The Shark Pit Bar & Grill
• Tobin Bennison •

For all our easygoing, open-minded reputation is worth, beachside residents can certainly be a prejudiced bunch, especially when it comes to how far we’ll go for a good meal.

For the majority of us, a hungry drive to the mainland becomes a begrudging sojourn that usually ends at one of the many reliable, albeit characterless chains. Limited beachside, and all safe options exhausted, the last place we’d look for sustenance is in a hotel, much less one that’s hidden under the garish tourist towel thrown over the east side of A1A and 520. But we’d all do well to take a cue from the scores of seasoned travelers who know that some of the best kept dining secrets are where you’d least expect to find them.

Right under our collective nose, on the ground floor of the Four Points Sheraton/Cocoa Beach Surf Company building, is the Shark Pit, a restaurant that’s enjoyed some degree of local popularity, yet is still given short shrift by a number of doubters put off by its corporate veneer.

The reality is that while it is the Sheraton’s official restaurant/bar, in keeping with the Four Points brand, the casual, family-friendly Shark Pit is given a considerable amount of leeway in regards to its menu and design. As far as atmosphere goes, the Pit has to be one of the most appealing hotel restaurants within the designation. In fact, everything about it embraces locality and uses its edge as a showcase for Cocoa Beach’s draw as a surfing Mecca to appeal to both visitors and devout locals.

Decorated with rare, and very local surfing memorabilia, the Shark Pit enlightens tourists and heartens longtime residents with its respect for authenticity and regional history. In spite of its 14 televisions, the Shark Pit’s atmosphere is also surprisingly subdued. Thanks to the vaulted ceilings, the ambient sound is diffused enough to allow intimate conversation. Across from the thatched, full liquor tiki bar is the eatery’s claim to fame — a cylindrical tropical aquarium where guests and diners can witness shark feedings every Saturday at noon — but the Shark Pit’s true centerpiece is its large brick oven, in which its famous hand-tossed pizzas are baked to crispy perfection.

There are nine varieties offered — everything from the Florentina (spinach, artichoke, bacon, Portabella mushrooms, mozzarella and Alfredo) to a Hawaiian and a popular shrimp scampi-topped pie. We had the fresh tomato basil pizza, and loved it for the light, refined flavor that still managed to fill. We also tried their fish tacos (by far their biggest seller) with house-made chipotle mayonnaise, a grilled mahi-mahi salad (with roasted almonds, sweet onions, and Mandarin orange dressing), garlic pepper-seared tuna, and the Mahi Rockefeller, which is topped with spinach, bacon, and cheese.

The Shark Pit is also known for its wraps, sandwiches and burgers, all of which feature a signature twist. Their club, for instance, is served on a Kaiser roll with hickory-smoked bacon and a delicious red pepper aioli. All of their burgers are made with Black Angus beef, and can be prepared with Swiss, Asiago, mozzarella, provolone, and, wonderfully, goat cheese. There are over 12 appetizers to choose from and five salad selections (including a generous taco salad filled to the brim), and proper entrees range from a 10-oz. bourbon-glazed pork chop to baby back ribs, and hefty crab cakes with a mustard tartar sauce.

But what sets the Shark Pit above similar hotel restaurants is the fresh, clean flavor of its food. Only the highest quality ingredients are used, and equal attention is paid to both the main item and its accompaniment. The waffle fries that came with the fish tacos were virtually greaseless, and the sweet pepper rice served with our mahi entree was cooked perfectly. Thanks to personable general manager Billy Slone and a dedicated crew, the Shark Pit should have no problem winning over wary locals.

“The stigma of being a restaurant in a hotel is really hard to overcome,” Slone told us. “Locals will usually avoid it. But I think it’s a matter of people just coming in accidentally, trying it out, liking it, and telling their friends. There are people who have lived here their whole lives who’ve had no idea this place was here.” The Shark Pit’s laid-back atmosphere and Thursday “Native Nights,” which offer $3 you-call-it mixed drinks and an $11.95 pitcher and cheese pizza special, have already begun to remedy that issue.

Yet of all the Shark Pit’s charms, its ability to make you feel simultaneously at home and on vacation yourself is what makes it worth discovering and revisiting time and time again.

The Shark Pit is located at 4001 N. Atlantic Ave. in Cocoa Beach, on the ground floor of the Four Points Sheraton/Cocoa Beach Surf Company Complex. Ample visitor parking can be found in the adjoining multi-level parking garage, but it’s easiest to turn onto Brevard Lane just south of the building where you’ll find the outdoor parking lot. The Shark Pit is open from 11 a.m. to 11 p.m. Sunday through Thursday, and closes at midnight Friday and Saturday. They’re also open for a $7.95 breakfast buffet from 6 a.m. to 11 a.m. on Saturdays and Sundays. They offer loads of drink specials throughout the week and hold Happy Hour 7 days a week from 7 p.m. to close. You can watch virtually every sports event broadcast thanks to their 12 receivers and Direct TV access. Take out service is available as well as curbside delivery and a special kids menu is available on request. Call them at 783-8719. You can also view their entire menu online at: www. cocoabeachsurf.com.

View Larger Map

Don Ryan of Surfers for Autism
• Tobin Bennison •

Last September, we interviewed Surfers For Autism President Don Ryan on the eve of what proved to be a huge event for area children and families touched by autism.

Autism, or ASD (Autism Spectrum Disorder), is the fastest-growing developmental disorder in the nation and affects 1 in 150 American children. While the exact cause is unknown, autistic children face tremendous challenges in communicating and are often socially withdrawn. But Surfers For Autism (SFA) has created a day that levels this playing field with the help of a great equalizer: the ocean. During SFA events, qualified surfing instructors and volunteers guide children into the waves, and the line dividing them from non-autistic children swiftly disappears.

The non-profit Boca Raton-based SFA raises funds for Autism Speaks, the nation’s largest autism science and advocacy organization, and has been a top fundraiser for the disorder since its 2007 inception.

Based on the phenomenal success of last year’s inaugural event for the area, Surfers For Autism are due back in Cocoa Beach on July 24 at Lori Wilson Park.

We checked back in with Don to find out what the organization’s been up to since we last spoke.

Tell us about last year’s Cocoa Beach event. How was it received?

Last year’s Cocoa Beach event was absolutely stellar on every imaginable level. From the attendance and how the community received us to the stoke on the beach — it really was breathtaking. At that time last year, it was the farthest we’d ventured from home, and it was uncharted water. From the word “Go,” this community embraced us with such passion and dedication that it really blew us all away. Each event has its own energy and vibe, but they really are all the same in terms of stoke and pure joy. Cocoa Beach is the surfing Mecca of Florida, so things really fell into place easily in terms of planning. One thing that was really touching was the attendance. The beach was completely packed, and we raised over $4,000, which for an inaugural event is a very solid number.

Any striking impressions from that day?

There were so many inspiring stories and surfers that it’s hard to narrow it down. We had one surfer that day that was an absolute ham, grabbing the microphone from reporters and just being the center of attention, which is not the norm for children with autism. Aside from the surfing, every area to the north, south, and west of us was dealing with horrific weather, and we were the only pocket of beautiful weather anywhere around. We are always looked after. It sounds strange to even say, but there were no complications or challenges related to last year’s Cocoa Beach event. This community embraced us entirely and everyone was on board as soon as they learned how true, real, and positive this organization is. There was no need for follow-up meetings or much back and forth. I would make a visit, do my presentation, and right away the response was, “What do you need us to do?” Brevard County Parks and Recreation and the lifeguards were instrumental in ensuring the safety and success of the event and made a huge impact. Local Firefighter Union 2969 also provided vital support.

What has the organization achieved since last summer?

SFA has been very busy since we wrapped up last year’s surfing season. We began an off-season fundraising concert series that ran from Fort Lauderdale all the way to Indialantic. These events were incredibly well attended and we were able to purchase many of the items needed to make us as self sufficient as possible. We filmed segments for some of the most watched news programs in the country, and we currently have a feature length, cinema quality documentary in production.

What have you learned about autism since you first became involved with the organization?

I’ve learned a lot more about the disorder itself, but specifically, I’ve learned that ASD is widely misunderstood due to a lack of awareness. Autism is the fastest growing developmental disorder in the country, and I’m just very surprised at the number of people who are unaware of ASD. On a personal and emotional level, SFA has helped make me a more compassionate and patient person. We’re all very passionate about what we do and we’re positive that it does make a difference.

Tell us about this July 24 event. What activities do you have planned?

We will be at Lori Wilson Park on July 24 from 8 a.m. to 4 p.m., and there is absolutely no cost to our participating families. If you want to register your child to surf with us, please send an email to: surfersforautism2010@live.com with “Space Coast registration” as the subject, and please describe your surfer. Surf sessions run throughout the day, but the day is about more than just surfing. We will have live music, face painting, catered lunch for our families and volunteers, raffles, puppet shows and pretty much anything you could think of that would make a stellar beach party.

Are you still in need of volunteers? What can people do to help?

Yes! Please! At our last event, we registered 152 surfers, which means we needed 250 volunteers. This is one of the most important areas we need to cover because without enough volunteers, kids don’t surf as much. You do not need to be a surfer, lifeguard or have special training to get in the water with our kids. If you’re interested in making a huge difference in the lives of close to 200 very special families, please send an email to: sfavolunteer@live.com with “Space Coast volunteer” in the subject line, and we will get back to you with the relevant information. The day of the event, there will be a massive fundraising raffle featuring surfboards, beach cruisers, surf gear, sunglasses and much more. Our website is currently being updated and you will be able to take donations online shortly at: www.surfersforautism.org.

Are there any other events planned for the rest of Florida?

We are thrilled to announce the addition of two new events due to the unfortunate situation in the Gulf with the oil spill. We had to pull two events from the West Coast of Florida due to that situation, and we will be in the Daytona Beach area August 28, the Saint Augustine area on September 25, and will wrap up the surf season in the Jacksonville Beach area on October 30.

Where do you hope to see Surfers For Autism come 2015?

By 2015, we will have the entire Eastern Seaboard covered. Several communities have been contacting us, and we cannot wait to bring them their first annual event. Once we have a few events at a given location, those areas will then become SFA chapters and will have the ability to host their events. By 2015, we will have chapters in California as well, as they are very passionate about what we do.

What message do you hope will come out of the day on July 24?

These children have incredible capabilities, yet the families face sometimes overwhelming challenges. We need to figure out what we did to create this condition. In 10 years, the odds of having a child with autism went from 1 in 10,000 to 1 in 150. Plus, I think it’s important that people realize that these children are not unruly, spoiled brats throwing tantrums. Autism is a developmental disorder, not a physical disability.

To find out more about Surfers For Autism, log on to: www.surfersforautism.org, or find search for their page on Facebook. Lori Wilson Park is located at 1500 N. Atlantic Ave., about 1.5 miles south of S.R. 520 on A1A in Cocoa Beach.

Toronto
• Words and photos by Vern Hobbs •

“They walk among us, undetected,” warned the stoic TV reporter, thus inspiring Sheriff Bud Boomer’s ridiculous invasion of Canada. “Canadian Bacon,” the 1995 cinematic gaffe that might explain director Michael Moore’s switch from comedies to documentaries was not my reason for traveling to Canada, but it was on my mind as we descended toward Toronto’s Lester B. Pearson Airport.

Pearson, like many metropolitan airports, is far from downtown. Frommer’s Canada warned of $90 cab fares, making the Airport Express a bargain at $19 one-way. Always the frugal travelers, we visited the tourist information kiosk just outside the customs arrival hall where we first encountered the polite helpfulness for which Canadians are famous. Gracious volunteers explained convenient bus and subway connections on Toronto’s efficient public transportation system, the TTC. In less than an hour, we were in the heart of Toronto for less than five bucks. Make that five “loonies” — the accepted slang term for the Canadian dollar.

Next, we rolled the dice with Priceline.com’s, “name your price” option and scored a choice room at the Sheraton Centre. A more central location cannot be found! The fact that our visit began mid-week helped the gamble pay off, but just in case it didn’t, we had researched Lonely Planet: Toronto and found a wealth of low to moderate priced accommodations, including popular chains, boutique hotels, bed and breakfasts, and even youth hostels that aren’t especially strict about one’s degree of “youth.” If cost had not been of concern, however, we might have chosen the Fairmount Royal York Hotel where Queen Elizabeth II stays on all her state visits. When first constructed in the early 20th century, the York was the largest hotel in all the British Empire. Even if you stay elsewhere, a stroll through the York’s magnificent lobby and mezzanine is both an elegant experience and an invaluable history lesson.

Meanwhile, back at the Sheraton, the most affable concierge (are they all this friendly?) informed us we had arrived on the first truly warm day of the year, and that meant the place to be was the lake. The shore of Lake Ontario literally becomes Toronto’s front lawn during the summer months. The lakeshore, or “harbourfront” as it is also known, lies at the south end of Yonge Street, downtown Toronto’s principle north-south thoroughfare. The bustling harbourfront extends from the Distillery District on the east side to the Rogers Centre and CN Tower on the west. Toronto locals throng to the lakeshore to enjoy amphitheatre, art galleries, outdoor cafes, water excursions, bars, clubs, sporting events, and the sprawling public parks on the Toronto Islands, just offshore.

The unique Distillery District is a clever melding of old and new. National Geographic has declared the restoration of the sprawling Gooderham and Worts Distillery to be the most extensive restoration of Victorian era industrial structures in the world. Twenty-first century architecture is tastefully intermingled; modern buildings literally sharing walls with gracious edifices of the past. Within this fusion of modernity and antiquity are shops, cafes, galleries, and residential condominiums.

Queens Quay, at the foot of Bay Street, is home to the Toronto Island Park Ferry Terminal. Here, six-and-a-half “loonies” will buy you a short ferry ride to the largest car-free urban environment in North America. Toronto Island Park encompasses Centre Island, including the Ward Island neighborhood, as well as Algonquin and Olympic Islands. The respite from city life offered by this sprawling green space makes the islands a favorite weekend destination for Toronto’s 2.5 million urbanites.

“Canuck central…,” Rea Pearlman’s character, Honey, declared as she plotted her one-woman assault on what she mistakenly took to be the capitol of Canada. That screwball movie has crept back into my brain as I stare up at the majestic CN Tower. Originally built as a communications tower by the Canadian National Railway, the CN Tower was the world’s tallest freestanding structure for over 30 years, having been only recently surpassed by Dubai’s Burj Khalifa Tower. This iconic symbol of Canadian engineering prowess still fills its original role, but also provides panoramic views that stretch as far as Niagara Falls, as well as fine dining in its award winning restaurant, Three-Sixty. Co-located with the CN Tower is Rogers Centre, Toronto’s premier entertainment venue with seating for 50,000 and home to the Toronto Blue Jays.

It was tempting to spend our entire visit right there at the lakeshore, but intrepid explorers must explore and so we were off to the Toronto Zoo, one of the world’s best. Toronto Zoo has earned much of its well deserved acclaim through its pioneering efforts to maximize the use of habitat simulation — presenting animals in spacious surroundings designed to replicate their natural environment while fencing in the human spectators. Toronto Zoo has also won accolades for its captive breeding program for the endangered cheetah. This project has succeeded where others have failed, helping to insure the survival of this magnificent, yet threatened species. The tiny cheetah cubs we watched frolicking with their mother may well prove to be our most endearing memory of Toronto.

On our last day, we opted to simply stroll around some neighborhoods to see how the locals lived. First stop, the Kensington Market, an open-air bazaar often compared to the famous street markets of London. That’s where we discovered something many Americans fail to realize about Canada — its ethnic diversity. Every nationality on the planet was seemingly represented on Kensington Street. Toronto’s ranking among the world’s great melting pots is further evidenced in the names of her principle neighborhoods: Greektown, Chinatown, Koreatown, Portugal Village, Cabbagetown (the Irish district), Corso Italia… With all this mixing of cultures, I wondered how Canada appears to avoid the racial tensions that have long plagued my country. Is it a façade? Is there trouble bubbling just below the surface, or do they really all get along?

Heavy thoughts like these are better weighed over a cold beer, so we popped into a nondescript bar called The Horseshoe Tavern. The Horseshoe, it turned out, is anything but nondescript. It is, in reality, one of Toronto’s hottest nightspots. Top-billed performers from Gordon Lightfoot to The Rolling Stones have played The Horseshoe, and big name artists still count this Toronto institution as a “must play” venue.

The Horseshoe was quiet the afternoon we stopped in, allowing us a casual chat with the bartender, a Toronto native who left years ago to wander the globe, only to return after realizing that there was no place she’d rather live. After learning the Horseshoe’s colorful history, looking at photos of the greats who have performed there, and downing a few rounds, I posed my question about Toronto’s public face of virtual crime-free harmony. The salty bartender put it simply, “We’re all proud of our heritage, but there are no hyphenated Canadians — just Canadians.”

Flying home, the closing scene from “Canadian Bacon” flashed into my mind: Bud Boomer crossing back over the Niagara River in a stolen boat, having learned absolutely nothing from his adventure in Canada. Like Sheriff Boomer, I too was happy to be homeward bound, but unlike ol’ Bud, I had learned a thing or two north of the border.

There’s a good chance you’ve seen some of Derek Gore’s work without realizing it.

Having spent more than a decade in the corporate art world after graduating from the Rhode Island School of Design, the Melbourne-based artist has produced designs for clients like Lucasfilm, U2, Sublime, the NFL, ESPN, Major League Baseball, and Reebok, to name a scant few. Gores was also one of fifteen artists selected for the 2009 Manifest Hope exhibition prior to the presidential inauguration in Washington, D.C., and has since earned commissions from Pfizer and SEIU’s health care reform campaign. He’s currently at work on five of his signature collage pieces for the new Orlando Magic arena due to open in September, and several of his originals feature prominently in the “New Contemporary Movement” exhibition being showcased at the London Miles Gallery.

But while Gores is principally known for his impressive professional credentials, the sheer variety of his work — the art nouveau romanticism of several Schiele and Klimt-inspired line drawings, a series of muted abstracts, and scores of mixed media collages — renders easy labels like mere “graphic artist” wholly insufficient. If there’s one binding theme running through Gores’ vast portfolio, it’s the blurring of several borders separating commercial graphics from fine art, an ethos that also informs the work of another of his influences, Toulouse-Lautrec.

I ask him if he finds an inherent difference between the two disciplines. “Graphic design can be art surely; maybe it’s a scale thing. There’s plenty of graphic design that is moving, just as there is plenty of traditional art that is not. Way, way back, someone like Toulouse-Lautrec would have been considered a graphic designer with his burlesque posters, and yet those are indeed art.”

Gores admits to having waged “a healthy inner and outer battle” between commercial art and dreamy abstract painting while pursuing an illustration major at RISD. “Each helped the other in my case,” he says. “I came into RISD very precise and controlled, and was introduced to faster and wilder alternatives, like drawing with both hands at once or using lots of gushing water to make everything just beyond my control.”

Many of Gores’ abstracts and distinctive collages incorporate angular elements of fashion and machinery design. “I enjoy the contrast between living beauty and man-made beauty, such as buildings, engines, typography, hard-edged creations. In my collage art, I hand-rip recycled magazines, maps, and schematics to build the figures. Fashion design utilizes a similar idea, where very angular and sharp compositional shapes are used to accentuate the feminine qualities of the figure. By using fashion magazines in much of my collage artwork, I’ve been able to combine several of my influences and interests into one piece of art. Lately I’ve made a series of collaged high-heeled shoes.”

Gores, who is originally from New York, also cites the backdrop of his New England youth as a strong influence. “My young years were spent in Massachusetts, with little vacations to Cape Cod,” he tells me. “The whole ‘roots of the nation’ thing in New England is a tangible and a big part of my inspiration… as well as big stuff like how the man-made structures harmonize with the woods, ocean, sea grass and the slate-rock walkways.” After moving with his family to Florida, Gores came to embrace a different kind of simplicity and minimalism.

“I like the conditions here,” Gores says, before describing the Brevard arts scene as “nicely percolating.” “We have unique conditions, such as the smarts fostered around the Space Program, which sparked all sorts of innovative companies. We have a great educational system, including an internationally respected tech school. Complement that with beach culture, bike culture, bold youth, a hungry art museum, and here we go,” he says. “I love that we have people willing to make their town more cool. I don’t hear ‘Melboring’ like you used to, like a victim. Artists are out there concocting shows, music festivals, and partnering with developers. The fashion boutiques are creating spectacles. I think more artists are standing on each other’s shoulders and shouting louder. We’re getting past just hanging our little rectangle paintings on someone’s wall and hoping it will sell. More and more artists are curating — curating a space, a room, a show, their town. These are the qualities you want from a strong art scene.”

As an extension of those beliefs, Gores is known for promoting other local artists. “I try to be aware of all our artistic resources… just because I love art and I want to see all of it. And then once it is in my head, I do pass on leads to people, such as the Sports and the Arts organization who commissioned me to do several pieces for the new Orlando Magic Arena. I asked to hear their big picture, and then suggested about ten Brevard artists they ought to get involved to fill the particular needs. Locally, I love seeing the work of Jeff Filipski, SONE, certainly Chris Maslow who is just on fire, also Marg Kuhl, David Burton, Larry Buist. Casey Decotis’ photos. Always Cliff Chandler’s big plans. Ryan Speer of Speerbot made my website, and he is able to take graphic design to that higher level. ”

Arts education within the local community is another issue Gores is passionate about. “We have to make sure not to butcher our arts programs in the public school system. Here’s why: Firstly, Arts education isn’t just for future artists. It is the most pure version of fostering creative problem-solving skills for young minds. Achievers in any field need those problem-solving skills, whether kids eventually become doctors, lawyers, chefs, engineers or policemen and women. Secondly, a big chunk of the population respond more to arts-based education than they do to the linear logic in old-school math, for example. So, voters and parents and the school board need to recognize that art isn’t ‘pretty pictures’ and a ‘nice to have’ in between the hard stuff. Art is essential in education.”

I ask Gores about his first exposure to art and how, if at all, his views have changed since he first began sketching invented “Star Wars” characters. “I think everything I’ve done has always been about people,” he responds. “The living, moving, pulsing energy of the human being. At age 7, it was those made-up fantasy characters and their worlds. Later, it fit under the name ‘figure study,’ but that somehow limited it to just the physical body. Now I hope I go after the beauty of what it is like to be alive, with all the intuitions and the peripheral vision and distractions and intense passions and butterflies in the stomach that go with really living.”

View some of Derek Gores’ work online at www.derekgores.com. He can be reached at 258-2119. Here in Florida, Gores will have a solo exhibition at Tampa’s Baisden Gallery on September 11. In October, Gores’ work will be at SLOW Gallery and Downtown Divas Boutique in Melbourne. Gores was recently chosen to design the poster for fall’s Space Coast Art Festival.

Sun On The Beach
• Tobin Bennison •

Taken at face value, there’s not much to distinguish Sun on the Beach from other east coast Florida diners, hundreds of which pepper the shore that stretches from Fernandina Beach to Key West.

You’ll notice that it is closer to the ocean than most independently owned diners — it is, in fact, one of two with ocean views between Cocoa Beach and Vero — but beyond that, everything about its outward appearance hews to the common model, from its bright, colorful atmosphere down to its sand-flecked welcome mat.

Walk in, and everything continues according to plan. Over there sit a family of tourists in the booth behind an elderly couple, and up at the counter hunch a trio of local surfers in damp, briny baggies. You’re going through your options well before you’ve even chosen a table or seen what they serve, so routine does the process seem.

Apart from the few seafood inspired twists on breakfast and lunch standards you shrewdly expect, the menu, you reckon, will have at least 15 dishes you’d find in any similar eatery, so you flip through the one you’ve been proffered in keeping with accepted form. You see some old friends — ham and eggs, the BLT, the Denver omelet… But what’s this? Cajun fried soft-shell crab? Andouille hash? Pea-crab fritters?

Lots of Florida diners augment their menus with Southern staples, but scant few offer much beyond a smattering of grits, gravy and biscuits, and country fried steak. Sun on the Beach, however, makes authentic, home-cooked Lowcountry inspired food its special focus. Since 2005, this place has ben a favorite of locals, and it’s not hard to see why.

Owned by the Black family — Gil and Parthenia and their sons, chefs Seth and Kent — Sun on the Beach also doesn’t skimp on disarming hospitality, an key ingredient in every Southern recipe, from cornbread to she-crab soup, just one of their daily house specialties. What’s more, everything here is given a gourmet touch, both in terms of flavor and presentation. Their cooking then, is best described as Southern gourmet.

The Black’s cumulative culinary experience is impressive. Seth and Kent’s grandparents were skilled cooks, and the boys grew up learning to prepare dishes in their parents’ “country kitchen” soul food deli back in Georgia. In 1984, the clan moved to the Keys to run a popular fine dining restaurant. It was here that the brothers began to incorporate local seafood into their family recipes. A later move back up to South Carolina saw Kent experimenting with elements of that area’s Lowcountry cuisine. All these factors meld beautifully with the Black’s love of entertaining. It’s in their blood, and it has rubbed off on each member of their staff.

While Sun on the Beach is a great place for traditional breakfast and lunch dishes, the real reason for it loyal patronage stems from several mouthwatering diversions. Shrimp and grits is a given, but where else can you order real, stone-ground grits with soft-shell crab or crawfish and andouille sausage?

Regulars will also attest to the excellence of staples like biscuits and gravy, served with either sausage or creamy chipped beef gravy. Fourteen types of omelets are, like everything else here, made to order. There’s a Cajun (with andouille, rice, and crawfish), the Indian River (mahi, blue crab, and veggies with pepper jack cheese), an Alaskan (house smoked salmon, asparagus, capers, tomatoes, and artichoke hearts with dill cream cheese), and the Lowcountry, filled with shrimp, blue crab, tomatoes, mushrooms, and cheese covered in a spicy Hollandaise. To top it off, so to speak, eight sauces are offered (among them Key lime cream, green chile Hollandaise, Gorgonzola, and roasted red pepper cream) and a build-your-own option with over 15 fillings to choose from.

The Blacks are also known for their stellar Benedicts, of which there are no less than 12 varieties. There’s a Greek (lamb, spinach, tomatoes, and feta), a Munich (with German fried potato salad and wiener schnitzel), the Key West (cracked conch in a Key lime cream sauce), and a crab cake Benedict, one of their more popular items. But by far, Sun on the Beach’s most beloved and representative dish is its Gullah Benedict, served with fried green tomatoes, shrimp, and spicy Hollandaise. Those in search of pancakes won’t be let down, but are strongly urged to try the fresh crepes, particularly the tasty shrimp pesto.

If lunch is what you’re after, Sun on the Beach six kinds of salads, including a blackened or grilled fresh catch (tossed with greens, tropical fruit, and nuts) and a delicious Carolina Cobb. The appetizer roster features cracked conch fingers served with mango chutney, fried green tomatoes or pickle spears, a Lowcountry shrimp cocktail (topped with a blood orange balsamic reduction), black-eyed pea and crab fritters with peach horseradish sauce, and smoked Gruyère and ricotta balls rolled and fried in panko breadcrumbs.

You’ll also find burgers, of course, and a selection of hot lunch entrees and sandwiches made with ingredients like soft-shell crab, cracked conch, jerk chicken, and filet mignon with fresh avocado, Gorgonzola, mushrooms, and basil aioli. Their grilled paninis are also a big hit; choose from the ribeye, Hawaiian chicken (it features ham, pineapple, toasted coconut, and Swiss cheese), a veggie option, the Stuttgart (schnitzel, red onions, apples, bacon and Fontina), and the mahi-packed Gulf Stream topped laced with Key lime aioli.

It’s said that the further north you go in Florida the more Southern it gets. With satisfying cooking like this, Sun on the Beach erases that contrived border and brings the South back down to where it truly belongs.

Sun on the Beach is located at 1753 A1A in Satellite Beach. They’re open 7 days a week from 6:30 a.m. to 2 p.m. (Enthusiastic regulars have been clamoring for the Blacks to open for dinner, but complicated city zoning rules keep the idea grounded.) Sun on the Beach is available for special events — weddings, rehearsal dinners, meetings, and reunions with available outdoor, ocean-view seating — and catered banquet packages are available as well, either on- or off-site. The Blacks can tailor a special menu according to your tastes. Call 777-9483 to learn more. You can view their menu online at: www.sotbfl.com.

View Larger Map

Bruce Williamson
• Tobin Bennison •

Give enough time, everything comes back around again.

It’s one of the more vague maxims out there, but it holds particular relevance for Bruce Williamson, a Cocoa Beach-based surf artist whose incredible 40-year career has recently come full circle.

Known during the ’70s — as now — for the dreamlike qualities of his colorful airbrushed designs, Williamson got his start custom painting cars with fantastical tableaux and accents, so it’s rather fitting that he first came to these shores from Arlington, VA, riding in one of his early masterpieces. Even without the benefit of photographic evidence, his description of the van’s intricately laced, cobwebbed panels is enough to burn its image onto my brain. And the idyllic backdrop of that first summer road trip he made back in 1971 brands the image even deeper.

“It was me and a buddy of mine, Mike, and his dog. We had no real destination — we were 18, just taking a road trip — and we ended up in Cocoa Beach,” Williamson recalls. “We parked up at Gadsden Lane… There was nothing but trees there at the time. We were hanging out on the beach and some surfers who’d been admiring the van just came up and started talking to us. I didn’t surf then — my buddy did — and we just got to talking with these guys.” A few days later, now staying with some of the friendly surfers in their Merritt Island home, Williamson woke his friend and made a decision. “It was just a beautiful morning and I said to Mike, ‘I gotta go back to Virginia,’ and he says ‘What for?’ ‘I gotta get my stuff, man,’ I told him.” Three months later, Williamson was back in Cocoa Beach, and he’s been here ever since.

He found work in a paint and body shop and enrolled in Brevard Junior College, but his new-found love of surfing was pulling him in another direction. “One day I was looking through Surfer Magazine and I saw this little picture of an airbrushed seagull flying in front of the sun. And I thought, ‘Well, I can do that.’” Crafting a stenciled design inspired by that seagull image and airbrushing it onto some shirts, Williamson now had a way of making his dream reality. “There were some other people around here doing airbrushing, so I thought I’d just start making more designs. Slowly but surely, I built up a repertoire of different designs, and people really liked them,” he says. “The whole reason for doing it was that I wanted to drop out of school and surf. The t-shirts gave me the means to do it.”

His trunk filled with t-shirts and airbrushed surf paintings, Williamson drove up and down the east coast selling his popular, sea shell tank tops and shirts to surfer girls and retail shops by the dozens. “I was selling them as fast as I could make them,” he tells me, “but more than anything, I just loved making them. Friends would come over to my house and hang out while I airbrushed. I could do two dozen in an evening, and get up the next morning and surf all day. It was blast.” Williamson also branched out into airbrushing surfboards, and worked in board factories all through the County.

By this time, Williamson had earned an enviable reputation as one of the hottest surf artists around. Noted for the clean, sharp lines of their bordered tropical vistas and dyed, front-to-back patterns, his t-shirts became a must-have fashion item. Wave shirts were particularly popular for their dreamlike contours and otherworldly colors. “I just wanted the waves to be dreamy, you know?” Williamson laughs. “I wasn’t as concerned as other artists were with them being super-realistic. I just wanted people to look at them and smile. I wanted them to give people a good feeling.” Sedate blue and green designs enjoyed popularity in the Carolinas, while Floridians clamored for wilder, more colorful versions, and Williamson’s success continued apace.

But by 1984, cheaper, more slapdash designs conspired to push him out of the market, and one day he decided he’d had it with airbrushing. “I said, ‘To hell with it,’ and I put everything into a box and put the box away,” he says, recounting the event. But Williamson soon found another lucrative outlet when he and local artist Mike Gray began carving fiberglass dolphins out of surfboard blanks. “Mike carved the first one, but he just didn’t like dealing with the fiberglass,” Williamson remembers. “He saw that mine were good, that I’d had a technique down, and he just told me to run with it.”

Sea World, one of Williamson’s earliest and steadiest clients, became interested after seeing some prototypes and sketches he brought to a surf expo, quite by chance. “A friend had a booth set up there,” says Williamson, “and his product got held up in customs, so he asked me if I’d like the space. People were lined up to make orders for dolphins, including a guy from Sea World who pulled me aside with a request for a number of them.” Known as Xeno Art dolphins, Williamson’s sleek, expertly glassed sculptures became an even bigger hit than his shirts, with larger three-dimensional pieces finding their way into homes, businesses, restaurants, retail stores, and marine theme parks throughout Florida and the Bahamas. Two of the more well-known examples still greet visitors to the Cocoa Beach Country Club.

As time went on, Williamson found it harder to keep up with increased demand, and some life changes, coupled with his growing displeasure for fiberglass, saw him retire Xeno Art dolphins in 2004. A three-year stint with Disney Cruise Lines took its physical toll on Williamson, and he found himself at loose ends. But he had a plan. “After cashing out with Disney I went home, and my son said, ‘Dad, what are you going to do now?’ And I said, ‘Son, I want show you something.’” Taking out his box of old stencils and designs, Williamson and his son carefully peeled the protective wax paper off the cardboard forms with the aid of a hair dryer. “They’d been stuck together and compounded on top of each other for 30 years,” he chuckles.

Last November, Williamson opened She Shells as a showcase for his revived line of classic ’70s airbrushed t-shirts and tank tops, as well some new animal-print beach blouses and wraparounds. The studio/boutique, located in downtown Cocoa Beach, also features handmade wormwood frames, small, mountable plywood surfboards (airbrushed and finished to his exacting standards), and framed reproductions of some vintage Bruce Williamson art. Their retro feel of these designs has proved popular once again, and Williamson, in his own words, is “lovin’ life.” “I love seeing on of my shirts on a good-lookin’ girl,” he says. “I feel like I’m making a contribution.” What’s more, people still call him in search of his Xeno Art dolphins, and he’s ready to get back into churning them out.

After our meeting, I’m drawn back once again to the van that brought Williamson here 39 years ago. It’s rare to find an artist with that kind of talent for description, one that relies less on actual words than soulful evocation. This skill bleeds over into his work, I find, and as unreal and unchartable as some of his designs seem, they’re also couched in solid experience and the rich feelings it engenders. It’s what made them popular in the ’70s and what gives them the charm they enjoy today. As far as many fans are concerned, Williamson’s art never really fell out of fashion, and likely never will.

Bruce Williamson’s She Shells is located at 116 N. Orlando Ave. in downtown Cocoa Beach. She Shells is open Tuesday through Sunday from 10 a.m. to 6 p.m. Call 368-8828 for more information, or visit www.brucewilliamsonsurfart.com.

View Larger Map

Jackson Hole, Wyoming
• Word and photos by L Paul Mann •

When you’ve grown weary of prepackaged theme park vacations, you may want to consider a family getaway to the gateway to Jackson Hole, Wyoming, well known as a skier and snowboarder’s dream destination in the snow-cached winter months, but recently coming into its own as a year-round adventure paradise.

Its small, sleek airport, perfectly situated on a flat plain protected by towering mountains, allows virtually nonstop travel into the surrounding region. But this historic Old Western town, so popular with tourists, is also the gateway to a veritable wealth of outdoor summer activities, and two of the country’s greatest national park treasures: the Grand Tetons and Yellowstone.

The town itself is an interesting hodgepodge of affordable motels, tasty restaurants, odd little museums, and artistic shops all catering to tourists’ desires. The Visitor’s Center is a great first stop on any adventure vacation to the Jackson Hole area. Staffed by folks from multiple organizations, the center offers interpretive displays, a lavish gift shop, trip planning assistance, and a central place to acquire myriad adventure permits, maps, and brochures. During winter, the center and museum also serve as gateways to a sleigh or cart rides into the massive herd of sheltering elk in the National Elk Refuge, situated in the large marshes just outside of town. In the summer, these green marshes become a bird watcher’s paradise, with countless species nesting in the open lands framed by dramatic mountain ranges.

There are a multitude of outdoor adventures to pursue, all within easy access of your Jackson Hole base. Some of the most popular include hiking, river rafting, and horseback riding. Of course, you can pick up a map at the tourist center and hike out on your own, or wander around the elk sanctuary for free. But if your time is limited and you want an enriching learning experience as well as a great hike, you can hire a guide from several experienced tour operators. A guided hike is a great idea, especially for families with children, and the guide can tailor the route to your specific interests and capabilities.

One such group, The Hole Hiking Experience, arranged a tour for my extended family. Comprised of my girlfriend and myself, my brother, my three- and six-year-old nephews and their grandfather, our crew covered the whole gamut of age groups. We met our guide in town and piled into her van for a ride to a fantastic and little-used hiking area in the nearby mountains. She tailored the choice of terrain to our needs, the relatively mild incline perfect for the older and younger members of our group. The first thing noticeable on any significant hike in the area’s mountains is the spectacular array of wildflowers. In the summer, the region explodes in color, a phenomenon witnessed only in spring in most coastal mountain ranges. Spring, summer, and fall seem take place all at once before your very eyes in the short summer months of this region. It’s also not unheard of for snow to fall on the July 4th festivities — but awesome thunderstorms are far more common this time of year.

Not only can your guide provide valuable information about the local flora and fauna, but he or she can also reveal some of the hidden treasures of the area, like the footsteps of a mountain lion or where a great grizzly bear scratched his back on a tree. Speaking of grizzly bears, this is their prime territory, and these massive creatures can be very dangerous. There are several common sense procedures to greatly limit your risk in the remote areas if you’re unaccompanied by an experienced guide. The local tourism office can provide bear information and precautionary suggestions. Bears or no, our hiking guide made our trek a fun experience for my little nephews by quizzing them on the information she dispensed and handing out snacks as we went. She also provided fanny packs stocked with healthy treats and bottled water for everyone.

For more adventuresome tourists, river rafting is one of Jackson Hole’s most popular summer activities. Again, there are many great tour companies to choose from. Teton Whitewater, a company located just outside of town along the Snake River, boasts well over 40 years experience in whitewater rafting. Four trips daily (lasting about three hours including drive time) provide a great opportunity for tourists on a tight time schedule. My oldest nephew was happy to hear that even a six-year-old could run the rapids. No particular skills are necessary to run the river and trips are geared to the specific skill levels of each group. Everyone runs the same river course, but the experienced guides can bypass or run the most dangerous rapids depending upon the group’s skill level.

The Snake is a spectacular winding mountain river that lends itself perfectly to running rapids in the months following the winter snow melts. It’s also perfect for trout fishing at the end of the summer, just about the time the river calms and the rapids dissipate. But most of the summer offers an exhilarating run down the rapids. My youngest nephew beamed every time we ran a new gauntlet of foaming whitewater, loudly proclaiming “I like this!” to the delight of the group. Trips even offer time for a quick dip in the freezing water between raid runs. A company called Float-O-Graph takes photos and videos of your group as you crash down the largest rapid.

Horseback riding is another great way to enjoy the remote wilderness surrounding Jackson Hole. The Turpin Meadow Ranch, which offers a breathtaking view of the Grand Teton Mountains, is an ideal place to go for a horseback ride. The Ranch resort offers loads of outdoor activities throughout every season, but summertime is best for riding, and the ranch offers a variety of equestrian opportunities, from simple rides around the ranch to multi-day treks into the most remote wilderness. With a stable of over 80 horses and ten different riding trails to choose from, even a short three-hour ride becomes an adventure. Winding away from the ranch into the mountains, you pass magnificent gorges with the Snake River below, beautiful meadows covered by wildflowers, and of course the magnificent view of the glacier- capped Tetons.

But the biggest adventure in Jackson Hole lies to the north, through the gateway into the tranquil Grand Tetons National Park and America’s most beloved national park, Yellowstone. The two parks combined offer the highest concentration of wildlife in the lower United States, and each caters to two distinct moods. If you’re looking for a serene setting with spectacular mountain views, you might want to stay in one of the lodges in the Tetons. Yellowstone offers a much more varied, albeit crowded atmosphere in peak summer months, a rich landscape replete with a geysers, gorges, lakes, streams, and waterfalls.

Either park can be visited from downtown Jackson Hole with ease — and within time for a dinner return. No matter what time of year you go, Jackson Hole is the place for outdoor adventure and family fun.

Chris Maslow of SLOW Gallery x Fashion
• Tobin Bennison •

If you’re searching for the local nexus of cutting-edge, underground art, you’d not be far off the mark by going to downtown Melbourne’s SLOW Gallery.

SLOW owner and curator Chris Maslow, a Melbourne Beach native, prides himself on showcasing some of the area’s most renowned artists, people like Derek Gores, Beth Garren, and Bruce Reynolds. Since he opened SLOW last year, Maslow has also earned a reputation for changing attitudes toward graffiti and so-called “street art,” and several of the shows he’s helped organize have effectively redefined Brevard’s collective notion of art in general.

After graduating from Melbourne High in 2000, Maslow enrolled in the Los Angeles Fashion Institute of Design and Merchandising, and his studies there helped mold SLOW’s unique dual identity. Both a contemporary art gallery and fashion boutique, SLOW stocks many of Maslow’s creations for his own Slow Army label, as well as sought-after clothing by Volcom, Obey, L-R-G, Insight, and Lucy Love.

As a concept, SLOW began taking shape in Maslow’s Southern California living room six years ago. “The concept was an art-driven designer label producing clothing and other merchandise for men and women,” Maslow recalls. “Since its conception, we’ve sold products to retail stores all across the nation and distributed internationally to Japan.”

Maslow, a tireless champion of unknown local artists from all disciplines, is also a talented artist in his own right. “I always liked drawing as a kid and was decent at it,” he says. “I found that I was usually one of the more artistic people in my classes at school and it kind of became my identity, though I never considered myself an ‘artist.’ I was just a kid who could draw.” His first solo exhibition, “Slowly But Surely,” an interactive, multi-media showcase marked by humorous, thought-provoking pieces, runs through July 4 at 321 Agency in downtown Melbourne.

Maslow gave us his take on the state of local art and muses on its future, a future SLOW will surely have a hand in shaping.

SLOW is not just a gallery but also a clothing boutique. What was the inspiration for pairing the two together?

Since we were already manufacturing before the store concept came about, we thought it would be a good mesh with the art. Art is a luxury and not always as easy to sell due to its hefty price tags. The clothing sales are a great way to subsidize income and keep the rent paid. We sell art-inspired brands that compliment the contemporary art of the gallery. We sell local designers’ products on consignment to start out. If it sells, then we place orders for more and keep doing business with them. Right now I’ve been selling tons of Robin Lee designs. Robin is a jewelry artist and clothing designer. She creates super unique one-of-a-kind jewelry and bags. Also we sell clothing by Jbon, a designer from Rockledge who’s been putting out some really dope stuff lately.

Is there a mission statement for SLOW? What would you say is its guiding ethos?

We strive to be the primary source for progressive contemporary art in Brevard by constantly pushing the envelope and reinventing. We showcase talented artists, both local and national, but also cultivate and nurture emerging talents, recognizing that they’ll be the heavy hitters of tomorrow. We eat, sleep, and breathe ART sustaining at a vigorous pace.

What are some of the criteria for a piece’s acceptance?

I look for serious, confident, and original talented artists who are either well established or looking to get into the gallery scene. SLOW is a half-open door for artists looking to take a swing at doing art shows. We showcase artists from 16- to 65-years-old. It doesn’t matter who you are or where you’re from, so long as your work speaks for itself.

What is the greatest challenge in running SLOW?

Trying to constantly outdo ourselves with every show.

Of the shows SLOW has done, which one has made you the most proud?

The first time I ever curated a real art show. It was last July in Los Angeles at Mid City Art Gallery and was a showcase of Miami graffiti writers. I feel like this was a huge accomplishment for me, and a boost of confidence to prepare me for the year that would follow. I couldn’t have pulled that show off without the help of my crew, though. Thank you for that.

What was one of the more disappointing shows you’ve put together?

When I first decided I wanted to do an art show, I didn’t know the first thing about getting started. I threw it at a biker bar that booked parties and events. I set everything up and it didn’t go half bad. I sold some work and had a decent crowd come out. At the end of the night the bar overcharged everyone’s drink tabs and then complained that I owed them a nominal sum of money for their “lack of alcohol sales.” I ended up getting swindled and lost all the money I made that night. I almost quit then and there altogether.

How did your solo show, “Slowly But Surely,” come about?

Shortly after “Robot Love,” I was approached by 321 about doing a show. I’d been waiting for an opportunity to do a solo show and felt like the timing was good. We shook hands, and a couple months later it was on.

How was it received?

I’m very pleased with the feedback and reaction from the show. I wanted not only to shock people, but to also show them what I was capable of. I feel it was a success and a pivotal stepping-stone in my career. Go see it if you have the opportunity.

Who are some of your own artistic influences?

Anything that sparks inspiration. It could be music, a photograph or the way light falls on an object. I’m influenced by lots of different artists at the moment. Really, anyone who is completely dedicated to their trade. I’m constantly being pushed by my crew mates from The Cat’s Pajamas. I wouldn’t be the artist I am today if it weren’t for them.

Who, in your view, are some up-and-coming local artists?

Jeff Noble is a super freak. He is by far the most talented person I know, and I’m proud to be in a crew with him. He can master any artistic medium under the sun with a little bit of practice and has been a constant inspiration in my progression as an artist. Currently, Jeff is going to art school in Miami. He’ll undoubtedly be a world-famous artist some day. Better buy his art now before he blows up and it gets too expensive. Olivia Rogers is another. I discovered Olivia through the gallery. She’s an extremely talented and eccentric 18-year-old girl who can draw and paint ridiculously well. She’ll be going away to art school in September, but before she leaves she’ll be guest-curating “Next In Line,” which opens June 29 at SLOW. “Next In Line” will showcase emerging artists under the age of 21. Tom Bils is another great artist. I met Tom a year ago at a graffiti summer camp we instructed at the skate park. He stood out from the rest of the bunch and I saw tons of potential for him to become a good artist. I started to mentor him and gave him a job here at the store. He’s a refreshing and humbling reminder of myself at the beginning of my art career and he’s progressed so much within the last year. It’s kind of phenomenal. Tom is a great aspiring graffiti artist, but I think his conceptual work could make him famous some day. You can see Tom’s work at “Next In Line.” Sone is an amazing graffiti artist and calligrapher. He’s an aspiring engineer and is incredibly intelligent. He is a writer’s writer. The way he approaches his fine art is like that of a science experiment and the results are exquisite, often preserving and accentuating the natural beauty of wood grain. I am honored to have Sone as my crew member and look to him as a brother.

Who are some more well-known artists you admire?

Derek Gores is the closest thing I’ve ever had to a mentor. He has always given great advice support and I’m grateful. I’ve always admired his work and his accomplishments; he has achieved things I’ve only dreamed of.

Tell us your thoughts on the state of the arts in Brevard. Do you find the relatively unestablished scene here proves to be more of an asset or a hindrance?

I feel like there’s a fierce art scene brewing here in Melbourne. The fact that it’s unestablished makes it easier to shape the scene as it progresses and control the introduction of art and art collection for the new art enthusiast. If we can make this area an “art destination” for people halfway to Miami or Jacksonville, it could quickly develop in to an “art mecca” we control and regulate. I think everything is in a unique state. There is so much talent here. I think there’s something in the water. I also think that the Brevard Art Museum has initiated a lot of the positive change. Since Steven Maklansky took over at the Museum, we finally seem to have the right people in place to work on this whole “art mecca” thing. People are loosening up their perceptions of art and broadening their artistic horizons. Fine art isn’t just landscapes and dog portraits around here any more.

What other area might offer some direction? Which scene do you draw inspiration from?

Maybe West Palm Beach and Boca. They seem to have thriving art communities and similar town structure. It would be nice if we could get some of their scene to rub off on ours. I personally draw inspiration from major gallery destinations — Los Angeles, New York, Miami.  Basically anywhere that’s doing it big and loud, especially overseas.

What have you learned about the scene and the business since you opened?

All of it. I never curated a show in my life before diving headfirst into opening my own gallery. I couldn’t even use a cash register. I learned the majority of what I know about selling art and running retail within the last year.

What would you like to see happening for SLOW Gallery five years from now?

I would like to have more of a national presence. This year, we’re making the first steps toward getting the Gallery online. I hope to expand our audience beyond arms’ reach. I would also like to see another store/gallery location in California.

What is in SLOW’s immediate future? Tell us about some of your upcoming shows and events.

“Not a Drop Out of Place,” a Chris Wilson photography show, opens June 5. Opening June 29 is “Next In Line,” a show featuring emerging artists under 21-years-old, guest-curated by Olivia Rogers. “Slowly But Surely” runs through July 4 at 321 Agency in downtown Melbourne.

SLOW Gallery x Fashion is located at 1905 Municipal Lane in downtown Melbourne. Find out more by calling 676-4517 or by searching for “Slow Gallery x Fashion” on Facebook. 321 Agency, where you can see Maslow’s “Slowly But Surely” solo exhibition, is located at 1010 E. New Haven Ave., Ste. B in downtown Melbourne. Call 255-0566 for more information.

View Larger Map

Todd Kennedy, Program Director for WFIT 89.5 FM Melbourne

• When asked to describe WFIT’s strongest asset, the ingredient that sets it apart from other noncommercial radio stations, Program Director Todd Kennedy’s answer is simple: “Localism.” “In surfing it’s a bad thing,” he says. “But in radio broadcasting it’s crucial.”

A cornerstone of the Space Coast community since its first broadcast from Roberts Hall on the Florida Tech campus in 1975, WFIT has always prided itself on the attention it pays to local issues through a variety of award-winning programs. “All our DJs are a wealth of information about what’s happening in our community,” he tells me. “We also strive to publicize many local events through PSAs (Public Service Announcements) — ‘Music & Arts Calendar,’ ‘Coastal Connection,’ ‘Inside FL Tech,’ ‘American Variety,’ ‘Florida Frontiers,’ and other special announcements.” In addition, the station offers Jack Simpson’s beloved “Jazz on the Beach” and invites local musicians to perform live during “Sound Waves,” Kennedy’s own program devoted in part to the local scene. Broadcast Monday through Friday from 10 a.m. to 2 p.m., “Sound Waves” is a trusted source of what’s cooking musically around town.

It’s hard to think of someone more suited to the role of WFIT Program Director than Kennedy, an avid music lover, surfer, and champion of the community he so loves. Originally from Massachusetts, Kennedy began his radio experience while in college. “I was fortunate to be near Boston in 1977-1984, during the renaissance of new music. I saw firsthand all the great bands coming over from England, as well as terrific bands from Boston and the NYC music scene. I was still working in record stores to put myself through school. I would unload the latest UK imports during the day and have them on the radio by nightfall,” he recalls. “The Northeast area is also full of all sorts of public radio stations with a wide range of formats — jazz, classical, folk, and news. I expanded my musical repertoire to include reggae, world beat, blues, jazz, and classical music. When I moved to Florida in 1984, I managed a record store that sold music to WFIT, which began my relationship with the station.”

During the late ’80s, WFIT became one of the top alternative college radio stations in the U.S. Shortly after it was linked with the public radio satellite system in 1993, it changed its central format from jazz, expanded the variety of its programming, and became an NPR affiliate. In 1998, the FCC increased WFIT’s signal, gaining them a much wider audience that reaches as far south as Vero Beach, and in 2004 became the first radio station in the County to offer a high-definition broadcast. Today, 89.5 FM is still where people turn to hear insightful commentary and interviews, eclectic music, culturally diverse programming, and indispensable news. Thanks to audio streaming from their website — www.fit.org — WFIT now broadcasts both nationally and internationally.

We spoke to Kennedy about the phenomenal changes he’s seen since he first began volunteering with WFIT as a late night DJ, his broadcasting heroes, and how his vacuuming skills have come in rather handy.

What is your favorite thing about living in the area?

Sun, surf, and tunes.

When did you first begin working for WFIT?

I became a volunteer with WFIT in 1992 as a late night jazz DJ. I had a program called “New Jazz Visions” playing the works of up-and-coming straight-ahead jazz artists, as well as masters like John Coltrane, Miles Davis, and Sonny Rollins. I was hired as Director of Operations in 1998 and became Program Director in 2004.

What prior experience did you have before signing on with them?

I have been around music my whole life. My very first job at 15 was selling bootleg records in the storefront of a pizza parlor. Bootleg records are live recordings and studio outtakes that are somewhat unauthorized, but provide a valuable documentation of an artist’s craft. It was there that I was exposed to an eclectic mix of music by Bob Dylan, Bruce Springsteen, Grateful Dead, the Rolling Stones, and Led Zeppelin, as well as new punk records from Patti Smith, Elvis Costello, Talking Heads, and the Ramones. It was a wonderful educational experience for me to discover different styles of music. I still find all music fascinating and I am still on that journey today.

What does your position as Program Director entail?

Well, it ain’t what people think it is. Basically, I try to formulate the sound of the station. With multiple formats it can be a challenge. WFIT is very blessed to have so many talented DJs who bring a wealth of knowledge to the airwaves. I just try to give them the tools to create their craft. On top of programming, I am also an unqualified electrician, part-time plumber, computer technician and psychiatrist, and I do some vacuuming on the side. When my daily chores are done, I host “Sounds Waves” Monday through Friday from 10 a.m. to 2 p.m.

What is the station’s strategy for acquiring new listeners?

Our core audience is NPR listeners, who also have a wide variety of musical taste. Our goal is to bring some of those new music fans to the station. Perhaps a listener can hear a new Wilco song, learn about an environmental study on global warming on NPR’s “Morning Edition,” and later hear about a new kind of MP3 player on “All Things Considered.” I always urge young people to get involved in public broadcasting. Not just for music, but to support public media. WFIT was recently honored for our public affairs programming. While a WFIT intern, Ryan Arens did a terrific piece on the Daily Bread in Melbourne that won a top award from the Council for the Advancement and Support of Education. Also our work with the FL Tech Panther podcasts has been recognized. WFIT offers intern positions to those that want to be a part of the public radio experience.

In reaching that broader audience, there are some concessions that must be made. What are some of the ones you’ve experienced?

Radio is in competition for a listener’s time. Today, listeners do not have the time to sit glued to the radio waiting for their favorite song or hanging on a DJ’s every word. As a radio programmer, we have a split second to make a good impression and compel the listener to stick around, or they’re gone. Our shows must be focused and of high quality. I use the “NPR standard”: the program should be thoughtful, intelligent, and as good as NPR. And our shows must be supported by the community. The program must connect with listeners for them become a supporter.

How beholden are you to the mainstream charts? Or do you feel like you’ve influenced them?

In order to be successful, you must satisfy your core audience. Public radio listeners like to be challenged, to hear new sounds. They have a curiosity for the world around them and they search out new information. I don’t really keep up on the mainstream pop charts, but I do chuckle sometimes when I see an artist on the top of the Billboard charts and we were spinning that record last year. I am a voracious reader of music news. I check out Spin, Paste, Mojo, Uncut, Under the Radar, Downbeat, and Rolling Stone (still). Also online sites like Pitchfork, Magnet, Stereo Gun, my nephew’s Smother and WFIT’s own Julian C. Lacking’s Ink 19.

So how do you “play” tunes over the radio now? Which format do you use?

I spin everything digitally, just little bytes of data. Songs are ripped or downloaded. In fact, most record labels do not provide CDs anymore. You just get a file from them. Now, many for our other DJs are old school and still play CDs. They would still play vinyl if we had a turntable that worked.

How would you define the current state of so-called “college” radio?

The mid-’80s were a special time for college radio. Record labels were flourishing, clubs were happening, and many bands could get played on college radio stations. You could party like it was 1999. Then, the party ended. Record companies collapsed, clubs closed, and suddenly Limp Bizkit was on the radio. Soon college administrators decided they could no longer afford to give thousands of dollars to campus radio stations. There were fewer opportunities for students to have careers in broadcasting or in the music business. Radio stations on college campuses had to learn how to be self-sufficient or perish. Many dropped their music programming for all news or expanded their formats to include classical and jazz. A few metamorphosed into multimedia giants like WBUR (Boston University), WXPN (University of Pennsylvania), KCRW (Santa Monica College), and WFUV (Fordham University). The ones that became successful provided compelling content to their core audience who in turn contributed to the station.

Who are some radio DJs you respect or draw inspiration from? Who is your broadcasting hero?

I am inspired by the work of John Peel on the BBC. He was a DJ for many years and covered every musical style. He championed many new bands and gave his audience a chance to hear some great live sessions recorded for his show. But without a doubt, my broadcasting hero is Jack Simpson, the host of “Jazz On The Beach.” I have such high regard for Jack. He still brings so much passion to the music every week. You can tell he loves the music he plays, and he presents the show in such a thoughtful and caring manner. It is such a privilege for me to know Jack and see the respect he has earned in this community.

Give us an example of a dream “in-session” musician or interview.

I think a session with Jack Johnson would be cool if he invites me to his house in Hawaii.

What do you listen to in private?

I don’t have any time anymore for private listening.

Where does WFIT get most of its funding?

WFIT receives over 50% of our funding from listeners. It is an incredible business model to have listeners gives you money for programming, but that’s what keeps us commercial-free. Another 30% comes from business underwriters. The rest comes from grants, in-kind gifts, and diverse revenue streams.

You just completed a fund drive. How often do you have them? What can people do to contribute even when there are none scheduled?

WFIT has two fund drives a year — in the spring and fall. We make no apologies for them; this is how public broadcasting works. WFIT is not entitled to huge financial handouts or government bailouts. Listener support is vital. Our strategy is to reduce the emphasis of on-air campaigns and develop new revenue streams though out the year. Our direct-mail campaigns are becoming more successful, and WFIT is incorporating more online giving. You can always give to WFIT anytime; we want to give you more choices on how to donate.

How has WFIT changed since you first began working with them?

The growth of WFIT in the last few years has been phenomenal. Our listenership has grown by 125% and our membership has increased by 230%. Our TSL (time listeners spend with us) is through the roof. We are so very fortunate to have a team that really believes in public radio and is up to the challenge.

What do you envision for WFIT five years from now?

WFIT is actively pursuing new technology. In the near future, WFIT will debut a new website with much more content and more user-friendly services like podcasting, playlists, music and arts news, and video content. We want to bring our local content to the world. WFIT is expanding beyond simple terrestrial broadcasting to reach a worldwide market. Recently, the FCC announced the far-reaching National Broadband Plan to greatly increase the country’s internet infrastructure. The internet will provide the new airwaves. Content will be flowing through space, adding new technologies as we move along. It is a very exciting time for WFIT 89.5 FM.

Zulu Nyala, South Africa

Story and photos by Laurie Bautz

This past January, my husband and I went on vacation to South Africa. It was the trip of a lifetime; the kind many dream about, but never get the chance to take.

We were able to make ours a reality thanks to our winning bid for a safari at a charity auction a few months prior. Our six-day safari at Zulu Nyala, located in the northeastern corner of South Africa, included two game drives a day and offered three types of accommodation: tents (No, thank you), a game lodge situated right on the reserve, or more hotel-like quarters. We chose to stay directly on the reserve, at the lodge.

The day we checked in, we were greeted by the sight of nyala (South African antelope) and wild warthogs, their babies in tow, roaming the property. It turned out that January was a good month to go, as most of the animal species had offspring that were anywhere from two- to six-months-old. But what I’d really come for were elephants. With any luck, we’d witness these majestic creatures in their native habitat before the end of our stay.

The game drives usually left after breakfast and our first, the next morning, was simply amazing. We all loaded up in the vehicle and took off, cameras in hand. The drive took us over gravel roads deep into the reserve property. We continued to see a lot of nyala and warthogs as well as impala. The game driver would stop as he spotted various animals along the way so we could take our pictures, telling us about each and pointing out the differences among them. The drivers were native and highly knowledgeable of the area, and each had a unique personality and approach to the outing that kept each drive interesting. Navigating according to signs of recent activity — fresh dung or footprints — they also knew which animals were usually at the watering holes in the late afternoon.

During the second drive of the afternoon, we were just coming over the top of a hill when we saw a watering hole below us crowded with meandering giraffes. I didn’t expect us to go much further, but we forged right down into the middle of it all. The giraffes stopped for a few minutes to watch us, but decided we were of no threat to them and continued drinking. It was a spectacular experience.

Over the next couple of days we found ourselves in the middle of a grazing, cape buffalo herd; we sat and watched two hippos do nothing but go up and down for air in the watering hole for an hour, and we chased zebras in the truck, trying to get our “perfect picture.” Zebras were the most difficult to capture on camera, but finally managed to pull up pretty close to them and they decided to stay and smile for the camera. Late one day we pulled up to another watering hole to find three rhinos lounging about in the mud. We caught up with them on the road later that week and snapped some photos. By that time we’d been spoiled, always expecting to get just a little bit closer than last time.

By day three, we still hadn’t spotted the elusive elephant. The reserve had only three, so it seemed that we’d have to go to a bigger, more populated park to ensure a sighting. We took a side trip to Tembe Elephant Park near the Mozambique border, about two hours from our lodge. After an interesting 8-kilometer drive through a few Zulu towns on a road I call “Pothole Highway” (we later returned the rental car, minus a hubcap), we found the park, met up with our driver, and loaded right up into his truck. I remember seeing a sign at the beginning of the road that read “DUNG BEETLES HAVE RIGHT OF WAY.” Huh? What? Thinking of them as hummingbirds helped me get through the initial part of the drive. I had mixed emotions about this leg of the journey; I wanted to see elephants, but I had no idea flying, bird-sized insects were part of the deal! I contained myself. We were committed and the driver was not turning back. My husband informed me that under no circumstances was I allowed to scream.

All was forgotten the minute we spotted the elephants at their watering hole. There were six or seven with a couple of babies, spraying themselves, drinking, and just wandering around the hole. It was like something out of a movie. We stopped and turned off the truck and watched them for about an hour. During that time I snapped a picture of them just after they had gotten wind of us. They all put their trunks up in the air to smell us (even the babies), decided we were not there to hurt them, and continued with their routine. It was so peaceful just sitting there quietly watching them, but sadly we had to leave.

When we returned to Zulu Nyala we showed everyone our pictures and told the story of our day’s adventure. Dinner at the lodge is a bit like mixed dining on a cruise; you sit with other people and discuss the drives and side trips you took that day. Others had gone off to different parks and new people had arrived for their week at the lodge. We gave them some advice and pointers. By that time we felt like old pros.

For the remaining two days we took our daily game drives and relaxed at the pool in between. After the elephant adventure, everything else seemed uneventful. We did continue to track the elephant at our own park, and on the last day our driver got a walkie-talkie call that they had been spotted nearby. Of course we were on the other side of the park, but we quickly raced over the terrain and met up with them in a field making their way through the trees. This time one came right up to the truck and nudged it. I guess she didn’t mind us; we were still standing on all four tires by the time she left.

At the end of the week it was time to pack up all our khaki clothes, bug spray, and sunscreen. We were ready to leave with some fabulous photos and some great experiences, but decided to take in one more game drive with our own car through Hluhluwe Game Reserve. We were already going through safari withdrawals, but were also excited about moving on to Cape Town. Luckily, friends who had been to Cape Town told us about a beach where penguins roamed freely. We charged up our camera batteries and we were off on our next adventure…

Steve Cayer of the Dinosaur Store

• It’s safe to say that Dinosaur Store owner Steve Cayer is one of the most fascinating people we’ve ever interviewed for “Skilled Labor.”

A delightful mixture of Indiana Jones and Willy Wonka, the affable Cayer has braved blinding sandstorms with Berber guides at Saharan excavation sites and has created a visionary, interactive wonderland devoted to his passion for rare fossils right here in Cocoa Beach.

For 14 years, the Dinosaur Store, then a small shop in the White Rose Shopping Plaza, was the Mecca for young dinosaur lovers, museum curators, and accomplished paleontologists from around the world. Having outgrown the space about one year ago, Cayer and his wife Donna conceived of a more ambitious setting for their hoard of fossils right across the street, a three-story complex that incorporates hands-on science experiments, simulated digs, live reptiles and amphibians, educational displays and games, and a permanent, world-class exhibit of Cayer’s astounding collection.

After finishing high school, the Massachusetts-born Cayer moved to Cocoa Beach, and in 1975 started Custom Docks, a company he continues to run with great success. During the construction boom of the ’80s and ’90s, he became financially stable enough to embark on digs accredited paleontologists could only dream of. Cayer describes himself as an amateur paleontologist, one who’s free of the funding bureaucracy that so often hobbles dig-hungry academics.

“Paleontology has always been a hobby of mine,” he tells us, handling a juvenile T. rex tibia in his inner sanctum within the vast building. It’s a kind of laboratory-cum-storehouse, crowded with tools, relics, and rare finds — a complete nest of raptor eggs, trilobites, crinoids — all in various states of completion, some still in bubble wrap, others bulging out of crates. It’s here that Cayer preps his discoveries for display, sanding them under a magnifying glass before meticulously sealing and restoring them for curious eyes.

“I started out as a child, picking rocks up off the ground. Anything — shells, bits of bone. It could have been a chicken bone the dog nibbled on last week. But I’d save it,” he explains. “I was just crazy for that stuff.” Cayer read voraciously to learn about dinosaur anatomy and excavation techniques and procedures, and made some valuable contacts within the discipline in order to gain broader field experience. “I outgrew going to the Peace River and finding pieces of mammals,” he laughs.

Cayer started going to the Sahara through Morocco in the late ’80s, and though it’s his favorite destination by far, he and Donna have also excavated sites in the Southwest U.S., Germany, and China. But he’s particularly proud of some well-preserved Spinosaurus teeth he uncovered in the Kem Kem Beds, a formation that spills out over parts of Morocco and Algeria. “The place is simply amazing. You can find things from the Cambrian epoch and go right down through the layers… through the Mesozoic, the Jurassic, the Cretaceous… The place is so untouched because it’s so miserable. You’re crunching on sand… You’re sweating… And the best thing you have is that 110-degree bottle of water in the truck. That’s the highlight of your day.”

Cayer takes us out into the Store, past the crowded gift shop and into the “Adventure Zone,” an interactive section dedicated to the science behind these jaw-dropping showpieces. Clustered around a central “Wild Nile Raft” ride and some arcade games are hands-on activities and experiments like electrical generators, soundwave and momentum machines, magnetized pendulums, and a working sluice where kids can learn about geology by panning for real minerals.

Beyond an animatronic raptor and the stylized “Movie Cave,” which plays looped educational films, is the “Reptile Run.” Inside, knowledgeable docents teach children about the collection of rare reptiles and amphibians — alligators, turtles, snakes, a dragon-like Argentine tegu, and several bright-skinned poison dart frogs. Adjacent to this room is a private Egyptian-themed excavation site, replete with expertly rendered facsimiles of Valley of the Kings ruins. In a long sand pit, kids can feel what it’s like to go on a dig as they uncover the bones of a buried Spinosaurus aegyptiacus.

Back through the gift shop and display area, which boasts the most elaborate array of fossils in the world, Cayer ushers us into the elevator to give us a sneak peek at the unfinished second and third floors. It’s here that his imaginative vision will soon unfold completely — over 20,000 square feet of larger dinosaur bones, replicas, and dioramas below, and an “Ancient Cultures” archaeological showcase above.

The dinosaur fossils will come from the retired traveling collection Cayer rented out to museums all over the country through his Paleofun offshoot project. “Ancient Cultures,” every design detail of which he oversees, will feature walk-through exhibits inspired by finds from China, Egypt, and Mesoamerica. Though still incomplete, the work done thus far is artful and highly accurate, from colorful background murals to attendant architectural flourishes like the pitted “sandstone” walls of a recreation of Tutankhamun’s tomb.

“They used to call me ‘The Weird Bone Guy’,” Cayer says, recalling his in-home collection before its transfer to the first incarnation of the Dinosaur Store. “Once ‘Jurassic Park’ came out, I became ‘The Cool Bone Guy.’” “Jurassic Park” or no, it’s hard to look around at what Cayer’s accomplished since then and disagree. Very cool, indeed.

Steve and Donna Cayer’s Dinosaur Store is located at 250 W. Cocoa Beach Cswy. (SR 520) in Cocoa Beach. You’ll find a wide variety of fossils, minerals, meteorites, educational books, games and toys, and a selection of amber specimens, jewelry, and Dinosaur-themed gifts. The Store’s interactive Adventure Zone is open to the public (for a nominal admission fee), and is available for birthday parties, family reunions, field trips, and other events. Private functions are granted access to the Excavation Room. Visit the Dinosaur Store online at www.dinosaurstore.com for more details, or call (321) 783-7300 or 1-877-560-3466. Note: In the event of the Zone being reserved for special occasions, a notice will be posted on their website. Be sure to log on to check or call ahead for availability:  www.dinosaurstore.com

View Larger Map

Rubio’s Cuban Café

Given the rich cultural history of Cuba, a tangled mélange of African, Spanish, Latin American, and Caribbean influences, “refinement” is probably the last word you’d expect to hear associated with its cuisine.

Cuban food is, both by historical precedent and economic necessity, a confused blur of flavors, marked by abundant spice, thick sauces, numerous sandwiches with identity crises, and slowly simmered, rib-sticking stews. But when you go to Rubio’s Cuban Café (on the site of the old Mr. Cubano) in Cape Canaveral, you discover a different, frequently buried facet of the island’s cooking style, one characterized less by traditional augmentation than by a kind of culinary archaeology, a peeling away of flavors that uncovers rich veins of authenticity.

Tapping into his roots, owner/chef Javier Gonzalez emphasizes largely forgotten aspects of Cuban cookery that were in existence well before the corruption of outside influences, American among them. Both in terms of portion size and taste, Javier’s dishes reminded us of Spanish cooking, their clear delineation of flavor similar to the tapas one finds from Bilbao to Cádiz.

We mentioned this to Javier during our visit and were surprised to hear him describe his background as “half Cuban, half Spanish.” The Spanish comes from Javier’s paternal side, while the Cuban stems from his mother Olga’s family, the Rubios. Though Javier admits he was never allowed in the kitchen while his mother was cooking, he describes himself as always peering curiously over the counter to watch her at work. Years later, when he started cooking for himself, he found himself frequently phoning both his mother and his sisters for advice on how to recreate the masterpieces he remembered from his youth. In recreating these beloved family recipes for Rubio’s, Javier also pays homage to his Spanish blood by adhering to that culture’s cooking principles — the use fresh, seasonal ingredients and the avoidance of all artificial enhancements and flavors.

Rubio’s food is still Cuban, make no mistake, but entirely free of the slapdash, crock pot mentality fans may be used to. Those fed by Miami- or Tampa-based “authentic” dives might be surprised at first Javier’s unique approach to cooking, but by meal’s end they’ll be won over by its refreshing warmth and ingenuity. However, “refined” in this case shouldn’t suggest high-minded exclusivity or gimmicky gourmet flourishes. Despite its similarly refined, modern décor (courtesy of Javier’s hand-built tables and upholstery work), Rubio’s still embraces the Cuban tradition of affordability and family-friendly, hands-on service.

A selection of Rubio’s signature dishes, coincidentally both his and his customers’ favorites, bears this strategy out — beef empanadas (made on site by Javier); tasty black beans and rice; an excellent Cuban sandwich (with pulled, roasted pork marinated in homemade mojo); fried maduros (sweet plantains); ropa vieja; a sour orange-marinated palomilla steak seared to tender perfection, and camarones al ajillo (shrimp sautéed in Spanish olive oil, garlic, and lime). The shrimp in particular were something entirely different — and far more delicious — than we’re used to. The sauce, while thick and piquant as it should be, was also surprisingly delicate, each flavor as detectable as if we were reading the recipe note card. Likewise, the amazing pulled pork that graced the Cuban (a good mixture of satisfying chunks and thin strands) suggested the intricate flavors of a mojo that could have only been conceived from generations of care and love. Sour orange is the not-so-secret ingredient in the tender palomilla, and its presence is a contained whisper rather than a startling shout.

In keeping with the Cuban tradition of abundance of choices, all variations on a binding theme of ingredients, Rubio’s menu is too vast to list in its entirety here. We recommend grabbing the take-home paper version of it for safekeeping. Each item deserves at least one try, and we’re tempted to attack the task, though doing so before 2011 might prove difficult. Appetizers include Javier’s crisp empanadas (filled with either beef, chicken, or fish), ham croquetas, tamales, papas rellenas (potato dumplings stuffed with seasoned ground beef), and yuca fries served with garlic mojo. There’s also a selection of soups and salads, and a number of side dishes (including maduros and tostones) will enhance any dish.

All entrées are served with rice (white, yellow, or moros), black beans, and plantains. The beef (carnes) section includes a breaded palomilla (palomilla empanizada); picadillo (ground beef cooked in a Cuban Creole sauce with wine and raisins); a Cuban beef stew; steak Milanesa (topped with marinara sauce and melted cheese); tender oxtail in a spicy red wine sauce; boliche (eye round stuffed with Spanish sausage), and one of their more popular items, ropa vieja. There’s also roasted pork, flat iron-seared pork chops, and masas de puerco — fried tender pork chunks served with mojo and sliced onions.

Rubio’s offers seven chicken dishes (including the classic arroz con pollo, and chicharrones de pollo) and four seafood dishes (like mahi filet grilled in mojo, Creole or garlic sauce, and blackened or breaded), all of which are excellent, but Javier’s 16 sandwich varieties are something to behold. Made with authentic Cuban bread (fetched throughout the week from Tampa) and pressed crisply, all of these sandwiches are worth repeated visits. Along with the Cuban and media noche (served on a sweet bread roll), there’s the hard-to-find Elena Ruz (cream cheese, roast turkey, and strawberry marmalade), named after its originator, a famous Cuban socialite from the ’30s. You’ll also find the choripan (flat iron-seared chorizo and onions), chopped flank steak in a Creole sauce with Swiss cheese, the mahi sandwich, pan con picadillo, and pan con ropa vieja. Dessert lovers will revel in Rubio’s tres leches, homemade rice and bread pudding, an array of Cuban pastries, and vanilla flan. Also on hand are Cuban batidos (shakes) — mamey, mango, papaya, pineapple, guava, and wheat (trigo).

We also highly recommend a breakfast visit to Rubio’s, where among more traditional American fare, you’ll find some of Javier’s Spanish-style three-egg omelets. Firmer and fluffier than garden variety omelets, Javier’s versions (there are 6 types) include a Basque style (with chorizo, yellow onions, and potatoes), a plantain omelet, and a create-your-own. Two breakfast selections, the Beachside (two fried eggs over black beans and white rice with toast) and the Riverside (two fried eggs over black beans and grits), were created for loyal customers. The French toast is made with Cuban bread, which lends it a heartier texture, and there are a wealth of side dishes and coffee beverages to choose from.

For a pleasant shift in perspective, give Rubio’s a try. If you’re like us, you’ll find it’s everything you expect from Cuban food — and something much more.

Rubio’s Cuban Café is located at 6550 N. Atlantic Ave. in Cape Canaveral. They’re open Monday through Saturday from 8 a.m. to 5 p.m. and Sundays from 8 a.m. to 3 p.m. Breakfast is served until 11 a.m. Monday through Saturday and all day Sunday. Rubio’s is very family-friendly and offers a special children’s menu. Rubio’s enjoys a high rating on TripAdvisor; Javier and staff welcome feedback and candid comments. Rubio’s is also available for private events and fully equipped for off-site catering services for all manner of gatherings and events. Call 24 hours ahead to arrange and plan a meal with Javier. Take out and delivery (within a limited range) service is offered as well. Call 799-2200.

View Larger Map

TWENTY QUESTIONS with BEN MALIK

On Saturday, April 10, Cocoa Beach celebrates the 85th Community Fest, a family-friendly street party in the heart of the downtown area in honor of the City’s 85th anniversary. Centered at the intersection of Brevard Avenue and Minutemen Causeway, the event promises loads of activities, arts and crafts, live music, and food and drink, with all proceeds raised going to the Cocoa Beach Kiwanis, Elks, Rotary, and Lions Clubs. In turn, all of these organizations will support local schools and residents with services and assistance. Last year, these service organizations helped raise over $162,000 for the community.

Organized by Ben Malik, President-Elect of the Cocoa Beach Kiwanis Club, this year’s celebration is set to eclipse previous events, both in terms of local attendance and funds raised. Ben, who’s also the Assistant Vice-President/Relationship Manager of Prime Bank in Melbourne, left the “congestion and hostile attitudes in South Florida” in 2006 with his family for Cocoa Beach, a place he lauds for its “strong sense of community.” “I have a deep affection for Cocoa Beach,” he says, “having come here to vacation for over 30 years and having learned to surf at 12th Street. I knew that I would end up here one day…”

Ben took time away from his busy schedule to tell us about the Community Fest and to answer twenty of our probing questions…

What are some of the things people can expect from this year’s Community Fest?

This is a family-friendly free event with kids’ activities including bounce houses, a water slide, a dunking booth, and a kids’ sidewalk art contest. You can also expect local arts and crafts, a live tiki carving demonstration by Mai Tiki and live music by Delgado, Cocolocos, and Vintage, as well as plenty of food and drink — including beer and wine. All proceeds go the Cocoa Beach Kiwanis, Elks, Rotary, and Lions Clubs. In turn, all of these organizations support our local community schools and residents. Last year we raised over $162,000 for our local community. The Lions Club will be collecting used eyeglasses to be recycled for people in need and will offer a free diabetes screening from Noon to 2 p.m. We will also be raffling off a 6′8″ surfboard — donated by Oceansports World — hand-painted by Mark Longenecker of Endless Summer Tattoo and autographed by many of the area’s top professional surfers during the Masters Surfing event at Sebastian Inlet.

Who will be some of the vendors there?

Food and drinks will be sold by the Kiwanis, Rotary, Elks, and Lions. We also have some talented local artists displaying their wares, including Rick Piper, Mary Moon, Wayne Coombs, and Pam Werneth of Jewelry by Pam. We’re thrilled to have the Cocoa Beach High School Project Graduation participate in this year’s event. They will be doing a bake sale to raise money for their organization that promotes a safe, alcohol- and drug-free party that parents give to their graduating seniors on the night of Graduation on May 14th.

How will this year’s event be different from previous Community Fests?

The idea was to make this year’s event more community- and arts-oriented by inviting other non-profit organizations in our area that help out our community. We will have volunteers from the Cocoa Beach Historical Society. The Big Red Bus will be on hand to solicit blood donors and volunteers, as well as Junior Achievement of the Space Coast. The Space Coast Chapter of the American Red Cross will have their Emergency Response Vehicle there. In addition, we’ll have Brevard Community College on hand to discuss continuing education options, some sort of game of skill between the Cocoa Beach Police Department and the Cocoa Beach Fire Department (free throws or horseshoes), and a demonstration by Patrick Air Force Base’s canine unit.

What do you hope people from the community will take away from the day?

That Cocoa Beach is a great place to live and raise a family. We have great beaches, excellent schools with very dedicated teachers and staff, great local restaurants and live music, many talented local artists, and people who really care about their community.

How much money do you hope to raise this year?

We’re hoping that by moving the event from June to April, our weather will be more cooperative and in helping us raise $10,000 this year.

How will the proceeds from this event be disbursed back to the community?

All proceeds raised from the event will be evenly distributed amongst the four service organizations, which in turn will be used for supporting our local community.

What was the main response from members of the community and local businesses while you were putting this together?

The community has been very supportive during the organization process and we have extended invitations to any of the non-profits organizations in the area. We have also gotten support from local businesses with sponsorships. If they could donate funds, in light of the economy, we were supported with in-kind donations, such as the surfboard donated by Roy Scafidi of Oceansports World, the free painting by Mark Longenecker, free use of a trailer by C &C Automotive for the stage, ice from Lawns By Scott, and free poster design by Jet Press, to name just a few.

What were some of the challenges involved in the organization process?

It takes a lot of planning, time, and effort to put together an event like this. We were very successful in keeping our overhead low due to our limited budget by reaching out to local businesses and members of our community. Trying to get four different service organizations to agree on things was actually easier than expected.

There’s talk that some would like to see this festival — in scaled-down fashion — become a regular “First Friday” event for the City. Do you think that’s possible?

Absolutely. It just requires people working together and getting sponsors to make it happen. I’ve already approached the City about doing more regular events like a Friday Fest like the one held in Downtown Melbourne. Cape Canaveral has also started a monthly Friday Fest. We have a nice area downtown… We could put together an ongoing monthly arts event to bring residents out and support our local businesses. I envision a smaller scale version of a Melbourne First Friday or our annual Arts Festival, with food and wine tastings from some of our local restaurants, arts and crafts displays by some of our talented artists, live music… A nice low-key affair for our residents to enjoy and support our local merchants.

Apart from the Kiwanis Club, what are some of the other organizations you’re involved with?

I serve on the board of the Space Coast Chapter of the American Red Cross, and I’m involved with Lead Brevard, the Cocoa Beach Elks Lodge, Junior Achievement of the Space Coast, and the Cocoa Beach Chapter of Surfrider. I was fortunate to attend the University of Florida in part on a Rotary Scholarship and have had some very good mentor figures in my life — these are some the ways I can give back to our community.

You moved here in 2006, but have been visiting since your youth. What was it about this place that brought you here? What gives Cocoa Beach its special appeal?

I learned to surf here in my youth driving over from Lakeland with a core group of friends before internet and surf cams… leaving at 4 a.m., not knowing if there were any waves… And there was always the thrill of seeing the first ray of light hitting the water at dawn. That was a magical time, and I vowed that I would live here one day and raise my family in a place where people actually say “Good morning” when you walk by them.

Favorite surf spot?

Home break, 11th Street.

What are some of the differences you’ve found between south and central Florida?

The laid-back people and uncrowded beaches — the general lack of crowds and high rises obscuring the coastline here. Let’s not forget not having to surf with 100 of your not so closest friends on a good day.

What’s the worst thing about living beachside?

Driving over the bridge.

What it was like running for city commission last year?

It was a great learning experience and finding out about the city’s past challenges.

Do you plan to run again?

There’s a strong possibility.

What does the future of Cocoa Beach look like through your eyes?

Sidewalk cafes and restaurants downtown, art galleries, and an eclectic mix of shops and stores with a vibrant local economy… A sort of mini-Cocoa Village/Downtown Melbourne that hosts monthly community family-friendly events.

What do you think Cocoa Beach needs to change to move forward?

Encouraging small business investment and infrastructure improvements will get us going in the right direction. We have to support our local economy and shore up the commercial tax base and our property values. This is how we keep our city going and here is how it can be done: 1) Speed up the permit process for new or existing business owners in the CRA (Community Redevelopment Agency) district with a fast track approval committee of consisting of 1 to 2 persons for property improvements, expansion on parcels up to a 1-acre footprint in the CRA corridor. 2) Offer matching façade improvement grants for commercial properties within the CRA corridor (Melbourne offers $20,000; Palm Bay offers $15,000 in matching grant funds to property owners to spruce up their properties. Incentives for green building are also offered as well). This will encourage small business investment in our city. 3) Issue special revenue bonds to fund these items and infrastructure improvements in the CRA corridor (i.e. wider sidewalks, bike paths, and landscaping, streetlights, outside dining for restaurants within the CRA corridor.) This is the funding mechanism for all of these items that must be done now. 4) Utilize the Main Street program for the downtown CRA district and incorporate items 2 and 3 to accomplish this. We also should promote monthly events in the downtown District (Friday Fest, Art Fest, etc.) with sponsorship from public-private partnerships.

What’s your take on the real estate crash? When do you think it will come full circle?

We would need a lot more time and space to go over this topic that I am too familiar with. I would suggest reading the book “House of Cards” by William D. Cohan. In a nutshell, lenders ignored all common sense in lending guidelines, ignoring the basic fact that borrowers have to have the capacity to pay you back. Wall Street investment bankers sold the money backed by worthless mortgages packaged as AAA securities only to have the American taxpayers bail them out when it all imploded. The large declines in property values should have us near the end of this mess, hopefully. The government-sponsored loan modification is a complete waste of time and money; it does not matter if not your interest rate is 0% if you’re not able to find a job.

What’s your take on health care reform?

When Congress loses their current health care system and participates in the same health care system as the American people, maybe then we will have a bill someone actually reads before voting on it.

HIKING TOWARD MY ROOTS: A Trek on Virginia’s Creeper Trail
By Vern Hobbs

The mountains and meadows were luminous with the emerald hue of the Appalachian spring. The excitement, especially mine, was palpable as we unpacked our gear at the Abingdon trailhead. Melodramatic as it might sound, I owe my very existence to this humble hiking trail, or at least to the railroad from which it takes its name.

The Virginia Creeper National Recreation Trail stretches 34 miles through the Southwest Virginia highlands and is a showpiece of the national rails-to-trails movement, a collective public and private effort to convert abandoned railroad rights-of-way to public use. The trail takes its curious name from local folklore. Completed in 1909, the Virginia and Carolina Railroad was a classic mountain railway comprised of countless serpentine curves and steep grades, relegating trains to a lumbering pace and earning it the nickname, “Virginia Creeper.”

The Norfolk and Western Railway purchased the floundering Virginia and Carolina in 1919, and continued to operate the line until 1977. Soon after abandonment, efforts were undertaken by local hiking groups to acquire the line and adapt it to hiking, bicycling, and equestrian use. Their efforts received and enormous boost when the Forest Service designated portions of the route within the Jefferson National Forest as a National Recreation Trail. Subsequently, sections of the right-of-way that traversed private land were purchased, creating an unbroken pathway through one of the most beautiful regions of the south.

Abingdon, Virginia, located near the Tennessee border, just off Interstate 81, was the capital of the Southwest Territories in colonial days. Today, Abingdon boasts a well preserved historic district, is home to the famous Barter Theatre, and marks the western end of the Virginia Creeper Trail.

A steam locomotive rests silently beneath an open air shed at the Abingdon trailhead on Railroad Avenue. For me, this now silent, fire breathing behemoth represents my ancestral connection to the Virginia Creeper Trail. A long time ago, my grandfather worked on this railroad, no doubt passing many a day behind this very locomotive. Familiar old family stories flood into my mind as we strike out. Closing my eyes, I imagine that I am walking between two parallel ribbons of steel, smelling the aroma of coal smoke, and hearing in the far distance the lonely wail of a steam whistle.

Between Abingdon and Damascus, a distance of 16 miles, the trail holds an average, gentle grade of 1.3 percent. Evenly divided between up and downhill slopes, this makes for a good single day trek even for a novice hiker like me. Public access to the trail is provided at Abingdon and Damascus and at two intermediate trailheads: Watauga Trestle and Alvarado. Camping is not allowed along this portion of the trail.

Stately farmhouses and rustic barns look down over sloping green meadows where cows and the occasional sheep lazily graze. Concrete mileposts, a vestige of the railroad days, mark our progress as we proceed surrounded by pastoral beauty. At milepost eight, we cross the Holston River atop a bridge immortalized in a 1957 photograph by Winston O. Link and published in his book, “The Last Steam Railroad in America.” This is the longest of the 110 bridges on the trail, and also marks its lowest point: 1,900 feet above sea level. For the next eight miles, we follow the meandering river past Alvarado, now a ghost town, and finally into the mountain hamlet of Damascus, midpoint of the Creeper Trail.

Damascus is a world renowned backpackers’ town. Centrally located along the popular Creeper Trail (as well as the fabled Appalachian Trail), Damascus offers plentiful camping and lodging, a backpackers’ hostel, and three well-stocked outfitters offering everything a hiker might need, including shuttle service to various trailheads. The Forest Service Visitors’ Center, located in the red caboose, provides current info on all matters that might concern trail users.

I was disappointed to learn that the Damascus depot, a fond memory from my childhood, has since been demolished. That simple structure represented my deepest connection to the railroad that was, for it was here that a young woman observed her Sunday afternoon ritual of waving to the arriving train. On one particular Sunday afternoon, she caught the eye of a young trainman — my future grandfather. The rails, the depot, and sadly even my grandparents themselves are gone, but my memory of them lives on, and is especially poignant in this lovely mountain village where the Virginia Creeper once stopped.

East from Damascus, the Creeper Trail winds through 18 miles of the Jefferson National Forest on an average almost totally uphill grade of 2.6 percent, providing a challenging hike. Trail access is conveniently provided along U.S. Highway 58 at the Damascus, Straight Branch, Taylor’s Valley, Creek Junction, Green Cove, and White Top trailheads. Camping is permitted in designated areas along this segment of the trail.

The iron bridge two miles east of Damascus, setting for another Winston O. Link photograph, marks the beginning of the long, continuous climb through some of the most ruggedly beautiful mountains of the Southern Appalachians. Following the course of Straight Branch for three miles, we finally emerged from shady woodlands into Taylor’s Valley, a farming community little changed since the days when the train stopped here. Plunging back into dense forest, the old roadbed shares a narrow gorge cut by the raging current of White Top Laurel Creek to Konnarock Junction, nine miles east of Damascus.

Falling into a comfortable pace, I try to imagine what my grandfather might have thought about this place. He wasn’t a native of the southern mountains; he migrated here from New York, transplanting himself into the last wilderness of the east. I settle on the notion that perhaps he found the raw beauty of these mountains almost as intoxicating as the beauty on the station platform at Damascus.

Seeking the shallowest possible grade, the railroad builders turned southeast from Konnarock, toward the prominent gap between Chestnut and Lost Mountains, where today the small community of Green Cove boasts the only remaining depot from the railroad era. This humble structure, subject of another classic Winston O. Link photograph, is today fully restored and serves as a museum and visitors’ center.

Beyond Green Cove a long switchback, required to keep the grade to a manageable 3.5 percent, climbs toward White Top. At an elevation of 3,576 feet, this once bustling logging town was the highest point east of the Rockies with scheduled rail service. Today, all that is a memory, but the community of White Top, eastern terminus of the Creeper Trail, has experienced a renaissance as legions of hikers come here seeking adventure.

The White Top trailhead affords a breathtaking panorama of the surrounding mountains and valleys and is a fitting place to conclude our journey and reflect on the experience. Satisfyingly exhausted, I look back down the trail and imagine my grandfather standing on the last car of the westbound Virginia Creeper, waving back at me across a century.

Visit www.vacreepertrail.com for more information. You’ll also find details on current policies regarding camping and fire usage.

The Space Coast Art of Sand Festival

Throughout the month of April, the Radisson Resort at the Port will host the Space Coast Art of Sand Festival, a showcase of family-friendly activities, entertainment, and competitions centered around breathtaking creations by some of the most renowned sand sculptors in the world.

Many of these masterpieces, some reaching over 15 feet high, will be completed by April 2 for public viewing, but a series of planned events and contests will transform the area into a sculpture park formed from over 700 tons of white sand by month’s end. During the three-day opening weekend Festival, April 2-4, visitors can enjoy a wide range of food and beverages, vendors, and entertainment options all while taking in some 15 sculptures by a core roster of chosen exhibition sculptors.

Conceived by the Brevard Cultural Alliance, a non-profit collection of community arts organizations whose mission is to foster a dynamic cultural sector within the county, and organized with the help of sand sculptors Jill Harris and Thomas Koet of Sandsational Sand Sculpting, the Festival brings together award-winning sculptors from around the world — several from Florida — working with various artistic themes.

Exhibition sculptors include Katsuhiko Chaen of Japan; multimedia sculptor Karen Fralich; Kentuckian Damon Farmer; Ilya Filimontsev of Russia; Dutch artist Marjon Katerberg; Canadian Michel Lepire; Leonardo Ugolini of Jesolo, Italy; and both Harris and Koet.

Together, Harris and Koet founded Sandsational as a way to promote their love of this stunning art form. As a team, they’ve traveled all over the globe and have earned numerous prizes for their mind-bending creations. We asked Satellite Beach native Harris how she first got into the discipline.

“A friend of mine is a part-time sand sculptor. For years I saw photos of his work,” she explains. “I got a chance to tag along on a project once, and he asked if I wanted to give it a try. I did, and I was hooked. He and his wife encouraged me to enter contests and to get involved in other events. A year later I quit my job and started Sandsational. That was about 14 years ago.”

An art form practiced by Egyptians as early as 4000 B.C., sand sculpture has changed little since, and is, put simply, the construction of a variety of forms comprised entirely of sand and water. Viewers will notice sculptors occasionally spraying a mixture of water and glue to create a thin, protective crust on their sculptures. Though the sand used for the Festival is a special formulation shipped from a Winter Haven quarry, no additives are introduced to prevent their creations toppling.

Harris described the sculpture process for us. “First you make a hard block of sand out of loose sand by compressing layer upon layer of the moistened sculpture sand in a rough shape, or a mold. We keep filling the different-sized molds until we’ve reached the right height and then start cutting shapes in the hard block of sand. This is always done from the top down.”

“Special tools are used to cut the sand. For the detailed work, palette knives are used. Larger tools such as cement trowels are used for the coarser work. From a cranes and shovels to straws and paintbrushes… they all can be used as tools. Tips are exchanged by builders, and tools are a common subject of discussion. Every builder has his or her own favorite tools depending on their chosen specialty and field of sculpture.”

Wires are placed in the uppermost part of many sculptures to prevent interference from birds, but nothing guarantees complete protection from outside forces. Most rain will not do serious damage to sculptures, though torrential downpours can cause total collapse of several-tiered pieces. Regardless of weather conditions, dedicated sculptors press on — often against the clock in competitions — to make their vision a reality for all to enjoy.

Before the process is even begun, says Harris, “a sculptor must be able to imagine what the sculpture will look like and what dimensions the design should have. With much practice, one gains experience. One carver may like an architectural tour de force, while another prefers figures. The same skills are necessary for both disciplines. They involve carving steadily and straight and an eye for anatomical proportions. It is not necessary to have attended art school to make sand sculptures. But the master sculptors are regarded as true artists in their chosen medium.”

Harris tells us that there are perhaps one hundred professional, full-time sand sculptors in the world. Out of this group, BCA and organizers like Harris chose sculptors with a variety of styles, each renowned for creating beautiful, crowd-pleasing works. “We also wanted to have sculptors from different countries come to the Space Coast,” Harris says. “We hope when they go home they will be like ambassadors, telling other people what a nice place it is here.”

As the month continues, other sculptures will take shape thanks to amateurs, students, and youth and corporate teams. Saturday, April 10 sees the Festival’s Corporate Challenge, and Friday the 16th through Sunday the 18th will present the Space Coast Open Master & Professional Sculptors Challenge. A Student Challenge takes place on Saturday the 24th, and the Festival winds down April 30 and May 1 with Family Days & Nights. Throughout the event there will be a hands-on Youth Pavilion, where kids can experiment with their own sand sculptures and learn about the environment as well as many other activities for the entire family.

The Space Coast Art of Sand Festival runs April 2 through May 1 at the Radisson at the Port, 8701 Cape Canaveral, where 528 and A1A meet. Event hours are Monday through Thursday from 11 a.m. to 7 p.m.; Friday 11 a.m. to 10 p.m.; Saturday 9 a.m. to 10 p.m., and Sunday from 9 a.m. to 7 p.m. Admission is $8 for adults and $4 for children under 12, seniors and military personnel. Visit www.artofsandus.com to find out more details and check out Jill Harris and Thomas Koet’s Sandsational Sand Sculpting at www.sandsational.com.

Concepts On Highland

If there’s one overriding problem with the current state of much contemporary cuisine, it would have to be its reliance on intellectualized “concept” over actual delivery. Add to that some insufferable, self-important chefs, and you’re left with some highly photogenic dishes that aren’t so much meals in the traditional sense as they are transient, edible trends.

But one of the newest additions to the increasingly vibrant Brevard dining scene, downtown Eau Gallie’s Concepts on Highland, turns the “concept” concept on its ear by embracing not one, but several. There’s a lot to be said for Concepts’ very name, one that intimates the embracement of plurality and adaptability rather than one limiting theme. Guided by chef/owner Grant Heaslewood, Concepts on Highland aims to wither the cliché of chefs being arrogant, all-knowing maestros and diners as rubes who should count themselves fortunate enough to sample their masterpieces at a punishing price.

And as good as Concepts’ food is, it’s really Heaslewood who deserves the limelight. Born in Wimbledon, England, Heaslewood moved to Virginia at the age of three, and got his first taste of restaurant work 12 years later. When he turned 18, he began working with Clyde’s Restaurant Group, and with their support attended Gaithersburg, Maryland’s L’Academie de Cuisine before striking out on his own as head chef at The Addison on Amelia, Florida’s top-rated bed and breakfast. While he’d been back and forth to Florida throughout his 20s, Heaslewood decided to settle here to open Concepts just six months ago.

As Concepts on Highland’s chef, Heaslewood exhibits both the personability of a small-town diner cook and the exacting tongue and eye of a Michelin-rated chef de cuisine. This uncommon mixture of approaches comes out in the versatility of Concepts’ menu. Unlike many chefs, Heaslewood welcomes criticisms, special requests, and substitutions from his clientele, and often encourages them, especially if they enhance their dining experience. For him, cooking is an ongoing learning process, a discipline that accepts a passion for tradition, experimental finesse, and an openness to new ideas in equal measure. Above all, he’ set on enticing customers back to share his love of good food prepared on-the-spot with the freshest ingredients available.

So this food, then? Simply stellar. Apart from their affordability, the dishes show a melding of flavors that are as familiar as they are astonishingly new. This is not will-nilly fusion for its own sake, but considered complement fashioned by years of experience and customer-driven feedback. Take one of Concepts’ most popular dishes, the grilled 12-oz. Kobe N.Y. strip, sweet-and-sour chili glazed with rice pilaf, Thai cucumber salad and orange-soy aioli finished with crispy wontons. Another favorite item, the seared Atlantic salmon, pulls out all the stops for an incredible burst of flavor. It’s served with herbed rice pilaf; sautéed spinach; cherry tomatoes; Kalamata olives; capers; lemon zest; fresh herbs, extra-virgin olive oil, and a sweet balsamic glaze.

Other creations on April’s menu (Heaslewood adapts them to reflect the changing seasons) are veal and shrimp (sautéed with roasted shallots, fresh vegetables, and served with mashed potatoes in a tomato demi-glaze); grilled filet mignon (with potato croquette, roasted shallots, sautéed vegetables and served with a compound butter, bleu cheese, or au poivre style); the herbed chicken breast with grilled peach and basil chutney; walnut-crusted pork loin with spiced butternut squash and apples and pears; blackened mahi-mahi with pineapple salsa topped with lump crab meat and buerre blanc) and Meunière-style soft shell crab, sautéed in butter, lemon, white wine and parsley.

The appetizer selection is even more indicative of Heaslewood’s ingenuity. Things like red bell pepper hummus (with Mediterranean relish and pita chips); shrimp and brie samosas (with pineapple salsa and lemon-garlic crème fraiche); seared sashimi-grade tuna, and a wide range of soups and bisques of the day (each made daily) rely on interesting flavor pairings and Heaslewood’s demand for only the highest-quality ingredients. The classic remoulade that accompanies his Maryland crab cakes, for instance, is built with shallots, capers, parsley, Dijon mustard, and gherkins — not overly brined pickle substitutes.

Salad choices include their famous House-style (mixed greens with slivered shallots, cucumbers, and cherry tomatoes tossed with toasted pine nuts and a Dijon-chardonnnay vinaigrette), a Caesar, and Concepts’ signature spinach salad adorned with shallots, dried cranberries, toasted walnuts, apples, and a generous round of fried goat cheese. April’s lunch menu also features their excellent House burger (with bleu cheese compound butter); a tuna salad wrap; Concept’s Maryland crab cake sandwich; grilled chicken and brie; a vegetable pita and Meunière soft shell sandwich.

Whichever dish you order, each can be suited to individual tastes or blended with other interest-piqueing ingredients. As concepts go, Heaslewood’s is one of the more practical lately employed. And through him, Concepts on Highland’s refreshing principles pluck the dining experience out of the rarefied ether and put it back in the hands of the hungry customer. And while it’s a concept a celebrated few might find hard to wrap their heads around, for the rest of us, it’s as easy to grasp as a knife and fork.

Concepts on Highland is located in historic downtown Eau Gallie at 1437 Highland Avenue. They’re open for lunch Monday through Saturday from 11 a.m. to 2 p.m. and serve dinner from 5 p.m. to 9 p.m. Tuesday through Thursday, till 10 p.m. Friday and Saturday. Lunch starts at $8, dinner at $16. Tuesday through Thursday, enjoy a free bottle of wine with the purchase of two entrees. Concepts offers an extensive and very creatively-chosen wine list; bring your own favorite in if you wish — corkage fee is $8. On Fridays and Saturdays, enjoy a four-course meal (with the exception of the Kobe beef) and a bottle of wine for $95. Concepts on Highland offers a large private dining room for all occasions as well as catering service. Call (321) 610-7987 to make reservations.

View Larger Map

Towering above the Central California landscape, the mountain continues to be an active geological site. Best known as the tallest ski area in California, it is actually a gateway to outdoor adventures of all kind, throughout four distinct seasons. Centrally located no more than a seven-hour drive from almost every major city in the state, it is a highly popular weekend getaway.

In the summer adventurers come to hike, mountain bike, fish in the lakes and streams, and rock and mountain climb. Ski gondolas are converted to transportation for mountain bikers and hikers and shuttles are available to take hikers and campers into Yosemite and the John Muir Wilderness National Park as the weather warms up. When nearby Tioga Pass opens after the hot summer sun melts the winter snow pack, Yosemite becomes an enticing day trip. But a much closer and less crowded adventure awaits visitors to the John Muir Wilderness area, which covers 584,000 acres in the Sierra and Inyo National Forests.

The area, which gained 81,000 acres from the California Wilderness Act of 1984, extends along the crest of the Sierra Nevada from Mammoth Lakes southeastward for about 30 miles. It then splits around the borders of Kings Canyon National Park to the Crown Valley and Mt. Whitney regions. This is a land of snow-capped mountains dotted with hundreds of lakes, streams, and meadows. Elevations range from 4,000 to 14,496 feet at Mount Whitney and many peaks are above the 13,000-foot range. Lower elevation slopes are covered with stands of Jeffrey pine, incense cedar, white and red fir and lodgepole pine, while the barren higher spots are marked by granite and glacially-carved lakes.

The breathtaking Rainbow Falls and the geological formation known as Devil’s Postpile are just a few of the easy hikes within close reach of Mammoth, but other curiosities like Bodie Ghost Town and Mono Lake have proven equally popular. Bodie State Historic Park, a genuine California gold-mining ghost town, invites visitors down the original streets of a community that once boasted a population of nearly 10,000. The town, named for Waterman S. Body (William Bodey), who had discovered small amounts of gold in hills north of Mono Lake, hit pay dirt when an 1875 a mine cave-in revealed untold riches.

After the Standard Company purchased the mine 1877, people flocked to Bodie, transforming it from a sleepy backwater of a few dozen to a bone fide boomtown almost overnight. Only a small part of the town survives, and interiors of shops remain as they were left, many still stocked with goods. Designated as a National Historic Site and a State Historic Park in 1962, the remains of Bodie are being preserved in a state of “arrested decay.” Today, this once thriving mining camp is visited by tourists, howling winds, and, of course, an occasional ghost. Spectacular summer thunderstorms are common in the area and give visitors a good idea of the harsh conditions residents had to endure.

Nearby Bodie is Mono Lake, geologically one of the oldest lakes in the western hemisphere. Eerily beautiful, reflecting the snow-capped Sierras in its brilliant blue waters, Mono Lake is essentially an immense inland sea, filling a natural basin 695 square miles in size. Its most distinctive features are its tufa towers — mineral structures formed when freshwater springs bubble up through the alkaline waters of the lake. The lake’s salty water not only makes you float like a cork, but sustains trillions of brine shrimp, attracting millions of migratory birds in search of a feast. A paradise for birdwatchers and photographers, Mono Lake also provides hiking, kayaking, interpretive trails, and a peaceful haven for taking in nature in all its grandeur.
A host of other activities keep Mammoth a lively place all summer. Several pro mountain biking races, an incredible July 4th celebration, and an August Blues festival keep the summer fun sizzling in the downtown area, though fall may be the most beautiful time to visit Mammoth. The summer crowds have gone, and cottonwood, willow, and aspen trees explode into a myriad of autumn colors. Lakes and streams gush with fresh summer rains and melted snow pack, and the air is crystal clear, making for spectacular photography opportunities.

But it is the winter season that outdoor adventurers most associate with Mammoth. With an average of over 400 inches of annual snowfall, thousands of acres of incredible terrain from advanced expert to beginner, and an altitude that keeps the snow from melting well into the summer, Mammoth turns winter into a six month-plus season for snow sports. That equates to one of the longest ski seasons of any resort in the country. Twenty-eight state-of-the-art lifts and gondolas lift skiers to the most advanced peaks and a variety of runs for all skill levels (including seven terrain parks).

Mammoth Mountain is rated as a top destination by most well traveled skiers and snowboarders. From the top elevation of the ski resort at 11,053 feet, there are over 3,100 vertical feet of ski area and over 150 trails. Lift tickets can be expensive during peak season, but there are a variety of discounts available, including reduced lift tickets and vacation packages. While nearby June Mountain offers limited runs and a shorter season, it’s also a cheaper alternative if you’re looking for budget skiing during peak season. But the best deals are offered during my favorite time to visit Mammoth: spring. Cheaper lift tickets, warm, sunny weather, and slushy snow (which is better for less experienced skiers and snowboarders) add up to a great Spring Break at the resort.

There are a variety of other winter and spring activities available at Mammoth. For the vertically-challenged seeking a snowy adventure, escape to the serene tree-lined trails of Mammoth’s majestic Lakes Basin. Nineteen miles of freshly groomed skating, classic, and snowshoe trails await cross-country skiers and snowshoers of all abilities. With the beautiful backdrop of snow-covered peaks and the serene sounds of winter birds you can traverse the forest paths on the edge of glacial lakes. If speed is you your addiction, you may want to rent a snowmobile. Mammoth Snowmobile Adventures is the perfect outfitter for first-timers or seasoned experts. Experienced guides and top-of-the-line equipment grant you access to California’s greatest playground, including: thousands of acres of trails, pristine backcountry, spacious meadows, historic landmarks, and lush pine forests.

A plethora of restaurants and accommodations await you in downtown Mammoth. From a Motel 6 to luxury condos for rent with a ski lift right outside your door, there is a place to stay for most any budget. Some of the popular bars and eateries provide venues for live bands and there always seem to be something going on into wee hours.

For more information on where to stay and what to do, visit the Official Mammoth websites:

www.visitmammoth.com/hotels

www.mammothmountain.com

[Show as slideshow]

Born and raised on the beaches of Ft. Lauderdale, Monique moved to Melbourne five years ago, and now, at the young age of 26, she’s already spent more time on the water than many salts twice her age. A seasoned traveler and lifelong water worshipper, Monique prefers plunging headfirst into the ocean where others seem content to dip their toes into a mere fraction of its vastness.

Armed with an innate love of art and an enviable skill with a wide range of watersports — surfing, wakeboarding, wakeskating, freediving, and spearfishing — Monique has traveled extensively to feed an insatiable passion for her chosen muse. She’s traveled as a professional wakeboarder for competitions all over the world, to places like Australia, New Zealand, Japan, the Philippines, Europe, the Caribbean, and South and Central America, and recently worked as a first mate aboard a sport fishing boat that through the British Virgin Islands, the Dominican Republic, the Bahamas, and Cuba.

Wherever Monique goes, she’s always in search of new inspirations. “It is important for me to go deeply into life and not be content to skim merrily along on its surface,” she explains. “Traveling has expanded my horizons beyond the material aspects of life, such as clothing, fancy cars, and money. I love getting lost in different parts of the world.”

These voyages have also informed every facet of her artwork. Whether acrylic or oil paintings, welded steel sculptures, or delicate blown glass pieces, Monique’s all of creations bear the unmistakable impress of the sea. Time spent in the British Virgin Islands inspired her with its sublime scenery and brilliantly-hued tropical reefs. “The unbelievable sunsets and sunrises over looking the peaks of each island was breathtaking,” she recalls.

But one of her favorite trips was to Naga, an island in the Philippines where she competed in the women’s wakeboarding world championship and placed 7th out of 68 in the world. “I went on a tour to swim with whale sharks on a canoe-type boat with bamboo outriggers and an old crusty engine, one day,” Monique tells me. “The local guy steering the boat looked down in the water and yelled in his language to jump in. As I went underwater I saw an 80-foot whale shark gracefully swimming along the surface. I swam with it for about fifteen minutes and it was one of the greatest experiences of my life.”

As a child, Monique was always interested crafts and started making her first pieces at the age of three. “My mom was always creative and buying my sister and I paints and other crafts to make at a very young age.” Taking her first art class in took my first art class in 11th grade, Monique learned the learned the basics of art and went on to attend WheatonArts in Millville, New Jersey where she first learned how to blow glass and took her certifications for welding. Using these skills, she’s made trophies for Bahamian and South Florida fishing tournaments and has completed large sculptures both in steel and in glass, which can be found in many public parks throughout the southern part of the state. The glass pieces she fashions today are generally freeform sea creatures, ones inspired by the stillness of the reefs she loves so much. Freediving and spearfishing lure her down in search of that stillness, but the pieces born out of those moments speak volumes about Monique’s artistic vision.

As for her paintings, Monique credits the variety of classes she took while at Wheaton. “I got the chance to apprentice under many amazing artists from around the country and learned a new technique on each painting I did. For me its all about layers of paint.” Amazingly, Monique doesn’t paint her subjects from photographs. Working from a dream/travel journal she adds to each day, she takes those sketches and transfers them to canvas. “It’s all out of my mind and the way I want to see them,” she admits.

She counts the elastic perception of Salvador Dali and M.C. Escher as strong influences, but she’s just as fond of famed aquatic artist Wyland. Whatever the reference point, each of Monique’s pieces is different and the time it takes to complete them varies greatly. “I’ve done a mural on a three-story building in four days from start to finish, but some canvas pieces take me a couple of weeks to complete.” Her personal favorite? “I did this painting with an underwater shot of a surfer getting barreled with his hand trailing in the wave. The colors were different shades of blues with the surfer’s shadow running through them.” Monique has just made a shirt emblazoned with this image for Indialantic’s famed Spectrum Surf Shop, which she owns with her fiancé, Benjamin. Apart from being one of a major influence on the east coast surf scene for over 30 years, Spectrum also serves as studio for Monique’s work.

Currently, Monique is in the process of designing her own line of screen-printed bikinis bearing her pieces, called Richter Bikinis, and is also developing her own clothing line. As far as the future goes, she hopes to organize more solo shows of her work while expanding both the gallery and surf shop. Now that she’s back home after a spate of recent overseas travel, Monique has also set to work on a new series of paintings. “I feel that my feet are planted on the ground and now I can be productive,” she says. “I live my life day by day with no regrets. If I ever fall down, I’ll get up and try again.”

You can see Monique Richter’s paintings at Spectrum Surf Shop, located at 130 Fifth Avenue in Indialantic. Call them at (321) 768-7873, or visit them online at www.spectrumsurfshop.com. Monique also has work on display at Pure Art in the Cayman Islands. She welcomes commissioned pieces — everything from indoor/outdoor murals and landscapes to portraits on canvas.

[Show as slideshow]

Any current discussion of Haiti is bound to include mention of the recent earthquake and its impact on the nation’s long-beleaguered history.

But in interviewing Haitian-born Satellite Beach resident Lamothe Lormier, president of the Global Family, Inc., a non-profit whose aim is to construct an eye clinic in the Haitian countryside, we feared talk of the tragedy would overshadow his organization’s goals. What we soon learned, though, was that recent events only served to put the organization’s objectives in clearer perspective, imbuing them with deeper shades of resonance — and urgency.

It’s no secret that Haiti’s history has been fraught with misfortune and sorrow, but for Lormier — who possesses an exhaustive understanding of both his country and the world that has helped shape it — Haiti is much less a fated tragedy than a potential success story punctuated with missed opportunities. In this disaster, Lormier sees only the possibility for real change as opposed to the band-aids Haiti has so long been given, a trend he’s striven to reverse all his adult life.

Armed with an optimism that is as infectious as it is confounding (at least to our comparatively sheltered American minds), Lormier redefined our perceptions of civilization and contentment, and reminded us that in every tragedy hides the chance for redemption, recovery, and ultimately, triumph.

Describe The Global Family for our readers.
Working with medical teams all over Haiti for 20 years as a medical interpreter and consultant I was able to see firsthand the desperate need for health care, eye care in particular. There are 50 ophthalmologists and eye doctors for the entire country and 70% of the population can’t get access to them. Most of these doctors are in Port Au Prince. In general, we have 1 doctor for every 8,000 people. People who live in the countryside aren’t able to get any help at all. It’s been a long process, but focusing on eye care is what I wanted to do — to set up an eye clinic in an area where it would be of use to the people. So far, we’ve done a topographical survey and have purchased 12 acres of land in a place called Thiotte, southeast of Port Au Prince. We have worked with local people to build an access road to the site and are now concentrating on raising money for construction. There is still much to be done. I first had the idea was to build one six years ago, and it’s just two years ago that I started the organization as a 501 (c) (3) non-profit.

Why did you choose to focus on eye care specifically?
In my work, there were many people who came to us with eye problems of all kinds, but most of the time they were simply turned away. This always puzzled me. I saw this happen everywhere we went. One time, much later in my work, I was with a medical team who was equipped to do eye surgery and I was struck by the joy I saw in these people’s faces after their treatment. It was a joy I had never witnessed before. Some simply had cataracts. Before their surgery they were resigned to being blind. But seeing that joy — for me it was like a miracle. Experiences like those triggered my attention to eye care. Eyes are not the priority in Haiti, food is.

What is the next step for The Global Family?
We want to do things the right way, which means that we need an architect, civil engineers, and there are lab tests that need to be conducted to test the soil. Because of its lack of infrastructure, Haiti is very vulnerable and very fragile. The same hurricane that might go through the area will kill 5 people in Puerto Rico, 10 in the Dominican Republic, 5 people in Cuba, maybe 2 or 1 in the U.S., but perhaps 1,000 in Haiti. We must do it the right way, which mean that proper codes must be obeyed, and that costs money. There are seven phases in all for the clinic and we must go phase by phase. We need a surgery room, then perhaps a general treatment area, then a pharmacy. Currently, our greatest need is funding. There are many difficult phases ahead.

You live in Satellite Beach now. How did you come to be here?
I have worked with many organizations, but 10 years ago, I was working in a program called PTPA (the Parish Twinning Program of the Americas, a non-profit organization focused on creating lasting sister relationships between parishes in the U.S. and Canada and parishes in Haiti and elsewhere) in Haiti as a translator for a medical team. My wife Kim was then working as a pharmacist and missionary from Wisconsin on a team I was working with. We were spending a lot of money on phone calls and going back and forth for a long time and then decided to get married. We wanted to be somewhat close to Haiti, so we decided that our compromise spot would be this area. I’ve lived here now for six years. Kim and I have a daughter, Luci (4) and a son, Luca (2).

Where were you when the earthquake struck?
I was here. For the first three days I tried to make phone calls and couldn’t get through. You have nightmares about what may have happened to your loved ones. Eventually I was able to get through and found siblings, but I lost many close friends. I went back to Haiti most recently with a medical team on February 27 and stayed for eight days. I find that sometimes when you experience great emotion your reactions can be mute, silent. I was under a big shock for the entire time I was there. I don’t think I was prepared enough for what I saw. You think you can get used to such things, in a way, especially in adulthood, but it is still a big shock. Haiti was a bad state before, but I still can’t put the devastation into words. I was speechless for a long time.

It seems people in the rest of the world reacted to the disaster not so much with shock as with a feeling of weary frustration. The big questions being asked right now focus on what needs to change in Haiti. What do you think needs to change to mitigate the human toll of tragedies like this in the future?
It’s a difficult question. For over 200 years, Haiti has been suffering in one way or another. We have had chronic instabilities for so many years. Because I have been exposed to American and “western” culture I was able to see and understand how people lived in other parts of the world — their education, social programs, health care — and to go to Haiti once every two months as I’ve done since living here and to witness that contrast is something incredible. I have always hoped to see changes in Haiti — big changes. It’s painful to think that it will take an earthquake to bring change, but Haiti’s history figures into the current chaos, and I think we need to understand that before we move further. Haiti was the first black country to be independent in the western hemisphere. This is a country that has had 33 coups d’etat and 23 constitutions since it gained independence. This is a country that has had four U.S. interventions and three from the U.N. This is a country that is 98% deforested. Facts like these help put things in perspective. Everyone has been trying to help, but not, I think, in the right way. When you look at Japan and the Meiji Restoration era that began in the 19th century, you begin to see some different approaches, if not answers. Japan made an active choice to leave stagnation behind and opened themselves up to western ideas and civilization. And look at them now. Look at the Four Dragons of Asia — Hong Kong, Singapore, South Korea, and Taiwan. Almost 80 years ago, they were like Haiti. Right now, of course, people need food. They need emergency relief. But if you want to see a more advanced Haiti in 50 or 100 years, you must help Haiti as a whole, not just Port Au Prince. Educate the people and you will begin to see some change. You may not see a result in the short term. This recent chaos has opened a Pandora’s box of problems, hopefully so the world can see them as they are. The reason why the devastation is so great is that 80% of Haiti’s infrastructure was centered in “the Republic of Port Au Prince,” and not spread throughout the Republic of Haiti as a whole. Port Au Prince is home to all the universities, hospitals, administration — everything is centered in Port Au Prince. The countryside of Haiti, however, is another country. And the people who live in the countryside are essentially living in a big jail, so to speak. They are living without access to education, health care, and other important services. Hopefully, the world will see that. But simply throwing money at Haiti isn’t going to solve everything.

Why, in your opinion, has it been so difficult to set change in motion?
There are many outside factors that contribute to why Haiti is the way it is today. We defeated Napoleon’s army in 1804 and threw out the French to gain our independence. This was a big insult not only to France, but to western civilization as a whole. The French and other countries decided to punish Haiti by isolating and marginalizing her. Haiti had to pay a debt back to France from 1825-1946. It was $98 million at the time — it’s hard to put a number on what that translates into today. The Haitian people had to compensate their old masters, with a debt of independence. So that has had a huge effect. Apart from that, you have to understand that there are essentially two Haitis — you have some elite who speak French and practice Catholicism in Port Au Prince, and in the countryside, people who speak Creole and practice voodoo. There is a quote from Nietzsche that says that when you fight against a monster, you must be careful not to become a monster yourself. We fought so hard against French oppression and now we are just using those same tactics they used against our own people. People live like slaves in the shantytowns in the country, but you have a small group of people with all the wealth in Port Au Prince. They have the power over the brakes and the accelerator, and they’re using them the wrong way at the wrong times. It is a tool for oppression that education is given to a small group of people. When that happens, you have the educated saying “I deserve the wealth, or I deserve this or that,” while the others live like slaves. It is interesting to remember that when Pope John Paul II came to Haiti in 1983 he said: “Something has to change here — Il faut que quelquechose change ici.” Eight days later, the Haitian government changed the time zone.

There are a lot of long-held myths about Haiti that are still floating about in the rest of the world. Surely those must be conquered before any real change can begin. What are some you’d like to shatter?
Any time people here see Haiti I think that they always see it in a negative light — coups, riots, earthquakes, HIV, voodoo. What they might not understand is that there is also another Haiti. I can drive 8 hours outside of the city and there might be 100,000 people living in the countryside. But I won’t see a policeman the entire time. And there is no fighting, no sign of unrest. Almost zero crime. This is another civilization the world should see. Some might look around at the poverty and call it primitive, but I call it civilization. This is a different Haiti the world should know. I see it every time I’m in the countryside. When I see the people smiling the way they do with what little they have, it’s not fake, it’s real. Haiti will never be the same. But there are two things that can sometimes happen when you experience a trauma like that. The country can be like a phoenix and rise from the ashes with new ideas for change, or people can go back down. My hope is that they will rise. This is an opportunity for Haiti to come up with new paradigms. We feel sad, but we move on. It happened. It’s life. No matter how much we cry, tears will never bring our loved ones back to life. To honor their deaths, we must give every Haitian child the opportunity for an education. I’m sure that if we try to look at Haiti 100 years from now change may not seem possible. But nothing ever happens just through miracles. We cannot change what has happened, but we can change the present for a better future.

The Global Family, Inc. is a government-recognized 501 (c) (3) non-profit organization in the state of Florida dedicated to improve the quality of life of the Haitian people. The organization hopes to empower the underprivileged in the rural areas in Haiti by improving their lives through health care services in connection with medical missions. They hope to accomplish this mission through the construction of an eye clinic that will provide eye care services, minor surgeries, and community health care. To learn more and to donate, visit http://theglobalfamilyinc.org/, or send your tax deductible donations, in either check or money order form, made payable to Global Family, Inc. to: Global Family, Inc.; 870 Miramar AVE N (A1A), #1219; Indialantic, FL 32903. You can also donate online with your credit card. For more information, phone (321) 773-8306.

theglobalfamily_01

◄ Back

Next ►

Picture 1 of 21

On March 13, Lori Wilson Park will be transformed into an international tasting village as part of the inaugural Cocoa Beach Wine & Food Festival.

Conceived by Cocoa Beach attorney Tony Hernandez III, the Festival has been three years in the making, and the result of his, Event Manager Matt Gunter and countless others’ tireless work to help showcase the best and most eclectic selection of food Brevard has to offer while helping fill local food banks. As a core organizer, Hernandez could be said to have had a leg up in its development, thanks to his impressive track record as a philanthropist, respected community leader, erstwhile restaurateur and cook, and an avowed food and wine enthusiast who runs a successful law office while juggling several pet causes at the same time.

With all this on his proverbial plate, Hernandez, initially inspired by an encounter with a young penniless family in search of food, enlisted the help of Craig Technologies and SpaceCoast Living to bring the community and the area’s finest restaurants together to combat hunger throughout Brevard County.

Proceeds from this year’s Festival will benefit Project Hunger, a local, grassroots organization that facilitates the disbursement of food to the needy through County food banks. With every $1 the Festival raises, Project Hunger can purchase $9 worth of food for local food banks.

Based on current call volume, and surely influenced by the recent economic downturn, Brevard can expect a 63% increase in requests for referrals to food assistance agencies this year. An estimated 33,000 Brevard residents are considered “food insecure,” and of those people, an increasing number are more likely to spend their limited funds on food than on utilities, medical needs, and rents and mortgages.

But what’s more striking to Hernandez is the lack of complementary staples in local food bank stocks. “There’s always something missing,” he explains. “There never seemed to be sufficient food on hand. There would be cereal, but no milk — or peanut butter and jelly, but no bread. And much of it is just canned.” On top of that, Hernandez says, there was a distinct lack of fresh, nutritious food to help complete well-balanced family meals, which provide vital checks against illness and another of his pet peeves, obesity. “One out of every 7 families doesn’t have sufficient nutritious food for household meals. And then there’s the cost of food in general. It’s much easier for low-income families to buy cheap, fast food than to buy fresh alternatives.”

“The community is overwhelmed with this problem. We can’t depend on the State or Federal Government to help. We have to do it ourselves,” Hernandez says. “We as a community have to bear the burden. We’re talking about children and people here.”

With that admirable goal in mind, the Cocoa Beach Wine & Food Festival will gather an ethnically diverse collection of 13 of Brevard’s most renowned chefs to prepare food samples from their respective countries of origin, which will be paired with wines selected by discerning sommeliers. Seven local seafood restaurants will also participate in the Festival’s Tasting Village, along with baker Linda Lopez of Cape Canaveral’s Bald Strawberry Bakery. Visitors will be given a wine glass for the event as well as a voting ballot, with the results of their favorite creations to be tallied up at the day’s end.

Representing China will be Chef Michael Lee of Yen Yen in Cocoa Beach, while Chef Chai of Cocoa Beach’s Siam Orchid will prepare delicacies from Thailand. An interesting inclusion on the Asian roster is Chef Peter Lin, whose Chameleon Fusion Bistro in Melbourne has won rave reviews for its fusion of European and Pacific Rim flavors. India will be represented by Chef Anil Vadaparambil of Melbourne’s Taste of India. Widely regarded as Brevard’s finest and most authentic Indian restaurant, Taste of India is also highly regarded throughout central Florida for its respect for fresh ingredients, nutritious preparation, and delicately nuanced flavors.

The distinctive, sunny taste of Jamaica comes courtesy of Cape Canaveral’s own Chef Trevor Dixon of Trevor’s Blue Toucan. Though Trevor is adept with a number of international cuisines, he’s earned local fame with the curries, rich sauces, and jerked specialties of his hospitable homeland. An Italian surprise comes in the form of Chef Brano Kunik of Cocoa Beach’s Brano’s Italian Grill. Though a relative newcomer to the local dining scene, Brano’s has quickly gained loyalty for both its adherence to Italian tradition and its courage to push the community gently beyond its pizza and spaghetti comfort zone with items like Veal Ercolano and Eggplant Rolatini. Greek Chefs Zacharias Ligerakis and Nick Poulos will bring the Mediterranean flavors of Cocoa Beach’s Zachary’s Restaurant to the Tasting Village.

The Festival also offers attendants a unique opportunity to experience one of the area’s largely undiscovered gems, Palm Bay’s La Estancia de Luisa. Chefs Lara and Francisco Lara enjoy a devoted, almost secretive following for their traditional Colombian cooking. Representing Cuba is Chef Javier Gonzalez of Cape Canaveral’s Rubio’s Cuban Café and Brazilian Chef Boaz DaCosta will enlighten guests with selections from his Brasas Grill based in Cocoa Village. Another interesting choice is the Festival’s selection of Chef Marlene Khouri. Her Cedars Café specializes in healthy Lebanese and Mediterranean cuisine. Chef Klaus Krause of Izzy’s Bistro will appear on behalf of Germany, and America will have a spot in the Village thanks to Chefs Nancy and Stuart Bortons of Malabar’s Yellow Dog Café.

In light of one of our community’s most defining geographical features, no local wine and food celebration would be complete without a strong showing of some of the area’s best seafood restaurants. Look for Chef Tomislad Saronja of The Surf; Chef Kevin Keller of The Fat Snook; Chefs Garry Bracken and Matt Calowell of Fishlips Waterfront Bar & Grill; Chef Jason Tavenier of Gregory’s Steak & Seafood Grill; Chef Clen Dunham of The Lobster Shanty; Chef Rick James of Rusty’s Seafood & Oyster Bar, and Chef Mark Stewart of Atlantic Ocean Grille.

After the International Tasting Village, which will run from 10 a.m. to 3 p.m., the Festival will continue with live music from local band MoGeetz from 3 p.m. to 5 p.m., followed by an award ceremony for the best food of the day. Amidst all this, guests can enjoy food vendors (including a fusion ice cream booth) separate from the Tasting Village; an ongoing interactive “Wine 101″ class; booths with high-end handcrafted silver jewelry, accessories, and cosmetics; a tap-equipped beer truck courtesy of the Florida Beer Company; giveaways and raffles; sand sculpture artisans, and a mid-day solo acoustic performance by Cocoa Beach’s own Jamming Joe. The day is capped off by a performance from Three Dog Night from 6 p.m. to 8 p.m.

Hernandez hopes this will be the first of many such Festivals to be bound together by a new theme each year. But for now, he has his sights set firmly on improving the lives of needy families with this important inaugural event. “We have to take responsibility and show what we can do as a community to tackle the hunger problem.”

The Cocoa Beach Wine & Food Festival takes place March 13 from 10 a.m. to 8 p.m. at Lori Wilson Park in Cocoa Beach, about 1 and 1/2 miles south of S.R. 520. Tickets are $75 and are available for purchase through Ticket Web (www.ticketweb.com), a link for which is also supplied on the Festival’s website: www.cocoabeachwinefooodfestival.com. Due to the nature of the Festival, attendants should be 21 years of age or older. Free Park & Ride Service will be provided from three parking locations: on 520 just west of Sunrise Diner, at Alan Shepard Park at the east end of 520, and at Sidney Fischer Park on the east side of A1A in the central beach area. Visitors will be dropped off at the Cocoa Beach Hilton parking lot, located at 1550 N. Atlantic Ave. Local hotels will also be offering overnight stay specials for the event. Check the Festival website for details.

At least that’s how the self-taught Merritt Island artist sees it. “I truly believe that whatever talent I have comes from God,” he tells me. “In many ways, He’s been pushing me to paint throughout my whole life. I think that 90% of it is Him and the other 10% of it is just me getting up in the morning to pick up my brushes.”

Sibert says this with a curious mixture of steely confidence and disarming humility, a trait he might share with his creative idol, Michelangelo. And though he’s quick to invoke both the Italian master and the Supreme Being as prime artistic inspirations, Sibert is no wide-eyed holy roller. Because as willing as he is to attribute his success to divine intervention, he’s also just as indebted to some very earthly instigators for his relatively late and very impressive appearance on the local art scene.

Born in Virginia and raised in California until the age of 16, Sibert moved to Brevard in 1988. By the time of his relocation, he’d already dabbled in sketching, recalling that one of his first pictures had potential as soon as he’d finished it. “But the more I refined it and worked on it,” he adds, “the better it looked. I worked on it some more and it looked really, really good. After that, my pictures just started to get better the more I worked on them. I knew I had something right from the beginning.”

With very little formal training, apart from some rudimentary high school art classes he did passably well in, Sibert abandoned art for more reliable work — and steadier paychecks. “Around the ages of 18 and 19, I stopped caring as much about art. I never thought I’d be able to make anything out of it. I didn’t see much of a future in it at the time.” As a result, he says he still has a modest collection of “name tags and hairnets” to prove that other more traditional occupational options didn’t offer much else in the way of financial stability.

After working on and off for his extended family’s construction business, Sibert, at the behest of his wife Lisa (an accomplished artist in her own right), took up his pens, pencils, and brushes just four years ago for another stab at his heart’s passion. “Before that, I’d sketched from time to time and would often see striking images in my dreams. Whenever I put pen to paper I was amazed that I hadn’t lost it. I was in the middle of doing a picture of Superman and I remember thinking that if anyone can make any money out of doing art, I’m going to find a way to do it.”

Sibert’s first formal personal challenge was a painstaking acrylic amalgam of some 23 different frogs, culled from various photos cut from magazines. “I really just wanted to see what I could do if I got serious about painting,” he remembers. “The first frog came out impressively, but both my wife and I thought that it may have been some kind of fluke. ‘Keep going,’ Lisa told me. ‘If the rest of the frogs look that good, then you’ve definitely got it.’” Seeking still more confirmation, Sibert approached two artists in booths at the Space Coast Art Festival in Cocoa Beach back in 2005 for their advice.

“I figured I needed to get some guidance from someone in the business; someone who’d made it work for them,” Sibert recounts. “I went up to one of the best I’d seen that day and asked him if it was really his full-time job. He told me he’d put four kids through college with his paintings and encouraged me based on the work I showed him.” The second artist wasn’t quite as encouraging, but still offered Sibert a grain of hope. “He gave me some really solid, sound advice, but told me not to quit my day job.” But after adding that he’d only made about $125,000 during the prior year, Sibert didn’t need much more convincing. He’d heard enough to make the leap into art full time. “‘Sign me up,’ I remember thinking.”

Since his re-induction into the art world, Sibert seems to be making up for lost time. Within four short years, he’s amassed a huge portfolio of canvases, murals, sign work, drawing, sketches, and interior design pieces.

And while their number is impressive, considering the short time it’s taken him to produce them, even more startling is the diversity of their visionary subject matter. Comic book-inspired imagery holds some sway, but each is matched by an even larger number of inventive abstracts, impressionistic studies, still lifes, portraits, and works of uncanny photorealism.

Still though, Sibert is always ready to deflate any perceived pretensions in his work. “I don’t consider myself so much of an artist as much as a human Xerox machine,” he says. “Real art is in the beauty God has already created. I just try to mirror it.”

When he’s not busy building up his portfolio and increasing his output at an alarming rate, Sibert is busy setting higher and more demanding goals for himself. “If I haven’t painted it yet,” he avows, “I will.”

You can see some of Jessie Sibert’s art online at: www.sibertart.com. He’s also available for commissioned work, including murals and signs. Contact him by calling (321) 987-6107 or by emailing jessiesibert@yahoo.com.

Coconuts on the Beach
By: Tobin Bennison

When Punxsutawney Phil pokes his head out of his burrow this February 2 — Groundhog Day — there’s no telling whether he’ll see his shadow or not.

You’d think that the recent frigid weather would suggest a protracted winter, but we’re talking about weather — and we all know what a slave to certainty the climate is, much less to the whims of a somnolent varmint.

Portentous rodents and tricks of the light aside, one thing is sure: nothing can stem the tide of Spring Break, which has already begun for some obscure college somewhere, and with each passing year seems to extend well into the latter half of May.

Coconuts On The Beach is another institution that refuses to abide by quaint superstition, and for a goodly part of the year, Spring Break and Coconuts join hands to welcome both familiar locals and slathering strangers from across this great nation to the beach’s nexus for reveling in winter’s demise.

But what both these camps may not see coming is Coconuts’ revamped menu and refined atmosphere, which, while still suitably celebratory, now aims to apply a gleaming new sheen to an old Cocoa Beach standby. Even in the absence of annual spring festivities, Coconuts, owned by the local Artz family for some 30 years, promises fresh surprises for those who’ve grown weary of fried beachside fare.

Fried food has long been the scourge of local cuisine, and while it satisfies on a very immediate level, it fails to satiate the desires of an ever adventurous and curious public, concerned as much for their health as the state of their taste buds.

For us, the first signs of a Coconuts wind change came in the form of a tasty crawfish and corn chowder, piquant enough to ward off the lingering chill yet still light enough to suggest its eventual status as a year-round pleaser. Other surprises came in the form of enhanced appetizers — including coconut-crusted shrimp and seared sesame or Moroccan-style tuna, two of several new house favorites — and a host of revolving weekly lunch and dinner specials. Of these specials, their fresh fish items are sure to be the most popular. Along with their sushi-grade tuna, firm mahi and tilapia, lobster tails, shrimp, and lump crab feature in many of their new recipes.

Pasta, steak, and chicken are on hand, as are a range of sandwiches and burgers, including their “Black and Bleu,” a blackened Angus beef patty topped with bleu cheese and bacon.

Value, versatility, and constistency still hold sway at Coconuts though, and longtime regulars are enjoying the changes as much as visitors from afar. Coconuts’ bulky salads are just as beloved as their newer items designed with vegetarians, gluten-wary diners, and the more health-conscious in mind.

One of these is a delicious stuffed tomato, filled with chicken salad and fresh fruit. Making inventive use of tropical spices and flavors, these and other choices help lift typical beachside dining to a new level.

But what really draws people to Coconuts is their friendly devotion to the customer, wherever they may hail from. Kid and family friendly and equipped with both indoor and extended outdoor dining, Coconuts is also a year-round entertainment hub. Their remodeled outdoor tiki bar offers heaters for nippier evenings, and a new awning ensures excellent live entertainment rain or shine.

Spring break wouldn’t be complete without a wide selection of tropical drinks and specialty cocktails, and Coconuts rises to the demand with one of the most impressive drink menus in the county.

Enjoyed with excellent surf items (like their popular mango mahi — an 8-oz. filet served grilled, blackened or jerked, served over cuban-inspired black beans and rice with fresh mango salsa), salads, appetizers, and turf plates (like their Chef’s House Steak — blackened and grilled top sirloin served with garlic sauce, mushrooms, and roasted tomatoes), Coconuts is poised to raise the quality bar for other similar beachside eateries as well.

Whether you’re in town from Dayton or Daytona, or even if you consider Minutemen Causeway to be your main drag, rain, snow or glowering cloud can never stop the sun from shining over Coconuts On The Beach.

Coconuts On The Beach is located at 2 Minutemen Cswy. in the heart of downtown Cocoa Beach. Enjoy casual oceanfront dining, regular live music and entertainment Wednesday through Saturday, fabulous drink specials, and extended happy hour and food and drink specials throughout the Spring Break season. As you Spring Break headquarters, Coconuts also serves breakfast on Saturdays and Sundays, with a special continental breakfast menu on offer during spring. Check back with the Resident or ask them about their upcoming wine tasting program and community wine events. To find out more, visit this issue’s entertainment calendar section, call them at 784-1422, or go to www.coconutsonthebeach.com.

View Larger Map

Wilmington: The Overlooked Sister
By Vern Hobbs

Though often overshadowed by her flashier sisters, Charleston and Savannah, Wilmington, North Carolina is a sparkling jewel among the historic port cities of the American South. Located along the banks of the Cape Fear River, Wilmington beckons to the curious traveler with three centuries of history, vibrant nightlife, a robust arts community, and pristine beaches.

“Historic,” has become an overworked adjective, too often used to embellish a place more accurately described simply as “old.” To truly deserve the label “historic,” a city should be more than a collection of aging buildings. It should embody a connection to significant people and events through which cultures are defined. Few places meet that standard as thoroughly as Wilmington.

In 1524, 96 years before the Pilgrims landed at Plymouth Rock, Giovanni da Verrazano became the first European to lay eyes on what would one day become Wilmington. Giovanni rendered a glowing report to the King of France, for whom he was working at the time, but no settlement was established until the English arrived 137 years later. This early real estate venture failed when the settlers incurred the wrath of the native Siouan Indians who took offense to the colonists’ plans to kidnap their children and indoctrinate them into British culture and Anglican religion.

In 1720, speculators from South Carolina and Barbados tired a more diplomatic approach, negotiating the purchase of lands from Chief Wat Coosa, and christening the new settlement Wilmington. From these beginnings, the history of Wilmington surged forward with all the plot twists of a Pat Conroy novel.

British General Cornwallis located his headquarters here before heading north into Virginia and his rude encounter with an American general named George. Pirates Stede Bonnet and Edward Teach, a.k.a. Blackbeard, made Wilmington their home port while terrorizing the Carolina and Virginia coasts. Confederate defenders kept Union forces at bay until December 1864, making Wilmington the last southern port to fall into Federal hands. In 1898, racial tensions boiled over into rioting that is today known as the Wilmington massacre. The massacre changed the political structure of North Carolina and gave rise to Jim Crow laws throughout the South, a travesty that stood until the civil rights triumphs of the 1960s. As all this history unfolded around her, Wilmington amassed one of the most impressive collections of Georgian, antebellum, federalist, and neo-classical architecture in the U.S., and sired countless sons and daughters bound for greatness, among them, Charles Kuralt, David Brinkley, and Michael Jordan.

The National Trust for Historic Preservation has recognized the richness of Wilmington’s past by naming it among its “dozen distinctive destinations.” Numerous museums and galleries chronicle this colorful history, but modern Wilmington’s connection with earlier times is not relegated to the proclamations of historical societies, nor confined to museums. It lives in her present day citizens.

Strike up a conversation with Trevor, owner of Mugsy’s Grill on Princess Street, and you’ll discover he’s as much curator as restaurateur, anxious to tell about the building’s history and his efforts to preserve it. Johnny, at Cape Fear Beer and Wine, loves to tell the story of a British soldier who was shot on a riverfront wharf, and is doomed to forever haunt Wilmington in general, and his store in particular.

Yes, this city honors its history, but by no means languishes in the past. Wilmington is a progressive, forward looking, and youthful community. Pharmaceutical and telecommunications have replaced the declining shipbuilding and lumber industries. Motion picture and television producers have found that Wilmington’s Old-South ambience makes it a perfect filming location. Recently, EUE Screen Gems Studios opened “Dream Stage 10,” billing it as the largest movie production facility outside California. The University of North Carolina, Wilmington, Shaw University, and Cape Fear Community College infuse the community with a palpable thirst for learning and a youthful enthusiasm.

An exploration of Wilmington is best launched from Riverwalk Park, at the foot of Market Street. Helpful volunteers will point you toward the most popular attractions, or arrange a tour. Motor and horse-drawn trolley tours are popular. Private carriage rides provide individualized sightseeing with the promise of romance. River excursions, dinner cruises, and water-taxis are provided by Cape Fear Riverboats. For a unique sightseeing experience, try a guided Segway tour. Your personal Segway comes with a quick lesson on safe operation.

The Riverwalk, Wilmington’s premier boardwalk, stretches for over a mile along the Cape Fear River. Cafes, hotels, and boutiques are sprinkled along the landside, while visiting yachts, tour boats, and the Coast Guard Cutter Diligence dock along the waterside. Across the river, Battleship Park and the massive U.S.S. North Carolina invite visitors to hop aboard a water-taxi and come hear the story of this mighty ship and the gallant men who served aboard her. Equally inspiring is the story of North Carolina school children who collected pennies to purchase the decommissioned battleship and relocate it to Wilmington where it was transformed into a living history museum.

One block east of the Riverwalk, Front Street is the beating heart of Wilmington’s vibrant downtown. Mornings start with stimulating conversation in the coffee shops, like Java Dog at 313 Front, where Meg, the lovable Golden Lab, personally greets every customer. Mid-day is all hustle and bustle in the cafes and retro diners, like the Dixie Grill at 116 Market Street, satisfying appetites since 1906. Afternoons are a bit lazy, as window shoppers stroll along Front Street, and tourists meander past the mansions on Third. Evening brings the city back to life as bands crank up the jams in genres ranging from metal to reggae. Broadway favorites are performed live at Level-5 on the top floor or the old Masonic Temple, while discriminating diners gather at Circa 1922, and pizza connoisseurs head for Fat Tony’s.

Wilmington is also the gateway to Southern North Carolina’s beautiful beaches. Wrightsville Beach is the nearest, only eight miles east on Route 74. Locals seem to prefer the more laid-back atmosphere of Carolina Beach and Kure Beach, about 20 miles south of Wilmington on the Cape Fear Peninsula. All these beach communities are thoroughly developed, but the high-rise condos so common along our shores are conspicuously absent.  One- and two-story seasonal residences are the rule here, and plentiful mom-and-pop motels lend to the relaxed, beach-town atmosphere.

All development stops south of Kure Beach at the Fort Fisher Battle Site and State Recreation Area, home to the North Carolina State Aquarium and miles of unspoiled dunes and beaches.  From Fort Fisher, $5 buys a 30-minute ferry ride across the mouth of the Cape Fear River to the quaint hamlet of Southport, established in 1792. A stroll around the shaded lanes of this nautical village is time well spent, as is a visit to the maritime museum on Howell Street. Here you’ll hear fascinating tales of pirates, blockade runners, and hurricanes. For lunch, try one of the outdoor cafes along Yacht Basin Street. Then, wrap up a perfect day by hopping the ferry back to Fort Fisher, the beaches, and that lovely, demure, third sister that you’ve overlooked for so long — Wilmington.

TWENTY QUESTIONS with Aaron Collins, Conductor of the Space Coast Symphony Orchestra

Within the profound realm of classical music, conductors are some of the most caricatured personages of the lot. The mere mention of them conjures images of gloweringly imperious white-maned figures gesticulating wildly from their symbolically heightened perches.

But along with a clutch of up-and-coming younger maestros throughout the country — and the world — conductors like 27-year-old Cocoa Beach native Aaron Collins, leader of the Space Coast Symphony Orchestra, has set out to shatter this musty cliché. Thanks to a discerning, adventurous, and highly accessible program, which includes both contemporary works and beloved pieces from the past, Collins and the exceptionally talented musicians who make up the SCSO provide comfort to traditionalists and plenty of surprising challenges for a growing number of younger music lovers.

Maestro Collins spoke to us about such lofty subjects as Samuel Barber’s tearful “Adagio for Strings” and the virtues of a cookies n’ cream milkshake.

What do you like most about living in Brevard?
Primarily what’s keeping me here is the people and community. I have a lot of great friends and family in the area. I like the fact that this area has a big city/small town feel. Plus, you can’t beat the weather.

What are some of the fondest memories of your Cocoa Beach youth?
Well, it’s not every day you can get out of bed and walk right down to the beach. I had a great time in high school as well… maybe too good of a time.

How did you first get involved with the Space Coast Symphony Orchestra?
Well, the orchestra evolved out of a performance back in March 2009. The Space Coast Oratorio Society, a community chorus I conduct, performed Verdi’s Requiem. This particular piece of music requires quite a large orchestra. So I called many of my friends/colleagues who are professional musicians and filled the rest of the positions with gifted community musicians and talented youth. The performance was a huge success, and out of that the SCSO came to fruition. Over the entire summer and thousands of hours later, the Space Coast Symphony came to be. Our primary mission is to provide an opportunity for talented youth and college musicians to play alongside — and be mentored by — professional musicians. We have 22 talented youth musicians playing alongside professionals, which is something that is unique about our organization.

How is each season’s program put together?
Well, there are many different aspects to programming, and the SCSO is unusual in that the musicians have a say in the music we perform. Before we had any programs selected, I asked many of the musicians what would be their dream piece to play. After I collected their answers, I went on to program the season. If you look at our season’s programming, every concert is jam-packed with works you rarely hear in Central Florida. Not only is it because of the difficulty of the works, but also the forces (size of the orchestra) it takes to perform them. I also think it is vital to present music that is being written today. New music tends to be different from what most people associate classical music with. It generally has elements of atonality (music with dissonance and often not pleasing to the ear). However, you can’t keep going back to Beethoven or Brahms. There are many composers out there now who are writing wonderful music that is deserving of a performance. You have to be adventurous as well. However, adventurous programming should not be likened with contemporary music. Adventurous programming is about making interesting combinations, not about totaling up the number of contemporary works and exclaiming at the end of the year, “We performed 10 new works this season!” Lastly, it is important that the audience has an active role in both programming and listening. I enjoy conversing with audience members and finding ways to incorporate the audience into the musical process. There are few communal experiences left in our world and I love being able to create those exciting moments for both the orchestra and the audience. Most importantly, you have to program music that is playable in the amount of time you have. With two 3-hour rehearsals, you do not have too much time to rehearse. It’s always a challenge each and every concert cycle. But we are limited by finances. Each rehearsal costs $5,000 to $6,000. In an ideal world, three to five rehearsals would be great!

What other organizations are you affiliated with?
The Brevard Symphony Youth Orchestra, Central Florida Lyric Opera, Central Florida Winds and Chamber Winds, Community Band of Brevard, Orlando Concert Band, Pegasus & Colbourn Brass Ensemble, Space Coast Brass & Percussion Ensemble, Space Coast Oratorio Society, Space Coast Symphony Orchestra, and Trombonanza.

You’re also an accomplished composer. Tell us about the first piece of music you composed. How old were you?
I began writing music at the age of 9 or so. For several years, most of my music was imitations or impressions based off the music I listened to. As time went on, I started to find my voice (although that voice is still evolving). When I was 13, I wrote a work for orchestra and chorus called “The Dracula Suite.” I ended up winning several national competitions in 1993 to 1994, and it was the first check I received for my music. Funny thing is that this work still gets more performances than most of my other music.

As far as composing goes, where do you draw much of your inspiration from?
Inspiration can come from all aspects of life — your surroundings, the people you hang out with, where you grow up. Our generation of composers is the first generation to have music so easily accessible and at the tip of our fingers. We can access World Music, Rock, and even Uncle Luke. All of these things influence my music.

Do you have an all-time favorite composer?
Too tough to say… there are so many different composers out there. Here’s ten in alphabetical order: Samuel Barber, Bela Bartók, John Corigliano, Elliot Goldenthal, Gustav Mahler, Christopher Rouse, Igor Stravinsky, and John Williams.

What is your favorite piece of music, 1) to perform and 2) to listen to?
To perform: probably a Mahler Symphony. To listen to: For many years now, it still remains Samuel Barber’s Symphony No. 1. There is something about that piece that gives me chills each time I listen to it.

What in your opinion is the saddest piece of classical music out there?
John Tesh’s “I Want To Breathe Your Air.” All kidding aside, I think Henryk Gorecki’s Symphony No. 3 is pretty somber. But then you find uplifting moments in it as well. Another one may be Samuel Barber’s “Adagio for Strings” (most people may be familiar with it as the theme from “Platoon.”)

What’s the most difficult piece of music you’ve been asked to perform?
It’s hard to say… even a symphony by Mozart can be extremely difficult. Each piece presents new challenges. It takes quite a bit of preparation for each work.

Other than classical music, what do you listen to for pleasure? Do you have a favorite musician or band?
I like most genres of music. I primarily listen to classical. However, I like Rap/R&B, Rock, Jazz, and some Country. Outkast and Tool are a couple of my favorites.

What kind of music can you not stand?
Polka, some Country, and really slow Rap.

Along with several younger conductors, like Gustavo Dudamel, you’re part of a group that’s injecting new life into the scene. Are there any stodgy myths about conductors you’d like to dispel?
No not really… many of those stodgy myths are true! When people find out that I am a conductor, almost 85% of the time they say, “You mean the guy who waves his arms like this?” (then they proceed to conduct). There is a little more to it than waving your arms and making funny faces.

What makes a conductor a good one?
Conducting is the hardest and easiest thing to do. It’s the easiest because we’re not actually making any sound or playing an instrument. It’s the hardest because we have to somehow convince 85 people in front of us to move a musical phrase in the same direction and have that really be conveyed to the audience. Conducting is like any leadership position in that the power with which you are entrusted comes with huge responsibility. The musicians are relying on you to create an imaginative environment that shows them at their best. The audience is expecting to be moved and excited by your interpretations. One perceptual problem for audiences is that a conductor’s work is chiefly done in the rehearsals leading up to a performance. It is in rehearsal that a conductor has the chance to really work in detail at getting the musical results they are after. Some conductors talk a lot to get what they need out of the ensemble, while others show enormous detail in their physical gestures, which reduces the need to use many words. This is really the art of conducting — successfully converting the communication of mental will into the physical domain. The truth is, it is the musicians who really make the conductor look good. There is nothing like standing in front a group of such talented musicians and making music together. There is no other art form quite like it… it is quite similar to team sports.

Do you have a favorite meal?
A really good Cobb salad followed by a cookies n’ cream milkshake.

Favorite drink?
Vodka. I like Bloody Marys and martinis.

Favorite film?
“JFK.”

Speaking of which, you’ve composed music for films yourself and have a special affinity for composers of film music. Do you have a favorite composer? Is there a famous film you’d have liked to compose music for?
I really dig John Williams and Danny Elfman. Both are great composers. Ya, maybe something epic like “Lord of the Rings.” It’s not often you get a gig writing music for a film with such a large tapestry and scope.

The SCSO is also in need of funds and instruments. What can people do to help?
Live concerts once had the appeal that a new play or film would today. My concern is that, despite all the gains in public accessibility, something critical has been lost. This loss is the sense of a living culture, of people being directly engaged in music. The easiest way to help make this orchestra successful is simply attending our concerts. With a ticket price of $10, we are not profiting. We are simply looking to survive and provide affordable and exciting concerts to the community. One interesting note from our previous concerts is that 70% of our audience base is under the age of 40. I think this is something that is most unusual for most professional-level symphonies. I encourage everyone to come and check out a concert. The worst thing that could happen is that you don’t like it at all. That being said, it’s $10 and I think it is worth checking out. In addition, people are more than welcome to make donations. Lastly, we could always use volunteers and ambassadors for the orchestra. It would be fantastic if we weren’t bound by finances.

What are some of the things on your wish list?
Our Wish List gives you an inside look at all of the costs and hurdles that are presented to the SCSO throughout the year. Very often you donate money to an organization and have no idea how it is getting spent or where it goes. The Wish List allows people to see where their money is going. It includes various items necessary for the operation of the office, musician needs, music, instruments, and concert production.

What do you see in the SCSO’s future?
I think our two primary missions are so important. Ideally, I would love to see us do more concerts, have more educational programs, lower our ticket price even more, provide more free chamber concerts, and touch more lives. Also, I would love to do a Summer Music Festival in Brevard County similar to Daytona Beach’s International Festival or the Aspen Music Festival. With the support of our community, the sky is the limit.

For more information on Aaron Collins and the Space Coast Symphony Orchestra, visit www.spacecoastsymphony.org.  Here’s a brief listing of some upcoming concerts for the SCSO: March 14 — Dvorak’s Requiem, a free foncert at Riverside Presbyterian Church in Cocoa Beach
featuring 70 singers from the Space Coast Oratorio Society; April 24 — Shostakovich’s Fifth at the First Baptist Church in Merritt Island, featuring 185 musicians from the SCSO and BSYO in a side-by-side concert. June 12 — “Made in America” at the First Baptist Church in Merritt Island, featuring the World Premiere of Brandon Clinton’s “Liberty for All”; July 17 — The Music of Brahms at the First Baptist Church in Merritt Island; August 7 — “The Joy of Music” at the First Baptist Church in Merritt Island, featuring world class saxophonist Dr. George Weremchuk.

Several years ago, a friend suggested we spend New Year’s Eve in Salt Lake City, Utah. My first concern was whether or not we’d be able to find a place to enjoy a glass or two of champagne to celebrate the occasion. I am not a heavy drinker, but I do enjoy a couple of cocktails once in a while, especially on New Year’s Eve.

I was under the impression that the famously Mormon capital city was a dry town. But I was persuaded to go along with the idea after being informed of the terrific vacation packages available, including some of the most affordable skiing and snowboarding vacations in the country.

Some vacation packages include a special ski pass, good at four different ski resorts. The “Ski Salt Lake Super Pass,” also sold separately in increments of one- to six-days, is good over a seven-day period, and is valid at all four world-class resorts in the Cottonwood Canyons area. The pass provides an easy and inexpensive way to experience each of the resorts through a single lift pass while enjoying all the dining, nightlife, and value that downtown Salt Lake has to offer. With extensive websites offering the latest up-to-date information on conditions, you can research the different resorts the night before, deciding which mountain to visit at the last minute.

Super Pass prices start at $114 for a two-day adult pass and goes up to a six-day pass for $336. It’s valid at Alta, Brighton, Snowbird, and Solitude, and is redeemable for a full-day lift ticket at any one of these resorts. To make getting on the slopes from Salt Lake even easier, the Super Pass also includes free transportation on the UTA ski buses and the new TRAX light rail. The direct-to-resort ski buses run on regularly scheduled service, eliminating the need and associated costs of renting a car. In addition to offering the Super Pass, a Salt Lake winter vacation provides a variety of lodging options to fit every interest and budget. From a luxury five-diamond hotel and spa to a variety of remarkably well-priced budget hotels, Salt Lake offers a downtown base camp that is high on value and low on stress. Off the slopes, visitors can take advantage of the other activities Salt Lake has to offer, including a variety of cultural offerings, a happening restaurant and nightlife scene, and endless shopping.

Available for purchase online at www. ski-saltlake.com or through travel agencies, tour operators, and Salt Lake hotels, the Super Pass gives visitors the opportunity to tour all of Salt Lake’s famed resorts from a convenient base camp. Ski Salt Lake promotes Salt Lake and its four Cottonwood Canyon resorts as the ideal winter vacation destination unmatched in accessibility, variety, and snow quality. Located just 40 minutes from the Salt Lake City International Airport, Salt Lake’s resorts each average 500 inches of snow annually and collectively offer more than 7,500 skiable acres.

Alta is a skier’s mountain committed to preserving the traditional skiing experience. No snowboarding is allowed. Skiers consistently rank Alta as one of the best resorts in the U.S. for powder, snow, quality, terrain, and value.

Brighton ski resort does allow snowboarding and has a half-pipe. A little more out of the way than the other resorts, Brighton has been a popular place for locals to ski as far back as the 1850s. It’s also Utah’s only resort that can boast that 100% of its terrain is accessible by high-speed quads.  Their five quads give access to 1,050 acres and 1,875 vertical feet of incredible Utah skiing. Other amenities include The New Millicent Chalet, three additional day lodges, high quality rentals, a top-notch ski and snowboard school, lockers, cafeterias, and a pub (with alcohol).

Solitude is a large, full-service ski resort with all different types of terrain for skiing and snowboarding, and offers 65 named runs and three bowls spread beautifully over 1,200 acres. Featuring wide-open powder bowls, gladed tree runs, steep chutes, and gentle cruising boulevards, Solitude has terrain for every level of skier. Its longest descent is 3.5 miles down Honeycomb Trail.

Snowbird is one of the most well known resorts in the country. The top of the resort is the 11,000- foot Hidden Peak, and the lowest point on the mountain is the bottom of Baby Thunder chairlift at 7,760 feet. The 125-person tram covers 2,900 vertical feet in approximately seven minutes. Snowbird is one of the scariest mountains I’ve ever tried to snowboard down. I’ve never been more than a very intermediate level snowboarder, and my more expert level friend on the trip convinced me to start out on a black diamond run. Unfortunately, frigid conditions and inclement weather rendered the run like one giant ice cube. Petrified, I slid down most of the way on my back and spent the rest of the afternoon on the bunny slopes as my companion took the tram to the top. Personally, I much preferred the more gradual sloping of the other resorts, but experts love Snowbird.

After an exciting day on the slopes, we headed back to town to get ready for dinner and to take a walking tour of downtown Salt Lake City. Still decorated with Christmas lights and ornaments, downtown historic landmarks like the courthouse and Mormon Temple offer a spectacular view of the festive holiday spirit in the city. While there are no official public pubs or bars, we quickly determined that there is no problem imbibing in your favorite beverage within the city. Private “clubs” are allowed to serve alcohol throughout Salt Lake, and to take advantage of this loophole, all you have to do is become a member of a particular establishment. The membership fee is usually a trivial symbolic amount, maybe $5 or so. But a well-placed smile at the front door may also get you an invite from one of the “clubs” members who can bring you in for free as their guest.

When we visited Salt Lake for New Year’s Eve, the city had recently instituted the “First Night” celebration downtown. First Night is an outdoor/ indoor artistic and cultural celebration that takes place each New Year’s and was first established in Boston in 1976 as an alternative way to celebrate the New Year without the need for alcohol. First Night festivities now take place in cities all over the U.S., Canada, Britain, and New Zealand. The celebration was a great way to experience downtown on a festive occasion, with dozens of establishments from museums to ballrooms participating. And you could always wander off to a private club if you were in need of a beer or cocktail.

This year, the festivities in Salt Lake are expanding into a newer and bigger celebration. Building on a 16-year legacy, the local creators of First Night have reached deep into their imaginations to dream up the evolution of Salt Lake’s wildly popular Winter Festival. On December 29, 30 and 31, tens of thousands will gather for “EVE,” a first-ever indoor/outdoor urban extravaganza — with snow on the ground, fire in the sky, music in the air, and a party in the streets. Presented by the Downtown Alliance with corporate community partners including eBay, Coca-Cola, and American Express, EVE is hosted at venues throughout Downtown — Gallivan Plaza, The Gateway, Temple Square, Pierpont Avenue, the Rose Wagner Performing Arts Center, the Off-Broadway Theater, Broadway Center Cinemas, the Discovery Gateway Children’s Museum, Clark Planetarium, and more. You can find the complete schedule for next December’s events at www. eveslc.com.

Surf artist Phil Goodrich, an Indialantic native now based in Fork, SC, began drawing in high school to express his frustration with the status quo.

During the late ’80s, Melbourne High was focused almost completely on its football program, Goodrich remembers. “We tried to start a surf club and the school wouldn’t help us out at all,” he says. “Instead of fighting them, I made little cartoons and caricatures of the people who were working against us.”

Starting by sketching the reflection of his own eyes in the mirror, Goodrich practiced his craft daily, still finding time to compete in the first of many surf contests in 1985. To this date, he counts his best result as a 4th place in the 1988 East Coast Championship, one year before setting off for college.

Enrolling in San Diego’s Point Loma University, chosen in part for the ocean view from the freshmen dorms, Goodrich began pursuing a Graphic Communications major, but soon switched to straight Studio Art after developing an aversion to staring at computer screens. It was during this time that he first began using pastels and watercolors, developing his style into a more realistic one inspired by Klimt, Lipking, Degas, and Manet.

Goodrich started using wood as a painting surface during his senior year at Point Loma. “I had to put on my senior art show,” he recalls, “and I basically had nothing to show that I liked.” Peeking into the back closet of the art department, he found a stack of plywood and a box of discarded pastels. “I just had a creative flurry and I stuck with that method for years to follow.”

After graduation, Goodrich created a series of cartoonish watercolors for Transworld Snowboard and Surfer magazines before co-founding San Diego’s Soul Grind skate shop with a friend. “He owned the product,” Goodrich says, “and I designed the logos, t-shirts, and skate graphics. Whenever I earned a little extra money, I’d take off on a surf trip.”

Along with surfing, travel has provided some of the strongest inspirations for his work, and Goodrich still counts exotic locals from around the globe as his preferred subjects — people from Mexico; Barbados; Costa Rica; Panama; Ecuador; Nicaragua; Peru; Haiti, and his favourite destination, Indonesia, where he’s logged some 22 months travel experience over the past 9 years. “No matter how many times I go back, I still find it inspiring,” he tells me.

Of his ethnic portraits, Goodrich says: “I like to capture a moment. I begin with a photo or group of photos. I stare at a blank piece of wood, flipping it around until I start to see some of the shapes from the photo within the wood grain.” Making a quick sketch in charcoal, he then fills in some of the color values with pastels, employed as much for their compactness as for their low cost. The final stage sees Goodrich painting over the whole image with oils, a relatively new medium for him.

“Whenever I’d have an art show, people responded well, but the general comment kept surfacing — ‘I really like your work, but what would it look like in oils?’” Since doing a series of his first in 2005, Goodrich has been using oil on wood regularly. He’s also expanded his repertoire to include likenesses of obscure Blues musicians. “I like to paint the ones people may have forgotten about. I associate myself with a lot of them because they weren’t concerned with fame or fortune — they just loved the music.”

Goodrich finds himself feeling the same way about his two main passions: art and surfing. “I have a high level of skill when it comes to tube riding, but put me in a contest jersey and I’m hopeless. It’s the same with my art; people seem to enjoy my work, but when it comes to the business of promoting and selling it, I’m similarly at a loss.”

But is Phil Goodrich unhappy with his current, often penniless, lot? Not at all. “I really enjoy the way things are. I always feel that success and recognition are right around the corner.”

View Phil Goodrich’s work at several sites online: http://philgoodrich.imagekind.com; www.freewebs.com/philgoodrich; www.absoluteart.com/portfolios/p/philgoodrich; Contact him through any of them to purchase pieces or to commission new paintings.

To say that life is good for Bert Jacobs is not only a hackneyed journalistic cliché, it also happens to be a very misleading statement.

It implies is that everything’s hunky dory for the Life Is Good co-founder simply because he’s fabulously wealthy and successful. What it fails to recognize is that life is good for Bert because he’s chosen to make it so through a refreshingly optimistic life philosophy, one that gauges wealth and success not in monetary units, but in smiles.

By now, everyone is familiar with the story of how Bert and his brother John turned their modest van-based apparel and accessory company into one of the most successful and widely recognized brands on the planet by dint of hard work and unswervingly upbeat attitudes.

How was the idea for Life is Good conceived?

We’d been hawking t-shirts in the street and selling door-to-door in college dorms for five years. On a long road trip we had a discussion about how the media inundates our culture with negative information; how all that focus on what’s wrong with the world creates negative energy. We wondered if we could create an icon and a message that focuses on what’s right with the world — something to create positive energy. It was as simple as that.

You often attribute optimism to be the driving force behind your success. Where were you in life when you chose to adopt this philosophy?

Probably in the crib. Our Mom is a genuine optimist. Growing up, she would say things like: “I like not having any money; that way I don’t have to think about what I might buy.”

When optimism doesn’t get the job done, what’s your back-up plan?

Optimism isn’t a plan, it’s a disposition. In other words, optimism is about how we view the world. Pessimists tend to see obstacles and optimist tend to see opportunities.

Did you ever dream Life is Good would grow to such an extreme degree?

That’s a tough question. People want to believe that we were two clowns hacking away in the street and sleeping in our van and we got lucky. And that’s partially true. But another truth is that we always had big dreams and a big vision for Life is Good.

How do you handle the naysayers and the veterans in your business who shrug off your success as a fluke or passing fad?

Lots of people told us when we started in ‘94 that the concept was so simple it wouldn’t have legs. That was 15 years ago, and we are still going strong. Talk is cheap, so the best way to handle naysayers, rather than disagree and start arguments, is to prove them wrong through actions. After all, any sh*thead can kick a barn down, but it takes a carpenter to build one.

Has working so closely with your brother affected your relationship?

Like most siblings, we have our ups and downs, good days and bad. But after 20 years of working with Johnny, I’d have to say it’s strengthened our relationship in every way.

Which moment in your career has stood out as a cherry atop your sundae?

If I had to pick one moment, it might be in 2006, when 31,000 strangers came together at the Life is Good Pumpkin Festival on Boston Common and broke the Guinness World Record for the most lit pumpkins in one place at one time. It sounds silly, and the record really is. But that night we raised a half million dollars for kids with life- threatening conditions. That’s the power of optimism.

Many children have benefitted from your efforts and those of LIG. Is there a particular story that sticks out for you?

Kids are our greatest inspiration. They believe anything is possible, and therefore, it is. There was an 11-year-old girl named Lindsay Beggan. She was diagnosed with terminal bone cancer sometime around 1997 and she showed an amazing spirit. She taught us more about courage and the power of optimism than anyone.

Your seminars/lectures are very entertaining and uplifting. Have you always had a knack for public speaking?

No, I never did it until recently. I’m not sure I have much skill even today, but when you believe in something and you’re telling your own story, I guess it can be compelling to people.

What’s been your most memorable on-stage moment?

Several years ago, I announced that we were starting the Life is Good Kids Foundation. An old woman marched out of the crowd up on the stage and kissed me. Her breath smelt like rotten fish, but I smiled and hugged her back. Something drove her to walk up in front of all those people. She obviously had a personal story of her own relating to children with life-threatening conditions. I didn’t ask her for details, but it was still a special moment.

What do you see as your biggest overall achievement?

I think it’s been mine and my brother’s job to get the ball rolling, to make social causes the center of our organization’s mission. It’s pretty clear to me that the biggest achievements related to this project will come from other people long after we are dead and gone.

What are your thoughts on our current economic situation?

It’s a wake-up call. America has contributed many great things to the world, but recently there has been some laziness and greed. I think the most important question to ask ourselves at this juncture is: ‘What have we learned from this recession?’ In the wake of this crash, I think there is more opportunity than ever, depending on how you answer that question.

If LIG hadn’t worked out, what do you think you’d be doing?

Probably the same thing I was doing before LIG: Teaching skiing and delivering pizza.

In what ways has success changed your lifestyle?

Nothing much has changed. After my brother and I hit the $100 million mark, we bought Honey Nut Cheerios instead of the plain ones.

What is your most reliable method of relaxation?

I have the same close group of friends I grew up with. We all have our challenges and adventures in life, but when we get together there’s something comforting about the same old jokes.

What is your favorite music?

Ben Harper.

Favorite movie?

“Rocky” (the original).

Where is your favorite place to eat there at home?

The Seven’s Pub on Charles Street.

What were your first impressions of Cocoa Beach?

Looked like it hadn’t changed much since Colonel Nelson and Jeannie hung out there. Great beaches, and I’ve met a lot of great people.

Where were you able to find a decent meal while here?

Juice N’ Java.

What is your favorite out-of-town destination?

The South Island of New Zealand.

If you could go back in time and change one thing, what would it be?

I’d cut my brother out of the equity… Just kidding.

What quality do you most strive to achieve?

Know who you are and act like it.

What quality do you most admire in a friend?

Everybody seems to be your friend when everything’s rolling your way. I think you have to look around yourself on your very worst days… That’s when you see who your real friends are.

Do you have any heroes or role models who have helped shape your recipes for life?

Dr. Suess.

Where do you see yourself in 10 years?

Cocoa Beach.

Where do you see Life is Good in 10 years?

In 10 years we will cross into completely different product and distribution categories, such as home goods, food and beverage, and entertainment. All divisions will centrally focus on raising money and awareness for kids who need it most.

One of my favourite customers from my bartending days was a man named John Phillips.

As a retired Philadelphia fireman who served during the ‘50s and ‘60s, you’d figure John would have some great stories about raging infernos, near-death experiences, and improbable rescues. But like many a modest veteran of tough work or battle — and very much in keeping with every fireman I’ve known — John never spoke about the bad stuff.

For John, the mundane events that unfolded during the interminable periods of waiting in the firehouse were far more interesting. His eyes seemed to mist over slightly whenever he mentioned his beloved firehouse, his home away from home where he shared meals, deep discussions, dreams, arguments, and juvenile practical jokes with friends that became more like family over the years.

I couldn’t help thinking of John during our recent outing to downtown Melbourne’s Firehouse Restaurant & Lounge, a place he’d have loved as much for its food and antique decor as for the way it came into being. The lifelong dream of volunteer firefighter brothers James and Matthew McNulty, the Firehouse satisfies on two counts: both for the unique atmosphere it evokes and for the exceptional food it provides.

Billing itself as “Melbourne’s First Real Steakhouse,” the dark and cozy Firehouse tackles one of the food world’s most aggressive conflagrations with the courageous zeal of its founders.

If you think religion and politics are thorny subjects for discussion, try bringing up the issue of steak the next time you’re in mixed company. You’d think it would be smooth sailing once the vegetarians shuffled off to the kitchen to do the washing up, but the clouds of dissent have only just begun to gather, for steak lovers the world over have very distinct and often opposing views on how it is best prepared.

Locals agree that the McNulty brothers have extinguished the blazing dispute with their own Firehouse, an homage to both their work and their favourite entrée, in all its forms. Another thing locals agree on is that the McNulty’s haven’t skimped on their other beefless dishes — a common pitfall for most steakhouses – as their well-balanced menu attests.

Firehouse appetizers are worth their own visit, with items like seared ahi tuna (served with wasabi crème fraiche); mussels (with white wine sauce, proscuitto, and caramelized onions); crab cakes; a caprese salad; Oysters Rockefeller; Peruvian ceviche, and more, including soups like lobster bisque and French onion, and some very popular salads. And yes, there is an excellent filet of beef carpaccio, topped as it should be with capers and shaved Parmigiano-Reggiano cheese.

Entrées like linguine and clams, brick-fired chicken, zuppa di pesci, fresh catch-of–the-day fish, lobster, stuffed shrimp, ravioli, and pasta primavera earn as much raves as the Firehouse’s specialty: hand-cut steaks and chops. Meat lovers will find just about everything here — two sizes of filet mignon (8- and 12-oz.); a 24-oz. bone-in NY strip; a 24-oz. bone-in ribeye; 26-oz. porterhouse; bone-in center cut pork chop; 16-oz. veal chop; rack of lamb, and several Firehouse special cuts.

What’s more, all entrées come with the option of some satisfying and well-prepared sides like creamed spinach, asparagus Milanese, baked potato, home fries, mashed potatoes, and seasonal vegetables. But what pleased us most was their selection of steak toppings, only two of which we were able to try, much to our deep regret. Along with a traditional Oscar and Béarnaise sauce are choices like Burgundy mushrooms; melted Gorgonzola; Sabrina sauce (spinach and jumbo crab meat topped with béarnaise), and an Asian-inspired aioli topped with shrimp and scallopscaled the Dynamite.

Lunch, served daily from 11 a.m. to 4 p.m., sees a special selection of steaks, entrées, and salads, along with six types of burgers and some delicious sandwiches. Additionally, the Firehouse is a great destination for a drink. Its full bar, apart from being classily attractive, is stocked with some hard-to-find bottles, and hours could be spent viewing the memorabilia while sipping on expertly-crafted Manhattans.

Wherever you go, you’ll find that everyone’s a steak critic. Whether the topic is optimal cuts, temperatures, techniques, or hardware, steak lovers seem to spend more time arguing about beef than they do actually enjoying it.

The way to end all dissension might be to stop reaching for an unattainable state of perfection and contenting oneself with the rare moments of excellence such as the Firehouse offers.

The Firehouse Restaurant & Lounge is located at 923 E. New Haven Ave. in historic downtown Melbourne. They’re open daily for lunch from 11 a.m. to 4 p.m., and for dinner from 4 p.m. to 10 p.m. Sunday through Thursday — 4 to 11 p.m. on Fridays and Saturdays. Their full bar is open until late starting at 11 a.m. daily. For more information, call 327-7919.

View Larger Map

According to the British Beer and Pub Association, Britain has seen the closure of 52 traditional pubs each week since mid-decade, and figures for the first six months of 2009 show that number increased by one-third.

To many, the pub is a solid cornerstone of English life, as integral to its collective identity as the red, double-decker bus, the phone box, bearskin hats, tea cozies, and thatched-roof cottages. Once beloved arenas of public discussion, encroaching modernization and changes in the way people socialize have found the hearth-warmed archetype ditched in favor of clinical wine bars, pre-packaged chain pubs, and American-style sports taverns. Of course, many still remain in the well-populated towns tourists are sure to frequent, but finding a pub that cleaves to the traditional idea of being a home away from home has become an increasingly difficult prospect on the sceptred isle.

But thanks to a diaspora of ex-pats like father-and-daughter team Peter and Jane Collett, the English pub as social hub and purveyor of reliable, hearty fare enjoys a second life on many a distant shore. For 23 years, the Collett’s Pig & Whistle has supplied Cocoa Beach with the kind of cozy warmth you expect from a real English pub, and to me, nothing says winter like tucking into one of their shepherd’s pies. Make no mistake: the Pig offers plenty in the way of drink, but it has also built its solid customer base on the food it serves. Their selection of dishes alone evokes feelings of wintry comfort: haddock and chips; sausage and chips; shepherd’s pie; pot pies; chip butties; mushy peas, and home-cooked roast beef sandwiches among them.

Now two years in its 240 N. Orlando Avenue location in the heart of downtown Cocoa Beach, the Pig & Whistle began life about a mile north in an incongruous shopping plaza, a location which, while not what you’d call particularly “traditional,” never proved to be much of an obstacle to those in search of English hospitality. The Pig’s new wood-framed digs are certainly more conducive to experiencing the enjoyment of a traditional pub, but the Collett’s ethos hasn’t changed since they first adopted their quaint name, which stems from an arcane, and thus quintessentially British, tradition. As their menu will tell you, the practice of whistling continuously while retrieving daily rum rations from barrels, or “pigs,” below decks ensured that Royal Navy midshipmen wouldn’t sneak sips while performing their duty. There are many English pubs, especially those in coastal areas, called “The Pig & Whistle,” but each, as the Collett’s show, is wonderfully unique.

Himself a Royal Navy veteran, Peter Collett began training as a chef at 16 in his hometown of Ascot, and prides himself on preparing all of the Pig’s food in-house. He knows that his haddock and chips will come out better than most because he takes the time to batter and fry them to order. This means that there may be a bit of a wait for some dishes, but when you get food as good as this, the gap is more than forgivable. Plus, the wait is made easy with a full-liquor bar and wide selection of draughts and bottles, including English staples like Strongbow, Newcastle, and Samuel Smith’s. This is a pub, don’t forget.

The practice of eating under the same roof where you’ve come to drink isn’t an exclusively English one, but there’s no doubt our cousins facilitate it better than anyone else. To that end, the Pig & Whistle’s menu, while somewhat Americanized, features reasonably priced, casual meals that go well with any of the beverages on hand. And in keeping with the pub’s open-armed spirit, families are always welcome to share in the warmth. All their food can be enjoyed either at the ample bar, in the dining room, or in their pleasant outdoor seating area. The Pig also does a brisk take-out business with their fresh sandwiches, burgers, and seafood entrees.

In addition to 5 or 6 daily specials, the Pig & Whistle’s menu features a host of appetizers (including a homemade soup of the day; salads; fried mozzarella; jalapeño poppers, and sausage rolls — English-style pork sausage baked in puff pastry), delicious 8-oz. Angus beef burgers (never frozen), chicken entrees, and an array of seafood dishes. The haddock and chips (served with mushy peas and coleslaw) is the Pig’s claim to fame, but their grilled fish salads and sandwiches, crab cakes, and shrimp and clam baskets are always popular draws. Generous sandwiches are also available: choose from roast beef; roast turkey; French dip with au jus; grilled ham and cheese; a great BLT, and others.

But the timbered exterior of the Pig & Whistle also suggests the presence of some traditional English fare, and on that count, the Pig delivers. Their beloved shepherd’s pie also comes as a curried version, and sausage and chips, pot pies, and chip butties (essentially french fry sandwiches) will please anyone hoping to add some Dickensian cheer to their holiday season. The pub as we once knew it may be on its way out across the pond, but the Collett’s Pig & Whistle keeps the spirit of the treasured institution alive and well beachside.

The Pig & Whistle English Pub and Restaurant (240 N. Orlando Ave.; Cocoa Beach) is open 7 days a week, 365 days a year until 2 a.m., with the kitchen serving until 1 a.m. every night. They open Monday through Friday at 8 a.m.; Saturdays and Sundays at 10 a.m. Christmas will find them open at 11 a.m., and New Year’s Eve will see a buffet and free champagne at midnight. The NFL, MLB, and NHL tickets can be enjoyed on 14 televisions, as can Setanta and Fox Sports channels. $7.95 fish and chip specials occur daily till 5 p.m.; $5.95 shepherd’s pies are served all day and night each Monday. Check their menu board for daily dessert specials. Happy Hour is held every day from 8 a.m. to 11 a.m. and 4 p.m. to 8 p.m., Monday through Friday, with $2 pints of draught Bud or Bud Light along with several bottle specials. Enjoy $2 shots each Tuesday; $2 Jägers every Saturday; and $10 buckets of domestic beer are featured each Thursday and Saturday. The Pig & Whistle is also equipped with a jukebox, video bowling, live Golden Tee, and a dartboard. For more information, or to call in orders ahead, call (321) 799-0724.

View Larger Map

Since December 2008, our good friend Frank Duffy — or Petty Officer Duffy, an E-6 Electrician’s Mate in the U.S. Coast Guard — has been stationed on the remote, treeless island of Attu, the last link on the Aleutian chain of islands and the westernmost point of Alaska.

Originally from Cocoa Beach, Frank joined the Coast Guard at 23, and his first unit was stationed with the Coast Guard Cutter Alex Haley from 2001-2004 in Kodiak, AK. From 2004-2005, Frank served with an Aid to Navigation Team in Honolulu, HI, afterwards serving in Ft. Pierce at the Coast Guard Station there.

Now on Attu, Frank and 19 other Coast Guard personnel (along with two dogs) oversee the operation of a Loran Station, which transmits signals that aid in navigation. The Loran system itself is fairly outdated, as almost everyone now uses GPS, and the station, the island’s lone structure, is due for permanent closure sometime in 2010. But Loran signals still serve as part of a vital backup system, and Attu itself, though a harsh outpost, is also a rich treasure trove of forgotten history.

During the later years of World War II, Attu saw occupation by the Japanese, and American soldiers were sent to reclaim the island, which they ultimately did after a series of protracted battles. After the War, over 20,000 American military personnel remained stationed there until the 1950s. When he’s not busy keeping the station’s electrical system up to snuff, Frank, an avid fisherman and hunter, spends his time exploring the island with legs that are now just as white as those of the black-socked snowbirds he used to mock as a kid.

Frank is due back in three weeks, just in time to spend Christmas with his wife Eva and their three children. As a kind of early Christmas gift for the Duffy clan, we thought we’d touch base with Frank via email and make him this month’s “Twenty Question” interviewee.

What first made you want to join the Coast Guard?
I grew up with the Banana River in my back yard and I love the water. I just wanted a job where I could always be near or on the water, plus I get to serve the Country. I’ve been in for 8-1/2 years.

Did you have a choice about getting stationed on Attu? How did your being sent there come about?
Yes, I did have a choice. I chose Attu because you get paid a little bit extra for being out here, and when you leave you have a good chance of getting to go where you want to get stationed next. Soon I’ll be getting stationed at Station Ft. Pierce for four more years where I’ll be an electrician working on boats and all the other electrical issues there. I was stationed there from 2005-2008, so I have some good friends who work at the Station and some good fishing buddies in town

How do you get to and from Attu?
It’s a long journey. You fly to Anchorage, then to Kodiak. You then have to take a Coast Guard C-130 plane to Attu, which is another 1,000 miles from Kodiak. We get a C-130 flight to bring us food and supplies once every two weeks. It’s the only flight to and from the island.

Tell us about the Japanese occupation of Attu during World War II.
The Japanese took Attu in 1942 with little resistance because there was only a small village of native Aleuts on the island whom they took captive and sent as prisoners to Japan. Given Attu’s strategic location, the Japanese hoped it would be a stepping stone to taking over America. They also new that taking over a piece of American soil would help demoralize the American people. On May 11, 1943, the Americans landed on the island and were hoping to take the island back over in five days. The battle ended up taking 20 days and resulting in a death toll of 549 Americans and nearly 3,000 Japanese. The Americans left a large military presence on the island until the 1950s.

We understand that the island is littered with reminders of the occupation and ensuing battle. What kinds of things have you found?
There are lots of bombs, mortars, bullets, and grenades left behind. Most of the buildings from the ’40s and ’50s have been destroyed due to the wind and weather. The coolest thing I’ve found was a dog tag on the beach. The name on it is “Lloyd Wamlacf.” I’ve tried to find him with no luck. My goal is to return it to him if he’s still alive or to send it to someone in his family. I also found a Japanese glass ball washed up on the beach; they used to use them for floats on there nets. You get a lot of stuff from Japan, Korea, and China wash up on the beach. I also find lots of Coke and beer bottles from the ’40s and ’50s. There are a bunch of rusted vehicles on the beach, too. The Americans ran them into the ocean before leaving the island to prevent anyone from using them if Attu was ever retaken. It was cheaper than shipping them back to the States. My favorite place to hike is called Fish Hook Ridge, the site of a major battle that has been left untouched since the fight. An American soldier named Joe Martinez got the Medal of Honor there. He died trying to take the ridge. You never know what you’re going to find there. You can see bullets behind the rocks where soldiers from both sides hid and fought. I’ve also seen some human remains on the ridge. The Japanese government is in the process of removing the bodies, cremating them, and sending them back to Japan.

Your isolated situation there reminds us of the John Carpenter version of ”The Thing,” in which an Antarctic research station is infiltrated by an extraterrestrial parasite that can mimic the human form. Do you have any spooky stories for us? Has the power gone out yet?
I hear that a lot. The power has never gone out; we keep our generators in excellent condition. The only thing I would say that gives me the chills is walking out on the battlefields and standing where hundreds of people fought and died. Especially when I ran across human remains.

Describe a typical day at the station.
We work Monday through Friday from 8 a.m. to 3 p.m. We get up at about 7 a.m., eat breakfast and start the workday. Our main purpose here is to transmit the Loran signal 24 hours a day, 365 days a year. I have to work on the generators, vehicles, and all the other electrical equipment on the island. During the winter, we spend a large amount of time on snow removal of the station and our runway.

What are the seasons like?
The summer is awesome. The hills turn green with grass and there are flowers all over the place. It’s pretty foggy in the summer, but you get some absolutely perfect days, too. Plus, in the summer you can have up to 20 hours of light a day. I can remember fishing at midnight and thinking it was about 6 p.m. In December it gets light out around 11 a.m. and dark at 5 p.m. The summer here is short, though. Things turn green in June and start to turn brown in late August. The temperature is usually down in the 50s most of the summer, but you will get nice days in the 60s and low 70s. You get mixed snow and rain from October to December, and you can expect lots of snow from January to March. I lived in Kodiak for three years before this and the weather is bad there, but Attu is much worse. The craziest thing is the wind. It gets extremely windy in the fall, spring, and winter. We’ve had winds over 100 mph several times. The conditions can be very similar to that of a hurricane, but you can’t see anything because of all the snow. This week’s forecast: hurricane force winds and 43-foot seas. It gets ridiculously bad here.

What do you guys do for fun?
We play pool, darts, watch movies, go to the gym, snowboard in the winter, and fish for salmon, trout, and halibut in the summer. The only things to hunt are ducks and geese, which are plentiful since there are no predators. We can play volleyball or basketball in our warehouse, but it’s not heated, which makes the games interesting. The waves here are bigger than any I saw when I was stationed in Hawaii. The water is so cold and there is so much kelp that no one surfs here. We have seven television stations here, so we can keep up with whatever is on CNN. We also have Internet access about 60% of the time, though it’s very slow. It does seem like every time I talk to someone back home, I hear some news I had no idea about.

Does everyone get along?
Everyone gets along surprisingly well. We do argue and talk trash, but it’s all in good fun and never gets serious. You get to know everyone’s personalities well since you have to live together in the same building for a year.

Who does the cooking? What kind of food do you typically eat?
There are two Coast Guard cooks on the island who cook three meals a day Monday through Friday, and two meals on Saturday and Sunday. The cooks do a great job and the food is great — the best I’ve had in the Coast Guard. Good food keeps people happy and gives us something to look forward to every day. The only things we sometimes lack are fresh fruits and veggies. We can always dig something out of the refrigerator if we get hungry; it’s always open. The cooks put out a good spread for all the holidays out here. It’s hard enough not being home with your family and friends, so it’s a little more laid-back out here than it was at other units I’ve been to in the Coast Guard.

You’re something of a legend in local fishing circles back home. Give us a good fishing story from your time there.
My best fishing story is one of a 380-lb. halibut we caught from our station recreational boat. We had just caught and released a couple of 150-lb. halibut that day and were getting ready to leave when it hit my rod. I had already fought one, so I let my buddy Giovanni Beltran fight it. We were anchored and had to tie a buoy to our anchor and ditch it so we could chase the fish; we got spooled by a fish a week earlier. After about an hour-long fight, we got it to the surface and realized there was no way we could lift it into the boat. We towed it to the beach in our 18-ft. Boston Whaler and used a forklift to pick it up. The world record halibut is 459 lbs.; to catch a 380-lb. halibut is a once-in-a-lifetime catch. There is no commercial fishing pressure on the halibut here, so the fish get large and are still plentiful.

What do you miss most?
I miss my family the most. My wife Eva and I have three children, Thomas (6), Eva (4), and Luke (2). It’s been hard; my wife was diagnosed with Wegener’s disease in January of 2008. She was in good health when I left for Attu last December and had just finished going through chemotherapy. Unfortunately, her disease flared back up this past June while I was in Attu, and it required another round of chemotherapy. She only needs one more dose of chemo next week and she’ll be done with her second round of treatment. She’s doing great now and we’re hoping her disease is gone for good. I don’t know how she can take care of three kids, go through chemotherapy, and work part-time — she is truly amazing. It was the hardest thing I’ve ever had to do, not being able to be at her side while she was sick. If you asked the single guys here what they missed the most, they would tell you women in general. It is strange, to say the least, going months at a time without seeing a female. Besides seeing the wife and kids, I’m definitely looking forward to going fishing in the “No Motor Zone” back home. I have dreams at night here about that place. I’ve been going there since I was a kid, and I plan to fish there until I’m too old and weak to hold a paddle.

We’ve heard that you also really miss some local restaurants. Where will you go first when you return?
I’ve been craving some sushi since I got here. I would pay $100 for some yellowfin tuna rolls from Grills right now.

What’s the most important personality one should have for enduring this kind of environment?
The most important quality to have is a positive attitude. If you only look at all the negative things, you’re going to have a bad tour here. You have to make the best this situation and realize that a year goes by pretty quickly — at least it has for me.

Name a material item you couldn’t live without there.
Even though it’s slow and doesn’t work very often, a computer with an Internet connection is the most useful item here. We have personal Internet we each pay $30 a month for, which isn’t bad considering how isolated it is.

Do you guys get many care packages? What’s the thing you request the most?
Yes, I have my wife send me stuff all the time like pictures and drawings the kids have done. Most material items I can order over the Internet, but it takes forever to reach here since we only get a flight every two weeks and not all vendors ship to Alaska. We did have someone send iPods to everyone out here. That was one of the nicest acts of kindness I’ve ever experienced. The whole crew was pretty touched by that.
What do you think you’ll miss about Attu?
I’ll miss the friends I’ve met here. They become almost like family after you’ve been stuck in the same building for a year with them. I’ll also miss the outstanding halibut fishing and all of the history that is here on Attu. Not many people get a chance to see this place; you can’t just get a plane ticket and come out here. There aren’t any commercial flights to Attu.

Would you ever want to repeat the Attu experience?
I don’t think I would want to repeat this experience. It’s too long to be away from your children. There some other units that are pretty isolated out there, but I think this is truly about as isolated as you can get. When I was stationed in Hawaii, I got to work on navigational aids in some remote spots on islands like Molokai, Lanai, and Kauai. I loved it. I could do that again and not even get paid.