Silhouetted against a bank of multicolored stage lights, toddlers skip and whirl like toy dervishes waiting to be transported into another world on waves of song. It's minutes before noon as the twentieth anniversary celebration of Austin's venerable Waterloo Records is off and running with an early lineup targeted at kids.

Children and parents alike come to rapt attention when the first entertainer steps to the microphone to accompany herself on acoustic guitar. Everything about her, the festive, flower-embroidered pants, the million-dollar smile, the reassuring words and gestures, and the voice-especially her pure, crystalline singing voice-draw listeners like moths to an exposed bulb.

For the next half hour, Sara Hickman gives a performance that is part folk troubadour and part Sesame Street-style minstrel show. She opens her mini-set with an impressive version of the Joni Mitchell tune "Chelsea Morning" before launching into pure kid stuff including the lively favorite "The Hokey Pokey," a giddy little number that comes with its own endearingly silly choreography.

With just a handful of tunes, Hickman showcases not only an array of impressive technical skills, but a remarkable ability to connect with an audience-even one that ranges in age from rug rat to retiree. Wielding an arsenal of talent, charm, humor, passion and humility, she effortlessly moves people with her inspiring music and uplifting vibe.

Hickman's polished stage persona is not entirely God-given. Years of practice have had an impact as well. Inheriting the genes of artistic parents-her mom's a talented weaver, dad's a painting professor-Hickman's gifts have been nurtured for years. The Houston native, who was recently given the "Austin Under Forty" award in the arts and entertainment category, has been performing for more than three-quarters of her life, professionally better than half. She fronted her first band by the time she was ten, and landed her first paying gig at a Houston Oilers party by the grizzled age of fourteen.

She attended Houston's High School for the Performing and Visual Arts as a voice major before moving on to Denton to study art at University of North Texas, where she graduated with a bachelor of arts degree in painting. All the while she was writing songs, playing gigs on the side, and developing a solid fan base in the Dallas area. Her decision to pursue music after college, rather than become an art director, was a no-brainer.

Her Waterloo appearance put her gifts as singer, songwriter, guitarist, and children's entertainer on display. As brief as it was, however, those present witnessed something else, as well: a woman who makes every minute count. The passion is obvious while she's on stage, yet there can be little doubt her joie de vivre goes with her when she steps out of the spotlight.

For Hickman, it's not at all about soaring to new heights in the pop music world. It's not just about making records either. She wants nothing less than to make the world a better place. And since moving to Austin in 1994, she has been on a mission to do just that in ways that completely transcend the music.

At a Barton Springs-area coffee shop in late March, Hickman takes time from her packed schedule to talk about her artistry, aspirations, and activism. The vivacious blond exudes a level of enthusiasm that would fuel a junior-high drill team, and to experience it firsthand is to better understand her knack for bowling over just about anybody she encounters.

With a disarming smile, she greets total strangers as she walks up the back parking lot, and then hugs the establishment's manager as if she were kin. With a mocha latte, she sits down to expound upon a life that's all about moving people-and when necessary, perhaps even a mountain or two.

"I'm having such a good time in my career right now," she says, talking about the big picture. "And I just have all these avenues open to me. Actually, it's almost overwhelming because I get to do all these really neat things that inspire me and keep me on my toes."

Neat things, indeed. Here's just a short list of endeavors Hickman is involved in outside her professional gig as a well known and highly respected folk-rock singer and songwriter: With her husband, photographer Lance Schriner, and a couple other creative people, she runs Stingray, an outfit that designs posters and CD jackets; she sings commercial jingles for the likes of Southwest Airlines, Fannie Mae, Wal-Mart, and Half Price Books, among others; and she is a painter and freelance writer, to boot.

If all this weren't enough, Hickman dedicates enough time and energy assisting various nonprofit organizations that she easily qualifies as one of Austin's most involved, and visible, personalities. Gretchen Flatau, executive director of Mother's Milk Bank at Austin, where Hickman served on the board for two years, marvels at Hickman's energy and commitment: "She approached her duties with compassion and joy. She gave in numerous ways-performing at concerts and getting her friends to do the same, offering spirited ideas at meetings, auctioning off a hand-painted guitar on eBay and donating the proceeds to the Milk Bank. I could go on and on."

So could a lot of prominent people in the community-and if given the chance, probably would in a heartbeat. John Kunz, owner of Waterloo Records, remembers his first brush with Hickman: "I first met Sara when she came down to Waterloo from North Texas to do an in-store performance promoting her debut major label release Shortstop on Elektra Records. At that time we had neither a stage nor a p-a system, so all of our in-store performances were strictly acoustic and unplugged.

"Sara didn't miss a beat. She hopped right up on the front counter, creating an instant makeshift stage. The only thing bigger than the guitar up there with her was the smile on her face. She turned a full store's worth of people into lifelong fans in the space of three or four songs, and I proudly count myself among them.

"I also remember a grandmother shopping for her son that day. She had no idea who Sara was, but over several years, returned to buy her subsequent releases. That's the magic of Sara in concert. Sara has a sense of humor and a love of life that is positively contagious. Kids, adults, and grandparents all start wearing the 'Sara smile' that she willingly shares with all in her audience."

Want to hear more about Hickman's big heart and zestful spirit? Ask the folks at the Capital Area Food Bank of Texas, the Susan B. Komen Breast Cancer Foundation, House the Homeless, SafePlace, Austin Race for the Cure, and Habitat for Humanity, just for starters. Descriptions and anecdotes run the gamut but invariably when people talk about Hickman, they're singing the same song.

John Aielli, the beloved and erudite host of the popular Eklectikos show on public radio station KUT-FM 90.5, knows Hickman well. She has appeared numerous times on his show over the years promoting charitable events, performing live, and chatting about career developments. "She's a one-of-a-kind energy," he says, "light incarnate, and bright and beautiful. She gives so much with her art, we are grateful to have her in this world. I wish there were more like her, but we've got her and we are thankful."

On numerous occasions, Hickman has come to the aid of Austin's other public broadcasting entity, KLRU-TV, where the award-winning live music program Austin City Limits is taped. ACL producer Terry Lickona booked Hickman in 1991 when she was on Elektra and had quite a nationwide buzz going. "I've always respected Sara for her overflowing optimism, enthusiasm, and never-say-die attitude about life," he says. "She's a one-woman charm offensive who could win over the most die-hard nonchalant. Her songs reflect it all, and her persistence in doing things her own way is a model for other women-not only artists."

So Hickman, with waves of support and encouragement from every imaginable sector of the community, just keeps on going, answering the call, taking on more. And she wouldn't have it any other way. "If I was just a recording artist," she explains, "I think I might just get bored. But all these things intertwine and embrace each other. By getting to be musical and creative, I get to inspire other people."

Her efforts to inspire certainly do not stop when she picks up a guitar. Her new record released in February, Faithful Heart, is an album she's wanted to record for a while-even more so since the events of September 11. "Faithful Heart is a collection of love songs that I've written or love songs that have touched me throughout my life. I just feel that part of what I do and part of makes me unique is my desire to touch people. After September 11, I really felt this pull from the audience to give more of myself. I've always been an open artist, so I wanted to make this CD about love-about being positive, and uplifting, and joyous, and all the many, wonderful facets of love."

The record is Hickman's ninth solo effort (including her albums for children) in a recording career that began with Equal Scary People in 1989. She enjoyed more than a mild flirtation with stardom after her second effort and major label debut Shortstop came out on Elektra in 1990. Reviews were glowing and there was a lot of exciting media attention including appearances on the Tonight Show and on VH1 as a countdown host. Then came time for the follow-up album and her first tough lesson in the cutthroat ways of the record business.

The president of the label simply did not like what Hickman delivered and decided not to release it. He also abruptly dropped her from the company's roster of artists. "When it happened, it was very, very painful," she recalls, "because I felt ashamed. I felt like I'd done something wrong and I took it personally. My approach has always been that whomever I work with is family and, to me, being a part of a big record label is like an extension of a musical family. So it brought up all those self-esteem issues, like, you know, I must suck."

Once over the initial shock, Hickman had to face the fact that whether released or not, the material was no longer hers to control. In the current system, by simply bankrolling records, huge media conglomerates obtain outright ownership of the artistic sweat and blood of every act under contract. For Hickman, the situation was unacceptable. "There was never any, I would say, hostility or confrontation about it, just a lot of confusion on my side because it was all new to me. But I think it was all handled beautifully. You know, I said, 'This is what I need; I can't go on without my songs,' and they were like, 'Okay, this is what it will cost.' I just had to figure out how to get the money together."

Her mother was first to encourage Hickman to turn to her fans. "She came up with the plan of asking fans to donate money," Hickman explains. "The concept grew from a bracelet I'd worn for six years for Thomas Sutherland, a hostage in Lebanon. My Mom thought my CD was being held hostage and my fans were my family who could help get it released."

The outpouring of support she received was remarkable, and before long Hickman had the $50,000 needed to buy back her songs. She then went back to Discovery, the independent label on which she issued her first album, to release the album, titled Necessary Angels, in 1994. The fiasco was a rugged lesson for her, forcing her to look at the business side of her chosen profession in a completely different way. "I didn't really get burned on the major label thing," she says. "The thing that bothered me most-and still bothers me-and I can't believe is not a huge issue with people, is that (the record label) owns things to perpetuity. And I find that really offensive."

Today, Hickman records on her own label, Sleeveless, and has a steady hand in the whole process, from production to promotion and package design. In fact, she's now a vocal advocate of sweeping change in the fundamental way record companies operate, particularly the major labels. "I think that's what's been so exciting watching musicians in the last twelve years that I've been doing this, is we're getting much more educated and we're taking care of ourselves, and we're nurturing ourselves in fiscally intelligent ways, you know, business ways.

"It's really a beautiful thing that has happened. Not only do artists retain their rights, but we're helping to support smaller cottage industries. It's a return to people having their own businesses instead of these major corporations, like, I hate to say it, (AOL) Time Warner, owning everything and gobbling up the whole world."

With that speed bump behind her, Hickman continued to forge ahead writing, performing and recording. She produced, directed, and shot her first video, Joy, which won first place in its category at the USA Film Festival; she formed a side project called Domestic Science Club, an all-female trio that would eventually record two folk-rock albums; and she also took the first steps leading to her burgeoning new role as activist.

It started when she chaired a committee that raised $43,000 for the Dallas Dance for Life. Later she hooked up with ARTS (Artistic, Recreational and Therapeutic Services), visiting children, AIDS patients, stroke victims and other patients, putting her many talents to use helping the healing project. Since moving to Austin, the trick has been juggling career, family (including two children, Lily and ioLana), and an ever-expanding list of organizations she works tirelessly to support, championing everything from literacy to affordable housing.

Her exhausting schedule these days includes crisscrossing the country for Half Price Books. "I'm their National Reading Ambassador. They fly me around the country to perform and read with children at hospitals and schools." She has also just begun speaking out about the urgent need for child safety seats. Hickman actually carries extra seats in her car to give to families who can't afford them. "I'll walk up to people-even in traffic-and offer to give them the seats and show them how to put them in," she says. "It's been a slow but rewarding endeavor, slow because I buy the seats myself, and they're expensive. Most people are happy to take the seats, though."

She is also out promoting Faithful Heart with live shows around the country, and she's preparing to go into the studio this summer to record her next children's CD, Big Kid.

With a successful career and a loving family, her life is rich, her plate full. The question then might be why not slow down a bit and enjoy the ride? For Hickman it's simple: "I don't think of it as, I'm a singer-songwriter, I'm a mommy, I'm a wife, I'm an activist. I think of it as, 'This is it! This is all I get.' I have I don't know how many years, but every moment of every day is my chance to be involved in this mystery called life. It is a complete honor to get to do a lot of the work I've done because I wouldn't be doing what I'm doing without a community, and I'm a part of that community.

"And to me, it all goes around: the money goes around, the songs go around, the love goes around, and I want to inspire people to volunteer because if you even volunteer one hour a week, you might be touching somebody's life that is going to affect their children and generations beyond. That's the most exciting thing in my whole life."

Patrick Cosgrove marks his twenty-fifth year in Austin later this summer. Besides being a big fan of live music, he is also a force to be reckoned with on some of the finer dance floors around town. What he lacks in style he more than makes up for in velocity.