen Winter Park Publishing Company LLC moved its offices last year, we found ourselves occupying a building in which I had worked 35 years before — for perhaps the most interesting and impactful small business that ever hung out a shingle in this town. If memory serves, although the interior of 201 West Canton Avenue has been reconfigured, I’m now sitting in the former office of my erstwhile boss — a man whom I count as a personal hero, and whose philosophy has for decades guided how I approach work. The business was Philip Crosby Associates (PCA). In the company’s heyday, when major American manufacturers were fighting to overcome the perception — the reality, in fact — that their products were inferior to those made overseas, it was Crosby, an internationally known business philosopher, whose guidance was sought by beleaguered executives. Each week, hundreds of corporate bigwigs from around the country — and around the world — traveled to Winter Park to attend Crosby’s “Quality College” for five days of lectures from and discussions with the man who had written the 1979 business bestseller Quality is Free and had invented the concept of “zero defects” in manufacturing. Crosby was entertaining and inspirational —
8 WIN T E R P A R K M A G A ZI N E | FALL 2018
although he despised comparisons to motivational speakers. One trade publication described him as “the fun uncle of the quality revolution,” which was a clever if incomplete descriptor. This fun uncle had been worldwide vice president for quality at ITT. As PCA grew, and bright young acolytes were trained to teach his concepts, Crosby began holding impromptu confabs with Quality College attendees, for whom he was something of a rock star. “Quality can’t be controlled,” Crosby would proclaim. “It has to be caused, starting at the top.” This was important stuff for American industry. But it was also important for Winter Park. First, it showcased the city to countless influencers, many of whom undoubtedly returned for more leisurely visits with their families. Every day, Quality College attendees lunched en masse at Park Avenue restaurants. Rooms at the Mount Vernon Inn were booked solid for months in advance. Crosby — who looked like Teddy Roosevelt in a power suit — lavished patronage on hundreds of local vendors, all of whom were proud to be selected by a company synonymous with the best of everything. Of course, the word “quality” meant something different to Crosby than it did to most of us. To him, quality meant simply conformance
to requirements — whatever those requirements might be. A Chevette that met all the requirements of a Chevette was every bit as much a quality car as a Cadillac that met all the requirements of a Cadillac. Further, he preached, it was always cheaper to “do it right the first time” than to assume, as most American companies did, that errors would invariably occur. The expense of implementing a zero-defects policy would always be recouped, he contended, by eliminating waste and do-overs. PCA eventually came to employ some 300 people, all of them well paid and even pampered. Top executives drove company Cadillacs (General Motors was a major client) and everyone from the custodian to the COO believed that they were performing both a job and a patriotic service. But, when I joined, PCA hadn’t yet reached those heights. I had written a story about Crosby for a local newspaper, and he seemed impressed that I appeared to understand his message. Would I be interested in coming to work for him and starting a company newspaper? Not a newsletter, he emphasized. A real weekly newspaper, like a small city would have, with stories about the company and its people. I thought about it — for about 10 seconds. A few weeks later, I was editor of This Week at PCA — a tabloid with an initial press run of about 45 copies. The boss even gave me a nickname: “Scoop.” PCA had a remarkable run, surviving economic downturns and flavor-of-the-month management trends. But it couldn’t survive Alexander Proudfoot PLC, a U.K.-based consultancy that bought the company in 1989 and ran it into the ground. Crosby rescued the company’s remnants in 1997. But he died at age 75 in 2001, before he could complete his reclamation project. There’s still a Philip Crosby Associates in Boston, but the latest iteration seemingly has no website and several calls succeeded only in reaching an automated voicemail service. I like to think Phil would enjoy Winter Park Magazine. I expect he would appreciate the fact we strive (not always successfully) to eliminate defects and do it right the first time.
Randy Noles CEO/Editor/Publisher email@example.com
The Bagby Team INTEGRITY • COMPETENCE • RESULTS - Highest producer at Fannie Hillman + Associates for 31 consecutive years - Over $52 million in real estate sold in 2017, OUR BEST YEAR YET - Over $750 million in lifetime real estate sales - Over 70 years combined real estate experience Call us today for a conﬁdential consultation. Nancy Bagby, Julie Bagby Williams & SueAnn Rand
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RANDY NOLES | Editor and Publisher THERESA SWANSON | Group Publisher/Director of Sales JODI HELLER | Director of Administration KATHY BYRD | Associate Publisher/Senior Account Executive HEATHER STARK | Associate Publisher/Account Executive CAROLYN EDMUNDS | Art Director MYRON CARDEN | Distribution Manager RAFAEL TONGOL | Photographer WILL SETZER, CHIP WESTON | Digital Artists DANA SUMMERS | Illustrator RONA GINDIN | Dining Editor MARIANNE ILUNGA | Fashion Editor MARIANNE POPKINS, NED POPKINS, HARRY WESSEL | Contributing Editors BOB KEALING, MICHAEL MCLEOD | Contributing Writers
WINTER PARK PUBLISHING COMPANY LLC RANDY NOLES | Chief Executive Officer ALLAN E. KEEN | Co-Chairman, Board of Managers JANE HAMES | Co-Chairman, Board of Managers THERESA SWANSON | Vice Chairman, Board of Managers MICHAEL OKATY, ESQ. | General Counsel, Foley & Lardner LLP
COMMUNITY PARTNERS Larry and Joanne Adams; The Albertson Company, Ltd.; Richard O. Baldwin Jr.; Jim and Diana Barnes; Brad Blum; Ken and Ruth Bradley; John and Dede Caron; Bruce Douglas; Steve Goldman; Hal George; Michael Gonick; Micky Grindstaff; Marc Hagle; Larry and Jane Hames; Eric and Diane Holm; Garry and Isis Jones; Allan E. and Linda S. Keen; Knob Hill Group (Rick and Trish Walsh, Jim and Beth DeSimone, Chris Schmidt); FAN Fund; Kevin and Jacqueline Maddron; Drew and Paula Madsen; Kenneth J. Meister; Ann Hicks Murrah; Jack Myers; Michael P. O’Donnell; Nicole and Mike Okaty; Bill and Jody Orosz; Martin and Ellen Prague; Serge and Kerri Rivera; Jon C. and Theresa Swanson; Sam and Heather Stark; Randall B. Robertson; George Sprinkel; Philip Tiedtke; Roger K. Thompson; Ed Timberlake; Harold and Libby Ward; Warren “Chip” Weston; Tom and Penny Yochum; and Victor and Jackie A. Zollo.
Copyright 2018 by Winter Park Publishing Company LLC. All rights reserved. Reproduction in whole or in part is prohibited without written permission of the copyright holder. Winter Park Magazine is published four times yearly by Winter Park Publishing Company LLC, 201 West Canton Avenue, Suite 125B, Winter Park, Florida 32789.
FOR GENERAL INFORMATION, CALL: 407-647-0225 For advertising information, call: Kathy Byrd, 407-399-7111; Theresa Swanson, 407-448-8414; or Heather Stark, 407-616-3677
Like us on Facebook or visit us online at winterparkmag.com
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10 W I N T E R P A R K M A G A ZI N E | FALL 2018
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PICTURE-PERFECT PAINTINGS HENRY PETER’S EXTRAORDINARY IMAGES BRING LANDSCAPES TO LIFE.
Henry Peter, a self taught artist known for the photographic quality of his paintings, has found collectors on four continent for his meticulous (and vivid) depictions of outdoor scenes. He describes his work as “simple and direct; free of artifice and superficial mannerisms.”
enry Peter, a native of Burglengenfeld, Germany and a resident of Brevard County, is primarily a self-taught artist. Which is remarkable considering the photographic quality of his paintings, such as the image of the iconic exedra in Kraft Azalea Garden on this issue’s cover. As a 12-year-old in Engelwood, New Jersey, Peter recalls receiving a few lessons on color and theory from painter Margaret Stucki, a vehement realist who, ironically, moved to Brevard County in 1973 and taught art for Rollins College when it offered evening programs at Patrick Air Force Base. “When I moved down here, I tried to get in touch with her but didn’t hear back,” says Henry of Stucki, who wrote a book denouncing contemporary art as “crud.” She died in 2017 — but would likely be pleased that her former pupil has garnered a large following with his meticulous (and vivid) depictions of outdoor scenes. The first work by Henry to appear on the cover of Winter Park Magazine was a 2015 image
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of the Venetian Canal and the Palmer Avenue Bridge. Several dozen readers emailed to ask who had taken the beautiful photograph — which was, in fact, an oil painting. Henry earned a degree in philosophy from Franciscan University in Steubenville, Ohio, and after graduation apprenticed in a machine shop. But by the late 1980s, his paintings had begun winning regional and national awards. In 1993, Henry made his first trip to Florida, where he displayed his work at the Old Island Days Festival. He moved to Key West a decade later, then relocated to Titusville in 2008. Henry’s paintings have been selected for the Top 100 in the prestigious Arts for the Parks competition, a program created by the National Park Academy of the Arts to benefit the National Park Conservation Alliance. He was a mainstay at Key West’s Gingerbread Square Gallery for almost two decades and has been represented by the Fredlund Gallery in Winter Park. His paintings have found collectors on
four continents. Henry describes his work as “simple and direct; free of artifice and superficial mannerisms.” He enjoys being artistically unpredictable and applies his keen eye and steady hand to a broad range of subjects — not just landscapes. Kraft Azalea Garden, a 5.2-acre enclave that hugs the shore of Lake Maitland along Alabama Drive, is open daily from 8 a.m. until dusk. The exedra — a word derived from the Greek “ex” (out) and “hedra” (seat) — is one of Winter Park’s most cherished symbols. The project was funded in 1969 by siblings Kenneth H. Kraft and Elizabeth Kraft Schweizer to honor George and Maud Kraft, their parents for whom the park is named. Its inscription reads: “Pause friend. Let beauty refresh the spirit.” You can find Henry’s paintings on display at the Cocco & Salem Gallery in Key West, Palm Avenue Fine Arts of Sarasota and the Village Gallery in Orlando. — Randy Noles
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Rollins College has embarked on a major building initiative, both on and off campus. Reviewing plans are (left to right) Ed Kania, vice president for business and finance; Jeffrey Eisenbarth, who recently retired from the post now held by Kania; Allan Keen, chair of the college’s board of trustees; and Grant Cornwell, president of the college since 2015.
PHOTO BY RAFAEL TONGOL
A COLLEGE’S CIVIC TUITION Everyone agrees that Rollins enhances cultural and intellectual life. But it’s also an economic powerhouse with an irrefutable Midas touch. BY RANDY NOLES
16 W I N T E R P A R K M A G A ZI N E | FALL 2018
ew colleges and college towns are as intertwined, geographically and historically, as Rollins College and Winter Park. But when the college recently announced its biggest off-campus building initiative in years — a cluster of three projects dubbed the Innovation Triangle — some locals instinctively balked. “Rollins consumes City of Winter Park services and does not pay property taxes,” wrote one poster on a Facebook page devoted to discussions of city-related political issues. This easily debunked view persists in some circles, and usually comes up whenever the college buys property located outside the boundaries of its 70-acre campus hugging Lake Virginia. Since Rollins has been a player in the local commercial real estate market since the late ’90s, its economic impact on the city has been a relatively frequent topic of discussion. On one point, there’s apparent unanimity. The presence of a prestigious liberal arts institution is confirmation of Winter Park’s stature as the cultural and intellectual mecca of Central Florida. It’s hard to put a price tag on that. Still, the questions persist. Is the college a beguiling but costly jewel in Winter Park’s crown, valuable primarily for its prestige? Or is it a powerful economic engine whose presence is crucial to the community’s prosperity? It’s fair to say that the relationship is symbiotic. But it’s not
fair — or accurate — to say that Rollins doesn’t pay property taxes. What’s more, property taxes comprise only a fraction of the college’s contribution to the city’s ongoing prosperity. “We haven’t commissioned a formal economic impact study in a number of years,” says Allan E. Keen, chairman and CEO of The Keewin Real Property Company and chair of the college’s board of trustees. “There just hasn’t been a need. In our view, the facts are pretty obvious.” The last such report was in 2008. A 27-page tome by Pittsburgh-based Tripp Umbach estimated that in 2006, the college generated $56.9 million in economic activity for the City of Winter Park, $110.6 million for Orange County and $204.9 million for the State of Florida. Tripp Umbach, like all such consultants, used complex calculations to determine the college’s direct and indirect economic impact. In addition to taxes paid and estimated local spending, it analyzed such factors as volunteer hours from students and faculty to quantify the college’s social and quality-of-life benefits. Similar analyses are frequently used by local governments to justify use of taxpayer dollars for construction of high-profile projects such as sports facilities or convention centers. The resulting documents are generally obtuse to noneconomists — and subject to suspicion because
vested interests usually commission them. However, a few easy-to-understand numbers related to Rollins offer an unambiguous and irrefutable overview of the college’s importance to the city’s economy.
DOLLARS AND CENTS
All Rollins-owned property in Winter Park is valued at a whopping $196,726,893, according to the college’s Office of Business and Finance and the Orange County Property Appraiser’s Office. Property used for educational purposes — including the 70-acre main campus — is tax exempt. So last year, no taxes were paid on property valued at $117,322,856. However, property not used for educational purposes, valued at $79,404,037, remained on the tax rolls. In 2017, the college ponied up $998,445 — an increase of $148,222 from 2015 — making it the city’s second-largest payer of property taxes. At the current millage rate of $4.09 per $1,000 of taxable value, almost a third of that amount — $324,945 — bolstered the city’s general fund. The remainder went to Orange County and Orange County Public Schools. (The millage rate has remained unchanged for a decade, but valuations have soared.) Within the city, only sprawling Winter Park Village, a major mixed-use development on U.S.
Highway 17-92, had a higher property tax bill than Rollins. That’s because the college rarely changes the taxable status of its real estate purchases. And its commercial properties are taxed no differently than those owned by for-profit investors. “So, people think Rollins doesn’t pay property taxes,” sighs Jeffrey Eisenbarth, the college’s recently retired vice president for business and finance. “That’s an urban legend. And it doesn’t seem to go away, no matter how many times we show and tell.” In fact, the college’s property tax bill has soared since the Alfond Inn’s 2013 opening. The boutique hotel, which sits on a 3.3-acre parcel at the corner of New England and Interlachen avenues, is valued at $26,164,543. It received a property tax bill of $359,626 in 2017 — an increase of $98,510 from two years ago. Of more than 60 properties bought by the college since 1993, 45 of them — or 75 percent — have remained on the tax rolls, adds Eisenbarth, who ended a productive 10-year stint at the college in May. He was replaced by Ed Kania, who held a comparable post at Davidson College in Davidson, North Carolina. Likewise, Rollins-owned properties get no breaks when it comes to utilities, which have been owned by the city since a 2005 break from Florida Power & Light. In the 12 months prior to September 2018, the The Alfond Inn is the biggest — and most lucrative — of the college’s commercial developments. Profits endow a scholarship fund.
FA L L 2 0 1 8 | W IN T ER PARK MAGAZ IN E
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college spent $2,257,517 on electricity, making it the city’s largest user. The college’s water bill — $153,310 — was behind only AdventHealth, formerly Winter Park Memorial Hospital. Rollins employees and students clearly bolster local businesses, says Betsy Gardner Eckbert, president and CEO of the Winter Park Chamber of Commerce. “When students leave for the summer, we feel the impact downtown,” she says. The college has 726 full-time-equivalent staffers and faculty members who earn a cumulative $71,801,893 per year. There are 3,093 students, including those enrolled in the College of Liberal Arts — the day school — and its two evening programs, the Hamilton Holt School and the Roy E. Crummer Graduate School of Business. That’s a lot of money and a lot of people within walking distance of Winter Park’s busy Central Business District. And the college itself spends heavily on an array of products and services from local suppliers. What would a formal economic impact study show now? Nine years ago, when Tripp Howard calculated $56.9 million, the college’s property taxes were just $140,000 and its payroll was just $46.4 million. Since then, its property taxes have increased seven-fold — due in large part to development of the Alfond — and its payroll has leapt by 54 percent. Depending upon the methodology used, a consultant could likely justify a figure north of $100 million today. And Gardner Eckbert notes that the college’s international students often have parents who are prime relocation prospects. The chamber has even initiated a “global membership” to keep moms and dads around the world connected to — and interested in — Winter Park
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20 W I N T E R P A R K M A GAZI N E | FALL 2018
Rollins entered the commercial real estate arena in 1999, when it developed SunTrust Plaza and an accompanying parking garage on the 400 block of Park Avenue South. Not everyone was happy about it. The college already owned the 2.5-acre site, upon which sat a three-story brick building that once housed the Winter Park Grade School, later Park Avenue Elementary. Rollins, which had bought the property in 1961, used the building for classrooms and offices. But by the late 1980s, it had fallen into disrepair and had become structurally unsafe. The college announced plans to demolish the building — which had been built in 1916 — and redevelop the site. The move inflamed preservationists, some business owners and many longtime residents who had attended the school
and retained a sentimental attachment to it. Still, after much debate, SunTrust Plaza was opened as a three-story, 82,000-square-foot complex abutting an 850-space parking garage. Today’s tenants include Gap, Starbucks, Restoration Hardware and Merrill Lynch, as well as its namesake bank. At 40 feet tall, the structure exceeds the city’s height limit by 10 feet. But with the third story partially recessed, it doesn’t feel out of scale with the rest of Park Avenue. And last year it generated $273,615 in property tax revenue. Subsequently, Rollins began buying various commercial properties along the south side of West Fairbanks Avenue, from the campus entrance to the railroad tracks. In 2012, it redeveloped Winter Park Plaza — a strip center anchored by Ethos, a vegetarian restaurant — and is now landlord to an array of businesses, from a waxing salon to a vitamin emporium. The center’s original developers had defaulted on a $7 million note, and the college snapped it up for $2.8 million via an online auction. It generated $49,279 in property taxes last year. Other college-owned commercial properties lining Fairbanks bring in considerably less, but all contribute proportionally, based upon their assessments. A few properties, however, have been removed from the tax rolls as they’ve been converted to educational use. In 2015, for example, Rollins jumped across Fairbanks to buy its only property on the north side of the street — the building at 315 West Fairbanks that for years housed the law offices of the late Russell Troutman. That building — which now houses the Hamilton Holt School — no longer generates tax revenue. Neither does 200 West Fairbanks, once home to a bar and restaurant and now site of the college bookstore. In 2007, Rollins began buying up townhomes, corralling nine units on Orchard Avenue near Mead Botanical Garden. The college uses these and other scattered townhomes and singlefamily homes for faculty housing. New hires pay market rate for rent and may remain for a maximum of three years. The homes remain on the tax rolls because they’re considered incidental to the college’s core educational mission. Faculty housing generated $81,981 in property taxes last year. In the Central Business District, Rollins owns the Samuel B. Lawrence Center, a city block gifted to the college in 1994. A four-story commercial building on the site, home to Valley National Bank and other tenants, generated $89,530 in property taxes last year. Although the Lawrence Center is slated for
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EDUCATION redevelopment through the Innovation Triangle initiative, the commercial building will stay and remain on the tax rolls.
A WIN WITH THE INN
PHOTO BY WINTER PARK PICTURES (WINTERPARKPICTURES.COM)
ROLLINS EARNS NATIONAL KUDOS For the 24th consecutive year, U.S. News & World Report has ranked Rollins College among the top two regional universities in the South in its annual rankings of “Best Colleges.” Rollins was ranked No. 2 among the 165 colleges and universities in that category, which encompasses schools that provide a full range of undergraduate and master’s-level programs. Elon University in Elon, North Carolina, finished first. “Rollins is proud to be recognized so prominently among the nation’s best colleges year after year,” says Rollins President Grant Cornwell. “Our longevity at the top of this ranking is a testament to the college’s long tradition of academic excellence, the rigor of a Rollins education and the achievement of our innovative faculty and industrious students.” The U.S. News & World Report rankings evaluate colleges and universities on 16 measures of academic quality, including such widely accepted indicators of excellence as student retention, graduation rates and qualifications of faculty members. In addition to ranking among the top regional universities in the South, Rollins was recognized for its strong commitment to undergraduate teaching, its high proportion of international undergraduates and for having one of the best undergraduate business programs in the country. The college was also named one of the South’s most innovative schools. And it made the list of schools whose 2017 graduates had the lightest debt loads. The average was $32,700 for those who completed undergraduate degree programs.
24 W I N T E R P A R K M A G AZI N E | FALL 2018
Still, the biggest commercial project ever undertaken by the college was the Alfond. “I was on the job two months and got the job of hotel developer,” recalls Eisenbarth, who had been hired from a comparable post at Willamette University in Salem, Oregon. The Alfond family — longtime college benefactors — had already committed to contributing $12.5 million for the project, with the condition that profits be used to provide scholarships and endow a scholarship fund. But $12.5 million wasn’t nearly enough to get the job done. Instead of partnering with a developer, though, Eisenbarth and Keen recommended that the college finance the remainder with a $20 million loan from its reserves, to be repaid over 25 years at 4.5 percent interest. In 2009, the college spent $9.9 million for a 3.3-acre parcel at the corner of New England and Interlachen avenues, just blocks from the campus. On the site once stood the legendary Langford Hotel, a local landmark that closed in 2000 and was demolished in 2003. Ground was broken for the new hotel in November 2011, and its grand opening was in August 2013. Almost immediately, the 112-room facility began earning rave reviews. Most recently, in Conde Nast Traveler’s annual Readers’ Choice Awards, it was rated No. 1 in Florida, No. 7 in the U.S. and No. 63 in the world. It also holds a AAA FourDiamond rating. But if you’re an accountant, you’ll be more impressed by the numbers. Last year, the Alfond grossed more than $16 million and earned an operating profit of more than $6 million. From the net, the college was repaid $1.2 million. The remainder bolstered Alfond Scholars, a program established by the hotel’s namesake family. This agreement will continue for 25 years and is expected to eventually boost the scholarship endowment to $125 million.
FOR THE FUTURE
Keen says the college isn’t looking to buy more property unless it’s strategically placed near the campus or offers proximity to other college-owned assets. “We try to be a good neighbor,” he notes. “That’s why nobody builds anything prettier or better than we do.” Not that they don’t try. Comparably sized colleges, particularly those in unremarkable towns or even rural areas, are increasingly promoting mixed-use commercial and residential develop-
ment around their campuses to help lure students and faculty. But such colleges rarely have the expertise — or the cash — to do it themselves. So they take on development partners who assume the risks (and reap most of the rewards). However, creating an appealing college-town atmosphere around Rollins has never been necessary. It’s hard to improve on Winter Park just the way it is — and has been for generations. So why is Rollins in the development business? Because it can be, for one reason, blessed as it is with resources, expertise and an enviable location. But it’s also positioning itself for growth — perhaps decades from now — and in the meantime generating healthy returns in both asset value and profit. Not including the Alfond, the college’s commercial real estate ventures in 2017 grossed $4.7 million and netted $2.6 million — an eyepopping 55 percent margin. “The campus is landlocked and lake-locked,” says Keen. “When we buy property, it isn’t to sell. Rollins has been here for 130 years, so we hope to keep what we buy basically forever. Obviously, that means we look further ahead than most buyers would.” Eventually, Keen says, much of the real estate Rollins absorbs may be used for campus expansion. But “eventually,” in this context, may mean generations from now. In the meantime, profits are supplementing the college’s budget and allowing for more generous financial assistance programs than would otherwise be possible. “The sole purpose of our commercial real estate holdings is to provide revenue to support financial aid for our students,” says President Grant Cornwell. “We’re committed to keeping Rollins financially accessible to qualified students without regard to their socioeconomic status. The only way we can do this is by having sources of revenue other than tuition to support our budget.” That’s especially important, considering that Rollins is the most expensive college in the state, according to a survey in Business Insider. Tuition, room, board and other expenses amount to $67,110 per year — more than triple what a state university costs. But very few actually spend that much. According to the college, the average financial aid package for students who show a demonstrated need is $35,000 — and more than 85 percent of students receive assistance in some form. “It’s certainly not a trend for small liberal arts colleges to do what we’ve done, because no other small liberal arts college is located in Winter Park,” says Cornwell. “Unlike other colleges, we’re incredibly fortunate in that we happen to be situated in such a beautiful, charming and prosperous city.”
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INNOVATION TRIANGLE IS MOVING FORWARD PHASE 2
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26 W I N T E R P A R K M A G AZI N E | FALL 2018
NEW ENGLAND AVE
Rollins recently announced — and then unexpectedly placed on temporary hold — plans for what it dubbed the Innovation Triangle, which involves redeveloping the Samuel B. Lawrence Center and expanding the Alfond Inn. Occupying a city block in downtown Winter Park, the Lawrence Center — owned by the college since 1994 — is bounded on the north by New England Avenue, the south by Lyman Avenue, the west by Knowles Avenue and the east by Interlachen Avenue, across the street from the Alfond. According to preliminary plans, the four-story, 40,000-square-foot building now occupied by Valley National Bank and other tenants would remain on the site’s northwest corner. Two new buildings — one housing the Roy E. Crummer Graduate School of Business and one housing the Cornell Fine Arts Museum — would be built on the southeast and northeast corners, respectively. The Pioneer Building, on the southwest corner, would be razed and replaced by a two-story, threelevel parking garage. The city had expressed interest in negotiating a public/private partnership that could have added one or two levels and at least 120 additional spaces of public parking. However, in late August the college announced that it was delaying the Innovation Triangle projects “in order to explore and evaluate some cost-saving and project-sharing opportunities that will benefit the college and the community,” according to a statement. Plans for the Alfond expansion were set to go before the Winter Park Planning & Zoning Commission in September. The Lawrence Center redevelopment was scheduled for consideration in October, when the college planned to seek a conditional use permit for the property’s site plan. Later, once details for the buildings had been finalized, a zoning change from O-1 (office) to PQP (public, quasi-public) would have been required before the Lawrence Center could get underway. Had the college changed course? Had the spectre of public opposition to city participation in a parking garage prompted a retrenchment? “The hotel expansion, the business school and the museum are all absolutely going forward,” says Allan E. Keen, chairman and CEO of The Keewin Real Property Company and chair of the college’s board of trustees. “And they’re going forward apace. I regret it if anyone took our statement to mean there’d be a prolonged delay, or that we’d abandoned any of these strategic initiatives. We’re just working some details out.” More specifically, college officials wanted to think through the parking options. While a garage at the Lawrence Center in which the city partnered might have been welcomed by visitors to the Central Business District, it wouldn’t alleviate the long-standing parking shortage on the main campus. Soon to exacerbate the problem is a new $40 million student residential complex, which is being built to replace the mundane maintenance and storage buildings now occupying prime Lake Virginia real estate.
The conceptual site plan for the Lawrence Center included a parking garage. The garage is being reconsidered, but the rest of the redevelopment is proceeding as planned.
The housing is needed because the college is raising its two-year residency requirement to three years, moving juniors onto campus. When it all shakes out, 13 college official estimate that about 200 more students will list 1000 Holt Avenue as their address. Of course, most juniors already drive to class from wherever they live. But having them as full-time residents will mean more cars, more of the time, vying for space. One of several possibilities being discussed is construction of a parking garage on a college-owned surface lot bordered by Fairbanks Avenue and Ollie Avenue, abutting Dinky Dock Park. If that happens, the spaces would be only for college use. None of this has any relevance to the Alfond expansion, which has included in its design about 150 additional parking spaces in an underground garage. The hotel project was conceptually included as part of the Innovation Triangle but is unaffected by what happens — or doesn’t happen — in the Lawrence Center, according to Keen. Plans call for the addition of 70 rooms to the 112room hotel along with a 7,000-square-foot spa and health club, a 4,000-square-foot meeting space/ gallery and 323 square feet of retail space. “We want to do this expansion in the most efficient and effective way possible,” says Keen. “But all of the projects we’ve announced are moving ahead.” Rollins President Grant Cornwell says that the Innovation Triangle initiative will strengthen three of the college’s major strategic assets by further integrating them into the community. Cornwell notes that the Alfond clearly needs additional capacity for lodging and events. “What I hear from fellow Winter Park residents all the time is they can’t imagine Winter Park without the Alfond,” he says. “I also hear that they can never get a room. We know now is the right time to move forward with the proposed expansion.” Having the museum and the business school join the hotel in a downtown location, he adds, will “impact business synergies and provide an enhanced arts and culture presence” in the Central Business District. FA L L 2018 | WI NTE R P A R K M A G A ZI NE
“Rollins greatly values our history and involvement with Winter Park,” Cornwell continues. “We’re proud that our being here and the programs we offer are high on the list of what makes Winter Park a great place to live and work.” The Alfond and the Cornell are already soulmates, notes museum director Ena Heller. Ted and Barbara Alfond, both members of the Class of ’68, gave the college $12.5 million to jump-start construction of the hotel. They also donated a worldclass contemporary art collection, pieces of which are displayed at the hotel on a rotating basis. More space will allow more of the museum’s encyclopedic collection to be on view, Heller says. The current Cornell building, tucked away on the Rollins campus, is just 10,000 square feet. The proposed building is about 36,000 square feet. “It’s very exciting,” notes Heller, who adds that the move will make the museum more inviting for the public and more conducive for teaching — which is crucial for a curricular museum with a college affiliation. “There’ll be more galleries, room for lectures and a seamless connection between the museum and the Alfond,” she says. “The facility we have now is inadequate for events and classes.” Best of all, upon completion of the new Cornell, both the northern and the southern reaches of the Central Business District will be anchored by worldclass museums. The Charles Hosmer Morse Museum of American Art, located on Park Avenue North, has been a major downtown draw since 1997. The Crummer, which operates on the main campus from Roy E. Crummer Hall and the Bush Executive Center, will also be a benefit to the Central Business District, says Cornwell. Its new building is expected to be 80,000 square feet. “The thought was to encourage linkages between the Crummer’s resources and those who run businesses in Winter Park,” he notes. “We see a natural synergy here that we can improve upon.” The Innovation Triangle’s timetable is flexible, says Keen, but will happen as quickly as possible. Funding from an anonymous donor is already in place for the Alfond expansion, which is expected to cost between $35 and $45 million. The Cornell and Crummer projects, however, will depend entirely upon fundraising. The business school could cost between $50 and $60 million and the museum between $30 and $40 million, all of which must be raised through philanthropy. At first glance, Cornwell notes, a hotel, a museum and a business school appear to have little in common. But, he adds, placing the trio of projects under the Innovation Triangle umbrella makes sense for a place as eclectic as Rollins. “As an educational institution, we constantly strive to stimulate new learning paradigms and encourage the application of new ideas to complex problems,” Cornwell says. “Specifically, the Innovation Triangle highlights the intersections of art, business and interdisciplinary teaching and learning.”
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FOLKIE The Carrera Room is where Gamble Rogers polished his picking and the cool kids got a buzz from caffeine and camaraderie. By Bob Kealing Additional Material by Randy Noles
30â&#x20AC;&#x201A;W I N T E R P A R K M A G AZI N E | FALL 2018
PHOTO BY ROBERT S. BLOUNT, COURTESY OF THE STATE LIBRARY AND ARCHIVES OF FLORIDA; COLORIZATION BY CHIP WESTON
Gamble Rogers, a local boy made good, was a big draw at Winter Park’s Carrera Room, which was the epicenter of Central Florida’s folk music scene in the ’60s. Rogers’ performances combined singing, picking and storytelling.
FA L L 2 0 1 8 | W IN T ER PARK MAGAZ IN E
ete and Barbara Hodgin came up with an idea to draw nighttime crowds to their eatery at 534 South Park Avenue. The cool kids were listening to folk music in the early ’60s. Hippies hadn’t yet supplanted beatniks and the British Invasion was yet to come. So, on Fridays and Saturdays from 9 p.m. to 1 a.m., Hodgin’s Restaurant — which served breakfast, lunch and dinner seven days a week — morphed into the Carrera Room, a coffeehouse for young folkies. “There was a hard-core folk scene here in those days,” says Chip Weston, a Winter Park artist and entrepreneur who was a student at Rollins College from 1966 through 1970 and played guitar with a band called the Drambouies. “Around purists, you didn’t dare play anything other than folk music.”
In a 1967 interview with the Orlando Sentinel, Barbara Hodgin called the young people who patronized the Carrera Room “the best bunch of kids in the area.”
32 W I N T E R P A R K M A G A ZI N E | FALL 2018
The Carrera Room was a walkable distance from Gamble and Maggie Rogers’ home on Knowles Avenue. The scene naturally attracted Rogers, who had run his own short-lived coffeehouse, the Baffled Knight, in Tallahassee. His partner in that venture was Paul Champion, an Earl Scruggs protégé who would go on to become a bluegrass legend in his own right. “We just wanted to see Gamble because he was such a good picker and singer,” recalls Gainesville-based musician Alan Stowell, who has toured with such stars as Don McLean and Maria Muldaur, often playing fiddle as well as guitar. Stowell credits Rogers with igniting his passion for the guitar starting at the Carrera Room. But the music didn’t necessarily end at 1 a.m. “We’d go to Gamble’s house and have sessions,” adds Stowell. “It was great.” In those days Stowell and his jug band would rehearse in Central Park, just
blocks away from the Carrera Room. In time, Rogers would find his way over to see what they were doing. “Off stage he was very generous,” Stowell said. “Gamble was very supportive of other musicians.” Indeed, Rogers found plenty to support in his hometown: “There’s more good guitar players in Winter Park than any place I’ve ever been,” he once stated after having achieved a measure of national fame. When Park Avenue rent got too high, the Hodgins moved their operation to 643 North Orange Avenue, just west of Rollins College. That’s where the new and expanded Carrera Room was born. In a 1967 interview with the Orlando Sentinel, Barbara Hodgin called the young people who gathered to listen to local and touring folk singers “the best bunch of kids in the area.” One of the locals was Jeanie Fitchen. She was just 14 when Barbara Hodgin
“There’s more good guitar players in Winter Park than any place I’ve ever been,” Rogers once said of his hometown. But not many were better than Rogers, who mastered Merle Travis-style fingerpicking.
FA L L 2 0 1 8 | W IN T ER PARK MAGAZ IN E
During performances, it seemed to his fans as though Rogers (left) was holding forth from the loading dock at Arrandale’s Purina Store in fictional Oklawaha County. Musicians Jim Carlton (top) and Alan Stowell (above) recall Rogers’ authenticity and marvel at his ability to hold a crowd’s attention with elaborate tales of Florida rogues and backwater haunts.
gave her a chance to perform — and to get paid for it. “Barbara often hired me at $8 a night to host open-mic night,” recalls Fitchen, who today lives in Cocoa and continues to perform at folk festivals. “Little did she know I would have gladly paid her to let me sing on that tiny stage.” On those music-filled Fridays and Saturdays, the Carrera Room offered a wide variety of coffee, tea and frappes costing from 40 to 65 cents. Gracing the menu were drawings of important and controversial folk artists of the day: Joan Baez, Charles White and Pete Seeger. In time, the Carrera Room became known as a place to see important national acts passing through town such as Fred Neil, a mainstay of the Greenwich Village folk scene and writer of such hits as “Candy Man” for Roy Orbison.
34 W I N T E R P A R K M A G AZI N E | FALL 2018
When Lakeland guitarist Rick Norcross decided to open his own coffeehouse near the campus of Florida Southern College, where he was a student, he called it the “Other Room.” “I named it as an alternative local version of — and in honor of — the Carrera Room in Winter Park,” says Norcross, who now tours New England with a popular Western swing band, Rick & the Ramblers. “Certainly, it was tongue in cheek,” he adds. “But it was also named out of respect for the position that the Carrera Room held in the hearts of aspiring folk singers in the early 1960s.” One of those aspiring folk singers would go on to become the godfather of country rock. His name was Gram Parsons, a Winter Haven native who performed at the Carrera Room with his folk quartet, the Shilos.
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Despite a debilitating back condition, Rogers enjoyed outdoor activities such as swimming and rowing. Fittingly, a recreation area along Flagler Beach is named in his honor.
And there were others. Bernie Leadon, then just age 17, impressed Carrera Room patrons with his banjo prowess. Within a few years Leadon was playing alongside Parsons and Chris Hillman in the Flying Burrito Brothers. He later co-founded ’70s rock supergroup the Eagles. By this time, Rogers had become a mainstay at the Carrera Room and other local venues, such as the Beef & Bottle on Park Avenue and Dubsdread Country Club in Orlando. A hometown folkie hero, he always performed before packed houses. Rogers’ repertoire included such songs as “Deep River Blues” and “Two Little Boys.” Instrumentals included “Cannonball Rag,” written by Merle Travis, his musical hero and the man whose guitar style he emulated. Rogers — who by now had begun to attract attention in Greenwich Village folk circles and hung with the likes of Phil Ochs and Bob Dylan —worked to bring big-name national acts to Winter Park. In the summer of ’65, Stowell accompanied Rogers to Rollins, where the pair persuaded administrators to sponsor a Carrera Room concert by alltime banjo great Don Reno and his Tennessee Cut-ups. The band barely fit on the venue’s tiny stage. Reno, who went on to compose 500 songs and be inducted into the Bluegrass Hall of Fame, was perhaps the biggest name to headline the Carrera Room. “I was on the edge of my seat all night,” Stowell recalls. After the show, the group headed to Rogers’ house, where the jam session lasted well into the wee hours. Rogers wanted to encourage Stowell and asked him to perform a song for Reno and his sidemen. “Alan, play Cleopatra’s Caravan for Don,” Rogers urged his friend. Stowell obliged — and to this day feels embarrassed by the version he delivered. “Don was nice and complimented me,” he says. Despite the coming of the Beatles and an invasion of electrified singersongwriters both British and American, the Carrera Room, like the Flick and the Gaslight South coffeehouses in Miami, remained folk genre strongholds well into the late ’60s.
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Mount Dora musician, writer and comedian Jim Carlton came into Rogers’ expansive orbit in 1967. “Gamble was a big deal locally even then,” says Carlton, who began his music career in 1962 with Parsons and Jim Stafford in a rock band called The Legends. “He had such a likeable personality and was beginning to make a name for himself.” Carlton says Rogers never obsessed over achieving major commercial success, choosing instead to develop and refine his nuanced, drawn-out tales of Florida rogues and backwater haunts. “Gamble and I would get on the phone and talk for hours,” says Carlton. “He had a vintage Martin guitar but made me promise not to tell him what it was worth.” Most musicians, it seems, would want to know such information — for insurance purposes, if nothing else. Rogers, however, was not most musicians. “I’m not a collector,” he explained to Carlton. “For me, it’s a tool — and that’s its real value.” The Carrera Room — and the restaurant that anchored it — closed in 1970. For most longtime locals, it has faded in time like much of greater Orlando’s pre-Disney history. But not for performers who still ply their trade, such as Stowell, Fitchen, Norcross and Carlton. Rogers, too, lives on in the memories of fans, friends and family. So, too, do the memories of such Florida folk icons as Paul Champion, Will McLean and Jim Ballew. They made their mark in a bygone era when live music was everywhere. “Gamble was just special,” recalls Weston. “There were a lot of us who didn’t know if we were going to make our careers in music or not. But we knew Gamble was the real deal.” Weston recalls taking a girlfriend to one of Rogers’ shows. She professed to dislike folk music and went along only grudgingly. “She ended up loving it,” says Weston. “Gamble had such magnetism. If you gave him five seconds, he had you.”
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One sentence sums up the character of Winter Park known touring act, the Serendipity Singers. native James Gamble Rogers IV, the Florida troubadour Rogers lasted long enough to learn that ensembles who died trying to save a drowning tourist whom he didn’t didn’t suit his style. From then on, he followed his passion know: “He was interested enough in strangers to give his down a long, sometimes bumpy road of one-nighters as life for one.” a spinner of folksy yarns and an influencer of more comThat’s one of many poignant quotes in Bruce Horovitz’s mercially successful artists such as Jimmy Buffett. breezy new biography, Gamble Rogers: A Troubadour’s A contemporary of other Florida folk legends such Life (University of Florida Press). as Paul Champion and Will McLean, Rogers conjured A biography of this authentically Floridian singer and up stories from fictional Oklawaha County, and delivstoryteller — known early in his career as “Jimmy” Rogers ered them in a preacher’s cadence as delighted audi— is long overdue. And Horovitz’s work is an easy-to-diences marveled at his linguistic pyrotechnics. gest introduction to the man who was considered by many In A Troubadour’s Life, the many shining sides of to be Florida’s unofficial musical ambassador. Rogers are emphasized. The conflicts with his family Still, completionists who hold Rogers in high esteem to over choosing life as an artist, and the toll his peripathis day may not find A Troubadour’s Life — which can be tetic career took on his relationships, not so much. read in a sitting or two — dense enough to sum up the life There are also some factual errors. For example, and career of a bona fide legend. Horovitz writes that Rogers saw Elvis Presley perform in Then again, it would take several volumes to really do 1953. Elvis was, in fact, driving a truck in 1953 and didn’t University Press of Florida has recently the subject justice. play Orlando until 1955. It’s a small error, but anyone who You need not enjoy folk music or tall tales to admire released Gamble Rogers: A Troubadour’s writes a book about popular music ought to know some Rogers, who was the eldest son of renowned local archi- Life by Bruce Horovitz. basic Elvis history. tect James Gamble Rogers II. He died a hero in 1991, in More significantly, Horovitz gets it wrong about the rough surf near his beloved St. Augustine, trying to ownership of the Carrera Room. It was not run by Rogrescue a total stranger flailing in the Atlantic Ocean undertow. ers’ first wife, Maggie, as Horovitz states. It was opened as an offshoot of Rogers, 54, didn’t swim well, and a chronic spinal malady all but ensured Hodgin’s Restaurant by Pete and Barbara Hodgin, whose invaluable contrithat his charge into the raging ocean on an inflatable raft would be a suicide butions to the local folk scene are unmentioned. mission. No matter, friends say. The sight of a drowning man and his young Still, if you didn’t know of Rogers and his homespun tales, you’ll come away daughter screaming for help left him no choice but to try. from this book wishing that you did. Ordinary people mattered to Rogers. He was once approached in a parkOf course, his drawn-out orations weren’t suited for commercial radio or teleing lot by a man — yet another stranger — who asked a favor. His wife was vision. Horovitz writes that Rogers once auditioned for the Smothers Brothers near death from cancer and might be bolstered by even a brief visit from but didn’t get the gig. What he did best simply couldn’t be done in two or three her favorite singer. minutes. Rogers, never one for half measures, ended up performing a long bedside Rogers received widespread exposure only through NPR, where he was a concert for an audience of two. Never mind that he’d just finished a grueling current-events commentator on All Things Considered in 1976 and 1977, and tour and was looking forward to getting home to his own wife and children. then again in 1981 and 1982. One of his monologues, “The Great Maitland Despite such heart-tugging stories, A Troubadour’s Life is neither maudlin Turkey Farm Massacre of 1953” was included in Susan Stamberg’s book, Evnor overly sentimental — nor should it be. There’s far too much to celebrate ery Night at Five: The Best of all Things Considered. in Rogers’ life and legacy. Although Rogers never came close to becoming a household name, he was He gave up what was sure to be a comfortable life pursuing a career in content flying just below the radar. He toured the country in a green Mustang architecture in the footsteps of his famous father to celebrate rural Florida and held court on his home turf — the rough-and-tumble Tradewinds bar in with whimsical stories, evocative songs and skillful guitar-picking. St. Augustine. For nearly 30 years, he presented a genre-defying one-man show that In the aftermath of his death, the state Legislature created the Gamble took him from raucous bars to intimate listening rooms to the stage of CarnRogers Memorial State Recreation Area, a 144-acre park on Flagler Beach egie Hall with bluegrass legend Doc Watson. between the Atlantic Ocean and the Intracoastal Waterway. But he started in Winter Park at local coffeehouses such as the Carrera St. Johns County opened Gamble Rogers Middle School near St. AugusRoom, located first on Park Avenue and later relocated to Orange Avenue, tine in 1994, and the state’s Division of Cultural Affairs named Rogers to the where The Porch restaurant and sports bar now sits. Florida Artists Hall of Fame in 1998. It was the early ’60s, and from Greenwich Village to Coconut Grove, folk Lately, however, some have questioned whether Rogers is well-enoughmusic was everywhere. Vanilla acts like the Kingston Trio and Peter, Paul known to still have a school and state park named after him. Errors notwithand Mary ruled the charts. Dylan had yet to plug in, and the Beatles were standing, Horovitz’s diligent work and dozens of primary-source interviews are unknown in the U.S. more than enough to help us all gladly beg to differ. By 1966, Rogers moved to New England to pursue an opportunity in arBob Kealing is a musicologist and author. His most recent book is Elvis Ignited, chitecture at a Boston firm. But he was waylaid by an audition in Greenwich The Rise of an Icon in Florida (University Press of Florida). Village, where his formidable guitar-picking skills landed him in a nationally
38 W I N T E R P A R K M A GAZI N E | FALL 2018
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CROSS AT THE CREEK WHEN MARJORIE KINNAN RAWLINGS WAS SUED FOR INVASION OF PRIVACY, ROLLINS COLLEGE SUPPORTERS RALLIED BEHIND HER.
BY RANDY NOLES Additional Research by Christelle Ram Lead Photo Restoration and Colorization by Will Setzer, Circle 7 Design Studio
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FA L L 2 0 1 8 | W IN T ER PARK MAGAZ IN E
PHOTO COURTESY OF GEORGE A SMATHERS LIBRARIES, UNIVERSITY OF FLORIDA
o one who reads Cross Creek can doubt that Marjorie Kinnan Rawlings had genuine affection for the quirky Crackers who inhabited the all-but-untamed north Florida outpost where she owned a ramshackle farmhouse and a 72-acre citrus grove. But when a crotchety resident of Island Grove — a tiny hamlet near Cross Creek — sued Rawlings for $100,000 over what she correctly believed to be an unflattering depiction in the 1942 bestseller, the Pulitzer Prize-winning author’s Rollins College admirers mobilized in her defense. Rawlings had many connections with the Winter Park liberal arts institution, not the least of which was a friendship with legendary President Hamilton Holt and venerable Professor of History Alfred J. Hanna, who participated in the infamous lawsuit as a witness for Rawlings. In yet another unlikely local connection, prominent Winter Park attorney Ralph V. “Terry” Hadley III was born in Island Grove and is the great-nephew of the colorful complainant — a feisty social worker named Zelma Cason. As a child and a young man, Hadley — now a shareholder in Swann Hadley Stump Dietrich & Spears — enjoyed summer visits to his Aunt Zelma’s tin-roofed home. She took him hunting and fishing and let him tag along to her office at the Gainesville branch of the State Welfare Board. “Aunt Zelma was just fun to be around,” he recalls, adding that she “was a tough old bird who could cuss the bark off a tree.”
PHOTOS COURTESY OF THE ROLLINS COLLEGE DEPARTMENT OF ARCHIVES AND SPECIAL COLLECTIONS
Rawlings had important connections at Rollins, including President Hamilton Holt (above left) and Professor of History Alfred J. Hanna (above right), who befriended the bestselling author during her visits to campus. Hanna testified for Rawlings — unhelpfully, as it turned out — in the invasion of privacy lawsuit brought against her.
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Hadley also met Rawlings — whom he knew as “Marge” — and describes her as a warm, down-toearth woman who, despite her fame, was entirely unpretentious. Cason and Rawlings had been close, until the publication of Cross Creek soured the friendship and led to a colorful courtroom donnybrook that ultimately established an important precedent: that privacy was a right in the State of Florida. Hadley’s first encounter with Rawlings was in 1946, when he was 4 years old. The much-publicized trial had concluded but the appellate process was underway when Hadley’s mother (and Zelma’s niece), Clare, engineered a potentially fraught meeting between the warring parties. It happened in Crescent Beach, where the Hadley family was vacationing. Rawlings owned a cottage nearby, and Cason rented modest quarters within walking distance. But neither knew that the other had been invited by Clare to drop by. “My mother was a peacekeeper,” says Hadley. “Everybody hated to see Marge and Aunt Zelma fighting. She was trying to be a bridge over troubled water.” The ploy didn’t work — at least, not then. According to Elizabeth Silverthorne, author of 1988’s Marjorie Kinnan Rawlings: Sojourner at Cross Creek, Rawlings arrived with her husband, Norton Baskin, and was surprised to find Cason and her young great-nephew already there. Although no spontaneous fence-mending occurred and the appeal continued, everyone appears to have made the best of what was surely a tense situation. Writes Silverthorne: “Marjorie apologized for her housecoat and Zelma apologized for her bare feet. Then they had a drink together and Zelma and Norton joined forces to tease Clare’s little Terry into eating his supper. They discussed Cason family matters, and at one point Zelma said, ‘Marge, you’d be just crazy about Terry if you knew him.’” Later, according to Silverthorne, Rawlings described the episode to her attorney as “utterly weird.” Oblivious to the drama unfolding around him, “little Terry” finished his supper as the adults chatted politely despite bitter ongoing litigation. Cason and Rawlings had dug in as a matter of principle. Neither was willing to back down. “Marge and Aunt Zelma were just great characters,” recalls Hadley. “That’s why when they fought, it was knock-down, drag-out.” The courtroom clash between Rawlings — a beloved national figure — and the aggrieved but abrasive Cason was intensely personal. But it was also as entertaining a spectacle as any that ever unfolded in the sweltering Alachua County Courthouse.
Marjorie Kinnan Rawlings’ books are iconic, particularly for Floridians. But an unflattering description of Island Grove resident Zelma Cason in Cross Creek sparked a lawsuit and caused lingering bitterness between the two old friends. Winter Park attorney Terry Hadley, Cason’s great-nephew, has correspondence indicating that the two eventually reconciled.
The courtroom clash between Rawlings — a beloved national figure — and the aggrieved but abrasive Cason was intensely personal. But it was also as entertaining a spectacle as any that ever unfolded in the sweltering Alachua County Courthouse.
And it was important. The outcome, settled only after a precedent-setting ruling by the Florida Supreme Court, has implications for writers regarding the legal pitfalls of using real people — specifically those who aren’t public figures — as characters. More broadly, the case speaks to ethical issues around cultural appropriation. The concept was introduced in academia as a scholarly critique of colonialism. But in recent years, anti-appropriation rhetoric has been used to bludgeon everything from art to literature to clothing. Often, such criticisms go too far. Still, it could be argued that Cross Creek is the very definition of cultural appropriation, at least as the term
is understood today. Rawlings, though, would surely deny any intent to exploit — and would insist that Cracker culture was her culture, too. Which, of course, it was — but by adoption and with plenty of built-in escape mechanisms. The author, who portrayed herself as a workaday Cross Creek denizen not unlike her backwoods neighbors, was never truly one of the people about whom she wrote so vividly. A literary celebrity and a sophisticated, college-educated Yankee — her distaste for that descriptor, and all it implied, notwithstanding — Rawlings had won a Pulitzer Prize in 1939 for her novel The Yearling. She could abandon hardscrabble Cross Creek FA L L 2 0 1 8 | W IN T ER PARK MAGAZ IN E
PRESERVING CRACKER CULTURE
The Marjorie Kinnan Rawlings Society celebrates and promotes the life and works of this Pulitzer Prize-winning author who opened the eyes of Americans to the beauty of rural Florida and the hardscrabble lives of the people who lived there. Leslie Kemp Poole, an assistant professor of environmental studies at Rollins College, is the executive director of the organization — continuing the college’s historic ties with the author of Cross Creek and The Yearling. Rawlings and her husband, Charles, both journalists, moved to a ramshackle wooden farmhouse in the north Florida hamlet of Cross Creek in 1928. They hoped to dedicate their lives to writing with an income supplemented by fruit from their 72Leslie Kemp Poole acre orange grove. Rawlings felt an immediate spiritual connection: “When I came to the Creek, and knew the old grove and farmhouse at once as home, there was some terror such as one feels in the first recognition of a human love, for the joining of person to places, as of person to person, is a commitment to shared sorrow, even as to shared joy.” That feeling was not shared by Charles, who left the area after a few years. The marriage ended in divorce. Rawlings, however, had found her calling in the natural and human community, located on the edge of what was then called the Big Scrub — now the Ocala National Forest. “We at the Creek need and have found only very simple things,” she later wrote in Cross Creek. “We need above all, I think, a certain remoteness from urban confusion, and while this can be found in other places, Cross Creek
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offers it with such beauty and grace that once entangled with it, no other place seems possible to us, just as when truly in love none other offers the comfort of the beloved.” Spending time with local residents while listening and recording their tales inspired Rawlings’ work, which was soon being published in magazines and books. Her tale of a young boy and his pet fawn, The Yearling, won the Pulitzer Prize in 1939, and many of her books set in the area received critical and public acclaim. Her home is now a historic state park and has been designated a national landmark. For many, Rawlings’ works evoke a Florida and a way of life that is rapidly disappearing. “She reminds us of what Florida once was and how the land shaped the people who fought to make a living in the early twentieth century,” says Poole. “Her books are in many ways timeless. I’ve read them at different stages of my life, and they always speak to me about the human spirit and the immense beauty of our state.” Philip S. May Jr., whose father served as Rawlings’ attorney, founded the society to honor, preserve and encourage an ongoing interest in the author’s works. The first official meeting of the group was in 1987, followed the next year with the organization’s first annual meeting. This year, the 160-member group met in Mount Dora for a two-day conference that featured an array of academic speakers as well as writers — professionals and students — who have been inspired by Rawlings’ work. Next March, the group will meet in Tarpon Springs. The public is welcome to attend. Visit rawlingssociety.org for more information about the Marjorie Rawlings Society and its activities.
any time for a posh apartment at the Castle Warden Hotel in St. Augustine, managed by her husband, or for her cozy Crescent Beach cottage. Her neighbors were her house servants, her grove workers, her charitable beneficiaries and her hunting and fishing companions. To the extent that class and race permitted, she considered many of them to be her friends — but on an essentially transactional level. When she entertained, her gourmet meals were savored not by the impoverished rustics who provided fodder for her lively stories but by renowned authors, erudite professors and the occasional movie star. Although she worked her land as though her very survival was at stake and eagerly immersed herself in Creek camaraderie and contention, she remained “a kind of reportorial visitor from another planet,” contends Samuel I. Bellman in 1974’s Marjorie Kinnan Rawlings, a biography that was part of a series spotlighting notable American authors. “For all its pastoral quality, Cross Creek reflects a wider range of experience than the bucolic, or even the bucolic seen through urban eyes; there is the dimension of privilege that gives the book its particular character,” Bellman writes. Privilege may explain why Rawlings so badly misjudged the prideful Cason. At issue was “The Census,” a chapter in Cross Creek that recounts an eventful horseback census-taking excursion upon which Rawlings accompanies Cason. They visit ramshackle homes deep in the swamps while Cason offers colorful commentary. In “The Census,” Rawlings bluntly characterizes Cason, who would have been about 40 at the time, as “an ageless spinster resembling an angry and efficient canary … I cannot decide whether she should have been a man or a mother.” It only gets worse: “She combines the more violent characteristics of [a man and a mother] and those who ask for or accept her manifold ministrations think nothing of being cursed loudly at the very instant of being tenderly fed, clothed, nursed or guided through their troubles.” Although in her later testimony Rawlings would artfully, if dubiously, explain that the incendiary comments were meant to be compliments, she must surely have known that no woman in that place and time — and, indeed, few now — would consider spinster to be a term of affection, nor would they wish to be described as masculine or profane. Ironically, either adjective could just as easily be applied to the bawdy, hard-drinking Rawlings, in whom such qualities were generally thought to be charming and eccentric. Rawlings, it seems, had been seduced by her own celebrity, believing that a cleverly crafted insult from an author of her stature would be
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Rawlings’ ramshackle home in Cross Creek looks essentially the same today as it did in the 1930s. Authors, academics and even movie stars — including Gregory Peck, who starred in The Yearling — visited and enjoyed the writer’s renowned Cracker-themed feasts.
deemed flattering, not hurtful. Tragically, considering the consequences, she could easily have diffused the situation, avoiding five years of needless expense and emotional exhaustion that resulted in reduced output and, arguably, early death. Cason’s precise motives for filing the suit — apart from embarrassment — have remained a subject of speculation. Could it have been money? Rawlings earned significant income from Cross Creek, at least in part by making a laughingstock of the officious Cason, a fact that likely accentuated her erstwhile friend’s outrage. But Cason doesn’t appear to have cared much for money. Hadley, her great-nephew, believes that Rawlings had simply “hurt Aunt Zelma’s feelings.” Cason, he recalls, “was a very caring person, but didn’t have much tolerance for people who engaged in a lot of baloney. That’s not the term she would have used. She was very salty of tongue.” Hadley says Rawlings was likely shocked that Cason filed suit “because she knew Aunt Zelma was a tough old bird, and figured it would just roll right off her back. But Aunt Zelma felt that this was a betrayal, and it just got to her.”
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“These people are my friends and neighbors, and I would not be unkind for anything, and though they are simple folk, there is the possible libel danger to think of. What do you think of this aspect of the material?” — Rawlings to Maxwell Perkins, her editor In any case, Cason’s 11-page, four-count declaration, which included a claim of libel, was filed on January 8, 1943, in the Alachua County Circuit Court. It named Rawlings and Baskin as co-defendants, since husbands were then jointly liable for the torts of their wives. Cason was represented by Kate Walton, one of the first five women to be admitted to the Florida Bar, and her father, J.V. Walton, in whose Palatka practice she worked. The lawsuit, for which Cason sought $100,000 in damages, was at first dismissed by Judge John A.H. Murphree, and then appealed to the Florida Supreme Court with an emphasis on the invasion of privacy claim. In the appeal, Kate Walton argued that every citizen, apart from public figures, has a reasonable expectation of privacy and “the positive right to be left alone.”
The court agreed with Murphree’s dismissal of three counts, but ruled that Cason was entitled to be heard on her invasion of privacy claim. For the first time in Florida history, the court had recognized invasion of privacy as a redressable civil wrong. A petition for a rehearing made by Rawlings’ tenacious lawyer, Philip May of Jacksonville, was denied, and Rawlings adamantly rejected May’s suggestion that she offer Cason a settlement. Her reasons “were both personal and professional, closely tied to the emotions generated by the suit and Marjorie’s sense of duty as a writer,” according to Patricia Acton, who wrote 1988’s Invasion of Privacy: The Cross Creek Trial of Marjorie Kinnan Rawlings. May and Rawlings, preparing for an epic battle with “my friend Zelma,” then hired larger-thanlife Gainesville lawyer Sigsbee Scruggs to assist
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HURSTON PHOTO COURTESY OF THE ROLLINS COLLEGE DEPARTMENT OF ARCHIVES AND SPECIAL COLLECTIONS
Rawlings did most of her writing on the front porch of her home, a pack of Lucky Strikes at the ready. Although Rawlings considered herself racially enlightened, she famously asked visiting folklorist Zora Neal Hurston (right) to spend the night in the tenant house.
the defense in Murphree’s typically quiet Gainesville courtroom. No one could have predicted that a final resolution would take more than five years to achieve — and that the ultimate outcome would leave everyone dissatisfied. Although the Florida Supreme Court had recognized that invasion of privacy was actionable, it had not yet ruled on a case that established a right to privacy for everyday people outside the limelight. May and Scruggs sensed that the court, if given an opportunity, was predisposed to issue just such a ruling. Consequently, they sought to position Cason as a public figure whose activities were “of legitimate public interest.” If that were true, then any right to privacy, even if it existed, would not be applicable in her case. In addition, they made the rather outrageous contention Cross Creek was so important — so universally praised — that it should be exempt from such nonsense as invasion of privacy claims. Scribner’s, Cross Creek’s publisher, was ostensibly supportive, but didn’t offer to defray Rawl-
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ings’ legal fees — a fact that was disappointing to Rawlings, since editor Maxwell Perkins had specifically suggested that she elaborate on her relatively tame description of Cason. Prior to the publication of Cross Creek, the author had written to Perkins regarding the possibility of just such a predicament: “These people are my friends and neighbors, and I would not be unkind for anything, and though they are simple folk, there is the possible libel danger to think of. What do you think of this aspect of the material?” Perkins had replied that he saw little reason for concern “because of the character of the people … but you are the one who must be the judge.” Rawlings, to make certain, had sought assurances from two people about whom she had written: Tom Glisson and “Mr. Martin,” the man with whom she had feuded after shooting and feasting upon his errant pig. Neither man — even Mr. Martin, the only person whose acquiescence Rawlings had feared was uncertain — had objected to their stories and descriptions being published in Cross Creek. Of course, Glisson and Mr. Martin couldn’t speak for the entire community — although Raw-
lings seemed to assume that their approval was tantamount to universal consent. Less surprisingly, there was never any concern expressed by either Rawlings or Perkins that the African-Americans depicted in Cross Creek might object to having their stories shared and to being described in derogatory terms. Henry, Adrenna and Geechee — human beings whom Rawlings knew, not fictional characters whom she invented — are described using racially charged language that’s shocking to a modern reader. Rawlings, in her telling, treats blacks with kindness and charity. But a paternal brand of rac-
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FA L L 2 0 1 8 | W INTER PARK MAGAZ IN E
Terry Hadley and his wife, Carol, continue the Hadley family connection to Cross Creek through their ownership of Aunt Zelma’s Blueberries, a pick-it-yourself blueberry farm named for Terry Hadley’s great-aunt — a woman he describes as “fun to be around” and “salty of tongue.”
“To refer to [the lawsuit] as a damn shame is to make a statement of supreme under emphasis. ... I only wish I could have thought of the many things to inject into the testimony that occurred to me, too late.” — Rollins Professor Alfred J. Hanna ism imbues even her ethereal descriptions of Martha, the “dusky fate, spinning away at the threads of our Creek existence.” Although Rawlings had developed a friendship with African-American folklorist Zora Neale Hurston, her racial attitudes remain troubling even to scholars who contend that her views evolved — or at least were progressive for the time. In her 1993 memoir, Idella: Marjorie Rawlings’ “Perfect Maid,” Idella Parker recalls that when Hurston visited Rawlings at Cross Creek she was asked to spend the night in the tenant house — despite having spent the day drinking and laughing with her host. Perhaps, then, any number of African-Americans who lived in Cross Creek might have wished to take legal action against the famous white woman who had ridiculed and demeaned them in her widely read work. Because of pervasive racism, however, no black person was likely to be taken seriously in an invasion of privacy claim. As a white woman, Cason could at least get a hearing. Cason v. Baskin, which got underway on May
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20, 1946, was every bit the circus one might expect. The Miami Herald, in a preview, announced that “Cross Creek, with its original real-life cast — definitely not a motion picture — moves into [Gainesville] Monday for an indefinite run in the circuit court room here … Just about every other figure in the book except Dora, the Jersey cow, has been called as a witness.” Following jury selection — none of the prospective jurors, to Rawlings’ amusement, had read Cross Creek, although it had already been a Bookof-the-Month Club selection — J.V. Walton delivered an opening argument for the plaintiff. “Miss Zelma Cason is an ordinary citizen of Island Grove,” he said, “and went about the ordinary affairs of life and her pleasures and business, avoiding that which would point her out as above or apart from persons of her community.” But that was before the notoriety of Cross Creek, in which “things that have been written about Miss Cason … are so intimate and of such a nature that as a matter of law it violates her right of privacy and entitles her to an affirmative verdict for nominal damages.” He added that substantial damages should
be awarded if it could be proven that Cason’s physical and mental health had been impacted by the ordeal. Even if Rawlings’ description of Cason was entirely true, he reminded jurors, it was not a defense against invasion of privacy. Scruggs followed, insisting that Rawlings could not have felt malice toward a woman whom she considered to be a friend, and that Cason “knew, or should have known, that she would become a character, herself, in a book pertaining to the people of that community; the plaintiff, herself, being one of the outstanding parties in that community.” Further, Scruggs insisted, “no sensible, or normal, or reasonable person could possibly have been offended by what was written about her in the book.” Cason, he concluded, had suffered no damages and was entitled to no compensation — nominal or substantial. While Scruggs’ argument that Rawlings held no malice toward Cason seems plausible, considering their long but sometimes volatile
In 2008, the U.S. Postal Service honored Rawlings by placing her image on a postage stamp as part of its Literary Arts series. The rows of spots on the fawn are consistent with descriptions in The Yearling. Although she’ll be forever associated with Florida, Rawlings never again wrote about the state following the ordeal of the Cason lawsuit.
friendship, it otherwise strains credulity. How could Cason have “known, or should have known” that she would appear as a character in one of Rawlings’ books? What reasonable person would not have been offended at the description Rawlings offered? Relevant or not, the truth of the description — and the contrast on the witness stand between the peevish Cason and the eloquent Rawlings — carried the day, albeit temporarily, for Rawlings. Cason offered curt responses, indicating that she had been ridiculed both in public and at her job with the State Welfare Board. As a result, she claimed, she suffered from “an ulcerated stomach” that required a strict diet. But upon cross-examination, Cason was evasive about her use of profanity, and several prosecution witnesses tried unconvincingly to portray her as meek and unobtrusive, eliciting chuckles from spectators who knew better. The defense countered with witnesses who described Cason as officious, foul-mouthed and embroiled in local politics, buttressing the contention that she could be considered a public figure.
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Shifting focus from Cason to Rawlings, the defense called Hanna, the Rollins history professor, who testified that Cross Creek was “of tremendous importance, in view of its honest and its true and its comprehensive description of an important section of Florida; it’s an accurate delineation of characters, a sympathetic and truthful description in every way; one of compelling importance.” Hanna was undoubtedly sincere — but he was also returning a favor. Rawlings, at the time of the trial, was publicly praising the professor’s new book, A Prince in Their Midst, which documented the adventures of Achille Murat, the nephew of Napoleon I, who had sought his fortune in Florida after Napoleon’s defeat at Waterloo. Reviewing A Prince in Their Midst for the New York Herald Tribune, Rawlings had called it “a fascinating book that should appeal to readers who might be intrigued by a factual story of a European prince pioneering in America, claiming milk and whiskey as cure-alls … traveling through the Florida jungle with slaves, cattle and a pet owl, weighing royalty against the American idea.” Given their mutual interest in over-the-top Florida characters, it’s easy to see why Rawlings
and Hanna had become such fast friends. Certainly, Hanna did his best to position Rawlings as an iconic, unassailable figure who enjoyed “an international reputation as an interpreter of life.” Hanna’s scholarly if hyperbolic testimony — and that of Dr. Clifford P. Lyons, a professor of English literature at the University of Florida — tried to advance the dubious notion that Cross Creek’s literary value immunized it from litigation. The Waltons, though, weren’t even conceding that Cross Creek was a good book. During crossexamination and through the testimony of several easily offended witnesses, they attempted to discredit it as vulgar due to its descriptions of animal mating and dog excrement. Cason fumed as Dessie Smith and Tom Glisson testified that they were pleased with their portrayals in Cross Creek, and that the description of Cason was, in their view, accurate. Said Glisson: “I figured it was a pretty good description of her, maybe with a lot of truth, the same as what she wrote about me.” Five other witnesses — three of whom had been depicted in the book and two of whom had heard Cason use profanity — were prepared to testify for the defense, but weren’t called. Their testimony, it was ruled, would have been superfluous. May then called his star witness, Marjorie
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mulled an appeal to the United States Supreme Court as a matter of principle and on behalf of all writers. Ultimately, however, both lawyers appeared before Murphree and mercifully concluded Cason v. Baskin. It was August 9, 1948 — more than five years after the case was first introduced.
PHOTO COURTESY OF GEORGE A SMATHERS LIBRARIES, UNIVERSITY OF FLORIDA; RESTORATION BY WILL SETZER, CIRCLE 7 DESIGN STUDIO
Rawlings said she became a writer “because it is in my blood and bones to write, you might say. I have done it so long. It is the thing I do, that’s all; just as another man wants to be a carpenter, or something of the sort.”
Kinnan Rawlings, to the stand. “[Rawlings] was more than just a local celebrity to those awaiting her trial testimony,” writes Acton. “She was, they knew, a world-famous author and a colleague of the literary greats. She was also an earthy, friendly and funny woman. It was obvious that Zelma was swimming against a sympathetic current running strongly in favor of her opponent.” Under May’s questioning, Rawlings kept a straight face while deconstructing the offending description of Cason phrase by phrase, insisting that it was meant only as a tribute to a caring and competent woman for whom she had nothing but admiration. J.V. Walton’s cross-examination couldn’t trip Rawlings up, although he managed to elicit the fact that her net worth had swelled to $124,000 — the equivalent of approximately $1.5 million in 2018. May, sensing an opportunity, lobbed Rawlings a softball question. Did she write for money? Her reply: “No. [I write] because it is in my blood and bones to write, you might say. I have done it so long. It is the thing I do, that’s all; just as another man wants to be a carpenter, or something of the sort; and to interpret the Florida country that I love so, and the Florida people, to the best of my ability; and if it is received well and if it sells … it is simply good fortune.” Good fortune indeed. The prickly Cason never had a chance against the beloved author and local luminary. On May 28, 1946, after two hours of closing arguments and a 15-page charge to the jury, a ruling in favor of Rawlings was reached. The jury had deliberated just 28 minutes.
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Wrote Hanna to Rawlings: “To refer to [the lawsuit] as a damn shame is to make a statement of supreme under emphasis. You will realize then, how elated we were over the outcome. I was, of course, more than glad to testify; I only wish I could have thought of the many things to inject into the testimony that occurred to me, too late.” As it turned out, however, Hanna had already said far too much. On September 14, the Waltons filed a second appeal to the Florida Supreme Court. The case was argued by May, representing Rawlings, and Kate Walton, representing Cason. On May 23, 1947, almost a year following the Gainesville verdict, the court ruled that Cason had, in fact, proved her invasion of privacy claim, and was not a public figure whose privacy rights had been relinquished. Furthermore, the court ruled, Murphree had confused the jury by allowing evidence of Rawlings’ eminence, which was irrelevant to Cason’s claim. Hanna’s fawning testimony — and that of others who had lauded Cross Creek as a masterpiece and its author as an international literary icon — was specifically cited as being prejudicial. However, the court found that Cason had failed to prove harm from the notoriety or that Rawlings had acted with malice. The judgment for Rawlings was reversed, and a new trial ordered with the stipulation that Cason could recover only nominal damages if she won. Kate Walton — who had sought a rehearing, which was denied — proposed to May that both parties stipulate to damages of $1 plus court costs and end the matter. May encouraged Rawlings to declare a moral victory and move on. Rawlings, still seething,
Cross Creek would be Rawlings’ last book about Florida. Exhausted by the trial and beset by health problems, she would die on December 14, 1953, at age 57. Cason died on May 20, 1963, at age 73. Both are buried in the Antioch Cemetery near Island Grove, within a few feet of one another. Five years of expense and exacerbation could almost certainly have been avoided had Rawlings toned down the harsh description of Cason or had she created an equally memorable composite character, altering a few recognizable details and changing the character’s name. No sacred literary principle would have been violated by taking these pragmatic pre-emptive steps. Cross Creek, after all, wasn’t reportage; it was described by Rawlings herself as “a limited, selective autobiography” that was based on fact but wasn’t always strictly factual. Despite the right to privacy, it’s unusual for a writer to lose an invasion of privacy case when malice isn’t proven. Revelatory memoirs, for example, would be impossible to write if such suits were easily winnable. Still, Cason v. Baskin still gives writers reason to pause before they unleash literary vendettas against obscure antagonists or characterize real people in works that aren’t meant to be definitive or reportorial. Amy Cook, an attorney who blogs for Writer’s Digest, says: “Writers don’t get sued very often — and thanks to the First Amendment, even when they do, they usually prevail. But you don’t want to put yourself into a position to endure any sort of lawsuit, even if the odds are you’d end up victorious.” Kiri Blakeley, a contributor to Forbes magazine, advises writers who are depicting real people to tell their subjects in advance and perhaps allow them to read the copy prior to publication, as Rawlings did in at least two instances: “If you take out the ‘gotcha!’ factor when you write about them, you usually diffuse their ire.” Critic David L. Ulin asks a question that Rawlings would have done well to consider: “What do we owe our subjects? Do we have the right to tell their stories at all? Such complications become more vivid when we consider them through the lens of privilege: the privilege of the storyteller to control or shape the narrative.” In writing Cross Creek, Rawlings had fundamentally altered her relationship with “the
The relationship between Rawlings and Cason in the aftermath of the legal battle was for years the subject of speculation among Rawlings scholars. But Hadley, who today owns a 72-acre blueberry farm in Cross Creek dubbed “Aunt Zelma’s,” says the pair reconciled — and he can prove it. In 2009, he discovered two previously unknown letters from Rawlings to Cason confirming that the strong-willed women had renewed their bond. “They made amends,” Hadley says. “Of course, it was never the same as before.” One of the conciliatory letters had been stashed in a strongbox at Cason’s Island Grove home, which Hadley eventually inherited. The other was among the personal papers of Hadley’s father, insurance executive Ralph “Bump” Hadley, who died in 2004. The letters “demonstrate an intimacy and a shared history between the two,” says Leslie Kemp Poole, an assistant professor of environmental studies at Rollins and executive director of the Marjorie Kinnan Rawlings Society. The tone is chatty, funny, newsy, gossipy and at times poignant — as letters between longtime friends generally are. Poole and Carol Courtney Hadley, wife of Terry Hadley, published the correspondence as part of a 2012 article for the Marjorie Kinnan Rawlings Journal of Florida Literature. Its unambiguous title: “Marjorie and Zelma: Friendship Restored.” In the first letter, written from Cross Creek, Rawlings alludes to visiting Cason when seeking comfort regarding the terminal illness of her beloved former brother-in-law, Jim Rawlings. In the second letter, written from her home in New York, Rawlings describes a dream in which she was ill and “[you] came to me with flowers, and you drove away such strange enemies … I felt you must be thinking about me, too.” It was a sweet, hopeful sentiment — and one that was undoubtedly true.
RAWLINGS AT ROLLINS Marjorie Kinnan Rawlings was a frequent visitor to Winter Park — a town about as unlike Cross Creek as any imaginable — and Rollins College. She enjoyed friendships with President Hamilton Holt — with whom she frequently corresponded — and Professor of History Alfred J. Hanna, who testified on her behalf during the infamous Cross Creek invasion of privacy suit by Zelma Cason. Rawlings had received an honorary doctor of literature degree from the college in 1939, and had spoken at its whimsically named Animated Magazine in 1934, 1937, 1938, 1941 and 1945. Rawlings and Holt corresponded over a 16-year span that ended only during Holt’s final illness. “You are a very remarkable woman; I wish to know better what goes on in your head,” Holt wrote Rawlings in 1938. Rawlings, referencing her books, replied: “Why, bless us, South Moon Under and Golden Apples and The Yearling are inside my head!” John “Jack” Rich, a Rollins student who later became the college’s dean of admissions, served as an escort for Rawlings during her 1938 campus visit. In a 2005 oral history interview conducted by Wenxian Zhang, head of archives and special collections at the Olin Library, Rich recalled Rawlings as “a delightful woman, and so interesting,” He also remembered the delight Rawlings took in using bawdy language. “If she had as many as two cocktails, she started to swear like a trooper,” Rich said. “Just for the fun of it! ‘You bastard, you! So nice to see you!’ Something like that. Of course, the students loved her.”
IMAGE COURTESY OF THE ROLLINS COLLEGE DEPARTMENT OF ARCHIVES AND SPECIAL COLLECTIONS
simple people” surrounding her. Now they realized that they weren’t merely friends and neighbors, but potential literary characters. Their private lives were open to exploitation — a word not used lightly — by a noted author for private gain. In the wake of the trial, some may have become more guarded and less authentic in Rawlings’ presence. Others, hoping to earn a measure of fame, may have behaved in a more outlandish manner than usual in a bid to catch her attention. Marion Winik, who has written six memoirs, notes: “The act of writing about another person occurs not just in the world of literature but in real life. It cannot help but change your relationship, and this should be the first thing you think about.” The purity of Cross Creek could never be recaptured, and Rawlings had only herself — and her cavalier attitude regarding the feelings of her onceguileless subjects — to blame.
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FALL LET’S HAVE SOME FASHIONABLE FUN ALONG WINTER PARK’S PEERLESS PARK AVENUE. PHOTOGRAPHY BY RAFAEL TONGOL STYLING BY MARIANNE ILUNGA | MAKEUP AND HAIR BY ELSIE KNAB MODEL: CHARLI JORDAN FROM MODELSCOUT STAGING LOCATION: WINTER PARK CHAMBER OF COMMERCE
Park Avenue has for generations been one of the region’s most exciting shopping and dining destinations, with more than 140 boutiques and sidewalk cafés alongside oak-canopied Central Park. It’s also the scene of concerts, art festivals, holiday celebrations — and the home of the Charles Hosmer Morse Museum of American Art. Because everyone falls for Park Avenue, what better place to showcase fall fashion?
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Charli wears a light brown suede poncho with faux fur by Dolce Cabo ($398) from Arabella in Winter Park. She also wears a cashmere sweater by Cortland Park ($268) from The Grove in Winter Park, and an embroidered velvet skirt by Franscesca ($44) from Francesca’s in Winter Park Village. Her goldstone rings ($174 each) and silver-tone cuff ($196) are by Beje Designs from Arabella in Winter Park. Her black patent-leather clutch by the Leather Satchel Company ($110) and her black fan earrings by Allie ($58) are also from Arabella in Winter Park. The beige suede booties are the model’s own.
FA L L 2 0 1 8 | W IN T ER PARK MAGAZ IN E
Charli wears a multicolor printed short-sleeve dress ($208), a statement necklace ($58), a blue woven silk clutch ($178) and round frame turtle-shell sunglasses ($24), all by Sara Campbell in Winter Park. She also wears a mustard yellow velvet headband by Francesca ($14) from Francesca’s in Winter Park Village. The black suede knee-high boots are the models own.
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Charli wears a denim jacket ($48), a multicolor striped shirt ($40), cropped skinny jeans ($48), a multicolor poncho ($44) and a burgundy felt hat ($30), all by Francesca’s in Winter Park Village. She also wears three sets of beaded bracelets ($22-$26), a semiprecious stone necklace ($26), a gray metal glass necklace ($28) and blush color feather earrings ($18), all by Francesca’s in Winter Park Village. The burgundy suede sandals are the model’s own.
FA L L 2 0 1 8 | W INT ER PARK MAGAZ IN E
Charli wears a mustard yellow tunic dress by Ellison ($78), and a multicolor white bead statement necklace by Blue Calypso ($128), both from Arabella in Winter Park. She also wears a green suede jacket by Julie Brown ($188), green square-frame sunglasses by Quay ($60) and a green woven tote by The Grove ($130), all from The Grove in Winter Park. The nude caged heels are the model’s own.
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Charli wears a black button-down tunic by Inae ($142) and a black silk chiffon skirt by Dance in Paris ($98), both from Arabella’s in Winter Park. She also wears a black suede beaded cuff by Deepa Gurnani ($148), a goldtone cuff with druzy stones by Marcia Moran ($250) and a goldtone necklace with black tassels by Allie ($112), all from Arabella’s in Winter Park. Her statement goldtone drop earrings by Baublebar ($38) are from The Grove in Winter Park.
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BREAST CANCER What you need to know.
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KNOWLEDGE IS POWER
Need answers? Here are the most commonly asked questions about breast cancer.
A small number of cancers start in other breast tissues, but these are called sarcomas and lymphomas and aren’t really thought of as breast cancers. Although many types of breast cancer can cause lumps, some don’t. Cancer may be discovered through screening mammograms before it can be felt — and before symptoms develop. It’s also important to know that most breast lumps are benign. Noncancerous breast tumors are abnormal growths — but they don’t spread beyond the breast and aren’t life threatening. However, some benign breast lumps can increase your risk of getting breast cancer. Any breast lump or change needs to be checked by a healthcare professional to determine if it’s benign or malignant, and how (or if) it might affect future cancer risk.
HOW DOES BREAST CANCER SPREAD? Breast cancer is a frightening diagnosis. But knowledge is power. The more you know, the more you’ll be able to understand your disease and the treatment options recommended for you. Here are some commonly asked questions about breast cancer:
HOW DOES BREAST CANCER START? Breast cancer starts when breast cells begin to grow out of control. These cells usually form a tumor that can often be seen on an X-ray or felt as a lump. The tumor is malignant if the cells invade surrounding tissues or spread — metastasize — to other areas of the body. Breast cancer occurs almost entirely in women, but men can get the disease, too. Cells in nearly any part of the body can become cancerous and spread.
WHERE DOES BREAST CANCER START? Breast cancer can start in different parts of the breast. Most are ductal cancers, which begin in the ducts that carry milk to the nipple. Some are lobular cancers, which begin in the glands that make breast milk.
Breast cancer can spread when cancer cells invade the blood or lymph system and are carried to other parts of the body. The lymph system is a network of lymph — or lymphatic — vessels that connect lymph nodes, which are small, bean-shaped collections of immune system cells. The clear fluid inside lymph vessels — called lymph — contains tissue byproducts and waste material as well as immune system cells. Lymph vessels carry lymph fluid away from the breast. In the case of breast cancer, malignant cells can enter lymph vessels and start to grow in lymph nodes. Most lymph vessels of the breast drain into: • Lymph nodes under the arm (axillary nodes). • Lymph nodes around the collarbone, above the collar bone (supraclavicular) and below the collarbone (infraclavicular). • Lymph nodes inside the chest near the breast bone (internal mammary lymph nodes). If cancer cells have spread to the lymph nodes, there’s a higher chance that the cells have traveled through the lymph system and spread to Continued on page 6
BREAST CANCER 101 | 3
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fundingscreening for breastprograms and cervical cancer through States increasing or sustaining cancer screening programs through the American Cancer Society Cancer funding for breast and cervical the American Cancer Society Cancer Action Network℠, our nonprofit, cancer screening programs through Action Network℠, our nonprofit, nonpartisan advocacy affiliate the American Cancer Society Cancer nonpartisan advocacy affiliate Action Network℠, our nonprofit, nonpartisan advocacy affiliate
events held across the US Making Strides Against Breast Cancer® events held across the US
walking and raising funds to help save livesStrides from breast cancer Making participants save lives from breast cancer walking and raising funds to help save lives from breast cancer
Makinglast Strides Raised yearevents through Making Strides events
MAKING PROGRESS TOGETHER MAKING breast PROGRESS Declining cancerTOGETHER mortality rates since 1989 MAKING PROGRESS Declining breast cancerTOGETHER mortality rates since 1989 Deaths Deaths per per 100,000 per 100,000 women women Deaths 100,000 women
Declining breast cancer mortality rates since 1989 BREAST CANCER DEATH RATES 33 BREAST CANCER DEATH RATES 33 BREAST CANCER DEATH RATES IN THE US 33 IN THE US IN THE US
DOWN 39% DOWN 39% DOWN 39%
1989 1989 1989
20 20 20 2015 2015 2015
To learn more about us or to get help, visit cancer.org/fightbreastcancer Tocall learn more us or to1-800-227-2345 get help, visit cancer.org/fightbreastcancer or our live about 24/7 helpline To learn more us or to1-800-227-2345 get help, visit cancer.org/fightbreastcancer or call our live about 24/7 helpline ©2018 American Cancer Society, Inc. No. 005828 or call our live 24/7 helpline 1-800-227-2345 ©2018 American Cancer Society, Inc. No. 005828 ©2018 American Cancer Society, Inc. No. 005828
322,600 LIVES 322,600 LIVES 322,600 LIVES
MEANING MEANING SAVED FROM BREAST CANCER MEANING SAVED FROM BREAST CANCER SAVED FROM BREAST CANCER
BREAST CANCER 101 | 5
SIGNS AND SYMPTOMS Knowing how your breasts normally look and feel is an important aspect of breast health. Finding breast cancer as early as possible increases the chances for successful treatment. But knowing what to look for doesn’t take the place of having regular mammograms and other screening tests, which can help detect the disease in its early stages, before symptoms appear. The most common symptom of breast cancer is a new lump or mass. A painless, hard mass that has irregular edges is more likely to be cancer — but breast cancer can be tender, soft or rounded. It can also be painful. That’s why it’s important to have any mass, lump or change checked by a healthcare professional experienced in diagnosing breast diseases. Other possible symptoms of breast cancer include:
Continued from page 3
other parts of the body. The more lymph nodes with breast cancer cells, the more likely it is that cancer may be found in other organs. Consequently, finding cancer in one or more lymph nodes usually requires surgery, during which one or more lymph nodes are removed to find out whether the cancer has spread. Still, not all women with cancer cells in their lymph nodes develop metastases, and some women with no cancer cells in their lymph nodes develop metastases later.
HOW COMMON IS BREAST CANCER? In the United States, breast cancer is the second-most common cancer, behind only skin cancer. The average risk of a woman developing breast cancer at some point is about 12 percent. The American Cancer Society’s estimates for breast cancer in the U.S. for 2018 are: • About 266,120 new cases of invasive breast cancer will be diagnosed in women. • About 63,960 new cases of carcinoma in situ (CIS) will be diagnosed. CIS is noninvasive and is the earliest form of breast cancer. • About 40,920 women will die from breast cancer. In recent years, incidence rates have been stable in white women, while they’ve increased slightly in African-American women. Breast cancer is the second-leading cause of cancer death in women, behind only lung cancer. The chance that a woman will die from breast cancer is about 1 in 38, or about 2.6 percent. Death rates from female breast cancer dropped 39 percent from 1989 to 2015. Since 2007, breast cancer death rates have been steady in women age 50 and younger, but they’ve decreased in older women — perhaps because of increased screening and more effective treatments. Today, there are more than 3.1 million breast cancer survivors in the U.S. This includes women still being treated and those who have completed treatment.
6 | BREAST CANCER 101
• • • • • •
Swelling of all or part of a breast, even if no distinct lump is felt. Skin irritation or dimpling, sometimes resembling an orange peel. Breast or nipple pain. Nipple retraction, or a turning inward of the nipple. Redness, scaliness or thickening of the nipple or breast skin. Nipple discharge other than breast milk.
Sometimes, breast cancer can spread to lymph nodes under the arm or around the collarbone and cause a lump or swelling before the original breast tumor is large enough to be felt. Swollen lymph nodes should also be checked by a healthcare professional. Any of these symptoms can be caused by factors other than breast cancer. But if you have them, don’t ignore them.
AN ARTISTIC APPROACH COMBINED WITH THE LATEST TECHNOLOGY TO ACHIEVE A BEAUTIFUL, NATURAL RESULT FOR THE FACE, BREAST AND BODY.
Clifford P. Clark III, M.D. P L A S T I C
S U R G E R Y
Certified by the American Board of Plastic Surgery American Society of Plastic Surgeons | American Society of Aesthetic Plastic Surgeons 701 West Morse Blvd., Winter Park, FL 32789 | 407.629.5555 | www.dr-clark.com
MANAGING YOUR RISK There’s no certain way to prevent breast cancer. So how great is your risk? And what can you do to mitigate that risk? There are some factors — such as heredity — over which you have no control. But there are many lifestyle factors that can be modified. Here are breast cancer risk factors that can’t be changed: • GENDER. Being female is the primary risk factor for breast cancer. Men can get breast cancer, too, but it’s about 100 times more common in women than in men. • AGE. The passage of time increases the risk of breast cancer. Most breast cancers are found in women age 55 and older. • HEREDITY. About 5 to 10 percent of breast cancers are thought to be hereditary. Mutations in the BRAC genes are the most common causes of inherited breast cancer. • FAMILY HISTORY. About 80 percent of women who get breast cancer don’t have a family history of the disease. But women with close blood relatives who’ve had breast cancer are at a higher risk. • PERSONAL HISTORY. A woman with cancer in one breast is at a higher risk of developing a new cancer in the other breast, or in another part of the same breast.
8 | BREAST CANCER 101
• RACE AND ETHNICITY. Overall, white women are slightly more likely to develop breast cancer than African-American women. But in women under age 45, breast cancer is more common in African-Americans. • EARLY MENSTRUATION. Women who’ve had more menstrual cycles because they started menstruating early — especially before age 12 — are at a slightly higher risk of breast cancer. This may be due to a longer lifetime exposure to the hormones estrogen and progesterone. • LATE MENOPAUSE. Women who’ve gone through menopause at age 55 or older are at a slightly higher risk of breast cancer. This, too, may be due to a longer lifetime of exposure to the hormones estrogen and progesterone. • RADIATION TREATMENT TO THE CHEST. Women who were treated with radiation therapy to the chest for another cancer are at a higher risk for breast cancer. The risk is most pronounced for those who were treated as teenagers or young adults. Radiation after age 40 doesn’t seem to increase breast cancer risk. • DENSE BREAST TISSUE. Dense breasts can be six times more likely to develop cancer because they have less fatty tissue and more nonfatty tissue compared to breasts that aren’t dense. Density also makes it more difficult for mammograms to detect breast cancer. However, there are plenty of identifiable risk factors that are related to lifestyle choices. These can be changed or modified to reduce your risk: • ALCOHOL CONSUMPTION. Compared with nondrinkers, women who have one alcoholic drink a day are at a very small increased breast cancer risk. Those who have two to three drinks a day, however, are at about a 20 percent higher risk compared to women who don’t drink at all. Excessive alcohol consumption is known to increase the risk of other cancers, too. The American Cancer Society recommends that women who drink have no more than one drink a day. • WEIGHT AND OBESITY. Before menopause, the ovaries make most of the body’s estrogen. After menopause, the hormone comes primarily from fat tissue. Having more fat tissue can raise estrogen levels and increase breast cancer risk. Also, women who are overweight tend to have higher blood insulin levels, which has also been linked to some cancers — including breast cancer. • INACTIVITY. Evidence is growing that regular physical activity reduces breast cancer risk, especially in women past menopause. The American Cancer Society recommends that adults engage in at least 150 minutes of moderate activity, or 75 minutes of vigorous activity, every week. • NOT HAVING CHILDREN. Women who haven’t had children, or who had their first child after age 30, are at a slightly higher breast cancer risk. Having many pregnancies and becoming pregnant at an early age reduces breast cancer risk. Still, the effect of pregnancy seems to vary, depending upon the type of breast cancer. For a breast cancer known as triple-negative, pregnancy seems related to an increased risk. • NOT BREASTFEEDING. Some studies suggest that breastfeeding may slightly lower breast cancer risk, especially if it’s continued for up to two years. It may be that breastfeeding reduces a woman’s total number of lifetime menstrual cycles — the same as starting menstrual periods at a later age or going through early menopause. • BIRTH CONTROL. Some birth control methods use hormones, which might increase breast cancer risk. These include oral contraceptives and birth control injections as well as birth control implants, IUDs, patches and vaginal rings. When considering hormonal birth control, women should discuss their other breast cancer risk factors with a healthcare professional.
• HORMONE THERAPY AFTER MENOPAUSE. Hormone therapy with estrogen — often combined with progesterone — has been used for many years to help relieve symptoms of menopause and prevent osteoporosis. The decision to use hormone therapy should be made by a woman and her doctor after weighing the possible risks and benefits — including the severity of her menopausal symptoms and her risk factors for heart disease, breast cancer and osteoporosis. If they decide she should try hormone therapy, it’s best to use it at the lowest effective dose and for as short a time as possible. There are many factors that research has shown are not linked to breast cancer, despite sometimes widespread belief to the contrary. It’s important to learn the facts: • ANTIPERSPIRANTS. Internet and e-mail rumors have suggested that chemicals in underarm antiperspirants are absorbed through the skin, interfere with lymph circulation and cause toxins to build up in the breast, eventually leading to breast cancer. Based upon the available evidence, there’s little if any reason to believe that antiperspirants increase the breast cancer risk. • BRAS. Internet and e-mail rumors and at least one book have also suggested that bras cause breast cancer by obstructing lymph flow. There’s no good scientific or clinical basis for this claim. Indeed, a 2014 study of more than 1,500 women found no association between wearing a bra and breast cancer risk. • INDUCED ABORTION. Several studies have provided very strong data showing that neither induced nor spontaneous abortions — miscarriages — increase breast cancer risk. • BREAST IMPLANTS. Silicone breast implants can cause scar tissue to form in the breast, making breast tissue harder to see on standard mammograms. But additional X-ray pictures called implant displacement views can be used to examine breast tissue more completely. If cancer develops after an implant, it can show up as a lump, pain, swelling, fluid near the implant or breast asymmetry. It usually responds well to treatment. For women without other risk factors, the American Cancer Society’s advice is to maintain a healthy weight — especially following menopause — and to stay physically active. Limit or avoid alcohol. Women who have existing risk factors can take additional precautions, if they choose. Medicines such as tamoxifen and raloxifene block the action of estrogen in breast tissue. Tamoxifen can be taken premenopause, while raloxifene is only for post-menopausal women. Drugs called aromatase inhibitors may be another option for post-menopausal women. However, all these medicines can have side effects, so it’s important to understand the benefits and risks. For a small number of women who are at a very high risk for breast cancer, surgery to remove the breasts before the disease develops may be an option. Another option may be to remove the ovaries, which are the main source of the body’s estrogen. While surgery can lower the risk of breast cancer, it can’t eliminate it completely. And surgery, of course, has its own side effects. Before deciding which, if any, of these options may be right for you, talk with your healthcare professional to understand the extent to which any of these approaches might lower your risk factor. For women at increased risk who don’t want to take medicines or have surgery, another option is to schedule more frequent physician visits and tests.
DIAGNOSING A DIAGNOSIS Although breast cancer is sometimes found after symptoms appear, many women who develop the disease have had no symptoms. If your doctor finds an area of concern following a screening mammogram, or if you have symptoms that could mean breast cancer, you’ll likely need follow-up tests, possibly including: • • • •
Additional mammograms. Breast ultrasounds. Breast MRI scans. Newer and experimental breast imaging tests.
A biopsy is performed when such tests indicate breast cancer. If the disease is confirmed, and your doctor suspects that it may have spread, you may need chest X-rays, bone scans, CT scans, PET scans or MRI scans on other parts of your body. You’ve probably heard many different terms used to describe your cancer. Doctors use information from your biopsy to learn important information about the kind of cancer you have. There are many types of breast cancer. The most common types are ductal carcinoma in situ, invasive ductal carcinoma and invasive lobular carcinoma. The type of breast cancer you have is determined by the specific breast cells affected. Most breast cancers are carcinomas, which are tumors that start in the epithelial cells that line organs and tissues throughout the body. Continued on page 12
BREAST CANCER 101 | 9
Breast Cancer Fact Sheet Breast cancer develops from cells in the breast. The most common sign of breast cancer is a new lump or mass, but most are benign. Other signs include a generalized swelling of part of a breast (even if no lump is felt), skin irritation or dimpling, nipple pain or retraction, redness or scaliness of the nipple or breast skin, or a spontaneous discharge other than breast milk. Opportunities Prevention We don’t know how to prevent breast cancer, but it’s possible for a woman of average risk to reduce her risk of developing the disease. Lifestyle factors, such as reducing alcohol use, breast-feeding, engaging in regular physical activity, and staying at a healthy weight, are all associated with lower risk. Estrogen-blocking drugs, such as tamoxifen and raloxifene, can reduce the risk of developing breast cancer in some high-risk women. Some risk factors can’t be changed, such as age, race, family history of disease, and reproductive history.
Women ages 45 to 54 should get mammograms every year.
Women 55 and older should switch to mammograms every 2 years, or can continue yearly screening.
Screening should continue as long as a woman is in good health and is expected to live 10 more years or longer.
All women should be familiar with the known benefits, limitations, and potential harms linked to breast cancer screening.
Detection The earlier breast cancer is found, the better the chances for successful treatment. A mammogram can often show breast changes that may be cancer before physical symptoms develop. For this reason, the American Cancer Society recommends the following guidelines for finding breast cancer early:
Screening MRI is recommended for women at high risk of breast cancer, including women with a strong family history of breast or ovarian cancer, those with a lifetime risk of breast cancer of about 20% to 25% or greater according to risk assessment tools that are based mainly on family history, those with a known breast cancer gene mutation, and women who were treated with radiation therapy to the chest when they were between the ages of 10 and 30.
Women ages 40 to 44 should have the choice to start annual breast cancer screening with mammograms if they wish to do so.
cancer.org | 1.800.227.2345
Treatment Treatment is most successful when breast cancer is detected early. Depending on the situation and the patient’s choices, treatment may involve breast conservation surgery or mastectomy. In both cases, lymph nodes under the arm may also be removed. Women who have a mastectomy have several options for breast reconstruction.
Breast cancer in the United States: 2018 estimates • New cases • Women: 266,120
Other treatments are radiation therapy, chemotherapy, hormone therapy, and monoclonal antibody therapy. Often 2 or more methods are used in combination. Patients should discuss all treatment options with their doctors.
• Men: 2,550
Who is at risk?
• 5-year relative survival rate for localized stage: 99%
Gender Being a woman is the greatest risk factor for breast cancer; however, men also can develop breast cancer. Age The risk of developing breast cancer increases with age. Most invasive breast cancers are primarily found in women age 55 or older. Heredity Breast cancer risks are higher among women with a family history of the disease. Having a first-degree relative with breast cancer increases a woman’s risk, while having more than one first-degree relative who has or had breast cancer before the age of 40 or in both breasts increases a woman’s risk even more. However, it’s important to remember that most women with breast cancer don’t have a first-degree relative with the disease.
• Deaths • Women: 40,920 • Men: 480
• 5-year relative survival rate for all stages combined: 92% for white women and 83% for African American women
Quality-of-life issues From the time of diagnosis, the quality of life for every cancer patient and survivor is affected in some way. They may be affected socially, psychologically, physically, and spiritually.
Post-menopausal hormone therapy with estrogen and progesterone therapy
Being overweight or obese, especially after menopause
Long menstrual history
Concerns that patients and survivors most often express are fear of recurrence; chronic and/or acute pain; sexual problems; fatigue; guilt for delaying screening or treatment, or for doing things that may have caused the cancer; changes in physical appearance; depression; sleep difficulties; changes in what they are able to do after treatment; and the burden on finances and loved ones. Women with breast cancer often feel uncertainty about treatment options and have concerns about their fatigue, sexuality, and body image.
Never having children or having first live birth after age 30
Previous history of breast cancer or certain benign breast conditions
Other risk factors
Regular mammograms can help find breast cancer at an early stage, when treatment is most successful. A mammogram can find breast changes that could be cancer years before physical symptoms develop. Some things that may help reduce a woman’s risk of getting breast cancer include being physically active, staying at a healthy weight, and limiting alcohol use.
Written January 2017
©2017, American Cancer Society, Inc. No.300202 Rev. 3/18 Models used for illustrative purposes only.
Continued from page 9
There are much less common types of breast cancer, such as sarcomas, phyllodes, Paget disease and angiosarcomas, which start in the cells of the fat, muscle or connective tissue. Sometimes a single breast tumor can be a combination of different types. And in some very rare cases, the cancer cells may not form a lump or tumor at all. Cancer cells are given a grade when they’re removed from the breast and checked under a microscope. The grade is based on how much the cancer cells look like normal cells. Sometimes words such as “well differentiated,” “moderately differentiated” and “poorly differentiated” are used instead of numbers to describe the grade: • GRADE 1, OR WELL DIFFERENTIATED. The cancer cells are slowergrowing and look more like normal breast tissue. • GRADE 2, OR MODERATELY DIFFERENTIATED. The cancer cells are growing at a speed somewhere between grades 1 and 3, and look like cells somewhere between grades 1 and 3. • GRADE 3, OR POORLY DIFFERENTIATED. The cancer cells look very different from normal cells, and will probably grow and spread faster. Doctors will then try to determine if the cancer has spread and, if so, how far. This process is called staging. The stage describes how much cancer is in the body and informs the most appropriate treatment options. A cancer’s stage is also used in discussions about survival statistics. The earliest-stage breast cancer is Stage 0 (carcinoma in situ). It then ranges from Stages I through IV. As a rule, the lower the number, the less the cancer has spread. Survival rates show what portion of people with the same type and stage of cancer are still alive after a certain amount of time — usually five years — has elapsed since they were diagnosed.
ASK DETAILED QUESTIONS It’s important to have frank, open discussions with your cancer-care team so that you can make informed treatment decisions. Don’t be afraid to take notes and tell doctors or nurses when something they say is unclear. You might want to bring another person with you on appointments and have that person take notes for you. Not all the questions below will apply to you, but they should help get you started. Be sure to write down some questions of your own. And keep in mind that doctors aren’t the only ones who can provide information. Other healthcare professionals, such as nurses and social workers, can be helpful and informative.. Here are some questions to ask when you’re told that you have breast cancer: • • • • • • • • • • • • •
Exactly what type of breast cancer do I have? How big is the cancer? Where exactly is it? Has the cancer spread to my lymph nodes or other organs? What’s the stage of the cancer? What does that mean? Will I need any other tests before we can decide on treatment? Do I need to see any other doctors or healthcare professionals? What’s the hormone receptor status of my cancer? What does this mean? What’s my HER2 (a gene that can play a role in the development of breast cancer) status? What are the implications? How do these factors affect my treatment options and long-term prognosis? What are my chances of survival, based on my cancer as you see it? Should I think about genetic testing? What are my testing options? Should I take a home-based genetic test? What would the pros and cons of testing be? How do I get a copy of my pathology report? If I’m concerned about the costs and insurance coverage for my diagnosis and treatment, who can help me?
Here are some questions to ask when you’re deciding upon a treatment plan: • • • • • • • • • • • • • •
12 | BREAST CANCER 101
How much experience do you have treating this type of cancer? Should I get a second opinion? How do I do that? What are my treatment choices? What treatment do you recommend and why? Should I consider taking part in a clinical trial? What would the goal of treatment be? How soon do I need to start treatment? How long will treatment last? What will it be like? Where will it be done? What should I do to get ready for treatment? What risks or side effects are there to the treatment you suggest? What can I do to reduce these side effects? How will treatment affect my daily activities? Can I still work full time? Will I lose my hair? If so, what can I do about it? Will I go through menopause because of treatment? Will I be able to have children after treatment? Will I be able to breastfeed? What are the chances the cancer will recur after treatment?
• What would we do if treatment doesn’t work or if the cancer comes back? • What if I have transportation problems getting to and from treatment? Here are some questions to ask if you’re told that you’ll need surgery as part of your treatment: • Is breast-conserving surgery (lumpectomy) an option for me? Why or why not? • What are the pros and cons of breast-conserving surgery versus mastectomy? • How many surgeries like mine have you done? • Will you have to take out lymph nodes? If so, would you advise a sentinel lymph node biopsy? Why or why not? • What side effects might lymph node removal cause? • How long will I be in the hospital? • Will I have stitches or staples at the surgery site? Will there be a drain coming out of the site? • How do I care for the surgery site? Will I need someone to help me? • What will my breasts look and feel like after treatment? • What will the scar look like? • Is breast reconstruction surgery an option if I want it? What would it mean in my case? • Can I have reconstruction at the same time as surgery to remove the cancer? What are the pros and cons of having it done right away versus waiting until later? • What types of reconstruction might be options for me? • Should I speak with a plastic surgeon about reconstruction options? • Will I need a breast prosthesis and, if so, where can I get one? • Do I need to stop taking any medications or supplements before surgery? • When should I call your office if I’m having side effects?
Here are some questions to ask during the course of your treatment: • • • • • • •
How will we know if treatment is working? Is there anything I can do to help manage side effects? What symptoms or side effects should I tell you about right away? How can I reach you on nights, holidays or weekends? Will I need to change what I eat during treatment? Are there any limits on what I can do? Can I exercise during treatment? If so, what kind of exercise should I do, and how often? • Can you suggest a mental health professional I can see if I start to feel overwhelmed, depressed or distressed? • Will I need special tests, such as imaging scans or blood tests? How often? Here are some questions to ask after the course of your treatment is complete: • Will I need a special diet after treatment? • Are there any limits on what I can do? • Am I at risk for lymphedema (swelling most commonly caused by the removal of lymph nodes)? • What can I do to reduce my risk for lymphedema? • What should I do if I notice swelling in my arm? • What other symptoms should I watch for? What kind of exercise should I do now? • What type of follow-up will I need after treatment? • How often will I need to have follow-up exams, blood tests or imaging tests? • How will we know if the cancer has come back? What should I watch for? • What will my options be if the cancer comes back?
BREAST CANCER 101 | 13
SCREENING GUIDELINES The American Cancer Society’s breast cancer screening guidelines are developed to save lives by finding breast cancer early, when treatment is more likely to be successful. The society regularly reviews current research, and updates screening recommendations when new evidence suggests that a change may be needed. Here’s a summary of current guidelines: • Women with an average risk of breast cancer — most women — should have yearly mammograms from age 45 to 54. • Women from age 40 to 44 should have the option of yearly mammograms if they so choose. • Women at age 55 should switch to mammograms every other year — but can continue yearly mammograms if they so choose. • Women should continue regular mammograms as long as they’re in good health and can expect to live for 10 more years or longer. These guidelines are for women at average risk for breast cancer. Women at high risk — because of family history, a breast condition or another reason — need to be more proactive. For those women, a screening MRI is recommended. The goal for all women is to detect and treat cancer early. But remember, mammograms aren’t perfect. They find most, but not all, cancers. Sometimes, mammograms raise suspicions that turn out to be nothing significant. These seemingly abnormal findings must be investigated using additional tests that carry risks of pain, anxiety and other side effects. Healthcare professionals and their patients should weigh benefits against risks when determining who should be screened and to what extent. Breast self-exams are no longer recommended because research doesn’t show that they provide a clear benefit. Still, the American Cancer Society says that all women should be familiar with how their breasts normally look and feel — and report any changes right away. Learn more about breast cancer screening by calling the American Cancer Society at 1-800-227-2345 or visiting cancer.org/breastcancer.
HELP IS JUST A CALL AWAY Have you or someone you know just been diagnosed with any kind of cancer? The American Cancer Society offers a nationwide cancer information line 24 hour a day, seven days a week. Since 1997, the National Cancer Information Center (NCIC) has been there every step of the way for millions of cancer patients and their loved ones, answering questions, suggesting resources, locating clinical trials, offering health insurance assistance, assisting with transportation and lodging requests or just lending a compassionate ear. Cancer patients who may benefit from the NCIC Health Insurance Assistance Service (HIAS) speak to specialists who work to address their specific needs. Help is available for those who are: • • • • •
Seeking health insurance coverage. Losing health insurance in the short term. Experiencing life changes that impact their health insurance status. Facing unmet needs despite having health insurance. Fighting claim denials and other difficulties with coverage.
HIAS will also speak with concerned family members, friends and healthcare professionals. To learn more, call 1-800-227-2345 anytime, day or night, or visit cancer.org/breastcancer.
14 | BREAST CANCER 101
NAVIGATING CANCER CARE If you have breast cancer — or any kind of cancer — you need information and resources fast. What If there was a person who could help you find answers? There is — through the American Cancer Society’s Patient Navigator Program. Patient navigators will help guide you through every step of the journey, from diagnosis through treatment and beyond. You can talk to a patient navigator about whatever your concerns are — and be assured of privacy as well as help and compassion from someone trained to give you all the information you need. You can meet one-on-one with a patient navigator as many times as you please, and the service is free. A patient navigator can help you learn about your cancer and treatment options, and can assist in finding lodging and transportation. He or she can also assist in formulating questions for your physicians, locate support groups you may wish to join and get answers to your questions about finances and insurance. Ask your healthcare professional about the Healthcare Navigator Program. You can also call 1-800-227-2345 or visit cancer.org/breastcancer.
LEND A HAND, GIVE A RIDE Every day, thousands of cancer patients need rides to treatment. But some don’t have a way to get there. The American Cancer Society Road to Recovery program provides a solution. The society currently has nearly 10,000 Road to Recovery drivers nationally. But the need for drivers is greater than the number of volunteers. In many communities, due to the lack of drivers, transportation needs can go unmet. That’s why volunteer drivers are needed. The society offers training and coordination, while drivers donate their time and offer as many rides as they wish according to their schedules. Can you help? All drivers must have: • • • • •
A current, valid driver’s license. A good driving record. Access to a safe, reliable vehicle. Regular desktop, laptop or tablet computer access. Proof of car insurance.
The American Cancer Society stands shoulder to shoulder with cancer patients and those supporting them and is focused on improving patient access to quality care — including transportation. To learn more about volunteering for the Road to Recovery program, call 1-800-227-2345 or visit cancer.org/breastcancer.
BREAST CANCER 101 | 15
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S U R G E R Y
Certified by the American Board of Plastic Surgery American Society of Plastic Surgeons | American Society of Aesthetic Plastic Surgeons 701 West Morse Blvd., Winter Park, FL 32789 | 407.629.5555 | www.dr-clark.com
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Newly renovated! Grand Re-opening Saturday, September 22, 2018 | 9-11 a.m. cityofwinterpark.org/tennis
The city also hosts a multitude of holiday events for the entire family. Make plans to attend our long-time traditions and new additions! cityofwinterpark.org/events
JoAnne McMahon is the multi-restaurant entrepreneur behind Blu on the Avenue, where the seafood is fresh and unpretentious. She also owns 310 Park South and, coming soon, Bovine.
CRUSTACEAN DESTINATION Blu on the Avenue occupies a comfortable niche, offering fresh seafood — most notably lobster — in an urbane but informal setting where families will feel right at home. BY RONA GINDIN PHOTOGRAPHS BY RAFAEL TONGOL
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t’s kind of all about lobster at Blu on the Avenue. The clawed crustaceans are flown in daily from Maine — where else? — and the swordfish, like the menu’s other finny features, are just as fresh. Yet, while Blu’s dining room has a certain panache, the space isn’t so formal that you’d feel uneasy settling around a table for dinner with your whiny toddler or bickering teens. “It’s not a special-occasion, white-tablecloth establishment,” explains JoAnne McMahon, the multi-restaurant entrepreneur behind this five-year-old eatery. “It’s a little bit more upscale than the 310 concept. It’s hipper, I guess.” The 310 to which McMahon refers is neighboring 310 Park South, her first table-service restaurant, which now has clones in downtown Orlando and Lake Nona. Even more so than Blu, 310 was designed to be the opposite of stuffy. “Back in 1999, when I opened 310, Park Avenue had very few restaurants, and the restaurants it had were very high end,” she recalls. “They didn’t welcome children. None of them even had highchairs.” McMahon, who also owns the Partridge Tree gift shop on Park Avenue, recalls that her retail customers often asked her where to take their children for lunch. “There wasn’t much to recommend,” she says. Over the subsequent two decades, 310 has become an Avenue stalwart, offering family friendly fare from burgers to steaks. Jeans and T-shirts are entirely appropriate attire. McMahon kept approachability in mind as she developed Blu. It, too, offers highchairs, although the ambiance is more urbane than that of its laid-back sibling. A swervy ceiling feature above the bar adds a sliver of sleek, as do dual waterfalls behind the bar. Subtle theming, such as pictures of sand and shells, carry forth the nautical vibe. The seafood selections are fresh. The kitchen makes its own sauces and dressings from scratch, while most of the produce is raised locally. Still, the presentation at Blu is noticeably un-fancy. While the restaurant offers upmarket dishes such as sea scallop risotto and filet Oscar, the menu lists far more sandwich and salad selections than fine-dining entrées. Similarly, the food is presented in an unpretentious way. The seafood platter, for example, has a highbrow name: plateau de fruits de mer. Its oysters, shrimp and jumbo lump crabmeat are welcomingly fresh. But they’re served on a metal compartmentalized plate with a trio of dips in the middle and plastic-wrapped saltine-style crackers. My dining companion and I concluded that the light brown dip, a mignonette, must have been for the crab, since the cocktail sauce obviously went with the shrimp. And the horseradish — well, that could have gone with the shrimp, too. Our server confirmed that the mignonette is, indeed, for the crab, so that’s how we ate it. An internet search later revealed that mignonette dip is designed specifically to pair
The seafood platter at Blu has a highbrow name: plateau de fruits de mer. Its oysters, shrimp and jumbo lump crabmeat are welcomingly fresh and served on a metal compartmentalized plate with a trio of dips. FA L L 2 0 1 8 W INT ER PARK MAGAZ IN E
DINING Blu’s carbonara is made with sublimely sweet Maine lobster chunks tossed with prosciutto, scallions and Grana Padano cheese along with delightfully thick bucatini pasta. The “Super Shrimp” sushi roll (top left) sits atop a long deep-green leaf placed on a stylishly curved oblong plate and embellished with a zigzag of eel sauce. Almond coated swordfish (bottom left) is grilled, then topped with brown butter and served with sweet potato purée and a load of way-too-tasty fried brussels sprouts. The restaurant offers an urbane but informal setting (facing page) where families feel right at home.
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310 S. Park Ave. Winter Park 301 E. Pine St. Downtown Orlando 10785 Narcoossee Rd. Lake Nona
326 S. Park Ave. bluontheavenue.com
WWW.BOVINESTEAKHOUSE.COM FA L L 2 0 1 8 W IN T ER PARK MAGAZ IN E
Fresh, Florida Cuisine in an Award-Winning Hotel Enjoy seasonal specialties surrounded by museum-quality art and a beautiful Mediterranean-style atmosphere. Relax on our patio and enjoy the sights and sounds of Winter Park.
The peanut butter pie is a moussey, nutty confection on a crust of chocolate wafter crumbs. Most of the desserts are personally made by McMahon, who’s a hands-on owner.
Accolades 2017 Travel + Leisure Top 100 Hotels in the World 2017 Travel + Leisure #2 Top City Hotel in the Continental United States 2017 Conde Nast Traveler Readers’ Choice Awards #1 Hotel in Florida For dining reservations, please call 407-998-8089 Visit us at www.TheAlfondInn.com or on Facebook
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with raw oysters. I would have welcomed that information as the platter was served. Our “Super Shrimp” sushi roll was presented with more dramatic flair. It sits atop a long deepgreen leaf placed on a stylishly curved oblong plate and embellished with a zigzag of eel sauce. The base is tempura shrimp, and the flavors work well. As for entrées, our server told us that “anything with lobster” was the house specialty. That gave us three tempting options: lobster carbonara, a lobster roll and a lobster cobb salad. We went with the carbonara, and it was a sound choice. Sublimely sweet Maine lobster chunks are tossed with prosciutto, scallions and Grana Padano cheese along with delightfully thick bucatini pasta. We also ordered the swordfish, which is coated in a layer of thin almond slices, then grilled. Add brown butter, a sweet potato purée and a load of way-too-tasty fried brussels sprouts and you’ve got a satisfying meal. I usually skip dessert, but when the server explained that McMahon personally prepares the sweet indulgences — including the peanut butter
pie — I couldn’t say no. The pie is a moussey, nutty confection on a crust made of chocolate wafer crumbs. We were full, but scooped up every bite. McMahon has certainly succeeded in creating a seafood restaurant that’s far more high-end than a fried shrimp joint, yet quite a bit humbler than a fine-dining restaurant. That’s a nice, comfortable niche to occupy. At press time, McMahon was preparing to open a new steakhouse, called Bovine, located across Park Avenue in the space occupied for decades by Park Plaza Gardens. There’ll be some upscale touches, she says, such as Caesar salads prepared tableside. Still, since Bovine is part of the 310/Blu family, you know the ambiance won’t be stuffy. Notes McMahon: “It’ll be affordable, even as we bring back traditional steakhouse service.” I’ll bet Bovine’s will even have highchairs. BLU ON THE AVENUE 326 South Park Avenue 407-960-3778 • bluontheavenue.com
Love Every Moment O P E N DA I LY 7 A M - 1 0 P M
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Enjoy specialty stores, delicious restaurants, luxurious salons, the latest movies, convenient grocery store, lifestyle apartment homes, or sit by a sparkling fountain and watch the world go by. Itâ&#x20AC;&#x2122;s a one-of-a-kind destination.
shop, dine, unwind & live in style!
Through the Looking Glass
WELCOME Museums & Cultural TO
Health & Beauty 23 9 12 6
Advanced Park Dental 407-628-0200 Clean Beauty Bar 407-960-3783 Eyes & Optics 407-644-5156 Kendall & Kendall, Hair Color Studio 407-629-2299 17 One Aesthetics 407-720-4242 15 See Eyewear 407-599-5455
Hotels The Alfond Inn Park Plaza Hotel
California Closets Ethan Allen Monark Premium Appliance The Shade Store
800-633-0213 407-622-1987 407-636-9725 321-422-1010
Jewelry Alex and Ani Be On Park International Diamond Center Jewelers on the Park Orlando Watch Company Reynolds & Co. Jewelers
8 11 3
321-422-0841 407-644-1106 407-629-5531 407-622-0222 407-975-9137 407-645-2278
Shoes 25 Rieker Shoes 17 Shoooz On Park Avenue
Specialty Shops 2 5 14 7 15 13 3 13 20 18 19 6
Fig and Julep 321-972-1899 The Ancient Olive 321-972-1899 Brandywine Books 407-644-1711 Christian Science Reading Room 407-647-1559 Frank 407-629-8818 Maureen H. Hall Stationery & Invitations 407-629-6999 New General 321-972-2819 Partridge Tree Gift Shop 407-645-4788 Rifle Paper Co. 407-622-7679 The Spice and Tea Exchange 407-647-7423 Ten Thousand Villages 407-644-8464 Writer’s Block Bookstore 407-592-1498
FREE 4 Hr Parking 4th & 5th levels
Hannibal Square NEW ENGLAND AVENUE
Park 23 Place
7 16 20 15 18 17 12 21
8 3 1 5 4 6 2 9
4 Hour Public Parking
Weddings • = Not on Map
The Collection Bridal Winter Park Wedding Co
Park Place Garage
1 Ben and Jerry’s 407-325-5163 1 Kilwins Chocolates & Ice Cream 407-622-6292 14 Peterbrooke Chocolatier 407-644-3200
N 500 N
CHARLES HOSMER MORSE MUSEUM OF AMERICAN ART 1
10 Luxury Trips 407-622-8747 18 Winter Park Welcome Center 407-644-8281
P FREE 4 Hour Parking LOT A
11 5 2 15 16 3
10 9 11 5
Interior Design 3 11 10 9
FREE 3-HOUR Street Public Parking
Beyond Commercial 407-641-2221 Brandywine Square 407-657-5555 Fannie Hillman + Associates 407-644-1234 Great American Land Management, Inc. 407-645-4131 Keewin Real Property Company 407-645-4400 Kelly Price & Company 407-645-4321 Leading Edge Title 407-636-9866 Olde Town Brokers 407-622-7878 Premier Sotheby’s International Realty 407-644-3295 Re/Max Town Centre 407-367-2000 Winter Park Land Company 407-644-2900 Winter Park Magazine 407-647-0225
2 1 6
13 14 15
3 BOAT TOUR
2 14 4 1 15 13
6 7 5
FREE Public Parking
4 8 2 7 3 1
8 10 9 17 100 S
WELBOURNE AVENUE 6 P 3-hour Public Parking on ground level
Bank of America Parking Garage
200 S 12
NEW ENGLAND AVENUE
Real Estate Services 7 5 9
FREE 4-hour Public Parking
Bank of America 407-646-3600 F4 Wealth Advisors 407-960-4769 Florida Community Bank 407-622-5000 The Kozlowski CPA Firm LLC 407-381-4432 Moss, Krusick and Associates 407-644-5811
5 21 28 5 8
407-647-7277 407-629-0042 407-636-7366 407-960-3778 407-644-8609 407-790-7997 585-766-9886 407-671-4424 407-599-4111 407-335-4548 407-647-7520 321-972-2819 407-645-3939 407-629-7270 407-335-4914 407-381-4432 407-645-3616 407-262-0050 407-951-8039 407-960-3993 407-696-9463
Winter Park, Florida
5 Albin Polasek Museum & Sculpture Gardens 407-647-6294 2 Bach Festival Society of Winter Park 407-646-2182 407-628-8200 2 Casa Feliz 3 Cornell Fine Arts Museum 407-646-2526 1 Morse Museum of American Art 407-645-5311 3 Scenic Boat Tour 407-644-4056 • The Winter Park Playhouse 407-645-0145 10 Winter Park History Museum 407-647-2330
310 Park South Barnie’s CoffeeKitchen BoiBrazil Churrascaria blu on the avenue Bosphorous Turkish Cuisine Cocina 214 Garp and Fuss Laurel Latin Cuisine Luma on Park Maestro Cucina Napoletana mon petit cheri cafe New General Panera Bread Pannullo’s Italian Restaurant Park Avenue Smoothie Cafe The Parkview Power House Cafe Prato Rome’s Flavours UMI Japanese Restaurant The Wine Room on Park Ave
1 1 19 2 2 3 3 6 1 5 4 12 4 2 1 6 7 2 4 7 3
Small Business Counsel
NEW YORK AVENUE
14 Arabella 407-636-8343 12 Bebe’s/Liz’s Fashion Experience 407-628-1680 2 Charyli 407-455-1983 9 Cottonways 321-203-4733 407-628-1087 6 Current 1 Evelyn and Arthur 407-740-0030 13 Forema Boutique 407-790-4987 15 The Impeccable Pig 407-636-4043 2 J. McLaughlin 407-960-3965 407-629-7944 7 John Craig Clothier 6 Lilly Pulitzer 407-539-2324 407-628-1222 19 Lucky Brand Jeans 5 Maestro Cucina Napoletana 407-335-4548 4 Max and Marley 407-636-6204 16 Siegel’s Winter Park 407-645-3100 407-647-7241 4 Synergy 321-209-1096 • TADofstyle 12 The Grove 407-740-0022 20 tugboat and the bird 407-647-5437 407-628-1609 17 Tuni
THE PARK AVENUE MERCHANTS ASSOCIATION • EXPERIENCEPARKAVENUE.COM
␣ C 15 ␣ B 21 ␣ B 12 ␣D9
Business Services ␣ D 16 Bank of America
Merrill Lynch Moss, Krusick and Associates, LLC ␣ F 2 PNC Bank ␣ D 15 Small Business Counsel ␣ E 8 The Kozlowski CPA Firm, LLC
␣C7 ␣ D 22 ␣C6 ␣ C 16 ␣B9 ␣ B 23 ␣ D 18 ␣ D 13 ␣ C 10 ␣B4 ␣ D 26 ␣ E 11 ␣ D 27 ␣C2 ␣ D 17 ␣E5
Museums & Culture ␣ E 13 Albin Polasek Museum
& Sculpture Gardens
Axiom Fine Art Consulting
Bach Festival Society of Winter Park
Morse Museum of American Art
␣ D 14 Ocean Blue Galleries
␣ C 21 Scenic Boat Tour
The Winter Park Playhouse
Winter Park History Museum
(407) 644-5811 (407) 628-0118 (407) 621-4200 (407) 381-4432
␣ D 15 Beyond Commercial
Fannie Hillman + Associates
Great American Land Management, Inc.
Keller Williams Winter Park
Kelly Price & Company
Leading Edge Title
␣ D 25 Olde Town Brokers
(407) 636-7222 310 Park South (407) 647-7277 Barnie’s Coffee Kitchen (407) 629-0042 blu on the avenue (407) 960-3778 Bosphorous Turkish Cuisine (407) 644-8609 Cocina 214 (407) 790-7997 Garp and Fuss (585) 766-9886 Laurel Latin Cuisine (407) 671-4424 Luma on Park (407) 599-4111 mon petit cheri cafe (407) 647-7520 The Parkview (407) 647-9103 Panera Bread Park Ave. (407) 645-3939 Pannullo’s Italian Restaurant (407) 629-7270 Park Avenue Smoothie Cafe (407) 335-4914 Power House Cafe (407) 645-3616 Prato (407) 262-0050 The Wine Room on Park Avenue (407) 696-9463 UMI Japanese Restaurant (407) 960-3993
␣D4 ␣B1 ␣C8
Premier Sotheby’s International Realty
The Keewin Real Property Company
Shoooz On Park Avenue
The Lash Lounge
␣ C 20 On The Strip Lash & Brow ␣ C 20 Park District Hair ␣ C 18 Park Smiles Dentistry ␣ D 12 Pristine Nail & Day Spa ␣ D 24 See, Inc. ␣ D 19 Taylor’s Pharmacy
␣ D 10 Park Plaza Hotel ␣ D 31 The Alfond Inn at Rollins
California Closets ␣ B 3 Ethan Allen ␣ E 9 Monark Premium Appliance Co. ␣ E 4 Piante Design ␣ B 16 The Shade Store
Ten Thousand Villages
␣ D 30 Penthouse 450
␣ B 11 The Ancient Olive
The Collection Bridal
Winter Park Photography
␣ C 22 Winter Park Wedding Company (321) 274-6618
The Spice and Tea Exchange
␣ D 28 Writer’s Block Bookstore
Friends of Casa Feliz, Inc.
CHARLES HOSMER MORSE MUSEUM OF AMERICAN ART
Canton Ave. 4 2 5 3 6 7 8
FREE 4-Hour Parking 4th & 5th levels
9 18 10 19 11 20 12 21 13 22
4-Hour Public Parking
2 3 4 5
Morse Blvd. 6 7 12 8 9 10 13 11
3-Hour Parking Lot B
WELCOME CENTER 8
9 10 11 12 13
3-Hour Public Parking on Ground Level
19 20 21 22 23 24 27
3-Hour Public Parking Saturday & Sunday
Comstock Ave. 2
9 5 6
Public Parking Concierge
4-Hr Street Parking Bicycle Parking
Lyman Ave. 1
3-Hr Street Parking
14 28 25 15 26 16 17 18
(407) 647-1072 (407) 998-8090
E. New England Ave. 3
17 19 20
W. New England Ave. 2
4 5 6
N O R T H
(407) 628-8200 (407) 218-5955
—— = Not On Map
K E Y
(800) 633-0213 (407) 622-1987 (407) 636-9725 (321) 316-4086 (321) 422-1010
FREE 4-Hour Parking Lot A
Interior Design ␣E6
(407) 636-7685 (407) 644-5156 (321) 617-5274 (407) 960-4003 (407) 571-9725 (407) 645-4645 (407) 622-1611 (407) 599-5455 (407) 644-1025
Rifle Paper Co.
␣ C 19 Woof Gang Bakery & Grooming (407) 790-7480
Atomic Barber Co
␣ B 13 Eyes & Optics
␣ C 13 Williams-Sonoma
Health & Beauty ␣D2
Shoes (407) 539-0425
␣ C 17 Luxury Trips
␣ D 21 Partridge Tree Gift Shop
The Winter Park Land Company (407) 644-2900
␣ B 24 Rieker Shoes
Maureen H. Hall Stationery & Invitations
␣ D 29 New General
␣ E 10 Antonio’s ␣ D 20
(407) 646-3600 (407) 839-2617
␣ C 14 Frank.
␣ D 14
Through the Looking Glass
␣ D 23
␣ B 19 Orlando Watch Company
Follett Bookstore at Rollins College
␣ B 17
␣ D 12
Kilwins Chocolates & Ice Cream (407) 622-6292
␣ D 19 Peterbrooke Chocolatier
␣ C 12 Jewelers on the Park
␣ C 10
␣ B 20 Christian Science Reading Room (407) 647-1559
W. Park Ave.
␣ B 15
New York Ave.
␣ B 22
␣ E 12 International Diamond Center
New York Ave.
␣ B 14
␣ B 18 Belicoso Cigars & Cafe
P A R K ,
␣ B 10
Charyli Cottonways Current Evelyn and Arthur Forema Boutique J. McLaughlin John Craig Clothier Lilly Pulitzer Lucky Brand Jeans lululemon Sara Campbell Siegel’s Winter Park Synergy The Grove The Impeccable Pig Tugboat and The Bird Tuni
␣ C 11 Be On Park
W I N T E R
(407) 628-1680 (407) 455-1983 (321) 203-4733 (407) 628-1087 (407) 740-0030 (407) 790-4987 (407) 960-3965 (407) 629-7944 (407) 539-2324 (407) 628-1222 (407) 628-0033 (321) 972-1232 (407) 645-3100 (407) 647-7241 (407) 740-0022 (407) 636-4043 (407) 647-5437 (407) 628-1609
PA R K AVE N UE
␣ D 11 Bebe’s & Liz’s
500 S 12
ROLLINS COLLEGE 3
EVENTS ART, HISTORY, ENTERTAINMENT AND MORE
Graffiti Artist Makes His Point It sounds like a recipe for disaster: Invite a graffiti artist onto the venerable grounds of the Albin Polasek Museum & Sculpture Gardens, where — what were they thinking? — he might run amok and redecorate its priceless collection of 200 irreplaceable 20th-century sculptural masterpieces as though they were so many freight cars. Not to worry. The visiting artist, Jan Kaláb, isn’t just a fellow Czech. He’s also a respectful kindred spirit with the artist for whom the museum is named — albeit one from another generation who works in a very different genre. To see Kaláb’s work is to realize what happens when a graffiti artist grows up. An installation of his three-dimensional, neonhued canvas creations and two outdoor sculptures — one site-specific and one he previously exhibited at Art Basil in Miami — is on display on the grounds and in the galleries of the museum through December 2. The Soul of Graffiti: Jan Kaláb is timed to coincide with the 100th birthday of Czechoslovakia, which became a sovereign state in 1918. Polasek, born in 1879 in what was then part of the Austro-Hungarian Empire, avidly followed his homeland’s struggle to gain independence, even after immigrating to the United States as a young man. Two of his most memorable sculptures are a statue of President Woodrow Wilson, who championed the emerging nation, and Victory of Moral Law, a tribute to the Czech resistance against a 1957 invasion by the Soviet Union. Kaláb, who lives in Prague, was born in 1978 into a generation of European artists for whom graffiti was often a form of protest against totalitarianism and other social ills. Eventually, however, his interest shifted from fleeting, subway-and-boxcar-style images toward more permanent, three-dimensional and abstract forms. He’s strongly influenced by Frantisek Kupka, a 20th-century Czech painter with a pioneering interest in Orphic Cubism, which focuses on bright colors and pure abstraction. “I’m 40 now. I see things differently,” said a paintspattered Kaláb as he took a break from adorning an interior wall during an August residency at the Polasek. Although he has established himself in the traditional art world with exhibitions in Argentina, Paris,
94 W I N T E R P A R K M A GAZI N E | FALL 2018
London, Miami and elsewhere, Kaláb’s past as a street artist catches up with him now and then. In his youth, he tangled with authorities on a graffitipainting expedition to New York City during an era when Mayor Rudy Giuliani was intent on having the city swept clean of it. Kaláb was detained and his name somehow wound up on a security-risk list. To this day, he occasionally gets pulled aside by airport security when he travels. “They look at me funny and ask me strange questions,” he said. “They ask me: ‘Do you paint things?’” Yes, he does. But not like before. Years ago, he changed his “tag” — a graffiti artist’s version of a byline — from “Cake,” which was a complicated play on words that he tried (unsuccessfully) to explain to me, to “Point,” which emphasizes his current focus on precision and minimalism. A good example of that focus is the site-specific sculpture, roughly the size of an SUV, which can be
seen on the museum’s grounds. Though you might mistake it for an abstract dinosaur or a lightning bolt, upon closer examination you’ll see that it spells out “Point.” And it’s doing just that: pointing toward the epic-scale, heart-rending sculptures in the surrounding garden. Polasek was on a hero’s journey with these sculptures, and Kaláb’s brightly colored creation pays homage to that journey — a tacit way of acknowledging his sense of being in a conversation, of sorts, with the artist who preceded him here. Working to the very end, even after being partially paralyzed by a stroke, Polasek died in 1965. He had lived for 15 years at the lakeside retreat that would eventually become a museum showcasing his work. It’s a local treasure that’s listed on the National Register of Historic Places. “I see this as a dialogue,” said Kaláb. “That is the beauty of art. Even though [Polasek] is not alive, with art, we can still communicate.” Kaláb’s exhibition is presented by the Czech Republic’s Embassy and its Ministry of Culture along with numerous local sponsors. Curator Rachel Frisby sees the exhibition and the events surrounding it as a way to demonstrate how art has evolved in that country from Polasek’s era to the present. Events will include an open house on October 28 to commemorate Czechoslovakian Independence Day. The event, which runs from 1 to 4 p.m., is free for everyone. Snacks and hands-on art activities will be included. That’s followed by a Paint & Wine Night, which will offer step-by-step guidance for creating your own Cubist masterpiece along with a glass of wine and the requisite art supplies. It’s on November 9 at 7 p.m., and the cost is $35 for members and $40 for nonmembers. In addition, there’ll be an Artful Book Club meeting featuring a discussion of Franz Kafka’s The Trial, followed by a gallery tour with members of the Writer’s Block Bookstore staff. It’s on November 26 at 10 a.m., and admission is $5 for members and $10 for nonmembers. A Meet & Greet with Kaláb will be held on December 2, the final day of the exhibition, from 1 to 4 p.m. Admission is free for members, while regular museum prices is required for non-members. — Michael McLeod
What: The Soul of Graffiti: Jan Kaláb Where: The Albin Polasek Museum & Sculpture Gardens Address: 633 Osceola Avenue, Winter Park Hours: Tuesdays through Saturdays, 10 a.m. to 4 p.m.; Sundays, 1 to 4 p.m.; closed Mondays. Admission: Adults, $10; seniors (60-plus), $8; college students (with ID), $8; K-12 students, $3; members and children age 4 and under, free. See separate pricing for special exhibition-related events. For More: 407-647-6294 • polasek.org
Prauge-born Jan Kaláb, who began his career as a graffiti artist, was recently in residence at the Albin Polasek Museum & Sculpture Gardens, where he’ll showcase his neon-hued canvas creations and two outdoor installations during The Soul of Graffiti: Jan Kaláb. The exhibition is timed to coincide with the 100th birthday of Czechoslovakia, which was also the home country of the museum’s namesake. FA L L 2 0 1 8 | W IN T ER PARK MAGAZ IN E
EVENTS VISUAL ARTS
Albin Polasek Museum & Sculpture Gardens. This lakeside museum, open since 1961, is dedicated to preserving the works of the famed Czech sculptor for whom it was both home and studio for more than a decade. Ongoing through December 2 is Soul of Graffiti: Jan Kaláb, which showcases sculptures, 3-D canvases and a selection of new works as well as an original installation created while the contemporary Czech artist was in residence. Opening on December 11 is Lay of the Land: The Art of Florida’s Cattle Culture, which continues through April 14, 2019. The museum offers tours of Polasek’s home Tuesdays through Saturdays. It also offers tours of the adjacent Capen-Showalter House three times weekly: Tuesdays and Thursdays at 11:30 a.m., and Saturdays at 10:15 a.m. The Capen-Showalter House, built in 1885, was saved from demolition several years ago and floated across Lake Osceola to its current location on the Polasek’s grounds. Admission to the museum is $10 for adults, $8 for seniors, $3 for students and free for children. 633 Osceola Avenue, Winter Park. 407-647-6294. polasek.org. Art & History Museums — Maitland. The Maitland Art Center, one of five museums anchoring the city’s Cultural Corridor, was founded as an art colony in 1937 by visionary American artist and architect J. André Smith. The center, located at 231 West Packwood Avenue, Maitland, is the Orlando area’s only National Historic Landmark and one of the few surviving examples of Mayan Revival architecture in the Southeast. Continuing through January 7, 2019, are two exhibitions timed to mark the 100th anniversary of the armistice that ended World War I. At the Maitland Art Center is Soldier’s Home: Veterans’ Art in Central Florida, which features the work of J. André Smith as well as that of three local artists who are also veterans: William Gura, Michael Moffett and Jim Hosner. At the nearby Maitland Art Center is J. André Smith and the Art of Camouflage, which re-creates some of the artist’s experimentation with camouflage during World War II. There’ll be two evenings of Haunted Tours of Maitland Art Center in the run-up to Halloween: October 5 from 6 to 9:30 p.m. (with family-friendly tours at 6 and 6:30 p.m.), and October 28 from 6:30 to 10 p.m. The $15 tours ($10 for members) will include ghost stories, although the appearance of actual ghosts can’t be guaranteed. On display through March 2019, in a field between the art center and Lake Sybelia, is Indigo Waves, an interactive public-art project based upon the growing of plants. Artists-turned-gardeners Tory Tepp, Jill Altamore and Kim Reighter built sustainable irrigation and electrical systems so that, as the plants mature, they’re harvested and processed to make dyes, inks, pigments and fibers used to create tapestries and lattices in combination with recycled denim. As the natural-fiber creations break down from exposure to the elements, they’re composted back into the soil and replaced with new patches of “fresh art.” Admission to the center’s galleries is $6 for adults, $5 for seniors and students (ages 5 to 17) and free for children age 4 and under. Maitland residents receive a $1 discount. The Cultural Corridor also includes
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the Telephone Museum, located with the historical museum at 221 West Packwood Avenue, Maitland, and the Waterhouse Residence Museum and Carpentry Shop Museum, both built in the 1880s and located at 820 Lake Lily Drive, Maitland. 407539-2181. artandhistory.org. Charles Hosmer Morse Museum of American Art. With more than 19,000 square feet of gallery and public space, the Morse houses the world’s most important collection of Louis Comfort Tiffany creations, including jewelry, pottery, paintings, art glass and an entire chapel interior originally designed and built for the 1893 World’s Columbian Exposition in Chicago. The museum opens its 2018-19 season on October 16 with Earth into Art — The Flowering of American Art Pottery. The displayed works, which date from the 1870s to the early 1900s, are drawn from the museum’s extensive collection. The Morse offers free admission during extended hours on Fridays from 4 to 8 p.m. starting on November 2 and continuing through April 26. It also has a pair of all-day (9:30 a.m. to 4 p.m.) open houses with free admission on December 22-23. Ongoing is 19th-Century American Landscapes, which illustrates the affinity between artists from the French Barbizon School and American painters of the late 1800s, including Otto Heinigke, William Louis Sonntag and George Inness. Admission to the museum is $6 for adults, $5 for seniors, $1 for students, and free for children younger than age 12. 445 North Park Avenue, Winter Park. 407-645-5311. morsemuseum.org. Cornell Fine Arts Museum. Located on the campus of Rollins College, the Cornell houses one of the oldest and most eclectic collections of fine art in Florida. Free tours take place at 1 p.m. on Saturdays at the oncampus facility, and at 1 p.m. on Sundays at the nearby Alfond Inn, which displays dozens of works from the museum’s Alfond Collection of Contemporary Art. Happy Hour tours of the Alfond Collection are also conducted on the first Wednesday of most months at 5:30 p.m. If you prefer historic works, Throwback Thursday tours are offered at the museum from 12:30 to 1:30 p.m. on the third Thursday of most months. Continuing through December 12 are a quartet of exhibitions: Fake News? Some Artistic Responses, works by American artists that contemplate the way we consume, perceive and transmit information; Forging Modern American Identities: Recent Acquisitions, a first look at recent gifts of early 20th century photographs and abstract art from Rollins alumni Barbara and Theodore Alfond; Jamilah Sabur: Ibine Ela Acu/Water Sun Moon, a multidisciplinary installation inspired by Central and North Florida history and traditions; and Dangerous Women, a series of more than 20 works from Sarasota’s John and Mable Ringling Museum of Art that collectively explores artistic responses to women of the Bible. A new, longterm exhibition through which works periodically rotate — Ruptures and Remnants: Selections from the Permanent Collection — offers material manifestations, from antiquity to the present day, of ruptures ranging from personal crises to nation-state upheavals. It replaces the museum’s long-running Conversations exhibit and continues through December 31, 2020. Admission to the museum is free, courtesy of PNC
Financial Services Group. 1000 Holt Avenue, Winter Park. 407-646-2526. rollins.edu/cfam. Crealdé School of Art. Established in 1975, this not-for-profit arts organization on Winter Park’s east side offers year-round visual-arts classes for all ages, taught by more than 40 working artists. Admission to the school’s galleries is free, although there are fees for art classes. Continuing through January 12, 2019, is Vibrant Vision: African Diaspora and AfricanAmerican Artists, a joint exhibition with the Hannibal Square Heritage Center that features works from the Collection of Jonathan Green and Richard Weedman, the core of which encompasses art created by Works Progress Administration (WPA) artists in the ’30s and ’40s. 600 Saint Andrews Boulevard, Winter Park. 407-671-1886. crealde.org. Hannibal Square Heritage Center. Established in 2007 by the Crealdé School of Art in partnership with residents of Hannibal Square and the City of Winter Park, the center celebrates the city’s historically African-American west side with archival photographs, original artwork and oral histories from longtime residents that are together known as the Heritage Collection. Admission is free. Continuing through December 31 is HIS – Henderson, Israel & Simpson Project, a look at three key African-American leaders in Winter Park during the late 19th century: Gus C. Henderson, who started one of the first black-owned newspapers in Florida; and Frank R. Israel and Walter B. Simpson, who were the first — and thus far the only — black elected officials in the city. Continuing through January 12, 2019, is Vibrant Vision: African Diaspora and African-American Artists, a joint exhibition with the Hannibal Square Heritage Center a joint exhibition with the Hannibal Square Heritage Center that features works from the Collection of Jonathan Green and Richard Weedman, the core of which encompasses art created by Works Progress Administration (WPA) artists in the 1930s and 1940s. Also ongoing is the Hannibal Square Timeline, which documents significant local and national events in African-American history since the Emancipation Proclamation. The center also offers a walking tour of Hannibal Square, Now and Then, with Fairolyn Livingston, the center’s chief historian. The tour, offered the third Saturday of each month from 10 to 11:30 a.m., requires reservations; the cost is $10 a person, or $5 for those with a student ID. Historic sites include Mount Moriah Missionary Baptist Church, the Welbourne Avenue Nursery & Kindergarten and the Masonic Lodge, all built in the 1920s. 642 West New England Avenue, Winter Park. 407-539-2680. hannibalsquareheritagecenter.org.
Annie Russell Theatre. “The Annie,” in continuous operation on the campus of Rollins College since 1932, kicks off its 2018-19 season on September 28 with Twelve Angry Jurors — originally called Twelve Angry Men — about deliberations that follow the trial of a young man accused of fatally stabbing his father. It seems like an open-and-shut case — until one juror refuses to agree to a “guilty” verdict. Curtain time for the show, which runs for eight performances through October 6, is 8 p.m., 4 p.m. or
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EVENTS 2 p.m., depending upon the day of the week. Next up: Avenue Q, the story of a recent college graduate who moves into a shabby New York apartment and, with his new friends, struggles to find a job, women to date and a purpose in life. The musical won Broadway’s “Triple Crown” of Tony awards in 2004: Best Musical, Best Score and Best Book. It, too, runs for eight performances, from November 16 through December 1. Four-show season tickets start at $60; a single performance is $20. 1000 Holt Avenue, Winter Park. 407-646-2145. rollins.edu/ annie-russell-theatre. Winter Park Playhouse. Winter Park’s only professional, not-for-profit theater continues its 2018-19 mainstage season with I Love a Piano, which runs through October 15. The revue, which celebrates the music of Irving Berlin, follows the journey of a single piano from its first days in Tin Pan Alley at the dawn of the 20th century through the 1950s. Next up is Winter Wonderettes, about a four-girl singing group that finds itself entertaining at the annual Harper’s Hardware Holiday Party when Santa Claus goes missing. The musical comedy, which opens November 16 and runs through December 16, features 1960s-style versions of such holiday classics as “Santa Claus is Comin’ to Town,” “Jingle Bell Rock” and “Winter Wonderland.” Shows are Thursdays through Sundays, with evening performances at 7:30 p.m. and matinees at 2 p.m. Tickets range in price from $15 for students to $42 for evening performances. Meanwhile, the theater’s Spotlight Cabaret Series continues on select Wednesdays and Thursdays with Dustin Cunningham on October 10 and 11 and Laura Hodos on November 7 and 8. General admission to the theater is $10. 711 Orange Avenue, Winter Park. 407-645-0145. winterparkplayhouse.org.
Winter Park Autumn Art Festival. This two-day art show and sale, now in its 45th year, is the only juried fine-art festival in the state to feature Florida artists exclusively. The event, held downtown in Central Park along Park Avenue, runs October 13 and 14 from 9 a.m. to 5 p.m. In addition to art, there’s live entertainment. 251 South Park Avenue, Winter Park. winterpark.org. Maitland Rotary Art Festival. The 42nd edition of this boutique art festival is, after a decade, dropping its “Art Under the Stars” theme and adopting daytime hours. The park around Lake Lily will come to life with artists, live entertainment and other free activities on November 17 and 18, from 10 a.m. to 6 p.m. on Saturday and 10 a.m. to 5 p.m. on Sunday. Only 150 artists are admitted to this juried show near the heart of Maitland’s new downtown core. 701 Lake Lily Drive, Maitland. maitlandrotaryartfestival.com. Leadership Winter Park Oktoberfest. Held in the historic freight depot at the Winter Park Farmers’ Market, this October 24 event squeezes plenty of brats and beer into three hours starting at 5:30 p.m. Naturally, there’s an “oompah” band as well as savory German appetizers, beer and wine. Tickets are $20 for Leadership Winter Park members and alumni, and $25 for everyone else. Proceeds benefit the
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Legacy Fund of Leadership Winter Park, which offers scholarships for adults and youth seeking entry to Leadership Winter Park, a program sponsored by the Winter Park Chamber of Commerce. 407-6448281. winterpark.org.
ond Thursday of each month and start whenever it gets dark. Upcoming films include The Pit and the Pendulum (October 11, 8 p.m.) and Enchanted (November 8, 7 p.m.). Bring a snack plus a blanket or chairs. 407-629-1088. enzian.org.
Screen on the Green. The City of Maitland offers free outdoor movies each fall and spring on the field at Maitland Middle School. Bring a snack plus a blanket or chairs. The program’s summer break ends October 6 with a showing of Peter Rabbit at 7:30 p.m., followed on November 10 by Jumanji and on December 15 by The Polar Express, both at 6 p.m. 1901 Choctaw Trail, Maitland. 407-539-0042. itsmymaitland.com.
Enzian. This cozy, not-for-profit alternative cinema kicks off its fall season with a trio of festivals. The 24th annual South Asian Film Festival takes place over three days, from September 29 through October 1. “Beyond Bollywood” showcases a diverse lineup of acclaimed independent films about the Indian subcontinent. Then, from November 10 through 12, the 20th annual Central Florida Jewish Film Festival celebrates Jewish life, culture and history. Finally, on November 17 and 18, the 27th annual Brouhaha Film & Video Showcase features locally produced films and videos, plus the best work from film-school students statewide. During October, many of the theater’s regular film series and special programs adopt appropriately spooky Halloween themes. Midnight Movies, for example, unleashes a series of envelopepushing classic and cutting-edge films that start not at midnight, but at 11:59 p.m. Unsettling offerings include Sisters (October 6), Creepshow (October 13), Re-Animator (October 20) and The Hills Have Eyes (October 27). Upcoming Cult Classics, shown at 9:30 p.m., include The Craft (October 2), Frankenhooker (October 9), The Thing (October 23) and Horror of Dracula (October 30). Upcoming Saturday Matinee Classics include Nosferatu (October 13, noon), Lawrence of Arabia (November 10, 11 a.m.) and It’s a Wonderful Life (December 8, noon). New and classic concert-music documentaries and music-focused films are shown on Music Mondays. Coming up is a definite classic: The Rocky Horror Picture Show (October 15, 9:30 p.m.). Other impending special screenings, and the series to which they’re connected, include: Misery (Book to Big Screen, October 20, 11 a.m.), Frankenstein (National Theatre Live, October 28, 11 a.m.), King Lear (National Theatre Live, November 24, 11 a.m.) and The Madness of King George III (National Theatre Live, December 29, 11 a.m.). For youngsters, there’s a Halloween Party featuring Frankenweenie (October 21, 11:30 a.m.). For grownups, there’s the annual Halloween at Eden Bar Party (October 27) and the annual James Bond New Year’s Eve Party (December 31). The next scheduled FilmSlam, which spotlights Florida-made short films and is held the second Sunday of most months, is October 14 at 1 p.m. Children under age 12 are admitted free to Peanut Butter Matinee Family Films, shown the fourth Sunday of most months at noon. Coming up are Ponyo (November 25) and The Wizard of Oz (December 16). Tickets for most Enzian movies are $11 for regular admission; $9 for matinees, students, seniors and military (with ID); and $8.50 for Enzian Film Society members. 1300 South Orlando Avenue, Maitland. 407-629-0054 (information line), 407-629-1088 (theater offices). enzian.org. Popcorn Flicks in the Park. The City of Winter Park and Enzian collaborate to offer classic, familyfriendly films free in Central Park on Park Avenue. These outdoor screenings are usually on the sec-
Casa Feliz Historic Home Museum. This stunningly restored Spanish farmhouse-style home, designed by acclaimed architect James Gamble Rogers II, is now a community center and museum. Free open houses are hosted by docents on Tuesdays and Thursdays from 10 a.m. to noon. Also, live music is featured in the large downstairs parlor on Sundays from noon to 3 p.m. (see “Music”). 656 North Park Avenue (adjacent to the Winter Park Golf Course), Winter Park. 407-628-8200. casafeliz.us. Holocaust Memorial Resource & Education Center of Florida. The center is dedicated to combating anti-Semitism, racism and prejudice, with the goal of developing a moral and just community through educational and cultural programs. It houses permanent and temporary exhibitions, archives and a research library. Continuing through December 28 is Heroes of Warsaw, featuring artwork from two children’s books illustrated by Bill Farnsworth, who’s now based in Venice, Florida. A Hero and the Holocaust: The Story of Janusz Korczak and His Children is about a Polish doctor who died trying to protect the children in an orphanage he had founded, while Irena Sendler and the Children of the Warsaw Ghetto is about a Polish social worker who helped nearly 400 Jewish children escape the Warsaw Ghetto during World War II. The museum’s ongoing exhibition, Tribute to the Holocaust, is a presentation of artifacts, videos, text, photographs and other works of art. Admission to the center is free. 851 North Maitland Avenue, Maitland. 407628-0555. holocaustedu.org. Winter Park History Museum. Ongoing displays include artifacts dating from the city’s beginnings as a New England-style resort in the 1880s. Its current exhibition is Wish You Were Here: The Hotels & Motels of Winter Park. Admission to the museum is free. 200 West New England Avenue, Winter Park. 407-644-2330. wphistory.org. Zora Neale Hurston National Museum of Fine Arts. Eatonville is strongly associated with Harlem Renaissance writer and folklorist Zora Neale Hurston, who lived there as a girl and recorded her childhood memories in her classic autobiography, Dust Tracks on a Road. The museum that bears her name provides information about the historic city; it also sponsors exhibitions featuring the works of African-American artists and is an integral part of the annual, weeklong Zora! Festival each January. Opening September 29 is
Zora Neale Hurston’s “Native Village:” Historic Eatonville Remembered — Autobiograpghy, Folklore, Literature. On October 20, a two-hour interactive workshop called Ekphrastic Eatonville will explore the town’s by using visual prompts to inspire the creation of poems and narratives based upon the personal knowledge and collective memory of participants. The program, presented by the Association to Preserve the Eatonville Community, starts at 2 p.m. Admission to the museum is free, though group tours require a reservation and are charged a fee. 227 East Kennedy Boulevard, Eatonville. 407-647-3188. preserveeatonville.org, zorafestival.org, hurstonmuseum.org.
8th Annual Pumpkins & Munchkins. Kids of all ages are invited to a city-sponsored Halloween gathering at Shady Park, located in Winter Park’s Hannibal Square district. The free event, which runs from 6:30 to 8:30 p.m. on October 31, includes games, bounce houses, a costume contest and a Trick-or-Treat Trail. Corner of New England and Pennsylvania avenues, Winter Park. 407-599-3334. cityofwinterpark.org. Handel’s Messiah. The Messiah Choral Society is a Winter Park-based not-for-profit that assembles volunteer vocalists to perform George Frederic Handel’s most famous composition every Thanksgiving-toChristmas season. The main event this year — its 46th annual local performance — is November 25 at 3 p.m. in the Bob Carr Theater, 401 West Livingston Street in downtown Orlando. Admission is free. messiahchoralsociety.org.
Earth into Art— THE FLOWERING OF AMERICAN ART POTTERY Opens October 16 Selections from the Morse collection that provide a window onto American achievements in art pottery in the late 19th century, including the industry’s roots in Ohio and the key contributions of women.
445 north park avenue winter park, florida 32789 (407) 645-5311 just a 5-minute walk from the sunrail station • follow us on
40th Annual Christmas in the Park: The Morse Museum of American Art and the City of Winter Park present this annual exhibition of century-old Tiffany windows combined with a free outdoor concert of holiday favorites by the Bach Festival Society of Winter Park’s choir, youth choir and brass ensemble. This year’s event is on December 6 from 6:15 to 8 p.m. in Central Park. North Park Avenue at Morse Boulevard, Winter Park. 407-645-5311. morsemuseum.org. Winter on the Avenue. The annual holiday street party, set for December 7, encompasses a flurry of activities, including the traditional tree-lighting ceremony at dusk. There’s also an outdoor movie and live entertainment including, of course, carolers. A Merchant Open House and Window Contest as well as a Holiday Art Competition are also in store. As a gift to the community, the Morse Museum of American Art offers free admission from 4 to 8 p.m. And Santa Claus — the real one, not just a guy dressed up in a red suit — is expected to drop by. 407-644-8281. winterpark.org. 66th Annual Ye Olde Hometown Christmas Parade. This venerable holiday tradition, set for December 8 beginning at 9 a.m., has delighted locals since the early 1950s. More than 80 parade units are expected to make their way south along Park Avenue beginning at Cole Avenue and ending at Lyman Avenue. Participants in the 90-minute event include marching bands, dance troupes, police and fire departments, local dignitaries and, of course, the real Santa Claus — who will have appeared the night before at Winter on the Avenue. 407-644-8281. winterpark.org. FA L L 2 0 1 8 | W INT ER PARK MAGAZ IN E
EVENTS Leadership Winter Park Pancake Breakfast. Before and during the Ye Olde Hometown Christmas Parade on December 8, you can help turn pancake batter into dough — the spending kind — for civic-leadership scholarships at the 19th Annual Leadership Winter Park Pancake Breakfast. From 7 to 10:30 a.m., a traditional pancake breakfast is served in Central Park near the outdoor stage. Tickets are $6 for adults and $4 for children. Proceeds benefit the Winter Park Improvement Foundation, which offers scholarships for adults and youth seeking entry to Leadership Winter Park, a program sponsored by the Winter Park Chamber of Commerce. 407-6448281. winterpark.org. A Classic Christmas. Take part in yet another cherished Winter Park holiday tradition — this one purely musical. The program, part of the Bach Festival Society of Winter Park’s Choral Masterpiece series, features beloved Christmas works performed by the society’s choir, youth choir and orchestra. Knowles Memorial Chapel on the campus of Rollins College is the venue for the performances, which are set for December 15 and 16 at 2 and 6 p.m. Tickets are $35 to $79. 407-646-2182. bachfestivalflorida.org. Vivacity Christmas Show. The Orlando dance band Vivacity spreads holiday cheer with jazzy takes on traditional holiday classics at the Blue Bamboo Center for the Arts on December 9. There are two shows, at 3 and 7 p.m., and tickets are $20 to $35. 1905 Kentucky Ave., Winter Park. 407-636-9951. bluebambooartcenter.com. New Year’s Eve with CeCe Teneal & Soul Kamotion. Ring in the new year at Blue Bamboo Center for the Arts with a high-octane group whose blend of blues, soul and roots music has been entertaining and inspiring audiences for more than 16 years. The evening includes hors d’oeuvres and a champagne toast at midnight. Tickets are $75. 1905 Kentucky Avenue, Winter Park. 407-636-9951. bluebambooartcenter.com.
Winter Park Institute at Rollins College. Each year, the institute presents lectures, readings and seminars by thought leaders in an array of disciplines. The second lecture of the 2018-19 season, on October 22, features Martha C. Nussbaum, a philosopher, author and professor of law and ethics at the University of Chicago. Her presentation, “Fear, Anger, and Hope: Democracy in Peril,” begins at 6 p.m. in the Bush Auditorium on the Rollins College campus. Tickets are $25. 1000 Holt Avenue, Winter Park. 407-646-2145. rollins.edu/wpitickets.
Maitland Farmers’ Market. This year-round, openair market — held each Sunday from 9 a.m. to 2 p.m. — features fresh produce, seafood, breads and cheeses as well as plants, all-natural skin-care products and live music by Performing Arts of Maitland. The setting on Lake Lily boasts a boardwalk, jogging trails, a playground and picnic areas. 701 Lake Lily Drive, Maitland. itsmymaitland.com. Winter Park Farmers’ Market. The region’s busiest and arguably most popular farmers’ market is
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held every Saturday from 7 a.m. to 1 p.m. at the old railroad depot, which also houses the Winter Park History Museum. The open-air market offers baked goods, produce, plants, honey, cheese, meat, flowers, crafts and other specialty items. After shopping, make a morning of it with a stroll along nearby Park Avenue. Dogs are welcome to bring their people. 200 West New England Avenue, Winter Park. cityofwinterpark.org.
Bach Festival Society of Winter Park. The society’s signature festival of concerts occurs every February and March, but it offers musical programs throughout the year. Here’s what’s coming for the remainder of 2018. First is Carmina Burana, a collaboration with the Orlando Ballet at the Dr. Phillips Center for the Performing Arts in Orlando. There are four shows: October 12 at 7:30 p.m., October 13 at 2 and 7:30 p.m., and October 14 at 2 p.m. Tickets to composer Carl Orff’s extravaganza are $19 to $99. Visit drphillipscenter.org or call 844-5132014. Next, as part of the Visiting Artists series, is the Eroica Trio. The October 28 concert features the award-winning trio of pianist Erika Nickrenz, violinist Sara Parkins and cellist Sara Sant’Ambrogio performing Dmitri Shostakovich’s Trio in E minor, Op. 67, and Felix Mendelssohn’s Trio in C minor, Op. 66. The performance begins at 3 p.m. in Tiedtke Concert Hall, and tickets are $25 to $69. Then, as part of the Insights & Sounds series, is Joe and Mike: The Haydn Brothers. The November 8 concert features music written by Franz Joseph Haydn and his younger brother Johann Michael Haydn, whom Mozart called the best church musician in Austria at the time. The performance begins at 7:30 p.m. in Knowles Memorial Chapel, and tickets are $20 to $45. Also in November, as part of the Choral Masterworks series, is Mendelssohn and Mahler. The November 18 concert features the society’s choir and orchestra presenting a program of works by Felix Mendelssohn and Gustav Mahler. The performance begins at 7:30 p.m. in Knowles Memorial Chapel, and tickets are $25 to $69. The year concludes with two Christmas programs: Christmas in the Park is an annual exhibition of century-old Tiffany windows from the Morse Museum of American Art combined with an outdoor concert of holiday favorites by the society’s choir, youth choir and brass ensemble. The December 6 event, held in Central Park, begins at 6:15 p.m. and is free. Finally, as part of the Choral Masterworks series, A Classic Christmas is set for December 15 and 16 at 2 p.m. and 6 p.m., respectively. It features the society’s choir, youth choir and orchestra presenting another program of holiday music, this time in the more contemplative setting of Knowles Memorial Chapel. Tickets are $35 to $79. 407-646-2182. bachfestivalflorida.org. Blue Bamboo Center for the Arts. This eclectic venue is part concert hall, part recording studio and part art gallery. It offers live performances most evenings, with an emphasis on jazz, classical and world music — although theater, dance and spoken-word presentations are also on the schedule. Admission generally ranges from free to $25. Upcoming musi-
cal performances include Nate Najar Trio (October 5, 8 p.m., $20), Ronnie Leigh (November 3, 8 p.m., $20), Mark Dawson (November 24, 8 p.m., $20), Mike Arroyo: The Expanded Jazz Organ Trio (November 25, 8 p.m., $20), Jason Marsalis Quartet (December 4, 7:30 p.m., $25), Diane Marino Quartet (December 7, 8 p.m., $20), Jonathan Baptiste and The Urban Intellectuals (December 8, 8 p.m., $25), Jaimie Roberts (December 14, 8 p.m., $20), Special EFX featuring Chieli Minucci (December 30, 7:30 p.m., $28 to $55). 1905 Kentucky Avenue, Winter Park. 407-636-9951. bluebambooartcenter.com. Central Florida Folk. This Winter Park-based notfor-profit is dedicated to promoting and preserving live folk music, primarily through concerts usually held on the last Sunday of each month (unless a holiday intervenes). The group’s primary venue is the Winter Park Public Library, 460 East New England Avenue, Winter Park. The next three concerts are: Ruth Wyand, with Tony Macaluso (October 28); Giulia Millanta, with Brett Cammack (November 18); and Keith Rea, with Jenn Weidley (December 9). Performances start at 2 p.m. A donation of $15 for nonmembers is suggested. 407-679-6426. cffolk.org. Dexter’s of Winter Park. This well-known restaurant in Winter Park’s Hannibal Square district occasionally has live musical acts, with no cover charge. Upcoming events include Dave Schweizer: Life on Mars (October 3, 6:30 p.m.). 558 West New England Avenue, Winter Park. 407-629-1150. dextersorlando.com. Music at the Casa. The Casa Feliz Historic Home Museum presents free acoustic-instrument performances on Sunday afternoons from noon to 3 p.m. in the museum’s cozy main parlor. Upcoming performances include: Omar Miguel and Alboreá Dances (October 7), classical guitarist Luis Garcia (October 14), harpist Victoria Schultz (October 21), Classern Quartet (October 28), jazz saxophonist Matt Festa (November 4), Beautiful Music (November 11), pianist and singer Shirley Wang (November 18), classical guitarist Brian Hayes (November 25), saxophonist George Weremchuk (December 2), Alboreá Dances (December 9) and Anthology Quartet (December 16). The venue will be closed December 23 and December 30 for the holidays. 656 North Park Avenue (adjacent to the Winter Park Golf Course), Winter Park. 407-6288200. casafeliz.us. Orlando Philharmonic Orchestra Holiday Pops Concert. Celebrate the season with the Orlando Philharmonic Orchestra in Central Park’s West Meadow. The Phil’s 4 to 6 p.m. program, set for December 2, will include holiday favorites. Bring a blanket and a picnic to this free event, made possible by the Charlotte Julia Hollander Trust. 407599-3399. cityofwinterpark.org. Performing Arts of Maitland. This not-for-profit group works with the City of Maitland and other organizations to promote performances for and by local musicians. It supports various groups, including the Maitland Symphony Orchestra, Maitland Market Music, the Maitland Stage Band and the
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EVENTS Baroque Chamber Orchestra. Its fall schedule includes a free October 18 concert by the full orchestra at 7:30 p.m. in Maitland Presbyterian Church, a November 3 concert by the chamber orchestra at 4 p.m. in the Venue on the Lake ($10 at the door) and November 17 performances by Maitland Market Musicians and the Maitland Stage Band featuring Michael Andrew during the Maitland Rotary Art Festival at Lake Lily. 407-339-5984, Extension 219. pamaitland.org.
Authors Matthew Fox (above left) and IIia Delio (above right) will be the keynote presenters for the eighth annual GladdeningLight Symposium of the Spiritual Arts. This year’s theme: The Science of Love: Divine Imagination, Evolving Universe.
EXPLORING SCIENCE, SPIRITUALITY, LOVE GladdeningLight, a local nonprofit that holds an annual three-day symposium concerning the intersection of spirituality and the arts, has announced the keynote presenters for its 2019 event, slated February 1-3 at Rollins College. And it’s not too early to register, since some symposium activities usually sell out in advance. Featured will be Matthew Fox, an activist and theologian who ignited the revolutionary Creation Spirituality movement, and Ilia Delio, a Villanova University professor whose scholarship concerns the integration of science and religion. The theme of the eighth annual GladdeningLight Symposium of the Spiritual Arts is The Science of Love: Divine Imagination, Evolving Universe. “Leading-edge science supports a new understanding of love as the fundamental energy of evolution,” says Randall B. Robertson, the organization’s founding director. “We’re fortunate to host two beacons of the modern Creation Spirituality movement, in dialogue together for the first time.” Creation Spirituality integrates the wisdom of indigenous, Eastern and Western mysticism with the revelations of modern science to promote social, racial, gender and environmental justice. Past GladdeningLight symposia have welcomed visitors from 33 states and around the world. The 2018 symposium was the first hosted by Rollins. The arts play a prominent role in every GladdeningLight symposium, and next year is no different, showcasing the talents of Nóirín Ní Riain and Owen and Moley Ó Súilleabháin. The Ó Súilleabháins, troubadours in the ancient Irish a cappella tradition, delighted local audiences two years ago. In 2019, they’ll bring their unique brand of musical magic to Knowles Memorial Chapel, where they’ll commemorate the feast day of Irish patron St. Brigid. The February 1 performance will also include a candlelit processional. To help set the mood, GladdeningLight has engaged a guild of local iconographers to paint Celtic icons around the chapel. In addition to performing, the three singers will also offer lectures throughout the weekend. Delio, a Franciscan nun as well as a professor, has recently written a national bestseller, The Unbearable Wholeness of Being. Fox, a symposium keynoter in 2013, has written such perennial bestsellers as Original Blessing. He heads the Fox Institute in Boulder, Colorado. Cost to attend the entire weekend is $220, which allows access to all symposium events. There’ll be $25 single tickets available to hear Fox and Delio in dialogue on February 2. Rollins students, staffers and faculty members are granted free, all-access admission with pre-registration and valid ID. Call 407-647-3963 or visit gladdeninglight.org for more information.
102 W I N T E R P A R K M A G AZI N E | FALL 2018
Independence Lane Block Party. The City of Maitland celebrates the grand opening of Independence Lane — a scenic street designed for shopping, restaurants and public events — with a “Getdown Downtown” block party on October 5 from 6 to 10 p.m. The street, which parallels U.S. Highways 17-92 and Maitland Avenue from Horatio to Packwood avenues, is part of a newly built, high-density residential and retail project in the heart of the city’s redeveloped downtown. The block party will include live music, food and drink, and activities for children. Independence Square — a large park at the north end of the new street, next to City Hall — is set to be completed next year. 407-539-6200. itsmymaitland.com. Park Avenue Sidewalk Sale. Enjoy savings of up to 70 percent at participating stores along Park Avenue October 11 to 13. Hours are 10 a.m. to 6 p.m. Sponsored by the Park Avenue Merchants Association. 407-6448281. winterpark.org/park-avenue.
Florida Writers Association. The Orlando/Winter Park-Area Chapter meets the first Wednesday of each month from 6:30 to 8:30 p.m. for guest speakers and discussions organized by author Rik Feeney. Upcoming discussions are set for October 3, November 7 and December 5 at the University Club of Winter Park, 841 North Park Avenue, Winter Park. Another chapter, the Maitland Writers Group, meets the second Thursday of each month from 6:30 to 8:30 p.m. for speakers and discussions organized by author Nylda Dieppa-Aldarondo. Upcoming dates are October 11, November 8 and December 13 at the Maitland Public Library. 501 South Maitland Avenue, Maitland. floridawriters.net. Elixer Mixer. Meet and watch the best shakers and stirrers in the area as they compete for your vote at Eden Bar’s annual Elixir Mixer. A $20 ticket to the outdoor bar — part of Maitland’s Enzian movie theater complex — on November 3 from 2 to 4 p.m. offers access to this tasting event, during which drinks are created by some of the region’s most talented (and most flashy) bartenders. Of course, you must be age 21 or older to attend. 1300 South Orlando Avenue, Maitland. 407-629-0054 (information line), 407-629-1088 (theater offices). enzian.org. Wednesday Open Words. One of the area’s longest-running open-mic poetry nights happens every Wednesday at 9 p.m. at Austin’s Coffee, 929 West Fairbanks Avenue, Winter Park. The free readings are hosted by Curtis Meyer. 407-975-3364. austinscoffee.com.
Work in Progress: A Group for Writers. This monthly discussion group is for writers in any genre who offer and receive feedback from their peers. Guest speakers are often invited. Upcoming dates include October 6, November 3 and December 1, each from 1 to 2:30 p.m. Those planning to read their work should register with organizer and host Gerald Schiffhorst, a University of Central Florida professor emeritus of English, by emailing email@example.com. Conference Room, Winter Park Public Library, 460 East New England Avenue, Winter Park. wppl.org. Writers of Central Florida or Thereabouts. This group offers various free, open-mic programs that attract writers of all stripes. Short Attention Span Storytelling Hour ... or Thereabouts, a literary openmic night, meets the second and fourth Wednesdays of most months at 7 p.m. It’s for authors, poets, filmmakers, comedians, musicians, bloggers and others. Upcoming meet-ups include October 10 and 24, November 14 and 28, and December 12 and 26. A new series, sponsored by the group Tim Rumsey’s Touch the Heart, focuses on works that reach readers emotionally. Upcoming meet-ups include October 17 and December 19. Stardust Video & Coffee, 1842 Winter Park Road, Winter Park. meetup.com/writers-of-central-florida-or-thereabouts, stardustvideoandcoffee.wordpress.com. University Club of Winter Park. Members are dedicated to enjoying intellectual activities and socializing with fellow knowledge-seekers. The club’s activities, including lectures, are open to the public, although nonmembers are asked to donate a $5 activity fee each time they attend. 841 North Park Avenue. 407-644-6149. uclubwp.org. Sip, Shop & Stroll. Experience the charm of Winter Park’s world-famous Park Avenue, the region’s premier shopping district, while enjoying wine and hors d’oeuvres at participating businesses throughout the area. The November 15 event, organized by the Winter Park Chamber of Commerce and the Park Avenue Merchants Association, runs from 5 to 8 p.m. Check out fashions, gift ideas and seasonal menus during this lead-up to Small Business Saturday, which this year is November 24. Tickets are $25; check in at the corner of Park Avenue and Morse Boulevard between 5 and 7 p.m. to receive your wine glass and “passport.” 407-644-8281. winterpark.org, experienceparkavenue.com.
Good Morning Winter Park. Hosted by the Winter Park Chamber of Commerce, these monthly gatherings attract business- and civic-minded locals who enjoy coffee and conversation about community issues. Scheduled for the second Friday of most months, upcoming dates include October 5, November 9 and December 14. Networking begins at 8 a.m., followed by a 45-minute program at 8:30 a.m. Admission, which includes a complimentary continental breakfast, is free. Winter Park Welcome Center, 151 West Lyman Avenue, Winter Park. 407644-8281. winterpark.org. The Hot Seat. Hosted by the Winter Park Chamber
of Commerce, this series of quarterly, business-oriented luncheons puts local executives in the spotlight as they offer advice and discuss entrepreneurism, leadership and sales-and-marketing techniques. The next gathering, set for October 24 from 11:30 a.m. to 1 p.m., features Doug Storer, chief executive of Night Tech Gear Shoe Lights of Orlando. Tickets are $10 for members and $15 for nonmembers. Reservations are required. Winter Park Welcome Center, 151 West Lyman Avenue, Winter Park. 407644-8281. winterpark.org. Winter Park Executive Women. Hosted by the Winter Park Chamber of Commerce, these gatherings — held the first Monday of most months from 11:30 a.m. to 1 p.m. — feature guest speakers and provide networking opportunities for women business owners. Topics revolve around leadership development, business growth and local initiatives of special interest to women. Upcoming dates include October 1 and November 5. Tickets, which include lunch, are $25 for members and $50 for nonmembers. Reservations are required. Winter Park Welcome Center, 151 West Lyman Avenue, Winter Park. 407-644-8281. winterpark.org.
12th Annual Peacock Ball. The Winter Park History Museum’s annual fundraiser takes place this year on October 6 at Interlachen Country Club. This year’s event honors Randy Noles, editor and publisher of Winter Park Magazine. Tickets are $200 per person, or $1,900 for a non-sponsor table of 10. 2245 Interlachen Court, Winter Park. 407-304-6355. wphistory.org. Curtains Up! 2018. Winter Park Playhouse’s annual fundraising gala, set for October 24 from 6-10 p.m., includes more than a dozen musical performers in a one-of-a-kind show plus food, an open bar, and both silent and live auctions. Proceeds benefit Winter Park’s only professional, not-for-profit theater. Tickets are $150 each; seating is limited to 123 persons. 711 Orange Avenue, Winter Park. 407-6450145. winterparkplayhouse.org. Lake Killarney Watershed Cleanup. Volunteers who help the City of Winter Park collect litter from around Lake Killarney — bounded by Orlando Avenue (U.S. Highway 17-92), Lee Road, Wymore Road and Fairbanks Avenue — receive breakfast, a T-shirt, a snack and a water bottle. Kayakers and paddle boarders are welcome to participate. Volunteers meet October 20 at 8 a.m. at 450 Harper Street; parking is available there by the softball field in Martin Luther King Jr. Park. Supplies will be provided. 407-599-3364. cityofwinterpark.org. Partcipation 2018. Each year the Art & History Museums – Maitland stage a celebration on the grounds of the Maitland Art Center to raise money for the region’s only National Historic Landmark. This year’s event, set for October 25 from 5:30 to 8:30 p.m., features an elegant dinner, live entertainment (including music by Trecio and paintings by PJ Svejda) and a silent auction. Honorees include Maitland Mayor Dale McDonald, Jacqueline and Daniel Devine, The Joe & Sarah Galloway Foundation, Attillo and Florence Banca and Mary
Curtis Bok, one of the original patrons of the museum and its founder J. André Smith. Tickets are $125. Germaine Marvel Building, 210 West Packwood Avenue, Maitland. 407-539-2181. artandhistory.org. Backyard Biodiversity Day & Native Plant Sale. The local chapter of the Florida Native Plant Society will do more than just sell plants at Winter Park’s Mead Botanical Garden on October 20 from 9 a.m. to 3 p.m. Free activities include guided hikes, workshops, live music, food trucks and children’s activities. All proceeds from the sale — which includes caterpillarhost plants, native wildflowers, and native trees and shrubs — benefit the ecological restoration projects ongoing at the garden. 1300 South Denning Drive, Winter Park. 407-647-5233. meadgarden.org. GrowVember Fall Plant Sale. With cooler weather and fewer bugs, autumn is a fabulous time for planting. That’s why, on November 3 from 8 a.m. to 4 p.m., Mead Botanical Garden hosts a variety of plant and nursery vendors offering a large selection of plants, home-and-garden accessories and specialty items. Net proceeds from the sale also benefit the ecological restoration projects ongoing at the garden. 407-599-3397. meadgarden.org. Cows ’n’ Cabs. It’s a celebration of food and wine with some of the region’s best chefs and restaurants at the helm — and 100 percent of the proceeds go to Elevate Orlando and After-School All-Stars, two local not-for-profit programs that help underserved middle and high school students. The November 3 event, which includes live music, begins at 6 p.m. in the West Meadow of Central Park. Last year, tickets ranged from $110 to $500 a person; this year a new price structure is planned that had not been finalized at press time. cowsncabs.com. 9th Annual Pumpkin Run 5K. This family-friendly event in Winter Park’s Mead Botanical Garden — for runners, race-walkers and casual walkers — is a fundraiser that supports mission projects undertaken in Haiti by St. Margaret Mary and St. Stephen Catholic churches. Registration for the November 10 race ranges from $15 for students before October 9 to $35 for adults on race day. The chip-timed 5K begins at 7:30 a.m., with last-minute registration opportunities beginning at 6:30 a.m. All participants receive a race T-shirt and are invited to an after-race celebration and awards ceremony. Free digital photos are available. 1300 South Denning Drive, Winter Park. 407-421-2151. pumpkin5krun.com.
CoffeeTalk. These free gatherings, sponsored by the City of Winter Park, are held on the second Thursday of most months and offer residents an opportunity to discuss issues of concern with local officials. Coffee is supplied by Barnie’s Coffee Kitchen. Upcoming topics and guests include Vice Mayor Pete Weldon (October 18) and Commissioner Carolyn Cooper (November 8). The hour-long sessions begin at 8 a.m. at the Winter Park Country Club, 761 Old England Avenue. 407-644-8281. cityofwinterpark.org. FA L L 2 0 1 8 | W INTE R PARK MAGAZ IN E
ARTSBEAT | BY MICHAEL MCLEOD
A STYLISH BIOGRAPHY
leven years ago, Kristina Tollefson set out to investigate an urban legend. Nothing like, say, a Yeti being sighted in Mead Botanical Garden. Tollefson’s specialty is costuming, not creepiness, and she was intrigued by stories she’d heard of a wealthy fashionista in her 80s who had hoarded every article of clothing she’d ever owned — all of it stashed away in a fabled, oversized closet in her Longwood mansion. Tollefson is an associate professor and resident costume and makeup designer at the University of Central Florida’s School of Performing Arts. The fashionista was Harriett Lake, a flamboyant matriarch beloved for her brassy, larger-than life personality, renowned for her generosity to charities, and envied for both her gaudy, extensive wardrobe and her oversized closet — make that “closets” — including one so jampacked that it was equipped with a dry-cleaner conveyor-belt system. What Tollefson had in mind was the chance to meet Lake and study her collection for costuming ideas. What happened instead was that she became a regular visitor to the fabled closets — and a friend, biographer and ad hoc wardrobe assistant to their proprietor. “I’d get voicemails from her — I actually have a couple of them saved — that said, ‘Call Harriett! I need your help!’ When I called her back, she’d
say, ‘Oh, thank God! Do you know where that black satin skirt with the wide waistband and the crinoline underneath is?’ Or, ‘I can’t find that black fabric flower. That one I usually wear with the Ferragamo cape.’ Or, ‘You know that blouse and skirt I wear under the peach Adrienne Landau? I can’t find them anywhere!’” And so it went until June, when Lake died at the age of 96, just a few weeks before the Florida Historical Society published Too Much Is Not Enough: The History in Harriett’s Closet. It’s a lavishly illustrated, 550-page tribute by Tollefson and co-author Jodi Ozimek that encompasses both the evolution of Lake’s sense of style and the roots of her passion for humanitarian causes, which she shared with her husband, Orlando developer and entrepreneur Hymen Lake, who died in 2010. Sections of the book, which carries a cover price of $95, are devoted to full-page photos of signature designer ensembles from the ’60s through the ’90s, mined from the closets, styled under their owner’s watchful eye and accompanied by a typically laconic Lake quote. (One tart example, printed alongside a photo of a delicately ruffled white satin dress: “Harriett’s Fashion Week in Winter Park. How did that start? They needed money. Isn’t that how everything starts?”) But the best part of the book is the biography.
A lifelong fashionista and a legendary philanthropist, Harriett Lake died at age 96, just a few weeks before the Florida Historical Society published Kristina Tollefson and Jodi Ozimek’s lively account of a life well lived.
104 W I N T E R P A R K M AG AZI N E | FALL 2018
Tollefson had indeed stumbled onto a legend — and found herself caught up in the enterprise of separating myth from reality, fiction from fact. A few examples: No, Lake did not hoard every stitch of clothing she ever owned. She did, however, have more than 5,000 hanging items, 1,600 hats and 450 pairs of shoes — nearly all of which she donated to be sold off for charities before she died. No, although he did wear an inexpensive Kmartpurchased watch instead of a bejeweled Rolex, as his wife would have preferred, Hymen Lake wasn’t a cheapskate, as many had whispered. When it came to social causes, his spirit of generosity paralleled hers. He had grown up in poverty. Many of his neighbors in the Chicago tenement where his family lived were black. After building the residential development in south Orlando that would make him a fortune in the ’60s, he became one of the first to sell a home to an African-American family at a time when few of his cohorts had the moral courage to risk “white flight” from their subdivisions. No, Harriett wasn’t just a showoff. Quite the contrary, she was afraid of attracting too much attention. That’s why so many things she funded — playgrounds, boutiques for woman recovering from breast surgery, the new home for the Orlando Ballet, the lavish ladies’ bathroom at the Dr. Phillips Center for the Performing Arts — are simply known by her first name, at her request. No, she did not track down Coco Chanel and cut backroom deals for first dibs on prime ensembles (I’d heard that rumor myself). She did, however, once approach a total stranger who was carrying an Anne-Marie Champagne Bucket handbag and offer to buy it from her on the spot. Its owner declined — at first. “I’ll give you a thousand dollars for it,” said Lake. Replied the woman: “Let’s find a shopping bag I can dump all my stuff into.” Michael McLeod is a contributing writer for Winter Park Magazine and an adjunct instructor in the English department at Rollins College.
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