[audio logo] [instrumental music playing] SUZANNE PEQUIGNOT: I believe a gentleman is a man who truly knows his power is in his gentleness.

That is his true power.

And it opens the doors to people's hearts.

And we know Joe has touched so many people's hearts.

From my viewpoint as an artist, Joe, in terms of versatility, I think that's one of the things that strikes me and him and about his work and his adaptability to doing so many various types of work from that very small scale to very, very massive scale.

He came down to my classroom, and he just broke into his lesson for the day for the kids.

And he also came to help when we were doing some of our stage production.

The second year, I went to Joe and said, what am I doing wrong because I can't do this again?

And he just said, less is more.

He has just been such an inspiration to so many people and definitely, to those hundreds and hundreds of children he touched through my program.

[instrumental music playing] I measured the wall.

Then I made the original drawings, sketches on here.

And then after I did that, then I made the sketch.

Then I made it again so that it would be very exact.

This is the center.

And every one of these blocks represent a foot on this wall.

On here, it's only a 1/2 of an inch.

And then whatever I drew there, I would just measure, and I would know exactly where that point is.

And once you know where a few points are, then you can just go ahead and draw, and everything will end up right where it belongs.

I think that I've been working on things to do with the railroad since I was a little boy, I guess.

I even worked for the railroad for a while, so I know a little bit extra about it.

I was a mechanic's assistant's assistant at one time.

I was actually under these old trains, helping to take off the wheels, helping this mechanic take off the wheels.

NOREEN CIVIELLO: Joe is my elder by seven years.

And so we had a lot of interesting times where he would be very entertaining and do a lot of antics for me.

One of the things I remember is we were in the yard outside, the backyard.

And in those days, people had clotheslines.

That was the late '40s and early '50s.

And I don't know if people know what a clothes prop is now.

But it held up the line so all the clothes didn't fall.

And Joe decided he would try to balance it on his nose.

It's surprising, but he did.

So those are the things that I remember as a child.

After high school, he and his best friend-- one day, they were chatting.

And Bill said something about the GI Bill.

And Joe said, well, that's great.

We could go to college on the GI Bill if we join the service.

JOE SERVELLO: It was the time of the Korean War.

I was working in the shops, and I ran into one of my best friends, also working in the shops, Bill Moffitt.

And he told me that he had joined the army.

And I said, are you crazy?

There's a war.

And he said, no, no.

He said, I'm not crazy.

He said, because when I get out, I can go to college for nothing.

And I thought, wow, that sounds good to me.

So I immediately joined the Navy.

[instrumental music playing] When I got out of the Navy, I signed up for Penn State.

I went to the main campus and did not do well except in art.

So I decided that maybe college isn't for me.

Maybe I should find some art school.

But a friend of mine was going to the Altoona campus of Penn State-- it was at Ivyside-- and said, you should meet Mr. Zoller.

And so I went down and brought my portfolio of some sketches that I had.

And I met Mr. Zoller.

And he immediately changed my major and put me in art education, had all the other teachers watching me sign me up for a couple of art courses.

And that first semester, I went from making an average of 2.2, believe it or not, to practically 4.00 because I was on the dean's list.

And I was on the dean's list for the rest of my college career because I never took anything too hard.

But I got a wonderful education from Mr. Zoller.

He was a wonderful artist, a great teacher.

And he taught us practical things, not just theoretical things.

And I got an education from him that I would never be able to thank him enough for.

WILLIAM KOTZWINKLE (ON RECORD): I headed for Penn State, but I didn't fit in at all.

Then I went to the cafeteria.

And there, in the cafeteria, were what I call the Olympians.

These were the actors, the kids from the theater department.

And they weren't all kids.

Some of them were grad students.

But all of them were very magnetic.

They had an intensity.

I would sit and watch them.

I didn't even have to hear them.

All I had to do was look at them.

Many handsome and beautiful people are drawn to theater.

And there were a number of them and of course, a few misfits, like myself.

One day, walking in to join that group was this swarthy, intensely magnetic young man in a black leather jacket.

He was glowing.

And that glow was, in fact, my entire future as a writer, as an artist.

At that time, I had no idea there was such a future for me.

But I knew this guy somehow was a part-- had to be a part of my life.

JOE SERVELLO: I had a wonderful college career.

I enjoyed it tremendously.

It was all pleasure to me.

They were having a casting for a play.

And I hadn't acted for-- because I was in the Navy for four years, so I hadn't done any acting.

But when I was in high school, I did a lot of acting and enjoyed it.

I was in the chorus and did a lot of theatrical stuff that I liked.

So I agreed to be in the play.

And then I thought, this is fun.

I'd like to keep doing this.

And then when I went to the main campus, I started being in plays.

So I was enjoying acting and all the artwork that I got to do.

I was the first art director of WPSU, even though I didn't know what an art director was.

After a while, I was encouraged to try out for this play.

And it was called The World of ünter Grass.

We did the play.

It was very successful at Penn State.

And when the director went left for New York, he said, I'd like you to come to New York and play the part off-Broadway.

Can you do that?

And I said, absolutely.

I had no idea that I have to quit my job and do all this.

And I went and asked my boss in the TV station if I could get a leave of absence.

I said the play is only going to last three or four weeks.

I went to New York.

I stayed in a hotel.

I did the play.

And in the play, by the way, was Charles Durning.

When I was there doing the play, I tried out for this company in Buffalo, meaning that you would work all year round in different parts.

And I got a part in that.

So then I wrote a long letter to my wonderful boss at Penn State, asking him if he would forgive me if I didn't come back.

And he sent a nice letter to me and did forgive me.

And so then I went from New York to Buffalo to be in their company, their repertory company, a year-round company.

The writer that I work with mainly is named William Kotzwinkle.

He's from Scranton-- originally from Scranton, Pennsylvania.

He now lives in Maine.

And most notably, he wrote-- he writes all sorts of books, but he wrote the novelization of E.T.

He wrote-- when the movie came out-- when the movie was about to come out, they gave him the screenplay for it.

And he wrote the novel, the novel of E.T., which was a bestseller for almost a year.

Kotzwinkle and I worked at Penn State on lots of projects together until finally he got thrown out.

Don't tell him that I told you that.

After my Buffalo experience, Kotzwinkle had been living in the city for years.

So we got together then and started to take our books around to different publishers.

And Kotzwinkle, he's got a little-- he wears little funny glasses like this, little square glasses.

WILLIAM KOTZWINKLE (ON RECORD): While he was away in that company, I wrote mad letters.

They were stream of consciousness.

They were poetic.

But they were certainly impressive to him.

He recognized that strange and weird as these letters were, the person writing them had a gift.

So when he came back to New York, he got in touch with me.

And he said, let's write a book together, a children's book.

You write it, and I'll illustrate it.

And I, he said, will take it around to publishers.

Well, suddenly, we weren't amateurs anymore.

We were professionals.

We were going to have a book published by a very good New York publisher.

[instrumental music playing] Every time I found a new face of art, it would interest me, and I would jump into it and learn as much as I could about it.

KEVIN KUTZ: The variety of his work is kindred to-- I don't really feel like I have a particular style.

I'm always experimenting and trying different mediums, as does Joe.

It may or may not have been beneficial for me to have known him more.

Maybe I've been gotten under an influence of too much-- I'm easily influenced.

And they even did an article in the Pittsburgh Post-Gazette years ago.

It was called "Artist Under the Influence."

And I wasn't sure if they meant that I had too much wine at the opening or not but-- The later years, I really enjoyed three-dimensional things.

That is getting a piece of wood and nailing a piece of wood on it and then nailing a thing that was shaped like a nose and then painting it to work together.

Joe Servello has been involved in our lives for many years, bringing so much joy and happiness into our lives.

I think I especially loved his woodcuts.

I tried to explore everything that I could possibly find.

I enjoyed trying, at least trying.

MARK SANKER: The first time I ever met Joe, I had been involved with the Bishop Guilfoyle.

All my children went to Bishop Guilfoyle.

And at one point, I thought maybe Bishop Guilfoyle should have a nativity out front, and everyone agreed.

And I went and knocked on Joe's front door.

I had never met him before.

I saw his work and really enjoyed it.

And I gave him the whole pitch of what I had in mind.

And he went for it.

He thought it was good.

And the ball just started rolling.

And with Joe in, the password of Joe Servello and Bishop Guilfoyle opened up all the doors.

We had Steve Pellegrini.

He donated all of the materials.

And Craig Fencing donated all of the post that we used to mount it.

And Joe's work was just magnificent.

And it's been a pleasure to put it up every year.

And this year, 2023, is the 30th year that we've done it.

And I hope to continue it.

We met and fell in love with Joe, and he's been a collaborator, colleague, and a great friend ever since.

I came to Altoona to develop a program called Altoona America.

And we connected when this project was evolving.

And he did the graphics for it.

And we had a great collaboration.

In 1991, he did this album cover for one of the albums we produced by our pianist, Paul Halley.

It's called Angel on a Stone Wall.

And then in '93, he did this one for an album called Solstice Live.

In 1996, this album that we produced with Pete Seeger, this album won a Grammy.

This is a woodcut that Joe did, that I think is one of the best depictions of Pete that's ever been done.

And then in 1999, we did this much more expanded Altoona America program for the 150th anniversary of Altoona at the Jaffa mosque with the Altoona Symphony and the high school band with a Civil War band with an Abe Lincoln impersonator.

It was quite an amazing epic.

And for this, Joe did an amazing, huge mural that span the entire stage of the Jaffa mosque.

And it was on cardboard.

This was a titanic mural that Joe had done.

I was part of a program called Arts in Education, which sent artists to different schools to spend a week as an artist in residence.

So I went to mostly elementary schools and worked with children, painting murals.

That was a great pleasure.

I didn't like the commuting because I went to all these little towns all over the place, but it was still a great pleasure.

For Joe, we asked him to do some artist residencies.

We asked him to do some visits in classrooms, but there was so much more.

For 20 years, Joe made us the covers of our catalogs, and they were all works of art.

For one of the artist residencies, Joe went into one of the Catholic schools in our area, and he worked with kids on famous people, famous people that influenced the world.

And they all picked a person.

And they created a mural.

And then the culmination of it was the unveiling of the mural.

And then it's a little newsletter thing, but there's a picture of him with these children who came to school looking like their person that they created in the mural, and they had their picture taken.

But along with that, Joe also thought of different ways of spreading the arts.

And he offered to create an exhibit called The History of Modern Art.

And he took a realistic piece, painted something realistic, a still life, and then he created about 15 other paintings based on this still life in realism, in abstract, cubism, and all these things that were even new to me.

I had never heard of these different styles of art.

And we sent that out to these schools.

And we had them framed.

And they were just amazing.

But it was his idea, and he did it.

I mostly enjoyed doing the murals in Altoona, although I had done murals in two different theaters in Long Island.

I did a library in Pittsburgh.

I did a hospital in Long Island.

And I must have done-- and I did some other ones that I've forgotten.

But then when I came back to Altoona, I did one in the welfare building and one outside of Wolf's and one now outside the Mishler.

And I was trying to endeavor to paint murals.

And Joe got all the commissions.

It was in years, maybe the past 20 years, that Joe and I started interacting.

And we were both past the point in our careers where any of competition or any of that mattered any longer.

And so Joe was just excellent at doing things that I was just not very good at all.

And that was-- certainly, one was illustration.

And I had done mural work in the Mishler, in the restoration of the theater.

And when it came time to look at the outside of the theater, there was this space for a huge mural.

And we were looking for a project.

And I said Joe Servello is the perfect fella for this.

He's got a history and a love of the theater.

And so it was such a neat thing to be able to take and meet with Joe and talk to him about designing this mural for the outside of the Mishler theater and then having it enlarged-- and we were both at the point where doing large scale outside murals, well, forget that.

But the mural he created on a small scale and then it was faithfully reproduced in a new medium that they're now using now, which is to create these things on vinyl and then laminate them and put them up in sections.

And so on the outside of the theater, as you're driving down past the theater, you can see Joe's work there.

And I'm glad to have had a hand in that in terms of being able to interact with him.

As a child, when I saw the murals in our post office, the great murals, they were done during the WPA, and that artist was, at the time, was 26 years old.

And I didn't realize that he became a teacher and was teaching somewhere in Pennsylvania.

I could have gone to see him and congratulate him for doing such a great mural.

Anyway, that was a strong influence on my life that I hadn't realized.

I was looking through the archives when I heard about this documentary.

And I found this photo of Joe.

It was probably from the early '70s.

And there he is in the art room at the Sixth Avenue building in Altoona, the first building, working with an elementary student.

So I took this over.

I visited with Joe last week to make sure my memory was as good as his-- because his is very good-- about his association with Penn-Mont.

And I showed him this, and I said, Joe, you were so handsome.

And Joe, in true form, said, what do you mean was handsome?

So if you know Joe, you know he has a really good sense of humor.

So Joe worked as an art teacher in the Altoona building, as I said.

And then he also did an amazing mural in that building.

The building was an older building.

One of the classrooms was down in the lower level, kind of low lighting.

And he brought that classroom to life with his mural.

And it brought warmth and color and just good feelings to the children and the staff that were working in that building.

Eventually, I think it was in the early '80s, 1984, I believe, that Penn-Mont moved to another building in the Lakemont area of town.

And then Joe did not continue to be the art instructor at that time, but he did do another mural.

And I worked at the school at that point.

I was with Penn-Mont for 30 years as a teacher and then an administrator.

And I can remember walking into the Lakemont building every morning, and just the first thing you saw was this gorgeous mural that Joe had done.

So then the school moved one more time to the building we're in now in 2001.

And Joe was called and was commissioned to do the beautiful mural that you see behind me right now.

And I remember when I came into the school, it was during the summer, and he was working on the mural.

And he said to me, Mary, you're not going to move again, are you?

And we haven't.

And the schools continue to be here.

And many, many, students and parents and teachers have been blessed to see this original mural.

Aline Wolf and Joe collaborated on many things over the years.

Then 1994, this Nurturing the Spirit-- In Non-Sectarian Classrooms was written for Montessori teachers.

The illustrations, the pen and ink drawings, that Joe did in them were absolutely impactful, phenomenal.

That collaboration between Aline with her words and Joe with his illustrations really made an impact on the Montessori community and teachers and parents, in particular, in learning about Montessori.

And I think, again, his illustrations will be long remembered in our Montessori community, as well as Aline's work.

So anyway, I kept my hand in painting and in that program of visiting schools.

So I was always teaching and associating with children.

And then my old friend from high school, Bill Moffitt, came to me one day, and he said, we should open a gallery.

Would you like to do that?

And I said, well, why not?

And let's see if we can do that.

The idea of this was to get him out of his basement, where he had to go through a whole rack upon rack of pictures and put them up on the wall where people could see them.

JOE SERVELLO: We were lucky to find a really nice, little store that we could afford because we didn't invest a lot of money in the gallery.

And we opened a gallery, which lasted for 10 years, until it became too much for both of us.

So that, again, I enjoyed.

So we really like to welcome everybody and encourage browsers.

I mean, a lot of people don't want to go into a gallery because they think they're not going to buy something.

But we love people to come in and look around and talk to them.

An artist really should do what he knows.

I mean, I know Altoona, and I like it a lot.

I hope if it's a picture of Altoona, people will see what an interesting place this is and see some of the beauty in it and some of the grit.

GARTH A. FREET SR: I was in an antique store, and I found one of his paintings, which is up here in the top right.

And I bought it off-- I would dickered with the guy, and I bought it off of him.

And I was bought it for resale, actually.

And I looked at the artwork, and I loved it.

So I took it out to my vehicle and put it in the back of my Jeep, shut the Jeep, broke the glass.

And as I was cleaning up the glass, and I realized how good his work really was.

And since then, I've been an avid collector.

I've collected his work.

I've bought his work.

I got to meet Joe.

I wrote him a letter and got to meet him.

And he called me up.

And I was all excited.

And he invited me to his home and showed me all his artwork, told me all about his artwork and his life and everything he's done.

And his passion, what he always told me was-- a lot of people think it's his art.

It was actually his children's books behind me.

So he illustrated the children's books.

And a lot of them were done with Kotzwinkle.

And then he also did book covers for his mystery books.

And like I said, a lot of people don't know he's done that.

But I collect his book.

I collect his artwork.

And I'm a passionate collector of his work.

And still to this day, Joe calls me up, and I go running.

Well, it seems like I've known Joe a lifetime now.

So that means, me, it's approaching 100 years.

And if you take both of us together, we've known each other for going on 200 years.

Now that's lot of time together.

And somebody asked me to talk about something interesting or exciting that Joe and I did together.

Joe's not very exciting, and he's not very interesting.

And as a matter of fact, he's not very good looking either.

But that's neither here nor there.

Joe is a wonderful man and a wonderful artist.

And we've become friends because we've worked together on a lot of projects.

And I just love interacting with the guy.

WILL JONES (ON RECORD): I first met Mr. Servello in 2006.

My producing partner, Neil Port, introduced me to him.

We just performed a premiere of my show called Ghost-- The Musical at the Mishler Theatre, celebrating 100 years of the Mishler Theatre.

Joe painted a picture based on my show, Ghost-- The Musical, a beautiful original.

Of course, Joe Servello original was a pretty cool thing.

And when he painted it, we raffled it off.

And it became such a big hit with people.

So many people wanted it.

So Joe seem to really enjoy the collaboration, doing original art based on our shows.

So then we knew we were into a good thing.

So we just kept feeding him.

Every time they did a show, hey, Mr. Servello, how would you like to paint a painting?

And he was always very gracious.

Obviously, he's a super talented, almost like a legendary figure in Central Pennsylvania.

And so from that, he would just do every show.

We have a lot of Joe Servello things in our home.

And I remember when we had to move from one home to another, my wife said, we're going to have to throw out all of my incidental stuff.

I had been a painter at that time.

I painted-- I was oil painting.

And so everything in my life of artistic value, she threw out, all my basketball trophies, all my artwork.

But she kept all the Servello paintings.

So I think that makes the case that Joe is a good artist, and I am a lousy artist.

But that's neither here nor there also.

WILL JONES (ON RECORD): Back for like 2007 to 2011, 2012, I played Father in The Nutcracker in the party scene.

So he was really involved with that Nutcracker with ABC.

And I didn't know that.

But I remember him coming up to me afterwards.

And I looked at him.

I said, oh, Mr. Servello, what are you doing here?

He goes, oh, I've always been involved with The Nutcracker for Allegheny Ballet.

I did The Nutcracker set for the wonderful ballet company we had here in Altoona.

And I know I did lots of portraits of the dancers because we now have famous dancers in New York are from Altoona, and we should be very proud.

They're no longer here, but they really made an impact on town and certainly, on a lot of girls who became at least very active dancers, if not famous.

I know a lot of people know a lot about my dad, but I was hoping to share a little bit about what it was like to be his daughter.

How I see my dad is a maker of magical things.

My dad and I had this unusual relationship where he was basically a stay-at-home dad.

While my friends' moms were there when they got home from school and their moms were making them lunch, my dad was doing that.

Beyond my parents, my uncle is the single greatest influence in my life.

He was a magical presence in my life, a really astonishing person.

My earliest memories of him are when he would visit Altoona, something magical would always happen.

He would say to me, hold still, and I would hold still.

And 60 seconds later, there would be this incredible drawing of me.

And he would say, there, you can take it home.

I would open my lunch every day and had these wonderful notes and pictures.

And so even though my lunches were very simple and not complex-- I had lots of friends sitting around me.

So when I opened my lunch, everybody wanted to see what amazing picture was drawn.

He had this wonderful artist studio in one of the other bedrooms.

I would go in there and see all these fantastic things that he was working on.

And I have never seen a human make so many imaginary and beautiful things with a roll of scotch tape and a tube of paint.

He was such a presence in my life even when he was gone because I lived in a house filled with his artwork.

We had his paintings on the wall.

We had his sculptures, his books.

And I was a model for some of those books.

The book is The Day the Gang Got Rich.

I was the model for that little boy.

He would show up on a summer day when my friends and I were in the alley behind my house playing wiffle ball.

And he would say, guys, my friend and I are going to work on a new book.

And I just need a couple of quick shots of you playing baseball.

And he would take some pictures of us as we played.

He would disappear.

And then six months, 12 months later, there's a book, and we are all in it.

And there we are.

And every single one of us looking exactly like we did in real life.

We're there in that book.

And so again, magic.

I believe that Joe Servello is one of the great community leaders that we have here in Altoona.

One of the extraordinary gifts that he has given to the Altoona community is the mural here at the Altoona Library.

Generations of children have enjoyed looking at all of the intricate pieces of the mural.

And we still, to this day, get people come back showing their children and their grandchildren the mural as well.

So it's been a real opportunity to connect generations through Joe's artwork.

He has also been generous enough to come and present special programs in our library theater that have been open to the public free of charge.

And it's so important that our community to get to know him as a person.

I think he has inspired so many people here locally with his success in his career.

I think he's inspired so many to become artists of different types.

And we will enjoy their creations for generations to come as well.

Any kid ready to guess how many colors would you have to use?

How many different times would you have to go put it through the press?

We forgot our color wheel.

Any grown ups remember that?

AUDIENCE: [inaudible] How many?

That's wrong.

But you were brave to answer.

Joe is kind of my ally from the moment that I met him.

He was just always sweet to me and kind.

And he championed me with that particular group, who were very happy to be critical.

But Joe was a sweetheart.

When I came back to town after college, I happened to move into a house that was right behind Bill and Marty Moffitt's.

And Bill, as we all know, and Joe were very close friends.

So Joe would be included to the cocktail parties or dinners or picnics or whatever we would have.

And in fact, I brought along one of my favorite pieces.

Joe knew that liked the poem at the base of the Statue of Liberty.

And he brought this calligraphy of it one 4th of July for a picnic, which was just so touching.

He would always come-- if he brought a bottle of wine, the brown paper bag that the wine was in would have a caricature on it.

Well, I wasn't aware that he did that.

So I opened the bag, and I said, oh, Joe, this is great.

And I took the bag and crinkled it up.

And some of the people that I mentioned previously, who had vetted me, they were there, and they were horrified.

And I actually ironed that paper bag the next day.

Joe Servello, because of him, I was able to meet President Jimmy Carter.

So back-- I think it was 2005.

A local, prestigious fishing club was having an anniversary, 100th anniversary.

And Joe was commissioned to do a painting of the club.

Well, it just so happens that it's located in the same area of Wayne Harpster's farm.

And Wayne Harpster, every year, on Memorial Day, would host Jimmy Carter and Rosalynn to come up and fish.

And so Joe and I were talking about the painting he was doing.

And I said, well, it's right around Memorial day.

Jimmy Carter's at Spruce Creek.

We should take the picture to him.

And Joe said, well, I couldn't do that.

And I said, well, I could do that.

And after we made a couple close connection phone calls, we were invited to take the picture to see Jimmy Carter and give it to him.

So I did get to meet him, what a kind and wonderful man.

And a few years later, they were back at Spruce Creek for a party.

It was Wayne Harvester's 80th birthday.

And I talked to him again and said, do you remember me?

I gave you that painting of the Spruce Creek Club.

And he said, yes.

And he told me where it was hanging in his house.

And it was such an honor to get to know him and get to meet him.

He's a treasure in the community, in the arts world, in our lives.

I can't think of a person that is more deserving of all of the honors that have been bestowed upon him.

But truly, if you look behind me and you see all of the medallions that are around for the Blair County Arts Hall of Fame, Joe was actually one of the first inductees in 2003.

So 20 years ago, we recognized him for everything he's done for the community.

And actually, he is the artist who did all of the medallions for us, for the Blair County Arts Hall of Fame.

And that's just one tiny little piece of who Joe is.

I've certainly gone my own way.

I've enjoyed doing what I did without ever worrying about the results, about the rewards for it.

Every morning, I do some artwork, usually for a couple of hours.

Even though I've got some eyesight problems, I still look forward to that, and I get great pleasure out of it.

And I always have and I have never, ever regretted turning down boring, money-making art job.

And I went on to enjoy what I was actually doing, which was illustrating, even though I made a lot less money.

But the rewards are in the work itself.

That is the fun.

That is the excitement, the creativity.

It's all right there as you work.

He said to me, he goes, Suzanne, I can barely see now.

I only see darks and mediums and lights.

I believe, Joe, he doesn't use these eyes, but he uses the eye of his heart.

He truly is painting from his soul.

KEVIN KUTZ: I crossed paths with him a few times years and years ago.

I think once when I was in my 20s.

And I met him-- or I heard him talking, and it just impressed me.

I was like, this fellow's been around.

And I would see his work here and there.

And there was something kindred about it.

He was very involved in the Blair County Arts Festival.

And one year, we had doors done, and Joe did a beautiful door, which actually hung in one of our patron's houses as their bathroom door for years and years and years.

And so when they decided to remodel, they asked me if I wanted the door.

I said, absolutely, I'm not going to turn away a Servello.

And all of the arts groups have asked him to contribute, whether it's the Symphony or Altoona Community Theatre or Allegheny Ballet Company.

And he was always the first one in line to contribute his artwork.

And that's the beauty of Joe.

As the title says, he's not your average Joe.

There's nothing you can ask Joe to do that he doesn't say, sure, I'll do it.

[instrumental music playing]