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2/22 CHRONOGRAM Dutchess-Ulster-Columbia NY
1
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2 22
Sheila Wolper and Joseph Gosler outside their Ancramdale home. Wolper, a mixed-media artist whose work explores the complexity of childhood experience, holds a nest. Gosler, holding the apples, wrote a memoir about his experience as a hidden child in the Netherlands during WWII. “The nest is symbolic of family, nurturing, and birth, themes I often explore in my work,” explains Wolper. “The apples reflect nature’s cycles and bounty. They’re also symbolic of nurturing, growth, and harmony.” Photo by Winona Barton-Ballentine
DEPARTMENTS
HOME, PAGE 18
12 Filipino Flavor: Harana Market
8 On the Cover: Arm Peace Nick Cave’s sculpture is both a memorial for the Black lives lost at the hands of gun violence as well as a declaration of power—and hope.
10 Esteemed Reader Jason Stern directs us to pay attention to the finer things.
11 Editor’s Note Brian K. Mahoney finds a trove of old photographs.
FOOD & DRINK A culinary and creative complex is opening
17 Sips & Bites Five restuarant openings we’re looking forward to in 2022, including an Alison Roman joint in Bloomville.
HOME 18 Evoking Eden Author Joseph Gosler and artist Shelia Wolper have retired to their weekend home, a Greek Revivl-style farmhouse on 12 bucolic acres in Ancramdale.
HIGH SOCIETY 27 High Traffic Despite the fact that marijuana is now legal in New York,
february
there is no definitive test for detecting for marijuana in driver’ suspected of being under the influence. Sign up for High Society, Chronogram’s cannabis culture newsletter,at Chronogram.com/highsociety.
HEALTH & WELLNESS 30 Overwhelmed by Omicron Stories from the pandemic’s third wave, from young parents, students, teachers, and frontline heathcare workers. A collaboration with The River Newsroom.
WEDDINGS 34 Inn the Know There’s something so Hudson Valley about a cozy inn, whether bursting with greenery or dusted with New Year’s Eve snow—and perfect for weddings!
EDUCATION 41 Forge Project: Back to the Land This Native-led initiative, launched in August, is educating the public while providing Indigenous activists with a place to make changes in their communities.
COMMUNITY PAGES 44 Poughkeepsie: Real Renewal The level of investment in the city now shows that Poughkeepsie is well poised to come out of the pandemic ahead of the curve.
2/22 CHRONOGRAM 5
EDITORIAL EDITORIAL DIRECTOR Brian K. Mahoney brian.mahoney@chronogram.com CREATIVE DIRECTOR David C. Perry david.perry@chronogram.com DIGITAL EDITOR Marie Doyon marie.doyon@chronogram.com ARTS EDITOR Peter Aaron music@chronogram.com HEALTH & WELLNESS EDITOR Wendy Kagan health@chronogram.com HOME EDITOR Mary Angeles Armstrong home@chronogram.com POETRY EDITOR Phillip X Levine poetry@chronogram.com CONTRIBUTING EDITOR Anne Pyburn Craig apcraig@chronogram.com CONTRIBUTING EDITOR Phillip Pantuso phillip.pantuso@chronogram.com
contributors Winona Barton-Ballentine, Jason Broome, Brian PJ Cronin, Michael Eck, Kandy Harris, Lissa Harris, Kendyl Kearly, James Keepnews, Lorelai Kude, Jamie Larson, David McIntyre, Lauren Mowery, Sparrow, Nolan Thornton
PUBLISHING FOUNDERS Jason Stern, Amara Projansky PUBLISHER & CEO Amara Projansky amara.projansky@chronogram.com BOARD CHAIR David Dell
media specialists Kevin Elliott kevin.elliott@chronogram.com Kaitlyn LeLay kaitlyn.lelay@chronogram.com Kelin Long-Gaye kelin.long-gaye@chronogram.com Kris Schneider kris.schneider@chronogram.com SALES MANAGER Andrea Aldin andrea.aldin@chronogram.com
marketing MARKETING & EVENTS MANAGER Margot Isaacs margot.isaacs@chronogram.com INTERIM SPONSORED CONTENT EDITOR Jane Anderson jane.anderson@chronogram.com
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mission Chronogram is a regional magazine dedicated to stimulating and supporting the creative and cultural life of the Hudson Valley. All contents © Chronogram Media 2022. 6 CHRONOGRAM 2/22
2 22
february ARTS 54 Music Album reviews of The Darkness Dressed in Colored Lights by Sean Rowe; Together by Alex Collins, Ryan Berg, and Karl Latham; and We’re Not Kiddin’ Around by Frank Migliorelli and the Dirt Nappers. Plus listening recommendations from Julie Novak, cofounder of TMI Project and Radio Kingston show host.
55 Books Anne Pyburn Craig reviews Judy White Staber’s portrait of her actress mother, Joan White, in Rise Above It, Darling. Plus short reviews of The Broken Tower by Kelly Braffet, The Hard Sell by Evan Hughes, Street Legal by Rafi Zabor, Generation Disaster by Karla Vermeulen, and When the World Runs Dry by Nancy Castaldo.
56 Poetry Poems by Ryan Brennan, David Capellaro, Tom Cherwin, Steve Clark, Joshua Fisher, Clifford Henderson, Tony Howarth, David Lukas, Ze’ev Willy Neumann, Perry Nicholas, Mel Sadownick, Theo Steeve, J Sweet, Ryan Tracy, Chas Weeden. Edited by Phillip X Levine.
GUIDE 58
The Artichoke Storytelling Series returns to Howland Cultural Center on February 19.
59
The Hudson Hall Jazz Fest fetaures two weekends of performances in Hudson.
60
In Memoriam: A remembrance of actor and director Kevin Archambault.
61
In Memoriam: Michael Lang changed the cultural landscape with just one concert.
63
Live Music: Some of the concerts we’re going to this month include Waxahatchee at Tarrytown Music Hall, Cate Le Bon at Colony, and Ornettiquette at Quinn’s.
65
The Short List: Jim Gaffigan at Mid-Hudson Civic Center, Flee at Upsate Films, Pete Correale at Bearsville Theater, “Unnatural Acts” at SUNY New Paltz, and John Lewis: Good Trouble at Rosendale Theater.
66
Art exhibits: Gallery and museum shows from across the region.
HOROSCOPES 68 It’s Sill the Economy, Stupid While individuals can’t influence global markets much, love cannot be devalued.
PARTING SHOT 72 Glacier Elegies Jannika Peerna’s artist work of the last decade has been focused on climate change.
Visitor, Kazumi Tanaka, 2021, deer skull found on Mount Desert Island, wood, metal string, 15 x 4 x 4 inches. Tanaka's work will be featured in the solo exhibition "Beyond Silence" at Fridman Gallery in Beacon. Photo by Tom Moore. ART EXHIBITS, PAGE 66
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on the cover Arm Peace NICK CAVE 2018, cast bronze, vintage sunburst and tole flowers, 88 x 32 x 12 inches © Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York.
Nick Cave is a Chicago-based artist working in a wide range of mediums including sculpture, installation, video, sound, and performance. Cave is well known for his Soundsuits, sculptural forms based on the scale of his body, initially created in response to the police beating of Rodney King in 1991. Cave’s Truth Be Told, a monumental text-based piece on display on the facade of The School in Kinderhook, caused controversy in the village in 2020 when it was cited for violating local building codes. The artwork eventually went on to be displayed at the Brooklyn Museum and sites across the country. Arm Peace, a bronze cast of Cave’s own arm, is both a memorial for the Black lives lost at the hands of gun violence as well as a declaration of power. The arm, clenched in a raised fist and encircled in bursting rays, is a statement of resilience, pride, and hope. Arm Peace is part of the current exhibition “This Tender, Fragile Thing” at The School.
Back to School “THIS TENDER, FRAGILE THING” AT THE SCHOOL Through April 30 Jackshainman.com
“A thing of beauty is a joy for ever,” quoth John Keats, but each beautiful object was created at a particular juncture of history. “This Tender, Fragile Thing” at The School in Kinderhook directly addresses historical struggle through art. One text piece by Hank Willis Thomas announces: “HISTORY IS PRESENT.” The show continues until April 30. Who knew that the Republican Party once campaigned against lynching? A 1920 poster from the Women’s Division of the Republican Party announcers: “Lynch Law Must Go,” and continues: “Vote for Harding and Coolidge and Help to Forever Stamp Out Lynching.” “This Tender, Fragile Thing” includes fragile leaflets and posters handed out at demonstrations decades ago, which somehow survived. Some of these pieces are important historically, some are visually enticing, some are both. One poster from 1971 incorporates Christian imagery, announcing a “Revival for Survival” in Cairo, Illinois, led by the Rev. Charles Korn. A rather geometric drawing depicts three white crosses—two of them tilted, one lying face down—on a hill labeled “Amerikkkan Justice.” From the moment I heard of the Black Panthers, I loved them: leather jackets, berets, afros, submachineguns, and fearless pride. (Nowadays they are best known as the inspiration for the hit Marvel movie.) Numerous pieces 8 CHRONOGRAM 2/22
of Panther ephemera appear at The School, including flyers, photographs, and three vintage copies of their newspaper. Over and over we see their symbol—a lithe, ebony stalking feline. “We demand land, bread, education…” is an (undated) Panther poster in black ink on red paper. In the center, a confident woman in a striped dress holds a book in one hand and a revolver in the other. She looks like she has just made a decision. Four vignettes around her represent dangers to AfricanAmericans: prison, lynching, a taunting cop, an electric chair. She strides forward into a new day. As we mark the anniversary of the January 6 attack on the US Capitol, it’s nice to remember that revolutionaries in America once fought against racism. The title of this show, which was suggested by artist Carlos Vega, refers to the tenuousness of social progress. “These works create linkages to the past while referencing presentday civil rights movements, showing the fragility in how social change is created and preserved,” associate director Jaci Auletto wrote in an email. The School, which was founded in 2013, is a project of the Jack Shainman Gallery; it fills a former high school in Kinderhook. One purpose of The School, fittingly, is education— in particular, instruction that’s missing from a typical American curriculum. Critical race theory has certainly not been banned here. This is a vast exhibition showcasing over 50 artists, and everything is worth seeing. There are pieces by Kara Walker, Glenn Ligon, Carrie Mae Weems, and Margaret Bourke-White. Contemporary works pick up the thread of 1960s militancy. Rodney Ewing’s handcolored silkscreen (2020) is a portrait of Bobby
Seale, cofounder of the Black Panthers. Melvin Edwards’ 2019 abstract welded steel sculptures, suggest, through menacing chains, the legacy of slavery. Arm Peace (2019) by Nick Cave—featured on this month’s cover—shows the radiant power of a raised fist. Rashid Johnson’s Stay Black and Die (2005) consists of those words spraypainted on a six-foot wide piece of felt. Dread Scott’s 2015 banner reads: “A Man Was Lynched by Police Yesterday.” (Scott’s own name is part of the gruesome irony of this piece.) A 2020 photograph by Ada Trillo shows a demonstrator in a black COVID mask with a sign: “I Want to Matter.” One undertone of these works is the power of words—often simple words—to convey fury. —Sparrow
Opposite, clockwise from top left: History is Past, Past is Present, Hank Willis Thomas, 2017, lenticular, 57 x 43 inches (print) © Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York. All Power to the People, Hank Willis Thomas, 2015, fiberglass and aluminum, 36 inches diameter © Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York. Michael BPP (Black Panther Party), Barkley L. Hendricks, 1971, oil and acrylic on linen canvas, 48 x 34 inches © Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York. Peaches, Liz, Tanika, Elaine, Carrie Mae Weems, 1988, silver print, 15 x 15 inches (image), 20 3/4 x 16 5/8 x 1 3/4 inches (each, framed) © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York.
2/22 CHRONOGRAM 9
esteemed reader by Jason Stern
“When you do a thing,” he said once, “do it with the whole self. One thing at a time. Now I sit here and I eat. For me nothing exists in the whole world except this food, this table. I eat with my whole attention. So you must do—in everything. When you write a letter, do not at the same time think what will be the cost of laundering a shirt; when you compute laundering cost, do not think about the letter you must write. Everything has its time… this is the property of Man, not man in quotation marks.” —Kathryn Hulme quoting Gurdjieff in her memoir Undiscovered Country
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Even a glimmer of introspection reveals a need for inner work. I see the disordered, suggestible state of my mind; the wild, reactive character of my emotions; the tension and clumsiness of my body. I apprehend the weakness of my attention, its fickleness and passivity. I have a nagging sense that this person, though called by a singular name, is in fact a multiplicity, dragged in myriad directions by whatever impulse or motive is king for the moment. When I can stay with the observation of my state as it is, I come to a feeling of lack, the sense that something more is possible. I wish to undertake some inner work that will lead to a state of harmony, unity, and self-knowledge. It dawns on me that this must be a primary purpose of my life—to make use of all the available material and circumstances to prepare something finer of this being that was born, lives, and will soon die. In a letter to his brother, the 18th-century poet John Keats wrote, “Call the world if you please ‘The vale of Soul-making.’” The word “soul” in Keats’ pronouncement sounds archaic if not religious, but then that was the language of the day, its usage as yet unsullied by an updated worldview. A further explanation in the letter clarifies his meaning: I will call the world a School instituted for the purpose of teaching little children to read—I will call the human heart the horn Book used in that School—and I will call the Child able to read, the Soul made from that school and its hornbook. Do you not see how necessary a World of Pains and troubles is to school an Intelligence and make it a soul? The marketplace offers manifold versions of meditation and inner work. Most make shallow promises of greater effectiveness and an improved personality. Some have a distinctly religious character. Others, drawn from alien cultures and epochs, are conveyed in a form with little application to accelerated modern life. Genuine inner work arises from something objective, namely the potential evolution of a human being. To have value its method must be efficient, direct, and eminently applicable. What could be more direct than simply bringing the fullest possible attention to the material of life—my own life, inner and outer, as it unfolds moment by moment? One could say this is the basis of the Buddhist practice of mindfulness, but in practice the label and method quickly falls away. Employing practices inevitably leads to the conclusion that general techniques are tools too crude for accomplishing the task at hand. There is only this—this brushing my teeth; this writing a letter; this eating a sandwich; this driving my car; this having a conversation; this singing a song; this making love. Within each moment lies an immanent practice, a mode of inner work to be fulfilled. A traditional Zen story* about a teacher in the tradition illustrates and expands the point. When Bankei was preaching at Ryumon temple, a Shinshu priest, who believed in salvation through the repetition of the name of the Buddha of Love, was jealous of his large audience and wanted to debate with him. Bankei was in the midst of a talk when the priest appeared but the fellow made such a disturbance that Bankei stopped his discourse and asked about the noise. “The founder of our sect,” boasted the priest, “had such miraculous powers that he held a brush in his hand on one bank of the river, his attendant held up a paper on the other bank, and the teacher wrote the holy name of Amida through the air. Can you do such a wonderful thing?” Bankei replied lightly: “Perhaps your fox can perform that trick, but that is not the manner of Zen. My miracle is that when I feel hungry I eat, and when I feel thirsty I drink.” With a vigilant noticing, I may look into the mirror of my life and see myself, and into myself, to understand how to transform my life. *Zen Flesh, Zen Bones, compiled by Paul Reps
10 CHRONOGRAM 2/22
editor’s note
by Brian K. Mahoney
The Long-Lost Age of Mechanical Reproduction
L
ee Anne and I got the `rona for later, he had a delighted grin on his face as he Christmas. We picked it up at Christmas handed me the envelopes of prints. Eve dinner with my family. (It’s unclear “There are some beautiful photos in there. The who did us dirty, but never forget: Family is scenery is really impressive. Dazzling shapes and toxic.) Everyone got it except for my brother’s contours,” he said, pointing to the top envelope. ex, Lacy, who was double-masked and wearing a “Oh, so you’ve seen the photos,” I said. face shield the entire time. Lacy sure looked silly “I was curious about your trip,” my father said, in her fancy dress and medical gear—the belle suppressing a grin. “Italy is supposed to be very of the infectious-disease-ward ball—but I guess beautiful this time of year.” there might be something to wearing masks Inside the envelope I found 20 shots of the after all. rolling vineyards and walled villages of Tuscany, Lee Anne and I tested positive a few days bathed in that distinctive orange light I’ve only later after other family members fell ill. Given encountered there. These were followed by a our vaccinations and boosters, we were mostly half-dozen photos of Lee Anne—nude selffine—Lee had a flu-type thing for a few days, I portraits—taken in the mirror, unbeknownst to was mostly asymptomatic. Just some downtime to Netflix and quarantine. After a few days on the couch and season three of Cobra Kai finished, I decided to straighten up the basement. As I rooted around in the detritus of 20 years spent in one house and not taking a single word of advice from Marie Kondo, I came across three canisters of undeveloped film. As I couldn’t recall the last time we even owned a camera, I hadn’t the foggiest notion of what they might be. Which made me very excited. (You’ll see why.) As my personal history recedes into murkier mental territory day by day, these photos Taking a bow after a well-documented haircut. might return memories I had wholly forgotten. Despite its me and planned as a special treat for me. And inaccessibility and general slipperiness, some now, for my father as well. An intimacy I had not portion of the past might be restored through expected to share with dear old dad. I handled mechanical reproduction. my own film development after that. Perhaps the photos were from one of the When I came upstairs and told Lee Anne European trips we took in the late `90s. We about the film I found in the basement, she shot would walk around Paris and London and me a wry smile and asked, “Nudes perhaps?” Barcelona shooting rolls and rolls of film Like I mentioned earlier, I was really intrigued to and then get home and forget about them, discovering them in the back of a drawer months find out what was on the film. Turns out you can still get film developed later. This once yielded quite surprising results, locally (at least in Kingston), and when our and brought me closer to my dad in a way I quarantine ended, I did just that. Despite my didn’t expect. excitement to see the prints, I waited until Lee My father was a man who loved a bargain. Anne got home. I wondered if we recognize all He had acquired a discount book with multiple the people and places in the photos, as the film coupons for cheap film development out of a lab had to be at least 20 years old. I remembered in Seattle. For a couple of years, he sent off all visiting my Great-Aunt Kathleen in Bantry my film and picked up the tab for it. (He loved Bay, the Irish port town where my grandfather his children even more than a bargain.) After grew up. The last of 12 siblings and in her early one of our trips, I gave him a handful of rolls of eighties at the time, Kathleen showed me a box film to develop. When I saw him a few weeks
of yellowing family photos—old-timey people in hats leaning against railings, stuff like that. She took the photos out, one by one. If the photo wasn’t captioned and Kathleen didn’t recognize anyone, she tossed it in the wastebasket. “Everyone else is dead, so if I don’t know them, then no one will,” Kathleen said, with such a defiant tone of staring mortality right in the eye it gave me goosebumps. The first roll was of a trip Lee Anne made home to Florida for Christmas in 1995 and contained some lovely shots of her parents, both of whom passed away more than a decade ago. The second roll was a series of close-up portraits from a party at our apartment in New Paltz, where we lived during the snowy winter of 1996. Aside from a frightening shot of our roommate James doing his best impersonation of a dead-eyed Charles Manson stare, the photos are unexceptional and smudgy. A note from the lab on the envelope reads “Color has aged/shifted.” The third roll was shot entirely in Lee Anne’s apartment on the Upper West Side in the winter of 1995. Of the 27 prints, 20 are photos of one of our friends, Marl, giving another one of our friends a haircut. One of the most documented haircuts of the decade, methinks. Aside from being astonished, as always, by the impossible youth of my friends and I, the photos are forgettable. Mark is not Vidal Sassoon; Sarah is not Kate Moss. Whoever took the photos is no Annie Leibovitz. (And sadly, no nudes—though there is a shot of Sarah flashing her boobs.) Strangely, what stood out to me were the things in the apartment, the objects I had forgotten. Twenty-five years later, I remember the people quite well, but the things we surrounded ourselves with are all in landfills. The readyto-break Ikea furniture. The Civil War cavalry sword. The Aerobie. The homemade gravity bong. The print of Hieronymus Bosch’s Garden of Earthly Delights. The 25-inch TV with faux wood finish. The CD/dual cassette deck stereo. The cases of CDs and cassettes. The portable phone with extendable antenna. The print of the groundhog flipping the bird. The lawn chair. The electric typewriter. All buried somewhere, like the stuff in my basement is destined for. There just won’t be any photos of it. 2/22 CHRONOGRAM 11
food & drink
Filipino Flavor HARANA MARKET By Lauren Mowery
O
n a cold day in late January 2021, one of Woodstock’s most exciting food prospects opened its doors. A year later, Asian market and Filipino cafe Harana Market is thriving, which can be testified to by regular lines of fans waiting to score the day’s last order of lumpiang Shanghai. Harana Market, however, doesn’t reap the village’s weekend foot traffic. The cafe’s out-of-the-way location between Mount Tremper and Bearsville almost guarantees a core clientele of hungry residents and au courant travelers. Fortunately, owners Eva Tringali and Christina Mauricio think that’s just fine, as their goal has always been to build community around their lutong bahay—homestyle Filipino food. Filipino Foundations Tringali grew up in the Hudson Valley, attending college in New Paltz. She left for California in 2011, where she would eventually meet Mauricio. Mauricio was in born San Diego. Raised by their Filipino grandparents, Mauricio spent their youth tugging on the hem of their grandmother’s dress in the kitchen sampling Tagalog cooking. “Mama” as they called her, grew up an hour north of Manila, 12 FOOD & DRINK CHRONOGRAM 2/22
where quintessential dishes like adobo were “as iconic to Filipinos as apple pie to Americans” says Mauricio. Mauricio discovered the flavors of their Ilocano heritage, this dominant ethnic group from the northern Philippines, through the vinegar-heavy fish and vegetable dishes of their grandfather. Mauricio and Tringali met in 2015, residing together in the Bay Area until returning to New York in the summer of 2019. They ultimately settled down in Phoenicia. “I think we ended up here, really, in a series of spontaneous decisions that felt a bit like luck, especially on the cusp of a global pandemic” says Tringali. Though neither had experience running a kitchen— Tringali worked in event prodcution and Mauricio in hotel kitchens—the couple felt driven to bring Filipino flavors and Pan-Asian provisions to the Catskills region. “Food has always been a connector for us,” says Mauricio. “I wanted to build a business for which I could effectively set a table for anyone who wanted to educate themselves on Filipino food.” Most of the dishes at Harana Market are based on nostalgic memories from Mauricio’s upbringing. “What I love,” says Mauricio, “is that my grandmother would recognize the food if she was here to eat it.”
Christina Mauricio and Eva Tringali in front of Harana Market. Photo by Nigel Barker @nigelbarker Sinigaang Na Hipon, tamarind and beef neck bone broth soup with head-on shrimp, tomato, okra, watermelon radish and spinach. Photo by Harana Market @haranamarket
2/22 CHRONOGRAM FOOD & DRINK 13
Building Community, One Tofu Sisig and Rainbow Flag at a Time During the planning phase, Mauricio and Tringali envisioned a simple menu with one pot of rice, one meat dish, one vegetable dish, plus grocery items. They never planned to hire staff, rather, they expected to handle the hours and rigor of small business proprietorship themselves. “We’ve obviously evolved significantly from that initial idea,” says Tringali. Both agreed that a measure of naivete worked in their favor. “This has been a lesson in not over-thinking, as it’s easy to talk yourself out of an idea,” says Tringali. “Especially because our customers have been so wonderful and loyal but are so well-traveled and knowledgeable. Had we known that, we might have had impostor syndrome and been, like, never mind.” The duo has observed a whopping 50 to 75 percent customer retention rate on any given day. Additionally, they’ve welcomed eager diners who have traveled from as far as the Berkshires, the Hamptons, and even Washington, DC, to taste the food. “They’re not coming just because those areas lack Asian markets of Filipino restaurants. People are not coming out desperation,” says Tringali, holding back a tear of gratitude. The queer couple, one of whom is non-binary and a person of color, has also made running an inclusive and ethical business a priority, even when decisions defy the wisdom of free market capitalism. “Now what we’ve hired people, their safety is our responsibility. We’ve learned that sometimes the choice we must make is the safer one, not the profitable one,” says Mauricio. Such empathy extends to their out-andproud willingness to be a point of visibility in the community. “Representation matters,” says Tringali. “We have intimate connections with many of our queer customers and we talk openly about our lives as queer people living in and navigating upstate New York,” she says. Maurico retells how, last summer, someone left a Facebook comment accusing the pair of being “too visible” after raising the progress pride flag in their yard. “We had customers come in to thank us for representing them or their children. And the best part of that Facebook comment was that many in our community came into the shop that week, some donning full rainbow garb, to tell us we are loved and needed here,” says Mauricio. Lessons One Year into a Pandemic From staff illnesses, implementing COVID safety protocols, to logistics and inflation, starting a business during a pandemic, let alone one that spotlights Asian cooking during a period of heightened xenophobia, hasn’t been easy. Mauricio and Tringali have learned hard lessons only softened by their ability to remain flexible and pivot. Aside from the threat of the Omicron variant, sourcing ingredients and the rising cost of goods In addition to prepared food, dozens of Asian pantry staples are available at Harana Market. Friday night is fried chicken night at Harana. The chicken is marinated in a patis-citrus sauce, twice fried, and served in the Filipino style: on a bed of garlic popcorn and drizzled with spicy honey. 14 FOOD & DRINK CHRONOGRAM 2/22
present daily obstacles. They dropped fan-favorite lumpia from the menu indefinitely because they can’t get the right wrappers for the crunchy spring rolls. As far as inflation, pantry items like vinegar have shot up. “We only have one year of numbers to compare to, but prices have risen roughly 25 to 50 percent. If we can’t get something, we don’t get hung up on it, we pivot.” says Tringali. There are some dishes, however, they must keep on the menu to satisfy their fans. The sinangag ($4; garlic fried rice), tofu sisig ($12), and bok-silog ($13; silog is short for sinangag at itlog or garlic fried rice and egg), for example. And though the costs of beef and bok choy have ballooned, Tringali stresses the importance of supporting their partners in the Hudson Valley. “The woman who grows our bok choy was worried about increasing her prices,” says Tringali. “We told her, ‘Don’t worry, we’ll just raise our price and let the customer decide if they buy it or not. You do what you need to do to support yourself.’” Tringali points out that they could source it for a few dollars less from Baldor, but they’d rather nurture local relationships. To that end, their roster of regional vendors continues to grow. Currently, they buy produce from Good Chi Farm. The owner, Betsy Ho, is a second-generation Chinese-American who farms a half-acre in Kingston. The beef and pork come from Hudson Valley Cattle Company, and the chicken from Murray’s. Tringali and Mauricio are excited about new opportunities to buy from small farmers through an aggregator, as well as the Asianowned farms scattered around the valley like Asian Vegetable in High Falls. “It’s amazing what they can grow on an acre. They run a CSA, which you can pick up at Harana Market when the season starts. They offer really cool, culturally relevant vegetables” says Tringali. Tried, True, and New for 2022 Harana Market closed for a few weeks during the winter, reopening with a pared-down menu of warming soups and hearty stews. Tinolang Manok ($16), melds the citrusy and piquant notes of lemongrass and ginger with a bone-in chicken leg quarter. Simmered with chayote squash, onions, and spinach, the comfort dish, served over jasmine rice, suggests a zippy chicken soup with a touch of funk. That savory umami profile comes from a few dashes of Rufina-brand patis (fish sauce). “Patis is one of the most essential condiments in any Filipino kitchen,” says Mauricio. “It’s used in foods and soups to give the dish a rounded saltiness. Rufina’s is based on mackerel, which results in a smoother patis than one based on anchovies, which is more astringent.” Bagoong (fermented shrimp paste) is another prized Filipino ingredient. Mauricio serves bagoong as a condiment alongside kare kare ($18), a rich and savory beef shank peanut stew. “Producers of bagoong leave tiny shrimp to bake in the sun, which triggers the fermentation process. When liquid is added, it becomes very fishy, salty, and shrimpy,” explains Mauricio. Tringali and Mauricio don’t alter the food to suit the American palate. Tringali chuckles at the idea. “Emphatically, no. We don’t meet people where they are, at their comfort level, but rather ask them to be open and learn,” she says. For the passionate eater, opportunities to discover abound at Harana Market. Atchara (pickled green papaya), another favorite condiment of Filipinos and Filipino-Americans, is served with pork barbecue skewers ($6) or with “any dish that’s salty and garlicky,” says Mauricio, “because the vinegar sharpness and touch of sweetness balance those flavors out.” Skewers also come with a side of sawsawan (spicy garlic vinegar), an all-purpose dip Filipinos use frequently, including with lumpia ($10). The duo recently added a surefire win to the Friday night menu: fried chicken. The poultry gets an overnight bath in patis and citrus, before a coating of thin batter to give it a salty, crispy crust. The two- or six-piece buckets ($14/$35) come served over a bed of garlic popcorn with the option to add a drizzle of spicy honey. Harana’s Market’s fried chicken Friday may just set the new standard for Catskills comfort food, with a firmly Filipino perspective.
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sips & bites Five Restaurant Openings We’re Looking Forward To in 2022 This January, instead of promises about what kind of diet regimens or exercise programs we’re going to follow in the coming year, we’re making resolutions about future dinner dates. It’s not just about us and all the yummy things we’ll eat. It’s about hope. It’s been two years since we did our last roundup of anticipated restaurant openings. COVID shutdowns, permitting delays, trade bottlenecks, and supply chain shortages conspired to prevent, discourage, or delay new restaurants from opening the past couple years, but we’re hoping that in 2022 things will get back on track.
The Aviary & The Nest | Kinderhook In the January issue we profiled artist Darren Waterston and chef Yen Ngo’s ambitious plans for the Kinderhook Knitting Mill. The project encompasses three buildings, three restaurants, four apartments, and several small businesses, including a wine store, a garden shop, and a gallery. Coffeehouse and cafe Morningbird has already opened to the public, and is dishing up casual Southeast Asian comfort food for breakfast and lunch. The other two food concepts are a 150-seat upscale eatery called the Aviary and a cocktail lounge called the Nest, both of which will also focus on DutchIndonesian cookery and are slated to open this spring. “The Aviary is going to be more overtly Dutch-Indonesian, seen through a modern Hudson Valley lens,” says creative director Nic Der. “The Nest will have small bites like fried smelt, or scotch quail eggs wrapped in sausage and deep fried.”
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The Academy | Poughkeepsie The $13 million project the Academy, which broke ground in 2020, is a muchanticipated multiuse building that will blend hospitality with retail, coworking, and residential spaces. In addition to the 28 affordable apartment units and the 8,700-square-foot event space, Keepsake, which will occupy the upper levels, the ground floor will boast a robust food hall. For informal eats, there will be four food stalls. Valley Greens will dish up made-to-order salads and grain bowls. Smoke 33 will specialize in slow-smoked meats and sides. East-West will dish up Asian-inspired street food. And Hudson Hopworks will bring together the region’s craft beers under one tap and bottle shop. For a more formal dining experience, head to the full-service restaurant Academy Kitchen & Bar, helmed by head chef Rachael Potts. At the front of the Academy’s food hall will also be a coffee shop serving Ready Coffee and a Poughkeepsie outpost for Michael Kelly’s beloved bakery, the Newburgh Flour Shop. The whole kit and caboodle is slated to open at the end of April.
Krupa Bros. Pierogi Co. | Kingston Krupa Bros. Pierogi Co. was launched by twins Kyle and Tyler Krupa in October 2020 as a small-batch operation selling to independent grocery stores and specialty markets in the Hudson Valley and the Berkshires. The brothers, who began helping their Polish grandmother hand-making pierogis at age nine, have been producing out of the kitchen at Ray’s Place in Oakville, Connecticut. But they are getting ready to open a location on West Strand Street in Kingston’s Rondout district sometime in March. “We will be geared toward production and distribution of our gourmet pierogi, with a couple doors of retail freezers for on-site purchases,” says Kyle Krupa. “We won’t be doing any food service initially as we establish ourselves in a new location, but have a lot of excitement to get into fairs and farmers’ markets.” Krupa Bros. sells six pierogi varieties wholesale, all made with real mashed potatoes. The flavors range from the classic farmer cheese to the gourmet roasted garlic and black truffle oil to broccoli cheddar. In house, they’ll also sell some retail specialties like buffalo chicken with gorgonzola cheese and; potato, jalapeno, bacon, and cheddar.
Kitty’s Restaurant | Hudson Under the direction of Anna Morris and chef Lauren Schaefer, Kitty’s Market Cafe in Hudson rapidly earned fame for their “spinning” chicken (essentially perfectly seasoned, rotisserie-style chicken), simple, comforting sides, and breakfast sammies. From the beginning, the master plan for Kitty’s included a full-service restaurant in the space next door to the market (plus a natural wine shop, Grapefruit, which is open). Due to COVID delays, the dream was deferred multiple times, but after a long wait, Kitty’s sit-down restaurant looks to open in late spring 2022. “We are currently recruiting for the culinary director position, and while we do anticipate opening in May, if we have learned anything from the pandemic, it is that things don’t always work out as expected,” staff replied in an email. Though the culinary director will, of course, define the specific direction of the food program, the restaurant will stick with the market and cafe’s farm-to-table ethos, sourcing meat and produce from local purveyors. Given Grapefruit’s exclusive focus on natural wines, we think it’s probably a safe bet that the wine list at Kitty’s restaurant will feature low-intervention and farmermade wines alongside local spirits, craft beer, and ciders.
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First Bloom!? | Bloomville In a December New Yorker article, chef, cookbook writer, and culinary personality Alison Roman confirmed the rumor that she had bought a rambling old Victorian in the Catskills hamlet of Bloomville. The ground floor was previously home to Table on Ten, a beloved farm-to-table pizzeria, while the upstairs had been rented as guest rooms. Roman plans to transform the retail space, which came with an industrialgrade coffee machine and a wood-burning oven, into a small provisions market. She also floated the tantalizing possibility of hosting pop-up dinners in the dining room, post-makeover. Roman didn’t respond to requests for comment, but if you are familiar with her recipes, you’ll join us in daydreaming about an upstate outpost for her signature hearty, complex yet accessible staples like caramelized shallot pasta and frizzled green beans, mushrooms, and onions. —Marie Doyon 2/22 CHRONOGRAM FOOD & DRINK 17
the house
EVOKING EDEN A WRITER AND ARTIST REVISIT THE PAST IN ANCRAMDALE
By Mary Angeles Armstrong Photos by Winona Barton-Ballentine
18 HOME & GARDEN CHRONOGRAM 2/22
T
he child is parent to the adult, to paraphrase an old parable. In different ways, this idea is at the heart of both Joseph Gosler and Sheila Wolper’s work. Gosler, a writer and memoirist, was born in Nazioccupied Holland during World War II to a Jewish family who placed him into hiding as an infant. His quest to make sense of that early, defining experience and make peace with his family’s story is detailed in his memoir, Searching for Home: The Impact of WWII on a Hidden Child (Amsterdam Publishers, 2020). A Brooklyn native, Wolper founded a Reggio-based nursery school with Gosler in 1983 and served as the school’s director for 30 years before transitioning to become a full-time artist. Like her husband, Wolper’s creative work explores the complexity of childhood experience through the use of mixed media, photography, and collage techniques.
Joseph Gosler and Sheila Wolper outside of their 19th-century GreekRevival farmhouse. Their 12-acre property includes two barns and a silo and is surrounded by Columbia Land Conservancy property. The pastoral setting is complimented by 200-hundredyear-old maple trees which mark the entrance to the driveway. Opposite: Bought in 1989, the pair spent 32 years renovating the home. They added a stone fireplace to the living room, creating a cozy space for relaxing. With no television in the home, evenings often find them playing Scrabble in front of the fireplace. Over the fireplace, the woodcut by an unknown artist depicts the nearby town of Millerton with the village diner, the Moviehouse clock tower, and Saperstein’s department store.
2/22 CHRONOGRAM HOME & GARDEN 19
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The couple knocked down an exterior wall dividing the kitchen from the former covered porch to create a large open space kitchen and dining area. The space features 14-foot-high ceilings in parts and offers views to the backyard’s rolling fields. “Our decorating style is Country Modern, with some American Primitive and industrial pieces,” says Gosler. They found the large iron wheel electric cable holder at a shop in Hudson. The brightly colored, smaller folk-art Ferris wheel also came from a Hudson shop.
These days, the couple bide their time in a decidedly bucolic haven. Built in approximately 1850, their Greek Revival-style farmhouse features clapboard siding, eyebrow windows, and a wraparound porch. Part of a working farm until the 1970s, the home sits on an open knoll adjacent to two traditional red barns and a silo. Surrounded by farms and Colombia Land Conservancy property, the 12-acre property includes fields planted with wildflowers, two wetlands, fruit orchards, memorial and vegetable gardens, and a heated inground pool. “We both love the open rolling hills and fields of Columbia County,” says Gosler. “The civility of it all—the cows grazing in pasture lands, corn fields everywhere, small forests, bogs, colorful birds, and the assortment of wild animals—lies in sharp contrast to the grit of city life we are accustomed to.” The Long Trek Home Gosler’s path to Columbia County was circuitous and his story bears testament to some of the worst chapters of the 20th century, but also the strength of community and the transcendent possibility of kindness. “My experience of World War II was vastly different from children who
were adolescents or teenagers during the war,” he explains. “I’m not the second generation, but I’m not really the first either: There’s the coinage of generation one-and-a-half.” For his and his parents’ safety, Gosler was given to the Dutch resistance at seven months of age and hidden with a Christian family who raised him as their own for the duration of the war. “I was quite lucky,” he explains. “I was placed with a family who truly loved me and I was able to stay with them the whole time.” At the war’s end, after extensive searching, his parents found each other and, finally, him again. It was then that the trauma he had been insulated from began to hit. “I was three years old and I kept thinking, Who are these speakers who claim to be my parents?” he remembers. “All I wanted to do was return to the only family that I’d known. It led to disorientation, a sense of abandonment, not trusting my surroundings, and anger.” His parents first attempted to return to their home in the Northern Netherlands, where they lived for four years. “They had so much pain on so many levels,” Gosler explains. “And there were ghosts and nightmares everywhere.” They decided to immigrate to Israel, where Gosler 2/22 CHRONOGRAM HOME & GARDEN 21
spent his adolescence living on a kibbutz—what turned out to be a liberating experience for him. “Life on the kibbutz saved me,” he explains. “Having that extra breath and space helped me immensely.” Living apart from his parents but still nearby, in a dormitory with other children his age, gave him the room to process his early life and shape his own independent identity. “The best learning environment for children is amongst other children,” he says. “The experience really influenced my interest in community. My search for community has been part of my fundamental drive and what I seek in whatever work I do.” Gosler’s family eventually immigrated to New York, where he became involved with the Quaker community as an adult. “If I wasn’t Jewish, I’d be a Quaker,” he says. “They call me a fellow traveler because so much of my way of thinking is similar to practicing Quakers.” Gosler served as the business manager of the Friends Seminary, a Quaker K-12 independent school in Manhattan, for 24 years and has been involved with the Quaker community for almost 40. New Arcadia The couple first happened on Columbia County during the early days of their marriage, while hitchhiking through the region on their way to 22 HOME & GARDEN CHRONOGRAM 2/22
Maine. Sheila Wolper had studied textile design, literature, and early childhood education in New York before becoming a full-time educator. Together, the couple became enamored with the area and bought the Ancramdale property as a weekend home in 1989. Over the ensuing 32 years, they transformed the rambling 4,000-square-foot home into a light, modern oasis that remains true to its historic roots. Builder Michael C. Smith helped to update the home’s interior spaces and D. L. Schultz Enterprises worked with the couple to modernize the farmhouse’s plumbing and electrical systems. What was once the dirt floor basement space is now a self-contained apartment. To open the space, the couple removed the home’s 300-gallon fuel oil tank, replacing it with a new HVAC system and exterior propane tank, then raised the ceiling eight inches. They added radiant heat cement floors and expanded the plumbing to create a laundry, wet bar, and basement bathroom. Within the expanded basement area, they carved out two extra bedrooms, a home gym, and a wine cellar. The couple were able to update the home’s first and second floor while remaining true to the farmhouse design. By removing cosmetic beams and a drop ceiling from the living room, they
Left: A guest room features some of Wolper’s collage work. On the wall above the bed is Pink Tie, a collage made with a photo transfer. Wolper uses gesso, acrylic paint, and oil pastels in her work, as well as photography, to “create an alternative, dreamlike world that explores the fears, fantasies, and magical thinking of young children,” she explains. Wolper’s work will be featured in a group show at the Carter Burden Gallery in Chelsea this April. Right: A corner of Wolper’s studio features a mix of her own work and pieces by her former nursery school students. Wolper began as a founder and then art studio teacher at Beginnings Nursery School in Manhattan before transitioning to becoming a full-time artist. “My studio is filled with found objects— vintage bottle caps, discarded doll heads and dolls, broken ceramics, vintage battered and dented toys, cardboard package inserts, and miscellaneous game pieces,” says Wolper. “These discarded objects of our culture inspire me and often find their way into my collages, artists books, or assemblages.”
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A corner of Gosler's study features a collection of sketches from his days as the business manager of the Friend's Seminary in New York City. The sketches were created by a 4th grade class. "I was teaching them how to make 'Dutch' apple pie and their teacher made it into an art project," says Gosler.
2/22 CHRONOGRAM HOME & GARDEN 25
laid bare the original, notched, wood-beamed ceilings. They added a stone fireplace to the room, accentuating the country ambiance, and extensively updated the first-floor bathroom. Upstairs, the primary bedroom features a second stone fireplace. By capturing space from a second-floor bedroom, they greatly expanded the second-floor bathroom. Additional upstairs bedrooms provide extra space for family and friends to stay. Within the walls of the threelevel home, both Wolper and Gosler have carved out nooks for their respective creative practices. Gosler converted the first-floor study into his writing studio and a separate second-floor wing serves as a colorful studio space for Wolper’s mixed media works. Extending the Family At the center of the farmhouse is the open kitchen and dining room. With 14-foot-high ceilings and banks of windows in three directions, the space offers abundant views of the pastoral landscape and plenty of room to congregate. Both Wolper and Gosler agree: It’s become their favorite spot in the house. “Many people can gather to schmooze, help cook, and enjoy warm 26 HOME & GARDEN CHRONOGRAM 2/22
friendships and good food,” says Gosler. “Like many houses, this kitchen has really become the heart of our home,” agrees Wolper. To create the multifunctional space, the couple expanded the original kitchen by knocking out a back wall and then incorporating the home’s covered porch into the interior area. They added new wide plank pine boards along the floors and accented the expanded space with raw wood beams and wall trim. In a corner of the room the renovated kitchen retains plentiful workspace for cooking. Black granite counters top double ovens as well as a suite of appliances; and black granite tops a kitchen island built from the home’s original plank floor boards. Since recreating the room, the couple find that they and their guests spend most of their time there. Not only has it become a tradition to host their extended family on a regular basis, the couple also enjoys the company of friends they’ve made through all the disparate walks of their lives. “I consider myself not very religious, but very spiritual,” explains Gosler. “Everything we do on a spiritual level, we do from a family setting—or a friends-and-family setting. In life, friends often become family too.”
The couple completely transformed the 4000-square-foot farmhouse into a modern oasis for themselves and their creative work. They also included plenty of extra space for their extended family and friends to gather. They renovated the home’s garage and basement into a completely new wing with two bedrooms a large gym/living area and bathroom, as well as wine cellar.
high society
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The DUI Conundrum By Nolan Thornton
I
t is illegal to drive under the influence of cannabis, to consume cannabis while driving, and for passengers in a vehicle to consume cannabis—and all of that will remain illegal once New York’s commercial cannabis market begins operating, sometime in the yet-to-bedetermined future. But what does it mean to be under the influence of cannabis in the first place? For alcohol, it’s very simple. In New York, impairment is established at a blood alcohol concentration (BAC) of more than .05 percent, and intoxication at a BAC of .08 percent or higher. But for cannabis, there are no equivalent blood-concentration levels. “New York State has yet to establish such measurable levels of THC reflective of impairment or intoxication,” says Saugerties Police Chief Joseph Sinagra. “There currently is no scientific evidence that quantifies the nanograms per milliliter of THC in one’s system that produces impairment. We also lack any [reliable] roadside testing devices or way to establish the presence of marijuana like we have for alcohol, such as an Alco-Sensor.” That leaves the job of detecting cannabis
inhibition up to drug recognition experts, or DREs. According to New York State Office of Cannabis Management spokesperson Freeman Klopott, under the Marijuana Regulation and Taxation Act (MRTA) enacted last March, New York will direct a portion of cannabis revenues to support training police officers as DREs, using enhanced field-testing techniques to determine if a driver is operating a vehicle under the influence, to rule out medical conditions that may cause erratic driving, and to classify the category of substances an individual is specifically impaired by. In order words, impairment-by-alcohol is subject to machine testing, while proving cannabis intoxication comes down to people. But cannabis activist and attorney David Holland is optimistic about the practice of using DREs to determine cannabis influence. “The creation of DREs is good to get more accurate assessments of whether or not someone is under the influence,” says Holland, who is the executive director of the New York chapter of the National Organization for Reform of Marijuana Laws (NORML) as well as the New York City and Hudson Valley Cannabis Industry Associations.
Technology Issues Training police to make informed, if ultimately subjective, decisions about a person’s level of cannabis intoxication is not the ideal scenario for many people. But Holland’s optimism comes in part from the fact that there are few other options. Cannabis blood tests usually measure usage within the past 30 days, with the latest tests capable of detecting consumption within 12 hours. New technologies are still being tested, but the fact remains unchanged: Cannabis and its effects on the body are fundamentally different from alcohol, complicating the development of a reliable cannabis breathalyzer. THC, the active ingredient in cannabis, is a fat-soluble compound, meaning it binds to fat molecules in the body. That’s in contrast to alcohol, which is quickly absorbed by the body: Around 20 percent of the alcohol a person drinks is taken into the bloodstream through the stomach, while the rest is absorbed by the small intestines. Most attempts at a cannabis breathalyzer fail to acknowledge the differences between the two substances. Despite this, the MRTA directs funds to the 2/22 CHRONOGRAM HIGH SOCIETY 27
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Please consume responsibly. This product may cause impairment and may be habit forming. For use only by adults 21 years of age or older or persons holding a patient registration card. Keep out of the reach of children. Marijuana can impair concentration, coordination and judgment. This product has not been analyzed or approved by the Food and Drug Administration (FDA). There is limited information on the side effects of using this product, and there may be associated health risks. Marijuana use during pregnancy and breast-feeding may pose potential harms. It is against the law to drive or operate machinery when under the influence of this product. KEEP THIS PRODUCT AWAY FROM CHILDREN. There may be health risks associated with consumption of this product. Marijuana can impair concentration, coordination, and judgment. The impairment effects of Edible Marijuana Products may be delayed by two hours or more. In case of accidental ingestion, contact poison control hotline 1-800-222-1222 or 9-1-1. This product may be illegal outside of MA.
28 HIGH SOCIETY CHRONOGRAM 2/22
Governor’s Traffic Safety Committee to work with state agencies and localities “to research emerging tools that could be used to accurately detect whether a driver is under the influence of cannabis.” And companies in the private sector are also working to develop cannabis breathalyzer technology. EPOCH is one of the latest developments, a cutting-edge rapid THC detector that utilizes an optical sensor to scan saliva samples. EPOCH can detect THC levels above one nanogram per milliliter of saliva within a 12-hour consumption window. In early trials, it has returned zero false positives—though the sample sizes have been small. That’s one reason why it’s not yet ready to hit the streets. Another is that its inventors say more trials are needed to establish “baseline difference between frequent and occasional marijuana users.” In the meantime, it will remain difficult to establish driving impairment based solely on the consumption of cannabis, says Sinagra. Holland agrees: “It’s a tough law to prove right now if you’re a prosecutor.” This on-the-ground uncertainty leaves potential room for the law to be misapplied or misinterpreted. Randall Inniss, an attorney and former New York State Trooper, believes that “it will be easier to get arrested for a misdemeanorlevel crime while under the influence of cannabis under New York State law than with alcohol while operating a motor vehicle, which has the higher ‘intoxication’ standard.” Racial Ratio One significant change the MRTA did make to existing law is that odor can no longer establish probable cause when police are conducting a traffic stop. That practice had long been used disproportionately against people of color, who were often forced to endure searches—and worse—based on the alleged odor of burned cannabis. Banning odor as probable cause is one of many efforts in the MRTA to rectify decades of racial injustice wrought by the War on Drugs. According to a 2020 analysis by the American Civil Liberties Union, Black people were more likely to be arrested for marijuana possession in every state in the US—in some states, 10 times as likely. That disparity increases at the county level—in some counties, Black people are 20, 30, 40, or even 50 times more likely to be arrested than white people. The MRTA needed to both atone for the past and plan for the future. “In the past, [this has been] a means to invade people’s privacy and question them, whether that’s driving or on foot,” Holland says. Now “it should change a little bit of how the engagement between citizens and law enforcement goes. But I can’t say that it will stop law enforcement from pulling over cars because they look suspicious.” “Unfortunately, there is always the potential for racial discrimination in enforcement, but New York’s cannabis law is at least intended to make it harder by raising the standard for probable cause to search a vehicle,” says Andrew Schriever, an attorney who serves on the board of the New York City and Hudson Valley Cannabis Industry Associations. “The law is not a cure-all, but it is a positive step to reduce the potential for race-based enforcement.”
Now that adult-use marijuana is legal in New York, questions about how police will detect driving under the influence have become paramount. While alcohol can be accurately machine tested, there is no effective mechanical field test for marijuana.
The Future Much of how cannabis DUIs will operate in a legalized marketplace is still to be determined by the Office of Cannabis Management, along with many other aspects of the legal rollout. In the meantime, the lack of clarity is the biggest concern expressed by elected officials in municipal-level debates about opting in or out of allowing cannabis sales and consumption. Sinagra has been one of the few law enforcement officials who, while maybe not promarijuana, has worked with his constituency to prepare it for legal weed. But the town of Saugerties still opted out of allowing retail sales and lounges. Town board member Michael Ivino cast the deciding vote after expressing concern about the lack of information available about requirements that would be placed on municipalities that did not opt out. “I encourage anybody who wants [to not opt out] to get in their car and drive home without the lights on, because that’s what New York’s doing to us right now,” he said at the meeting. One thing is clear: Police tend not to favor the MRTA. What will that mean for the number of DUIs in New York State? When dispensaries and consumption lounges open up, will it be absolute mania or will legalization lead to an increase in responsibility? “In every state where marijuana has been legalized, you’ve seen an increase of traffic accidents and traffic fatalities. It’s just fact,” says Patrick Phelan of the New York State Association of Chiefs of Police. Sinagra’s view is more nuanced. “We will more than likely experience a small increase in DUI-related
crashes, then the numbers will return to their historical levels.” This is partially borne out in data from other states that have legalized marijuana: According to the AAA Institute for Traffic Safety, the ratio of drivers involved in fatal car crashes who tested positive for cannabis in Washington State doubled after its recreational market opened, from 9 percent to 18 percent. In Colorado, which legalized recreational use in 2012, the number of fatal crashes went from a total of 18 in 2013 to 77 by 2016, according to the National Conference of State Legislatures. The following year, Colorado State Patrol then reported a decrease in cannabis-only DUIs, from 232 between January to March of 2016 to 155 people over the same period in 2017. But last year, cannabis DUIs spiked 48 percent. The good news is that there does not seem to be a concomitant rise in fatal traffic accidents in places that have ended cannabis prohibition. A team of researchers at Florida Polytechnic University examined the relationship between traffic fatalities and statewide policies legalizing marijuana over a 35-year period from 1985 to 2019. They identified no significant changes in trends in fatal crashes following the enactment of recreational marijuana laws, and in fact reported a decrease in fatal traffic accidents following the passage of statewide medical cannabis access laws, though they admit that things might change as more states legalize. Cannabis DUIs will be a part of the future— that much is apparent. Who will actually get them, and how they’ll be tested, are questions still to be answered. 2/22 CHRONOGRAM HIGH SOCIETY 29
health & wellness
OVERWHELMED BY
OMICRON
A collaboration with
STORIES FROM THE PANDEMIC’S THIRD WAVE As told to Lissa Harris, Wendy Kagan, and Phillip Pantuso
T
he media dubbed it “The Week That America Called in Sick.” It was early January 2022, the first full week after the winter holidays, when most of us return to some form of work. This year, all bets were off because America’s Christmas present was the Omicron variant—a highly contagious yet purportedly milder version of COVID-19. Suddenly, it seemed like everyone we knew was getting it. Nearly two years in, we were jolted back to high alert, yet we found ourselves in completely new pandemic territory. Eager to understand Omicron’s impacts in real time, we reached out to real people in our communities. From young parents to healthcare workers on the frontlines, the stories gathered below paint a picture of a pandemic moment marked by frustration, confusion, exhaustion, and (yes, it dies hard)—hope. I Want My Village Back Gracelyn Woods, single mom who runs a creative ad agency out of her home in Beacon
My daughter, Hazel, was three months old when COVID started. We were always at risk because it was hard to keep our pod small—her father is an FDNY firefighter who lives with 12 other guys. And Hazel’s in daycare. So I was testing her often to keep an eye out for it. Five days after Christmas, she tested positive. She gave it to me a couple of days later. We had the same mild symptoms, like runny nose. I only felt pretty bad for one night. And to be honest, I don’t know if it was psychosomatic. I’m vaccinated and boosted. We’ve just been trying to scurry through. After 10 days, it’s getting really Lord of the Flies here. She’s bored and it’s cold outside, so we can’t go out much. She’s used to spending most days with 10 other kids. She’s a social child, so she’s becoming very dysregulated. It’s confusing. Why are we locked in the house? Where are my friends? Why is Mommy crying? 30 HEALTH & WELLNESS CHRONOGRAM 2/22
Gracelyn Woods with daughter Hazel
The whole “it takes a village” thing would be great, but it really doesn’t apply during COVID. Everybody is trying to protect their own village, so you can’t really ask for all the help that you need because you’re trying to keep everybody safe. My mom is nearby, but during this time of isolation, I don’t want to expose her. It’s hard. I can’t work when Hazel’s drawing on the walls. I’m a business owner and my business survives on me being engaged. I’m disheartened by the new CDC guidelines because I feel like it’s misinformation. They lowered the isolation period to five days, but the reality is different. At five days, I took Hazel to her pediatrician and she was still testing positive. They said it’s likely that she’s going to test positive for the full 10 days. The five-day thing is hopeful, but it’s not realistic. I’d love to see our communities do a little bit more, because I know some families that are struggling right now. My friends and I are fortunate to be able to get food deliveries and be in a good financial position, but I worry about the people who don’t have those options. If you can’t get out of the house to the soup kitchen or wherever, who’s helping you?
Blindsided Jason and Sheila, parents of two teens in Saugerties
Jason: Everyone I knew said they had a cold [in late December]. They all tested negative for COVID. So, when I got what I thought was a cold and tested negative on a home test, my initial reaction was to shrug it off. It wasn’t until a couple of days later that I heard everyone was testing negative first. For us, it meant, Oh, crap. I had this horrible guilt that I likely brought it into the family. All four of us got it. I think I got it through my eyes from someone blowing a vape. It was the only thing I could think of when I tried to retrace my steps. The frustration was that we’ve been so careful, for so long. Always wearing masks, washing our hands, hand sanitizer everywhere, double masking when appropriate. We’re double-vaxxed and boosted. I guess I got a mild case because of that. But it’s still shocking, the misunderstanding of what “highly infectious” means, compared to the previous guidelines. There just wasn’t a lot of information. I felt blindsided. You become sort of skeptical about the guidance in general, which is a bummer. Sheila: We had a lot of sneezing, bad headache for a couple of days, and then just lethargy. Everything was exhausting. Our 18-year-old had it the worst, because she got her booster on the same day that she was exhibiting her first symptoms of COVID. She was throwing up all night. It was just awful. We found out that if you happen to be unlucky enough to get your booster while contracting the virus, you will get pounded. The rest of us had really mild symptoms. Just long-lasting. For me, I go back and forth: In some ways I feel kind of happy that I got it because maybe it helps my immune system, and maybe I helped the greater herd immunity. But that doesn’t make it less intense of a virus, because the hospital systems are still taxed, people are still having to close schools and jobs, and there’s not enough work staff to keep the country running in a way where everybody’s taken care of. I don’t feel so scared about being sick, but that doesn’t mean it’s any less impactful.
Dr. Catherine Agricola
My Colleagues Are Tired Catherine Agricola, MD, a direct primary care physician in Newburgh
A few times during the pandemic, there have been stretches of time where you end up reaching a stride or a rhythm. A workflow for testing and managing and tracking. Guidelines that haven’t changed in weeks. A respite from the pendulum swings. Then you see the Omicron wave offshore and brace for impact. It’s back to swirling new information, updated policies, unsynchronized change. The disruptive distress has been pervasive. A patient set to start a new job only to test positive and be out for another 10 days. People with symptoms that couldn’t find test appointments for a week. The yearning to be with others. The fear of seeing anyone. I haven’t been able to manage patients with COVID the way I did before. It isn’t feasible. The volume is too high. And the outpatient treatments that were available are now ineffective. Newer treatments are scarce. I have started to see patients get through COVID differently. They haven’t sounded as sick over the phone. They weren’t laid up in bed. There were one or two bad days instead of seven. One patient expressed relief that her test was positive after the onset of relatively mild symptoms. The looming fear she’d had for so long was lifted. And she was okay. I have felt a small hope that Omicron may be an epidemiologic endgame of sorts. If it really is milder and we have a mostly vaccinated society, we might get more community immunity with less tragedy. It’s just, can the system handle this last big push? I’m tired. My colleagues are tired. The system is strained. Even if a smaller percentage of infected patients gets really sick, a small percentage of a large number is still a lot of sick people. I’m holding out hope that we will get over this surge and maybe transition from a pandemic to an epidemic. Maybe with an epilogue on the horizon. I don’t know. But I’m keeping reasonable hope.
Balancing Act Robin Williams, health insurance agent, mom to 11-year-old River and 9-year-old Owen, and newly elected town board member in the Delaware County town of Middletown
Well, I just had it. Thankfully, I was triple vaxxed going into it. I think that helped. My kids were at one vaccine, and it pretty much was just a really inconvenient cold. My son tested positive January 1st. I emailed [the town board] January 2nd—the meeting was the 5th—and I said, “My son tested positive. I have to quarantine. I’m sure this has been a balancing act for the past two years for the board. Can I ask someone to have a Zoom open for me so I can attend virtually, or maybe via phone?” Nobody responded. That was something that I had actually requested before the pandemic even started, because I’m a single mom, and there were nights where I couldn’t leave my then-six- or sevenyear-old home. I just wanted to be able to tune in. If the technology is there, I don’t understand why we’re not trying to make it fit. Robin Williams
It was a perfect representation of the past two years for me. I finally got COVID. I’ve avoided it this whole time. I’m a newly elected official, going, OK, what can I do? And it was just crickets. We’re two years in, with all of the capabilities and adjustments we’ve made during this pandemic—and you still don’t have a way to do what you were just elected to do. I know it seems bizarre to be spread so thin as a mom, and the single income in my household, to be involved with lots of different things and then to want to run for a local government position. But it’s [people like me] who see what’s really going on in the community. We hear what people want and need. I feel like I’m in touch with our town. I’m trying to be careful as I talk to people about my experience of being sick. I’m pretty healthy, I was boosted, I was able to isolate. We’re only as strong as our weakest links. People who are immunocompromised, or who can’t afford to upgrade their mask quality because they’re expensive—like, somebody gave me a box of N95s for Christmas. That’s where we’re at. Exhausted and Bitter Lawrence Clayton, RN, HealthAlliance Hospital: Broadway Campus
Yesterday on my unit, 20 of 25 beds were positive. One of my colleagues started feeling ill but wasn’t
allowed to leave work. This morning she tested positive (she’s fully vaccinated). I don’t believe I was around her unmasked, but because we are so overwhelmed and understaffed, meal breaks are super-rushed five-minute affairs where you duck into the break room and shovel food down your throat. (A half-hour’s pay is deducted for the meal break nonetheless.) The unspoken understanding is that COVID does not exist in the break room. A few weeks ago, I had a patient dying of COVID. Her loved one asked if he could visit, even though he was unvaccinated. I had to tell him no—per hospital policy, all visitors must be vaccinated or have a recent negative test. I wanted to scream into the phone, “Just get the shot, you moron!” Of course, I didn’t. I think I have some PTSD. We get screamed at by patients and families on a daily basis. I’ve been accused of medical kidnapping and neglect. We are so very short-staffed. On a typical day, I have six or seven patients, sometimes eight. Five is the maximum number a nurse can truly be responsible for. Worse, we’re desperately short on nurse aides. We often have zero or one for the whole 25-bed unit. Without that support, we’re unable to care for our patients properly. Call bells go unanswered, vital signs aren’t taken, people end up lying in their own excrement as we triage needs. You always stop and ask another nurse if she’s okay, even if you’re drowning, because if we don’t have each other’s back, we don’t have anything. I can take two seconds and help pull up a patient in bed, pull medicine if my colleague is “dirty” (wearing contaminated PPE), or hand her a pitcher of ice water or a saline flush. WMC fired over 40 nurses and technicians last summer. Since then, many more have quit. New people have been hired, but not enough
Lawrence Clayton
to stem the flow of departures. I get multiple calls and texts each day from traveling nurse agencies promising big bucks to go elsewhere. Why do I stay? I have a young child here. I feel a responsibility to my colleagues and my community. But it feels unsustainable. Two years into this pandemic, I am so very exhausted and so incredibly bitter. Get vaccinated. Wear a mask. That’s all I’ve got. 2/22 CHRONOGRAM HEALTH & WELLNESS 31
Cultivating Gentleness Alicia Curlew, social studies teacher at Onteora High School for 21 years
The nervousness has come back, and it’s brought renewed focus on enforcing social distancing guidelines. That’s tough because it puts teachers in the position of being disciplinarians and distracts from learning. A lot of our kids are vaccinated, so I try to remind myself that they’re less likely to get sick. And our administration at Onteora has been really great and responsible. You’re balancing two things: You don’t want anybody to get sick, but you also don’t want them to get quarantined because they were sitting too close together. I teach mostly older kids, and at that point some of it is in their hands. Some have a higher risk of getting more sick, and some live with vulnerable family members. It’s been exhausting and stressful. It’s caused me to think a lot about what I do and how I do it. For me, having a good relationship with the
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32 HEALTH & WELLNESS CHRONOGRAM 2/22
FAMILY
students is really important. If they’re not feeling safe and comfortable, they’re not going to learn. But the way to make kids feel safe has changed—now it’s not just about being comfortable in a high school environment, which most of us wouldn’t go back to in the first place. Then you bring in school shootings, and now this health crisis. Recognizing how vulnerable teenagers are is at the forefront of my mind all the time now. We’ve had to become very flexible and it requires a lot of gentleness. I have coped by talking with my friends and colleagues a lot more deeply over the past couple of years. It’s not just about ideas for the classroom, but the “What are we doing?” kinds of questions. And I’ve made a conscious effort to take time for myself, even if it’s just locking myself in the bedroom for 20 minutes when I get home from work before I interact with my own family. At the beginning of the pandemic, it was “Teachers are awesome!” but it quickly devolved into “Teachers don’t want to work.” It’s very disheartening to hear things like that. People have to understand how difficult and unsatisfying it is to teach remotely. When teachers arrive at that position, it’s because they’re seeing that things are not really okay. They want what is best for the students. I don’t want to be the one making a decision about whether the school is fully open or remote, but I do think teachers have a certain understanding of what’s happening and should be heard when they have concerns.
Far From Home Diego Scala Chavez, a Vassar College neuroscience major, class of ‘22, from Monterrey, Mexico
I don’t feel that great today, so I’m getting a PCR result, hopefully very soon. I’m keeping myself optimistic and just hoping for the best. When I went on spring break [in 2020], I thought I was going to have a pleasant vacation. I went to Los Angeles and stayed with one of my friends, and we got the call there: This wasn’t going away. This is serious. I had to come back, because I couldn’t fly home. That April I was basically stuck without even being able to access a dormitory. I had to find some place to stay until the summer. I think those were some of the worst months of my life. I felt so detached from everybody else. One of my friends, who was also an international student from Bangladesh, offered me a place to stay in his home, to live off campus. But all of my clothing, all of my stuff, my books, were
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in my dormitory. I didn’t have access to them. I was scared to go to the supermarket and I didn’t really have secure food options. I would buy a box of pasta and chicken and try to ration it out for a while. All of this while still doing classes but not being really able at all to focus on them. I flew back home over the summer and immediately tested positive. I had two Pfizer vaccines already. And I had horrible symptoms. I felt like my whole body was in pain, like if I just ran a marathon. I only get to see my family once or twice a year. And to come back after so long, after so much time not seeing them, and just wanting to see my grandma and see my friends and everybody, I had to spend two weeks isolated and doing nothing by myself. As college students, where a lot of your life revolves around interactions and meeting new people and experiencing these things, so much of that was taken away. It’s hard. There’s this cultural shift towards this sense of unease and collective anxiety. I owe so much of my sanity to my friends and family. Especially my friends. My friends really just feel like a family to me when I’m away from home. I think we have allowed ourselves to be much more emotionally vulnerable with each other, and I feel like we’ve grown a lot together. I’ve also felt I need to make the most out of what we can do. Start new projects, do new things, gatherings with friends when it’s allowed. Practice your new hobbies. Things that I really took for granted at the beginning. I’ve crossed every single finger and knocked on every piece of wood. I’m just really hoping that my travel plans aren’t affected by this result. Visit Chronogram.com and TheRiverNewsroom.com for an extended version of this article that includes an additional story from a Woodstock-based musician.
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weddings
The Abbey Inn & Spa in Peekskill is housed in a former convent.
INN THE KNOW THESE ACCOMMODATIONS MAKE MAGICAL HUDSON VALLEY WEDDING VENUES By Kendyl Kearly
A
lthough the region is home to all kinds of wedding venues (vineyards, country clubs, former factories, farms, even castles!), there’s something so Hudson Valley about a cozy inn, whether bursting with greenery or dusted with New Year’s Eve snow. Usually featuring a handful of rooms and manicured grounds, these inns separate themselves from boxy, often-crowded hotels. But it might be easy to lump them all together upon first Google search. They’re certainly all beautiful and emphasize Hudson Valley hospitality. But each inn attracts a different kind of wedding—farm-style and informal, cozy and historical, woodsy and private. Some host big weddings all the time and can keep guests occupied all weekend; others are favored for their romantic elopement packages. For all sorts of needs, here’s your guide to seven of the best wedding inns in the valley.
2/22 CHRONOGRAM WEDDINGS 35
ElmRock Inn in Stone Ridge has an expansive backyard. Photo by Andrew Franciosa
Buttermilk Falls Inn & Spa The sprawling 75 acres of Buttermilk Falls Inn & Spa in Milton allow couples to mix and match all the event spaces and accommodations. Overlooking the Hudson, the riverfront patio could be the site of the ceremony or the reception. Likewise, the barn suits a farmhouse reception or cocktail hour on the wraparound porch. The main inn contains seven rooms, but the outbuildings cater to a variety of needs. The couple tends to stay in the Pony’s Pad because it’s private but located in the middle of the property. Brides often get ready in the River Mansion because the enormous windows give such good light. “In summer and springtime, it just gets ridiculously beautiful,” says Sam Austin, wedding and corporate sales manager. “Everything’s blossoming. The bees are buzzing in the aviary. Roosters are crowing. It’s so nice to walk around the property for a breather.” Buttermilkfallsinn.com 36 WEDDINGS CHRONOGRAM 2/22
ElmRock Inn Bed and breakfast the ElmRock Inn is saturated with romantic history. The Dutch Colonial farmhouse was built in 1770. In fact, the Stone Ridge venue is only an hour away from where Alexander Hamilton exchanged vows with Elizabeth Schuyler. Even the trees are historic in a 250-year-old locust grove that has seen uncountable love stories. “It has that historic charm,” says Kimberly Weeks, co-owner and director of catering and events. “Intimate events at the inn are very special.” Although a tent can hold up to 200 people outside, the great room makes an impression indoors with soaring ceilings and a long table set with farmto-table fare made onsite by chef/owner Mark Suszczynski. A bluestone patio can be used for extra dancing or a cocktail party. Finish the night outdoors with a fire pit, cornhole, and a converted camper van bar to occupy partygoers. Elmrockinn.com
Foxfire Mountain House When one couple wanted a wedding weekend that would speak to both of their cultures—an Indian ceremony the first day and a traditional western wedding the next—it meant that the flowers and food would need to be reinvented overnight. The solution to the logistical frenzy was Foxfire Mountain House in Mount Tremper. The Catskills inn, which can host 125 guests and lodge 30, offers a full weekend package that allows exclusive access to the 10.5 acres. Chef/ owner Tim Trojian oversees onsite catering, and event planning is included. “At a lot of properties, you only have one day or the afternoon,” Director of Operations Chris Sikora says. “You put in all that labor and emotion and money and then the venue coordinator taps you on the shoulder saying you need to wrap it up. You want to be the primary focus for the weekend.” Foxfiremountainhouse.com
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The barn at Buttermilk Falls in Milton.
Old Drovers Inn Bed & Breakfast Of all Old Drovers Inn’s features—the Colonial barn, the pleasantness of the staff, the Appalachian Trail-adjacent location—it’s the catering that earns the most positive comments and reviews, its wedding coordinator Helene Rosenkranz says. The time-tested menu boasts options like farmhouse cheddar and apple tarts, lager-braised short ribs, chicken saltimbocca, and country cookie jars. But of course, the aim is to serve, so dishes can be adjusted for dietary restrictions and preferences. One Italian family requested a pasta course, and a Scandinavian couple couldn’t celebrate without some sort of herring. In addition to five hours of open bar, two signature cocktails can speak to the couple—like margaritas as a nod to a first date. The Dover Plains inn has six rooms, in addition to outbuilding lodging. Accommodating 220 people, the barn lends old-world charm with vaulted ceilings and 200-year-old reclaimed wood. Olddroversinn.com The 1850 House Inn & Tavern Situated on Main Street in Rosendale, 1850 House presents the conveniences and amenities of being in town without sacrificing a scenic
mountain location. Guests can hike, rock climb, kayak, catch a screening at the Rosendale Theatre, visit farms, or bike a few miles down the Wallkill Valley Rail Trail to sip whiskey at the Coppersea Distilling tasting room. With views of the Rondout Creek, an outdoor ceremony can seat 80, and receptions glow under softly lit tenting. Established in 1850, the inn is composed of 10 rooms, including a two-bedroom suite decorated with vintage photographs. The tavern, a haunt for the locals, provides alcohol, catering, and rehearsal dinners—think truffle parmesan fries, crispy Brussels sprouts, and crab cakes for the kind of informal, late-night party that no one wants to leave. The1850house.com The Abbey Inn & Spa After a pink-tinged sunset ceremony and terrace cocktail hour at the Abbey in Peekskill, wedding guests are whisked away into a 19th-century chapel transformed into a castle-like ballroom. A relic from when the inn actually served as a convent, the Highlands Ballroom works with several aesthetics, from a woodsy wedding to a fairytale come alive. Specializing in intimate events for no more than 120 guests, the Abbey promises to only host one wedding per day. Catering is locally sourced dishes such as striped
bass crudo and a chef ’s charcuterie table, and a custom cake from Homestyle Desserts Bakery is included. Brides can treat themselves to bridal party spa packages with Whirlpool and sauna. Theabbeyinn.com The Garrison Winter might be the most beautiful time of year at the Garrison, nestled in the Hudson Highlands, and not all Hudson Valley venues can handle off-season, 200-person nuptials. Vistas abound from the snow-covered Catskills, and the floor-to-ceiling windows in the River and Hudson rooms show off the 300 acres of frosty property. But a warm-weather wedding can be just as spectacular. In the Ceremony Garden, a pergola made of interwoven bittersweet vines stands upon a mountain overlook. The wedding package gets you an open bar, passed cocktails and hors d’oeuvres, a Champagne toast, a threeor four-course meal, accompanying wines and the cake. (Garrison Farm on site supplies many of the ingredients for Valley Restaurant’s seasonal menu.) The couple can add experiences for the family such as rounds of golf or a lawn barbecue as the rehearsal dinner. After the big day, the family usually retreats to the seven-room inn with a country aesthetic. Thegarrison.com 2/22 CHRONOGRAM WEDDINGS 39
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education
Nicholas Galanin's Never Forget is part of the Forge Project art collection.
Back to the Land FORGE PROJECT By Kerri Kolensky
A
fter earning a master’s degree in US history, Heather Bruegl, a citizen of the Oneida Nation of Wisconsin and a descendant of the Stockbridge-Munsee Band of Mohican Indians, was unsure of what career path she wanted to take. On a visit to South Dakota with her husband, the pair stopped on the plains of the Pine Ridge Indian Reservation. The reservation is the site of the Wounded Knee Massacre, where US Army soldiers killed nearly 300 Lakota people following a failed attempt to destroy the Lakota camp after years of land seizure and conflict. Sitting there, Bruegl found her calling. “The breeze was blowing. I kind of felt like the ancestors were calling and telling me, ‘What you’re going to do is talk about us. You’re going to talk about our history, and the importance of Indigenous histories and being an Indigenous woman,’” she says. “From that moment on, I didn’t look back.” Bruegl has traveled as a lecturer, and worked as the director of cultural affairs for the Stockbridge-Munsee band of Mohican Indians in Wisconsin. Today, the Stockbridge-Munsee people no longer have land in the Northeast. They
descended from the Mohicans, known ancestrally as the Muh-no-con-ne-ok peoples, and the Munsee peoples. The tribes lived in the Hudson Valley and the surrounding region, but were forced west by European settlers. They relocated to Wisconsin in the early 1800s, and have a reservation in Shawano County. Bruegl’s mother grew up on the StockbridgeMunsee reservation, which the family visited throughout Bruegl’s childhood. They stayed at her uncle’s cabin on the banks of the Red River, which runs through the territory, and watched Indigenous ceremonies. “When I’m approaching the pow wow grounds and I hear the drums— that music, the drums, the dancing is medicine. It’s healing,” says Bruegl. Last summer, Bruegl moved to the Columbia County town of Taghkanic and started working at the Forge Project—description here—as its director of education. Living on her ancestors’ homeland is fulfilling. “I didn’t think it was going to be that big of a deal until I came out here for the first time, and walked the land and just listened to the land,” Bruegl says. “Knowing that my ancestors walked on this land here, and had homes and communities was really cool.”
An Evolving Organization In early 2021, philanthropist Becky Gochman bought the Tsai residence in Taghkanic. The two structures are the only ones in the US designed by the Chinese artist and activist Ai Weiwei. They were commissioned by Christopher Tsai, a collector of Weiwei’s work, and built in 2006. The larger building, outfitted with a gray exterior, is the main residence. It resembles a two-story house with an open-concept floor plan. The second structure, a red Y-shaped building, functions as a guest house, housing a gallery and studio apartment. They overlook expansive fields surrounded by forests. According to cofounder Zach Feuer, Gochman purchased the 38-acre property to house an initiative that would use art to positively impact the area. She asked Feuer, a local art curator, to help. After Feuer attended a talk that Bruegl gave on the Stockbridge-Munsee community’s Taghkanic origins, the pair chose to make Forge Project an initiative supporting Indigenous people, with Bruegl’s guidance. Bruegl believed that a main focus for Forge should be to support underserved Indigenous leaders. “The idea of funneling resources toward 2/22 CHRONOGRAM EDUCATION 41
those in Indian country and Indigenous artists who may need the extra lift obviously came to mind, and was something that I thought could be very useful,” she says. As the three developed Forge, Candice Hopkins (Carcross/Tagish First Nation) joined as executive director. Hopkins wanted the initiative to expand public access and knowledge of Indigenous art, and to challenge longstanding systems of oppression. “I feel like the story of Native American art, in particular, has been left out of the development of American art,” says Hopkins. “What intrigued me about Forge was also its commitment to decolonial education. A lot of New York State is really the site of pretty massive displacement of Indigenous people, historically. So, what does it mean when folks start coming back?” With Bruegl and Hopkins on board, Forge Project launched in August as a Native-led initiative supporting Indigenous leaders in several areas of culture and activism, including land justice, food sovereignty, and decolonial education. In addition to helping Native activists, they also educate the public on Indigenous life and history. Working to Uplift and Educate The initiative operates through four programs: a teaching farm created with Sky High Farm; educational programming; a lending art collection featuring Indigenous artists’ work; and a fellowship program benefitting Indigenous leaders from various disciplines. Forge is developing the teaching farm with Sky High, an Ancramdale nonprofit that donates all of its food to food pantries, food banks, and other food access organizations around New York State. They will work with other organizations in Indigenous, Black, and migrant communities on addressing food security and supporting communities agriculturally. Bruegl plans educational programs about Native American life. “A lot of the work that I do is rooted in historical context,” says Bruegl. “I think bringing that historical context into contemporary light is important.” Previous events include discussion of the epidemic of violence against Native American women, and how reports of it often don’t make headlines. According to the National Congress of American Indians, Indigenous women in some counties face murder rates up to 10 times the national average. When Bruegl lived in Wisconsin, she felt the impact of the epidemic for the first time. In June 2020, 22-year-old Katelyn Kelley went missing from the nearby Menominee reservation. Her remains were found on the territory last March. “I remember being not terrified, but scared,” says Bruegl. “It was a huge wake up call for me. Not
The buildings housing Forge Project in the Columbia County town of Taghkanic were designed by artist/ activist Ai Weiwei. Photo by Alon Koppel. The first group of Forge Project fellows included (clockwise from top left): architect Chris Cornelius, environmentalist Jasmine Neosh, language scholar Brock Schreiber, and artist Sky Hopinka. 42 EDUCATION CHRONOGRAM 2/22
just as a historian, but also as an indigenous woman, about my surroundings and the world that I live in.” Forge’s lending art collection, made up of contemporary works by local and Native artists, also explores issues facing Indigenous people. Anyone interested in studying the artwork can borrow it. So far, Forge has loaned pieces to museums, galleries, and art organizations across the US, Canada, and Europe. Paintings, sculptures, and embroidered clothing items are installed throughout both buildings. The Y-shaped structure has a gallery space for the work. Much of the current work has activist themes. A print by Nicholas Galanin styles the phrase “Indian land” in the likeness of the Hollywood sign, reflecting themes of land justice. A drum with the words “land back,” painted by Corey Bulpitt, hangs in the residence’s entryway. “I always find that Native art has this lightness and humor and play, and that’s absolutely represented in the work at Forge,” Hopkins says. The residency program financially supports Indigenous artists, educators, and leaders of other disciplines. “We have a lot of bootson-the-ground Indigenous activists who are working really hard to bring awareness to issues in Indian country, but don’t always have the resources to do the work,” says Bruegl. Four fellows stay at Forge and work on their practice, and are given a $25,000 stipend. One of the fellows is Sky Hopinka, a filmmaker and artist (Ho-Chunk Nation/Pechanga Band of Luiseño Indians). His work explores Indigenous culture, often featuring nature scenes. He’s staying at Forge this winter and working on pieces for an upcoming show. Hopinka looks forward to dedicating time to his craft. “It’s just really wonderful to have a fellowship that gives you the space and the financial support to make work, without any sort of idea of a commission or a deadline,” he says. Giving the fellows creative freedom is essential to the program. “When fellows come to Forge, there’s no onus on what they might produce,” says Hopkins. “They’re simply given the time and space to do what is important to them at that moment.” Architect Chris Cornelius (Oneida), environmentalist Jasmine Neosh (Menominee), and Brock Schreiber (Stockbridge-Munsee), who works in language revitalization, are the other inaugural fellows. One of the future fellows will always be from the StockbridgeMunsee community to acknowledge the land that Forge rests on. In January, Forge accepted applications for the next cohort of fellows. The six selected individuals will be announced this spring. Forge hopes to inspire future Indigenous-led initiatives. “To be a true model and a true decolonial organization, it needs to be Native-led,” says Hopkins. “We hope that in some ways we can be a model for other organizations who are trying to do this.” Creating a Different Kind of Future Working at Forge keeps Bruegl’s days busy. While it’s rewarding, sharing her ancestors’ history is difficult. She keeps sage around to cleanse. “I noticed that the older I’m getting, I’m keeping the medicine close by, just so I can regroup and center again,” says Bruegl. She is planning lessons on decolonization in museums and other historical spaces, and children’s programming focused on Indigenous art. Bruegl wants Forge to become a widely known educational source. “I want to bring Indigenous educators to the forefront,” says Bruegl. “I want people to be able to look at Forge and know that this is the place you can go to learn about really anything in Indian country.” While their goals are still being formed, the organization hopes to support Indigenous leaders throughout the country. “I want us to be a resource. And I want people to feel like they’re welcome and can come and look at the work and spend time with us,” says Hopkins. The initiative supports activists’ voices in a time when Bruegl says that they are demanding change. “The original inhabitants of this land are not going anywhere, and we’re not going to go quietly into that good night,” says Bruegl. “We’re here, we’re going to make a ruckus, we’re going to make you listen to us, and we’re honoring our ancestors and honoring ourselves.”
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REAL RENEWAL Poughkeepsie
By Jamie Larson Photos by David McIntyre
Justin Brown , Francisco Coch, Evelina Knodel, Vrinda Sharma, Andrew Younker, and Chris Kroner at the Poughkeepsie office of MASS Design Group, a nonprofit architecture and design firm that is working on a number of projects in the city. Opposite: A view of the Walkway Over the Hudson from the Poughkeepsie Train Station.
W
hen industry left the Hudson Valley through the second half of the 20th century, the City of Poughkeepsie’s sails deflated. Unsuccessful attempts at reconstruction, like the federal Urban Renewal program, and the impact of multiple recessions left the “Queen City” floating in the doldrums for about a half-century. Over the past decade, however, a crew of invested stakeholders, developers, nonprofits, and local agencies has worked together to build new businesses, institutions, and opportunities intended to support the entire community. Even today, two years into the pandemic, the wind feels strong at the city’s back. As the city sees progress on multiple fronts—and many new residents, who moved up from New York City during COVID—Mayor Robert Rolison says it’s the community that’s been here for years, making the city “cool,” that deserves the credit for Poughkeepsie’s current success. “There have been a lot of positive things in the city,” the mayor says. “The community came together to address the pandemic, and so much was done on the fly. Everyone is optimistic. You have to be.”
Developing Draw Shopping centers, restaurants, breweries, and cultural institutions, all within a quick train ride from Manhattan, have made Poughkeepsie more and more appealing to folks looking to relocate upstate for a more comfortable home, as is becoming the norm for pandemic immigrants. Live events at the Bardavon, the Mid-Hudson Civic Center, the Chance, and other entertainment and nightlife venues provide new residents with a more metropolitan lifestyle than other sleepier locales in the valley. Performance spaces have been put through the wringer over the past two years. The Chance was also rocked hard in 2021 when owner Frank Pallett died at the age of 51 of a sudden illness. He will be honored with a tribute show on February 4. Despite all the difficulty, venues like these have been a big selling point for developers luring new tenants to the area. “There’s a little renaissance happening in Poughkeepsie,” says Brigham Farrand, Director of Business Development for local firm Baxter Built. 2/22 CHRONOGRAM COMMUNITY PAGES 45
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Mayor Rob Rolison in front of the former Dutchess County YMCA, which is being developed by a broad coalition of partners into the Youth Opportunity Union, which will be a gathering place for the city’s youth. Opposite, from top: The ruins of Hudson River State Psychiatric Hospital, a 296-acre site that operated from 1873 until its closure in the early 2000s. The hospital site is currently being developed as a mixed-use residential/ commercial campus. One of the first new tenants is a ShopRite supermarket.
“We are in the process of creating a new 80-unit apartment building at 361 Main Street, with a retail first floor, making a space for entrepreneurs and residents to live right in the heart of the city.” Baxter is also presently opening one of the city’s most anticipated new ventures, the Academy, slated to open at the end of April. Located in a rehabilitated and restored office building, the Academy will have 28 apartments, a coworking space, event space, food hall, restaurant, and brewery. Farrand says Baxter’s sibling leadership team, Amanda and Eric Baxter, are committed to building in the city, even if it’s more complicated and expensive than doing so in the surrounding town like the giant multi-home communities underway like Eastdale Village, Hudson Heritage (at the site of the former Hudson River State Psychiatric Hospital), or Bellefield, in neighboring Hyde Park. “I really think the opportunity is ripe for missiondriven development,” Farrand says. “We are trying to create what’s best for the community while allowing city residents to remain in the city.” Building Optimism The husband-and-wife development team at James J. Sullivan Corp., has also been investing heavily downtown. In 2018, Jim and Gina Sullivan opened 40 Cannon, which has 49 apartments (10 of which are low income) and a commercial first floor—home to the Sullivans’ office and Cafe 40. Shortly before the Pandemic the Sullivans also finished transforming the
Masonic Lodge nearby into Revel 32. Conceived as a wedding and events venue, during the pandemic Gina Sullivan says they had to pivot and start producing their own events. While the concerts have been a success, they are looking forward to getting their original idea back on track. The Sullivans also recently purchased the old county Board of Elections building across the street at 47 Cannon, and are currently seeking approval to add multiple stories to the building and create another 75 apartments and ground floor retail. “I constantly feel like I’m selling the city to people, not apartments,” Gina Sullivan says. “The trajectory of Poughkeepsie was so good. We were hearing less and less negative stories. It was the first time it felt like the change was sticking. Then the pandemic hit and it was heartbreaking to see that stop. But we wouldn’t be buying buildings if we weren’t optimistic. 40 Cannon Street was a burned-out shell, this project was not just for us, it was for the city. It’s not just a building, it’s what it means to people.” The Sullivans source a sizable portion of their workforce from the Poughkeepsie community, hiring young, underprivileged workers through the nonprofit Nubian Directions. Healthy Nonprofit Investment With all the focus on new places to live and be, there is also a collection of organizations acutely focused on how the changing natural and manmade environments of the city can equitably serve every resident. 2/22 CHRONOGRAM COMMUNITY PAGES 47
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Joanna Frang, Barrett Art Center executive director and Nicole FenichelHewitt, executive director of The Art Effect, photographed in Thomas Weeks Barrett, Jr.’s former studio at the Barrett Art Center on Noxon Street. Rhonda Green-Philips, a resident of the Poughkeepsie Underwear Factory who took up painting after the death of her son CJ.
When Poughkeepsie-based environmental nonprofit Scenic Hudson began its River Cities Program, which is designed to revitalize environmental access in urban centers, they started with community listening to find out what residents actually wanted. They heard about the same things—jobs, opportunities for youth, and food security—in Poughkeepsie, Newburgh, and Kingston. Scenic Hudson is now working with the city on a number of projects to rehabilitate the Fall Kill creek, which winds through the city’s north side, and a major new urban trail system that was recently approved by county government and will connect northern Poughkeepsie to the river. The trail runs along nearly three miles of abandoned CSX rail line and is intended to be as much a pedestrian commuter thoroughfare as a linear public park. The trail will connect residents in underserved communities to schools, markets, job locations, churches, and the Walkway Over the Hudson. Scenic Hudson’s other major project bearing fruit this year is the urban farm and 19 community garden plots that will come to harvest at Pershing Avenue Park, which is also in the city’s predominantly BIPOC north side. “It’s a clear example of how Scenic Hudson is moving forward with focus on equity,” said Zoraida Lopez-Diago, Scenic Hudson’s River Cities Program director. “The farmer who will be running the urban farm was raised in the community, and the garden will give residents and parishioners of the nearby church the opportunity to grow and share their own produce. I really love this work and think it’s an interesting
model for environmental organizations, and land trusts in particular. We are showing that a ‘redline’ block can really be transformed in a way that comes from the community like the north side, which was really affected by urban renewal.” Fringe Cities Lab Another organization looking to make sure Poughkeepsie doesn’t repeat the development mistakes of the past is MASS Design Group, a global architecture nonprofit founded by Poughkeepsie native Michael Murphy. MASS’s mission is to “research, build, and advocate for architecture that promotes justice and human dignity.” (MASS stands for Model of Architecture Serving Society.) For the past five years, MASS has operated its Fringe Cities Design Lab out of Poughkeepsie. “Hey who you callin’ a fringe city?” you might ask. While the term-of-art might at first sound pejorative, MASS defines “fringe cities” as small, independently situated cities whose urban landscapes remain dramatically marked by the impact of the urban renewal program. “Urban renewal and the injury it caused was the result of a one-size-fits-all, top-down planning process,” says MASS principal Justin Brown. “Fringe cities, like Poughkeepsie, need location-specific solutions developed in partnership with the people that inhabit them.” MASS has been involved in the design phase of a number of civic-minded projects, including the Academy and Hudson River Housing’s Underwear 2/22 CHRONOGRAM COMMUNITY PAGES 49
Factory and Trolley Barn multi-use facilities. “Currently, we are helping the Family Partnership Center to create a new accessible entry space to their former high school building along the Fall Kill,” says MASS principal Christopher Kroner. “We are designing the former Standard Gauge factory to be a public garden and environmentally inventive office space for Scenic Hudson and have been in deep community listening for ideas as we design the Youth Opportunity Union (aka The YOU) for Dutchess County at the former YMCA site in Poughkeepsie this year.” The Youth Opportunity Union will be a gathering place for the city’s youth. Poughkeepsie City Government has also formed an entirely new department that will oversee operations there and will be staffed the first quarter of this year, called the Department of Youth Opportunity and Development. The mayor says the new department will provide the city with the infrastructure and dedicated professional manpower to address the issues facing young people in the city through dynamic programing. The Poughkeepsie Trolley Barn is yet another community space reaching the city’s youth through the arts. Along with the Hudson Valley Performing Arts Laboratory, the Trolley Barn is home to the Art Effect, a nonprofit that provides youth with not just the opportunity to express themselves through art but also experiences that foster careers in the arts. The Art Effect is in an exciting moment as it becomes operationally affiliated with the Barrett Art Center, which will soon be moving from its longtime home on Noxon Street to the Trolley Barn. The two entities have been working together on youth programing for some time, and their combined activities and are set to increase their reach and impact. But Where to Live? Even with many new apartments entering the market and more on the way, there’s just not enough affordable housing in the city for those looking for it. Demand has driven home prices way up and what’s out there sells fast. Sandi Park is an associate real estate agent with Hudson Valley Nest/Berkshire Hathaway and author of the regional market analysis newsletter The Brick. Park calculates that Poughkeepsie has the least residential inventory and the fastest absorption rate (the average time between when a property goes on the market and when it sells) in the county. According to the most recent figures, a house under $350,000 stays on the market in the city and town of Poughkeepsie for less than a month. While the end result is the same—less inventory—Park says the type of New York City buyer has changed over the past two years.
Hudson River Housing Executive Director Christa Hines at the Poughkeepsie Underwear Factory. Opposite, from top: Gina Sullivan, developer and business owner, outside the 40 Cannon Street complex. The new visitor’s center at Walkway Over the Hudson.. 50 COMMUNITY PAGES CHRONOGRAM 2/22
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Poughkeepsie Friends Meeting (Quakers) Quakers support everyone’s spiritual search & welcome all seekers. Join us for silent Meeting for Worship every Sunday 10am to 11am, presently on Zoom, at PoughkeepsieQuakers.org Poughkeepsie Friends Meeting at Oakwood Friends School 22 Spackenkill Road, Poughkeepsie, NY 12603
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“The 2020 buyer was driven by fear. The 2021 buyer stayed in the city longer and took time to reevaluate their lifestyle before moving up,” Park says. “Before COVID, big builders like Eastdale, Bob Baxter, and others were already on the rise but new development can’t keep up with demand. New residents are bringing with them a new demand for services.” Christa Hines, executive director of Hudson River Housing, sees the real estate surge from a different perspective. Her organization runs the county’s only homeless shelter, scores of subsidized housing units, and takes calls every day from city residents struggling with housing insecurity. “We were in a housing crisis before and it’s gotten so much worse,” says Hines. “Even people with subsidies like Section 8 still aren’t able to find housing. We can’t develop new housing quick enough. We want to make sure everyone knows we still have rent relief available through Poughkeepsie, Dutchess County, and from the state. We are helping people access those funds.” In February, Hudson River Housing is opening 75 mixedincome apartments at the new Crannell Square, which it built in partnership with Kearney Realty & Development Group. Even with these new units, which include apartments designated for low-income families and artists, Hines says, “Our work can feel like a drop in the bucket.” Hudson River Housing also owns a number of rehabilitated former industrial properties that now house nonprofits responsible for some of the city’s greatest civic success stories.
Scenic Hudson Executive Director Ned Sullivan and River Cities Program Director Zoraida Lopez-Diago under the Dutchess County Rail Trail where the new Poughkeepsie trail network is planned to be built. Opposite: Brandon Walker, chef/ owner of Essie’s, a soul food fusion restaurant in the city’s Mount Carmel neighborhood.
The Poughkeepsie Underwear Factory (PUF) is now an anchor for the organization’s work in the middle of the Main Street corridor. The three-story, 22,000-square-foot historic building was completely restored and features the PUF Cafe (temporarily closed), PUF Studios, and other commercial tenants. There are 15 apartments, including 11 affordable units, a community park, and frontage on the Fall Kill. The PUF also houses the Poughkeepsie Open Kitchen, a shared-use commercial kitchen that provides workspace for food entrepreneurs. One alumni of the Underwear Factory is Hudson and Packard, a Detroit-style pizza concept that started at the Open Kitchen and recently opened a brick-and-mortar location on Academy Street.
again soon. Zeus Brewing Company, Blue Collar Brewery, Kings Court, and Mill House Brewing Company all offer hyper-regional brews, and most offer solid dining experiences of their own. Brandon Walker, chef/owner of the captivating soul food fusion restaurant Essie’s, says business had ticked back up before the Omicron variant surge. “We are doing okay, it’s hit or miss,” he says. “We are hiring cautiously and taking it one day at a time. I didn’t design this concept to be a takeout restaurant.” A CIA grad who worked in a number of high-end Manhattan kitchens before coming back up river to make his mark at Essie’s, Walker is combining the flavors of his Jamaican and Southern roots with international style, local ingredients, and modern techniques.
Breaking Bread The restaurant scene in Poughkeepsie cannot be overlooked as another huge attracting force, even as local restaurateurs struggle with the fluctuating staffing, supply, and pandemic issues plaguing the industry. Eateries like Brasserie 292, Farmers and Chefs, Tavern 23, and Milanese have adapted to be more takeout-centric without sacrificing their standards. The craft brewery scene is also a booming new sector, and its brewers look forward to hosting large crowds
A New Poughkeepsie Like Walker’s cooking, the city’s identity is shaped by its cultural diversity and an openness to incorporating new ideas. Unlike the last time the city was restructured by development, today the voices of the entire community are joining the conversation about what the next era in the city’s history will look like. The level of investment in the city now shows that Poughkeepsie is well poised to come out of the pandemic ahead of the curve. 2/22 CHRONOGRAM COMMUNITY PAGES 53
music Sean Rowe
The Darkness Dressed in Colored Lights (Fluff & Gravy Records) Sean Rowe’s latest begins with the heavy heart and baritone comensurate with his previous musical forays. Life is deep and hopeful, sad and beautiful. By the second track, we are entering new territory with the electricity of synths and epic, U2arena choruses. Although there are just as many instruments on song one, on song two, the spectrum explodes. It could be a challenge for die-hard Rowe fans to embrace this alternate direction and they may even ache for the ole man and his guitar, but be patient and give evolution a gander. The guitar is still there, the piano too, but the lightness of happy horns and sparkle of electric guitars sends us to the skies of soul, pop, and even R&B. Don’t be misled, however: These are ballads a la Tom Waits or Leonard Cohen. The Darkness Dressed in Colored Lights is an elaborate achievement. Dense, storied, and diverse, it is an introspective and generous exploration of emotion and genre including country groove, alternative folk, and Americana boogie. The record is even sexy, shedding clothes as it slips, skinny, into the well of gospel. The production, the singing, the playing, the words—everything flows with song and story. Per usual, Rowe’s voice shines, aided by good lyrics, yes, but also by the innate ability to occupy a special place between commanding and tender. Fittingly, Rowe is based in the ever-burgeoing city of Troy; perpetually on the edge of hip but consistently gritty, cool, and complicated. —Jason Broome
sound check Julie Novak Each month here we visit with a member of the community to find out what music they’ve been digging.
I’ve usually got a lot of new indie in heavy rotation on my playlists, but at the beginning of January, in honor of National Screenwriters Day on January 5, I devoted an entire episode of my show to playing songs from movies I love. Among them, Moonlight (brilliantly scored by Nicholas Britell of “Succession”) and Bjork’s Selmasongs: Music from the Motion Picture Dancer in the Dark. It is an amazing experience to listen to an exceptional score, even if you have never seen the film. What music can do to create a vivid, emotional landscape without the accompaniment of visuals is incredibly powerful. Recommended: “Black Theme” and “Hello Stranger” from Moonlight and “Scatterheart” and “The Musicals” from Dancer in the Dark. Julie Novak is a cofounder and workshop leader of TMI Project and the host of Radio Kingston’s “No One Like You” on Wednesdays from 1 to 3pm.
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Alex Collins/Ryan Berg/ Karl Latham
Frank Migliorelli and the Dirt Nappers
(Drop Zone Jazz Records)
(Rave-On)
Together
Together is the debut recording of a trio featuring pianist Alex Collins, bassist Ryan Berg, and Warwickbased drummer Karl Latham. Recorded at Latham’s Firefly Studios, the group essays a brace of modern jazz standards with taste and occasional formal deviations—that these detours don’t always work takes nothing away from these musicians’ adventurousness, nor their impeccable technique. Collins unpacks brisk, darting lines throughout but often leans on devices like repeated figures and block transposition of motifs which feel like inorganic digressions—he’s heard to most moving effect on the long overture to “Polka Dots and Moonbeams.” Berg’s savory tone and melodic ingenuity take the lead on his solos for the opener “Stella by Starlight” and “On Green Dolphin Street.” Latham, also producer for this recording, finds dynamic expression across the entirety of his kit throughout, keeping the proceedings hard-swinging and, even in its most elastic moments, together. —James Keepnews
We’re Not Kiddin’ Around Since 2015, Frank Migliorelli and the Dirt Nappers have released three albums of charming Americanabased pop: bright, rootsy stuff that sparkles with hints of Dwight Twilley, Tom Petty, and, especially, Migliorelli’s (last we checked) fellow Red Hook resident Marshall Crenshaw. Across those recordings, the lyrics have focused on grown-up topics like fractured romance and even the gun violence epidemic (see 2019’s single “Only Here”). Album number four, We’re Not Kiddin’ Around, is the band’s first foray into kids’ music, and it works well. All the tunes here are inspired by classic children’s books (Where the Wild Things Are, Harry the Dirty Dog, Flat Stanley, etc.), and the Nappers’ upbeat style frames them with a sunny, singalong halo. Starring guest players from the Avett Brothers and Bruce Springsteen’s and Hall and Oates’s bands, this family-car-ride-friendly disc lives up to its title in multiple ways. —Peter Aaron
books When the World Runs Dry Nancy Castaldo ALGONQUIN YOUNG READERS, 2022, $16.95
Award-winning science writer Castaldo takes readers from Flint, Michigan, and Newark, New Jersey, to Iran and South Africa to explore the various ways in which water around the world is in danger, why we must act now, and why you’re never too young to make a difference. The book covers topics including pollution, fracking, lead contamination, rising sea levels, climate change and more. The book provides a positive jumping-off point for parents to talk to their kids about some of the most pressing problems facing the planet from the Hudson Valley resident and author of many STEM books, including Beastly Brains: Exploring How Animals Think, Talk, and Feel.
Generation Disaster: Coming of Age Post-9/11 Karla Vermeulen OXFORD UNIVERSITY PRESS, 2021, $65
Vermeulen, deputy director of the Institute for Disaster Metal Health at SUNY New Paltz, offers an in-depth examination of the multiple stressors that shaped the developmental environment of today’s emerging adults in their youth. Those stressors include all of the societal changes that occurred in the United States after the attacks of September 11, 2001, as well as other threats like the increase in school shootings and other human-caused disasters, worsening natural disasters and concerns about the future due to climate change—and now, a global pandemic. Generation Disaster is chock full of quantitative research, as well as the voices of the emerging adults themselves.
Street Legal Rafi Zabor TERRA NOVA PRESS, 2022, $26.95
Part thriller, part metaphysical exploration, part screwball comedy, PEN/Faulkner Fiction award winner Zabor’s latest novel is a genre mash-up published by Cold Spring-based Terra Nova Press. Set in the marijuanagrowing regions of the Pacific Northwest, Street Legal features a cast of misfits and outcasts. A partial list: a weed dealer who wants to open a cannabis-centric theme park; a frustrated cop who isn’t allowed to collar anyone because the town needs the weed business; a Tibetan Buddhist lama from New Jersey who sounds like Tony Soprano when discoursing on the dharma. Zabor’s characters embody the absurdity and complexity of this mortal coil.
The Hard Sell: Crime and Punishment at an Opioid Startup Evan Hughes DOUBLEDAY, 2022, $28.95
In the early 2000s, Josh Kapoor developed a novel formulation of fentanyl, the most potent opioid on the market. A brilliant scientist with relentless business instincts, Kapoor was eager to make the most of his innovation and gathered around him an ambitious group of young lieutenants at his startup, Insys Therapeutics. Kapoor’s drug was a niche product, approved only for very ill cancer patients, but the company’s leadership pushed it more widely, deceiving insurance companies and regulators, and together they turned Insys into a Wall Street sensation. In The Hard Sell, Rhinebeck resident Hughes offers a bracing look at how opioids are marketed and sold in the US.
The Broken Tower Kelly Braffet MIRA BOOKS, 2022, $27.99
Fantasy veteran and Hudson Valley resident Braffet follows up 2020’s The Unwilling, which told the story of Judah, an orphaned girl with a special gift raised inside Highfall castle along with Gavin, the son and heir to Lord Elban’s vast empire. The Broken Tower begins with Judah having survived her own death, only to find herself in an unknown forest. She is separated from her foster brother, Gavin, with whom she has a mysterious bond that has kept them together— and kept her alive. Judah knows that somewhere, Gavin is in peril. To save him, she not only must learn to use the new power she discovers inside herself, she must survive.
Rise Above it, Darling: The Story of Joan White—Actor, Director, Teacher, Producer and (Sometimes) Mother By Judy White Staber
Troy Book Makers, 2022, $21.95 Joan White, who died in 1999, was a consummate professional. On stage, her comedic chops earned her a lifelong harvest of rave reviews; behind the scenes, her directing and producing were likewise lauded, and the erudition and generosity of spirit she displayed as an acting teacher inspired gratitude and devotion throughout the world of trans-Atlantic theater. Yet Joan White also did something unthinkable to most: As a young, ambitious single mother in post-WWII England, she left her daughters Judy—just shy of four years old—and her sister Susannah, seven, at the Actors Orphanage, a neo-Georgian mansion in Surrey housing “children made destitute by the profession,” and never retrieved them. Staber spent 12-and-a-half years there, the first few under a harsh administration employing the classic British boarding school terror tactics of rigid hierarchy and corporal punishment. Later on, saner souls took over, and the mansion— called Silverlands—became a happier place to live. (Staber’s memoir of the experience, Silverlands: Growing Up at the Actor’s Orphanage, was published in 2010.) White kept in touch, arriving with one gentleman friend or another in sporty cars on visiting Sundays, taking the girls on various cultural expeditions and visits, but her first priority was undeniably her career. The pain of abandonment in early childhood to unkind strangers is not something a person can simply rationalize away. Staber, a Chatham resident and multiarts professional, wields a rare emotional courage throughout this biography, blending collegial admiration with honest, anguished disillusionment without letting either aspect overwhelm the story of a 20th-century thespian. What emerges is an insightful backstage view of the ups, downs, and spin cycles experienced by a serious comedic artist often credited with making good productions great and saving lesser ones from being completely unwatchable; a versatile and gifted actor, director, producer, and teacher. Staber remembers visiting her mother at sketchy flats and in splendid settings, and in later life would experience for herself the realities of being on the road with a production company. It’s an open question what kind of childhood the girls would have had if White had kept them with her through those hungrier early years without making entirely different choices. That was likely a question White asked of herself, yet whatever answers she arrived at weren’t shared with her daughter. Such parenting as she attempted was curiously tone deaf and thoughtless for someone whose lifework was based on interpreting and portraying human emotion, and she refused to explain to the girls anything much about their father, stage manager Archie Moore—who, it later became clear, wanted to be more involved with his children than White ever allowed him to be, post-divorce. In her later years, White took to writing her daughter regular letters, and the two would work together more than once on theater productions. It was, of course, too little too late. Staber experienced outright shock when she learned years later that her mother had confided vast shame and regret to a former student turned co-worker; it was not something White ever shared with her. Her devotion to the creative nurturance of other young people, both in the theater and with her grandchildren, stood in stark contrast to her complete lack of any discernible effort to step back into the role of maternal nest-builder during her daughters’ childhood, or offer any coherent explanation after the fact. Staber’s unsparing honesty, coupled with her unfailing fairness, come together in a deftly and generously told tale that sheds light on the dramatic arts and the drama of atypical family experience in equal measure. One imagines White would be bursting with pride, refusing more than a crumb of credit—but probably, for all of her fearlessness on stage and in the director’s chair, unable to find the right words to fully communicate that pride to her daughter. That Staber manages to make art of all this is a gift to mothers and daughters everywhere. “Rise above it,” White’s signature catchphrase, is one that this remarkable book reveals to be far more than an empty slogan on both sides of the generation gap, even when it has widened into a chasm. —Anne Pyburn Craig 2/22 CHRONOGRAM BOOKS 55
poetry
If you put the front lights of cars together you would get the sun
EDITED BY Phillip X Levine
Catskills
A New Year
—Joshua Fisher (4 years)
Rise and fall together.
Beginning
Lie flat as sand dunes.
If only this dawn of A New Year Might mean the dawn of A New Beginning:
You served me my first cup of coffee in a quilted Ball jar two stories above Main Street on a gray Thursday morning before a storm in December after finals were over and from above it sounded like we were the only people left in town. I can’t remember how that first cup tasted or if I even liked it but I do remember the creak of your kitchen floor as you carried it across the room, sleeves falling down to your fingertips. I remember how the clouds formed behind the glass and feeling warm when they were gone, although I think that was you.
Justify age in teeth, bias, clove.
—David Lukas
Sky disappears in cliffs.
Flight with the Billions Waiting
—Ryan Tracy
As the shadowlands seize the heart, as hemlock, as antimony, as blade swift, clean and silent.
I Stand, Quietly
To gather back harbingers dark as bird-cloud, all directions scattered. The jostling of sounds, escapes into strange forests, moon like a gash, a gash of pearl hung there. Cancer-root among oak trees. The living and dying, dancing. —Steve Clark My Love Is Like a Rose Bud My love is like a fresh rose bud She is warmed by the sun Watered by gentle rain Nourished by healthy soil and Glories in the fresh air And opens to me When she is ready —Mel Sadownick
56 POETRY CHRONOGRAM 2/22
Haven without gates or fences. Burned by snow and sun and footfall. Waterfalls flatten into seas. Forest froth retreats in autumn runoff. Passive active breath.
I stand, quietly, witness you crossing the footbridge in the old park where almost no one dares walk alone anymore. Life on the outskirts is dark, we fear walking on our own— defenseless, unsure of purpose. To love, lust, or just to be? I stand, softly, whisper words only swaying trees share, birds pass over—squirrels trample my simple outlook now. In this moment, standing quietly, detecting how the world’s breath labors to return to full blown, I pray I can keep my balance. I no longer question if I’ve found my focus. I just choose not to follow you further. A different world—the park seems smaller now. I stand quietly, and quietly, I stand out. —Perry Nicholas
Might mean a melting Of frozen hearts— A New Compassion; Might mean a broadening Of narrow minds— A New Enlightenment; Might mean an embrace Of different ways— A New Tolerance; Might mean a loosening Of old strictures, Old scriptures— A New Faith. Someone once pled “Father, forgive them,” And was crucified; Someone once said “I Have a Dream,” And was crucified; Someone once begged “Imagine,” And was crucified. Haven’t we done enough harm? We’ve no time left to crucify. It is time, at long last, to sanctify: To sing a psalm in unison, In an all-encompassing embrace, In this holy chapel of Earth— In consecration not of the One, But of all: our full congregation; To gather close in welcome Of our glorious differences, Knowing that differences Serve only to deepen us, Merely to diversify us, To weave of us all A coat of many colors, Stitched together as one: Myriad beautiful tones, All harmonizing, all blending, All dazzling, all holy. And all of one lining. —Tom Cherwin
A Few Things
Finding My Way
Socially Distanced Cocktails
That’s all
Now I’m older, entering a room, forgetting my purpose, I ask myself, What am I doing here which is what I should have been asking right along.
The night is warm, her flowers in bloom A chance to dispatch our covid’d gloom; Old friends together, our drinks well known A social gathering instead of alone.
A decent window With something Beyond it Another poem to fill This room with silent Music Her hope to last all Morning
A Poem for Sale
No menu, just a coffee A few things That’s all —Ryan Brennan
How it used to be tomorrow Running the guy what he’s unwilling to walk Chasing death with the water of life —J Sweet
OMG My My
god dog
I lost
My My
dog god
I lost
My My
god dog
is dead
My My
dog god
is gone
I had a poem for sale, I asked a store owner to place it in the window He insisted on commission I agreed We put a price tag on it It stayed on display for a month The store owner said “No one is interested you’ll have to take it back” I asked if there were any potential customers “No”, he said, “But people stopped by to read it” That encouraged me and I asked if I could replace it with another one For the same price. —Ze’ev Willy Neumann Talkative Neighbor
My
head is in a poignant fog
My My My
I lost
god dog god
—Clifford Henderson
—David Capellaro
Full submission guidelines: Chronogram.com/submissions
came here from Sweden at age seven seventy years ago strolling the sidewalk to the corner and back dozens of times every day often stopping to chat in by-the-book English but today an ambulance parked in front of her home she struggles with the medics as they try to stretcher her howling her fears in desperate Swedish —Tony Howarth
Each chair is placed at the distance proscribed And each wears a mask as our hostess advised, Here, the covid has no chance to spread, Though no one can hear a word that is said. —Chas Weeden Burnt Hand My burnt hand Is scorched permanently black From four separate Hot steel guns...untraceable each My ears suffer tinnitus From shots fired at a close distance in barren Much less fortunate neighborhoods In East and West Baltimore On suffocating nights tightening around me Choking The sounds whirled into my ear canals Swirling like dishwater down the drain Of the kitchen sink Only much faster Only I was much quicker My eyes bleed in anger Seeing bodies drop On the grimy sidewalks Littered beyond imagination Some more trash for the pile Call me a litterbug I dare you I use my burnt hand to eat To shake your hand To caress my woman’s body To write To wipe my ass To paint To shoot up To wave at a passing car To hold my baby son and daughter To hammer a nail To hold up to my eyes as I stare wildly at the sun I look at my burnt hand Carbon Black And say “Oh baybee...you’re a killer alright.” —Theo Steve
2/22 CHRONOGRAM POETRY 57
storytelling
Storyteller Annie Tan at the Howland Cultural Center last summer. Photo by Michael Isabell
Prickly Pleasures THE ARTICHOKE STORYTELLING SERIES February 19 at Howland Cultural Center in Beacon Artichokeshow.com
58 THE GUIDE CHRONOGRAM 2/22
Storyteller Drew Prochaska, a two-time Moth StorySLAM winner, moved to Beacon in 2017 after 24 years of living in New York City, only to find himself taking the train back down to the city to perform: Sometimes for jaded, unenthusiastic crowds, and often for little more in return than drink tickets. Since there didn’t seem to be a storytelling scene in his new hometown, he decided to make one. “I just walked into the Howland Cultural Center and said ‘Hey I have an idea for a show,” and they gave me a chance,” Prochaska says. “Turns out there was a huge interest here for this. We opened the doors the first night and there were 125 people outside waiting to get in.” By coincidence, the same month that Prochaska created The Artichoke—he figured the thorny thistle was an apt metaphor for a defensive storyteller who, in the process of spinning a tale, opens up to reveal their tender heart—another Beaconite, author John Blesso, was starting a series for locals at the nearby bar Dogwood called Adult Stories. The two men met, hit it off, agreed to run their shows in alternating months so as not to compete with each other, and then eventually joined forces. Now in its third year, The Artichoke features award-winning storytellers from such well known series and podcasts as "The Moth," "Story Collider," and "Risk," as well as the occasional Beaconite thrown in to round out the lineup. Prochaska said that word has gone out in New York City about the raucous, enthusiastic crowds that the Howland Center draws, which makes the show easy for him to book. “Every storyteller that I ask says yes,” he said. It doesn’t hurt that Prochaska treats the performers the way he wants to be treated, which means housing them, feeding them, and, yes, paying them, even though it means he and Blesso don’t get paid. When booking the show, Prochaska looks for funny or uplifting stories. They can get dark, but they need to
end on a high note. “You leave the audience where you found them,” he says. “Everybody needs that after the last couple of years.” But while the stories may be funny, they’re not standup comedy. The line between the two can get blurry, and many great storytellers also do standup, but Prochaska said there’s a few things that differentiate the two genres. First, storytellers have to tell the truth. Second, storytellers shouldn’t sound too rehearsed. “This isn’t a monologue,” he says. “This is you telling a story to your friends.” But, most importantly, stories have to have an arc—a beginning, middle, and an end, all wrapped up in 10 minutes. This is where it can get tricky. Prochaska believes that while everyone has a story to tell, not everyone is a storyteller. He compares it to staring at one of those old “Magic Eye” collages: Anyone can look at them, but not everyone can see the pattern emerge from the jumble into a cohesive form. That includes himself. Years ago, in order to confront his fear of sharks, he went diving off the coast of South Africa in a shark cage, surrounded by circling Great Whites. Prochaska survived the encounter, and then was promptly mugged at knifepoint when he got back on land. He just chalked it up to two very strange, unconnected things happening on the same day. It took a while for the connections between the two events, and about what it taught him about fear and risk, to snap into focus. “I think a lot of people don’t look at the events of their lives as stories,” he said. “They look at them as anecdotes or just a series of events. A storyteller can see the journey. They can see the arc.” Tickets are $20. The show will also be available on video 24 hours later for $15. In-person attendees will need to bring a photo ID and proof of vaccination. —Brian PJ Cronin
the guide
Alexis Morrast is a 20-year-old singer taking the jazz world by storm. She performs at the Hudson Hall Jazz Fest on February 12. Photo by Love Imagery
Jazz is too often characterized as intellectualized music for highbrows. Many potential new listeners seem unaware of its history of being the People’s Music: During the 1930s-’40s swing era it was the Western world’s most popular musical style, and during the 1960s free jazz revolution and civil rights movement it was a loud voice for social change. But the Hudson Jazz Festival, which will return to Hudson Hall over two weekends, February 10-13 and 17-20, looks to remind audiences of jazz’s accessibility and its transformational power. This year, the hall’s curator, Cat Henry (formerly the vice president of Concerts and Touring at Jazz at Lincoln Center), has assembled a lineup of top talent to appear at the festival under the theme “Lift Every Voice” (a titular tribute to “Lift Every Voice and Sing,” a classic song known as the “unofficial Black national anthem”). Headlining are two Grammy nominees: gospel-soulblues-jazz duo the Baylor Project (February 11) and singer Jazzmeia Horn (February 19). Also part of the festival is a screening of the 2009 documentary Let Freedom Sing: How Music Inspired the Civil Rights Movement, which will be preceded by a community sing (February 13) led by singer-songwriter Anneice Cousin of local youth advocacy group Beautiful Racket. She answered the questions below by email. —Peter Aaron What’s the story behind Beautiful Racket? What inspired you to start the organization, and what are its goals and activities? Beautiful Racket was born in the summer of 2020 out of the need for accessible creative programming for the youth of Hudson. We believe accessibility means more than financial access. We are committed to eliminating barriers that have historically prevented Black and Brown people from accessing the power of self-expression, by creating a safe and empowering
environment rooted in: representation in leadership and instruction; tuition-free programming for students; and competitive wages that honor the true skills of the instructors. I was encouraged to begin giving singing lessons a few years ago at a major transition moment in my life. About a year later, I was asked to create a creative/music program for the Hudson Youth Department’s summer program. Then the pandemic hit, and I saw an opportunity for this offering that was developing to also answer a real hole left by traditional music classes changing or being taken out of the daily school instruction. Children need creative outlets to learn how to constructively harness their energy. I realized that the people affected most by this loss are the ones who cannot afford to supplement it outside of school. So I raised the funding needed to cover my costs and found an accessible location on Warren Street and in fall 2020 we offered our very first program. On a large scale, I see this as an opportunity to model how reparations can be applied to address the effects of slavery and racism in this country and be a part of a major shift in our society. I look forward to the future of Beautiful Racket incorporating partnerships with research institutions studying and furthering reparations and reparative business models. This year we will offer a program for adults and continue to consider the many ways we can expand further. Currently we offer opportunities for first-time music experience, songwriting, piano lessons, music production, and performance. What is your musical background? How would you describe your style as a singer-songwriter? I have been a singer-songwriter my whole life! My parents are both musically inclined. I remember my mother always being in a church choir, and my father is a drummer. I sang in the musicals in school and in high school created my first group with my two best friends.
Voices Carry THE 2022 HUDSON JAZZ FESTIVAL February 10-13, 17-20 Hudsonhall.org
We entered a song in the John Lennon Songwriting contest and placed as semifinalists, then entered our school talent show and won that. In college I linked with the Beat*Shot music crew, and throughout college and early adulthood I performed all around Albany. I’ve released two different solo projects and am in the final stages of a third. I would say my style is underground hip-hop/ R&B. I am inspired by current artists like Summer Walker, Jhene Aiko, Somaht, Yebba, Dixson, and H.E.R. and producers like Jaydot and Oddisee. I really love the return to real R&B and musicality. Legends who inspire me are Erykah Badu, Etta James, Billie Holiday, Angie Stone, Xscape, Chaka Khan, Roy Ayers, Nina Simone, Nancy Sinatra, and Janis Joplin. For the festival, you’ll be leading a community sing before a screening of the documentary Let Freedom Sing. What will the program be like? I’m very excited to be a part of [the festival]. I hope that the final production and arrangement, as well as the people we bring together, can be representative of the song we’ve chosen—“Lift Every Voice and Sing”— and that it showcases every style and every person, so that the listeners are left feeling the richness and importance of representation for everyone. I hope that people find at least one thing that resonates with them, and that they get to experience jazz on a level deeper than [just the] music. Hudson Hall has put together a festival that really honors the many ways one can experience jazz culture and history. 2/22 CHRONOGRAM THE GUIDE 59
in memoriam What He Did For Love KEVIN ARCHAMBAULT (1977-2022) Encapsulating my friend Kevin Archambault, who passed away on January 10, at the age of 43, into a handful of column inches is, quite frankly, impossible. This fact was brought into sharp relief while talking to his friends, family, and colleagues at the Center for Performing Arts at Rhinebeck—where he served as artistic director—and gathering their thoughts on a person with whom they felt a deep connection. “Quintuple threat” was a term that came up more than once to describe him, referencing not only Kevin’s singing, acting, and dancing abilities (a “triple threat” in showbiz terms), but his directorial and choreography prowess, too, having helmed nearly 50 shows on the Rhinebeck stage. “He was a beam of light,” was another phrase I heard more than once. “There is not a person [at the Center] who did not love him,” said others. While the words describing Kevin varied slightly between those who knew him, the sentiment was the same: Kevin was a rarity, and the feeling of loss is profound. Kevin Patrick Archambault was born in 1977 in Colorado. He graduated from the Denver School of Arts in 1995 and went on to attend St. Edward’s University in Austin, Texas, where he majored in theater and drama and graduated cum laude in 1999. After spending a number of years performing and teaching in Austin, Kevin relocated to New York City in 2001 and eventually made his way to the Hudson Valley. Kevin’s first production at the Center was “Oklahoma” in 2005, playing the role of Curly, according to the Center’s managing director Lou Trapani. “I remember thinking,” recalls Trapani, whom Kevin affectionately referred to as ‘Daddy Lou,’ “‘Who is this carrot top string bean with legs that bend in four directions at once?’” The two went on to work together on dozens of productions, both as each other’s directors, and as actors in each other’s productions. “He stole my heart as my dresser in “The Dresser,” Trapani says. “In that play, he nurtured and guarded my old Shakespearean actor in decline and he wept real tears each night as I died at the play’s end.” Just prior to the production, Trapani had made Kevin his assistant artistic and managing director. “It had always been my intent for him to succeed me, and we worked tirelessly together to ensure that he knew everything there was to know. I shall miss my dear boy. More than I can say.” “The biggest honor I’ve experienced in my career,” says 60 THE GUIDE CHRONOGRAM 2/22
songwriter/composer Cheryl B. Engelhardt, “was when Kevin presented me with a blank journal and asked me to write a musical with him.” Over the next four years, the pair penned “The Boiler Room Girls,” based on Robert Kennedy’s six advisors during his 1968 presidential run. “Kevin was the type of collaborator who required complete vulnerability,” explains Engelhardt, “which meant our writing sessions were wrought with tears, laughter—and giving each other the utmost trust. He was my safe space.” Thomas Netter, who first worked with Kevin when he was cast in the Center’s 2010 production of “Falsettos” at the age of 11, felt a particular bond with him, seeing him as a mentor over the past decade. “He was the best role model, all around— and I always wanted to be just like him. Still do!” Kevin loved a challenge. His directorial choices were often met with wide-eyed amazement and utterances of “Impossible.” Nothing was impossible in Kevin’s world, though, even getting me to the point where I could dance and sing for 10 minutes straight without breaking a sweat by the time opening night rolled around. Paul Schubert, who often musicdirected Kevin’s shows, knew all about Kevin’s love for a challenge and, during the Center’s 2007 production of “Company,” told Kevin, “we can’t do that,” when presented with Kevin’s idea for an opening number involving various cast members entering through five separate doors. “Never tell Kevin he can’t do something.” “Kevin had the gift of really seeing people,” says Randolph Loder, Kevin’s husband since 2019. “He was always present and gave you 100 percent of himself in every conversation and in his art. Kevin cared more for other people than anyone I have ever known.” Loder encourages everyone to make a donation to the theater in Kevin’s honor in lieu of sending flowers. Kevin and I played the Baker and the Baker’s Wife during the Center’s 2005 production of the musical “Into the Woods” and I would go on to do three more shows that Kevin directed. I will always remember him as the most empathetic and considerate of scene partners I’ve ever had the pleasure of acting with, as well as an insightful director who taught me to dance even though I have two left feet, and a devoted friend who brought out the best in absolutely anyone who encountered him. Thank you, Kevin. Now, kiss the day good-bye, and point us toward tomorrow. —Kandy Harris
in memoriam We Are Stardust, We Are Golden MICHAEL LANG (1944-2022) What were you doing when you were 24 years old? Perhaps you were beginning a career. Maybe you were in grad school. Maybe you were in the military, even Vietnam. Or maybe you were just partying while you figured out what was next. One thing that you definitely weren’t doing, though, was organizing and overseeing the largest live musical happening of its time, a four-day event that attracted over 400,000 people, changed the world, and came to be seen as the defining sociocultural moment of a generation. An occasion whose very name would become synonymous with large-scale gatherings of any sort. There was only one person who did that as a 24-year-old: Michael Lang, who died on January 8 from non-Hodgkin lymphoma. He was 77. It’s likely that some who are reading this were there, and perhaps even caught a glimpse of Lang darting about on his motorcycle. But for many, Lang’s image as the baby-faced-butunshakably-serious organizer of the 1969 Woodstock Music Festival—along with its iconic performances by Jimi Hendrix, Janis Joplin, Santana, Sly and the Family Stone, Richie Havens, the Who, Joe Cocker, and many others—is forever burned into their mind thanks to his scenes in the 1970 documentary Woodstock. His cocreation and overseeing of the landmark festival has forever cemented his place in the pantheon. And yet Lang’s lasting mark also extends beyond his hallowed spot as the promoter of the most famous rock concert in history. Alongside his promoting other momentous live events—a 1989 concert in Germany celebrating the fall of the Berlin Wall, the successful Woodstock ’94, the problem-plagued Woodstock ’99, the unrealized Woodstock 50—Lang was an esteemed artist manager, guiding the careers of Cocker, Rickie Lee Jones, Willy DeVille, and Billy Joel. In 1971 he launched Just Sunshine Records, which released albums by Betty Davis, Karen Dalton, Mississippi Fred McDowell, and others. He served as the associate producer of director Wes Anderson’s 1996 debut, Bottle Rocket, and not long before his passing was involved in a planned film adaptation of novelist Mikhail Bulgakov’s The Master and Margarita. Throughout all his ambitious endeavors, despite whatever logistical chaos or temper-flaring behavior was swirling around him, Lang always maintained the laser-like focus and Buddha-esque composure that defined his persona to all who came in contact with him. “I’ve never met anyone like Michael,” says author Holly George-Warren, who cowrote Lang’s 2009 memoir, The Road to Woodstock. “He had this strange ability to always be cool, calm, and collected. He dreamed big, and he had really great instincts for ways of bringing all kinds of people together.” Born in Brooklyn, Lang majored in business and psychology at NYU before opening a head shop in 1966 in the burgeoning countercultural hub of Coconut Grove, Florida. Not long after his Southern arrival, he entered promotion
via a series of smaller concerts and the Miami Pop Festival, an event that starred Hendrix, the Mothers of Invention, and others, in 1968. That year, he settled in Woodstock, drawn by the memory of childhood visits to the arty town and its newfound reputation as the home of Bob Dylan and Paul Butterfield. It was while he was attending one of the regular Sound-Out concerts at Pan Copeland’s farm on the Saugerties/Woodstock border that Lang had an epiphany. “Nineteen-sixty-eight had been a terrible year, with the assassinations of Martin Luther King and Bobby Kennedy, and Vietnam and the violence at the Democratic Convention in Chicago,” Lang told me for the August 2019 issue of Chronogram. “I just thought about how nice it was for someone to be sitting out under the stars in the summer, smoking a joint, and listening to music. I thought, ‘I wonder if something like this, but bigger, could work here.’” Although many tourists visiting the town have to be told, most of us locals know the story from there: Woodstock’s town board, fearful of being ill-prepared for a massive hippie influx, denied Lang and his cronies the permits to hold the concert there, so it was moved to a succession of likewise aborted sites before finally taking place at Max Yasgur’s farm in Bethel, 50 miles south of the town for which it was named. “Woodstock ’69 was an example to humanity that things can be different,” says photographer Elliott Landy, who documented the event. There’s no question that over the ensuing 52 years the town of Woodstock—indeed, the Hudson Valley as a whole—has benefited from its name association with Lang’s “Aquarian Exposition,” a festival that it had originally spurned. But the easygoing entrepreneur never seemed to harbor any resentment over his event being rejected in 1969. In fact, he never left, continuing to make his home in the Woodstock area for his remaining decades despite all his international wheeling and dealing. He raised his family here, his cherubic countenance was a steady sight at local affairs, and he eagerly assisted efforts that enhanced the region’s arts and culture. A prime example of such efforts is the Woodstock Film Festival, which he became involved with in the early 2000s. “Michael’s fame made him a recognizable figure to many, and he was just as charming with those he did not know as those closest to him,” says the WFF’s cofounder and executive director, Meira Blaustein. “His eternal ‘Peter Pan’ glow, coupled with his gentle spirit and sense of humor were not lost on anyone who met him. Being with Michael was always a joy.” Thanks to Michael Lang for that joy, as well as the peace, music, and love he brought to the world. Along with his formidable legacy as an impresario, Lang leaves behind his wife, Tamara Pajic Lang, five children, a grandson, and a sister. We at Chronogram send our deepest condolences to the Lang family and their many, many friends. —Peter Aaron
Photo by Fionn Reilly
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A BEAUTIFULLY-CRAFTED SURVEY OF A GROUNDBREAKING ECOARTIST AND ACTIVIST
Upcoming Event: CHRISTY RUPP IN CONVERSATION WITH CURATOR JEN DRAGON SATURDAY, FEBRUARY 5 @ 2PM AT THE WOODSTOCK BYRDCLIFFE GUILD KLEINERT JAMES GALLERY 34 TINKER STREET WOODSTOCK, NY. 12498
THE
DORSKY
Mary Frank: The Observing Heart
CELEBRATING TWENTY YEARS
Mary Frank, Lift, 2021, courtesy the artist
February 5 – July 17, 2022 SAMUEL DORSK Y MUSEUM OF ART
STATE UNIVERSITY OF NEW YORK AT NEW PALTZ
www.newpaltz.edu/museum
62 THE GUIDE CHRONOGRAM 2/22
live music
Cate Le Bon plays Colony in Woodstock on February 6. Photo by Huw Evans
Frank Pallett Tribute Concert
Waxahatchee
Marcia Ball
February 4. Frank Pallett, the long-time owner of iconic Hudson Valley venue the Chance Theater, died last August. Although the Chance, which opened as a vaudeville theater in 1912, already had a lengthy history as a live music spot when Pallett acquired it in 1994, under his management it remained one of the East Coast’s vital halls, hosting under-the-radar shows by Bob Dylan and David Bowie amid its steady large-club bookings and frequent benefit shows. This night at the club honors the late entrepreneur with sets by Rock Alley, the Playback, the Greg Woods Band, Obsidian, and Vyper. (Life of Agony and Dog Eat Dog growl February 2; Overkill and Prong pummel March 3.) 7pm. $15. Poughkeepsie. Thechancetheater.com
February 11. Named for a creek in her native Alabama, Waxahatchee is the moniker of indie rocker Katie Crutchfield’s solo project, an enterprise that began after the breakup of P.S. Eliot, the pop punk band she co-led with her sister, Allison Crutchfield (the latter fronts the quartet Swearin’). Waxahatchee’s newest album, Saint Cloud, centers on the singer-songwriter’s 2018 decision to get sober. “I think all of my records are turbulent and emotional, but this one feels like it has a little dose of enlightenment,” she says. Waxahatchee headlines Tarrytown Music Hall this month. Madi Diaz opens. (Big Band of Brothers celebrate the Allman Brothers February 24; the Righteous Brothers reign February 25.) 8pm. $33-$38. Tarrytown. Tarrytownmusichall.org
February 25. Texas-born, Louisiana-bred Marcia Ball’s good-time gumbo of blues, swamp pop, R&B, honky-tonk country, and pure boogie woogie is the stuff of rollicking, dance-party dreams. Fired up by such impeccable NOLA influences as Irma Thomas, Professor Longhair, James Booker, and Fats Domino, the singer and pianist cut Circuit Queen (1978) for Capitol Records before beginning long runs with revered roots labels Rounder and Alligator (her debut on the former, 1984’s Soulful Dress, features guitarslinging guest Stevie Ray Vaughn). Ball rolls into Infinity Hall for this Mardi Gras-month soiree. (Christone “Kingfish” Ingram wails February 12; Tinsley Ellis tears it up February 20.) 7pm. $34-$49. Norfolk, Connecticut. Infinityhall.com
Cate Le Bon
Anaïs Mitchell with Bonny Light Horseman
Ornettiquette
February 6. Born in Wales and now living in Los Angeles, singer-songwriter and producer Cate Le Bon retains in her music much of the charcoal-hued climate of her homeland, despite the sunny surroundings of her adopted environment. Following up her raved-about 2019 album Reward is last year’s Pompeii, which sees the artist moving even farther away from the folk-rock base heard on earlier efforts like 2013’s Mug Museum and deeper into epic Kate Bush panoramas. Le Bon, who alongside her solo work retains membership in the duo DRINKS with White Fence’s Tim Presley, comes to Colony for this local return. (Chris Maxwell, Holly Miranda, and Ambrosia Parsley perform February 11; Rhett Miller rambles in February 12.) 8pm. $18-$20. Woodstock. Thecolonywoodstock.com
February 20. The Tony- and Grammy-winning Anaïs Mitchell is the creator of the book, music, and lyrics for Broadway’s hit “Hadestown” (the play won a 2019 Tony for Best Musical). Here, the Bardavon presents the songwriter in concert with the folk super group Bonny Light Horseman—comprised of Mitchell, Eric D. Johnson (Fruit Bats, the Shins), and Josh Kaufman (Hiss Golden Messenger, Bob Weir, the National)—at the beautiful Old Dutch Church in Kingston’s Stockade District. (“Rhapsody in Black” livestreams February 1-28; “Get Hip: Everything You Ever Wanted to Know About Jazz Music” is online February 2-March 31.) 7pm. $34, $48. Kingston. Bardavon.org
February 28. As an Ornette Coleman admirer, your arts editor was enthusiastic in his August 2019 review of local trumpeter and band leader Chris Pasin’s Colemanmining album Ornettiquette: “Pasin brings his knowledge and bright, burnished tone to the music, laying claim to his own rung of its ongoing evolution.” This date by Pasin’s Ornettiquette project for Quinn’s hip Monday Jazz Sessions series reunites the horn man with the album’s bassist and drummer, Michael Bisio and Harvey Sorgen, in the company of saxophonist Jeff Lederer. (Tim Berne, David Torn, and Dean Sharp jam February 7; Eric Person and Bob Meyer converge February 21.) 8:30pm. $15. Beacon. (845) 202-7447. Facebook.com/quinnsbeacon
2/22 CHRONOGRAM THE GUIDE 63
ALBERT SHAHINIAN FINE A RT 22 East Market Street, 3 rd Floor, Rhinebeck, NY • (845) 876-7578
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fri mar 11 at 8pm
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ROCKET NUMBER NINE RECORDS
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The best selection of used and new vinyl in the Hudson Valley
TURN THOSE UNPLAYED RECORDS INTO CASH! We are looking to buy vinyl record collections in good condition. Rock, jazz, blues, and soul. Email us today for an appointment rocketnumber9records@gmail.com 845 331 8217 • 50 N. FRONT ST. UPTOWN KINGSTON Open Thurs–Mon. Check hours on FB.
ARBOR FABULA: Five artists share their reverence for trees.
Iain Machell | Pablo Shine Kristin Flynn | Larry Decker Amy Dooley Solar Sallet by Matthew Friday & Alex Young exhibiting in Owning Earth Open free to the public dusk until dawn
February 5 – April 10 Opening Reception Saturday, Feb. 5, 5 – 8 PM 89 VINEYARD AVE HIGHLAND, NY studio89hv.com
UNIS N
unisonarts.org • 68 Mtn Rest Rd. New Paltz, NY ARTS CENTER & SCULPTURE GARDEN
Blue Spirits in the Woods, 2021, Pablo Shine
LOCAL NEWS. A WORLD OF UNDERSTANDING. therivernewsroom.com PART OF THE
64 THE GUIDE CHRONOGRAM 2/22
FAMILY
short list COMEDY
Jim Gaffigan
February 25 at the Palace Theater February 26 at Mid-Hudson Civic Center With the caricatured voice of an Adult Swim cartoon character and a clean brand of humor that has near-universal appeal, voice actor and stand-up comedian Jim Gaffigan has been making America laugh for over two decades. He boasts a handful of comedy specials and multiple Grammy nominations for his trademark observational routines that cover topics ranging from fatherhood to eating and laziness. He isn’t above the occasional poop joke, either. Gaffigan brings his stable of vocal impressions to Albany for a double header on February 25 and to Poughkeepsie on February 26 as part of the “We All Deserve This Fun Tour.” Midhudsonciviccenter.org
February 10-13 & 17-20, 2022 featuring
Jazzmeia Horn The Baylor Project Armstrong Now! with Daniel J. Watts Warren Wolf Jimmy Greene Alexis Morrast Mike Mosby Anneice Cousin
COMEDY
Pete Correale
February 26 at the Bearsville Theater With his thick Long Island accent, dramatic facial expressions, and occasionally wild gesticulating, Pete Correale often feels more like your friend’s hilarious, perennially exasperated uncle than a stand-up comedian. Whether he’s talking about having a kid in his 40s, sports, marriage, pop culture, or daily life, Correale brings a relatable perspective that will nevertheless keep you consistently laughing. Cohost of “The Pete and Sebastian” podcast on SiriusXM and former writer and performer on “Kevin Can Wait,” he is often touted as an underappreciated talent by fans. A multi-time performer on “The Daily Show,” Letterman, and Conan, Correale swings through Woodstock on February 26. Bearsvilletheater.com
FILM
Flee
Illustration by Keith Henry Brown
January 28-TBD at Upstate Films A darling of film festivals, the innovative, genre-bending, animated film Flee straddles the line between memoir and documentary. The film brings to life the previously untold story of Amin Nawabi’s physical and emotional journey as a child refugee escaping Afghanistan for Denmark. Ahead of his wedding, Nawabi jumps back into his past, opening a painful chapter that he has kept sealed for over 20 years but that threatens to disrupt his life and that of his soon-to-be husband. Narrated by Nawabi in Danish, as he recounts it to director Jonas Poher Rasmussen, the story is depicted primarily through animation with flashes of live-action footage, an evocative cinematic experience that spans the emotional spectrum. Upstatefilms.org
Tickets start at $25. hudsonhall.org (518) 822-1438
D’ARCY SIMPSON ART WORKS Hudson, New York
ACTIVISM/FILM
John Lewis: Good Trouble
February 5 at the Rosendale Theater Postponed from MLK Day in January, this double header at the Rosendale Theater celebrates the life and legacy of Dr. Martin Luther King, Jr. The event will kick off at 3pm with a staging of “Let it Shine, Living History Musical,” narrated by Radio Kingston’s Jessieca McNabb and brought to life by local actors, musicians, dancers. The event will also honor the present-day human rights and social justice leaders of Ulster County. At 5pm, the theater will screen the 2020 documentary John Lewis: Good Trouble, which tells the story of the legendary congressman and lifelong activist John Lewis though interviews and rare archival footage. Stick around following the screening for a discussion led by local history teacher Albert Cook. Rosendaletheatre.org
THEATER
“Unnatural Acts”
February 24-March 6 at SUNY New Paltz In 1920, Harvard University formed a secret court to handle accusations of “homosexual activity” following the suicide of one student. A docudrama conceived by Tony Speciale and collaboratively developed with the members of his ensemble, Plastic Theatre, “Unnatural Acts” details the formation of the secret court and its persecution of gay students. The play, which debuted at off-Broadway theater Classic Stage Company in 2011, will be brought to life by SUNY New Paltz students just over 100 years after the true events took place. Newpaltz.edu/fpa/theatre/
TALKS & LECTURES
Lost Amusement Parks of the Hudson Valley
February 9, virtual via Zoom The Hudson River Maritime Museum’s “Follow the River” lecture series is as meandering as the title might imply, covering topics ranging from maritime topics to the region’s. The next installment, “Lost Amusement Parks of the Hudson Valley,” will be led by historians Wes and Barbara Gottlock. The duo, who have published six books together, including one on this subject, will tell the tale of the region’s many bygone amusement parks, which grew up alongside the population and transportation boom of the 20th century and served as recreational destinations for the region for over 50 years. Hrmm.org/lecture-series
THE B PRO Mary Breneman
Jeremy Bullis
Gretchen Kelly
Will McCloud
David McIntyre
Zach Neven
Joseph Stabilito
Michael Simpson
Emily Ritz
D’Arcy Simpson Art Works is thrilled to collaborate with nine extraordinary emerging and mid-career Hudson Valley artists in 2022. Each artist will have new work on view year-round with solo take-over shows on Hudson’s 2econd Saturday Gallery Crawls. New and established collectors are encouraged to visit this intimate and supportive space. 409 Warren Street Hudson, NY www.darcysimpsonartworks.com
2/22 CHRONOGRAM THE GUIDE 65
art exhibits
Shape of You, Dong Kyu Kim, 2020, paper receipts, threads, microfiber cloths, American flag, 70 x 48 inches. "Everything Must Go," an exhibition by the Los Angeles-based artist and fashion designer, will be at Marist College's Steel Plant Studios through February 27.
1053 MAIN STREET GALLERY
1053 MAIN STREET, FLEISCHMANNS “Falling Forward.” Paintings by Gary Mayer. Through February 13.
ALBERT SHAHINIAN FINE ART GALLERY
22 EAST MARKET STREET SUITE 301, RHINEBECK “24th Anniversary Salon & Art Sale.” Through April 10.
ALDRICH CONTEMPORARY ART MUSEUM
258 MAIN STREET, RIDGEFIELD, CT “Amaryllis DeJesus Moleski: Portal Pieces.” Two large-scale works on paper: Graduation Day, and The Guardians. Through May 29.
ART GALLERY 71
71 EAST MARKET STREET, RHINEBECK “Claudia Engel: Watercolors.” February 1-28.
ART OMI
1405 COUNTY ROUTE 22, GHENT “Tunnel/Teller.” Installation by Alicja Kwade. Ongoing.
BAU GALLERY
506 MAIN STREET, BEACON “200.” Group show celebrating the 200th exhibition of the Beacon artists’ cooperative. Through February 5. “Borrowed Bones.” Cermic and textile sculpture by Hanna Washburn. February 12-March 6. “Eyedentity.” Works by Duvian Montoya and Jahmane West curated by Pamela Zaremba. February 12-March 6. “Julie Ann Nagle.” Mixed media work. February 12-March 6.
66 THE GUIDE CHRONOGRAM 2/22
BERKSHIRE BOTANICAL GARDEN
DIA:BEACON
JDJ | THE ICE HOUSE
“Face Nature.” Photographs and video by Madeline Schwartzman. Through February 25.
Works by Lee Ufan, Sam Gilliam, Barry Le Va, Richard Serra, Mario Merz, and others on long-term view.
“Cellar Door.” Colored pencil on canvas works by Samantha Rosenwald. Through April 8.
BERNAY FINE ART
FRIDMAN GALLERY
“Winter Group Show.” January 22-March 6.
“Beyond Silence.” Recent sculpture and drawings by Kazumi Tanaka. February 19-April 3.
CARRIE CHEN GALLERY
GARDINER LIBRARY
5 WEST STOCKBRIDGE ROAD, STOCKBRIDGE, MA
296 MAIN STREET, GREAT BARRINGTON, MA
16 RAILROAD STREET, GREAT BARRINGTON, MA “Horizon Within.” Work by Arlene Santana Thornton, Julie Shapiro, and Sandra Harper. Through February 27.
CARRIE HADDAD GALLERY
622 WARREN STREET, HUDSON “Figure and Form.” Work by Mark Beard, Chad Kleitsch, Bruce Murphy, and James O'Shea. February 9-April 3.
CLARK ART INSTITUTE
225 SOUTH STREET, WILLIAMSTOWN, MA "Hue & Cry: French Printmaking and the Debate Over Colors.” Prints by Pierre Bonnard, Mary Cassatt, Paul Cézanne, Jules Chéret, Maurice Denis, Camille Pissarro, Henri de ToulouseLautrec, and Édouard Vuillard. Through March 6.
D’ARCY SIMPSON ART WORKS 409 WARREN STREET, HUDSON
“Looking Up.” Kinetic sculptures by Jeremy Bullis and and color field paintings by Michael Larry Simpson. February 12-March 6.
3 BEEKMAN STREET, BEACON
475 MAIN STREET, BEACON
133 FARMER’S TURNPIKE, GARDINER
GARRISON
JOYCE GOLDSTEIN GALLERY
19 CENTRAL SQUARE, CHATHAM “Recent Works on Paper: Kelly Bruneau.” Through February 5.
KATONAH MUSEUM OF ART 134 JAY STREET, KATONAH
“Janice La Motta and Patricia Zarate.” Painting and installation. February 5-March 6.
"Young Artists 2022." In its 39th year, Young Artists features the work of local high school artists who take part in all aspects of its curation, installation, and marketing efforts to produce this exhibition. The works range in scale, concept, media, and process, reflecting the diversity of expression in the region’s young artists. February 6-27.
GREEN KILL
KLEINERT/JAMES ARTS CENTER
229 GREENKILL AVENUE, KINGSTON
34 TINKER STREET, WOODSTOCK
“Works From the Flat File.” Work by Michael Ackerman, Sergey Bespamyatnakh, Deirdre Day, Fred Duignan, Alexa Floresta, Terry Huber, Stephen Lewis, Philip De Martino, Gary Mayer, Will Nixon, Dorothea Osborn, Bret De Palma, Margaret Still, and Sarah Vogwill. Through February 28.
"Forest Bathing." Installation of artworks inspired by the local arboreal habitat by Ashley Garrett, Anne Leith, Iain Machell, John Lyon Paul, Christy Rupp, and Martin Weinstein. Through February 27.
LIGHTFORMS
HOWLAND CULTURAL CENTER
“Laura Summer: 24 Paintings.” Paintings inspired by the poetry of Mary Szybist. Through February 26.
“Books, Poems, and Dreams.” Paintings by Stacie Flint. Through February 27.
GARRISON ART CENTER
23 GARRISON’S LANDING, GARRISON
477 MAIN STREET, BEACON
“Celebrating Animals.” Multimedia group show. Through February 26.
THE SCHOOL
25 BROAD STREET, KINDERHOOK “This Tender, Fragile Thing.” Group show. Through May 1.
743 COLUMBIA STREET, HUDSON
LONGYEAR GALLERY
785 MAIN STREET, MARGARETVILLE “Paint the Town.” Group show of plein-air works from 2021 Paint the Town event. Through February 13.
art exhibits Land Notations, Kimberly Ruth, 2021. "here/everywhere," a collection of Ruth's photographs, are on display at Unison in New Paltz through February 28.
MARK GRUBER GALLERY
NEW PALTZ PLAZA, NEW PALTZ “Winter Salon Show.” Group show. February 5-March 12.
NORMAN ROCKWELL MUSEUM 9 ROUTE 183, STOCKBRIDGE, MA
“Jan Brett: Stories Near and Far. Exhibition of beloved children’s book illustrator. Through March 6.
PAMELA SALISBURY GALLERY
362 1/2 WARREN STREET, HUDSON “Winterwunderkammer.” Site-specific installation by Lothar Osterburg in the Carriage House and Sculpture Courtyard. Through March 13. “Ying Li: Splendor”. Paintings. Through February 27.
SUSAN ELEY FINE ART
PRIVATE PUBLIC
37 FURNACE BANK ROAD, WASSAIC
530 COLUMBIA STREET, HUDSON “I Remember.. Remember?” Work by Sarah Conrad-Ferm, James Greco, Joel Longenecker, Todd B. Richmond, Michael Rodriguez, Alexander Ross, Howard Schwartzberg. Through February 3.
SAMUEL DORSKY MUSEUM OF ART SUNY NEW PALTZ, NEW PALTZ
“Mary Frank: The Observing Heart.” Retrospective of the six-decade career of the acclaimed artist and activist. February 5-July 17.
STEEL PLANT STUDIOS AT MARIST COLLEGE
3399 NORTH ROAD, POUGHKEEPSIE “Everything Must Go.” Solo exhibition by Dong Kyu Kim, a Los Angeles-based artist and fashion designer. Through February 27.
433 WARREN STREET, HUDSON “The Archaeology of Memory." Karin Bruckner and Charles Buckley. Through March 6.
THE WASSAIC PROJECT
“What Comes After.” Group show curated by Eve Biddle, Bowie Zunino, Jeff BarnettWinsby, and Will Hutnick presenting. 10 artists throughout the seven floors of Maxon Mills: Roxanne Jackson, Kristen Schiele, Luis Edgar Mejicanos, Ashley Epps, LaTonia Allen, Zachary Fabri, Woomin Kim, Dana Robinson, Natalia Arbelaez, and Taha Clayton. Through March 19.
STUDIO 89
89 VINEYARD AVENUE, HIGHLAND “Arbor Fabula.” Larry Decker, Amy Dooley, Pablo Shine, Kristin Flynn, Iain Mchell. February 5-April 10.
TIVOLI ARTISTS GALLERY 60 BROADWAY, TIVOLI
“Winter Works.” Group show of seasonalthemed work. Through February 6.
UNISON ARTS & LEARNING CENTER 68 MOUNTAIN REST RD, NEW PALTZ.
“here/elsewhere.” Photographs by Kimberly Ruth. Through February 28. “Owning Earth.” Outdoor sculpture installation of 19 artistic responses to systems of human domination over our environments and the urgent need to enact futures guided by mutuality and reverence. Through June 1.
VASSAR COLLEGE PALMER GALLERY 124 RAYMOND AVENUE, POUGHKEEPSIE
"Women R Beautiful.": Photographs by Ruben Natal-San Miguel. Through February 6.
VASSAR COLLEGE: THE FRANCES LEHMAN LOEB ART CENTER 124 RAYMOND AVENUE, POUGHKEEPSIE
“American Impressions: A Nation in Prints.” Fifty prints, rare books, and photographs selected from the collections of the Frances Lehman Loeb Art Center and the Department of Special Collections at the Library at Vassar College. Through February 6.
WALLKILL RIVER SCHOOL OF ART 232 WARD ST (RTE 17K), MONTGOMERY
“Self Portrait.” Group show juried by Richard Taddei. Through February 27.
WOODSTOCK ARTISTS ASSOCIATION AND MUSEUM (WAAM)
28 TINKER STREET, WOODSTOCK “Betsy Regan: Dark Retrospective.” Fresco paintings. Through March 13. “FOCUS: Art and Social Justice.” Exhibition of art on themes of political and social justice juried by Nina Stritzler Levine. Through March 13. “Large-Scale Abstract Paintings from the Permanent Collection.” Large-scale works by Ethel Magafan, Edward Chavez, Ernest Frazier, Gwen Davies, Lou Tavelli, Roman Wachtel, Ezio Martinelli, Edward Millman, and Richard Crist. Through May 8.
WOODSTOCK SCHOOL OF ART 2470 ROUTE 212, WOODSTOCK
“Showcase Exhibition I.” Student work. February 12-April 9.
2/22 CHRONOGRAM THE GUIDE 67
ACROSS
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1. Band House 2. Neil's Horse 3. 11 Grammy Nominations 2021 4. Saugerties Rocks 5. Fastest Selling Record 2021
By Lorelai Kude
W O R A D I O D
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S T O 2 C K
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IT’S STILL THE ECONOMY, STUPID
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11 8
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DOWN 10
6. Todd Rundgren Band 7. Modest 8. Stands for Herself 9. 1st Woman in RnR Hall of Fame 10. Mornings with 11. Palenville Brothers
As much as our common destinies have everything to do with the universal conditions we currently face, each of us has our own path to tread. No one else can live your life, even as the world around us changes. External events which will have an internal consequence for each of us include the first-ever Pluto return (at 27 degrees Capricorn) in the Second House of the USA’s natal (Sibley) Chart on February 22. This momentous portend signals, as it did the first time around on July 4, 1776, a revolution based on economic interests clothed in the garb of humanist ideals of the Enlightenment era. As it was in 1776, so was it when it was first said: “It’s the economy, stupid.” It’s still the economy, and it’s still stupid. How this affects us as individuals, each with our own natal chart, begins to unfold for real this month. The New Moon in Aquarius February 1 is at the same degree as the Jupiter-Saturn conjunction in Aquarius which occurred December 21, 2020. The epoch-change which begun then receives nourishment from the seeds gestating since that time. Mercury stations direct February 3 and re-enters Aquarius February 14, after meeting up with powerful Pluto February 11. Expect explosive revelations in bursts of lightning-fast broadcasts. Venus and Mars conjunct in Capricorn at the Full Moon in Leo February 16. This is the true “Valentine’s Day”, it’s almost impossible not to be drawn to earthy passions—and why not? A great opportunity for reconciliation comes at the Last Quarter Moon in Sagittarius February 23-24, with Mars and Venus sextile Neptune, while Mercury squares Uranus and sextile Chiron. Forgiveness, love, bountiful compassion, and grace are all achievable now. Though there’s little we can do to influence global markets, richness of character is never devalued.
ARIES (March 20–April 19)
Surprising and unexpected financial opportunities are on their way. Prepare to assess your risk/ reward ratio. Though normally you’re a daredevil, these last two years have taught you not to cross the highwire without a net. The New Moon in Aquarius February 1 resurrects friendships which have been on the back burner for a while. Vulnerability isn’t your favorite feeling February 6 at the square of Mars to Chiron; Mars trine Neptune February 8 provides reconciliation energy. Venus conjunct Mars at the Full Leo Moon February 16; passions and practicalities collide! You don’t need to suffer to prove your worth.
TAURUS (April 19–May 20)
First Quarter Moon in Taurus February 8 assesses and evaluates new beginnings, as you start to really feel the “fated” quality of time now that the North Lunar Node is transiting your sign. Valentines’ Day is February 14. But for you it’s really February 16, with Venus and Mars conjunct in Capricorn, during the Full Moon in Leo. Emotionally this “feels like home,” stimulates you spiritually, and satisfies the pragmatic, practical considerations of life. Venus sextiles Neptune February 24, confirming your higher ideals. When it feels like you’ve found the real thing, imitations are no substitute. Manifest your destiny. A practicing, professional astrologer for over 30 years, Lorelai Kude can be reached for questions and personal consultations via email (lorelaikude@yahoo.com) and her Kabbalah-flavored website is Astrolojew.com. 68 HOROSCOPES CHRONOGRAM 2/22
Horoscopes
GEMINI (May 20–June 21) Retrograde Mercury in Capricorn stations direct February 3, re-entering Aquarius on Valentine’s Day, February 14. During this last Mercury retrograde period, you learned a profound life lesson about the transformative nature of grief. You find you’re able to articulate our collective losses after Mercury conjuncts Pluto February 11. Mercury squares Uranus and sextiles Wounded Healer Chiron February 24. Increased empathy and sensitivity to the sufferings of others has grown your heart in ways you never thought possible. If you’ve been given the gift of consolation, now is the time to use it. Acts of sacrificial service replaces restlessness with serenity.
CANCER (June 21–July 22) New Moon in Aquarius February 1 highlights the way you share your values, values, resources, and intimacies with friends you’ve brought inside the family circle. First Quarter Moon in Taurus February 8 with Mars trine Neptune energizes manifestation of shared spiritual goals. Full Moon in Leo with Venus and Mars conjunct in Capricorn February 16 enhances partnership relationships which revolve around shared dreams. Last Quarter Moon in Sagittarius February 23 strengthens your mind-body connection, offering positive and perhaps outside-of-the-box solutions for your need to connect with nature. Your health is kept in balance by that connection.
LEO (July 22–August 23) Leo’s planetary ruler is the Sun, and with Sun traveling through Aquarius, Leo’s solar opposite, through February 18, opposites powerfully and passionately attract. An unusual meeting of the minds turns serious when the Sun conjuncts Saturn February 4. Are you manifesting your full, ripest maturity of mind and spirit, while retaining your delightful Inner Child? If you are, the Full Moon in Leo February 16 is the “real” Valentine’s Day for you this year; your warm, hospitable, regal nature is never better than when demonstrating generosity to others. Receive the love that is offered you with grace and gratitude.
VIRGO (August 23–September 23) Retrograde Mercury stations direct February 3 and makes a conjunction to Pluto February 11 before returning to Aquarius February 14. You are in your power zone now. Decisions you make after all the time you’ve been given to pragmatically assess your life are now executable. Sun enters Pisces February 18, illuminating all the areas of your partnership relationships and infusing them with an extra dose of empathy and compassion—for yourself as well as others. Mercury squares Uranus and sextiles Chiron February 24, eliciting true confessions which surprisingly serve as balm to unhealed wounds, especially on the home front.
LIBRA (September 23–October 23) “It’s funny how young lovers start as friends” sang Elton John in 1971. Whether or not you are technically “young,” you may find this true February 16 at the conjunction of Venus and Mars in Capricorn, with the Full Moon in Leo. Friends who feel like family bring renewed vigor and potency into your life. You’ve been hiding secrets from yourself and now your unconscious mind is spilling the proverbial tea. Inspiring self-awareness and the realization that you’ve had the power all along breaks through any confusion February 24 with the sextile of Venus to Neptune. Take that chance. 2/22 CHRONOGRAM HOROSCOPES 69
Horoscopes
SCORPIO (October 23–November 21)
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Mars sextiles Jupiter and squares Chiron February 4–6, enhancing the benefits of reconciliation with others. The trine of Mars to Neptune at the First Quarter Moon in Taurus February 8 emphasizes the common ideals which bind you and your closest partnership relationships together. Words make powerful weapons to uplift or destroy when Mercury conjuncts Pluto February 11. The conjunction of Venus and Mars with the Full Moon in Leo February 16 supercharges your leadership potential in the public eye. Mars sextiles Neptune at the Last Quarter Moon in Sagittarius February 23 expands your dream potential beyond current boundaries.
SAGITTARIUS (November 22–December 22)
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Mars sextiles Jupiter February 3, energizing negotiations around family values and the value of family—including the financial aspects—within the home front. Understand that conflict with loved ones over these delicate issues requires supersized sensitivity on your part. Jupiter sextiles Uranus February 17, ensuring your unique imprint appears on everything you touch. Original solutions may arise from unexpected sources. Last Quarter Moon in Sagittarius February 23 begs the question of whether you can accept restrictions on your freedom in exchange for interesting and challenging work. You want it all but can’t have everything all at the same time.
CAPRICORN (December 22–January 20)
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Saturn ruled both Capricorn and Aquarius prior to the discovery of Uranus in 1781, after which Uranus was assigned rulership of Aquarius. However, Saturn’s classical influence makes most of February comfortable territory for you this year, especially after the Sun’s conjunction to Saturn February 4. The maturity and wisdom you’ve cultivated, as well as the near-misses you’ve survived, makes you a formidable player on the stage of life. February 16 feels like a holiday with Venus and Mars conjunct in Capricorn at the Full Moon in Leo. The sharing of resources and intimacies turns seriously romantic. Take the lead!
AQUARIUS (January 20–February 19)
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New Moon in Aquarius February 1 nourishes ideas you’ve been gestating since November. Jupiter’s sextile to Uranus February 17 supersizes your need for originality; no amount of appreciation means anything to you unless your personal uniqueness is acknowledged. Full Moon in Leo opposite your Sun February 16 with Venus and Mars conjunct in Capricorn brings unexpected personal connections out of left field. Your unconscious mind is sending out signals! Mercury squares Uranus and sextile Chiron February 24 may find you suddenly blurting an inconvenient truth; take care for the feelings of others who may have thinner skin than yourself.
PISCES (February 20-March 19) Summer Space Studio
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Connecting to the cosmic wavelengths is one of your superpowers; you’re especially attuned February 2–4 with the Moon in Pisces. Your best day for languishing in sensual splendor is February 8 with Mars trine Neptune at the First Quarter Moon in Taurus. The Sun enters Pisces February 18 and this year, with both Jupiter and Neptune in your sign, all the luck is on your side. The risk/reward ratio is tempting when Mars and Venus sextile Neptune at the Last Quarter Moon in Sagittarius February 23–24. You are correct in intuiting that it’s time to lean into your destiny.
Ad Index Our advertisements are a catalog of distinctive local experiences. Please support the fantastic businesses that make Chronogram possible. The Academy HVNY.......................... 37
Liza Phillips Design........................... 23
Albert Shahinian Fine Art.................. 64
Mahaiwe Performing Arts Center..... 64
Artist Portraits By Andre................... 64
Malcarne Contracting.......................... 1
Athens Fine Art Services................... 69
Mark Gruber Gallery.......................... 68
Barbara Carter Real Estate............... 24
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Beacon Natural Market..................... 15
Montano’s Shoe Store......................... 6
Berkshire Food Co-op....................... 15
Mother Earth’s Storehouse............... 10
Better Place Forests...inside back cover
Mountain Laurel Waldorf School...... 43
Binnewater Spring Water.................. 17
N & S Supply...................................... 24
Bistro To Go....................................... 17 Cabinet Designers, Inc...................... 20 Canna Provisions................................. 4 Colony Woodstock............................ 37 Columbia Memorial Health................. 2 D’Arcy Simpson Art Works............... 65 Fig and Pig Catering.......................... 38 Four Seasons Sotheby’s International Realty......................... 3 Glampstar.......................................... 34 Glenn’s Wood Sheds......................... 71 Green Cottage................................... 69 H Houst & Son................................... 23 Halo and Horns Catering................... 34 Hawthorne Valley Association.......... 43 Herrington’s....................................... 23 Holistic Natural Medicine: Integrative Healing Arts................. 32 Hudson Hall....................................... 65 Hudson Valley Hospice..................... 33 Hudson Valley Sunrooms.................. 23 Hudson Valley Trailworks.................. 20 Insight Editions L.P. / Weldon
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The Pass...............................back cover Peter Aaron........................................ 64 Plant Strong Nutrition........................ 32 Poughkeepsie Friends Meeting........ 52 Race Brook Lodge ............................ 37 Ridgeline Realty................................. 23 Rocket Number Nine Records.......... 64 Samuel Dorsky Museum of Art......... 62 Sawyer Motors.................................. 20 Schneider’s Jewelers, Inc................. 38
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Sean’s Waffles................................... 38 Studio 89............................................ 64 Sunflower Natural Food Market.......... 6 Temescal Wellness............................ 28 Third Eye Associates Ltd.................. 69 Thruway Fine Wines and Liquor....... 38 Ulster County Habitat for Humanity.................................. 24 Unison Arts Center............................ 64 Upstate Films..................................... 52 Vassar College................................... 62 WDST 100.1 Radio Woodstock........ 68
Owen Publishers........................... 62
Wild Earth Programs........................... 2
Jack’s Meats & Deli........................... 17
Wildfire Grill....................................... 38
Jacobowitz & Gubits......................... 69
Williams Lumber
John A Alvarez and Sons.................. 23
& Home Center....... inside front cover
John Carroll....................................... 32
Wimowe............................................. 24
Katy Sparks Culinary Consulting...... 17
WTBQ Radio Station......................... 71
Larson Architecture Works............... 24
YMCA of Kingston
Little Apple Cafe................................ 15
GLENN’S SHEDS
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Chronogram February 2022 (ISSN 1940-1280) Chronogram is published monthly. Subscriptions: $36 per year by Chronogram Media, 45 Pine Grove Ave. Suite 303, Kingston, NY 12401. Periodicals postage pending at Kingston, NY, and additional mailing offices. POSTMASTER: Send address changes to Chronogram, 45 Pine Grove Ave. Suite 303, Kingston, NY 12401.
2/22 CHRONOGRAM AD INDEX 71
parting shot
Jaanika Peerna performing Glacier Elegy in Cold Spring. Photo by Christine Ashburn
For much of the last decade, Cold Spring-based artist Jaanika Peerna has focused her practice on climate change and melting glaciers. Glacier Elegies (Terra Nova Press, 2021) documents Peerna’s work, a blend of drawing, installation, and performance that has taken the artist across the globe, from the Hudson Valley to Europe and her native Estonia. As Janet Passehl writes in the introduction to the book, “Glacier Elegy is ‘Ozymandias’ for the era of climate change, delivered by the messenger of a god who loves her wayward children.”
72 PARTING SHOT CHRONOGRAM 2/22
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