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JANUARY 10, 2024

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hile this issue, U.S. 1’s annual Winter Wellness issue, is devoted to wellness in a broad sense — both physical and mental and across all ages and abilities — many area organizations are dedicated to the specific and evolving needs of aging adults. One example is the nonprofit formerly known as the Princeton Senior Resource Center, which has announced a rebranding to better reflect the modern experience of aging. Now known as the Center for Modern Aging Princeton, the organization made the following announcement in late December: TODAY MARKS A significant milestone in the journey of the Princeton Senior Resource Center. We are excited to announce that beginning in January, our beloved center will begin doing business as (DBA) Center for Modern Aging Princeton. This new name reflects our commitment to embracing the dynamic, diverse, and ever-evolving needs of our aging community. It’s not just a change of name; it’s a renewal of our promise to provide innovative, inclusive, and forwardthinking services. Reimagining Aging. For years, society has had its vision of how older adults should think, act, dress, eat, walk, talk — and live. And we’ve had ours. We know they’re looking for more than just crafts, crossword puzzles, and rocking chairs. We know they want to make new memories, not just relive old ones. We know they’re not afraid to go out of their comfort zone. They love to try new foods, learn about other cultures, and embrace technology. We know they don’t like to lose. In fact, they can be pretty competitive. Just ask our champion table

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Center for Modern Aging Princeton’s Nancy S. Klath Center for Lifelong Learning on Poor Farm Road. Welcome to a new generation of tennis team! We know they like to travel to aging. And welcome to the Center new places — both physically and for Modern Aging Princeton! We are incredibly grateful for virtually. We know they value their inde- your ongoing support and enthusipendence — and want support to asm. Together, we will continue to “age-in-place,” in whatever form is build on our legacy and live out our mission to help older adults thrive. most appropriate for them. And most of all we know today’s Thank you for being a part of our journey. Here’s to new older population isn’t beginnings and continlike previous generations of “seniors.” (Oh, Between ued success at the Center for Modern Aging and we also know most The Princeton! aren’t fond of being called seniors.) Lines New Name, New How do we know so Website. The Center for much about what this Modern Aging Princeton will soon population likes? It’s pretty simple, be introducing our brand new webactually. We listen. site at www.cmaprinceton.org. We’ve been serving the older The new site will launch in Januadult community throughout the ary — and will not only include a region for five decades. As their fresh new design, but also a particineeds have evolved, our organiza- pant portal that will simplify our tion has as well. Our new name, registration process and give facility, and vision reflect the way logged-in users the ability to upwe see older adults and, more im- date their contact information, portantly, the way they see them- view their course registrations, and selves. Energized. Bold. Modern. much more.

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U.S. 1 has distribution to news boxes located in downtown Princeton and Trenton, at train stations, and in other high-traffic outdoor areas. Additionally, it is now possible to browse full PDFs of recent issues on U.S. 1’s website, www.princetoninfo.com. Click on “Read This Week’s Digital U.S. 1 E-Edition Here.” A full digital edition of U.S. 1 is also distributed by e-mail every Wednesday. Subscribe at www.communitynews.org/ newsletter. The website will also feature a robust, filterable calendar of activities, the ability to make and manage your donations, and access to all our renowned community resources. You will also be able to directly share feedback or ideas with our staff, connect with our social services team, and so much more. We are excited to welcome you to our new virtual home! Be on the lookout in early January for an announcement that our new site is live! CMAP. The Center for Modern Aging Princeton, is a community nonprofit where aging adults and their families find support, guidance, education, and social programs to help them navigate life transitions and continue to be active, healthy, and engaged in the community. U.S. 1 WELCOMES letters to the editor, corrections, and criticisms. E-mail our editor: hastings@princetoninfo. com.

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ome years ago I was visiting my parents on Long Island over Martin Luther King Jr. Day weekend. A PBS special remembering MLK aired on Sunday night and my mother and I sat down to watch it. About 15 minutes into the program, my mom offhandedly mentioned: “You know, I made breakfast for Martin Luther King when I worked for the Knapps.” Like generations before her, my mother, then Kathleen Rooney and just 18 years-old, left Ireland in hopes of a better life in America. She emigrated in 1957. Her aunt in Hightstown, Mary Flatley, had found for her a plum of a job in Princeton working as a housekeeper and caregiver for the family of Professor J. Merrill Knapp, an eminent Handel scholar soon to become university dean. John Merrill Knapp had graduated from Yale, class of 1936. After serving in the Navy during World War II, he was hired by Princeton University in 1946 as a music instructor and glee club director. Thus began a 36-year career, though, as my mother fondly recalls, his devotion to his alma mater transcended his Princeton affiliation; even when he became dean in 1961, Merrill would sport his Yale Blue togs to root on his Bulldogs whenever they played football against the Tigers at Palmer Stadium. A distinguished musicologist, he was an authority on the life and works of George Frideric Handel, but the deanship meant a whole new slate of duties—luncheons, dinners, and other events with visiting scholars and dignitaries. In those days, the dean often hosted guests of such stature at his home. And it would be Kathleen who met and served these luminaries. Within a few months, the shy Irish girl from County Cavan was shaking hands with the President of the United States, Dwight D. Eisenhower. Ike had been an honorary uncle of the dean’s wife, ElizabethAnn (whom Ike called “LibbyAnn”), since she was a little girl through his many years of close work in the military with her father, Thomas D. Campbell, a titan of American agriculture. Kathleen had indeed landed a wonderful job. The Knapps lived at the secluded end of Rosedale Lane in a modernist, single-floor house designed by Mrs. Knapp, who had graduated from the Cambridge School of Architecture in

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1941 (she would also go on to design the Princeton YMCA.) The Knapps had two daughters, Joan and Phoebe, who were slightly younger than Kathleen and affectionately regarded her as an older sister. For their part, Mr. and Mrs. Knapp treated Kathleen as if she was their third daughter. Along with Eisenhower, Kathleen met President Kennedy, J. Robert Oppenheimer (a frequent visitor as his daughter attended Miss Fine’s School along with Joan and Phoebe), and Thurgood Marshall (whom President Kennedy had recently nominated to the U.S. Court of Appeals for the Second Circuit.) At Joan Knapp’s debutante party, Kathleen danced with Princeton sophomore Bill Bradley, already a national phenom of college basketball. And she made breakfast for a young Baptist minister and rising civil rights activist named Martin Luther King Jr. Born and raised in rural Ireland, Kathleen had never traveled beyond her small town of Cavan nor seen anyone whose skin

color differed from hers before arriving at New York’s bustling Idlewild Airport. As my mother recounted, King was the first Black person with whom she had a conversation. It was a remarkable story. I knew my mom had met many famous people, but she never mentioned MLK. He was very gracious and pleasant, she recalled. After finishing his meal he invited her to sit down to chat, asking her how she was finding things in America. When she cleared the table, he’d left her a note wishing her luck in her new life and a $2 tip. Alas, that note from Martin Luther King Jr. has long since vanished. What has remained all these years is my mother’s abiding affection for the Knapps and the four years she spent living in their home more as a member of the family than an employee. Time has only burnished what she knew at the outset to be a charmed Princeton life.

lege and the West Windsor Arts Council are offering a number of community service activities in honor of Martin Luther King Day on Monday, January 15. Activities at MCCC’s James Kerney Campus, located at 102 North Broad Street, Trenton, run from 8 a.m. to 4 p.m. For more information visit mccc.edu/mlk_dos They include: • Sock Drive: Collecting men’s white crew or tube socks for clients of the Trenton Area Soup Kitchen (TASK) • Utensil Wrap Up & Bagged Lunches: Packing meals for Trenton residents • Community Clean Up: MLK Park and City Streets • Trenton Hall Garden Construction: Building raised beds for MCCC’s vegetable garden, provid-

ing fresh produce for the college’s food pantry • Kidspack 2.0: Providing snacks to the street teams for the January 16 walk home • Blessing Bags: Working with Rescue Mission and Womanspace, providing hygiene products for clients Lunch will be served for attendees and there will also be a celebration performance for all to enjoy at the end of the day. West Windsor Arts and the African American Parent Support Group host a day of service from 10 a.m. to 3:30 p.m. with the tagline “Everyone can be great, because everyone can serve.” Events take place at the Arts Center, 952 Alexander Road, West Windsor. Call 609-716-1931 or visit westwindsorarts.org for more information.

JANUARY 10, 2024

ART

FILM

LITERATURE

U.S. 1

DANCE DRAMA MUSIC

PREV I E W DAY-BY-DAY EVENTS, JANUARY 10 TO 17

Event Listings: E-mail events@princetoninfo.com While many venues have returned to hosting in-person events, others are still taking place online. Event descriptions specify if an event is being held virtually or in a hybrid format. To include your virtual or in-person event in this section email events@princetoninfo.com.

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JANUARY 10, 2024

Opportunities

Audition Bristol Riverside Theatre is seeking strong, local, singers and dancers, ages 10 to 18 years old for its upcoming production of “big: The Musical.” Young actors will share roles and will perform in half of the performances. Past experience is not required. Choreography and music pre rehearsals will be on Saturdays and Sundays, February 10 through 18, from 10 a.m. to 1 p.m. Staging rehearsals run from Monday, February 19, through Sunday, March 10. Each week young actors will rehearse up to 4 weekday evenings (4 to 8 p.m.) plus Saturdays (10 a.m. to 2 p.m.) and Sundays (10 a.m. to 6 p.m.). Technical rehearsals take place March 12 to 15. Young actors may need to miss parts of the school day, though we will keep this to a minimum. Rehearsals are noon to 8 p.m. with most young actors called from 3 or 4 to 8 p.m. Preview performances Entail rehearsals from 11 a.m. to 4 p.m. on Tuesday through Thursday, March 19 through 21, in which young actors may be asked to miss a portion of the school day for important last-minute rehearsals. Performances are March 19 through April 14, Wednesday through Sunday. There are Wednesday/Thursday matinees at 2 p.m., so young actors will have to leave school early for those performances. Parents of interested young actors should email casting@brtstage.org. In reply to your email, you will receive a short script, vocal track/music, and dance combo video to create an audition video. Callbacks will be in person at Bristol Riverside Theatre, by invitation. The theater is located at 120 Radcliffe Street in Bristol, Pennsylvania. Somerset-based Villagers Theatre has announced auditions for its upcoming Kidsvill production of “Roald Dahl’s Willy Wonka.” This adventure follows Charlie Bucket on

a visit to Willy Wonka’s mysterious and magical chocolate factory in a captivating adaptation of Roald Dahl’s fantastical tale. Auditions, rehearsals, and performances will take place at The Villagers Theatre at 475 DeMott Lane, Somerset. For directions and other information, visit www.villagerstheatre.org The performance schedule is as follows: Saturdays, March 9 and 16, at noon and 4 p.m., and Sundays, March 10 and 17, at noon. Auditions will be held on Tuesday and Wednesday, January 23 and 24, from 6:30 to 9:30 p.m. All those auditioning will be asked to sing a brief song as well as perform a simple dance combination. For those unable to attend in-person, video auditions may be submitted as an alternative. Please prepare 32 bars of a musical theater selection and provide clearly marked sheet music in the correct key for the accompanist. Alternatively, prerecorded accompaniment may be played from Bluetooth compatible devices. A cappella auditions are not allowed. Please wear comfortable, form-fitting attire that is easy to move in. Dance-style shoes are not necessary, but encouraged. Hair should be kept neatly out of the face. Photos and/or video of auditionees may be taken for reference purposes. Callbacks will be held in-person on Saturday, January 27, from 3 to 7:30 p.m. by invitation only. Those invited to callbacks will be notified no later than Thursday, January 25. Rehearsals will begin Tuesday, January 30, and will generally be four days a week: Tuesday, Wednesday, Thursday, and Saturday, with occasional Monday rehearsals. Evening rehearsals will generally take place from 6:30 to 9:30 p.m.; weekend rehearsals will generally take place from 3:30 to 8:30 p.m. Additional rehearsals may be scheduled to accommodate conflicts or other rehearsal

PUC Mahler 2.5x8

needs as performances draw closer. Tech week rehearsals will occur every evening beginning Sunday, March 3, and are mandatory for all cast members. Roxey Ballet will hold open auditions for dancers ages 4 and up for the annual Chlidren Classic Stories productions of “Carnival Of The Animals” and “Sleeping Beauty: Aurora’s Wedding.”Auditions will be held on Saturday, January 20, at the Mill Ballet School, 46 North Sugan Road, New Hope, Pennsylvania. Audition times are as follows: ages 4 to 6, 3 to 3:30 p.m.; ages 7 to 10, 3:45 to 4:15 p.m.; ages 11 to 13, 4:30 to 5 p.m.; ages 14+, 5:15 to 6 p.m. All dancers must pre-register online by Friday, January 19, at noon. Please fill out the registration form at www.roxeyballet.org and pay the $39 audition fee. An additional participation fee applies for those accepted to the cast. The first day of rehearsals and parent meeting take place Saturday, January 27. Subsequent rehearsals will run Friday evenings for older cast members and soloist roles between 4 and 8 p.m. and on Saturdays for all cast members between 2 and 8 p.m. Performance dates are April 13 at Mill Ballet and April 20 and 21 at Villa Victoria Theater in Ewing. Join Voices Chorale now by setting up a brief, stress-free audition. All voice parts are welcome, especially tenors and basses. Auditions will be Mondays, January 15, 22, 29, and February 5 before/after rehearsals. We rehearse from 7:30 to 9 p.m. at Music Together, 225 Pennington-Hopewell Road in Hopewell. The spring concert will be Saturday, May 11, at 4 p.m. and will feature Haydn’s Lord Nelson Mass interspersed with contemporary pieces including Sting’s “Fragile” arranged by Mac Huff. Visit www. voiceschoralenj.org for more information.

JANUARY 10, 2024

U.S. 1

Sound Journeys: Creating a Space for Soothing

ick a crisis, any crisis will do. There are many to choose from, currently. So much bad news is brewing — and our exposure to it seems ever more constant — that it seems difficult to escape and even breathe sometimes, let alone feel a sense of peace. Here is where deliberate quietude and reflection can work wonders. Sound meditation can be an especially therapeutic route if you allow yourself to absorb its curative characteristics. There are more and more sound healing modalities offered commercially, such as sound baths with crystal or brass bowls, tuning fork sessions, as well as any number of apps and downloads that offer meditative and natural sounds. However, there is something about hearing the human voice in song and chant that intuitively provides the most direct and compassionate sense of connection, a healing that goes into our very collective unconscious. What better place to bring the healing power of song and chant than a sacred space, such as the Princeton University Chapel? Each month, the office of Religious Life at Princeton University offers Sound Journey with Ruth Cunningham, a soothing hour of sound and song, held within the splendid surroundings of the university’s chapel. Cunningham, a founding member of the world-renowned vocal ensemble Anonymous 4 and a sound healing practitioner, offers composed and improvised music for meditation, contemplation, and prayer. Cunningham, who lives in Inwood (Upper Manhattan), reached out to Rev. Alison Boden, dean of the Office of Religious Life and the Chapel, and suggested she might bring her healing skills to Princeton. The two had met after an Anonymous 4 concert and had kept in touch for years. “Ruth Cunningham has been a friend of mine for 30 years and a friend of the Princeton Chapel for the last six,” Boden says. “We are so glad that we can bring her extraordinary music and presence to our community. Her voice fills our magnificent space so perfectly. The stone walls’ reverberations are beautifully suited to the timbres of Ruth’s extraordinary voice. The

by Susan Van dongen richness and simplicity of her tone creates the ideal conditions for participants truly to go on their own ‘sound journey.’” “I look forward to each one and the chance to meditate in a setting of such auditory beauty,” she says. “They are quieting, settling, deepening experiences for me, and others who attend tell me that the same is true for them.” Unlike “sound bath” sessions where a practitioner creates the sounds and the patient is just listening, participants in the monthly Sound Journeys can find their own special meditative place — and can actually participate. “We’ve learned to tune out sound, but this is kind of the opposite: It’s active listening to music, even listening to only one note,” Cunningham says. “Just listening to that one note helps people settle in, get a sense of who they are, and where they are.” “The Sound Journey does quiet people down, may even put you to sleep — which is OK, take from it what you need,” she says. “I don’t know what my music does for you or to you, but if it affects you, that’s great. It’s a time to receive.” She reflects that music can create a space or a kind of container, “…and this container can relax you, bring you to tears, can make you smile or whatever, if you allow yourself to settle into it.” For the November Sound Journey, Cunningham was a one-woman band, singing, humming and chanting, playing a miniature harp and wooden flute, sounding a lovely chime, and accompanying herself with a shruti box — an Indian drone box related to the harmonium. People quietly filed into the chapel, mostly seating themselves in the chancel — the area of the church that’s behind the pulpit — amid the sculpted wood. A few chose to sit in the chapel’s main space, but it really didn’t matter where you sat; the sound was magnificent everywhere. Cunningham invited us to join her in humming a single note, to center ourselves and be aware of our breathing. From there she took the participants on a multi-cultural sonic journey, singing and chanting in English, Latin, and Sanskrit. Her melodies are either written

chants from decades of learning and performing this music, or sometimes she just improvises. “Give me a drone (note) and I can make up a chant,” she says. “Or give me a text and I can create a prayer in the moment and also improvise on syllables.” She goes into each Sound Journey with an idea for a theme, sometimes related to the liturgical calendar, to a certain saint, or sometimes just related to what’s happening in the world at the moment. The November 8 Sound Journey’s theme was peace, taking a step back from the news of the ongoing wars around the world. That night Cunningham sang an especially beautiful peace prayer in Sanskrit and also included one in English created by her sister, Elizabeth, “peace in each breath, peace in my heartbeat.” As the atmosphere settled deeper into contemplation, Cunningham walked through the chancel chanting and shaking a wind chime, which gave off an enchanting sound. She then sat at the piano and accompanied herself, as her chant swelled to a kind of wail, almost keening, encapsulating a kind of collective grief. Cunningham first began offering healing song and music at Saint Paul’s Chapel in New York City, from 2001-2002, after the 9/11 attacks. She was among the musicians to offer healing services there for the families of the missing and deceased, police, fire, and emergency workers, as well as search and rescue personnel — those working on “the pile.” “I played harp and piano and sang, and it was an amazing space to be in,” she says. “Families were mourning, or people were resting, workers were eating or relaxing after a long shift. Again, it was music as a space or container. The music just really did something, it really helped at such a powerful time. I’m glad I got to participate in that.” Growing up Milbrook, New York, in a family that loved sacred music (her father was an Anglican minister, her mother sang in the choir), Cunningham has sung since age four and played instruments since childhood, as well. “I played a lot of music as a teenager and was very interested in Baroque flute and recorder,” she says. “From age 14, I knew I wanted to play professionally.” Cunningham received a bache-

lor of music in performance of early music from the New England Conservatory of Music and taught recorder and Renaissance flute at the Amherst Early Music Workshops for 16 years. She is certified as a cross cultural music healing practitioner by the Open Ear Center, where she studied with Pat Moffitt Cook. With Anonymous 4, Cunningham performed in concerts and festivals throughout the United States, Europe, and the Far East and made 13 recordings, including David Lang’s “Love Fail” and Richard Einhorn’s “Voices of Light.” Cunningskills I have worked on throughout ham’s own releases are “Light and Shadow: Chants, Ruth Cunningham Prayers and Improvisations,” and leads monthly Sound “Harpmodes: Journey for Voice Journeys sessions at and Harp.” the Princeton UniverShe has released two CDs of multi-faith chants with colleague sity Chapel. The next Ana Hernandez: “Blessed by takes place WednesLight” and “HARC: Inside day, January 17. Chants.” Among her other recordings are “Sacred Light” with harpist Diana Stork (At Peace Music), and “Ancient Beginnings,” which is part of the Open Ear Center’s my life — singing, flute playing, keyboard, harp as well as spiritual music for healing. She is also featured on “Invok- practices that I have engaged in for ing the Muse,” a work with frame many years,” Cunningham says. drummer Layne Redmond on the “When I work with people, I encourage them to use music more Sounds True label. In addition, Cunningham has consciously and especially to use been the musician for a number of their own voices as a tool for transsummer courses for Ubiquity Uni- formation, healing and connection versity in Chartres, France. She has to spirit.” “Music, sound, and vibration are also performed and recorded with the Renaissance vocal ensemble amazing tools,” she says. “I think Pomerium and is a regular member in times to come, people will realof the professional choir of the ize more and more what a powerful COourChurch of Our Savior in New York gift they are for both healing N CO selves and our planet.” OnCONST NEW City. N l O N y C R C N E O All the while, Cunningham n ONSThasNEW Sound Journey with nRuth ly12OUSNTRUNC W O y C1 OS RU EW kept a busy schedule asOanlfreelancCunningham, Princeton Univerp1e2 nSiTUCETW neUntRs U TI CETsity Chapel. Wednesday, January er, mostly as a church musician. Olyp21 UNTSRUN d i L n W T I C i O “There’s always a churche2n‘job’ TI N5:30 to 6:30 p.m. Then on the Fatls LCef eUdntiRs ULC17, l 2e somewhere every weekend,” sheF ts efirst fTONWednesday of the month: Feb0 says. “But I still have time to do theall L2ruary etf!ItON7, March 6, April 3, May 1. 0 17! and open to the public. chasound healing, I have the training, Free and it all worked out.” pel.princeton.edu. “I love the work I’m doing now Ruth Cunningham on the web: as a musician and a sound healing www.ruthcunningham.com. • PRINCETON 255 NASSAU STREET practitioner because it uses all the

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JANUARY 10, 2024

Sound Journeys: Creating a Space for Soothing

usic is a language of its own, one that every person feels a different connection to. Some are reborn in the chords or chorus of a triumphant melody, while others seek rhythmic clarity, release, or comfort. It is an entirely personal experience to love a piece down to its every note — an intimate diary entry of what truly listening to music can mean for its audience. But Princeton University Concerts sings a new tune this year by combining its annual “Creative Reactions” and “Audience Voices” competitions into a new creative writing project encouraging writers across the globe to express their unique bonds with music in journal responses thematically related to past and future PUC “Healing with Music” series events. The 2023–24 “Impromptu Challenge” is the result of a partnership between PUC and The Isolation Journals, described on its website as “an artist-led community and publishing platform” that shares its weekly journaling prompt newsletter with more than 100,000 participants worldwide. Since writer and Princeton University alumna Suleika Jaouad founded the Isolation Journals during the pandemic, the group has grown into “a living archive of human creativity to document an unforgettable era” under the belief that “creative expression” can “edify, heal, and unite,” according to theisolationjournals.com. The Impromptu Challenge encompasses both the 2023–24 “Creative Reactions” contest, which connects Princeton University students to the performing arts and classical music, as well as “Audience Voices,” a writing and drawing contest for patrons that began last season. The journaling-styled competition began on December 3 with the announcement of its first prompt. A second prompt was released in early January, and a third topic will be announced in February. Jaouad had just graduated from Princeton University when she was diagnosed with leukemia in 2010. Throughout her cancer treatments, she wrote the New York Times column “Life, Interrupted,” largely from her hospital room. Now, after receiving an Emmy for the video series adaptation of those times and publishing the bestselling memoir “Between Two Kingdoms,” Jaouad returns to PUC on the heels of a sold-out November 15 “Healing with Music” event with her husband, Grammy-winning musician and composer Jon Batiste, “The Beat Goes On: Healing from Cancer through Music.” The idea for the inaugural month’s “Impromptu Challenge” takes inspiration from that day, which doubled as a bone marrow donor drive on campus held in conjunction with Princeton’s Office of Community and Regional Affairs and the National Marrow Donor Program’s “Be The Match” donor registry. According to the Be the Match website, “ethnically diverse” patients diagnosed with blood cancers and disorders must navigate a longer, more challenging process to find unrelated donors for blood stem cells and marrow transplants due to lower donation rates — a barrier that is even greater for people of mixed ethnicities like Jaouad. Jaouad and Batiste’s tale of love, survival, and creativity was the subject of the biographical documentary “American Symphony,” which debuted on Netflix in late November and follows many of the

by Rebekah Schroeder ideas discussed at the couple’s November “Healing with Music” event. Director Matthew Heineman’s film captures how, just as Batiste is recognized with 11 Grammy nominations — five of which he would win—and an Oscar for co-writing the score for Pixar’s “Soul,” Jaouad’s cancer returns after being in remission for almost a decade. Batiste sits on the cusp of composing and practicing for the biggest one-night orchestral performance of his life at Carnegie Hall as Jaouad encourages him to continue, resuming her fight against leukemia while undergoing another bone marrow transplant. Despite being in contrasting circumstances, the couple’s story depicts creativity as an expression of love and a cathartic, restorative force that ultimately strengthens their bond. It is fitting, then, that Jaouad issued the following prompt in December: “Write about a time when music served as a healing force in your life or in the lives of those around you.” The January prompt is: “When was the last time you danced? What were you listening to? What thoughts or feelings emerged? What stayed with you?” To enter, participants must answer one of the three prompts by Friday, March 22, 2024, with separate categories for members of the general public and Princeton University students. All entries must be submitted in PDF or Word document format with no reference to the author’s identity in the titles for anonymous evaluation by a panel of judges, as the PUC website continued, “from across the Princeton University campus and town community.” Princeton University Concerts will feature all winners in online and print media publications, yet prize recipients who do not want to disclose their identities can be published anonymously. While there are no submission limits for most writers, anyone who has previously won the “Creative Reactions” or “Audience Voices” prizes must wait two years before registering again. According to the PUC page for the challenge, which includes the submission portal, concerts.princeton.edu/impromptu-challenge, winners will receive the following prizes: an autographed concert poster signed by both Jaouad and Batiste; an original piece by Diana Weymar, founder of the Interwoven Stories project, featuring an embroidered excerpt from the submission; a copy of the Princeton University Press’ “Ways of Hearing: Reflections on Music in 26 Pieces” 2021 anthology; and more. For additional information or inquiries, contact the Princeton University Concerts office at 609-2582800 or pucmail@princeton.edu. The January and February prompts will be directly related to topics raised in the final iterations of the 2023–24 “Healing with Music” series, such as the Sunday, March 3, “Dance for PD® (Parkinson’s Disease)” event, a Mark Morris Dance Group program that invites participants from local chapters of American Repertory Ballet’s “Dance for Parkinson’s” initiatives to perform adapted choreography together in an onstage concert collaboration and panel discussion. (For more information, see the November 2023 Six09 cover story, “Dance for Parkinson’s at ARB Leads a Choreography of Change” by Rebekah Schroeder). Winners will also be announced

at the last “Healing with Music” event of the season, “Anxiety, Depression, and Music,” featuring pianist Jonathan Biss and writer Adam Haslett on Wednesday, April 24, at 7:30 p.m. in Richardson Auditorium’s Alexander Hall. The program is described as “an intimate concert-conversation” with live performances of piano works by Franz Schubert and Robert Schumann, excerpts from Haslett’s 2016 novel, “Imagine Me Gone,” and a Q&A. Tickets are $25 for the general public, $10 for students, and free for Princeton University students through the Passport to the Performing Arts program. For more information, see the PUC website at concerts.princeton. edu/events/23-24-jonathan-bissadam-haslett. This event marks Biss’ return to the stage after appearing earlier in the month for PUC’s “Concert Classics” series alongside classical pianist and conductor Mitsuko Uchida on April 3. Biss and Uchida are the co-artistic directors of the Marlboro Music

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Festival, a retreat where participants of all experience levels come to classically train, collaborate, rehearse, and eventually perform chamber music works together live in concert. The duo’s debut show is already sold out, but the PUC website promises a “rare joint recital” focusing yet again on the work of Austrian composer Schubert, who was known for his “piano four hands” pieces where two musicians play one piano at the same time. According to his biography, Biss concluded a “decade-long project recording all of Beethoven’s 32 piano sonatas” before the thirdgeneration professional musician — the son of violinist Miriam Fried and violist-violinist Paul Biss, as well as the grandson of cellist Raya Garbousova — “took the rare step of publicly confronting a subject often considered taboo within the performing arts.” In his memoir “Unquiet: My Life with Beethoven,” published in 2021 as part of Audible’s Words +

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Music series, Biss “described his struggles with crippling anxiety and the severe effects that a solitary performing career had on his mental health.” Through his poignant examination of life as a pianist and Beethoven interpreter, Biss, as the website continued, “gave voice to the ways in which Beethoven — and music, in general — helped him heal from his anxiety as much as he had contributed to it.” Haslett is a two-time Pulitzer Prize and National Book Award finalist with three fiction books to his name, as well as prior journalism experience covering culture and politics for magazines like the New Yorker, Esquire, and more. According to his PUC bio, “Imagine Me Gone” was described by Pulitzer Prize judges as “the quiet and compassionate saga of a family whose world is shaped by mental illness and the challenges and joys of caring for each other.” “Drawing on his father’s suicide, ‘Imagine Me Gone’ is the most personal book he has written — in his words, an attempt to ‘put the reader as far into the mind of someone with anxiety and depression as I can, and let them take from that what they will,’” the website continued. Jaouad recorded her own response to the first “Impromptu Challenge” prompt on the Isolation Journals’ Substack page, theisolationjournals.substack.com, on December 3. But before answering, she reflected on the experience of watching “American Symphony” with more than 150 staff from the Memorial Sloan Kettering Cancer Center, where she underwent cancer treatments, as well as two of the nurses who had supported her when she was diagnosed “with leukemia at 22 and then again at 33.” “It was such a full-circle moment to watch this film with the people who had walked through the valley with me. Illness usually has a clear beginning: the onset of symptoms, the diagnosis, the first day of treatment. But so often, the end of things is harder to pinpoint. This feels especially true for me this second time around, given the fact that I will be in treatment indefinitely. Spending the evening with these compassionate and dedicated humans felt like a culmina-

tion — like the most acute phase, the scariest phase, had come to an end.” That same night was also when the Memorial Sloan Kettering Cancer Center announced its own partnership with Be the Match, titled “Join the Symphony,” which Jaouad explained as “a campaign to make the registry look like the orchestra in American Symphony — to reflect the beautifully diverse tapestry of these United States.” “When I decided to take part in this documentary, my hope was that it might help others who are also facing great uncertainty. But as someone who has had two bone marrow transplants, I’ve also made it part of my mission to help expand and diversify the bone marrow registry. Currently the registry is marked by huge racial disparities: whereas a white person has a 79% chance of finding a match, a Black person has only a 29% chance, and statistics for people of mixed ethnicity like me are even lower,” she continued. “My doctors did search the registry for a non-relative match this time, fearing that if my brother Adam was my donor again, I’d be more likely to relapse — but there wasn’t one. I’m fortunate that Adam was willing and able to donate again and that so far, the leukemia is at bay. But I’ve known too many people whose hope for a cure ended when they couldn’t find a match. And it’s with them in mind that I’m asking you to spread the word — to ask others to Join the Symphony.” According to Be the Match, anyone ages 18 to 40 can donate blood stem cells with just a swab of the cheek. To join, donate, or learn more about the initiative, see the website at bethematchfoundation. org/site/SPageNavigator/JointheSymphony. Jaouad then leads into her essay, which references the Princeton University Concerts program and reinforces its mission of expression: “A few weeks ago, Jon and I had the honor of taking part in the “Healing through Music” concert series at my alma mater, Princeton University. That night, we talked about the many ways art sustains us through the hardest things, and I shared a story about Jon writing lullabies for me during my second bone marrow transplant. I often

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think of what Jon said in his Grammy acceptance speech a couple of years ago — about the special power of a song to reach people at a point in their lives when they need it most. That’s what I wrote about, and what I’m inviting you to consider today. Prompt 272. Lullabies The winter of 2022, I lived a more intense version of isolation than I’d ever experienced. I was undergoing my second bone marrow transplant to treat a relapse of leukemia, and the chemo I had done to prepare for it had obliterated my immune system, leaving me with literally zero white blood cells. In such a circumstance, being sequestered in a hospital bubble is a given. However, my transplant occurred during the covid omicron surge, so hospital restrictions were higher than normal and visitors were extremely limited. Not only could I not leave the eighth floor of Memorial Sloan Kettering Cancer Center, but I also couldn’t see many of my beloveds. For a period of time, this included my husband Jon. He had work obligations, and he could not avoid being exposed to all kinds of pathogens — from covid to the common cold — that could have killed me. That he continued to work was a choice we’d made together months earlier, back when we learned my leukemia returned. We had many discussions about whether he would pull out of his obligations to be with me, and I had insisted he continue. He had worked tirelessly from the time he was a teenager to get to that point, and the idea that he would miss out on this big moment because of my relapse was completely unacceptable to me. Being apart was difficult for both of us, though in some ways, I believe it was even more difficult for Jon. He had to put on his professional face and move about the world when both his head and his heart wanted to be there at my bedside. But instead of wallowing in loneliness and despair, he came up with a creative solution. He connected a small keyboard to his computer, and he began composing lullabies and sending them to me. They were improvised, raw, and beautiful. (One of them evolved to become “Butterfly,” one of my favorite songs on World Music Radio — which, no big deal, was nominated for a Grammy for Song of the Year.) Lullaby. It comes from the words “lull,” as in “to soothe,” and “by,” meaning “near.” Lullabies are often written in triple meter,

which is a swaying or rocking rhythm that mimics what a baby feels in the womb as its mother moves. Jon’s melodies provided that sort of comfort, that sense of security. There was a week where I was in the most pain I’ve ever experienced, as close to the veil as I’ve ever been, suffering from three simultaneous infections — two in my bloodstream — and the whole time I played those gentle, mellifluous songs on loop, for hours and hours. Hospitals are noisy places, with the constant beeping of monitors, the wheezing of respirators, the blaring alarms on IV poles. Jon’s songs were a welcome counterpoint to that soundtrack. But more than that, Jon found solace in the making of those lullabies, and I found so much in listening to them. I could feel his tenderness, his love, and his support. He wasn’t physically there, but he was present with me.”

he winners of the 2022–23 “Audience Voices” contest followed one of two prompts: “How has music served as a healing force in your life, or in the lives of those around you?” and “How has your relationship with music changed since the start of the pandemic?” The grand prizes in creative writing were awarded to Eugenio Monjeau and Jacqueline Burkholder, while the honorable mention went to Lorraine Goodman. According to her biography, “Burkholder is a Philadelphiabased vocalist training at Westminster Choir College. She has been a Princeton University Concerts patron for over a decade, and the Tenebrae Choir’s 2018 performance of Joby Talbot’s Path of Miracles in the Princeton University Chapel continues to resonate in her memory. Jacqueline entered the Audience Voices contest in hopes of winning the opportunity to see more such events, believing that attending live performances is a vital part of her music education.” “She has passed on her passion for music to her delightful eightyear-old daughter and loves introducing her ‘to the wonders of the musical universe’ that she adores so much. Jacqueline shared: ‘It did me very much good to write out my story and try to see its potential universality. I am profoundly grateful to have been heard.’” The following piece is Burkholder’s response to the first prompt: How has music served as a healing force in your life? “Sprouting on a sprawling Men-

nonite farm surrounded by fields of alfalfa and vegetables had its advantages. It was like growing up in the 19th century, quaint, resourceful, almost idyllic. Our clothes were homemade, sewn by my mother and older sisters. Food was homegrown, cooked with more love and less skill from vegetables and animals that grew around us. Music was homemade. We sang as a family, eleven voices in fourpart harmony singing hymns nearly everyday in the mini-service we called family worship. My siblings and I learned to play harmonica, riding dirt roads in a Buick Century on the way to a three-room church school where students would begin the day with devotional songs in four parts. Nighttime prayers were sung by our beds, our childish voices asking God to wake us with the morning light. But endless repetitions of Amazing Grace and Great Is Thy Faithfulness eventually wore thin and I wanted more. I spent free time in school reading decades-old World Book Encyclopedia articles on Bach and Schoenberg, trying des-

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perately to imagine how Schubert’s songs, purportedly the most beautiful in the world, must sound. Later, having found a dusty copy of Handel’s Messiah in the corner of my dad’s restricted bookshelf, I risked my dad’s wrath, secreting the score to church and into the office, locking the door so that I could photocopy a few dozen pages to pore over later. The section I happened to copy included the chorus All We Like Sheep Have Gone Astray and I painstakingly applied my then minimal sightreading skills to sounding out the wandering melismas. My musical interest led me into a lot of trouble with the church during my teens and lower twenties. Often I had to stand in front of the church to make a public confession, repenting for hiding CD’s of Haydn’s concertos or Tchaikovsky’s Nutcracker Suite. But no public humiliation could possibly outweigh the utter bliss of hearing Schubert’s Die Forelle for the first time. Schubert’s florid lines of otherworldly melody were

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toxicating and I still feel that there is some merit in a 1970s World Book’s claim that his was the most beautiful music of all time. I will never forget the life-changing experience of hearing Bellini’s superb aria Casta Diva while listening to a Barnes & Noble recorded lecture series on music which I had furtively checked out from the local library. On my next trip to town I checked out a copy of Casta Diva’s opera of origin, Norma, with Joan Sutherland as Norma, Montserrat Caballé as Adalgisa, and Luciano Pavarotti as Pollione. Driving the half hour to and from work daily, safe from surveillance by my parents and siblings, I followed along with the libretto, steering the car with one hand, holding the album booklet with the other. I knew then that I would never be the same. The pathos of Norma’s plight, Bellini’s divine sense of line and melody, and the transcendence of the vocalists were beyond anything I had ever anticipated. My budding obsession with opera and classical music could only grow from there. Four years ago, I effected a sort of escape from the restrictive cult, throwing belongings into my truck and driving to Philadelphia where kindly folks let me sleep on their couch til I found a place to live. Crumbling belief along with deep questions about my gender identity and sexual orientation made the culture and faith untenable for me. In leaving I paid a cost, losing nearly everything I owned and facing rejection and censure from family and friends. As I cleaned houses and apartments in Philadelphia I sang hymns from my childhood most of whose lyrics I no longer believed. I sang arias from operas that I knew only vaguely and art songs that I learned in my spare time. I sang to survive. One day a client who was an excellent musician came to me and offered to help enroll me in a Philadelphia music school that gave voice lessons to adult students. I loved studying there and those lessons became a springboard for my continuing education. Last summer I gave a concert to help raise funds for my enrollment at Westminster Choir College. I sang two arias from Handel’s Semele. I sang Schubert’s immortal

Die Forelle and Who Is Sylvia. And I sang hymns and songs that I had sung with my family when I was a child. There was something deeply healing about singing an aria by the forbidden Handel alongside Copland’s beautiful arrangement of At the River. Ten years ago I could never have believed that I would now be enrolled in a great music school studying voice performance as a soprano. My twenty-year-old self would be confused and secretly delighted at the woman I am today. And he would have been in awe of the music that I am now surrounded with daily. A few weeks ago my Westminster classmates and I made the Princeton University Chapel echo with songs of Christmas in our annual amalgamation of service and concert called Readings and Carols. Thousands of people showed up over the two nights the concert ran to hear us perform old English standards, choral classics, and yes, hymns I remember from somber Sunday services now lush with brass and organ making the huge cathedral reverberate in gorgeously reclaiming glory. Although there is a sense of embarking on a new world full of music, I also feel that the circle was somehow completed with that experience. The voices of the audience mixed with those of the choir, the mellow brass, and the unmatched organ among the stone domes of the chapel ushering out the years of repression and welcoming what I can only hope will be years of musical abundance and celebration; and yes, healing.” For more on Princeton University Concerts’ and the Isolation Journals’ “Impromptu Challenge,” see the contest page on the PUC website, concerts.princeton.edu/ impromptu-challenge.

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JANUARY 10, 2024

Princeton’s First Tradition

Worship Service Sundays at 11am

PUC Mehldau 2.5x8

Princeton University Chapel Open to all.

Preaching Sunday, January 14 is Rev. Dr. Asa J. Lee, president of Pittsburgh Theological Seminary, Pittsburgh, PA. Trineice Robinson-Martin and Phil Orr will present music from the jazz and gospel traditions.

JANUARY 10, 2024

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*Display ad paid for by Princeton Health Integration Center

ALL LIES! (The exhibition) DEDICATED TO TRUTH, RIGHTS & LIGHTS Princeton HIC will be holding a FREE exhibition consisting of 45+ binders filled with numerous key scientific & opinion papers on various contemporary & highly controversial subjects. WHERE: MONTGOMERY TOWNSHIP LIBRARY - 100 Community Drive, Skillman, NJ 08558 WHEN: Friday January 12th (from 2:30 – 6:00 PM) and Saturday, January 13th from 1:00 PM – 6:00 PM WHY: To exhibit key scientific literature on the following subjects: 1) VACCINATIONS: Testing, Spike Proteins, Plastics, Covid-19 Side Effects, Violence & War, (LONG) Covid-19: Treatments & Alternatives, Metabolic science to Cancer, The New Cell Danger Response Theory, Ivermectin, Cardio-pulmonary damage, The Immorality of Mortality, Children, The Scientific “Method”, What to do & write before you are Hospitalized, Brain Damage, Genetic Manipulation and Frame Shifting. 2) AUTHORITARIANISM & GLOBALISM: Fauci & Gates, Free Speech & Censorship, The “Great Reset” & Simplification, Masks and Lockdowns, Depopulation Agenda, PPP, Food Control, Weaponization of the Three-letter Bullies, et al. 3) CLIMATE DISRUPTION: Heroes, IPPC, AMOC, Water, Air & Oceans, Apocalypse & Collapse: Ecological Overshoot, Key Wet Bulb Thresholds, Mass Formation Psychosis: Fear, Methane: the final solution, et al. 4) GUN REGULATIONS: In the USA & in New Jersey (+NJ tidbits)

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JANUARY 10, 2024

New Year, New Poets Reading at Princeton Makes

with corpses and identities of drowned people, no land will rinceton Makes and Ragged Sky welcome your shy steps.

Press open their new year of monthly Second Sunday Poetry Reading on January 14 at 4 p.m. The event will feature New Jersey-based poets Faleeha Hassan and Keith O’Shaughnessy. Hassan is a poet, teacher, editor, writer, and playwright. Born in Najaf, Iraq, in 1967, she now lives in Washington Township in southern New Jersey. The first woman to write poetry for children in Iraq, she received her master’s degree in Arabic literature and has published 26 books that have been translated into many languages. She has been nominated for both the Pulitzer and Pushcart prizes. O’Shaughnessy’s latest book, “Petrushka” (Ragged Sky), is a collection of poems and fables set in a quasi-Russian dream scape. His first book of poems, “Incommunicado,” won the inaugural Grolier Discovery Award. His second, “Last Call for Ganymede” (Ilora Press) followed in 2014. He also authored three chapbooks (all Pudding House Press). A lifelong resident of Princeton, he teaches English at Camden County College in southern New Jersey. Here are samples of their works.

To Be a Refugee Means you walk with a mute dignity And because the touch has a memory, you can no longer make another one, No sea can reveal to you the joy of its flowing and its every wave is shackled

To be a refugee You have to wear a stainless smile in front of their serrated gaze. You have to get rid of your ancient history, Your mother’s prayer for your safety, which no longer works The wisdom of your ancestors, which they left to you before they disappeared into their graves. To be like me, You have to peel off your skin, pull out your tongue in order to get along with the crowds that are waiting for any slight movement from you to finish you off. Above you have to be very sane in the streets that know nothing but where madness erupts, And like swimming in a river of blood, you will remain stained until the end.

dances, performs, despite the illness at her ease, out of the restlessness of her peace, these, her pieces of movement, for the salvation of their grace, to feel the feeling of being none other than the thing that something is when it is nothing but one leap up from, spin off into, a single ether.

Until, at the tap of crushed satin, with the brush of ruffled taffeta, into its pointed pirouettes, round its arched arabesques, the figure of her frame, against the violinist’s — Faleeha Hassan strained timber, setting the edge of its bend, fretting The Ballerina the gut, bowing the waist, of its curves, limns the image In the stillness of her motion, of a vision, of a mad grandmasthrough the silence ter’s ivory queen, in the shape of his air, the ballerina, as she

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of one form, for the fact of all matter, silent, still. — Keith O’Shaughnessy Princeton Makes is a Princeton-based artist cooperative located in the Princeton Shopping Center. Ragged Sky Press is an independent nonprofit publishing company located in Princeton. Their co-hosted reading series began in 2021. The January 14, 4 p.m., presentation is free and will take place at the Princeton Makes store, 301 North Harrison Street, next to Metropolis Hair Salon. A limited open mic follows. For more information, contact Princeton Makes coordinator Jim Levine at princetonmakes@gmail.com.

JANUARY 10, 2024

ART

FILM

LITERATURE

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DANCE DRAMA MUSIC

PREV I E W

Sculptors Create Home Grown Solution for Exhibiting Work

culpture can be more difficult to exhibit due to its size, weight, transportation, and the need to be shown from all angles. Established Hopewell sculptors Ayami Aoyama and Rory Mahon have created a solution to transporting and showing their work in different venues and galleries. The couple, married 21 years, converted a previous workshop to a 900-square-foot gallery space that showcases both their work. The yet-unnamed gallery is on their five-acre property in Pennington. The gallery was the couple’s idea and came about quickly, going from cluttered garage-workshop to professional-looking gallery in less than one year. “We were showing work to potential clients on folding tables. It just wasn’t a proper set up,” says Mahon. The artists and their new gallery were a stop on the Tour Des Arts of Hopewell this past September. Thirty artists open their Hopewell and Pennington studios to the public in the two-day self-guided event to show and sell their work. While many artists are clustered in downtown Hopewell and are primarily a walking tour, the Aoyama and Mahon estimate they had about 30 visitors and seemed happy with that. “It was a good turnout and gave us a chance to show the gallery space and entertain the visitors. We were happy and think everyone enjoyed the new gallery space,” Aoyama said. The gallery on their property at 1423 Trenton-Harbourton Road, Pennington, is open to the public by appointment. Arrangements can be made by contacting Mahon at 609-477-4424. Mahon shares that he is working on a quarter-mile sculpture trail on the property that will be opened in the spring. The couple and their two sons have plenty of room on the property. There is the main house, gallery space, an older studio, a new lightfilled casting studio, and Aoyama’s painting studio. All are warmed by wood stoves and are used yearround. There are also a few other outbuildings, storage of materials, and an endless army of power hand tools, hoists, drill presses, lathes, and projects in progress. “We have everything we need here,” Aoyama says. Aoyama works in stone. Her work is nature based and can suggest shapes and patterns found all around us. “I love the stone,” she says. “I tried other different materials, but I really love the stone. When I first understood the carving and polishing of the stone, it was like falling in love.” When asked what her favorite stone to work with is, Aoyama replies, “Granite. It is the best. There are so many kinds of granite to work with.” When both Aoyama and Mahon speak of their artwork, the other waits and listens respectfully. Even though they know each other’s pro-

by Thomas Kelly cesses, they take time to hear and listen to each other describe it. The mutual admiration is evident in both the process and the finished products. Mahon works in metal, mostly bronze, using the sandcasting technique. Simply described, molten metal is poured into a hollow cavity made in specialized sand. When the metal is cooled the sand forms are removed, leaving the casting. Sand casting does not offer immediate results. It is a lengthy process that requires many skills such as creating the form that will eventually be cast in sand, knowledge of metallurgy, and the experience to perform the process. After the casting comes out of the mold there is the finishing of the piece, which involves interacting in some way with the metal to achieve the desired finish. This step can be very time-consuming and labor-intensive. Mahon came to the area after growing up in Queens, New York. His mother was a homemaker. His father was head bartender at the Regency Hotel in Manhattan. Mahon graduated from Cooper Union in Manhattan. The recently graduated Mahon came to the Princeton-Trenton area after he was given a little direction by one of his professors. “I was sitting at McSorley’s Old Ale House, which was around the corner from the Cooper Union, talking with teacher Reuben Kadish, who was a well-known sculptor -- he taught art history and sculpture at Cooper Union. Kadish said he heard of a sculpture center opening up in Princeton, New Jersey, and maybe I should check it out.” This was when the Johnson Atelier was on Alexander Road, before moving to its current location on Sculptor’s Way in Hamilton. “It was really the tip that changed my life. Those early years were the golden age of the Johnson Atelier. We were doing contract work for some very famous sculptors, such as George Segal, Red Grooms, Georgia O’Keefe, Kiki Smith, and Julian Schnabel,” says Mahon. At its peak the Johnson Atelier employed more than 100 people. One of the benefits of working at the atelier was that the employees could work on their own projects after hours. It was not unusual to see almost the entire staff working into the night on their own work. Aoyama traveled a longer path. The daughter of a stay-at-home mother and police detective father, she studied art in her native Japan and earned her degree in painting at Aichi Prefectural University of Fine Art and Music in Nagoya. Coming to the U.S. in 1996, she studied at the Arts Students League in New York, among other schools. Aoyama became more interested in sculpture, and in particular, stone carving. Again, an instructor pointed a student toward Johnson Atelier. That was the late, nationally known, Roosevelt, New Jersey-

based sculptor Jonathan Shahn. She joined the Johnson Atelier apprentice program in the stone division. Though the casting department and the stone division were very separate, this is where she crossed paths with and eventually partnered with Mahon. Aoyama has exhibited widely in the New York, New Jersey, and Pennsylvania area with gallery and museum shows. She currently works for Antiquity Stone as a finishing supervisor, with her team working on stone sculptures for world famous artist Jeff Koons. You can see Aoyama on a 2023 episode of “60 Minutes” talking about a recent Koons project that had 33,000 people hours of hand polishing and how challenging the finishing of stone sculptures can be. “It is stressful as at any time a slip up can damage or ruin the artwork,” she says. Talking about his other work, Mahon says he has stepped back from a recent job as an art handler at Princeton Art Museum. “I was working ‘part time’ -- up to 32 hours a week. I am trying to do more of my own work and less work for others. It was great at the Princeton Museum, I mean they have such an impressive collection, that they only have room to show a fraction of, due to not enough wall space.” Mahon was also on the team that in 1980 fabricated the mammoth, 70-foot-long sculpture “The Awakening” by Seward Johnson. The sculpture shows a giant emerging or freeing himself from the earth. With an open mouth and clenching fingers, the iconic piece was originally installed in Hains Point in East Potomac Park outside of Washington, D.C. A version of “The Awakening” is temporarily located in Johnson’s adopted hometown of Hopewell and will be there for the next year. Currently, Mahon primarily does casting for one client, internationally known New York-based artist Julian Schnabel. “Working for Schnabel fills my schedule. He is a good client and a wonderful art-

ist,” says Mahon. Aoyama and Mahon will also be showing work in a group exhibition at the Pennington School’s Silva Gallery in January. The show, “A Community of Artists,” features work by several other regional artists once part of the Johnson Atelier: le Corbeau, Gyuri Hollosy, Harry Gordon, Wendy Gordon, Eric Schultz, Dana Stewart, and Ivia Sky Yavelow. The show runs through Friday, February 2, with a reception on Thursday, January 11, from 6 to 7:30 p.m. Aoyama is also revisiting her love of painting. She has a separate studio where she is pursuing largescale paintings of cityscapes with traditional Japanese leanings. The vertical cities are reminiscent of Japanese prints that show the “Floating World” of the period when Japan was largely cordoned off from the rest of the modern world. This style was very influential on European artists in the 1800s, when they were finally seen by the outside world. These larger paintings will accompany the paintings she is already exhibiting on the walls of the gallery here. Along with the free-standing sculptures by both artists surrounding their new gallery, the property is a small sculpture park that showcases their own work as well as the work of others that are part of the couple’s collection. Three bells cast by Mahon hang in various locations on the property supported by posts and lintels. Each bell has a different theme. One has all natural elements from the property such as certain species of tree leaves and fruits found nearby, fashioned in bronze and sounding in perfect tone. The need as artists to find exhibition space to showcase their work has been solved by these two experienced artists. They created their own space. They are showing their work by appointment and plan to start having small gatherings in the spring. When working in stone and bronze the work takes patience but the results are enduring.

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Pointing at some sculpture surrounding them, Mahon says, “Look at these, the pieces will be here for a thousand years. More!” Aoyama and Mahon’s gallery is located at 1423 Trenton-Harbourton Road, Pennington, and open to the public by appointment by calling 609-477-4424. A Community of Artists, Silva Gallery, Pennington School, 112 West Delaware Avenue, Pennington. Opening reception Thursday, January 11, 6 to 7:30 p.m. On view through February 2. Public exhibition hours are Thursdays, January 18, January 25, and February 1, 5:30 to 7 p.m. Scheduled appointments are available Mondays through Wednesdays from 10:30 a.m. to 6 p.m. Call 609-737-4133 or visit www.pennington.org/arts/ silva-gallery-of-art for more details. For more information on the artists Aoyama and Mahon, visit aaoyama.com and rorymahon. com.

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JANUARY 10, 2024

Life in the Fast Lane BIO Names John Crowley as New CEO The Biotechnology Innovation Organization, or BIO, the leading international trade association for the industry at the intersection of science, medicine, and engineering, has named John F. Crowley as its new president and CEO effective March 4. Crowley, a native of Englewood, is a biotechnology executive, advocate for rare disease research, and a former U.S. Navy intelligence officer. He currently serves as vice chair of the health section of the board at BIO, where he has been a member for more than 10 years. According to a December 5 press release, “Crowley is best known for his role as an entrepreneur in the biotechnology industry following the 1998 diagnosis of his two youngest children with Pompe disease, a rare and often fatal neuromuscular disorder.” Upon receiving the news, Crowley moved the family to Princeton and began working at Bristol Myers Squibb before leaving the biopharmaceutical company to open his own start-up, Novazyme Pharmaceuticals, in search of a cure. Novazyme was acquired by Genzyme Corporation in 2001, which eventually developed an experimental treatment for Pompe disease via enzyme replacement therapy that Crowley, then serving as its senior vice president, “credits with ultimately saving his children’s lives.” Crowley and his family would become the subject of Wall Street Journal coverage and a book by Pulitzer Prize-winning journalist Geeta Anand, “The Cure: How a Father Raised $100 Million – And Bucked the Medical Establishment – In a Quest to Save His Children,” which was then adapted into a 2010 feature film, “Extraordinary Measures,” starring Harrison Ford and Brendan Fraser. Crowley also penned a memoir, “Chasing Miracles: The Crowley Family Journey of Strength, Hope, and Joy,” in 2010. Crowley left to found Orexigen Therapeutics in 2003, then established Amicus Therapeutics, Inc. two years later, the latter described as “a global biotechnology company focusing on developing treatments for rare genetic diseases,” according to his biography on the BIO website. Amicus received approval from the FDA for its two-component therapy for adults with late-onset Pompe disease, the second treatment developed for the condition, in September 2023. While Amicus Therapeutics’ Research and Gene Therapy Center of Excellence is based in Philadelphia, its global corporate headquarters is located at 47 Hulfish Street in Princeton. Crowley stepped down from his role as CEO there in 2022 after 17 years in the position and will remain as the company’s executive chairman until his term at BIO officially begins. This change was influenced in part by his daughter, Megan — who, at 15 months old, was given just six months to live and is now 26 — experiencing a recent health scare, according to the latest Wall Street Journal article by Betsy McKay, “He Designed Drugs to Save His Children. Now He’s Working to Save Biotech, Too.” Crowley is now set to lead the industry’s largest trade group, as well as utilize its lobbying power, to ensure that BIO facilitates innovation through patient-first practices and equitable access.

Edited by Sara Hastings “When I founded our first company, the mission was to create a therapy to save our children and others from Pompe disease. Today, there are untold millions of children and adults waiting for ‘their’ cures and treatments — as well as literally billions of people who

nessed firsthand John’s inspirational spirit and remarkable talent. We look forward to supporting and learning from him in his new role. John is the right leader at the right time. We wish John all the very best as he embraces this new challenge the only way he knows how: with

need agricultural advances and climate solutions that biotechnologies can provide. The mission of BIO is the mission of our members: cure patients, protect our climate, and nourish humanity. I am humbled and honored to lead BIO as we enter this golden age of medicine and the coming age of biotechnology. And I am eager to continue working alongside our members and dedicated BIO leadership and staff to drive this mission forward,” Crowley explains in the BIO press release. “While my life’s work has centered on creating life-changing and lifesaving medical therapies, I am excited about advancing these critical issues in agriculture and the environment for our society, as well as growing the membership base that drives our mission,” he adds. Crowley earned his bachelor’s in foreign service from Georgetown University, a juris doctorate from the University of Notre Dame Law School, and a master’s of business administration from Harvard Business School. He was also formerly on the board of BioNJ, a partner of the national BIO organization located in Hamilton Township. In a statement, current BioNJ president and CEO Debbie Hart embraced Crowley’s new title. “We are ecstatic that John Crowley, founder and executive chairman of New Jersey’s own Amicus Therapeutics, has been named the new president and CEO of the Biotechnology Innovation Organization. John is an extraordinary human being with much to offer and a transcendental story that moves even the most hardened hearts and minds. John will bring his clear vision, passion for innovation and true leadership, as well as the ability to tell the industry’s story in new and compelling ways to this new chapter of his life,” she says in a quote. “As a past BioNJ Board Member and the 2011 recipient of the Dr. Sol J. Barer Award for Vision, Innovation and Leadership, we are so fortunate at BioNJ to have wit-

drive and conviction, ‘Because Patients Can’t Wait,’” Hart adds, ending with BioNJ’s trademarked “rallying cry.” Crowley succeeds interim CEO Rachel King, who came out of retirement to serve as president-CEO in October 2022 after molecular immunologist Michelle McMurryHeath resigned from her leadership position following a period of leave and “disagreements with some board members,” according to the Wall Street Journal. “I’ve had the pleasure of working with John for many years as a Board member, and for the past year as part of BIO’s leadership team,” says King. “There couldn’t be a better person to lead our members in 2024 and beyond, and I look forward to continuing to work together to advance this incredibly important industry in its pursuit to change people’s lives for the better.” More information: www.bio. org.

Princeton University, State Partner on AI On December 18, Governor Phil Murphy and Princeton University President Christopher L. Eisgruber revealed a new, unprecedented partnership between the academic institution and state government “to establish a hub for artificial intelligence” activity in New Jersey. The project will be run in collaboration with the New Jersey Economic Development Authority, or NJEDA. “Leveraging state funding and private sector partnerships, the initiative will advance New Jersey’s leadership in AI and catalyze innovation in AI technologies, drive job growth and economic development across the region, promote rapid and responsible development of the field, and guide governments and public entities on AI implementation,” the press release states. “The establishment of this new initiative underscores the Murphy Administration’s commitment to supporting innovation and the

technologies of the future in tandem with New Jersey’s world-renowned higher education institutions.” “Once again, New Jersey is pioneering cutting-edge technologies in lockstep with one of the world’s most prestigious universities,” Murphy says in a quote. “Indeed, there’s no better place in the nation

gy, and with today’s great news on the heels of last week’s recommitment to New Jersey from Bell Labs, we are seeing proof positive that the Governor’s strategy is resonating with some of the most prominent institutions in the world.” According to the press release, Governor Murphy previously is-

to build a nexus for AI development than in the heart of New Jersey at Princeton University, which attracts the companies of the future with its robust innovation ecosystem and unparalleled combination of location and talent. As these industry leaders seek the next big breakthrough in AI technologies from their labs in Central Jersey, they will help generate economic activity and good-paying jobs in communities across our state.” “Princeton’s strategic framework recognizes the promise and societal implications of artificial intelligence — as well as the University’s ‘unique capacity’ to meet these challenges,” Eisgruber adds. “Working to establish this hub for AI will further our efforts in this important area, while strengthening the regional ecosystem of innovation and advancing Princeton’s teaching and research mission.” “The initiative will bring together AI researchers, industry leaders, start-up companies, and other collaborators to advance research and development, house dedicated accelerator space, advance the use of ethical AI for positive societal impact, and promote workforce development to support new technology development, in collaboration with other New Jersey universities, community colleges, and vocational schools,” the release continues. “The initiative will also draw on New Jersey’s unique strengths in the health, sustainability, financial, and technology sectors, which have the opportunity to apply artificial intelligence technologies to advance innovative breakthroughs.” “Today’s announcement by Governor Murphy and Princeton University President Eisgruber is an historic declaration of New Jersey’s ambition to be a leader in shaping and harnessing the power of AI to drive innovation and long term job creation,” Tim Sullivan, the CEO of the New Jersey Economic Development Authority, says in a quote. “Governor Murphy has made recapturing New Jersey’s leadership position in innovation a centerpiece of his economic strate-

sued Executive Order No. 346 last October as part of his “commitment to make New Jersey a national leader in AI,” doing so by establishing an AI Task Force designed to study “emerging AI technolo-

gies” like “societal impacts” and make recommendations on the government’s role in ensuring ethical usage. “The Executive Order also announced a nation-leading initiative to educate New Jersey’s State workforce about the development, use, and risks of AI, and directed the Administration to evaluate tools and strategies to improve government services through artificial intelligence, as well as explore ways in which artificial intelligence can stimulate economic growth, create jobs, and be deployed by employers to enhance training and talent development, especially for low-income residents,” the document continues. Princeton University will host “a one-of-a-kind convening on AI” on Thursday, April 11, according to Eisgruber, where a group of “leaders from academia, industry, and government” will gather to engage in a productive discussion about “the most pressing AI issues of the day.”

JANUARY 10, 2024

U.S. 1 Classifieds How to order

TRANSPORTATION

OFFICE RENTALS

Singles Exchange

Employment Exchange Volunteer in-person on Monday January 15 to package donations for distribution and participate in special projects. The total number of volunteer spots are limited. Those unable to participate in person can still take part by making donations of needed items. Donations will be made to RISE Community Service, Children’s Home Society, Trenton Area Soup Kitchen (TASK), PEI Kids, Womanspace, MillHill Child Development Center, and Letters Against Isolation. Items sought include: Rise Community Services, for youth ages 3 – 12: new pajamas, toothbrush, toothpaste, gently used or new books. Children’s Home Society, for babies, toddlers, and up to age 15: handmade hats, mittens, and scarves. Trenton Area Soup Kitchen (TASK): plastic utensils (fork, knife, spoon), napkins, elastic bands PEI Kids, for young men aged 12 – 17, new: hoodies (black, grey, green), hats/scullies, gloves, gift cards (McDonalds, Dominos, Dunkin, Regal Cinemas), art supplies: sketch pads/markers/colored pencils, journals, notebooks, adult coloring books & color pencils, earbuds/headphones Womanspace, for moms new, brand-name only: body wash/ splash, body lotion, nylon styling hair brushes, razors for women, women’s underwear (all sizes) Womanspace, for children and adults: coloring books, activity books, puzzle books, sketchbook, journal, markers, crayons, colored pencils, gel pens, felt pens, stickers, embellishments (ex. gems, washi tape), glue sticks or tape. MillHill Child Development

Center, for babies and children: diapers (infant to size 9), wipes, socks (infants, toddlers – age 11), naptime blankets (ages 3 – 5), pajama sets (all genders ages 3 – 10), babywash, toothbrushes, toothpaste (ages 2 – 11). Letters Against Isolation, for seniors in New Jersey: handwritten notes. For packaging the items (all projects): gift bags, big clear recycling bags, gallon ziploc bags.

Business Meetings Wednesday January 10

Networking, BNI Falcons, IHOP, 610 Route 33, East Windsor, 877264-0500. www.bninjpa.org. Hybrid meeting. Speaker: Marc D. Binder CPA, making taxes less taxing 7 to 8:30 a.m.

Thursday January 11

Networking, BNI Tigers Chapter, Conference Center at Mercer County Community College, 1200 Old Trenton Road, West Windsor, 609-570-3237. www.bninjpa.org. 7 to 8:30 a.m. Networking, BNI Top Flight, Town Diner, 431 Route 130, East Windsor, 609-443-8222. www. bninjpa.org. 7 a.m.

Friday January 12

Networking, BNI Driven, Elks Lodge #2622, 1580 Kuser Road, Hamilton, 609-585-9610. www. bninjpa.org. Speakers: Peter Barbera, restoration; and Grant Patten, home inspections. 7 a.m. JobSeekers, Professional Service Group of Mercer County, Princeton Public Library, 65 Witherspoon Street, Princeton. www. psgofmercercounty.org. Career coach Paul Cecala offers a fourstep interview method to help you succeed in interviews. 9:45 a.m.

to noon.

Tuesday January 16

Business Before Business Virtual Speed Networking, Princeton Mercer Regional Chamber of Commerce, 609-924-1776. www.princetonmercerchamber. org. Network over morning coffee and re-engage with chamber friends. Register. $15; free for members. 8:30 to 9:30 a.m.

Wednesday January 17

Networking, BNI Falcons, IHOP, 610 Route 33, East Windsor, 877264-0500. www.bninjpa.org. Hybrid meeting. Speaker: Brandon Grocki, financial planning. 7 to 8:30 a.m.

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JANUARY 10, 2024

RETAIL, OFFICE, MEDICAL & WAREHOUSE

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• Optional built to suit space designed to fit your needs • Three buildings offering 28,000 sf (+/-) of ground-level retail, office & medical space for lease • Separate utilities for each suite • 191 luxury apartments on-site • Over 120 parking spaces with handicap accessibility • High visibility with 29,646 (+/-) vehicles on Route 206 & 14,760 vehicles on Amwell Road passing the center daily

1221 up to 5685 SF (+/-) | IMMEDIATE OCCUPANCY

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MONTGOMERY PROFESSIONAL CENTER Route 518 & Vreeland Drive, Skillman

• Six building complex totaling 47,094 sf (+/-) with on-site day care • Private bathroom, kitchenette & separate utilities for each suite • Nine acres of professionally landscaped & managed office & medical space • 336 Parking spaces available with handicap accessibility • Close proximity to hotels & restaurants in the Princeton & Trenton areas

OFFICE & MEDICAL SPACE AVAILABLE:

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1028 up to 1460 SF (+/-) | IMMEDIATE OCCUPANCY

FLEMINGTON JUNCTION BUSINESS CENTER 115 River Road, Flemington

• Four building warehouse complex totaling 150,000 sf (+/-) situated in a prime location right off Route 31 • All buildings feature 32’ clear ceiling heights, 50’ x 50’ column spacing, heavy power LED warehouse lighting, 360-degree site circulation, heavy floor load, loading docks &/or drive-ins • Separate utilities and entrances for each suite • Full wet sprinkler system throughout • 270 Parking spaces available with handicap accessibility

WAREHOUSE & OFFICE SPACE AVAILABLE:

1257 up to 27,522 SF (+/-) | NOW 90% LEASED

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