Sculpting a Legacy to Christ w/ The Monument of The Americas: Steve Neal's Story - Latter-Day Lights - LDS Podcast "Latter-Day Lights" - Inspirational LDS Stories

Episode Transcript
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Scott Brandley (00:18):
So if you're looking to be inspired and
uplifted and spirituallyrecharged.
Now, let's get back to theshow.
Hey everyone, I'm ScottBrandley.

Alisha Coakley (00:31):
And I'm Alisha Cookley.
Every member of the chart has astory to share, one that can
instill faith, invite growth,and inspire others.

On today's episode, we're going to hear how
one is learning.
Welcome to Latter-day Legends.

Steve Neal (01:14):
Thanks for having us.

Thanks for reaching out to us.
You actually reached out to usquite a while ago.
And I remember when you told usabout your story and you sent
over the pictures and videos, Iwas so jealous that I'm not over
there when you talk.
I don't want to spoil too much.
So before we get into all ofthe amazing things that you're

(01:36):
going to share with us, andtrust me, guys, like this is one
of those episodes that you aregoing to want to watch and
listen to.
You're not just going to wantto listen to it.
So listen first if you have to,but go back through because uh
Steve is going to be sharing alot of pictures and stuff and
videos with us for your viewingpleasure.
So before we get started,Steve, will you tell us a little

(01:58):
bit about yourself?

Steve Neal (01:59):
So I'm I now live in Heber City, Utah.
Um I grew up in Utah, graduatedfrom Bury High School, but I've
been away for 45 years.
We came back because that'swhere the Monument of Americas
is going to be built in HeberValley here.
And uh I retired about uh ayear and a half ago from my

(02:20):
medical congratulations.
Well, I'm still working hard,but I'm a full-time sculptor.
I was a facial plastic surgeon,that's what got me into
sculpture.
Uh we have that's right.
That's what I did.
Um six daughters.

(02:40):
Uh they're all, of course,raised.
We raised them in Pendleton,Oregon.
That's where I live.

Wow.

Steve Neal (02:46):
Um, 37 years in in one city, one practice setting.
So I uh went to BYU, thenUniversity of Texas Medical
School, San Antonio, Texas,trained in surgery, uh,
odolaryncology, head and necksurgery, facial plastic surgery
at University of California, SanDiego.

(03:06):
And uh that's where um that'swhere I started doing sculpture,
actually.
I'd always been a painter, butmy mentor said, my professor
said, if you want to uh uh youwant to master facial plastic
surgery, you got to take upsculpture.
And I did.
That's where all the errors aremade.
Uh we teach one anothertechniques, but nobody can teach

(03:27):
you judgment.
You have to learn that on yourown.
And that's what sculptureteaches you.
It's um um I can tell it moreabout it later.
But anyway, here I am in Heber,Utah.
I haven't done any surgery nowfor a year and a half, but uh I
I put in about I don't know, 60to 75 hours a week of doing
sculpture.
I'm working real hard to geteverything enlarged.

(03:49):
They've all been created, butnow we're enlarging them.
So that's phenomenal.

And well, yeah, high level, you're creating uh a
sculpture park in Heber Citycalled Monument of America's.
And that's and that's I knowthat's part of your story, but
just to give people a little bitof more background there, what
you're working on.

Steve Neal (04:14):
Monument of America is first and foremost, is uh
there are two gardens.
Uh Christ in America basicallyis Book of Mormon, the Book of
Mormon in sculpture.
So uh after I'm dead and gone,it'll continue to be added to by
other qualified sculptors.
It'll become the largest, uhmost unique place to learn about
the Book of Mormon in theworld.

So wow.

Steve Neal (04:36):
That's so cool.

That's gonna be amazing.
I'm so excited.
Well, thank you for sharingthat.
We're definitely excited tohear like how you've become this
super accomplished gentleman,you know, like how you got into
being a doctor and art and wherethis idea came from and all of
that kind of stuff.

(04:57):
So we would love to invite youto tell us where your story
began.

Steve Neal (05:01):
Okay.
Um I'm 72 years old now.
You have to go back to at least65, 68 years, when I was four
years old, I guess.
Why that?
Because people ask me, when didyou start doing art?
I mean, when did it become apassion?
I said, I it's always beenthat.
Um I was intensely, I rememberat four years of age, asking my

(05:24):
mother to draw a cat insacrament meeting, and I would
draw a cat.
I always have drawn.
When I was a Boy Scout, I wasdoing colored pencil pictures
out of the Boy Scout handbookthat I really liked, or the
encyclopedia.
Um when I got to be a teenager,I then started doing
psychedelic posters, you know,that San Francisco flavor, you

(05:48):
know, for my friends.
And I would um use acrylicpaints and pen.
And then I looked at it and Isaid, gee, these aren't gonna
last very long.
I want to do something thatwill last, a big painting.
You're gonna laugh.
My first oil painting is 10feet long by five feet tall.
I hang it in my garage.

(06:09):
It has 50 life-size birds, andthat's when I graduated to oil
painting.
I did that as a teenager when Iwas 15.
So um then I went on a missionto Japan.
When I came back, I wanted todo a serious oil painting for
one of the converts in Japan ofJoseph Smith in the Grove with
the father and the son.

(06:30):
And it was pretty rudimentary,but I was still doing oil
painting, thinking, well, I'mgonna go into medicine for uh I
kind of said, um, you don't wantto be an artist and raise a
family as an artist, you'regonna be a starving artist.
So uh I was wired on both sidesof my brain.

(06:50):
I wanted to do medicine.
And uh so I thought I was gonnaleave all of this behind.
And then I had a very uhprofound spiritual experience.
It was in February 1976.
That was three months before Igot married to my wife Susan.
We were at BYU, and there was a12-stake fireside, and

(07:11):
President Boy K.
Packer came.
He was uh elder Packer at thetime, and uh he gave um a very
persuasive and a hallmark uhaddress for me.
It was for artists, creativepeople.
There are a lot of people outthere listening to this, and

(07:31):
they know exactly which one I'mtalking about.
But I thought he was talking tome, and I'll tell you why.
He went and said, we have lotsof artists in the church, very
um uh accomplished artists in insculpture and in painting and
in uh art production and soforth.
However, for having so manyartists, we don't we hardly have

(07:56):
any quality art, high art, itthat talks about the message of
the restoration.
And um and then he saidsomething, he says, I think the
people in the church that willmake this contribution are those
who don't consider themselvesvery gifted.
In fact, um this is he wastalking to me at that time.

(08:21):
I thought I was, you know,nothing, you know, I didn't have
really a lot of uh uh God-giventalent uh in art.
I just thought, you know, I waswhat I did was okay.
But he's talking to me becauseI don't think my gift is very
significant.
And he said, this really caughtme, who thinks their talent is

(08:46):
barely adequate.
Those exact words, and it justis like an electric jolt to me.
He he's talking to me.
The church's uh art, a corpusof works that would really help

(09:20):
strengthen the testimony ofothers in the church through
this powerful medium.
So what did I have to offer atthe time?
I was this mediocre painter,uh, oil painter, and um I made a
covenant with God, and I did itthat very day.
I said, But Lord, if you willbless my talents and make them

(09:40):
better.
I promise that I will make allmy efforts in trying to produce
art that will talk about themessage of the restoration,
particularly the Book of Mormon,which was has always been my
favorite book, um, and has beeneven more strengthened since

(10:03):
that time.
So I started to do that.
Um, it took me a while.
Uh I got into medical school,and this is a funny thing.
My first serious Book of Mormonpainting was while I was a
medical student in Texas.
Um, and it was uh the Enus,basically, Enus praying, and it
was actually a self-portrait.

(10:23):
And the way I did it, I triedto put some different things
into it.
And then I did another paintinguh in my second year of medical
school, and he did a thirdpainting.
That third painting is behindme, by the way.
You can't see it very well, butthat's Hagoth, the builder of
ships.
That was uh uh actually apatient of mine is Hagoth.
I thought he looked likeHagoth.
He's holding uh a this rod, astick, and that was it was

(10:47):
actually an IV pole.
And I thought, hey, this isthis is cool.
And and so I did threepaintings, three Book of Mormon
paintings while I was in medicalschool.
And that was um, we didn't havea job except go to school, you
know, so that was good.
Anyway, yeah, no, that's my myhow I got started.
Um okay.
The um I went to University ofCalifornia, San Diego for

(11:15):
residency, and um it was duringthat time um that I was doing, I
did another painting, and thenI I had I always wanted to do
Lehigh's Dream because thereweren't a lot of paintings of
Lehigh's Dream.
I remember kind of sketchyones.
I know there's a lot now, butback in 1985 there weren't.

(11:38):
And um people asked me, how doyou get the inspiration for the
paintings you do?
I I it might be unique, I don'tknow.
Um my paintings, the ideas interms of the blocking and the
view you have, they come in aflash in an instant.

(11:58):
I think that's that's God'sgift to me.
And then I spend all my timehammering out the details where
everything goes.
Now, Lehi's dream, I wanted toview that from with under the
tree, looking back to wherepeople, faithful people came
along the rod of iron, down intothe depths of the dark mists,

(12:21):
and came up and look across thischasm to the great and spacious
building.
And I wanted to be able, peoplelooking at it closely, to be
able to see the people who weremocking the humble followers of
God.
Now, for that to take place,the painting had to get really
big.
So to go from regularpaintings, you know, 36 by 24

(12:45):
inches, whatever, this onebecame eight feet by four feet.
And it took and it took it tookme two years to do while I was
in residency, and I had fourkids at the time, and my wife
and and uh, well, when did youdo it, Doctor?
I did it at nights wheneverybody was asleep, or I did

(13:05):
it on weekends or vacations.
That's why that took two yearsto do.
Just as I finished it, uh mymother-in-law, she I credit her,
she said, Steve, there's athere's a big church art contest
from the church museum.
It's an international contest.
They've been advertising it.
Why don't you put this inthere?
I thought, oh, sure, why not?

(13:26):
So I sent them a picture, andthen he said, uh, could after
they, you know, I guessadjudicated to some degree, they
said, Can you bring it to SaltLakes?
By this time, we had moved toPendleton, Oregon, and uh it was
my daughter's painting.
I have six daughters, and Icreated a Book of Women painting
for each one of my daughters.
Heidi was first, the oldestone.

(13:47):
She's the one that lives inTexas, by the way, Alisha.
So uh she was five years old atthe time when I started
painting it, and by then she wasmore like eight or nine.
And we drove it down to SaltLake pulling it uh in a trailer
and delivering.

How do you how do you take a picture that big
on the road?

Steve Neal (14:08):
You you it was the only thing in the trailer, so we
laid it flat, you know.

Oh, gotcha.

Steve Neal (14:13):
And we drove it down there because I couldn't put it
in the car.
And uh I was busy with mypractice, and I said, uh uh,
it'll never get a prize anyway.
I never thought it would.
But then they called me up andthey said, You're getting a
prize.
Why don't you come down here onthe night of?
So okay, I'll do that.
And anyway, it became it was agrand prize winner.

(14:34):
I mean, it was the first prize,they wanted to buy it, and and
I said, it's not for sale, it'smy daughter's.
But if you put it on in ondisplay in the museum, I'll let
you have it.
So it was there for over 30years.
Over a million people have seenit.
Uh, in fact, uh, if you lookand come follow me for the last
two times, the church used thatpainting for Lehigh's dream.

(14:58):
Um, after 33 years or so, theygot a new uh they got a new
curator.
And the curator says, hey, hey,we don't have any painting on
bond on loan for 30 years.
So tell the owner they have todonate it, or we have to buy it,
or we're gonna send it back.
Now, by then, my daughter haschildren of her own and she

(15:20):
wanted them to see it.
They were gonna put it away for10 years, so uh they ended up
shipping it back.
And it ended up at my houseagain.
I have it out there.
It's gonna go into the visitorcenter for Monument of America.
So, so see, I'm now I'm aserious painter.
But why do you start doingsculpture?
Now that's the not that's thenext story.

(15:42):
That happened.
Um, I I know exactly when thathappened.
It was in uh May.
Um, May 30 years ago.
So that's 1996.
Um I mentioned before, how didI why did I start doing

(16:02):
sculpture?
40 years ago, my professor infacial plastic surgery said, if
you want to master facialplastic surgery, you need to
take up sculpture because that'swhere all the mistakes are
made.
Uh we teach one another thetechniques, but um, where we
really make the mistakes is whenwe did it too much or not

(16:24):
enough, or we tried to uh getsome unattainable goal and we
stretch and we do something, weshouldn't have done that.
And that's where the mistakesare done.
And so um just a quick aside ifany of you know about
neuroscience, you know about umthe uh left side of the brain,

(16:46):
the right side of the brain.
There's quite a differencebetween even female brains and
male brains, but all of us havethis uh dominant, what we call
the dominant side of the brain.
For Americans, it's usually theleft side, and that's uh where
doctors are selected for leftbrain skills.
Uh those are the skills thatare reading and writing and

(17:07):
communication and mathematicsand science and so forth.
The right side of the brain iswordless, doesn't measure time.
Uh that's where recognition offaces, directions, uh sculpture,
where you're trying to imaginewhat shape you're trying to make
it, including a face.
If you're trying to do afacelift or a chin implant or

(17:30):
something, you want it to lookjust so.
Most importantly, it's arhinoplasty, which uh that's
where you change the shape ofthe nose, nose job.
Um, because that surgery, youhave more uh ability to alter
the shape of the nose than anyother plastic surgery operation.
It's also the hardest plasticsurgery operation to

(17:53):
successfully have good results,time after time.
In fact, I taught sculptingexercises for fellow facial
plastic surgeons for over 15years.
My mentor, Leslie Bernstein,was who was instrumental getting
me to take up sculpture, had mecome to San Francisco for the
art of rhinoplasty.

(18:14):
It was the longest ongoingrhinoplasty course, it was
50-something years until hefinally passed away.
Uh so yeah, I was that's why Itook it up.
For 10 years, that's all Ithought.
It was kind of fun and make mea better surgeon.
So in May of 1996, if youremember back then, those of you

(18:36):
were temple goers, that's whenmusic was added to the film
Presentation of the Endowment.
And uh my very first time Iwent to the Portland Temple,
that was our temple district inOregon, but uh the spirit was
very, very powerful, verystrong.
Um and um I tell people that Idon't see visions like the

(18:59):
prophet Joseph saw visions, butthat's as close as I've come.
Um in my mind's eye, I couldsee a sculptured garden with a
central figure of Christ, largerthan all the rest of the
figures.
And at the same time, what cameto my mind were uh there's a

(19:20):
passage in my patriarchalblessing I never understood.
Um, Matt or Scott, maybe whenyou went on a mission, you
wanted to know everything thatmeant something in your
patriarchal blessing.
What does this mean?
I want to be able to fulfillthis.
Uh and I was uh really tryingto do that.
But there are about two orthree sentences there I didn't

(19:41):
understand, and I didn'tunderstand them until that day.
Uh, and that this is themeaning of this cryptic kind of
sentence in your patriarchalblessing.
Uh and the sentence goes likethis it says, You shall hold a
light, or it may be seen fromafar.
Now you're talking latter-daylights, okay?

(20:02):
You shall hold a light.
I erroneously was thinking Iwas somehow this light.
Okay.
Um, it wasn't that.
And then it says, You shallgive this.
Um, you shall give, no, firstit says, after that sentence, it
says, um this will be ablessing to those who prepare to

(20:27):
hear the counsel of truth.
This you will give in seasonand in the hour of need.
Well, now is the season and thehour of need.
What is that?
It's Christ, basically.
Christ is the light that youshall hold up.
So this park and all it's likeyou didn't know.

(20:47):
I was how old was I 30 yearsago?
46.
That's when I seriouslystarted.
That's kind of late for anartist.
See, I thought he was gonna bea painter all my life, but he
was this huge, huge kind of athing to do.
And I was 46 years old, and Ididn't think I was good enough.
Just like deja vu back in youknow, 1976.

(21:10):
Right.
So um, the same thing.
I promised the Lord, it was acovenant again.
I will work on this every daythat I can.
Whether I see it actuallyhappen or not, I don't know.
That's not the covenant.
The covenant is I would do thework.
So to come this far as we haveright now to see how much

(21:33):
progress we've made isincredibly edifying for me to be
able to see how this has comebecause for so many years I was
I was um like a voice crying inthe wilderness.
Here's this guy ensconced inhis studio in Oregon, and nobody

(21:53):
knows what I'm doing, just thelook.
And I'm working on this big,huge progress project a piece at
a time.
Now, Michael Hall, who's asculptor, a very fine sculptor,
he's um a couple of years olderthan my oldest daughter, so
we're kind of a generationapart.
Um, I was introduced to him 20years ago.
He helped me to do this.

(22:16):
Is the place uh at the placemonument or heritage park, the
Mormon Battalion sculpture, theMormon Battalion Monument.
They're huge sculptures.
Uh at the time uh I was why didI do that?
Um remember, President Packer,he he took, he was now President

(22:36):
Packer, but he knew who did thethe Lehigh's dream.
Somebody one of my friendswrote him a letter saying, Hey,
did you know what your effect ofyour of your address was?
This painting would never havebeen painted.
And so he liked that painting.
He used it in one of hisvideos, but he also knew who I
was up in Oregon.
And uh when I started to createa small model of what this

(23:02):
would look like and started tocreate some of the sculptures, I
actually had an interview withhim.
It was right around the turn ofthe millennium, year 2000.
And uh he and some of the otherbrethren were in this room, and
they looked at what I'd doneand some of my figures, and he
said, Oh, this is too big.
You can't do this just startingoff.

(23:24):
You need something smaller.
That's how the Mormon BattalionMonument came to be.
Uh, I had a friend of mine,Walla Walla, Washington Stake,
and um he was uh active in theMormon Battalion Association,
and he knew they wanted to havea sculpture done.
And they said, Hey, why don'tyou try and do a sculpture for a

(23:44):
Mormon battalion?
So I went down, met with thepeople, and the price was right.
I didn't charge them anything.
So uh they didn't have to paythe sculptor.
So um I started working on thatwith small figure.
Uh that's a funny story all ofits own.
I don't know how much I shouldgive here and give some of those
details away.

(24:04):
But President Packer wanted tosee what it looked like.
So I brought my clay sculpture,which was a you know a clay
sketch, down to his office inSalt Lake.
And I was explaining this andthat, and it was busy, had a lot
of things, and and he goes,hold it, hold it, hold it.
And I go, Oh, what do you want?
Oh yeah, what would you like?

(24:26):
He says, You're trying to saytoo many things with too much
stuff.
It's like shooting water into atub.
When you're done, there's nowater in it.
You've got to make it moresimple.
Uh, like the sculpture inConcord, uh, that Daniel Chester
French, where he's got a riflethat's the single soldier.

(24:46):
That's what he wanted.
Well, I'm not that simple.
I always wanted to do it morecomplex, you know, but it became
two separate sculptures fromthat.
And uh Elder Ballard wasactually that he was the one
that was the liaison between theum this was the place heritage
park and the church.
So I worked with him incomposing this.

(25:08):
We came up with these two bigsculptures and so forth.
And I became a bishop, I wascalled to be a bishop at this
time.
And uh gee, I didn't haveenough time as it was.
So Michael Hall was uhintroduced to me 20 years ago.
So he and I have been doingsculpture ever since, and he's
another major sculptor.
In fact, he just had uh uh ifyou saw a general conference

(25:30):
this last time, they showed hissculpture on Temple Square.
The church had him do that,Joseph Smith, the father and the
son.
That's quite an accomplishment.
So um we are working together,have been for 20 years to build
the Monument of America's.
We added a third sculptor,Jeremy Hooley, who teaches art
at the Lehigh High School,whatever he uh is mainly uh the

(25:53):
founding of America, or and I'llI'll get into that in a little
bit.
So there are three of us nowdoing these sculptures all
together.
That makes about 73 sculpturesthat we have planned so far to
go in the garden.
So uh this uh that's this thespiritual nature behind this.
How come I'm doing what I'mdoing?
I certainly didn't set out todo it.

(26:14):
It wasn't some you knowhare-brained scheme of mine.
I really felt like it was adivine calling, so that's why
I'm doing it.
Um talk about uh how do youbecome a better sculptor?
I did take some instruction.
I was no fool.
Uh all of this may have beenGod-given, but I did my best to

(26:36):
have people who knew thebusiness to teach me uh uh
painting.
Patrick DeVonis and uh GarySmith, those are so some big
names.
Um I had Gary Sussman, he'swith the Art Students Art of the
New York Students Art League.
He helped me with sculpture,plus some people over in Italy.
I went to Italy to learn how tocarve marble.

(26:58):
Um, I thought I would do somemarble pieces.
Come to find out they take solong.
I I don't have that many yearsleft, so I'm doing mainly clay
and bronze.
But um this um I did one.
Um, I wanted to do one of Jesusin marble.
And um President Packer uh hewanted to see the the clay, and

(27:23):
I I showed him the clay, what Iwas going to do.
This is worth telling.
Um he and now President Oaks,it was Elder Oaks at the time,
met with me, and they werelooking at my clay, and at the
time I had it was uh a figurethat I thought ultimately would

(27:47):
go into the park, the Monumentof the Americas.
By the way, is it why is itcalled Monument of the Americas?
Because it includes not onlythe Book of Mormon account in
the Americas, but also thefounding of America.
It's a separate park.
We call that the AmericanCovenant Garden.
It's smaller, but it has a biguh potential to become many

(28:11):
sculptures.
There are about 16 sculpturesthat are going in there, the
rest go into the Book of Mormonside.
But um I was making this claysculpture of the savior, and
President Packer and Elder Oakswere critiquing it.
That's quite an experience,actually.

(28:31):
Um, and um I remember Presidentuh Packer was asking some
questions about it.
I had a baby alpaca on one sideand then an old world lamb that
the savior was holding.
And he said, Why is the alpacaon there?
And I explained why.
And he says, People mightquestion what that is.

(28:52):
It should be as simple aspossible.
Remember, he's he likes that.
So we took that off.
And then Elder Oak said, Didyou use yourself for a model?
And I said, Well, what do youmean?
I said, he looks pretty skinnyand thin, you know.
And I said, Well, you know, Imean, it's easy to copy your own

(29:13):
hands and stuff, you know,because they're on the end of
your arm.
Uh, and he said, No, he says,You need to use a model that's
much more powerful, bodybuilder,whatever.
He says, this the savior wasphysically powerful, not only
spiritually powerful.
I understand that.

(29:34):
So they want to sent me back todo more stuff.
I had been talking with some ofthe church artists prior to
that, um, and we were talkingabout a Jewish nose and the nose
that I gave the savior, and uhhe said, Um I I said to
President Packer, I said, theart department people say I did

(29:58):
the nose wrong.
I should have given him aJewish nose and I said Jewish
noses it's something they'revery ugly I mean the Jewish
surgeons were the first ones todo rhinoplasty on Jews because
they hated their nose anyway hechuckled a little bit like that
you know but then he he did thishe looked he went like this no

(30:22):
no Jewish nose and he said itwith a conviction that I took
that to mean he knows what thesavior looks like and when I
brought that back as a marblestatue um we presented it again
to President Packer this was youknow a year later almost and

(30:45):
I'd gone to Italy and I'd carvedthis uh out and then I finished
it in my garage and I had my uhyoung men out there standing
with me and filing.
It takes a lot of filing andstanding you know to do a marble
statue.
And then I took it to Salt Lakeand presented it to President
Packer.
He had uh again Elder Ballardthere and um we were looking at

(31:07):
it.
I became friends for differentreasons with Larry Miller.
Larry Miller was with me uh andwe were there together and he
everybody was talking about thisand that and about what the
savior looked like PresidentPacker said to Larry Miller
because I didn't hear it butLarry Miller told me right after
that he said did you hear whatPresident Packer said I said no

(31:29):
he said why do you argue withsomebody who knows oh wow so
President Packer was alwaysknown to be a man of the
prophecy and um deep spiritualroots but it was a privilege to
be tutored in a way from fromthose brethren.

(31:53):
And um and I did I changedthings I tried to do the way
they wanted and uh PresidentHinckley put that sculpture in
the MTC in the Woodruff uhbuilding the Woodruff uh um
administration building I knowthey're changing things around
the rebuilding right now we'llsee where it ends up um but

(32:14):
after he looked at it he told mesomething I didn't expect he
says can you wait around uhlater today and I said well of
course he said I want I want thefirst presidency to see the
sculpture and um actually by theend of the day all the 12 had
seen that that sculpture withthe with the first presidency

(32:35):
which is President Hinckley andElder Faust and and President
Monson so um after they saw ithe called me over to the West
conference room and he saidPresident Hinckley would like to
put this in the MTC however hewants you to put it up on a
pedestal so people can seestraight in the eyes of the

(32:56):
savior and he wants you to takethe nose and make it a little
bit thinner right through herethan what I had it.
And I had some marble betweenthe fingers take that marble out
and thin the nose right here.
And President Packer said tohim no problem president we got
a plastic serpent who can dothat.
And so I did I took my file andI filed it and sand it and did

(33:21):
like they wanted to and put itin the MTC where we unveiled it.
So that was really a marvelousexperience to to do this and and
to feel to feel the the powerof the spirit helping me with
these things.
When I first arrived in Italyand I'd had a person there rough

(33:41):
it out they didn't do much onthe face and so I arrived after
Audimon had gone home thecompressors were still going I
still had some air pressureusing air hammer when you're
cutting and carving marble and Iwas working on the savior's
face and the light from thesetting sun was coming through
and that was that was a reallypowerful spiritual experience

(34:02):
for me.
I really felt the savior close.
So powerful experience it was Ifelt it one more time other
than that uh when I was workingon the saviors um it was now
clay life size and a quarter thesavior has his finger up in the
air and he's teaching thesermon at the temple that's 3rd

(34:25):
Nephi 12 through 15 it waspatterned after um a sculpture
or actually a painting uh wherethere's teaching the the Sermon
on the mount by Carl Bloch andeverybody in the church
recognizes that's teaching theSermon on the mount and I use
that pose uh for teachingbecause of the Book of Mormon

(34:48):
version of that teaching at thetemple and I was working on that
it was around Christmas timeand and um listening to the
Christmas program.
But anyway I was working on theSavior's face in clay and it
literally seemed to come to lifeand looking at me magnifying my

(35:18):
poor effort really powerfulmoments and there's so much of
hard work in between it's allworth it so grateful to be able

(35:41):
to do this so here we are atHeber many many times we've been
thwarted and so it's sometimesyou want to give up where are we
going to build this park it wasgoing to be it was going to be

(36:02):
I mean gee where did we look welooked at we looked at St.
George the Los Angeles area welooked at Naboo Illinois we
looked all up and down at theWasatch Front figuring that the
people in Utah might prize itmore than the people in Illinois
for example and we uh we hadabout seven acres donated to us

(36:29):
on top of Traverse Mountain ifyou know where that is that's on
a uh they call it traversebecause it's like 90 degrees
from the Wasatch front sticksout like an isthmus and it
divides Salt Lake Valley fromUtah Valley and we were given
some land that would look intoboth sides.
And we're gonna put the saviorright there.

(36:50):
But uh um draper that hadjurisdiction said we don't want
this is going to be a visitor'suh quite a tourist uh feature we
don't want any more traffic upthere it's already choked we
can't we no you can't build upthere so we had to give the land
back it was going to be at uhThanksgiving point for two years

(37:13):
if that's where it was going togo and uh at the board you know
unanimously said yes that'swhere we want and after we had
enough sculptures maquette sizessmall ones we took it there and
we presented them everybody waswow this is really going to be
neat and then about a monthlater I get an email saying we
think this should have its ownvenue.

(37:34):
So I called up Karen Ashton Igo what gives basically it's too
big for her park and you needyour own venue.
So at the time I wasdisappointed but come to think
about it now we are building apark where there will be no
admission fee or maybe a dollaror something just to you know

(37:56):
make sure we don't have uhvagrant people living in there
we don't want that you know paya dollar to get in or something
families can get in for a fewbucks and then if they have to
go to the uh Thanksgiving pointto see the sculptures there have
to you know $100 to get in or$80 or something we want that

(38:16):
different.
So I have I have control of thesculptures uh but I have to
raise the money.
One other thing I'll tell youum Elder Pat or no Elder Oaks
now President Oaks he said to meif you think you want the
church to get involved with thisyou'll do a better job if you

(38:38):
do it privately by yourselves.
You can do a work for thechurch that the church cannot
do.
When the Tabernacle choir uhgives concerts we find they have
the best results uh when thereare no name tags no missionaries
anything just done that way andso you'll be able to do a
better job and I I can see whynow looking back on that uh but

(39:01):
now that means we have to raisethe money so it's a
multi-million dollar project wethink it's uh at least 20
million right now give youfinances we have about five
million in assets and no debt welook really good we have 30
people almost here and most ofthem from Heber Valley some are
in other states some in SaltLake or Utah valleys but we have

(39:22):
a meeting every month uhdiscussing what we're going to
do we've got uh architect we'vegot a uh we've got a uh
landscape architect in fact wehave two we've got a civil
engineer we got lawyers we haveum public uh um uh what's it
called publicists and people whoare uh trying to uh get it

(39:43):
built we've got a contractorpeople who uh want to build this
we've got a stonemason a stonecutter we've just got lots of
people all these people servefor free like I do I've never
done anything to earn money butI'm still the largest donor in
money and uh and of course intime right so somebody has to

(40:05):
get it launched and that's whatwe're doing.
Oh my goodness I love this I Imean when you think about that
moment where you had this flashin your mind back in the temple
30 years ago did you at thattime see the scale of like how

(40:29):
big of a project this was or wasit just like did you see like
one little tiny you know to acertain extent yeah I mean I can
see it in fact it's about thescale now of what I visioned
envisioned that's right and thethe savior is 18 feet tall took

(40:50):
me a year to to scope that um Idid that in in Pendleton at my
colleague my friend's uh garagehis car garage is even then we
couldn't put the head on we hadto keep the head off because
it's so big you know it gonethrough the roof you know but uh
yeah I I I did I mean it itmatches up with my impressions

(41:15):
at the time so and and how didit get into Park City then yeah
how did you find that spot wellit's not park city I mean that
story after we were um after welost the ground on top of
Traverse Mountain um a friend ofmine um who he kept saying you

(41:43):
need to come to Heber ValleyHebrew Valley would love this
and he's from Wasatch County thesame one his grandfather ground
uh homesteaded ground 150 yearsago so he said the saints in
Hebrew will really rush tosupport this and and that was
like a prophecy that was exactlytrue uh uh the uh city council

(42:06):
the mayor uh they just thank youthank you for coming here the
ground that we were giving whathappened we had a piece of
ground which is actually rightnext to where the temple has
been announced we didn't knowthat at the time we bought six
acres I did on behalf ofMonument of Americas it's a
little small uh we're thinkingcould we still do it but then

(42:27):
they announced the temple uh andabout this same time uh guy by
the name of Mike Bradshaw he ishe handles all the real estate
affairs for the Sorenson familythe James uh James Sorensen Sr.
They're the same family thatdonated quite a bit the
construction of the Nauvootemple they have this huge

(42:50):
amount of land and Hebrew cityuh they annexed it for 5,500 750
homes or whatever and as partof that they have a parcel of
ground for a carve-out to giveback to the community for some
kind of amenities and in therethey were thinking of a park and

(43:13):
an amphitheater and somethinglike us he came to our
presentation and said how wouldyou like 10 acres if we donated
to you I says where's lookaround so he took up there and
showed me where the ground isand I'm it's like oh this is
where this is where it was meantto be my my regret and building

(43:39):
it at Thanksgiving point wasdown in a hole uh I mean you
know you drive by and you haveto look down to see it and the
savior down there that's theonly thing that didn't match up
with me and there was thiswindmill behind him you know one
of those big wheel molds I Ididn't want didn't like that but
here you talk about you shallhold a light where it may be

(44:03):
seen from afar this will be seenall over the valley it'll be uh
all lit up we're gonna light itup at night and it's just
perfect most of the valley couldwe'll be able to see it it's
just beautiful so I said donewe're gonna do this so we kept
that six acres and I sold it inan appreciation and put that
money into the sculpture sowe're using that money to

(44:26):
produce sculptures so it's itwas just heaven the Lord knew it
was going I just wish he let meknow 30 years ago 25 years ago
uh it would have saved a lot ofhard work but you know we're
dedicated so what are you what'syour plan right now as far as
like fundraising and you knowlike are you just asking for

(44:46):
straight donations are you guysplanning on doing some type of
fundraising events do you havepeople who can be like monthly
sponsors or one time you knowhow does that work we've had um
because we're enlargingsculptures it gives us a unique
uh ability to honor people bigpatrons because we sculpt them

(45:08):
right into it uh our moroni andum some of the angels uh they're
they're actually figures ofpeople that a family wanted to
honor we I have four I have fourdonors a hundred thousand
dollars each and I I created forthem a somebody they wanted to

(45:31):
honor even posthumously adaughter who was killed in a
tragic accident that's uh ourour contractor that's how we
came to know him he said I wantmy daughter to be kneeling at
the feet of the savior the sameplace where the savior is
teaching the Sermon on the Mountwe I am we're creating figures

(45:52):
that are at his feet asNephites, Lamanites whatever,
listening to the Savior preachthe temp the sermon at the
temple.
That's one way we have ofraising money uh I have one
donor who's our largest donor heloved the title Liberty.
I haven't said much about thetitle Liberty uh the title

(46:14):
Liberty the sculpture that Icreated it uh it will be the
largest sculpture in Utah uhbronze sculpture uh it has
Moroni up on top of a mountainwith his sword up there holding
the title of Liberty which hassome of the elements of the
American flag on it on the otherside is George Washington 12

(46:36):
feet tall he's holding theinfant republic uh personified
in this baby who's grasping thetitle of liberty and this infant
has been given over to thefather of our country by
Columbia who is behind himaround here who's the same
Colombian that's on top of theCapitol Dome in Washington DC

(46:57):
then you have a soldier from theCivil War so you had
Revolutionary War Civil War Itook one of the figures from uh
Mount Suribachi and Iwo Jimawho's pushing up the American
flag he's pushing up the titleof Liberty helping to do that
and then a fourth uh soldier whouh fought in Desert Storm.

(47:19):
One of my patients fought inDesert Storm and I said hey
would you dress up in yourmodern army uniform and let me
sculpt you and so I did andshe's down there you know at the
bottom kind of fixing the titleLiberty poll and uh so all of
this is is uh it's kind of a 360degree piece uh and Moroni's

(47:44):
sword the tip of his sword tothe ground will be about 25 feet
it's huge we unveiled that atthe BYU stadium in front of the
BYU stadium here uh on the 4thof July last year oh my god
that's uh detail like the waythat you're allowing families to
choose people loved ones oftheirs to be part of these

(48:08):
sculptures and to just live onforever in this and such a such
a beautiful testament to thedifferent stories in the Book of
Mormon and and you know to thesenior self it's oh my gosh
there I mean if the viewers ifyour viewers want to see a whole
presentation on it the onethat's up to date we had our

(48:29):
groundbreaking in May and it's agood introduction to the
different sculptures and soforth and what we're doing but
it's on YouTube.

I can give you the call numbers for that we can
put that link in thedescription for everybody too.

Steve Neal (48:42):
Yeah and because it's worth watching um I think
it's spiritually it's aspiritual kind of production but
um it kind of shows what we'redoing where we've come from I
was going to say that the donorwho was really taken by the
title of Liberty that wholesculpture put up most of the
money for that I mean he waspaying $20,000 a month until he

(49:06):
had contributed about $400,000.
That piece was six hundred andfifty thousand dollars to cast
wow that's right that'sphenomenal they're not what what
what goes into creating a uhbronze sculpture like what's the
process okay I'll take youthrough this real fast everybody

(49:28):
thinks it's a simple thing uhyou know you got a baby's booty
are you gonna bronze it yeah allright yeah you just spray
bronze on it they're not bronzebut no that's that's bronze
paint what it takes okay usuallythe original that you're
creating is destroyed in theprocess of making the mold all

(49:49):
right so a big piece like thetitle Liberty I just talked to
you about was cut up into about400 pieces.
Okay each one of those piecesthen was uh molded they it's by
silicon a silicon kind of apaint they paint it over that
and let that dry make sure it'sthick enough then they'll put

(50:12):
what we call a mother mold overthat something which will not
allow any kind of distortionit's rigid.
So you got the soft pliableunderneath and then the rigid
you take off the mother mold youopen this silicon mold if it's
a small enough piece you cancompletely encase it it has a
seam you pull it open and youtake the original you throw it

(50:33):
away now the mold is what isimportant you go to the wax room
and you close up the mold andit usually has a hole and you'll
pour wax melted wax in thereand swirl it around let that
harden you go to the spruingroom the spruing room they sit
down they'll chase it make sureeverything is fine then they put

(50:55):
on these pieces of wax calledsprues and they'll stick it
there and maybe over here andthen they put a cup a wax cup on
the top so you got this wax cupand then you've got the piece
and you've got the spruce youtake that and you go over the
slurry room dip it intosomething looks like antifreeze
and then you put some silicasand around it and you get

(51:16):
coarser and coarser gravel letit all harden take that put it
into an oven burn out all thatwax.
Now you got a hard silica shellyou take that stick it into
maybe a trough of sand you heatup the bronze you melt it and
then you pour that into it 1700degrees or whatever you pour

(51:40):
that into it let it harden letit cool break off the shell get
that piece of metal and then youweld it together with the other
400 pieces and that's how youbuild the sculpture that's why
it costs so much oh wow goodnesslike how do people even figure

(52:02):
that out yeah right how dopeople even figure that out how
did like well it from the fromthe 1500s they used to do it in
one shot you know they didn'tbreak it up into pieces so you
had one shot at getting your waxto become bronze you know so

(52:24):
when you're coming up with 18foot bronze statues the
logistics behind that is justmind-boggling this this is the
savior it's part of a aproduction if you will uh
president package didn't wantthat alpaca on there but for
this I put it back in andbecause it's a dichotomy the

(52:46):
savior sits up on um basically afoundation which is the gold
plates and the gold plates isnow a waterfall and there's a
pool and a little island thatthe savior sits on but the water
flows over the plates symbolicof the truth and falls down into
a pool where there is a worldand then on this side you have

(53:10):
the eastern or the westernhemisphere and the eastern
hemisphere and they look likeyou see that we call them the
hands of man.
They look like adoring handslike this and they're life-sized
people from the differentdestinations of the world both
halves of the world other sheepI have that is the name of the

(53:32):
piece so it's a presentation andthat's kind of the central
figure of the of the park uh andas you come into the park and
through the visitor center intothe garden into the park there's
a arch of triumph as you walkthrough it it frames the savior
up above and it's prettyspectacular we have a a virtual

(53:54):
tour of that which is on uh theYouTube uh channel that I did
that production so you can seehow it is it's beautiful.

Yeah wow so here's a question for you
especially with um and I'm notgoing political per se I'm just
we're just in that time periodright like we know that things
are just gonna get better andbetter and worse and worse at
the same time like we're gonnahave more of that separation
between good and able to get tothe crisis return.

(54:24):
So when you're doing somethinglike this and you're putting all
this manpower and this moneyand this energy and this this
talent into these amazingpieces.
Is there a part of you that'sscared about what happens if
someone decides to go destroythem or to vandalize them or you
know to graffiti all of themyou know like do you do and do

(54:47):
you have measures in place thatare going to be well let me tell
you a story.

Steve Neal (54:52):
Have you ever been to Florence, Italy Firenza?
Not yet I've been I've been abunch because I spent a long
time in Italy.
Wow for 500 years they have notneeded anybody to look over the
sculptures that are in thePalazzo Vecchio or the old place

(55:12):
where for a long time they hadthe the David there.
They've now put that indoors uhand other some other sculptures
that were done um uh CeniniBenvenuto with Perseus and
Medusa and all of these famoussculptures they've never needed
anybody to watch over them untilour generation yeah that tells

(55:35):
me something yeah it needsprotection so I mean fence
around it when it's a park upand running there will be a
security guard and there arecameras so then we can kind of
keep tabs on that.
It's private so it means we caneject whoever we need to you
know um but yeah we we know thatuh at least in certain um

(56:00):
recent political umadministrations and so forth
they were pretty lax on thatstuff they're they're clamping
down a little more but we're apretty conservative community
here and I think we'll havecooperation that possibility is
almost there.

Yeah but Heber is a pretty nice laid back
community so you probably have alittle bit of a safe haven over
there.

Steve Neal (56:25):
Yeah yeah that's true so how how far along are
you in the development processof the actual park um we have
the land it's been given in twoparcels the groundbreaking was
done in the first parcel we'regetting this the next parcel
here any day and then we'rewe've been working on the

(56:48):
landscaping engineering and thedesigning that's why if you look
at that virtual tour some ofthat is actually taken from what
we want to do in terms oflandscaping.
But we don't have a road thereyet and we don't have uh the the
utilities yet so it's rawground and you'll see in that
movie that we're right on theground where the park's going to

(57:11):
be but it's raw land.
So that has to be terraced andall that kind of stuff but we've
been planning that we're in theplanning stages uh we hope if
we get the road and uh we're wecan do some uh cuts and so forth
we can start to do thefoundations of these things next
year uh our target for openingis 2029 we still need about 15

(57:34):
million dollars so yeah what dowe do for uh I'll tell you if
there's anybody listening whohas a legacy and they want to
memorialize somebody in thefamily and they want to give him
they love the Book of Mormonand they want to do something we
actually um can sculpt theminto something where their

(57:56):
family will know who they areand because it's a spiritual
thing we're not going to saystuff like this sculpture was
donated by we're not doing thatright we're doing something a
lot cooler we have them do theirtestimony and we're gonna make
a little bronze plaque put it onstone and just set that by

(58:17):
there it doesn't say they didthis but their testimony is
right there.
So people will really have away of memorializing in this uh
it this is uh second to none uma lot of people confuse us with
with Angela Johnson's work atThanksgiving point her we were

(58:39):
supposed to be the Book ofMormon and she her place was
supposed to be in the NewTestament but then um we met
with her seven years ago and wewere kind of thinking do we want
to combine forces she says no Iwant to do this thing on my own
I think we kind of encouragedher to do her own Book of Mormon
thing and she she fundraisedand she got it done in seven

(59:01):
years and beat us to the punch.
So we were the original but youknow now we're like oh me too
but this was uh uh the stuffthat we're doing takes a lot of
time and effort they're they'reuh very meticulous and uh we're

(59:22):
happy to be where we are inHebrew nice yeah I mean it feels
like your whole career and andhas kind of led you up to this
moment and this is your timeright this is your time to make
your dream a reality I'll giveyou one more spiritual talk
spiritual thought two years agoin August of 19 of 2023 uh for

(59:48):
months it was getting morepainful for me to do surgery and
reach up like that I what isthe matter with me I felt like
I'd separated my ribs I did thatonce upon Upon a time.
Anyway, I called up one of myfriends.
I said, This is not right.
You need to do a CAT scan onme.
So I ordered a CAT scan.
And uh he calls me up on thephone.

(01:00:09):
He goes, Steve, it doesn't lookgood.
And I knew, I knew, I knew whatthe diagnosis was, it's
multiple myeloma.
It's one of the blood cancers.
And I was at the time just, ohmy heavens, what's gonna go on?
The people that I knew, evencolleagues, when they were given
that diagnosis, they had diedwithin weeks or months of their

(01:00:32):
diagnosis.
I thought I was gonna die in2022.
Wow.
And um, I remember I wasworking on something, sculpture,
and it was a song in thebackground.
I was operate and do sculpturewith music.
I have for 40 years.
And um, it wasn't a spiritualsong necessarily, but the lyrics

(01:00:55):
came through.
Have a little faith, and myears picked up, and the spirit
gave me right here.
Steve, have a little faith inyour father in heaven.
That was about 800 days ago.
And not a day goes by that Idon't thank God for another day.

(01:01:19):
In those two years, I've beenable to um enlarge 10 big panels
as well as multiple otherfigures.
I am just producing sculptureat the faster rate than I ever
have.
After one month of treatment, Iwent into remission and I've
been in remission ever since.
I have my old energy.

(01:01:41):
I I've always been blessed witha ton of energy.
I have it all.
I'm able to get down on thefloor at 72 and a half and stand
on my head, do whatever I haveto do to do this sculpture, and
I can still do that.
So I thank the Lord every day.
My my life's in his hands everyday.

(01:02:01):
And I'm doing what I'm supposedto do.
I said to my oncologist, Isays, Hey, I need about six
years to do this.
You know, I'd get you sixyears.
He says, Heck, we've gottreatments coming down the pike

(01:02:22):
that is looking really good.
We haven't even tried them onyou, but uh there they can't
detect any of the plasma cells,the cancerous plasma cells in my
body, my marrow, anywhere.
There's no evidence of it.
And I have all my energy back.
And I don't have medicine to doanymore.
I still have my medicallicense, but I treat my family
and my friends, so I don't seepatients.

(01:02:44):
I'm not doing any surgeries,I'm just doing sculpture every
day, doing a great job.

Alisha Coakley (01:02:50):
Man.
Well, congratulations on that.
That's a huge, huge thing to beable to go into her mission.
Um I imagine for you, it justkind of solidifies what it is
that you want to do, what youwant to finish, and how
important this project is toyou.
Is that really accurate?
Man, you are just like you'rejust phenomenal.

(01:03:20):
I this has been such an amazingstory, and I uh just thank you
so much for coming on heretoday.
I appreciate it.

Steve Neal (01:03:29):
Thank you, thank you for having me and for telling
people about the MonumentAmericas.
Um, we do we still need somefundraising.
Uh it won't happen till ourtarget is 2030.
That's 200 years since the Bookof Mormon was printed.
We want a big celebration.
So 2029 is the target date forus to get open.

(01:03:52):
Uh our our largest donor has, Imean, we're in his will for
multi-million, so we'll alwayshave an endowment fund.
This is gonna fly for sure.
We just want it before 2030.
So anyway.

So, what's the best way if someone wants to, I
mean, because every little bithelps, right?
So, like even if you're notable to donate $100,000.

If you're donate, if you can donate something, of
the Americas.org.
You can donate through there.
Okay.
If you go to that webpage, youcan see it.
Uh, and if you have serious indesigns, you think you can help
us in some way, then uh email meor you and send it on to me.
Uh, I meet with people.

(01:04:38):
Just the other day, we have thewe need some new carpet in this
place we moved to in Hebrew.
And the carpet person comesfrom Utah Valley and he sees
what we're doing, and he wasreally touched.
He said he came into my studio.
And we said, my wife says,Yeah, you want to donate?
Well, I can't give a hundredthousand.
And I said, Hey, there's carpetin the visitor center.

(01:04:59):
Why did you donate carpet?
I can do that, he says.
I mean, we find people likethis all the time.
Can I do this?
Can I do that?
So God blessed him.

Scott Brandley (01:05:11):
Yeah.
Well, and and God works inmysterious ways.
I mean you've seen that in yourlife, right?
So yeah, I think I think youcan make this happen.
And we never know who'slistening, right?
So that's right.

No, we'll make it.
It's fine.
We want it, we want it infaster time, you know, not 20
years.
Exactly.

Wow.

Awesome.
Well, this has been amazing,Steve.
Um, any last thoughts you'dlike to share before we kind of
wrap things up?

Well, how you started out that sentence, isn't
it true?
Uh, these rich blessings that Ireceived a tremendous sense of
satisfaction.
Um, with the diagnosis I have,you know, are you ready to meet
the savior?
Well, um, I've had somepowerful spiritual uh

(01:06:08):
confirmations.
You're doing right, you'redoing a good job.
These are works ofrighteousness, and that's been
very gratifying to me.
Hasn't been easy, but I'mkeeping my covenants.
I'm a covenant-keeping person.
And that's how you get God'sthe richest of God's blessings,
are when you make covenants andkeep them.

Yeah.

I love that.
Well, thank you so much forcoming on here today, for
sharing your story, for sharingyour talent with everybody, and
and for sharing this vision thatyou've had of something that I
just I really think it's gonnabe so, so great in lighting the
world.
Um to all of our listeners,guys, thank you for tuning in

(01:06:52):
too.
Please, please, please makesure that you guys go visit
these links that we're gonna putin here.
Go check out what they aredoing with this amazing monument
park in Kiever.
Um, and if you feel so inclinedto be able to donate um
anything at all, that would befantastic.
Um make sure you reach out andlet me know what you guys can

(01:07:12):
do.
Um, but the easiest thing thatyou can do right now is comment
and do your five-secondmissionary work.
Share, share, share.
And the more people we can getthis episode in front of, the
more opportunity we have to beable to help Steve and his his
whole crew to make this areality.

Well, thank you.

Thank you.
Thank you both.

And if anybody else has a story that they'd
like to share, go tolatterdaylights.com or email us
at latterdaylights at gmail.comand let's have you on the show
just like we had with Steve.
And we'd love to have you back,Steve, by the way.
Yeah, we'd love to give usupdates as you go so that we can
we can continue to share yourstory.

(01:07:53):
And I'm sure our listeners willwant to see kind of where
you're at along the way.

Yeah, we're making good progress.

Absolutely.
And you know, Steve, if youhave any uh if you have any any
um statues that are wearing poopearrings, you can design them
after me.
I'll take that spot so great.

Awesome.
Well, thanks again, Steve, forcoming on.
We really appreciate you.
And thanks everyone for tuningin.
And we will talk to you nextweek with another episode from
Latter Day Lights.
Till then, take care.

Thanks, Scott.
Thanks, Alisha.
Bye-bye.

Bye-bye.

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Sculpting a Legacy to Christ w/ The Monument of The Americas: Steve Neal's Story - Latter-Day Lights

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