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Russell Martin, Jr. Celebrates His Dad, the Saxophone Man

I’m a professional baseball player. That means I’ve heard the national anthem performed before games thousands of times, by solo singers, military choirs, marching bands, the occasional recording star.

I place my cap over my heart, stand at attention at the top of the dugout steps and listen. We all do. But honestly, you don’t always pay strict attention. It’s hard to when your mind is on the game.

But this night was different. That was my dad out there, playing. He stood near home plate in Dodger Stadium last September, blowing into his old, tarnished saxophone (“Don’t want a new one,” he’d always say. “They don’t make them like they used to.”), playing to nearly 55,000 fans before our game that night against the Pittsburgh Pirates.

I watched anxiously from the top step of the dugout and followed every note, praying for him to do his best. A few bars into his performance, a funny thing happened. I realized our roles had reversed.

All my life he’d rooted for me, prayed for me to do my best. Now I was rooting for him. For most of his days he’d been a street musician, but thanks to him, I was the Dodgers catcher.

Sports and music have been the mainstays in my life for as long as I can remember. Sports, because from early childhood that’s what I loved—and did—best. Music, because that was as vital to my dad’s life as, well, breathing.

Our time together was important to me. He and Mom split when I was almost two, and during the school term I’d stay with Mom. She lived in Ottawa, Canada, two and a half hours from Dad’s home in Montreal. Every other weekend I spent with Dad, plus the entire summer.

Dad’s place wasn’t like Mom’s. Mom worked as a government analyst and lived in a comfortable home in the suburbs. Dad moved around Montreal a lot, from apartment to apartment, according to what rent he could afford. He couldn’t afford much. The biggest place he ever had was four and a half rooms. “Don’t you want a place like Mom’s?” I asked one day.

Dad sat me down. “Material things have never been important to me,” he said. “What’s important is happiness, fulfillment, chasing your dreams. My dream is music. Yours is baseball.”

It’s true. When I was just two, Dad tossed a ball in the living room. I caught it in two hops. “Did you see that?” he yelled, turning to his brother. “I think we’ve got a ballplayer here.”

Dad knew what he was talking about. He was more than a musician. He was also an athlete, an excellent baseball player who was quick and strong, and who loved the game. When he was a kid he’d talk his way into pickup games with older boys. “I’m Jackie Robinson’s son,” he’d say, and he was so good, they believed him.

From the time I was two, we spent every day we could at the local park, me with my little red bat and Montreal Expos cap, him with a bag of baseballs and two fielders gloves.

“Man!” he’d say when I got into one. “You really hit that ball!”

At home we turned on the Expos game. Dad is a great storyteller, and all through the game he’d talk about Robinson—how he’d dance off third base, drive the pitcher crazy and then swipe home.

Most of all, I loved it when he went into his announcer’s voice: “Now hitting for the Expos, Russell Martin,” he’d say. “Bottom of the ninth. Here comes the pitch. There’s a shot to deep right field. That ball is…out of here!” That’s when I knew what I wanted most in life: to be a major-league ballplayer, to hear my name for real over a major-league stadium’s booming PA.

Dad worked me hard, putting me through countless drills. Weird stuff, stuff he’d just make up. “I’m going to throw the ball over your head,” he’d say. “I want you to dive for it, whether you reach it or not.”

Sometimes he’d hand me a broomstick and toss a badminton bird at me. “Let’s see you hit it,” he’d say. Or he’d put a towel over my bat and tell me to swing, to strengthen my hands.

Dad rose each morning before dawn and headed to the subway. There, he’d pick a spot on the platform and play his saxophone, the case open at his feet for donations.

When rush hour was over he returned home and we headed to the park to practice. We broke at lunch, then returned to the field and practiced all afternoon. I’d be all tuckered out, but Dad went back to the subway station to play for the evening rush-hour crowd.

I never really thought much about how Dad earned his living. There was always food on the table—Dad would cook up a batch of stew or his fantastic chili, and we’d be set for the week. Each night we’d fill our bowls, turn on the tube and watch the Expos play. And we’d talk about life.

Dad grew up in tough times. He had to make his own way. “You want to be a ballplayer, you’re going to have to earn it,” he’d say. “You’re not a big guy. Nobody’s going to hand you anything. You’re going to have to work, work, work. And believe.”

That I did.

By the time I reached high school age, I was getting pretty good. That summer I asked Mom to let me live with Dad full-time. I didn’t want to leave her, but there was a high school that had a great baseball program in Montreal where I could go to refine my game. Mom—who was always there for me, and who helped Dad out with my expenses—said okay. She even paid a bunch of the tuition for me.

The school was across the city, an hour-and-a-quarter subway and bus commute away. “You’re going to have to make breakfast and get yourself to school,” Dad said. “Before you get up, I’ll be at work.”

One day, passing through the station, I heard the mournful wail of a saxophone. I’d known for years Dad played in the subway, but I’d never seen him perform. The haunting notes poured out, like the instrument itself were crying. Songs by Miles Davis, Thelonious Monk, Coltrane—my middle name. That must be Dad! I rushed to where he stood on the platform, and watched and listened.

The rush-hour crowd elbowed by. Some paused a minute to listen and drop coins into Dad’s saxophone case. Most had their minds elsewhere, and brushed past. Dad never batted an eye. He had an intent look on his face, like his whole soul was wrapped up in his music. Wow, I thought. Dad is really good.

“I saw you in the subway today on my way to school,” I told him that night. “How come you just play during rush hours?” It occurred to me that he could have made a lot more money by playing there all day.

“I do it so that I can spend the day with you and help you practice,” he said. “Like I told you, money isn’t what’s important in life.” That’s when it hit me how much my dad had done for me, how much he’d sacrificed for me, believed in me.

I guess that when you have two people who believe in the same dream, it’s twice as likely to come through. I could never pay my dad back. All I could do was be as passionate and devoted to my work as he was to his.

The day I made it to the Dodgers, I figured he’d be even happier than I was. But I couldn’t get ahold of him. When Mom finally did, he was standing by the Saint Lawrence River, practicing his second instrument, the flute. He had a hard time talking. He was just too emotional.

I flew him to Los Angeles as soon as I could. We were playing the Mets that night. Pitching for them was one of Dad’s heroes, Pedro Martinez. I hit a double off of him. As I rounded first, I heard Dad screaming, “Yeah, that’s my boy!”

The Los Angeles Times did a story about me and Dad. After that, it seemed everyone in the city knew Dad played the saxophone in the Montreal subway.

One day he got a phone call from Frank McCourt, the Dodgers owner. “I want you to come back in September,” he said, “to play the national anthem.” The night he performed, I was walking in from the bullpen, through the clubhouse, when he started playing. I raced to the dugout.

There he was on the field, playing that sacred song. He played it slow and soulful, giving it a kind of deeper meaning. I watched him with awe and an indescribable pride.

My dad.

He got a standing ovation when he finished. Both dugouts too. The Pirates players came up to me, saying, “That was your dad? Man, he’s amazing.”

Yeah, but not nearly as amazing as the two of us standing on the brilliant green grass of Dodger Stadium, sharing one dream together.

Rudy’s Dream

Almost every day I hear from one of the millions of people who have been inspired by Rudy, the hit movie about how my unlikely dream of playing football for Notre Dame came true.

So many times I’d been told no. They said I wasn’t bright enough to go to an elite school and that I was way too small—at 5 feet 6 inches—to make the team, let alone play a single down. But I persisted. I made the team (the practice squad, anyway) and in my senior year, in the final seconds of the last game, the coach put me in. With everything I had in me, I blew past the lineman and sacked the quarterback. My teammates hoisted me onto their shoulders and carried me off the field. Like a scene out of a movie.

But it took 16 years, countless letters and prayers, and even a few trips to L.A. before I was able to get anyone in Hollywood to see it that way and even then, if it hadn’t been for another movie, Rudy might never have been made. That movie was Hoosiers. Maybe you’ve seen it.

I saw Hoosiers when it came out, in 1986. I still remember being enthralled by the true story of a tiny Indiana high school, barely able to field a basketball team, and the troubled first-year coach who was nearly fired during the season. Against all odds they came together to win the state championship. The audience cheered when the winning basket went in, and I couldn’t help thinking that my story had all the same ingredients. But I’d mailed dozens of pitches to Hollywood studios over the years and all I had to show for it was a thick folder of rejection letters. As the closing credits crawled by I noted that the screenplay had been written by Angelo Pizzo. If only I could tell my story to someone like that, I thought. He would understand.

By the late eighties Notre Dame football was on the rise again, with a new coach. I moved back to South Bend, where I was district manager for an insurance company. I told my story to everyone I met. I felt certain God had been with me on the field that day, that he wanted me to share my experience of how far a little guy can go with faith and determination.

Still, sometimes I felt I was destined to be only a bit of Notre Dame trivia. I couldn’t even get anyone at the university to listen to my idea for the film. “Well, we already have a movie,” Father Beauchamp, the executive vice president, said when I first met him. “I appreciate your enthusiasm, but it’s pretty hard to top the Knute Rockne story.”

From time to time I would see him around campus, but there was never any swaying him. The Irish were again vying for national championships. No one, except for me, was thinking about a long-forgotten quarterback sack. Still, I couldn’t give up.

Then, in 1990, I finally got a break. Someone I met got me a lunch meeting with Angelo Pizzo in California. The answer to my most fervent prayers, right?

Not exactly. All he could tell me was how hard it was to get any movie made, how no one would be interested in my picture. Two years later I hadn’t heard another word from him.

Then, one Friday afternoon in 1992, the phone rang. I recognized the voice instantly. Angelo Pizzo.

“Hey, Rudy,” he said, like we were old friends. “Do you have a lawyer?”

“A lawyer?” I said. “Why would I need a lawyer?”

“I’ve talked to a producer and he really wants to make your movie,” he said. “We’d like to get the contract squared away ASAP. Can you arrange for David Anspaugh and me to meet with the folks at Notre Dame on Monday?”

My mind was racing. David Anspaugh! He’d directed Hoosiers. “That’s great,” I said. “But…uh…it’s been a while since I’ve talked to anyone at the university about this. I gotta make sure they’re on board.”

Dead silence. Then he said, “David and I are going to be there Monday morning. Things are moving fast. We can’t afford any complications, Rudy.”

I hung up the phone. This was the moment I’d dreamed of, but my stomach was churning. How on earth was I going to get Father’s blessing?

I raced over to the administration building, past his startled secretary and into Father Beauchamp’s office.

“Rudy!” Father said. “What can I do for you?”

“A writer from Hollywood, Angelo Pizzo, called,” I said, trying to catch my breath. “He wants to make my movie. He and his partner, David Anspaugh, want to meet with you Monday.”

His face grew serious. “Rudy, this is very short notice. And you know we’ve talked about this before.”

“All I’m asking, Father, is that you meet with them,” I pleaded.

He sighed. “All right,” he said, shaking his head. “As a favor to you, Rudy. But I’m not promising anything.” He carefully wrote down their names in his appointment calendar for 9:00 a.m.

I left his office and walked across campus toward the stadium, the place where I had found so much inspiration over the years. When I got back to the office I called Angelo and told him Father would meet with us. I didn’t tell him what else he had said.

That weekend was the longest of my life. I went to the gym, but I was so distracted I barely got through my workout. I had always believed that if I pushed hard enough and prayed hard enough I could achieve anything I set my heart on. That’s what I thought those few memorable seconds on the field had shown me. But I’d done everything I knew to get this movie made—for 16 long years. I’d prayed about it I don’t know how many times. Now it was up to God. “Lord,” I whispered, “if this is your will I need your help.” But as I prayed—even Sunday at Mass at the Basilica—I still couldn’t stop worrying about my meeting in a few hours.

Monday morning I met Angelo and David at the administration building, my stomach twisting tighter. Once we got into Father’s office I hoped they might somehow be able to convince him.

His secretary told us we would go in shortly. I gazed around the room filled with books and paintings, history and grandeur. I wanted to melt into the thick carpet.

When Father opened his door to welcome us in, I stayed back. I’d said everything I could. It was Angelo and David’s meeting. All I could do now was keep praying. Every once in a while I lifted my eyes to see if I could discern from the secretary what Father’s answer would be. Ten minutes passed…15…20. Then the door opened.

Father strode out carrying a book of Notre Dame history. He opened up to a spread showing the gleaming Golden Dome. “Angelo, do you think you could make the Dome shine like this on the silver screen?” he said. At that moment I knew. He’d said yes! We were going to make the movie! My movie! I hugged Angelo and David. Father told us to go meet with the head of public relations.

As we walked out I asked Angelo, “How did you do it? How did you make that happen?”

“Rudy, you’re not going to believe it. Father told us that last night a family invited him over for dinner and afterward they suggested watching a movie. He said it was one of the most inspiring movies he’d ever seen. Guess what it was? Hoosiers! And when he looked to see who made it, he thought, ‘That’s who I’m meeting tomorrow!’ He told us it was an honor to have us here. And probably no coincidence. He offered his assistance with anything we needed.”

Things moved fast after that. Father was true to his word. I even got a part in one of the crowd scenes. That’s me cheering at that last game, in back of the actor playing my father.

I learned a lot about what goes into making a movie. But the most important lesson I learned: When you trust God’s direction, dreams do come true. Even in Hollywood.

Read more true inspirational stories.

Rory Feek Opens Up About New Documentary and Life Without Joey

Rory Feek is a singer, songwriter, author and doting father. He is perhaps most well known for being half of the singing duo Joey+Rory with his wife Joey Feek.

In 2016, Joey passed away following a long battle with cervical cancer. Rory’s heartfelt blogs chronicling their experience in her final days touched millions.

Since her death, Rory has focused on raising their daughter, Indiana, and has written several books.

Rory recently released a documentary called The Singer And The Song: The Best of Joey+Rory. It offers a behind-the-scenes look at iconic Joey + Rory performances and an intimate interview between Rory and Bill Gaither.

We caught up with Rory to talk about the documentary, how he still feels Joey’s presence and what he’s most excited about now.

Guideposts.org: In the documentary, you said “A man’s character is revealed by the decisions and the actions they take when hard times come their way.” How have the hard times you’ve gone through defined and changed your character?

Rory Feek: I first heard that statement in the fall of 2015 from the great storytelling master Robert McKee, and he may have heard it from others. But it rang true to me then, and even more so today. I am who I am because of what we’ve been through. Just like Joey’s truest character was probably most revealed in her bravery in those final months and weeks… my character I think is revealed each and every day…Like everyone, I have my good days and some tougher ones, but I know now that it is how we handle the conflicts that mean the most, that truly expose who we are, who we really are.

Guideposts.org: How did you choose the songs included on “The Singer and the Song”? How were these tunes especially significant in your relationship with Joey and your career?

RF: There were so many songs to choose from, it was difficult to cull one story told-in-song down to just twenty tunes. In the end, I had to try to pick the ones that could not only best weave the story of our life and love into one CD, but also brought out the best in us when we wrote, recorded or sang them. Each one tells a part of our lives.

Guideposts.org: You mention in the documentary that Joey is still here, but it’s a little different. Can you expand on that? How do you experience Joey’s presence?

RF: I mostly just feel her. Feel her in the house and in our lives. At bath time with the baby, and when we make dinner or sit down and read a book together. It’s not a physical presence, it’s more of a comfort. Something familiar and close that lets me know that I’m not alone. That she’s still with us, even when she’s gone.

Guideposts.org: How do you see Joey’s legacy living on in your music, your family and your community?

RF: I think it’s just so deeply engrained in all of those things, that it will always be here with us. Every show we play in the concert hall, and every piece of the land we live and walk on, she’s part of. We all talk about her like she’s still here. [We reminisce] and constantly [say], “oh, wouldn’t Joey love this…?” And it’s not just me. It’s all of our family and community. It’s incredibly hard to believe that it’s been two and a half years already since she passed away. In some ways it feels like just yesterday we were laying beside Indiana on the bed, glowing with love and joy over the gift that God had given us. And I guess in other ways, it feels like forever. Because time has passed and things do change. Indiana is nearly five years old now. That’s probably the hardest part for me. Joey not being able to be here to watch Indy grow. To pour into her and sing her songs and watch her play and laugh and dance and talk. It’s so special to see and she would’ve loved it so much.

Guideposts.org: You said that you mostly walk around pinching yourself because, despite the hardships, your life is amazing. What are you pinching yourself about now? What are you most looking forward to or excited about?

RF: Most of the pinching I’ve been doing these days [is] because the of the one-room schoolhouse that just opened here at the farm. It started as idea, then a dream, and somehow has turned into a reality. But what’s it’s become already is more that I could’ve ever imagined. It’s so beautiful to see what’s going on there every morning when I walk Indy across the driveway to school, and pick her up in the afternoons. The teachers, the other kids, the parents… everything is so special and there’s so much life and love that is going on there. I’m in awe just to be a small part of it.

This interview has been edited for clarity and length.

Ron Santo’s Secret on the Field

I was kneeling in the on-deck circle at Chicago’s Wrigley Field that sweltering August afternoon. It was the bottom of the ninth. The Cubs trailed the Los Angeles Dodgers, 2-0, but we had a pair of runners on base and slugger Billy Williams at the plate.

It was the kind of situation Billy loved, and he was determined to come through. In the stands, 20,000 fans screamed for a hit. Me, I was silently praying that he would make an out so I wouldn’t have to bat.

Anyone who ever watched me play for the Cubs back in the 1960s and early ’70s will find that last statement hard to believe. No one loved pressure situations more than I.

But that day things were different. I have type 1 diabetes—juvenile diabetes—and as I watched Williams battle the pitcher, I suddenly felt myself grow woozy. I looked up and saw three scoreboards. My blood-sugar level had dropped fast. I glanced into the dugout.

Should I tell manager Leo Durocher that I needed to come out, that I needed something with sugar to eat, that I didn’t think I could hit? Williams drew a walk and those 20,000 screams grew even louder. I had to go up to the plate.

Back then, in 1967, I was probably the only diabetic athlete in professional sports. I signed a pro contract in 1959, at age 18. My doctor wasn’t even sure I’d make it through the first minor league season. But I was determined to play in the big leagues. I wasn’t going to let this thing beat me.

Growing up in Seattle, I had been the picture of health. By the time I graduated from high school I was considered the best baseball prospect in the state.

There were 16 big league clubs then, and every one of them offered me at least $50,000 to play ball for their minor league team as a third baseman—big money in those days. Every team, that is, except the Cubs. They offered me $20,000 and the promise of a quick promotion to the majors. They knew just how to hook me.

I faced one last hurdle before beginning my pro career: a routine physical. The exam was cursory; the doctor didn’t even draw blood. I got a clean bill of health and an assignment to the Cubs’ minor league club in San Antonio, two levels from the big leagues.

Shortly before I left home, though, my mother sent me to our family doctor for a checkup. Dr. Tupper always had a big smile for me. But when he came back with the results from my urine sample, his smile was gone. “Ron, we found some sugar in your urine,” he said. “You may have diabetes.”

Diabetes? I didn’t even know what that was. I had just one concern: “Can I still play baseball?”

“I don’t know,” he answered.

I headed straight to the library. What I read was frightening. Diabetes could lead to blindness, hardening of the arteries and kidney failure, among other things. One book even said, “The average life expectancy, from the time of diagnosis, is twenty-five years.” Does that mean I’m supposed to die when I’m forty-three?

I couldn’t accept that a disease would stop me from using my God-given gifts. Reporting to San Antonio in 1959, I felt great. To look at me you’d never guess I was sick. I didn’t even have to take insulin yet. With exercise and proper diet, I figured I’d be able to keep my diabetes under control.

I did. I hit .327 with 11 home runs and was considered one of the stars of the league. Between innings, I’d eat a Snickers bar or drink some orange juice if I felt my blood-sugar level dipping.

Snacking in the dugout was common, so no one on the team suspected a thing. And I wasn’t going to let any of them know. I wanted my teammates and fans to think of me as a ballplayer—not as someone who needed their sympathy.

That winter, though, my pancreas pretty much stopped functioning, and I had to start taking daily insulin injections. This too I kept from the Cubs—even after they called me up to the majors in June 1960.

Every player had a roommate for out-of-town games, so I had to slip into the bathroom early each morning and secretly take my insulin injection. I feared that if the Cubs found out and I slumped badly, they would attribute it to the diabetes and send me back to the minors—or worse, release me.

I already felt isolated enough. Some of the veteran players wouldn’t talk to me because I was a rookie, and they figured I had stolen the third base job from one of their buddies.

To add to that, I worried about what could happen to me. In 1960 there were no high-tech gadgets like a glucometer for measuring blood sugar. You had to go largely by feel. If I slipped into a diabetic coma, who would know what to do?

The following season my anxiety increased. My new roommate was a catcher named Cuno Barragan. Cuno was a great guy, impossible not to like, and we quickly became friends—we’d go to dinner, see a movie or just hang out and talk. He began to confide in me. And, oh, how I wanted to confide in him.

A few days before the start of the regular season the pressure became too much. I sat Cuno down and told him about my condition, swearing him to secrecy. “Don’t worry,” he said. “You can count on me.”

He became another set of eyes for me. Sometimes coming off the field between innings, he’d say, “Roomie, you look a little pale. Better grab a Snickers.” At least I no longer had to hide my insulin and syringes from him.

For three seasons he was the only Cub who knew. Then in 1963 I made the National League All-Star team and was named Cubs team captain. The time had come to let my teammates in on my secret.

First I explained things to Cubs General Manager John Holland, and then I called a hasty pregame meeting. The players lounged in front of their cubicles on folding chairs, not knowing what to expect, while I stood in the center of the room. “This has nothing to do with the game,” I said, unable to mask my feelings.

Over the next 20 minutes I explained my illness. I gave them details—how I got dizzy on the field sometimes and had to rush to the dugout between innings for candy or juice. I talked about blood samples, urine tests, insulin injections and diet adjustments.

What I didn’t tell them was what I read about diabetes on that long-ago day when I was 18: that one day I could go blind; or suffer kidney failure, hardening of the arteries, or gangrene. Or become one of the many thousands who lose limbs each year to diabetes.

“But I don’t want this to go outside this room,” I said. “I expect you to judge me by what I do on the field. I just don’t want to hide anymore.”

There was a long moment of silence. Then someone shouted, “That’s okay, Captain. Let’s play ball.” And the guys and I took the field.

Not until 1971 did the public learn about my disease. The team had decided to honor me with a special Ron Santo Day, and I suggested to Mr. Holland that any donations in my name be made to the Juvenile Diabetes Foundation. I felt proud, he felt pleased. “Think of how many diabetics you can help,” he said. “When they realize what you’ve been able to accomplish, it will inspire them to live life as fully as you have.”

My life changed that day. I started spending more time in hospital pediatric units, visiting diabetic children. I urged them to remain positive and told them that they could accomplish anything they wanted despite their disease. Kids sent me letters; so did their parents.

It’s funny. I always thought I’d make my biggest mark as a ballplayer, but it was after I started speaking up about diabetes that I really made a difference.

Since 1976 I have been on the board of the Juvenile Diabetes Research Foundation, and I’ve been told that the annual walks for diabetes we sponsor in Chicago have raised more than $24 million dollars for research.

My own health stayed good until I turned 60, in 2000. Then, inevitably, the disease caught up with me. In the last three years I’ve had 15 operations. In 2001, circulatory problems necessitated the amputation of my right leg below the knee.

Shortly before last Christmas, I lost my left leg as well. I was fitted with state-of-the-art vacuum-seal prostheses that fit so well and so painlessly that my legs feel as if they’re my own.

I’m doing the things I love: working for the Cubs as a radio analyst, being with my family, riding my horse and speaking to groups about diabetes.

I tell them about my career and what incredible support I got when I shared my secret. I remind people that there’s no reason the disease should prevent them from utilizing their own God-given gifts. That’s why he gave them to us.

And then I tell them about that sweltering summer day in 1967, when I stepped to the plate in the bottom of the ninth with the bases loaded and Cubs trailing, 2-0, and my head spinning because my blood sugar level had suddenly tumbled.

On the mound was Bill Singer, a two-time All-Star with a wicked curveball. My problem was this: I saw three Bill Singers, one on top of the other. His first pitch came at me looking like it was attached to a Slinky. What did I do? I had no choice: I swung.

The ball soared higher, higher, out of the park—one of six grand slams I hit in my career. Now that’s what I’d call a God-given gift.

Roast Figs and Brussels Sprouts

Ingredients

2 c. Brussels sprouts, trimmed and halved
1 small sweet onion, sliced
8 figs, halved
1 ½ Tbsp. olive oil
Leaves from 6 sprigs of thyme
Salt and pepper to taste
1 Tbsp. aged balsamic vinegar

Preparation

1. Preheat oven to 400 degrees F.

2. Toss the Brussels sprouts, onion, and figs with the olive oil and place on a baking sheet lined with parchment paper. Sprinkle with thyme leaves, salt, and pepper.

3. Roast for about 30–35 minutes, turning the Brussels sprouts at least once to evenly roast.

4. Once the Brussels sprouts and onions caramelize and the figs appear slightly shriveled, remove from the oven and coat with the aged balsamic vinegar.

Serves 2-3.

Nutritional Information: Calories: 350; Fat: 11g; Cholesterol: 0mg; Sodium: 1200mg; Total Carbohydrates: 60g; Dietary Fiber: 11g; Sugars: 26g; Protein: 6g.

Read Margaret’s story How Fig Trees Can Help You Achieve Workplace Satisfaction

Excerpted with permission from Taste and See: Discovering God Among Butchers, Bakers, and Fresh Food Makers by Margaret Feinberg from HarperCollins Publishing.

Roasted Turkey Breast with Cornbread-Sage Stuffing and Brandy Gravy

The turkey conundrum: How to keep the breast meat from drying out while the dark meat finishes cooking? By roasting a bone-in turkey breast by itself, we’ve eliminated the stress and cut the cooking time by several hours.

What you get is perfectly moist, tender white meat with crisp, salty skin—all in under an hour. If you don’t have time to make the gravy or want to cut calories, skip it. This succulent bird doesn’t need it.

Ingredients

Stuffing
2 Tbsp. unsalted butter 1 bay leaf
1 small red onion, finely chopped 2 Tbsp. finally chopped fresh sage
2 stalks celery, finely chopped ½ c. chicken stock
1 garlic clove, minced 4 c. stale cornbread, crumbled into large pieces
¼ tsp. freshly grated nutmeg 2 large eggs, beaten
¼ tsp. freshly ground black pepper
Turkey
One 3 ½-to-4-lb. bone-in turkey breast, halved
at the breast bone
1 ½ Tbsp. olive oil
Gravy
One 1 ½-oz. container veal or chicken demi-glace 1 Tbsp. unsalted butter
1 Tbsp. brandy ½ c. heavy cream

Preparation

Stuffing

1. Preheat oven to 425°F and grease 9-by 13-inch roasting pan.

2. In large skillet over moderately high heat, melt butter. Add onion, celery, garlic, nutmeg, pepper, and bay leaf, and sauté until vegetables soften, 5 to 6 minutes.

3. Stir in sage and cook 30 seconds more. Stir in stock and simmer, uncovered, until liquid is reduced by half, about 3 minutes.

3. Put cornbread in large bowl and pour vegetables over. Toss to mix well. Add eggs and stir to combine.

Turkey

1. Rinse breast halves and pat dry. Season generously with kosher or coarse sea salt and freshly ground pepper, and rub all over with olive oil.

2. Mound stuffing in center of roasting pan and arrange turkey on top, making sure breast halves aren’t touching. Roast until thermometer inserted into thickest part of turkey (do not touch bone) registers 170°F and juices run clear when pierced with fork, 45 to 55 minutes.

Make the gravy while turkey is roasting.

1. In small saucepan over moderately high heat, combine demi-glace, ½ cup water, and brandy. Bring to boil, stirring until smooth.

2. Stir in butter, reduce heat, and simmer uncovered, stirring often, until gravy thickens, about 1 minute.

3. Stir in cream and season with freshly ground pepper. Serve hot, over turkey and stuffing.

Makes 4 servings

Tips

• It’s easiest and fastest to ask your butcher to split the turkey breast in half for you.

But this can also be done at home: Use a heavy, sharp knife and don’t be afraid to whack the breast at the wishbone several times until it comes apart. Slicing the skin down along the breastbone before you start cutting is also helpful.

• If your cornbread isn’t stale, spread out slices on a baking pan in a 200°F oven until they feel dry and crumbly. (Depending upon how moist the loaf is, this can take anywhere from 20 minutes to an hour.)

Then crumble up the slices. Any leftover stale bread—rolls, focaccia, even bagels—can be substituted for the cornbread.

• In the gravy, bourbon, whisky, wine, port, or vermouth can be used instead of brandy.

This recipe was first printed on Epicurious.com and is reprinted here with permission.

Rio 2016: A Mother’s Pride in Her Olympian Son

Joey sounded so discouraged that April night in 2013. He was calling from the Olympic Training Center in Chula Vista, California, where he spent his days throwing the shot put.

“Mom, I don’t know if this is going to work out,” he said. “I just can’t seem to make all of these changes that Coach wants.”

Joey was 23 years old, six feet tall, 275 pounds, and yet he would always be my baby.

READ MORE: CHRISTEN PRESS REDISCOVERS HER LOVE FOR THE GAME

“Look, you don’t have to do this, Joey,” I said. “You can come home and no one will think less of you. You have options. You can get a job. Move on.”

I paused, taken aback by my own words. I was a coach and a high school physical education teacher. I would never have told one of my students to quit when the going got tough. But part of me wished Joey would come home. We’d never lived this far apart. Even when he was at Penn State University he’d only been two hours away.

Despite my career, for me it was never about my son being an elite athlete. All I ever wanted for Joey was for him to be happy. His dad had died when Joey was only seven. Ever since, it had been just the two of us.

“I’m going to pray about it,” Joey said. He always prayed to discern what was best in any major decision. “I don’t want to do something I’m going to regret.”

I told him I loved him, that I’d be praying too, and we hung up. It was times like this that I missed my husband, Joe. The two of them had been a real team. He’d coached Joey’s church basketball team and his Little League baseball team.

When I was in high school I had played four sports and won 12 district titles throwing discus, shot put and javelin. I loved competing, pushing myself to reach higher and higher goals. But for Joe and Joey I was happy to root from the sidelines.

The spring of 1996, Joe was diagnosed with colon cancer. He died a year later. Just a day after that my mother died of a heart attack. I’d lost my father the summer I graduated from high school. Now it was just Joey and me. Work, church and Joey. That was my life.

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Joey needed me to be more than just his mother. I drove him to school. I met him at the bus every afternoon. I helped him with his homework. Of course we went to church together. The first fall after Joe’s death, I joined Joey’s basketball team as an assistant coach. I did it all with a single-minded focus. I didn’t go out with friends. Didn’t take up a hobby. Definitely wasn’t interested in dating. My focus was on raising Joey.

It wasn’t just me doing things for Joey. He tried to fill his father’s void. He mowed the lawn, fixed things around the house. He was always trying to help.

Joey grew like a weed. He had the same strong build Joe and I did. When he enrolled at Bethlehem Catholic High School he was a shoo-in for the football team.

I never missed a game. One day, near the end of the season, Joey said, “Coach thinks I ought to go out for track. You know, like throwing the shot put. He says it will help my footwork on the field.”

“I threw shot in high school,” I said. “If I can help, let me know.”

The first week of track practice I got to the school early to pick him up. Joey and the other track athletes were throwing in the parking lot. The school was too small to have its own track.

I looked on. Joey took the 12-pound shot, reached back and tried to throw it like a baseball. It landed on the asphalt with a thud, not 10 feet away.

I jumped out of the car. “Here,” I said. “Let me show you. You have to know how to hold it.”

I demonstrated, pressing the shot against my neck. “You lean down, with your non-throwing arm pointing down at an angle.” I jumped backward, rotating my hips, my throwing arm rocketing upward like a piston. The shot cleared the parking lot. I’d thrown it at least 25 feet.

“That was amazing,” Joey said, a look of awe on his face.

READ MORE: DAGMARA WOZNIAK’S AMERICAN DREAM

“Getting the release down is critical,” I said. “You have to know when to let go. The power comes from your legs, your hips. Your whole body. Then the release. That’s the key.”

Joey nodded. I handed him the shot and guided him on how to set himself up in the circle and glide to the center, then how to do it all in one smooth motion. He was awkward at first, but by the end of practice he was throwing nearly as far as I had.

“What’s going on here?” I heard a voice say. It was the head coach.

I explained that I’d shown the kids the basics. “Do you think you could coach them?” he asked.

I was happy to. Every afternoon I worked with the throwers. I painted circles in the parking lot, like the ones the kids would have at their meets.

That season Joey’s longest throw was 35 feet. Not great, but a lot better than his first try. With every throw he looked to me for advice. It was something we could talk about, another way to stay close, for me to be there for him.

The next year he threw 46 feet. That summer he went to a throws camp. One of the young instructors there, a guy named Reese Hoffa, offered some advice. “You’re a little on the short side,” he said. “You should try spinning. That will increase your throw.”

Spinning—the rotational technique—wasn’t something I was familiar with. But with the help of another coach, Glenn Thompson, I learned it and we worked on perfecting Joey’s mechanics.

By the end of Joey’s junior year he threw 57 feet! He won the district championship and went on to the state finals. The next year he threw over 60 feet. He was following in my footsteps! How proud was I?

READ MORE: DANELL LEVYA CONTINUING A LEGACY

But at districts he had struggled, more with his confidence than with his physical abilities. He was second-guessing his every move. Although I felt for him as a mom, I knew that that wasn’t what he needed. He needed me to be his coach.

“Joey, stop thinking about it,” I told him. “Relax and just go throw it.” He walked with deliberation toward the circle. I watched carefully. He set up, then purposefully rotated his body with a tremendous, explosive force. The shot took flight, sailing through the air. He threw it 64 feet, 11 inches. A state record!

I watched him at the podium ready to accept his medal. I was bursting with pride. All that work, all that encouragement, had been worth it. I’d devoted myself to Joey, kept him close, tried to always be there for him. Nothing else mattered.

Now, alone in my house in Pennsylvania after his wrenching phone call from California, I relived that moment at the district finals. So much had happened since that day.

Joey had gotten a scholarship to Penn State, where he majored in energy business and finance. He’d gone on to set higher and higher marks. I’d been at every home meet, and a lot of the away matches. Afterward we would always go out for dinner and spend some time together.

“Mom, I love you for all you’ve done for me,” Joey would say, “but shouldn’t you meet new people? Go out with friends? Maybe even date?”

“You are probably right,” I’d tell him. Deep inside, something stirred, and it scared me. Someday I would have to let Joey go. He was a man now and he had his own life to live.

Joey graduated in 2012, having broken Penn State’s shot-put record. That summer he competed in the Olympic trials for a chance to go to London. His farthest throw was 69 feet, 2 inches—just a little too short for him to make the team. In first place was his instructor from that high school throws camp, Reese Hoffa.

Joey was thrilled with his own performance, a personal best. Of course I was there. As he walked off the field a representative from Nike rushed up and offered to sponsor him.

A few months later Joey and I made the trip to California to the Olympic training center together. Art Venegas, a legendary Olympic throws coach, had agreed to train and mentor him. I was excited for Joey. But this phone call? This downheartedness? It had me worried. I couldn’t help him. In fact, I probably shouldn’t help him, I realized. I know he could do this himself. So I did the right thing. I prayed.

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Lord, you know Joey, better than even I do. Please be with him. Give him the wisdom to make the right choice.

It was days before we talked again. When Joey called, he sounded happier, more like his old self. “After much discernment,” he said, “I feel like this is the right move. Like I was meant to be here. And Mom, I remembered what you told me. To just go do it.”

I smiled. But in his words I heard more than the echo of a former coach. I thought of the first day I’d taught him to throw the shot, how he hadn’t even known how to hold it, when to release. It felt good knowing I’d gotten him to this point, all the work that had gone into it. And now? Clearly we’d made the turn. There was nothing more for me to do. It was time. Time to let go. I was at the release point.

Three years later, Joey and Coach Venegas are definitely clicking. In 2015 Joey won gold in the World Championships with a throw of nearly 72 feet. Now he’s focused on Rio de Janeiro and the 2016 Summer Olympics.

I’ll be in the stands cheering like crazy—the way only a mom can. But I won’t be alone. My new husband, Larry, a sweet, caring man I met in a support group for widows and widowers, will be beside me. As I told Joey a long time ago, it’s all about the release.

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Ricotta Gnocchi

My mother’s version was made from white flour and potatoes, which gave it a really high glycemic index and made insulin spike. I found this recipe in the Robert Lustig’s Fat Chance Cookbook and adapted it to suit the goal of reduced carbs. We have made it in class several times. The medical students love it!

Ingredients

1 c. ricotta cheese—whole fat ½ c. whole wheat flour
1 large egg ½ c. semolina flour. You can use quinoa or coconut instead of the semolina flour to lower carb count even more.
¼ c. Parmesan cheese 1 tsp. salt

Preparation

1. Combine ricotta and egg in large bowl and mix thoroughly. Add Parmesan cheese. Mix again.

2. Add flours to cheese mixture. Mix with a fork until dough comes together. Should be soft and moist, but don’t overmix.

3. Place dough on a floured surface (or a piece of parchment paper so it won’t stick). Form a ball. Divide ball into 4 pieces and work into the shape of a rope by spreading from the center out to the edges and elongating the rope. Should be the width of your little finger (about 1/2 inch).

4. Take each piece of rope and cut into bite size pieces, about the size of your thumbnail. You can use a fork to make little impressions on them – but we always used our thumb (this is to hold onto the tomato sauce).

5. To cook the pasta, put about 20 pieces into a pot of boiling water, stirring with a wooden spoon so they won’t stick. When the pasta pops up and floats on the top of the water, they are ready (usually takes 4-5 minutes). Scoop up with a small strainer and place on baking sheet so they won’t clump and stick together until all the pasta is cooked and ready.

6. Dress with your sauce of choice. These are good with a traditional red Italian sauce or a pesto.

Hints: When cutting the pasta, keep pieces fairly small (about size of adult thumb nail). If they are cut too big, they seem too doughy. The pasta also freezes well and will keep up to three months. First freeze each piece separately on a cooking sheet or parchment paper in a baking dish. Once frozen, all the pasta can be put into a zip-lock baggie or container.

Nutritional Information—per 1/2 cup serving: Calories: 236; Fat: 6.5g; Sodium: 667mg; Total Carbohydrates: 41g; Dietary Fiber: 7g; Sugars: 21g; Protein: 4g.

Rend Collective Is on a Worship Mission

According to Rend Collective, there are a lot things the Irish are known for – sausage and sarcasm make the top of the list – but being “professional” isn’t one of them.

That may be why the Christian worship band from Bangor, Northern Ireland seems so unrestrained when they perform live. It’s also the reason why they started making music in the first place – they wanted to lead people in authentic worship.

READ MORE: OWL CITY EXPLORES FAITH ON NEW ALBUM ‘MOBILE ORCHESTRA’

Group members Gareth Gilkeson, Chris Llewellyn, Ali Gilkeson, Patrick Thompson and Steve Mitchell began playing together 13 years ago as a part of a larger worship band at Rend, a ministry of young college students hoping to draw their peers back into the church and make the Gospel a lifestyle as opposed to a Sunday morning ritual.

“We noticed a lot of people were leaving church when they reached 18 or 19 years old,” drummer Gareth Gilkenson tells Guideposts.org. “There wasn’t something for people in their 20s and early 30s. Our church had become very professional and we had found that there was a disconnect. [Young people]were looking for the reality of connecting with God.”

While lead singer Llewellyn lead worship, Gareth ministered to his peers. Music was played at every gathering, but it didn’t occur to anyone that the songs being sung every Sunday could ever become a career for anyone in the group.

“We were all musicians, and we had all played in other bands, but it wasn’t the idea at the start,” Thompson, who plays bass for the group, says. “I don’t ever remember thinking that I was going to have a career this way.”

Just six years ago, the band formed what is now Rend Collective and began writing their own songs and producing a couple of records before their first and critically acclaimed 2010 album, Organic Family Hymnal was released. Their live acoustic album, Campfire showcased their originality and passion to build community and intimacy with their music.

Comprised entirely of acoustic songs recorded around an actual campfire, the album – which landed on top of the Christian music charts when it was released — sported a unique mesh of Irish Christian folk rock songs with catchy hooks and meaningful lyrics steeped in Biblical rhetoric.

Steve Mitchell, Chris Llewellyn, Gareth Gilkenson, Patrick Thompson and Ali Gilkenson of Rend Collective

But having so much success early on meant the Christian music group wanted to challenge themselves even more with their follow-up release. The Art of Celebration, the band’s fourth album, debuted number one on the Billboard Christian Music charts and spoke to the group’s desire to be classified as a Christian celebration band rather than just Irish folk singers.

“What people always connect with us is the idea of joy and celebration,” Gilkenson explains. “We realized this is part of our story. This is what people find unique and helpful about what we do, so we should magnify that and focus on that.”

Now they’re gearing up for the debut of their fifth record, As Family We Go, which drops August 21st. The album — already number one on iTunes’ Christian Albums chart — touts quick-tempo tracks grounded heavily in Irish folk roots with verses that speak to their faith and hooks that sing like anthems.

READ MORE: MATE REDMAN ON FAITH, FATHERHOOD, AND ‘UNBROKEN PRAISE’

“We’ve tried to push those boundaries a bit more, but still keep it in the context of church,” Gilkenson says of the new music. “There’s nothing more powerful than the church. We write church songs that worship leaders can get up in their congregation and sing. That’s our focus. We want people to be able to walk in off the street, hear our music and go ‘I feel at home here. I don’t feel out of place.’”

The band continues to provide the soundtrack to worship experiences, recently playing to sold out shows on Chris Tomlin’s Worship Night in America tour before heading back across the pond to tour in the UK. Not bad for a bunch of Irish musicians who used to minister to pub goers and had to pay for their own petrol when making their church rounds.

“That’s the most exciting thing about us is that we’re an international band,” Gilkenson says. “We get to travel, which just adds a wealth of experience.”

Ultimately, the group just hopes their music can help others searching for their way to a deeper relationship with God.

“Someone once said to me ‘You can’t tell the theology of the church from what the pastor says but from what the church sings.’ We try to write songs that talk about pursuing joys through difficulties and that talk about pursuing the outsider. We’re not a cozy club as a church. We’re on a mission.”

Remembering Rose Marie—90 Years an Entertainer

Rose Marie played Sally Rogers on The Dick Van Dyke Show, made audiences laugh on Hollywood Squares, and was a child star with a national radio show before Shirley Temple was even born. She’s been working for more than 90 years. And she’s still working.

I had the distinct pleasure recently of enjoying an hour-long phone conversation with Rose Marie. A delightful new documentary, Wait for Your Laugh, celebrates her nine decades in show business and reminds us that, though she’s best remembered by many for her TV roles, those successes are just the tip of the iceberg of a career that has spanned vaudeville, radio, records, television, Broadway and motion pictures.

“I’m very proud of [the documentary],” said Rose Marie. “I love it. I’m so proud of Jason [Wise, the director], I can’t stand it. I think he’s a genius.”

At 94, Rose Marie maintains a positive outlook on life, but she acknowledges that living so long is not without its challenges. “It’s hard being older and losing all your friends little by little… I keep very busy and I keep in touch with my friends. I still send birthday cards, anniversary cards and things like that. I keep up my life as best I can.”

She’s doing more than keeping up.

Rose Marie, who lives in Southern California with her dog, Bailey, is active on social media, with large followings on Facebook and Twitter. “I love [social media]. I love what people say. I get so taken away by what people say about me. It’s wonderful.”

She started working when she was just four years old, had a widely popular national radio show soon after, and toured nationally when she was 7. She’s worked with Hollywood royalty like Lucille Ball, Danny Thomas, George Burns, and Jimmy Durante.

“Life is one day after the other. You take one after the other as it comes, and you make the best of what it is.”

Rose Marie’s been making the best of it since 1927, when she began her historic career.

“My family has always been very close… My mother used to take me to see all the shows, the vaudeville, the movies, this and that. I used to come back to the apartment and I would entertain my grandmother and grandfather, and [the neighbors] who lived up on the third floor.

“One day, they came to my mother and they said, ‘We’ve entered her in an amateur contest.’ … They bought the dress that I wore. They bought the Mary Jane shoes… They’re in the Smithsonian, those shoes.

“Now you’ve got to imagine a four-year-old kid with this voice that I have, singing What Can I Say, Dear, After I Say I’m Sorry? like Sophie Tucker. Naturally, I won.”

Soon, Baby Rose Marie, as she was now known, was performing at various spots around New York City. NBC Radio Network soon heard about Rose, and she was given a national radio program.

Radio was a new medium just hitting its stride—60% of American homes now had a radio—but NBC was then the only network broadcasting to the entire nation. Rose Marie became hugely popular; she was known as the Darling of the Airwaves.

Many listeners were skeptical, given her brassy singing style, that Rose Marie was actually a child, so NBC booked her for a vaudeville tour at RKO theatres, so that her fans could see her for themselves.

“I learned so much in vaudeville,” Rose Marie said. “All the people in the shows that I was in…they taught me everything that they did in their act… To the day he died, George Burns used to call me ‘Baby,’ and Lucille Ball did the same thing. She said, ‘I can’t call you Rose Marie, you’re a baby.’”

Her father, who was something of a questionable character (“He was not a nice man,” she said), saw the chance to make a buck off Rose Marie, and, as she tells it, “He took charge. He was my manager, my agent, everything.” Unfortunately, at a time when Rose Marie was making very good money, as much as $1,000 a performance, it all went into (and quickly out of) her father’s pocket. Rose Marie never saw a penny.

Still, she doesn’t feel she missed out on the more typical joys of childhood. “No, not a bit,” she insists. “I traveled all over the country. I went to places that I learned about in school… I did everything that anybody would give their right arm for, and I met some wonderful people along the way.

“I was never pushed. I always loved what I did. I was very happy to do it. Nobody pushed me, not even my father.”

So much a show-biz kid was Rose Marie that when asked what she might have done with her life if she’d never entered show business, she was stumped. “I don’t know,” she said thoughtfully in response to my question. “I really don’t know. I can’t answer that, I’m sorry… [Show business] was all I knew. I didn’t even think about anything else… To this day, I love it.”

In 1946, Rose Marie married trumpeter Bobby Guy. He died in 1964 of a blood disorder at age 48.

“He was my soulmate,” Rose Marie said. “He really was. Three days after I met him, I said, ‘That’s the man I’m going to marry.’ They said, ‘But you don’t know anything about him.’ I said, ‘I don’t care. That’s the man I’m going to marry.’

“My girlfriend Geri, who’s in the documentary, said to me, ‘You’re going to marry that fat sergeant?’ I said, ‘He’s not a fat sergeant. He’s stuffy, but he’s good.’ She says, ‘I can’t believe that you, who doesn’t want to go on blind dates, you meet somebody and three days later, you’re going to marry him?’ I said, ‘That’s right.’ She helped me elope.

Did she ever consider remarrying? “No. I always felt that was my marriage. To this day, I still think I’m married to him.”

Family is very important to Rose Marie, and she remains very close to her daughter, who watches over her mother’s life and career.

Her first TV appearance in California was a 1957 guest spot on Gunsmoke (she played a rough-hewn 60-year-old pioneer woman), which was followed by recurring roles on The Bob Cummings Show and My Sister Eileen and assorted guest spots on other programs. She was even the first female game-show host, on a program called Scoop the Writers that saw a short run in the late 1950s.

Then came The Dick Van Dyke Show.

“When I went up for the [Van Dyke show], that happened where I’d been working in Vegas. Sheldon Leonard and Danny Thomas…used to come and visit me when I played Vegas. Sheldon used to say to me, ‘Don’t you ever bomb?’ I said, ‘Not if I can help it!’

“One day I get a call from a casting office [for a new show called the Dick Van Dyke show]. I said, ‘What’s a Dick Van Dyke?’”

Next, Rose Marie spent 14 years as a regular on the game show Hollywood Squares, and she remains close friends with host Peter Marshall today; he even appears, along with Van Dyke and Reiner, in her new documentary.

“Peter’s the most wonderful man in the world… We did Squares for 14 years. Everybody thinks we were told the questions and the answers—no, we weren’t. The $64,000 Question show was just found out to be a fraud, and so everybody was worried. We couldn’t even talk to the contestants when we were in the hall. We weren’t allowed to talk to anybody.”

While Rose Marie was appearing on Hollywood Squares, she also had a recurring role on The Doris Day Show. “[Doris Day is] the sweetest woman in the world,” she said. “The way you see her and know her is the way she is, really. She’s the sweetest thing in the world… She calls me and I call her about once a month.”

Jimmy Durante is another legendary figure with whom Rose Marie enjoyed an association. “To work with him [in Las Vegas] was the biggest thrill of my life… Towards the end of his act, I used to run out on stage and do my Durante [impression]. He’d say, ‘Wait a minute, wait a minute. There’s an imposter here and I don’t know who it is.’ Then the two of use did Durante and we did the walk-off together. It was unbelievable. It would be sensational today.”

While her mobility is not what it once was, Rose Marie still does occasional voice work. “I do voiceovers. I just did a couple of Garfields… It was so much fun—and so easy! You don’t have to worry about makeup. You don’t have to worry about getting dressed. You can go in and sit down, and there you go.”

It’s hard to think of anyone who has been so successful in so many different areas, and who was still working after 90 years.

“I’m very happy that I wound up like this in my old age,” Rose Marie said. “I don’t think it could be any better.”

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