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Painter’s View: Contractual Commitments – At Work, At Home, In Life

Happy Birthday, Sis!

 

 

 

Starting in childhood, we learn about making commitments. We enter into agreements to do certain things in certain ways, and at certain times. Often, these agreements are put into writing, especially as we reach college age, and slide into adulthood. They’re called, “contracts.”

 

It really doesn’t matter what type of contract we ae talking about. Generally, the rules are the same. The expectations are spelled out, too. And, every party that enters into the contract needs the other party or parties to (1) take the agreement seriously and (2) comply with the terms set forth in that contract.

 

At work, and in business, we must deal with various contracts: employer and employee, department director/supervisor and team member; company representative and vendor/supplier; employee/staff member and customer/guest; even business owners/managers and/government.

 

At home, and in personal life, we form contracts that may be more flexible and personal: between spouses, parent and child, siblings, and relatives; or personal business such as lender and borrower, seller and buyer, servicer and customer/client.

 

In life, we agree to honor certain contracts, too: as human beings, as residents of planet Earth, as citizens and taxpayers, as neighbors, as a part of a community.

 

Last month, my sister phoned. She was in tears, frightened, and in desperation.

 

For over four years, a person supposedly close to her had been defaulting on a number of their joint, and long-term, legally-binding contracts. The person’s gross negligence had already cost my sister huge financial losses. The person’s total disregard for those contracts had set in motion certain business and legal transactions. And practically everything that my sister holds dear is in jeopardy: home, health, security, friendships and relationships, and her career since 1986.

 

By the way, my sister is a person that enters into every contract, even informal ones, totally committed to fulfilling them.

 

As a child, she honored whatever agreements she had made. At school, she poured her soul into assignments, group projects, club memberships, etc. At home, she did her chores… helped her family, friends and neighbors… looked out for the wild creatures that came anywhere near our back door. In church, she learned her lines for programs, completed her Sunday School lessons, and put a part of her small allowance into the offering plate.

 

On her first job, she stepped in and grabbed a spatula when the cook at Friendly’s Restaurant got ill. Recovering from cervical spine surgery, she completed college freshman assignments and exams – on time. At her U/Miami and Miami-Date Community College internships, she exceeded the terms of the three-way contract among the university-college, employer/company, and herself.

 

With the same employer since 1986, she helps the major corporation meet their contractual obligations and corporate initiatives, as though she is one of the contract co-signers. She tweaks projects and activities to help fulfill her company’s international commitment to serve people of all ages, cultures, backgrounds, and interests. Often traveling wherever to help do that.

 

That said: My sister is one of the first persons on earth that deserves much better than what’s been happening – for much longer than four years, by the way. She is one of the last persons on this earth that deserves such cruel and uncaring, unnecessary, and illegal treatment.

 

So, everyone out there: Please say a little prayer for my sister, Donna Mareé C.

By the way, she’s the same lady that I’ve mentioned in a number of other blog posts.

 

MANY THANKS from everyone in our family!

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An ethical sibling is a real treasure, and worth every paint project she asks you to do.

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Copyright August 5, 2018. Robert D. Hajtovik. All rights reserved

 

 

 

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Painter’s World: Worker Safety and Certifications

Worker Safety: The Good News

OSHA and its state partners, coupled with the efforts of employers, safety and health professionals, unions and advocates, have had a dramatic effect on workplace safety.

Worker injuries and illnesses are sharply reduced – over 70 percent since the 1970s. (Example: 2.9 per 100 workers in 2016, versus 10.9 in 1972.)

Worker Safety: The Bad News

Worker deaths have increased – 7 percent, or 5,190, or 14 a day/2016, from 2015.

*Read “OSHA Inspectors and the Workplace: Death by Attrition,” by Sandy Smith, Posted Jan. 10, 2018

Construction worker fatalities in private industry – Year: 2016*

1: Over 1 in 5, or 991 (21.1%) of 4,693 worker fatalities in private industry were in construction.

2. 63.7%, or more than one-half, of construction worker deaths attributed to the “Fatal Four:”

A. Falls – 38.7%, or 384 of 991 total deaths in construction.

B. Struck by Object – 9.4%, or 93 of 991 total.

C. Electrocutions – 8.3%, or 82 of 991 total.

D. Caught-in/between – 7.3%, or 71 of 991 total Note: Includes workers killed when caught-in, or compressed by, equipment or objects, and struck, caught or crushed in collapsing structure, equipment, or material.

* Note: Another set of statistics reports 687 construction worker fatalities in 2016.

 

10 most frequently cited OSHA Standards violations, Fiscal Year 2017 (10/1/2016 09/30/2017.)

 

The following were the top 10 most frequently cited standards by Federal OSHA in fiscal year 2017 (October 1, 2016, through September 30, 2017):

 

  1. Fall protection, construction industry – 29 CFR 1926.501)
  2. Hazard communication standard, general industry – 29 CFR 1910.1200
  3. Scaffolding, general requirements, construction – 29 CFR 1926.451
  4. Respiratory protection, general industry – 29 CFR 1910.134
  5. Control of hazardous energy (lockout/tagout), general industry – 29 CFR 1910.147
  6. Ladders, construction – 29 CFR 1926.1053
  7. Powered industrial trucks, general industry – 29 CFR 1910.178
  8. Machinery and Machine Guarding, general requirements – 29 CFR 1910.212]
  9. Fall Protection–Training Requirements – 29 CFR 1926.503
  10. Electrical, wiring methods, components and equipment, general industry – 29 CFR 1910.305

 

How Painters and Decorators – you and I – Can Help Save Lives In Construction

 

On the Job

  1. Keep alert for signs of unsafe and unhealthy conditions, hazards, etc.
  2. Be your own best self-advocate for a safe and healthy workplace environment.
  3. Promptly report potential problems to your supervisor, contractor, project manager, property owner.
  4. Do what you can to neutralize a potentially unsafe and unhealthy situation until help arrives.

 

In Our Painting Careers

1.Keep trade and construction industry certifications current. Examples: Note: See Certification chart – separate post.

A. General certifications – Painting/ coatings applications, paint technology, drywalling, construction, maintenance, architectural, exterior applications, general inspections, estimating, CPR/First Aid; UBC.

B. Government certifications – standards/regulations, codes – OSHA, ADA, EPA, HAZMAT.

C. Equipment certifications: OSHA respirator protection, self-contained breathing apparatus, HVLP, spraying, scaffolding, lifts/hydraulics, aerial and swing stage, chemical; State-Class C Driver’s License

D. Specialty painting certifications: Highway/airfields, marine/shipyards, automotive, tanks, underground/confined spaces, aerial, industrial, manufacturing/processing; waterborne systems,

E. Inspection certifications: architectural coatings, industrial coatings, maintenance coatings, paint quality, coverage/mils, environmental.

F. Training certifications: Examples: TrainTheTrainer (TTT),* TrainThePainter (TTP),* Supplementary Course Modules: Marine, Concrete, Thermal Spray, Water-jetting.*   Note: *The Society for Protective Coatings.

 

2. Regularly “checkmate” and update your skill and proficiency levels.

A. Take trade courses when offered in your area, and online – especially when free or low cost.

B. Take advantage of free workshops, webinars, and demonstrations offered by manufacturers of paint products, supplies, tools, equipment, etc.

C. Attend periodic open houses and demonstrations offered by paint product stores.

 

3. Participate in construction and product manufacturer training programs, including online.

A. Join professional networks run by building products’ stores such as Home Depot, Lowe’s.

B. Periodically, take professional-level workshops – store and online.

C. Sign up for construction industry apps that can save you time, waste and money.

 

4. Attain and update your government standard/regulation/code certifications.

A. Federal: OSHA, EPA, HAZMAT, HCS (Hazardous Communication Standard), UBC, ORPS (OSHA Respiratory Protection Standard); Training, Inspector.

B. State: Building and construction codes, statutes, regulations.

 

5. Keep current about new federal workplace safety and health regulations.

A. Example: OSHA Fall Protection Standards, June 2017.

B. Some major changes: (1) Walking-Working Surfaces and Fall Protection Systems, (2) Roof Work Changes, (3) Stairways, Ladders, and Guardrails, (4( Workplace Assessments, (5) Training for Employees, (6) Alignment between the General and Construction Industries.

 

Bottom Line: Workplace safety is every worker’s business – and right!

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Copyright June 13, 2018. Robert D. Hajtovik. All rights reserved.

THE THANKFUL TURKEY

 

 

   ~ A GUEST HOLIDAY STORY ~ 

 

“WHEW!” gasped Terrence. “I  made it!” Another Thanksgiving has moved on.

He gazed around Strongbow’s Turkey Farm. “There’s Mack, and Lou . . .  Carl . . . Robert.” Near the back fence, he saw “Larry . . . Scott . . .Paul. And, there’s Brian and Harold.”

Terrence asked, “GOBBLE? How are you doing, guys?”

Under a clump of low-flung trees, “Buck. . .Jim. . .Nathan.  GOBBLE GOBBLE GOBBLE. Good to see you.”

Terrence peered in the direction of a long row of feeders. That’s where he could always find Stan, Sam and Steve. The three Turks!

“GOBBLE GOBBLE, GOBBLE GOBBLE GOBBLE. No use to really look,” he muttered to himself.

“GOBBLE. They’re all gone.” A tear crept from his eye, onto his bright red comb.

After living five years on the famous Valparaiso, Indiana, farm, he knew how fortunate he was. To still be there. Alive.

Not fully dressed (de-feathered). Wrapped tightly in that special plastic cover, and laid inside one of the huge freezer rooms in the “processing” building.

Waiting to be carried across the road to Strongbow’s award-winning restaurant. Then, placed in Chef Louis’s hands for roasting. Or, sold to a private customer. For home cooking!

GOBBLE! GOBBLE! A shiver ran through his body. All the way down to his knobby knees.

He stared across U. S. Highway 30. He could see the lit windows of Strongbow Turkey Inn.1

He saw Chef Louis and his assistant, Alphonso, moving around. “What are they doing? Thanksgiving has passed.”

Truthfully? Terrence knew.  After Thanksgiving, much work had to be done.

The dining rooms in the restaurant and Inn would still fill with people (diners). Traveling families stopping for a fine meal. Local people, celebrating late because of working on the holiday. Regular patrons and small groups, that ate a fine meal there every chance they got.

Terrence knew Chef Louis, by sight and voice. Often, the popular chef visited the fields where the Broad-breasted Bronze Turkeys grazed. Where they huddled closely together.

Sometimes, he brought Alphonso or Marie with him. Much of the time, he came alone. Talking with the turkeys as he wandered among them.

 

 

 

 

Whenever Chef Louis came by, Milan, the keeper, came out and walked along with him. Chef Louis did a lot of pointing. And, Milan said, “Yes! Perfect.”

“Good,” said the Chef, nodding his head up and down.

Weekends were always quiet on the farm.  Especially, after a holiday.

Milan was gone with his family. Chef Louis, Alphonso, and Marie kept busy in the Inn across the road.

“GOBBLE! GOBBLE! GOBBLE! We can relax.” The turkeys reassured each other.

Unlike the other turkeys that came and went at the farm, Terrence never had to worry about such things. For that, he had become most grateful.

You see, he was no longer a young turkey. The turkey had passed his “prime.” A long time ago.

In fact, Terrence had become what some folks – what Chef Louis and Mr. Adams, a co-owner – called a “mascot.”

 

Strongbow’s Mascot.”

 

That meant he would never have to worry about losing all of his feathers, and staying in a freezer room. Until you know who – his Holy maker – came along, and did you know what!

He never had to worry about being roasted in a hot oven. Cut apart and sliced up. And served on a huge platter, or on beautiful China dinner plates. To complete strangers.

Terrence gazed in wonder at the night sky. It had turned a plush, velvet deep blue. Luminous and mystifying. Filled with stars that shone brightly. Winking and blinking.

And, the moon: the color of white corn. Lighting up the field in glorious splendor.

He crouched down by a peony bush and lowered his head.

 

“Thank you, God,”  he prayed, “for sparing me all these years. For giving me this fine home, and corn and grain to eat. And so many fine friends and neighbors.

“Thank you for Chef Louis and Alphonso, and Marie. Milan, too.” He paused.

“Please bless my old friends that have moved on. And bless others with their robust meat and savory flavor.

“May we all give thanks, Heavenly Father. For your love and care. Amen.”

 

 

     

 

 

 

 

 

 

 

 

 

Terrence slept. Thankful as any old turkey could be!

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1. Terrence” is a fictional turkey. Strongbow Turkey Inn and its farm were very real. Sadly, the restaurant, bakery and Bow Bar were closed on March 29 of 2015. Catering, holiday buffets and special events continue to be available. Since 2013, Strongbow’s owner has been Luke Oil Company, Hobart, Indiana.

2. Copyright © 2017. Sandra Stepler Hajtovik. All rights reserved. From: Table of Thanks and The Thankful Turkey, Copyright © 2016. SSH Communications. All rights reserved.

 

 

 

 

 

 

 

 

 

 

The Pianist, The Painter, The Singer, The Statesman

Periodically, my mother’s interior design class toured Chicago area properties.

On one, day-long tour, they visited three luxury homes that set on Evanston’s high bluffs overlooking Lake Michigan.

One home featured fine examples of classic contemporary design: simple lines, solid colors, smooth finishes, subtle textures, geometric patterns, and sleek woods, tiles, glass, and chrome.

From its trimly landscaped and broadly sweeping circle driveway, to the double set of solid red lacquer front doors, to the nine-foot main hallway that trailed through the house, to the four glass doors at the rear, that overlooked the lake.

The sprawling, one-story structure suited its owners: a concert pianist and conductor, and his wife, an artist and author.

The music room stood out. Its two most striking amenities: the magnificent black lacquer Steinway concert piano and the 12-inch square, black and white marble tiles that covered the floor.

Features also included the following:

1. dome ceiling with a huge globular skylight;
2. solid black marble fireplace;
3. two walls lined with white-enameled bookcases, stuffed with books, bound volumes of sheet music, also wood and ivory artifacts;
4. couches and easy chairs upholstered in matching white-on-white striped damask.

All of the other sixteen rooms featured equally elegant, yet comfortable appointments. It was a home that clearly represented the personalities of the owners, and met their needs perfectly.

Shortly before the design school students’ visit, the owners had decided to retire in that house. And, they’d put their South Florida home up for sale.

Nearly twenty years after touring that home, my mother was led into the luxury apartment of a former opera star, Adeline Arrigo. Interestingly, she had performed with the concert pianist on philharmonic stages throughout the United States, Canada and Europe.

Madame Arrigo resided on the second story of a red brick, three-story walk-up built in the early 1900s by her husband’s Sicilian family. The South Racine Avenue building, located on the southeast side of Chicago, set across the street from University of Illinois’s Chicago campus. And, the three-story building had five large apartments – all occupied by “Arrigos.”

The focal points of the two bedroom apartment were the portraits of Adeline and her husband, the late Victor Arrigo. On every wall, every shelf and every table top were representations of the owners famous lives. Adeline, the opera star. Victor, the Illinois statesman that drafted, then championed the Federal Fair Credit and Collection Act. (Note: A stronger version of the law is in effect today.)

The traditional apartment also featured:

1. 12-foot high, white-sponged stucco ceilings;
2. white plaster, also deep red painted, walls;
3. tall wood-paned windows in each of the eight rooms;
4. white marble, wood-burning fireplaces in three rooms;
5. crystal chandeliers;
6. lustrous hardwood floors; and,
7. large oriental area rugs depicting eighteenth century country scenes.

The apartment was appointed with elegant, yet comfortable seating in every room. In the living room: deep red velvet-upholstered sofas, and black leather fireside chairs. In the bedrooms: European-designed settees and chairs, covered in deeper pink or soft rose moiré. Plush velvet upholstery covered the dining room chairs. And hand-sewn satin, moiré, and crushed velvet pillows set on every piece of seating.

The two distinctive period homes – the sprawling contemporary house of the 1960s-1970s, and the large traditional apartment of the 1940s-1950s – provided a very similar peak into elegant yet understated living. In their respective spaces, the owners and residents had created environments that supported their need for creative thought, good taste, peace and contentment. All had surrounded themselves with meaningful symbols of who they were as persons. And, what they represented.

The Chicago area featured many architectural and design masterpieces. I never had the privilege to visit the residences described above. Yet, I have had the opportunity to work on many similar homes. In doing so, the greatest pleasure has been in meeting the unique persons that have lived there.

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Fine design deserves to be preserved with the hand of a fine painter-craftsperson.
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Thank you for visiting “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

Volunteering Your Painting and Decorating Skills, Part II: Options and Action

When it comes to volunteering our painting skills, we may overlook the needs that exist in our own community or neighborhood. Two large categories below:

1. Steer your skills where they can matter the most at this time.
Examples:
A. Local low budget nursing home unable to afford staff painter.
B. Local public school severely hurt by sharp budget cuts.
C. Local free medical clinic.
D. Local small church or church school.
E. Low income or fixed income neighborhood.
F. Family that’s been uprooted by severe medical bills, or death of main breadwinner.

2. Consider discreetly volunteering your skills for persons that you know.
Examples:
A. Relative or friend.
B. Elderly or disabled neighbor.
C. Your church pastor and family.
D. Members of church family.

Also, we may not know how to go about finding these needs in our own back yards. Two ideas:

1. To locate a local needy person or family, check with your pastor or one of a nearby smaller parish.
TIPS: Some churches only accept volunteer work through their own parishioners. Also, people have their pride. Offer help only to persons or families willing to accept to accept it.

2. To find a local low-income church, organization, facility, school or group, I suggest that you write a brief letter offering your painting skills labor-free. Include the following information:

A. summary of your experience
B. work you’re available to do, including days, no. of hours, morning or afternoon.
C. availability: 1 time, temporary for 3 months 1 year, etc.
D. statement about who buys and who pays for needed supplies – eg. paint, caulking tubes
fillers, sandpapers, paint thinner.
E. statement about when supplies would need to be purchased.
F. statement about your limits – eg. interior work, environmental conditions, hazardous conditions, tools
and equipment.

A FEW TIPS ABOUT DOING THE VOLUNTEER PAINTING JOB

1. Aim to leave behind a finished job as good as you do in your paid painting job.
2. Follow standard and exceptional policies, procedures, and techniques that you normally follow.
3. Be neat, thorough and friendly.
4. Respect all the health and safety rules that you would normally follow.
5. Be professional on your volunteer job, too.
6. Respect the rules that apply to your work for the person, family, organization, group, etc.
7. Maintain your pre-set volunteering parameters. Do not volunteer to do more than you have
offered or agreed upon, at least the first time that you help out that person or group. Even
one extra room, area or park bench can require more time than you have available.
8. Be honest.
9. Set and keep to a schedule. Cancel or change work dates and times only if necessary. And,
give prompt notice.

MY VIEW: I want to do my best. And, I want beneficiaries to want me to come back and help them again.

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When a painter volunteers, he or she adds special strokes of hope into the lives of others.
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Thank you for visiting “Painting with Bob.”
Copyright 2017. Robert D. Hajtovik. All rights reserved.

Volunteering Your Painting and Decorating Skills, Part I: Where You’re Coming From

Whatever your painting capabilities – and specialty areas, there’s a cause or program out there that can really use your help. From the local, loosely formed grassroots organization to the international non-profit corporation, the need for skilled craft persons is basically the same.

It’s up to you to find that niche – and then help to fulfill it.

So, how do you volunteer your painting skills and abilities toward a good cause? One that you’ll feel good about while you’re working on it, then after you leave.

TIPS FOR GETTING STARTED ON YOUR VOLUNTEER PAINTER’S PATH

1. Your interests. What grabs your attention – and won’t let go?

Examples: Neighborhood park; local school/ learning center; pets, animal shelters, zoos; people: elderly staying in own home/ ALF, or skilled nursing facility, children with chronic diseases, disabled adults, homeless families; churches, church fundraising arms, youth programs; historic preservation properties, museums, art/theatre/culture centers; community/ civic centers.

2. Your obligations. How often can you help out?

Examples: 1 hour a week, two hours a month, one-half day (4 hours) a month 1 week (5-7 days).

3. Your schedule. When can you help out?

Examples: Mondays only; mornings (8am-12 noon); week-ends (Saturday and/or Sunday); vacation/ break/ sabbatical.

4. Location. Where can you help out?

Examples: A. Locally/ close to home (within 10 miles); B. In this half of county; C. Anywhere in county; D. Within my state/ region of state; E. Region of country: Northwest, West, Southwest; Plains, North Midwest; Northeast, East, Southeast; South; F. Anywhere in U.S. mainland; G. Foreign country – eg. Sudan.

5. Your availability. Are you available to live on-site – say for 7 to 10 days?

Examples: New school construction, third-world country; hurricane disaster community in U.S.; remodeling of free medical clinic on Indian reservation; restoration of historic estate; rebuilding of burned out orphanage in Appalachians.

6. Your accommodations. What, if any, special accommodations do you need in order to be able to help?

Examples: Good HVAC system (heat, ventilation, A/C); building access ramp and entry/exit, handicapped parking; assistance with lifting, carrying, moving anything over 10 pounds; limited walking; special diet. (For extended stay, on-site projects); sanitary sleeping/ restroom facilities.

7. Your tasks. What specific painting tasks do you want to help with, or handle?

Examples: New construction only; Brush/roll only; spraying; surface/ area prepping; powerwashing; mixing/ matching paints; wallpapering; cleaning up graffiti; cleaning high-sanitation area; decorative finishing.

8. Your environment. Which works better for you: interior or exterior work?

9. People. Do you want to work on a small crew? Or, with a large group of volunteers?

10. Your role. Are you interested in supervising others? How many persons? Which skill level(s): skilled, semi-skilled, unskilled?

11. Entity. Do you want to help with the same group or organization each time? Or, do you like the idea of working on projects for different groups/ organizations? OR, do you want to work on special projects only?

12. Your Transportation. How will you get to-and-from each volunteer site?

Examples: Your car/truck/SUV/van; public transportation – commuter bus or train; plane; boat.

13. Your finances. Can you afford to volunteer any time, without pay? Will you need financial help to pay for getting to-and-from each volunteer site?

Examples: For gas, oil, parking fees, road tolls; tickets, fares, fees.

14. Your personality. What type of volunteer opportunity, as outlined above, really matches who you are? Under less than perfect circumstances? When very little is in your control? When the other people involved are very different from you?

15. Your health. What health issues, if any, do you need to consider when choosing a volunteer outlet for your skills and interests? Which volunteer opportunity(ies) will be very doable for you? Which needs will you be able to fulfill while helping to provide a healthy and safe atmosphere for yourself and others?

16. Your commitment. How serious are you about volunteering your painting capabilities? Are you willing to switch around your current priorities to make room for this new one? Or even let something else go?

17. Your reasons. Why do you want to volunteer at this time in your life? Examples: Have more time; see need for your kind of help; recent experience raised your awareness level; social consciousness want to pay back kindness you/your family received; realize what you’ve been missing by not volunteering.

18. Your ultimate goal. What do you need to get out of the experience? What do you want to leave behind? What, if any, personal motive do you have?

Here, I’d like to add one more thing:

19. Your “what ifs”. What if you can’t find a fit? What if the volunteer opportunity you chose turns out to be less than anticipated? Or more than you can, or want to, handle? Or very different than what you signed on for?

THE CHOICE IS ALWAYS YOURS

Volunteer where you feel you’re needed.
Volunteer where you believe you’ll be appreciated.
Volunteer where you see that you can make a positive difference.
Volunteer where you know that, later, you’ll still know that it was the right thing to do!

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A special “thank you” to all painters that have stepped up to the plate and volunteered.
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Copyright 2017. Robert D. Hajtovik. “Painting with Bob.” All rights reserved.

Welcome to Palmer’s Hotel for Children!

The Palmers lived in a 20-plus room, white-framed house at the edge of Valparaiso, Indiana. Its three-story structure stood at the top of a long, hilly lane surrounded by tall, sturdy shade trees. (Perfect for climbing, by the way.) At least three dormers rose from both the front and back sides of the roof.

 

Seven days a week, the place became “Palmer’s Hotel for Children.” And, it served as a fun and safe place to “visit” for young people between 3 months and 13 years of age.

 

The “Palmer’s Hotel” had every amenity that a child could possibly wish for:

 

  1. Huge, grassy back yard with lots of room to roam.
  2. Dogs, cats, rabbits, ducks, geese, chickens, goat, lamb, ponies.
  3. Swing sets and Jungle Jims.
  4. Roomy, enclosed tree house with two sturdy ladders, with deep and generous steps.
  5. Basketball hoops, small softball diamond, badmitten net, crochet sets.
  6. Moveable play house.
  7. Vegetable garden and strawberry patch.
  8. Fruit trees and berry bushes: apple, peach, apricot; blueberry, blackberry, raspberry.
  9. Grape arbor.
  10. Two large plastic wading pools and long garden hose for hot days of summer.
  11. Small wagons, carts, tricycles, 2-wheel bikes.
  12. Two sandboxes.
  13. Games and more games.
  14. Boys and girls toy chests and stuffed animal baskets.

 

Oh, did I mention food? Sandwiches (your choice of filling and bread-spread); veggie sticks, homemade cookies, juices.

 

Of course, “Palmer’s” best amenity was Mr. and Mrs. Palmer. The adopted grandparents that every child would dream up for himself or herself.

 

The biggest treat was staying over night. My sister and I got to do that only four or five times. Usually, while our parents attended a special Saturday evening function, in the community or in Chicago.

What was so great about a sleep-over?

 

Saturday nights were party time at the Palmer’s Hotel for Children.

 

  1. Walt Disney movies, board games, card games, floor games.
  2. Huge bowls of freshly-popped corn setting on every table.
  3. Choices of fruit juices and Kool Aid flavors.
  4. Home-made Kool-Aid Popsicles.
  5. Ice cream and cake or cookies to celebrate a child guest’s birthday.
  6. Cozy-like, dorm-style sleeping space – including a doll or teddy bear if you needed one.
  7. Pals – other guests – to play with.
  8. Lots of arts and crafts supplies to make things to take home.

 

One Saturday afternoon, Mr. Palmer wanted to talk with my dad when he dropped off my sister and me. Mr. Palmer asked Dad to come by at a later date, and give him an estimate on painting the exterior of that huge house.

 

My dad offered to volunteer a paint crew to do the job. The terms: Mr. Palmer would purchase the main paint supplies. And, Mr. and Mrs. Palmer would feed the crew some lunch on paint day.

 

The date was scheduled. I got to go along and “carry water” to the men. We all ate lunch at the picnic tables where we children ate our snacks when we were “visiting.”

 

Silently, I promised that, once I could drive, I’d go by The Palmer’s Hotel and volunteer to help out with their young guests. (I did several times.)

 

Silently, I promised that, when grown up, I’d go by and volunteer my adult skills to help out once in a while. (I did once.)

 

Eventually, I entered the IBPAT apprenticeship program, and began my painting career. I promised that I’d go by and volunteer my painting skills and crew to repaint the Palmer’s Hotel for Children.

 

It was that great of a place. Mr. and Mrs. Palmer were that great of a couple. Final Note: By the time I started painting for a contractor, Mr. and Mrs. Palmer had closed down their hotel for children. And, they had retired.

 

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All grown up now? Who can you help that enriched your life as a child?

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Thank you for visiting “Painting with Bob” today.
Copyright 2017. Robert D. Hajtovik. All rights reserved.

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