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Silhouettes Profiles Dr. Jose Lezama

Dr. Jose Lezama

This article originally appeared in the Nov. 3, 2017 edition of La Gaceta

By: Tiffany Razzano

One of Dr. Jose Lezama’s greatest inspirations throughout his career has been his late paternal grandmother, Martha Lezama.
Though she wasn’t in the medical field – she was a teacher of elementary-aged students at the Academy of the Holy Names – she still had a significant impact on the chief of medical service at James A. Haley Veterans’ Hospital.
Though he didn’t attend the Academy, he vividly recalls visiting her classroom. “I loved watching her teach,” he said. “I never saw anybody love her job as much as she did. She had so much energy about her and enthusiasm. She loved what she did.”
This enthusiasm inspired her grandson, who for a while thought he might want to be a teacher himself. But as a student at Tampa’s Jesuit High School, he fell in love with science and pursued a career in medicine.
It’s because of his grandmother’s early influence that Lezama carved a niche for himself in his chosen field that allows him to meld medicine with teaching. In addition to his work at the VA, he’s also a professor of medicine and vice chair of the Department of Internal Medicine at the University of South Florida’s Morsani College of Medicine. “I was very lucky to create this niche in my medical career,” he said. “I enjoy teaching and nurturing medical students, attendings and fellows. One of the most important things I teach them is how to be humanistic and members of the community wherever they practice.”
At USF, he’s come across students who actually had his grandmother as a teacher during their elementary school years. “They tell me I have an eerily similar teaching style to her,” he stated. “That’s an honor to me.”
After graduating from Jesuit, Lezama went on to the University of Florida in Gainesville, where he took a pre-med track within the university’s honors program and graduated with a bachelor’s degree in microbiology and cell science.
At that point, he knew he wanted to have a career in medicine, but he wasn’t thinking about what his specialty might be. Instead, he was focused on “a mentality of survival,” he said. During his first pre-med meeting, UF professors told the students to look around the room “because probably only three or four of [them] will be accepted into the medical school.”
UF’s College of Medicine only had 85 seats. But Lezama was confident about his work ethic and abilities. “I looked around the room and wondered who the other three [that get in] will be, because I’m going to be one of them,” he said. “It was good to be a little naïve and very confident. How’s that combination?”
He added, “So I just wanted to get [into medical school] and figured I’d choose [my specialty] then.”
Lezama was accepted into UF’s College of Medicine, and his mentors there guided him toward internal medicine. The specialty clicked for him, as he preferred working with children to adults. “I really connected with the adult population and geriatric patients,” he explained. “So I went into internal medicine.”
In 1997, he was accepted into the University of South Florida’s residency program, which was the number-one school on his list. “Luckily, they thought highly of me and I came back home,” he said.
It was always his goal to return to Tampa as a doctor and serve the community through his vocation.
“And here I am, 20 years later, in a leadership position,” he said.
In 2000, coming out of his residency, he took a job as hospital physician at the VA, where he also assisted in the internal medicine clinic and ambulatory care.
It was a quick transition, he added. “On June 30, I was a resident, and July 1, I was an attending,” Lezama said. “Twelve hours. I was running out of the gate, the way I do everything. Like a rocket out of the gate.”
He also took on a role at USF as an attending physician, instructor and faculty mentor. In this role, he assisted the medical school with curriculum development and certification.
He rose through the ranks at both USF and the VA hospital.
At USF, he first served as the Department of Internal Medicine’s assistant program director, then associate program director, and, finally, in 2012, vice chair. That same year he also was promoted to professor of medicine.
At the VA, he was named chief of medicine in 2006 at age 34. “I was one of the youngest, if not the youngest, chiefs of medicine the VA has ever had,” Lezama pointed out.
In fact, he recalls going to his first training session in Washington, D.C. and those running the event thought he was in the wrong place. “They kept trying to convince me I was at the wrong meeting,” he said. “It took a few phone calls to verify I was who I was. Here I am, 12 years later, and I’m still one of the youngest. At 46, I’m still a very young chief of medicine.”
During his time at James A. Haley, he’s proud that his internal medicine residents have passed their board certification examinations 100 percent several times – including the last two years in a row – and many departments continue to rank highly compared to other VA hospitals throughout the country.
Under his watch, the hospital has also founded a renowned electrocardiology program. He also spearheaded a primary-care medicine track, a joint project between USF and the VA, to give medical students experience in primary care. To many students, primary care “is not as exciting as hospital care or specialties,” Lezama said. “But we want internal medicine residents to realize [primary care] is where it all starts. It’s the foundation of everything.”
Since Hurricane Katrina, he’s also been part of a team of local doctors and hospitals that assists with disaster relief and emergency services.
One of the most memorable relief efforts came in 2010, when Operation: Haiti Relief launched following a devastating earthquake hitting Port-au-Prince. For six weeks, Haitian nationals came into the United States through Tampa International Airport and local doctors and medical facilities were on hand to treat them. “I was proud to see a number of local physicians and hospitals get involved with this humanitarian effort,” Lezama said. “It was the first time disaster relief was organized for an international event.”
He also often gives back to institutions that have played a part in getting him to where he is today. “I always ask Tampa Jesuit if there’s anything I can do for them,” he remarked. “I’m a mentor with the UF Honors Program and speak [at events], and [work with] the USF College of Medicine. I’m very loyal. I like to give back to those programs that helped me over the years.”
Even with all he’s done through his career, Lezama said his greatest accomplishment was winning the Lutz Little League championship, his now-11-year-old son’s team. He coached alongside another local physician, Jose De La Torre, in what he said is “a very competitive league.” The team ended its season 19-1.
“This just shows what I try to teach my residents and students,” he said, “the importance of the balance between work and life.”
Lezama and his wife, Amy Abreu Lezama, a pharmacist at the VA, live in Lutz with their three children, who are 14, 11 and 6.
“My wife and three kids always come first,” he said. “Any decision I make about my career is based on how it will impact my family. I like my students to see that you can do all this [in your career] but still keep your ties to your family, your community and your faith.”

Silhouettes Profiles Jennifer Dietz

Jennifer Dietz

This article originally appeared in the Oct. 13, 2017 edition of La Gaceta

By: Tiffany Razzano

Born and raised in Salt Lake City, Utah, Jennifer Dietz grew up with one of the world’s most renowned film festivals taking place in her backyard.
The Sundance Film Festival is the largest independent film festival in the United States and attracts tens of thousands of movie buffs, filmmakers, producers, actors and other film industry workers each year.
Though she earned a degree in political science from the University of Utah with the intention of going on to law school, Dietz took a job with the film festival and fell in love with archiving.
That was the beginning of her career as an archivist, and today she’s the archives and records manager for the City of Tampa. But if it wasn’t for her love of old films, she never would have found her way there.
“When I worked at Sundance, I worked in archives a lot,” she said. “It was a lot of fun and that’s what developed my interest in what I’m doing today.”
Not only did she archive the films themselves, but she worked closely with print materials associated with the films, such as vintage movie posters and other marketing materials.
In 2002, Dietz moved to Tampa to study at the University of South Florida, where she earned her master’s degree in library and information science with a focus on archives.
She was familiar with the region. Her grandparents lived here and, growing up, her family would visit them every year. “I loved it here,” she said. “I loved the area. I loved the climate. I loved the ocean. I always thought I might go to school out here.”
She took a job with the Tampa-Hillsborough County Public Library System. There was a shortage of children’s librarians at the time, and she was initially hired to plan events for teens and younger children. She started out at the Seminole Heights Library before moving to the Jan Kaminis Platt Regional Library.
But in 2009, then a senior librarian, Dietz was given the opportunity to open the library at the Tampa Bay History Center. The library collection there had never been catalogued. “It was a great experience,” she said. “It was so much fun. I learned so much about Tampa while working there. That’s when I really got interested in Tampa history.”
In addition to old manuscripts and letters, she also archived artifacts pertinent to the city’s history. At the time, there was significant construction taking place in downtown Tampa. Construction workers would often “unearth cool, old artifacts,” such as ceramic dolls and beads, and bring them to the history center’s team of archaeologists. After that, they would fall in the hands of Dietz, who would catalogue them.
While working at the history center, she often would find herself delving into the city’s records for additional information on projects. “They have such great archives over here,” she said. “There’s so much government history and wonderful local treasures.”
She got to know the then-archives and records manager, who was retiring. She encouraged Dietz to apply for the job.
It was a somewhat easy transition when Dietz moved from the library system to working for the city’s archives and records department. “Still, it’s a lot different. I was a librarian and cataloguer,” she said. “Things are structured differently.”
A large part of her job is record management, she added. In fact, she was required to earn her records manager certification when she came onto the job.
The archives department, which was established in 1987 as the first municipal archive in the state, today manages more than 30,000 boxes of records and more than 5 million electronic records for the city. She manages a division of 10 employees who are in charge of all these city records and manages them in accordance with the state’s retention schedule. Her department receives and digitizes thousands of records each month.
Dietz considers her work in the city’s archives as “the fun part of [her] job.”
In 2014, she helped to revive Archive Awareness Week, bringing in a number of community partners, including the University of South Florida, the library system and the Tampa Bay History Center, to celebrate with a variety of exhibits and programs throughout the city. The week was originally founded in 1992 by the city’s Archives Advisory Committee, but eventually fell to the wayside after a number of years.
This summer, as part of Archive Awareness Week, the archives department celebrated the release of a treasure trove of historic Tampa photos. Her department digitized two photography collections and made them available to the public on the library system’s website.
One of these newly released archives was a collection of 30,000 photographs from the Greater Tampa Chamber of Commerce. The Tampa Historical Society donated them to the city in 1994. The second collection includes around 50,000 images from Tampa Photo Supply, which was donated to the city last year by E.J. Salcines.
Dietz said the city is grateful to Salcines, “an invaluable resource,” for his photographs as well as his vast knowledge. “He knows so much about Tampa history,” she said. The city will honor him later this month, first with an unveiling of a statue in his likeness downtown on Oct. 27, and then with a Salcines Day celebration at the West Tampa Library Oct. 28.
These newly digitized photographs span Tampa’s history from about 1960 into the 1990s, Dietz said, and join the expansive Burgert Brothers photography collection, which chronicles Tampa life and architecture from the late 1800s into the early 1960s, on the library website. “The Burgert Brothers were commissioned projects, lots of old buildings,” she said. “Ours are more people and events, the more human side of Tampa history. They’re like two different sides of the same coin, seeing Tampa from different perspectives.”
Her goal is to “improve accessibility” to these photographs and other documents for researchers, authors, historians and the average Tampa resident who wants to learn more about city history. “My goal is to make everything as accessible as possible,” she said. “There are more things added every year. We’re doing our best as curators and keepers so [this information] is available to future generations.”
She recently launched a book binding restoration project. The archives contain all of the old city council minutes dating back to the 1800s. Many of those early books of minutes are handwritten and bound in leather, which is falling apart. Her department has digitized as many of these minutes as it can and is also repairing the books’ binding. “It’s a really great resource for us,” Dietz said. “It really is important that we save these. It’s important to have our history preserved and not buried and lost.”

Silhouettes Profiles Robin Nigh

Robin Nigh

This article originally appeared in the Oct. 13, 2017 edition of La Gaceta

By: Tiffany Razzano

As manager of the City of Tampa’s art programs, Robin Nigh has made a name for herself as a leader in the contemporary public art field. She’s been nationally recognized in the field for various programs she’s implemented, including the city’s Photographer Laureate Program and Lights On Tampa. Most recently, she was elected to the Americans for the Arts Public Art Network, which is the only national organization for public art.
A Florida native, Nigh’s father worked for Gulf Oil, so the family moved around the state. One constant in her early years was her love of art. “I was always interested in how things looked and why they looked the way they did,” she said.
By the time she reached high school, her family settled in Lake Worth. She decided to study art history after graduating, and headed to the University of Florida in Gainesville. She was accepted into Penn State University’s art history master’s program after earning her bachelor’s degree.
While there, she won a scholarship to study abroad at Britain’s Oxford University. This was a life-changing experience for the art history student. “That’s where things started to hit me,” she said. “Before, I could never decide what to study because it was all so interesting. But I discovered how cool it was to work with living artists.”
She began thinking more about “how things in the public realm take meaning” and “the integrity … of what people make in their own spaces.”
Nigh added, “It was formative for me and deeply meaningful. There were all these aha moments.”
This changed her entire course. Since Penn State didn’t focus much on contemporary art, she transferred to the School of the Art Institute of Chicago and enrolled in the master’s program in art theory and criticism at the school.
She married while studying in Chicago. But after she earned her degree, she and her husband relocated to Florida to raise a family.
They landed in Tallahassee, where Nigh completed postgraduate studies at Florida State University and served as project administrator of FSU’s Art in State Buildings Program from 1994 to 1998.
The program, which was mandated by a Florida statute in the 1970s, acquires artwork for display at new public facilities throughout the state. A percentage of funds is set aside to purchase the artwork, Nigh said. She was charged with facilitating bringing artwork to FSU’s campus.
She enjoyed working under FSU president Sandy D’Alemberte, who was a proponent of the program. “He really understood the value of the arts and brought me up to the president’s office so he could be more engaged and understand the role of the program,” she said.
This role at FSU “was a precursor” to her work with the City of Tampa, she said. In 1999, Nigh was hired by the city as administrator of the Public Art Program.
She learned about the job opening because she happened to be in the right place at the right time, she said. “Talk about meant to be.”
She was delivering something to the dean of her department at FSU when someone handed her the job announcement for Tampa’s Public Art Program. Intrigued, she applied. Her husband, a real estate developer, was also looking for a new job at the time. “We both received job offers [in Tampa] on the same day,” she said.
When Nigh arrived in Tampa, the Public Art Program had just moved into the old Tampa Museum of Art. “As closely as we work hand-in-hand with the Tampa Museum, this position doesn’t really belong there,” she said. “It really needs to be immersed in local government in order to coordinate these programs.”
As the museum made moves to establish itself as an independent museum and embarked on plans to build a new facility, the city established the Department of Arts and Cultural Affairs. So Nigh and the Public Art Program moved out of the museum.
The program involves local artists with various public projects throughout the city. The goal is to do more than merely enhance city-owned spaces, though, stated Nigh, who is now manager of art programs. Its purpose is really to celebrate Tampa’s character and culture. “In many ways, it’s a storytelling role,” she said. “Our role is to listen, to engage and to hopefully make people feel something about some of the [public] spaces they’re in.”
She considers herself “a facilitator or a translator,” bridging the gap between the city and the artists. “Artists have unique needs and requirements, how artists work and function is very different [from city government]. Our role is to facilitate and coordinate and translate all these kinds of things that aren’t necessarily, by their nature, constructed for the government process.”
Two projects she spearheaded – the Photographer Laureate Program and Lights On Tampa – were recognized by Americans for the Arts. In fact, the group named Lights On Tampa one of the 50 most influential art programs in the last 50 years.
Lights On Tampa is a public-private partnership between the city and the Public Art Alliance that focuses on innovative and interactive public art experiences. Since its launch in 2006, the light installation returned in 2009 for Super Bowl XLIII, 2011 at the new Curtis Hixon Waterfront Park, 2012 for the Republican National Convention and 2015 for Gasparilla Arts Month. “These temporary installations were experimental and cutting edge,” Nigh said. “It was exciting to see some of the wow factor in our public spaces.”
The Photographer Laureate Program has also been recognized as one of the first in the field, she said. Inspired by the Burgert Bros. Photographic Collection, which recorded the growth of the Tampa Bay area from the late 1800s to the early 1960s, this program commissions photographers to preserve Tampa’s contemporary history from their perspective. “Nobody was documenting that kind of history, and that was the intent of it,” Nigh explained.
Both projects remain relevant and important to the city’s Public Art Program, she said. They’re being updated and tweaked to meet the city’s current needs and adapt to new technology.
But the department is always working on a number of projects with various artists, she said. Recently, as part of another public-private partnership, the city has released a coloring book called “Color Me West Tampa.” Its counterpart, “Color Me Tampa,” was released years ago under then-Mayor Pam Iorio’s watch. Nigh and her team worked closely with the Mayor’s Hispanic Advisory Council, the Tampa Bay History Center and the city’s archives department.
An ongoing project is the public art being created for the renovation of the 23-acre Julian B. Lane Riverfront Park. “We have some artists doing mosaics and I really think it’s very thoughtful and contextual, things that will work very well with the park and work well with West Tampa,” she said.
Nigh stresses that the projects her team works on “aren’t cookie-cutter kinds of things that you just stick on a plaza.” They work with artists in a variety of mediums and determine unique ways to provide public access to these pieces of art.
The city has even commissioned artists to create animations about a variety of topics, from environmental issues to the Hillsborough River. Though they’re not found in a public space, they can be viewed online and on city television.
The artwork created through the programs her department oversees helps Tampa carve out its own unique identity, especially as neighboring St. Petersburg makes a mark on the international art community with the colorful murals that adorn many privately and publicly owned buildings. “What St. Pete is doing is great, but we don’t need to copy them,” Nigh said. “It’s a very different type of downtown. If we did what they did, it wouldn’t be successful here. At the same time, they don’t have the kind of public art that we have in our spaces.”
Instead, the art that nigh and her team brings to the city’s public spaces meshes well with Tampa’s character and history, she explained. The goal is to improve “quality of life for residents” by tailoring the artwork commissioned to meet not only their needs, but the aesthetics of specific spaces.
She added, “It’s hard to measure why people like being in particular spaces. So I think looking at those reasons and understanding who we’re out there working for is just really critical.”

Silhouettes Profiles Dr. Lynne Santiago

Dr. Lynne Santiago

This article originally appeared in the Sept. 22, 2017 edition of La Gaceta

By: Tiffany Razzano

Growing up, Dr. Lynne Santiago always knew she wanted to help others through work as a counselor.
So the Long Island, New York, native decided to enlist in the Army when she graduated from high school in the early 1980s. In addition to serving her country, she’d be able to utilize the GI Bill to further her education. “I certainly wanted to enjoy the education benefit of [being in the Army], and I used it to fulfill my dream of becoming a psychotherapist,” she said.
Now, through her philanthropic work with Veterans Counseling Veterans INC (VCV) and her private practice, she’s able to bring these two worlds together, assisting veterans at a time when military suicides are on the rise. “I want to proactively help veterans get access to quality mental health care without them having to jump through a lot of hoops and red tape to get it,” Santiago said.
After leaving the Army, she landed in the Tampa Bay area in 1989. She earned a bachelor’s degree in psychology from St. Leo University. She went on to earn a master’s degree in mental health counseling from Nova Southeastern University and, in 2013, fulfilled her lifetime goal of earning a Ph.D. in psychology.
She began her counseling career in 1993, taking a job with hospice and working closely with terminally ill patients and their families. From there, she went on to work for a community mental health agency.
In 2000, Santiago joined a group practice in Tampa run by a clinical sexologist. She added sex therapy to her repertoire as well. After three years, she founded a private practice, working mainly with adults who were dealing with ramifications from childhood trauma, such as neglect or sexual and physical abuse.
“Then in 2008, I began to sharply focus my career on veterans and suicide prevention,” she said.
She remembers, like it was yesterday, watching a news program on the rise of military suicides.
“I could almost tell you exactly where I was sitting,” Santiago said.
The numbers astonished her. “It seemed like almost every day there was another account, another suicide,” she said. “It was heartbreaking. These were like my brothers and sisters. Even if I don’t know them, there is a camaraderie. No matter what branch, no matter what era we served, there’s a sense of family.”
She added, “I felt very helpless and wanted to do something.”
Despite running a private practice, she immediately began looking for jobs where she could work directly with veterans. “I even thought about reenlisting,” she said.
Santiago learned through a friend that the James A. Haley Veterans Hospital was hiring staff to launch its suicide prevention program. So she applied.
Barely two months after viewing that news program about veterans’ suicides, she was sitting in an office at the VA hospital figuring out how to handle her private practice. She worked at the VA for six years, developing programs, outreach and education.
When she returned to her private practice in 2014, she began seeing a variety of clients again. But she also made it easy for veterans to seek mental health treatment with her. She began working closely with a variety of nonprofits dedicated to helping veterans pay for counseling sessions.
She was also appointed COO of the nonprofit organization Veterans Counseling Veterans INC, which was founded by her former intern at the VA hospital, Ellsworth “Tony” Williams.
Williams, who served in the Army on active duty for more than 24 years, received numerous awards for his service. He realized that many of the VA counselors didn’t have military experience of their own. “That was an obstacle for mental health counselors [serving veterans,]” Santiago said. “Many veterans feel that nonveteran [counselors] can’t relate to what they’re going through. Being in the military is its own culture. They even have their own language. They have unique needs and unique experiences.”
Though the VA system has begun offering military-culture training to all employees, Williams created Veterans Counseling Veterans to assist veterans and their families in the mental health profession. “Part of what we do is help veterans who are in training and in school to become counselors,” Santiago said. “So when they graduate they are successful and available in the community to help their fellow brothers and sisters. We’re looking to build a network of veterans who are counselors in the community.”
VCV offers mentorship, peer-to-peer support, educational training on military culture and other assistance.
The organization will host its first-ever fundraiser Sunday, Sept. 24, 3 to 7 p.m., at the Bad Monkey in Ybor City. Entry is free, but the group is hosting a Boot Drive. “We’re asking people to bring new or gently used boots that we will distribute to homeless veterans,” Santiago said.
There will also be entertainment, food and drink specials, as well as a silent auction and raffle items. “It’s just a fun day out in Ybor City to support our warriors,” she said.
It’s taken VCV three years to get to the point where it’s ready to take action, she added. “[The organization] has kind of morphed and changed. Like any organization that’s getting started, we were kind of all over the place,” she said. “We’ve taken the time to narrow things down and be a lot clearer about what our mission and vision are.”
Now the VCV board is focused on taking the organization to the next level – including reaching out to potential community partners and raising money for current and future programs. “Right now, we’re involved with putting together different committees and networking with students and the community,” she said. “We’re hoping to use these funds to start to put together our network of counselors so that we’re able to provide direct services to veterans in the area.”

Silhouettes profiles Kent Bailey

Kent Bailey

This article originally appeared in the Sept. 8, 2017 edition of La Gaceta

By: Tiffany Razzano

Though he carved out a successful career for himself as an attorney, the law was never Kent Bailey’s first love. Instead, deep down, he had always dreamed of one day being a published author.
But law wasn’t even his second or third or fourth love. (Those would be beer, music and business, not necessarily in that order.)
The Virginia native – he grew up just outside Washington, D.C. – initially studied English and creative writing at George Mason University. He only went on to earn his law degree from the University of San Diego because “it seemed like one of those jobs where I could actually support myself,” he said. “It had nothing to do with a love for the law.”
So in 2011, nearly a decade into his career, his mind began to wander to more creative endeavors. He had been experimenting with home brewing for a couple of years at that point, and toyed with the idea of starting a brewery. “Every home brewer dreams of running a brewery as soon as you brew that first beer,” Bailey said.
But he pushed that thought aside and decided he would finally write his novel. The brewery plan kept calling to him, though. “Every time I sat down to write this novel, I got stuck,” he said. “So I started writing a business plan for the brewery instead. I would sit down to write and I would think, will it be the novel or the business plan? And I would always go with the business plan. I took that as a sign that I should go in that direction.”
That business plan became the foundation for Ybor City’s Coppertail Brewing Co.
Like many, Bailey fell in love with beer as a college student. A study abroad trip in Europe introduced him to new styles and expanded his knowledge of beer. “While backpacking, that was my first time really experiencing beer that wasn’t Bud Light, Miller Light, that kind of thing,” he said. “I loved encountering things that seemed so exotic, but are common to me now, like Guinness.”
After returning home from that trip, he brewed his first batch of beer. “It was horrible,” he said. “I hated it. My friends hated it. I decided I don’t really need to brew it; I’ll just drink it.”
He spent a year working in the Washington, D.C., area before following his parents and brother to Tampa in 2002. He took a job as in-house counsel for a private investment firm.
In 2009, he discovered Cigar City Brewing. “That really opened my eyes to what beer could be,” he said. “I started to get excited about craft beer.”
Everywhere he went, he would try a new brand. “Dogfish Head, Victory, my love affair just grew. But it produced in me a desire to see more Florida beer on store shelves,” he added. Often, he’d go to the supermarket and would only see one or two local beers available.
It wasn’t long before he began brewing beer with a friend, and, eventually, on his own. He brewed those early batches on his kitchen stovetop before being relegated to the garage by his wife. “She didn’t like me constantly spilling things, so she kicked me out to the garage,” he said. “I decided that meant I should buy more and bigger equipment.”
In 2013, he “took a leap that to me makes such perfect sense, but to so many people was unbelievable” and put his business plan into action. He connected with Casey Hughes, head brewer for Flying Fish Brewing Co. in New Jersey, and hired him to work for the newly founded Coppertail Brewing. Hughes, an award-winning brewer, had started his career with Key West Brewing and always planned to return to Florida. This was a fortuitous meeting for both of them.
Bailey knew he would need to create an imaginative brand, something that would stand out to beer drinkers. The company’s name came from a story his daughter told him when she was 5 years old. Coppertail was a sea monster who lived in Tampa Bay, she told her parents. “I loved it immediately, and it became a running joke in my family,” he said. “I loved the sound of it. I loved that we could have a lot of fun with the sea monster theme with the beer names and labels. I really wanted the brand to be about Florida and water and all the things that make this place unique.”
So he and his staff built the brand around “this mysterious and elusive beast that’s out in the water, that nobody knows anything about, but every once in a while you just see this copper tail,” he said. Each beer they brew tells the story of “an encounter or sighting of Coppertail.”
He hired artist Evan B. Harris to create the labels. “I really wanted the artwork to be distinctive,” Bailey said.
Other brewers were mimicking popular beers on the market. So he decided to take Coppertail in the opposite direction. “It felt like everybody else was going with cans that were brightly colored and looked exactly like Cigar City,” he said. Coppertail, on the other hand, was sold in glass bottles and its label art boasted a distinctively dark and moody look. “I wanted people to be able to say, ‘Hey, I knew this [beer] was from you guys because it looks like it’s from you guys.’”
Next they established their “core four” beers, Bailey said – Free Dive, Unholy, Wheat Stroke and Night Swim. These are their most popular beers, he added, though Wheat Stroke will soon be replaced with the Independent Pilsner.
“Free Dive was one of the first beers we ever made and it was all about not trying to be like Jai Alai. The idea was, let’s be the opposite of Jai Lai,” he said. “Cigar City already makes Jai Alai better than anybody else. Why compete with them?”
Coppertail began brewing beer on a larger scale and opened a small tasting room in an historic building on East 2nd Avenue during the summer of 2014. The building has served many purposes for more than a century, but many of Ybor City’s older residents are most likely to remember it as a Hellmann’s mayonnaise factory and an Avila olive packing plant.
He had fallen in love with Tampa, Ybor City especially, and wanted to do his part in preserving its history. So he restored the older building as best he could, though the roof needed to be raised and the concrete floor strengthened.
That first tasting room didn’t fit many people, maybe 40 or 50, at best, he said. “I remember walking into that little room and seeing it jam-packed and realizing there was a market for our beer.”
He scrambled to borrow money, and not only expanded the brewery, but also built a larger tasting room and restaurant. “Ever since we opened this area, it’s been a good decision, because it brought a lot more people in,” Bailey said.
He had planned on this growth from the beginning, he added. He realized that the number of breweries per capita in Florida was lower than in other states though demand was rising. “There really wasn’t enough of them,” he said. “Craft beer was underrepresented in Florida. From day one, we were pretty focused on wanting to grow and being ready to grow when that happened. We figured why not? If we grow, we’ll be ready, and if we fail, then it doesn’t matter anyway.”
He hasn’t forgotten about that unfinished novel, though. “Maybe one day I will actually write something worth publishing,” he said. “But for now, this is a whole lot of fun and it takes up all of my energy and creativity. Making beer is a fun and creative practice.”

Silhouettes profiles Marilyn Meredith Collier

Marilyn Meredith Collier


By: Tiffany Razzano

This article appeared in the Aug. 18, 2017 edition of La Gaceta

As a native of Nashville, Tennessee, Martine Meredith Collier was surrounded by the arts from an early age.
Her parents, though not artists themselves, always encouraged her love of self-expression and creativity, she said. So by the time she was 7 years old, she was part of the Nashville Children’s Theatre.
“[Nashville] is a fabulous arts community with great universities and wonderful art,” she said. “That children’s theater was fabulous training ground. It was an excellent theater.”
She performed through high school and at 16, became a dancer for Minnie Pearl, a country comedienne and singer who appeared at the Grand Ole Opry for more than 50 years and was also a part of the television show “Hee Haw.” Pearl, whose real name was Sarah Ophelia Colley Cannon, lent her name to a fried chicken franchise in the late 1960s. Collier was one of six dancers hired to help her promote that endeavor.
“Minnie was nothing like her character on stage,” Collier said. “She was actually a Nashville society lady – Mrs. Sarah Cannon. She was tough like a drill sergeant. If we were going out to events with her, she was very strict. But she was a wonderful role model for leadership, when I think back now, seeing how she carried herself and seeing what a powerful leader she was and how protective she was of the people who worked for her and how professional she was. Those mentors you have early in life you don’t realize will have a long-term impact. But there’s no doubt that she did. She was pretty impressive and she was quite forceful.”
Collier went on to study acting at Memphis State University and acted professionally after graduating. She was involved with professional theaters in Memphis, and also, for a period, joined a dinner theater tour of Tennessee and Oklahoma. “I sort of phased out of Memphis and did quite a bit of traveling for shows,” she said. “I didn’t like that much. I like having my own community and kind of being a catch to that community. When you’re touring around like that, you can’t even have a house plant or a cat. It’s very nomadic. It just wasn’t me.”
At 25, she took her first job in arts administration – an assistant director position at a children’s theater, the Red Balloon Players, in Memphis. “I really liked that,” she said, “and got more into marketing, fundraising and arts administration, and really found my niche.”
This launched a whole new career “behind the scenes” for her. In addition to the arts, she also held administrative roles within the non-profit sector as well, at universities and arts-oriented schools.
Though she loved the arts, she found being in administration was a better fit for her. “The life of an artist is very difficult and unpredictable,” Collier said. “I really appreciate that and have lived that, and that’s why I support artists. They do so much for the community, but don’t always have a good safety net.”
She added, “I’m much better in the audience and helping them get funding and promotion than being an artist.”
From 1990 to 2002, she served as director of admissions, development and public relations for The Heritage School. She then joined the Georgia Council for the Arts for one year as community arts development manager. This is when she decided to go back to school to earn her masters in arts administration from Goucher College in Maryland.
She held the district chair at the Arts Leadership League of Georgia from 2004 to 2006, before heading to Florida to take on the executive director position for the Sarasota County Arts Council for two years.
Next, Collier spent two years in Seattle as director of development and membership for Grantmaker in the Arts. From there, she landed in Dayton, Ohio, an eight-county regional organization in the Miami Valley, to serve as president and CEO of Culture Works. She left that role at the end of 2016 to become the executive director of the Arts Council of Hillsborough County. She’s excited to be supporting the arts in Tampa and Hillsborough.
“I think this community is just bursting with potential and so much has happened here in the past eight years,” she said.
While working for Sarasota County Arts Council, she had the chance to visit and explore Tampa. “It’s such a different community now,” she said. “The downtown is so vibrant and young artists are bubbling up all over. I love the diversity of the community and the different ethnicities. It’s such a great melting pot.”
Collier has spent the past eight months getting to know her new community. “I went on a listening tour when I first got here,” she said. “I talked to all the arts organizations. The people in the business community. The school board. They all gave me such good information to help form a direction for the organization. Everyone has been so warm and welcoming.”
She added, “I’m having a blast and I just think the world of this community. It has so much potential to become nationally known for arts and culture. It’s already nationally known for its sports, but I’d love it to become known for the arts.”
At the end of June, the Arts Council board voted to implement a new strategic plan. The plan is the result of a community-wide study that was conducted throughout the county with the help of Americans for the Arts. “We compiled a lot of data and found out what the community would like to see and what would help them connect with the arts in our community,” she said. “Basically, what can we do better and what needs can we fill.”
A common suggestion in the survey was that the organization create an annual guide to the arts in Hillsborough County. So Arts Council staff got to work to quickly put together a guide in time for the fall season, Collier said.
“I have to commend the staff of the Arts Council,” she added. “The two staff members who did this pulled it together in five weeks and it looks like it took more time than that. It looks quite stunning.”
The guide will be available at various arts and cultural locations throughout the county. “This is a real tool for every citizen in the community to find museums, venues and probably places they don’t even know about,” she said. “There’s not been anything here quite like it before. I think it’s going to be very helpful.”
Another result of the survey and new strategic plan is that the Arts Council will focus more on “cultural equality,” Collier said. “We want to make sure grant making and all aspects of the community are reaching everyone. We are looking to get more diversity on our board and committees. This means geographic diversity, meaning different parts of the county; ethnicities; and age.”
The organization will also plan a summit on issues of cultural equity, she added.
The Arts Council hopes to connect with local educations by adding an arts education component to its website, as well. It will be a resource for teachers and parents seeking opportunities for area students.
Collier is also excited about a special event on Thursday, Sept. 14, 8 a.m., at the Tampa Theatre. National expert Randy Cohen, who vice president of research for the Americans for the Arts, will present on “Why the Arts Mean Business for Tampa Bay.” Community leaders, business owners and arts organizations are invited to this free event, which will focus on the economic impact of the arts, including tourism and job creation, in Hillsborough. An economic impact study completed over a year ago shows there is a $433 million annual economic impact on the county, Collier said.
“That’s a huge increase over what it was when it was last done 10 years ago,” she added. “I think Tampa and Hillsborough County are at a wonderful tipping point for growing and connecting the arts community and being more nationally recognized for arts and culture.”