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Photo by Franco Vogt
Anula Courtis could have moved her Princetonbased tech start-up anywhere, but she chose to relocate to Ulster County. It is not hard to understand why. Attracted to the region’s educated workforce and quality of life— easy access to the outdoors, thriving arts scene, great restaurants, and low cost of living— 340 Best found a home in Ulster County at Seven21 Media Center in Kingston.
The Ulster County Office of Economic Development was there to assist Courtis from Day One, scouting a location for her tech start-up and accessing a pipeline of skilled employees from SUNY New Paltz. “The Office of Economic Development was friendly, supportive, and responsive,” says Courtis. “They made meaningful introductions and helped facilitate a smooth transition.” Thinking about relocating your business? Contact the Ulster County Office of Economic Development today! Ulsterforbusiness.com (845) 340-3556
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ULSTER COUNTY HACK YOUR WORK/LIFE BALANCE
MILAN CASE STUDY IS A MODERN RESIDENTIAL DEVELOPMENT LOCATED MINUTES FROM RHINEBECK, NY WITH HOMES DESIGNED BY AWARD WINNING ARCHITECT JAMES GARRISON Each home is placed within the environment to maximize the enjoyment of the natural beauty, and minimize the disturbance to the surroundings. 3,256 square feet / 4 bedrooms / 4.5 baths Lots from 7 - 17 acres Saltwater heated pool, studio/garage, pantry, media room, fireplace, screened in porch
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Nationally ranked with a personal touch: Adelphi’s Master of Social Work. Our M.S.W. program is for those seeking to advance their careers, change careers or return to the workforce after raising a family. Adelphi’s small class sizes ensure personalized attention from the dedicated faculty, who are leaders in the fields of social work and nursing. For more than 40 years, the program has offered many benefits to help and encourage students, including: • Classes at times and locations convenient to working students • On-site financial aid, admissions and academic advisement • Staff members who act as liaisons to Adelphi’s main Garden City campus • Individualized social work field placement advisement and internship planning with a field coordinator Stop by the Hudson Valley Center. Spotlight on Careers in Social Work Special Event March 25, 2019 6:00 p.m.–8:00 p.m. Or visit Adelphi.edu/MSWHudsonValley
Historic Riverfront Hotel & Tavern Now booking special events and private parties 4 CHRONOGRAM 3/19
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Richie Ramone performing at the UniClub in Buenos Aires in 2018. An excerpt from his autobiography, I Know Better Now, appears on page 70. Photo by Ailiñ Gómez Caraballo
FRONT MATTER 8 On the Cover 10 Esteemed Reader 13 Editor’s Note 15 Q&A with Laurent Rejto 17 Big Idea: Thornwillow Makers Village 18 While You Were Sleeping 25 Larry Beinhart’s Body Politic
FOOD & DRINK 28 Beyond Bistro A conversation with Liberty Bistro chef/owner Michael Kelly as he prepares to expand the restaurant.
34 Sips & Bits Four places to sip and sup in the Hudson Valley this March.
35 The Drink: The Ox Eye At Gaskin’s, the Ox Eye cocktail offers a smoky mezcal play on the classic margarita.
HOME & GARDEN 36 Hope Chest Reappropriating the three stories of a former Odd Fellows Temple, artist Kelli Bickman has created a vibrant live/work/gallery space.
44 Spring Refresh A roundup of Hudson Valley home goods stores at a range price points, just in time for your spring refresh.
HEALTH & WELLNESS 48 Heavenly Matches Wellness editor Wendy Kagan explores the culture around the life-saving act of organ donation.
OUTDOORS 52 Tearing it Up Beacon-based SHRED Foundation uses snowboarding to instill confidence and life skills in young adults.
COMMUNITY PAGES 54 Tradition & Trajectory: Saugerties A confluence of equestrian tourism, the arts, and dedicated entrepreneurs have kept the quaint waterfront town of Saugerties on its toes.
features 22 from the archives: oatmeal by Cathleen Bell
From Cathleen Bell, author of seven YA novels, comes this Odyssey-like short story about a woman awaiting her husband’s return.
62 metaphysical containers by Brian K. Mahoney
Carole Kunstadt’s textural sculpture deconstructs familiar shapes and vessels and reassembles them in provocative new configurations.
70 too tough to die by Peter Aaron
Chronogram arts editor and co-author of Richie Ramone’s new autobiography, Peter Aaron, speaks with the rockstar about the new book, plus an excerpt.
HOROSCOPES 92 From the Universal to the Personal Astrologer Lorelai Kude scans the skies and plots our horoscopes for March.
3/19 CHRONOGRAM 5
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From farm to farmstand to super farm market... Weâ€™re celebrating our centennial throughout 2019! Go to adamsfarms.com for promotions, historic information and more!
6 CHRONOGRAM 3/19
WA P P I N G E R
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Route 9W 845-336-6300
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Tatianna Saintilus with Jadae Rose, Ifeoma Ukatu, Samantha Jane Williams, Stefanie Workman, Cory Sierra and Deborah Crumbie in rehersals for “For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf,” which will staged this month at SUNY New Paltz. Our preview appears on page 85. Photo by Maxamillian Evanega-Kahler
81 Fifty-one years after abandoning art, Charlotte Posenenske has a retrospective at Dia: Beacon.
Album reviews of Verdancy by David Garland; Fade Out by Girl Gaze; London Live by Jeff “Siege” Siegel Quartet; and Bright City Lights by Rebecca Haviland and Whiskey Heart.
75 Books From Gurdjieff reconsidered to a manifesto for black farmers, seven short book reviews.
76 Poetry Poems by Abilene Adelman, Chuck Agro, Ronald Baatz, Stampie Dear, Guy DeMarco, Anthony Lee Hamilton, Laurinda Lind, Naomi Lore, Nicollette Papandonis, Brendan Press, Perry Nicholas, JR Solonche, Meg Tohill, and Lois Weisberg. Edited by Philip X Levine.
83 On March 16 the Hudson Valley Philharmonic String Competition returns to Bard. 85 SUNY New Paltz stages a 1975 Tonynominated choreopoem by Ntozake Shange. 87 A gallery guide for February. 91 Six live music shows to pencil in, from Hiroya Tsukamoto to Murphies to Gogol Bordello.
96 Parting Shot Woodstock-based artist Bill Durkin has spent more than 30 years in pursuit of the scaly luminescence that so entranced him as a child.
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on the cover
Red Lightning Bolt KARSTEN KREJCAREK silkscreened ink on perforated paper, 2019
“I thought of a maze of mazes, of a sinuous, ever-growing maze that would take in both past and future and would somehow involve the stars.” —Jorge Luis Borges, “In the Garden of Forking Paths”
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ong before scientists put names and formulas to quantum physics, artists and philosophers contemplated the synchronous multiplicity of time, nested worlds, parallel realities. Once such figure is Argentine writer Jorge Luis Borges, whose 1941 short story, “In the Garden of Forking Paths,” employs a nonlinear narrative that inspired many later artists. In an exhibit by the same name, Mother Gallery in Beacon is now showing pieces by three contemporary artists working under the assumption that time is non-linear, reality is amorphous, and dimensions are permeable. One of the artists, Karsten Krejcarek, has spent much of the last decade immersed in the syncretic folk traditions, magic rituals, and plant medicine of Latin America, making place-based narrative video. For Krejcarek, these new works mark a return to the studio, to the land of objects and writing, where he confronts recent personal trauma through symbolic gestures. “One of the liberating aspects of this project has been relieving myself of time-based media,” he says. “In that way, things can kind of coexist and conflict.” Following a sinuous, idiosyncratic path of research and reflection, Krejcarek takes viewers down a rabbit hole of synchronistic historic events, hallucinogens, torture, and sorcery, weaving together an installation that is at once gruesome and liberating, biographical and fantastical. “I am a firm believer in a multidimensional reality,” Krejcarek says. “I find it very comforting that there is a path where things went a different direction—either for better or worse. It puts the path you’re on in some sort of perspective. And sometimes these alternative paths can be redemptive.” Red Lightning Bolt is an exact replica of a sheet of acid produced in 1983 by the Brotherhood of Eternal Love, an elusive organization of peacenik drug smugglers. Like much of the installation, the blotter paper plays with authenticity. The tabs can be found strewn throughout the installation, which also includes a 1969 bottle of diet Dr. Pepper (an object of desire), which is suspended by a string in front of a pyramidal concrete torture chamber. Nearby, a lab table is outfitted with rudimentary equipment, the recipe for an Amazonian curse potion scrawled on hotel stationery, and the necessary ingredients to make the concoction (hair of a virgin, vulture droppings, and the like). “The overlap of all of these things is the exciting part—whether pushing up against one another or lining up,” Krejcarek says. “If you are splitting off realities one can be contradictory to the other. There is liberty in contradiction.” “In the Garden of Forking Paths” is on display at Mother Gallery through March 24. Mothergallery.art —Marie Doyon
alt covers Other works we considered for the March cover are Colin Hunt’s Untitled, (The Barber Stone), an egg tempera on panel painting that is part of the exhibit “In the Garden of Forking Paths” at Mother Gallery, and Shani Crowe’s Cerebral, a 2016 photograph that is part of the exhibit “In Place of Now” at Opalka Gallery, Sage College of Albany.
EDITORIAL EDITORIAL DIRECTOR Brian K. Mahoney email@example.com CREATIVE DIRECTOR David C. Perry firstname.lastname@example.org DIGITAL EDITOR Marie Doyon email@example.com HEALTH & WELLNESS EDITOR Wendy Kagan firstname.lastname@example.org POETRY EDITOR Phillip X Levine email@example.com ARTS EDITOR Peter Aaron firstname.lastname@example.org CONTRIBUTING EDITOR Anne Pyburn Craig email@example.com HOME EDITOR Mary Angeles Armstrong firstname.lastname@example.org
contributors David Appelbaum, Larry Beinhart, Cathleen Bell, Deborah DeGraffenreid, Michael Campbell, Michael Eck, Kandy Harris, Lorelai Kude, Maria Ricapito, Phillip Pantuso, Seth Rogovoy, Sparrow, Zan Strumfeld
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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 © Luminary Media 2019. 3/19 CHRONOGRAM 9
Find Your Center AT MARIANDALE
Reserve Your Spot Today The Work of Byron Katie MAY 31 – JUNE 2 In this hands-on workshop, lead by Tim Miller, one of the original certified facilitators of The Work, you will learn the practical tools of self-inquiry that can be used to lighten your relationships with family, friends, money, health, career, and yourself. The workshop is presented in an atmosphere of lightness, humor and fun.
Self-Realization as a Spiritual Practice JUNE 16 – JUNE 21 This workshop is an entry point into our own wisdom. Using creative exercises, poetry, storytelling and video, we learn the secrets of mysticism and non-duality. We learn how to let go of the fears that have kept us silent and create a life that is full of purpose, spirit and prophetic power.
Mandala: Creating from the Center JULY 12 – JULY 14 The mandala is a symmetrical design that has historically appeared in art forms, architecture and ceremonies around the world. During the retreat individual mandalas are created as a form of self-expression and personal insight. No prior art experience is needed.
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10 CHRONOGRAM 3/19
by Jason Stern
To see a World in a Grain of Sand And a Heaven in a Wild Flower Hold Infinity in the palm of your hand And Eternity in an hour —William Blake, Auguries of Innocence Boredom begins where our minds leave off. We are bored or uninterested exactly at the limit of our active intelligence. Easily or quickly bored means that our intelligence is either small or idle. The boring are the first to be bored. —Jane Heap, The Notes of Jane Heap Esteemed Reader of Our Magazine: On a recent trip up a ski lift, I listened to the conversation of some young men, teenagers. They munched on peanut butter cups from a bag and chatted. “These peanut butter cups are really good.” “Yeah, they’re really good now, but a minute ago they didn’t exist.” “Oh, yeah, like Schrödinger’s cat. The peanut butter cups weren’t in the bag until we perceived them.” “Or, they were both in the bag and not in the bag.” “Oh, yeah, what’s that called?” “A superstate.” The conversation fragment got me thinking about the real nature of the present moment. I’m not a regular skier and was blessed with an intense ache in my legs as I hurdled down hills too steep and technical for my ability. I tried to marry the inquiry with the pain in my legs as I skied down again and again. Here are some of the results of that inquiry: The present moment is a point in time. This is a geometric configuration. A point in space has no dimension. Only an infinite set of points, a line, has any dimensionality. Then an infinite set of lines becomes a plane, and an infinite stack of planes becomes a cube with the three dimensions of space. Finally, these three dimensions of space comprise a new dimensional beginning: Three dimensions of space are a point in time. So, the present moment is a point, which, elaborating into an infinite number of moments, forms the linear process of the unfolding of time. Ordinarily this point is experienced as “real,” with the point before and after receding into the shadows of past and future. What is the extension of the line of time into a plane? This is eternity, the aggregate of linear time, existing not as a set of moments but as a singular expanded moment, as though a being’s first inhale and last exhale, together with every moment in between, was a simultaneous, singular event. This is a being’s long, or 4th-dimensional body, in which that being is simultaneously born, young, middle-aged, old, and dying. What is the extension of the plane of eternity into the third dimension of time? Philosophers call this hyparxis, suggesting not only simultaneous moments within the line of time, but the simultaneous existence of all the threads forming a fabric of time. This is a dimension of perfect freedom in which all possible pasts and futures are coexistent and available as a singular, solid state, present moment. This third dimension of time is its completion. At the same time, the present moment is uniquely personal. A human’s nature is a complex and multifarious perceptive instrument. One has the five senses of touch, taste, smell, hearing, and sight to register the moment. The capacity for attention to gather impressions through these faculties is a measure of the depth and breadth of a person’s experience of the moment. That said, the gamut of perception of the senses is minuscule in the context of the electromagnetic spectrum and beyond. One perceives only a tiny portion of available information about the present moment through the senses. Beyond the senses are the faculties of our inner life—the knowing of real thought, the sensitive feeling perceptions of true emotion, and the proprioceptive intelligence of sensation in the body. One’s presence and collected attention in these instruments of perception is a further measure of one’s experienceof the present moment. In a really collected state, one senses the infinite perceptions possible in this time and place. One sees the world in a grain of sand. From this one can sense the current existence of an expanded time, however shadowy, and hold eternity in an hour. —Jason Stern
SUNY NEW PALTZ DISTINGUISHED SPEAKER SERIES PRESENTS…
DR. ROSIE PHILLIPS DAVIS
President, American Psychological Association
DEEP POVERTY: MORE HOPE AND LESS BLAME MONDAY, APRIL 1, 2019 7:30 p.m. | SUNY New Paltz Lecture Center 100 TICKETS AND INFORMATION: 845-257-3880 | www.newpaltz.edu/speakerseries Parker Theatre Box Office open 11:30 a.m.– 4:30 p.m. Monday – Friday, February 18 – March 10, April 1
This series is made possible by the SUNY New Paltz Foundation with support from the following sponsors: Buttermilk Falls, Campus Auxiliary Services, Henry’s on the Farm, Liberty Mutual, M&T Bank, and Sodexo.
STATE UNIVERSITY OF NEW YORK AT NEW PALTZ
PHOTO: ROSIE BINGHAM
3/19 CHRONOGRAM 11
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he Aer Lingus flight touched down at Shannon Airport on a wet November morning in 1998. I had spent the overnight flight carousing with new best friend, Rory McElvoy, who was returning home to Omagh, in Northern Ireland. A few months earlier an IRA splinter group had set off a car bomb in Omagh that killed 29 people. Rory McElvoy preferred not to talk about it, the only Irishman I’ve ever met who didn’t want to talk, talk, talk. Except for Fergus, whom you’ll meet shortly. At the rental car pick-up, it was raining so hard it hurt your skin. It’s a three-hour drive from the airport to Bantry Bay, where my grandfather, Patrick O’Mahony, was born. A long drive on the wrong side of the road (shifter on the wrong side as well) in a monsoon. I picked up a sodden hitchhiker along the way, which was fortuitous, as he not only helped me navigate the confusing route through Cork, his ceaseless banter kept me awake. I was the first person in my family to set foot on Irish soil since my grandfather emigrated to the US in the early 1920s. By “my family,” I’m referring to the Mahoneys of Queens, the American branch of the Mahoney/O’Mahony clan. There were—and are—plenty of O’Mahonys still in Ireland. (A note on the Mahoney/O’Mahony split: When Patrick O’Mahony arrived at Ellis Island, an immigration official thought he’d be helpful by Americanizing my grandfather’s last name, dropping the O and adding an e. Patrick and his descendants could then pass as full-blooded Americans, not bogged down by the albatross of their Irish O’heritage.) The Mahoneys of Queens were well acquainted with the O’Mahonys of Bantry Bay, but none of us had ever gone there. Patrick had never returned to the country of his birth once he left, and neither of his two children were much for travelling. But our Irish cousins loved to come and stay with us. Some came to see the sights of New York City, some to slip into the Irish enclaves of the Bronx where bars were thick with brogues. The Irish economy had been stagnant for some time by the late `70s and early `80s, and there was a network of under-the-table construction jobs in New York City for Irish emigres. Upon my arrival in Bantry Bay, the O’Mahonys arranged a party, inviting family from all over County Cork to fete the visiting American cousin. I met Tighe and Naimh and Fiachra and Niall and some other people with normal names. I was served large glasses of whiskey—perhaps overserved after I requested a portion of Bushmills, which as the O’Mahonys were keen on pointing out, was Protestant whiskey from the north of Ireland and
therefore taboo. They drank Jameson, and made sure I drank enough of it that I had to be carried out of the room, which they thought was great fun. A real good craic, as they say. The next day, after my head cleared, I spent time with my grandfather’s last surviving sibling, Kathleen, then in her 80s. She made lunch for me—poached flounder and boiled potatoes served with brown bread and these adorable balls of butter that I watched her form with two wooden paddles. Kathleen, a gregarious raconteur, was left speechless when I asked her why the perfectly good pats of butter needed to be shaped into spheres. “That’s just how it’s done,” was all she could manage to reply. Fergus, a long-retired railway engineer, joined us for lunch. He was supposedly Kathleen’s husband, but as he didn’t say a word to either of us, I had to take Kathleen’s word on that. Fergus looked more like a worn armchair than anything and seemed content to glower at me across the table like he suspected I was going to pocket the silver on the way out. Kathleen took me to see the family farm where she and her 12 siblings had grown up. She didn’t remember my grandfather very well as he was much older than her and left when she was a little girl. But she did know that Patrick went to America because he was in some kind of trouble. As it was the ’20s in Ireland, that meant political trouble. If you’re interested in finding out more about the Irish War of Independence, I’ll leave you to it, but suffice to say that it was a violent time and likely my grandfather was involved with the Irish Republican Army in their guerrilla war against the British. A few years earlier Patrick’s uncle had been imprisoned by the British and eventually hanged for his Republican activities. Like so many before and after him, my grandfather left his home in search of a better life. Tale as old as time—we humans are a migratory bunch. He settled in Rochester, New York, and eventually became a naturalized citizen. In a time of rising tension about our borders and an increasingly emboldened Immigrations and Customs Enforcement agency, it’s worth remembering that we are all linked, whether we’re Irish or Mexican or born here. We are a nation of laws, and they should be respected. But we are also a nation of immigrants, and we should try and find some measure of empathy for those who come here looking for a better life, like our families did.
From O’Mahony to Mahoney and Back Again
by Brian K. Mahoney
3/19 CHRONOGRAM 13
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Executive Director of the Hudson Valley Film Commission
ith a long career in acting, directing, and film editing, and a Rolodex of industry contacts, Laurent Rejto left the New York City in 1988 and moved to the Hudson Valley, quickly befriending the then-small upstate film community. In the 30 years since he’s relocated, the New York State film landscape has undergone seismic shifts, triggered in no small part by Rejto’s own efforts. In 2000, along with filmmaker Meira Blaustein, Rejto founded the Woodstock Film Festival. In the same year, he also launched the Hudson Valley Film Commission. Since HVFC began its work, some 500 films have been made at over 1,500 locations throughout the MidHudson Valley. In 2016, after much lobbying from HVFC, Governor Cuomo increased the post-production film tax credit for upstate New York from 10 percent to 35 percent, further incentivizing the regional film industry. We sat down with Rejto to discuss the work of the Hudson Valley Film Commission and the region’s evolving production industry. Hudsonvalleyfilmcommission.org. —Marie Doyon What services does HVFC offer? We do whatever we can to make it as easy as possible for production companies to film in the region, such as finding locations, local crew, and local vendors. For the most part, we work with producers or location scouts and line producers, casting directors. Do you help production companies get their film tax credit? We explain the process, but then they have to do the application. The tax credit is very important for post-production, which is one of the things that’s taken off. Even if you produce outside of region, you can get up to 25 percent in film tax credits if you do any of your eligible post-production in the MidHudson Valley. Here is an example: All of the sound effects for the movie Roma were done in Glenford, right outside Woodstock. The sound director has done work for Martin Scorsese and the Coen brothers. He does them right in his house. He can play an effect from any movie. Did HVFC lobby for the Film Tax Credit increase? Very, very much. Every year in our end-ofyear report, we complained about how the Mid-Hudson Valley was being screwed by
the existing program. Eventually Ulster County Executive Mike Hein took up the battle and really got the Assembly together with help of other politicians. We also gathered letters from industry people, who explained how they were having to go to Georgia or Louisiana to get work because the Mid-Hudson Valley was being left out of the additional film tax credits it needed to have a level playing field with other regions. How did the additional tax credit affect the region’s film industry? We’ve seen quite a shift since then, a lot more big-budget and union films are considering the region. Right now, I’m working on four union films and it’s only February. That is really unusual. Used to be that union projects wouldn’t even consider us, but now with an additional 10 percent on below-the-line costs, they are considering us. What does our area have to offer production companies? The region has a huge amount of union actors and laborers who can’t afford to live closer to New York City, so they live in Kingston, Woodstock, Poughkeepsie. We have hundreds of people that we can recommend. Last year, we worked with Jim Jarmusch on Dead Don’t Die, which had about 40 local crewmembers. That is everything in a nutshell that we we are trying to do: get work for local crew so they don’t have to commute four to five hours a day in order to make money in this industry. What are some of the bigger projects HVFC has worked on? We worked on Shirley with Elizabeth Moss; last year we helped with Avengers: Endgame. That was a total secret. It was known by the code name “Mary Lou” until a month and a half ago. Two years ago, the big film was A Quiet Place with Emily Blunt and John Krasinski. To date, that is the most successful film shot in the Hudson Valley, with a profit of about $350 million. What projects are coming up in 2019? There is a six-part series with Mark Ruffalo for HBO, “I Know This Much is True.” He plays twins. We’re also working with Netflix on two films right now. We’ve found the locations we just need to know if we can use them. And we are also focused on about seven other independent projects. It’s exciting. You cofounded the Woodstock Film Festival. Tell us what role that plays in all this. We created the festival with the idea of
bringing people from all over the world to our region to try to convince them to come back here to make a movie, then to submit that film to the festival, and come back and show it. That has happened many times, including with Cary Fukunaga, who directed “Maniac,” “True Detective,” and Beasts of No Nation. In 2004, he won Best Student Short at WFF. We keep in touch with these people. I’m always saying, “Shoot your next film here.” Where does the Hudson Valley film industry’s still have room to grow? There are about nine certified sound stages, some of which are very established, and they have all the bells and whistles. If we could fill all of those up with a TV show, that would be amazing. But, more realistically, if just one of them could get a successful TV show, that would really take us to the next level. That is the dream. When I talk to the Motion Picture Association of America, it’s a lot easier to mention A Quiet Place and Jim Jarmusch than a film no one has heard of. The building blocks are in place. The five-year plan really turned out to be a 25-year plan, but that’s okay. I am a patient man.
The most successful film ever shot in the Hudson Valley was 2018’s A Quiet Place, which grossed $188 million at the domestic box office. 3/19 CHRONOGRAM 15
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16 CHRONOGRAM 3/19
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The Thornwillow Makers Village is a transformative economic development and downtown revitalization initiative launched by Thornwillow Institute, an outgrowth of Luke Ives Pontifell’s Thornwillow Press, a world leader in handcrafted, limited-edition publishing and exquisite letterpress stationery, based in Newburgh since 2004. (Thornwillow editions are in the collections of the Metropolitan Museum, the Vatican, the White House, the Smithsonian, Vassar, Harvard, and Yale.) The Makers Village seeks to add to Newburgh’s ongoing resurgence and serve its diverse community. “Newburgh’s businesspeople and grassroots makers are joining forces with New York City refugees who needed space they could afford.” says Pontifell. “It’s not ‘signs of’ change anymore, it’s actual change.”
Thornwillow Makers Village
+ Thornwillow Makers Village will encompass 100,000 square feet in and around five adjacent properties. Anchored by a historic carriage house, the village will include maker incubator spaces; live/work studios; gallery, event, and retail spaces; and a bar and restaurant highlighting Hudson Valley craft distilleries. + Last fall, the Mid-Hudson Regional Economic Development Council awarded $400,000 in New York State economic development funding for the initiative.
Artist renderings of Thornwillow Makers Village.
+ The village will also include a bookstore, the city’s first in 50 years. + To benefit the Makers Village, Thornwillow is offering an edition of The Great Gatsby through Kickstarter’s Exquisite Objects Initiative. Over $105,000 has been pledged so far; choices range from a $4 broadside of Fitzgerald quotes to one-of-a-kind Daisy Buchanan and Jay Gatsby copies featuring handtooled Moroccan leather, 24-karat gold, and precious stones. —Anne Pyburn Craig 3/19 CHRONOGRAM 17
WHILEYOUWERESLEEPING In late January, Facebook released its 2018 fourth quarter and full-year earnings, which showed record-high profits, even after the company endured a string of scandals regarding user privacy. During the 2016 presidential election, information from over 50 million Facebook users was harvested without their permission. Foreign governments used the social media giant’s data to target ads and influence the election. Most recently, Apple exposed Facebook for paying consumers in exchange for monitoring their phones. Daily active Facebook users have risen 9 percent from a year earlier to 1.52 billion, with profits skyrocketing 61 percent to hit $6.9 billion for the year. Source: New York Times Recent studies have found that the colonization of the Americas caused Earth’s climate to cool. Because of violent conflicts and disease, the indigenous population was reduced by 90 percent and 56 million people died between 1492 and 1600. This depopulation resulted in unattended agricultural land the size of France. The abandoned land became overgrown with new vegetation that soaked up enough carbon dioxide to cool the planet. During this “Little Ice Age,” the average temperature dropped by 32 degrees. Over the past century, the release of greenhouse gasses has caused the planet to warm by 34 degrees. Source: The Guardian A recent study published in the Journal of Communication suggests that the decrease in local newspapers and journalists across the nation contributes to our country’s political polarization. Based on voting data from 66 communities where newspapers have closed, there is less split-ticket voting and limited engagement at the local level. Individuals without a local news source will most likely turn to the national news to judge local politics. Citizens vote for party “brand names” because they are influenced by national labels, but these labels do not always align with politics at the local level. Source: Associated Press
Over the past 20 years, crimes committed by individuals over 65 years old have been steadily increasing in Japan. Historically, children in Japan look after their elders, but in some of the smaller provinces that lack economic opportunities, younger people are moving away. Older individuals then resort to breaking the law to survive and find a like-minded community behind bars. Impoverished elderly people are shoplifting—which is considered a serious offence in Japan—just to receive three meals a day in jail. In 2016, more than one third of the 2,500 convicts over the age of 65 had five previous convictions. Source: BBC
EXTREMISTS SAY THE DARNDEST THINGS “I would tell them please forgive me. I was really young and ignorant and I was 19 when I decided to leave. I believe that America gives second chances. I want to return and I’ll never come back to the Middle East. America can take my passport and I wouldn’t mind.” —Hoda Muthana, an American currently being held in a Syrian refugee camp with her 18-month-old son after the retreat of ISIS; Muthana, a prominent online agitator for ISIS, called for terror attacks in the US while in Syria.
Harvard University researchers have found evidence that links marijuana use to a higher sperm count in men. This finding contradicts the popular belief that smoking weed negatively impacts male fertility. After studying 662 men from 2000 to 2017, subjects who smoked had an average sperm count of 62.7 million sperm per milliliter while the men who avoided marijuana had an average of 45.4 million sperm per milliliter. The subject pool of the Harvard study consisted predominantly of white, collegeeducated men around the age of 36, which is not representative of the general population. Source: Quartz A new study conducted by Kantar Consulting and Trusted Media Brands, Inc., suggests that an increasing presence of electronic devices has an overall positive impact on American families. After surveying 3,500 families, 64 percent reported that technology gave them more free time at home and only 15 percent claimed technology makes them less engaged with one another. Source: Folio Compiled by Gina Pepitone
In 2018, the ASCPA Poison Control center received 1,800 calls related to marijuana poisoning in pets. That is a 765-percent increase over 2008. Weed is fully legal in 10 states, with more on the way to legalization and, therefore, has become more accessible to humans (and animals) across America. Dogs, who are 10 times more sensitive to THC than humans, may overreact to sudden sounds, stumble around, and pee uncontrollably after ingesting marijuana. In severe cases of marijuana poisoning, dogs will experience low blood pressure and low heart rate that could result in death. Many pet owners and doctors alike are advocating for more clinical studies on how to treat animals that consume cannabis. Source: Mashable 18 CHRONOGRAM 3/19
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THE WOMEN BEHIND CATSKILL FARMS Meet Amanda Krupunich and Breanna Rodriguez: Sullivan County natives, Fashion Institute of Technology grads, millennials, best friends, and the engine that drives Catskill Farms, a design/ build firm that’s been building new homes for weekenders across the region for nearly 2 decades. Two young women running a $12 million-a-year business in the male-dominated construction industry? That’s the kind of contrarian logic that’s defined Catskill Farms since Chuck Petersheim founded the company in 2001 after 9/11. Since then, the company has built 160 homes, and has eight to twelve houses in construction at any given time, and another dozen in the planning phase. “Every day we’re in the trenches, fixing problems, overseeing a dozen job sites,” says Petersheim. “I love what I do, but I searched for years to find the right employees. You go through a lot of people if you demand excellence.” As any employer knows, it’s challenging to find and retain good employees. Especially in a tight labor market. Especially Upstate. Especially in Sullivan County. En-Gendering Confidence Six years ago, he got an email from a 19-year-old interior design student at FIT who saw an article on Catskill Farms winning Country Living House of the Year honors. Amanda Krupunich was looking for a summer job. “I said ‘Okay, c’mon over, but you’re probably not gonna cut it—nobody does,’” says Petersheim. “Within a week, I was trying to convince her not to go back to college—she had that much potential. Her dad had to have a talk with me and ask me to stop trying to get his daughter to drop out of school. I settled for summers and school breaks until she finished school and came on full-time.” Six years later, Krupunich now pretty much manages all of Catskill Farm’s projects: multiple jobs sites, demanding clients, and dozens of vendors, subcontractors, and employees—mostly men many years older than her. Asked how she navigates the rugged blue-collar, offcolor humor of a construction site, Krupunich offers an all-business approach. “There have definitely been moments when a guy will make a mistake and just be completely inappropriate in some way,” she says. “You really can’t overreact. This is my team. They aren’t perfect. I’m not perfect. We all improve together, and not just within the confines of actual job duties. We address what needs addressing, expect the lesson to be learned, and move on. It’s a deal we have— they help me learn more about the business and I don’t hold their boorishness against them.”
“WE HAVE A COMFORT LEVEL WITH COUNTING ON IMPROBABLE OUTCOMES.” Top: Breanna Rodriguez, Amanda Krupunich, and Chuck Petersheim. Right: A modern Ranch home in Kerhonkson built by Catskill Farms.
Millennial Myths In June of last year, Breanna Rodriguez joined Catskill Farms as a marketing coordinator, but soon found herself handling the books after the previous bookkeeper left—at a time when the company was the busiest it had ever been. “I like problem solving,” says Rodriguez, “being able to dig into the books and see an issue, unwind it and figure it out.” For Petersheim, Krupunich and Rodriguez—who weren’t hired to run the company, just to fill some small role—dispel the myth that millennials are not self-motivated, self-initiated, and can’t take responsibility. “Here you have two young women who grabbed the bull by the horns and very quickly showed both their competence and their willingness to embrace a challenge in a small company that was thirsty for it,” says Petersheim.
Here Be Dragons “People think we have this big company since we build so many homes, but it’s just the three of us in the office,” says Petersheim. “And the idea that two young women, with pretty light resumes, are running this busy company, is absurd, on its face. At the same time, it’s working really well for our clients,” says Petersheim. “I found two people who like to be challenged, are inspired by what they do, love the learning curve, and breathe fire. It’s fun to watch them succeed. The odds were definitely not in their favor. But that’s true for the entire Catskill Farms concept—we have a comfort level with counting on improbable outcomes.” 3/19 CHRONOGRAM 21
from the archives
Oatmeal By Cathleen Bell
Following the publication of her short story, “Oatmeal,” in February 2003, Cathleen Bell became the author of seven novels for middle grade and young readers: the ghost story Slipping (Bloomsbury), the history-themed romp Little Blog on the Prairie (Bloomsbury), the time-travel romance I Remember You (Knopf), the thriller The Amanda Project: Unraveled (Harper), and the Weregirl trilogy: Weregirl, Chimera, and Typhon (Chooseco). She lives with her family in Brooklyn and frequently retreats to their tiny cabin in Schoharie County for writing retreats and inspiration.
22 CHRONOGRAM 3/19
t is May already and 38 weeks since Mike left. Thirty-eight weeks for Juliet of waiting for husband at her parent’s house in Hinsdale, Illinois, the town where she was a girl. On 38 Saturday evenings, Father has washed, Juliet has dried, and Mother has put the dinner dishes away. Mother and Father have trudged up the mudcolored stair runner to bed with their magazines. The refrigerator has hummed, and Juliet has set a tall glass of Old Milwaukee, Mike’s beer, on the wiped-down kitchen tabletop with its pattern of trapped gold sparkles. The beer, a slip of letter paper, one pen, and two Archway oatmeal cookies. This is her routine. It’s spring now. The trees are come into leaf, and the cicadas have returned. Their two-note song reminds Juliet of August, the month Mike left and also of the passage of other noises that have come while the cicadas were gone. The wind against the storm windows in November, the muffled stillness of the last blizzard back in March. It’s hard to believe the year, and with it Mike’s tour of duty, is coming full circle. The white head on Juliet’s Old Milwaukee sinks into gold. She attempts to construct in her mind the letter she will write. She takes a bite of an Archway and lays the date across the top of the paper in neat block lettering. “Would you look at that?” she says, holding the ballpoint pen before her, watching it tremble, tapping the table’s sparkly surface. She closes a fist around the pen. The shakes stop. This past month Mike’s been on ground duty. More dangerous than the bombing runs he had been flying escort on, but a requirement of all Marines. Juliet has dragged the ninth grade at the school where she teaches, the school where she and Mike first met, through the conspiracies and triangles of Julius Caesar. She’s barely caught the IDs her students miss on the tests. She’s given extra credit where it isn’t due. She’s ignored the chatter coming from the back of the room because she knows Mike is cutting through kudzu, a radio that looks like an old-fashioned mountaineer’s haversack slung across his shoulder. She listens to the death toll on the news every night. Ninety-seven, 46, 201, and pretends she can ignore the connection between her husband and the number that is read. The news that she sees on television and reads in Time magazine ought to be disposable, but it has sneaked up on Juliet and become her life. “Dear Mike,” she writes, “I hope you are well. I am fine. The last week here has been fine. Spring now with the leaves out, it’s fine.” Juliet crosses out her third fine, writes nice instead and diligently makes a line of x’s through her crossedout word. She traces over the date at the top of her letter blacking out what she’s already written. Juliet might have tried to express herself differently in a letter to a different man. In a letter to Hank Reiner, the math teacher who isn’t fighting because of his blind right eye, she might have written of the separation pains, the aches
she sometimes mistakes for the onset of the flu. This is the kind of letter Juliet might have liked to receive herself, but Mike does not want what she does. Mike flies jets. Mike’s skin does not flush or blemish as Juliet’s does. It retains an even texture like sand. His hair is straw colored, obedient, course. Juliet loves the feel of the width of Mike’s hands on her back. He is gregarious in a way she has never been. To be his wife, part of him is all she wants. She looks back at her life before marriage as dry and empty, missing the crucial ingredients of Mike’s freckled, warm arms in the bed. When they were living in tacky officer’s apartments on one base after another, Juliet was filled with the breath of joy, a balloon that could never be popped. There was a formula at work then, and now that the formula is skewed, Juliet is making every effort to correct it. She breathes regularly and chews deliberately, practicing calm. She does not trap words on paper that could come to haunt her later. It is not her luck to jinx after all but his. She writes to Mike that tomorrow she will start to teach “The Odyssey.” She’s been re-reading it, thinking of him at the description of the grayeyed Athena disguised as a man. Every time she encounters a beautiful line she thinks, “Wouldn’t Mike love this one?” Literature is not Mike’s thing, but she knows he must have read the poem when he was in ninth grade. They all did. Hank Reiner has sections memorized. “The Odyssey,” he writes, it’s week 40, “Was that the one where they bring in the wooden horse, or was that the boring one with the guy running all over the world? Never got through that one.” He writes about Mr. Thing, the blind english teacher, how they used to hide in the closet during class, how they used to steal his lunch. Juliet better not let any of that go down in her room, he warns. The truth is, Juliet is having a terrible time with some of the ninth grade boys. She’s been hearing noises and suspect they are making allusions to her breasts when she turns her back to write on the board. Hank has been counseling her in the faculty room, telling her not to let the boys know she’s bothered, and now Juliet applies the same strategy to Mike, as if he were in league with her tormentors. “Everything’s just fine in the classroom,” she writes. And then hears how priggish she sounds and adds, “I suppose.” She finishes off her letter quickly with a description of Mike’s sister’s visit to town. A description that she writes as if Mike’s mother was going to read the letter. She doesn’t tell Mike the things she might have let slip out if he were home. Week 41. There is no letter from Mike. This happens on occasion, and Juliet does not let herself feel afraid. She does not tell her parents a letter has not come. She knows that she would get a phone call if anything had happened. A phone call or a visit, she’s not sure and has never asked. The ninth grade is refusing to read “The Odyssey.” At Hank’s suggestion, Juliet begins to administer pop quizzes, but instead of bringing the class into line, the quizzes insight her student’s scorn. They are
like angry bees, miniature kamikaze pilots waiting to lose everything for the sake of a well-placed strike. Juliet finds a piece of paper taped to the door of her classroom. For a moment, she expects it to come from a secret admirer. She received that sort of note once in college, but this note is a drawing, a drawing of her with exaggerated breast. The words, “I want you boys to stop it,” emerge in a bubble from her lips. Juliet’s father, a chemist who imitates Coke for a living, brings home a new sample cola on Saturday, and Juliet’s mother laughs saying, “Isn’t this just like old times?” It is like old times, the three of them out on the porch after supper, but Juliet doesn’t want old times. She doesn’t want to see the wheels spinning in her father’s mind as he creaks the slider/rocker. More sugar? Less formula six? It is always a question of adjusting the numbers of balance and flavor extraction, as if the principles of scientific experimentation provide a rational guarantee against failure. Without understanding why she’s behaving the way she does, Juliet stands, dumps her glass of cola into the hydrangea bushes just starting to come into bloom, and says, “This tastes wrong. This taste like metal.” Her mother stares. Her father swallows and does not answer. His eyes fixed on the porch railing. Juliet sees that the skin under his skin is loose in a way that reminds her of an old man, and she regrets being cruel. “I’m sorry,” she says, but the damage is already done. And when Mother and Father finally go to bed and she is alone at the kitchen table where she drew with crayons, learned her multiplication tables, typed her term papers, Juliet cannot do what she believes will bring her relief from all this. She cannot write to Mike. She has the cookies unwrapped, the beer poured, the letter ready to start, but anything she wants to say reeks of complaint. She forces a bite of the cookie. Sometimes she thinks she can live without Mike. Teach, watch the news with Mother and Father, grade English papers, plan student government lemonade stands for the baseball games with Hank, who just that afternoon, put his hand on top of Juliet’s when she unscrewing a jug of lemon syrup, looked at her with his good eye, and told her he knew Mike was going to be okay. He meant, she thought, I’ll be here if Mike doesn’t come back, and she said to him, “I should have married you, Hank. You’d never have gone to go to war. You’d never have to go to war.” She laughed, and what would have been “ha ha” in letter to Mike, came out cruel and unfeeling with Hank. He blinked and looked away with his good eye. As a form of punishment, discipline, whatever, the formula is coming to mean, Juliet takes out a piece of paper, dates it neatly in pinched block letters, and retells to Mike the story of his best friend, Conrad Bradford’s having too much to drink when they were out watching for shooting stars at the last base before they left. Conrad had dragged his wife Carol into a cornfield. (“Conrad? Conrad! Stop it, Conrad! Stop!”), while Juliet and Mike stood by and laughed. Mike had his arms wrapped around Juliet from behind, and she had felt his belly against her back. This is why she likes remembering the story, though she doesn’t
write that part of it. She writes it as if she is thinking only of Conrad’s clowning, and as if to confirm that this is where her attention lies, she laughs aloud with the choking guffaw. Week 43. A letter comes from Mike, but its news is so bad, Juliet quickly forgets her relief at having heard from him at all. He writes that Conrad Bradford is dead. He doesn’t mention how Conrad was killed, but he hasn’t told her what happened to their other base-made friends, either. Tick, Broder, Joe Swan, and Bill Partridge were unlucky is all he thinks she needs to know. That night when Mother and Father are upstairs in their room where everything, daybed, cedar chest, headboard, is upholstered, Juliet reads Mike’s letter again. Mike describes the ice cream he had as a treat on the ship. Next he talks about cloud cover. It has been overcast. He won a bridge tournament. Conrad was Mike’s best friend, and Mike has written two days after his death, “Gosh, I can’t tell you how great the ice cream tasted. You forget.” Does he think she can’t share the horror of the war with him? Does he think he can’t spend a whole two pages on the death of his best friend? Why won’t he tell her the truth? Juliet does not write a word. On Wednesday, in the period right before lunch, Juliet feels a spitball hit her neck. When she turns from the board, no one will meet her eye. She lays the eraser in its tray, and a second spitball strikes the collar of her blouse. The room erupts. Wads of paper fly like baseballs. Girls caught in the crossfire raise their arms in front of their faces, watching the fighting through makeshift shields. “Settle down,” Julia shouts, rapping her ruler on the desk. She is not surprised no one obeys. Mr. Muller, the assistant principal, hears the noise and comes to her rescue. At lunchtime, Hank Reiner brings her a glass of water in the faculty lounge. He holds her hand. His fingers retain the cold from the glass, and Juliet finds the coolness attractive. He is like a stone she has found in clean mountain stream. Hank is kind, and his own students never think of disobeying him. Juliet dreams about Mike and wakes up tangled in blankets with the fan blowing on her bare arms, raising goosebumps. She lies still, not wanting to disturb the sense of Mike that she holds in her brain. The roughness of him, the squareness of his body, the blunt edges of his fingernails. Denton Frazier, who is the principal of the high school when Juliet was a student and now retired, brings his springer spaniels to the home baseball games, hosts a cocktail party for faculty. Juliet wears a lime green blouse with a white skirt that she wishes were two inches longer, and when she’s alone with Hank in the kitchen, she brings her face up to his and kisses him. He is backed up against the counter, and she is thinking is that he will be surprised and pleased. But Hank’s lips are still when she touches them with her own. He was supposed to walk her home, but Juliet leaves the party early, passing alone under the heavy trees that line the sidewalks. In college, Mike had demanded kisses. He had kissed her
in coat closets on stairway landings. Once at a dance, he had pulled her behind a ballroom curtain so quickly no one had seen, and he had put his hand into her dress in the muffled closeness of the space. Juliet had never had to ask. Her parents are surprised to see her but say nothing, and when they’ve gone to bed, Juliet sits at the kitchen table with her beer, her oatmeal cookie, and writes a letter as dry as she possibly
The truth is, Juliet is having a terrible time with some of the ninth grade boys. She’s been hearing noises and suspect they are making allusions to her breasts when she turns her back to write on the board. can. She writes of baseball and gardening and the first heat wave of the season. She folds the paper, addresses the envelope, attaches a stamp, and drinks the beer while examining the neat, white package she has made. After she had backed away from Hank, he had reached for her, but if he had really wanted her, he would have grabbed. He would have made it easy. Her hands are unsteady as she pours herself a second beer. The first time she’s had a second since the war. She drinks this one and a third. She wonders what her parents will think when they see what’s been taken from the refrigerator, but doesn’t care in the way she normally would. She pulls out a new sheet of paper and writes again to Mike. She writes, “Come home, Mike. Come home. Come home.” She writes it over and over, and every sentence in between the words that seem to flow from her hand of their own volition. She tells him how she misses him. She tells him she has often imagined him inside the plane, loving the thought of the clean cockpit, the controls that he understands so well. Juliet explains that every inch of Mike’s skin is the most precious to her in the world. She tells him that her only use for God is the bargaining she can do with him, 10 years of her life for Mike to come back whole. She tells Mike she lies awake thinking of the way she could have kept him with her before he left. She thinks, why didn’t poke out one eye while he slept? Why didn’t I take an ax to an ankle? She tells him what he doesn’t want to hear. That she did want a baby. That she wants to have something of him when he’s dead. She walks the letter to the mailbox as soon as she writes it and drops it in. She guesses she will be sorry, but this is the only thing that she can do. The next morning, in church between her 3/19 CHRONOGRAM 23
mother and father, and before which she tries to make herself feel as God, Juliet is sorry. She realizes what a mistake she has made. She should not have drunk the beer. She should not have sent the letter, and Hank, she’s lost control. Before Mike left, he spent a week with Juliet at her parent’s, sleeping in the other bed in her girlhood room. Once to be alone, they walked the sidewalks then the air cooled after dinner, through Juliet’s neighborhood and out of it, crossing Western Avenue and making their way along a deserted main street to the high school. They broke into the football locker room where Mike could still find his way around the maze of lockers and showers, even in the dark, and they made a bed of coarse white towels. They had found them baled with twine which Mike cut through with his car key.
Juliet waits for a letter, certain she’ll never hear from her husband again. Mike is not safe in his plane. He is a tiny man hanging in an enormous sky. He could fall for miles, resisting all the while, pressing every button in the plane’s console to no result. He could be not ready. In the dim evening, light coming through the slotted windows, Juliet could see a light bulb covered by a small cage, and when she stood, she felt the reassuring damp settling into her underpants. She laughed aloud, “I can’t believe we’re doing it here.” On the walk home, Mike told her joking stories of the torture he had both inflicted and endured in the locker room. The toilet bowl drownings, stolen clothes, the merciless taunting, the towels twisted into whips. “Were you afraid?” Juliet said. “Didn’t you sometimes feel sorry for the freshman?” Mike shrugged. “It’s part of the experience,” he said. It would be an insult to a kid to act like he couldn’t handle it. Week 44. Juliet waits for a letter, certain she’ll never hear from her husband again. Mike is not safe in his plane. He is a tiny man hanging in an enormous sky. He could fall for miles, resisting all the while, pressing every button in the plane’s console to no result. He could be not ready. He could be his same lucky self, and he could still disappear. And it would be her fault. It is her letter, her own carelessness, not his, that will send the instruments in the cockpit out of whack, that will skew whatever formula has been keeping him alive. There was so little she had to do. Why hadn’t she simply forced herself ? 24 CHRONOGRAM 3/19
Juliet forces herself now. She fails two boys who would have passed her course with a stricter teacher. She writes “F” on their papers, and when they sulk out of the room, she tells herself it is not her fault. She writes to Carol Bradford, tells her how sorry she is, tells her she’ll have her memories, and sends the letter, though she would prefer to throw it away. Carol already had her memories. The only true comfort Juliet could imagine would be, at least you know where you stand. On Saturday afternoon, there is a letter from Mike. It is among the other mail that Juliet pulls from the box bolted next to the front door. A bill from the hardware store, the church newsletter, a letter from a friend of her mother’s who lives in Minneapolis. Juliet has imagined the appearance of Mike’s thin blue envelope in this pile so many times during the last week she wonders how she can sure it is real, but it is real. She tears it open on the porch, not caring that she might be interrupted by a neighbor. Then before she reads a word, Juliet stops herself, deciding to quell her impatience, to practice being the woman she could, should.She carries it in her pocket to the baseball game. She does not meet Hank’s eye. She speaks to him in a cheery, confident voice, not shy, not ashamed, behaving as she thought Mike would if he had kissed a girl he didn’t really want. After early church and supper, her mother has made Juliet’s favorite, spaghetti with meatballs, but Juliet cannot eat. She sits down at the sparkle top table, her beer and her cookie laid out as usual, opens the envelope, and sees that Mike has mailed her a photograph. Her first guess is another picture taken with his tourist Instamatic. Mike, in his jumpsuit, holding his helmet so dwarfed by the plane behind him. His face is nothing, two dots and a slash, but it is not a picture of Mike. The man in the picture is littler, browner, and he’s frozen in a way Juliet can tell right off is permanent. The man is dead. Dead and dusty, colorless clothes sprawled on his back by a clump of tall grass, a rifle on the hard-packed dirt beside him. Black blood trickles from the man’s crooked white teeth to his sharp cheekbone. The blood is the only sign of harm. Juliet is surprised this picture made it past the censors. Mike writes, “I killed this one, and there have been others.” Mike shot a man in the face. He shot a man in the groin. He watched a man he shot bleed before dying. He has flushed an ambush on a hunch. Sometimes he cannot control the fear, the fast, flapping, clawing bird inside him. “Trust me,” he writes, “You don’t want to know, and I don’t want to tell you.” “Conrad died making a landing onto an aircraft carrier,” he continues, explaining that Conrad made his approach one, then two, then three times, on each occasion missing the angle, being waved off the deck.He was waved off a fourth time, but ignored the signal out of bullheadedness and fatigue and crashed into the carrier killing himself and four other men. “Conrad was impatient,” Mike writes. “He was always acting on impulse. I guess he could have been a lousy insurance salesman and lived, but that’s war. In the meantime, there are
enough VC wanting to tear me to pieces out here. The last thing I need’s my wife chopping off my legs when I go home. Ha, ha.” The gold flecks of the table swim before Juliet’s eyes. She gulps down a sip of beer, then another, staring at the photo of the little man with the sharp bones and dusty green uniform. Ha, ha? She’d expected anger. She’d expected censure. Or worse, anger and no censure, silence, but ha, ha? Mike was laughing? Juliet hates the photograph. She hates the pain and humiliation of the little man’s pose. He should have closed his eyes, at least, in death. Death, even a violent one, should have left his face in peace. Is he in Heaven? Juliet wonders. She is always told herself she believes in Heaven because why not? But she never thought she’d see anyone but Americans up there. Juliet breaks off a piece of her cookie and covers the man’s face. She breaks off more pieces and begins to cover the man’s body, sizing the pieces with little nibbles so that she ends up with an outline of a man in oatmeal, splayed legs, bent knees. She even fills in the extra-long gun. She sips her beer. With the man covered up as he is, Juliet notices other objects in the picture for the first time. There’s a hut with a grass roof, a helmet lying on the ground, and there’s shadowy jungle behind. Seeing the details that Mike may not even notice, she feels connected to him in the way that she has been missing and understands what is wrong. It’s simply that they are apart. She’s been blocked and grounded by the heavy head on the beer, the thick give of oatmeal she’s been packing into her system since August. This is what anchors her in Hinsdale, Illinois, a spot wrapped around the other side of the world from Vietnam, southeast Asia. And Mike, no matter how high he climbs in his F-4 Phantom, no matter how hard he looks, all Mike can ever see is trees, then clouds, then space. Juliet looks into books. She looks at Hank. Juliet reads Mike’s letters over and over and sees nothing. The Earth will spin and spin, and they will remain as far apart as they have ever been. It is impossible to pretend the world is shared. Juliet finishes her beer and eats the cookie off the dead man, little by little. She ends with the head returning to the shock of the bloody cheekbone and the glassy, black eyes. She stares back at the man, hard. She hopes to see in his eyes a glimpse of Mike. She hopes for a reflection of what she’s waiting for, what the man saw at his end, a mystery should it appear and another kind of mystery should it not. At first Juliet sees nothing, but as she looks and looks, she sees more. It is hardly anything, but it is just enough. An eggy white, a marbled black, one fleck, the color of transparent light. She writes to Mike, without even thinking, words that weave together to form something, but she doesn’t care what. It is a tapestry of nothing but baseball and lemonade and cola and oatmeal. Code language that she is worked into letter after letter, perfecting the art of stasis, creating noise that must be recreated at weekly intervals to work its magic. She understands now that she is only responsible for holding a place. It is for Mike to make time move.
body politic by Larry Beinhart
Down the Amazon A
fter a vast and dramatic competition with many other cities, New York made a deal to attract half an Amazon headquarters. The city and state offered a $3 billion package. Governor Cuomo and Mayor DeBlasio were very proud. The deal abruptly died. It is extremely hard to determine the actual details. It is also hard to determine what actually went wrong. Those who were in favor of it, and who loudly bemoan its passing, claim it would have produced $27 billion in tax revenue, far outweighing the $3 billion in subsidies and benefits, and it would have brought in 25,000 jobs. The not entirely verifiable tale of the demise of the deal is that certain New Yorkers displayed insufficient gratitude. In recent decades, Americans have developed a sort of medieval obsequiousness, bowing to “job creators” as if they’re local dukes and earls, dispensing largess or cutting off our heads upon their whims. Certainly, that was the attitude displayed by the mayor and governors pleading and coaxing Amazon’s favors. But when the deal was done, certain locals began to scream. Where would the housing, the transportation, the schools, police, and fire stations come from to support the facility and the new employees? What about Amazon’s anti-union stance? How could the city and state put up $3.5 billion to subsidize a company that had just become America’s second trillion-dollar enterprise? Alexandria Ocasio-Cortez, naturally, was the most visible cheerleader of the demise of the deal. She did not criticize any of the details so much as support grassroots actions, whatever they were, saying, “Can everyday people come together and effectively organize against creeping overreach of one of the world’s biggest corporations? Yes, they can.” It was a treat to watch some of the reactions. “Morning Joe,” on MSNBC, is hosted by Joe Scarborough, who used to be a Republican congressman. His revulsion to Trump and all things Trump has led him to leave his party, become an Independent, and move ever further left and to surround himself with semi-liberals, including his cohost Mika Brzezinski, who
is now his wife. But, in this matter, everyone let their inner pro-money dogs out, and started barking that Ocasio-Cortez didn’t understand economics. The 25,000 jobs would have a multiplier effect. The taxes the company paid would far outweigh the costs. It may well be that in this specific case, the specifics would have been beneficial. Certain things about it—some never examined— seemed very wrong. Like the claim that those 25,000 jobs were going to be really, really good jobs!—with salaries averaging $150,000. That conjures up a swath of millennials, some up in the $300,000 range, some, perhaps down at $100,000, but, all told, everyone doing very well. These are the kind of people everyone wants for their cities. It seems a little weird, since I envision Amazon workers as very much like UPS drivers, except they don’t have a union, and they’re trapped inside giant warehouses, with forklifts and go-carts instead of trucks, searching out products, packing them, and sending them to the loading docks, required to deliver a certain number per hour as computers clock their productivity. Do people like that make $150,000 at Amazon? According to Glassdoor.com, a “Warehouse Associate” at Amazon makes $13 an hour. With a 40-hour week and 50 weeks a year, that’s $26,000. According to Indeed.com, an Assistant Manager makes $37,000 a year, and an Area Manager $62,000. A Software Engineer 1 makes $99,000. Software Engineer II makes $116,000. There are a couple of job categories that get up in the $150,000 range. But the median income of an Amazon employee in 2017 was just $28,446. The median income at UPS is nearly double that. Amazon has no unions and works very hard to keep things that way. UPS has a union. How then will the salaries at the new New York campus average $150,000? Oh, what a tricky word “average” is. Here’s the standard illustration of how it works: There are 10 people sitting in a restaurant, each with a net worth—for simplicity—of $10,000. So the “average” net worth of everyone in the restaurant is $10,000. Jeff Bezos, net worth $133 billion, walks in. The “average” net worth of the 11 people
instantly soars to $12 billion! The only way to imagine 25,000 jobs at Amazon with an “average” salary like the one promised is if Amazon comes up with a similar trick. You could, for example, have the median employees making $30,000 and 100 executives at $35,100,000 each, or 10 super-executives making $351,000,000 each. At the same time that the deal crashed, another story came out. In 2018, Amazon made $11.2 billion in profit. That’s not gross, not revenue, that’s profit. And paid zero federal income tax. Is that an aberration? An anomaly? No. According to a February 17 story in the Chicago Tribune: “From 2009 to 2018, the company earned roughly $26.5 billion in profit and paid approximately $791 million in federal taxes, for an effective federal tax rate of 3 percent.”
Between 2017 and 2018, Amazon nearly doubled its US profits, from $5.6 billion to $11.2 billion. This year, for the second year in a row, Amazon won’t have to pay a cent in federal taxes. The race to the bottom to pay our overlords ever more for the opportunity of making money from us must stop. The attitude that we ought to be grateful to them for allowing us to do them favors, like not paying taxes, must stop. The opposition to this deal may have been wrong in detail. But it is right in principle. 3/19 CHRONOGRAM 25
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THE ULTIMATE ANTIDOTE TO WINTER BLUES In the dog days of winter, when the temperatures are well below freezing and it feels like spring will never arrive, it’s easy to get the blues. But it’s nothing a little R&R can’t fix. Staycations are growing in popularity, offering a quick, easeful getaway with no long travel times or airport hassle. We so rarely get to be tourists in our own backyard, but the Hudson Valley is bursting at the seams with dreamy inns, gourmet farm-to-table restaurants, and beautiful vistas and hiking trails to explore. Sitting on banks of the Hudson River, Buttermilk Falls Inn and Spa in Milton offers all these attractions in one place. Combining historic elegance, farmhouse charm, and sophisticated modern amenities, the B&B is the ultimate Hudson Valley staycation destination. The 75-acre property boasts cascading lawns, woodlands, and winding streams; plus a working farm and animal sanctuary; a full-service eco spa, and a destination restaurant. Owner Bob Pollock originally envisioned keeping the Colonialera estate, breathtaking river views, and waterfall to himself, but life happened. “I do realize the contradiction,” Pollock told Visit Vortex in 2014. “I purchased the place across the street to keep strangers away, but now I happily welcome 54 guests at a time. Interesting how things work out.” (He still spends every weekend there.) This month, with the Winter Welcome Package, when you book two nights between Sunday and Thursday, get a third night free. The winter special offers a cozy room with a working fireplace; farm-fresh country breakfast made with produce, eggs, and honey sourced steps away from Buttermilk’s own Millstone Farm; and a charming afternoon tea service with baked goodies made from scratch. Weekday winter guests also have special access to the spa, which is normally booked out two months in advance. Make use of the pool, sauna, and steam room, or book a luxurious treatment, and feel the stress melt away. In an era where “farm-to-table” is an ever-more prevalent buzzword, Buttermilk’s onsite restaurant, Henry’s at the Farm, takes the concept to a new level. Sourcing the majority of their ingredients onsite, the restaurant offers an authentic taste of place in a homey, wood-appointed setting—the perfect way to end a day of adventuring. General Manager CJ Hartwell-Kelly was a SUNY New Paltz student when she first took the job of part-time innkeeper at Buttermilk Falls. Now, 13 years later, she finds herself presiding over the property’s wide array of offerings. At the moment, she’s overseeing spa expansions and a website makeover, welcoming couples on “babymoons,” and looking ahead to four-course wine dinners and llama shearing. (The wool gets made into gift shop items.) “This is as far as it gets from a cookie-cutter corporate property,” Hartwell-Kelly says, “Bob’s vision—renewable energy, the spa, onsite farm-to-table, rescue animals—it’s been piecemeal, but he’s been at the forefront of quintessential Hudson Valley stuff. Visionaries often need translators, and that’s me.” So, go get a closer look at the vision. Do lunch at Henry’s, walk to the waterfall, palaver with a peacock, or go all in and treat yourself to a three-night staycation. There’s nothing quite so Hudson Valley as early spring light on the river, a freight train rumbling by at a little distance—and we can’t let the tourists eat all the lobster ravioli. Buttermilkfallsinn.com
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3/19 CHRONOGRAM FOOD & DRINK 27
food & drink
Beyond Bistro A Conversation with Michael Kelly of Liberty Street Bistro By Brian K. Mahoney Photos by Mary Kelly
tart with the oysters. On Sunday, they’re a dollar all day. Same during happy hour Wednesday through Friday. On a recent visit, I was served half a dozen Mystics, already dressed with a light mignonette—Chef Kelly does not like cocktail sauce, I was told—and those briny beauties were an inexpensive kick-off to the best meal I’ve eaten so far this year.
There are about a dozen or so restaurants in the region that are operating at the highest level, and Liberty Street Bistro, unexpectedly located in downtown Newburgh, is one of them. Opened by 20-something culinary wunderkind Michael Kelly in 2016, the restaurant draws on Kelly’s experience working in some of Manhattan’s finest kitchens under the likes of Thomas Keller, Gordon Ramsay, and Markus Glocker. French-influenced but not a French restaurant, Kelly and his staff execute technically masterful, memorable food. Brunch is served a la carte, but dinner is structured as a series of courses with choices within each course. Your choice: two courses ($39, plus $16 for wine pairing), three courses ($53, plus $20 for wine pairing), or four courses ($61, plus $24 for wine pairing). For the first course, you might try the frisée au liptauer, a winter salad with a fried six-minute egg on top. The man sitting next to me at the bar ordered it and exclaimed, “This is the best six-minute egg I’ve seen in my life,” as the gooey yolk ran over the lettuce. The second course is pasta: I suggest the pork sugo orecchiette—a spicy twist on an Italian classic. The third course is protein, and the adventurous should order The Importance of Offal, a plate of braised beef tongue, served with fried sweetbreads and tripe that elevates the offcuts above their usual lowly status. For dessert, while I’m a fan of cheese plates, fans of decadence should try the chocolate pavlova, served with a smores-y toasted marshmallow ice cream. Attention should also be paid to the drinks. I ordered Life with Lucy ($12), an homage to redhaired Lucille Ball, who made her stage debut in Newburgh in 1941. The cocktail takes its orange hue from carrot juice, an ingredient I’d never had in an alcoholic beverage before and a welcome addition to this well-balanced gin drink. This was made by head bartender Dave Garrett, who also oversees the wellcurated wine list. (The dinner pairings are thoughtful and well worth the surcharge.) Garrett recommended a glass of the Gregory Perez Brezo Godello ($11), an unoaked Spanish white as fresh and clean as a summer morning. Liberty Street Bistro’s next-door neighbor, Caffe Machiatto, which helped to anchor the neighborhood as a culinary destination when it opened 15 years ago, closed in January. Kelly has taken over the space and is in the process of expanding the bistro from 44 to 70 seats. Lucky for us. Liberty Street Bistro is the kind of neighborhood spot every place wishes it had. It makes you want to move nearby so you can become a regular. I spoke to Michael Kelly at his restaurant in February about his time in New York City’s best kitchens, culinary style, and expansion plans. Michael Kelly in the kitchen at Liberty Street Bistro preparing plates of (front to back) pork wellington, roasted duck breast, and barley risotto.
28 FOOD & DRINK CHRONOGRAM 3/19
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BKM: What was your big takeaway from going to the CIA?
MK: The CIA is a really great rudimentary institution. It’s going to teach you the right way to do things, and then how much further you go beyond that is really up to you. It’s very much the old saying: You get out of it what you put into it. I don’t think there’s any place that’s more true than the CIA. BKM: You’ve worked in kitchens with culinary titans. Gordon Ramsay, Thomas Keller. What was it like working in those kitchens?
MK: Those were obviously formative moments in my career. Those institutions are on such a scale that I don’t think I could ever operate on that level, where they are just at the peak of their game all the time in the middle of the most competitive cities in the world. There’s something desirable about that, but also, I got to a point in New York where I could probably be the executive sous [chef ] of a really great restaurant down there right now, or I could get married and have a life. You can’t really do both in New York City. But I also think running a fine dining restaurant in the Hudson Valley is, in some ways, a lot harder than in the city. BKM: Why?
Top: Roasted halibut over olive fingerlings and salsify chips Bottom: Beef tartare
Brian K. Mahoney: Where did you eat out growing up?
BKM: These were positive experiences?
BKM: You started out working in restaurants in high school.
BKM: I would hope that all chefs aspire to that standard.
Michael Kelly: If it was a really nice night out, we’d go to the Ship Lantern Inn in Milton. It’s really cool. It’s like a time capsule. We also used to eat at this Italian place on Broadway here in Newburgh, Chianti’s. At the end of your meal, you always got sorbet. That was my introduction to what I assumed was a nicer dining experience.
MK: Yeah, I started working at Canterbury Brook Inn. Bus boy, dish washer, prep work. Then I worked for Painter’s Tavern for a while. They’re both still there in Cornwall, going strong. 30 FOOD & DRINK CHRONOGRAM 3/19
MK: Yeah, definitely. Hans Baumann is the owner of the Canterbury Brook Inn. He’s just like your quintessential European chef character. He just pushes, pushes, pushes. Doesn’t matter that it’s old town Cornwall, and that it’s just a bedroom community. He just wants to put out a consistent, quality product all the time. You either love that idea, or you hate that idea, and I love it.
MK: This business has a way of grinding people up and spitting them out. You either are going to adapt to it or you’re going to fight against it all the time.
MK: Because I know that we deliver a consistent quality product all the time, and if we have the clientele to come here every day of the week that we’re open, we would never want for anything. In the Hudson Valley, there are definitely people looking for this type of cuisine, this type of dining experience, but it’s that bedroom community thing—it’s moms and new families. It’s hard to get those people out on a Tuesday or a Wednesday night. But I don’t think that doesn’t mean they don’t exist. We just have to be creative in getting people to see value in a night out during the middle of the week. BKM: So, getting back to Ramsay and Keller—What did you learn working in those kitchens?
MK: So the Ramsay kitchen is just full steam ahead all the time. Boom, boom, boom. You’re just cranking out numbers, because it’s mostly hotels. Really highvolume hospitality. Keller kitchens: Certainly, the grind is there. We are running around. You’re starting at seven in the morning and finishing at 11 o’clock at night. Those are some crazy, crazy days, but if my pepper mill was in the wrong place, somebody was letting me know.
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BKM: The menu is structured so the food is served in courses. Diners can choose two, three, or four courses. Why courses? Why not an a la carte menu?
MK: The first time I saw the course structure was at Batard. Just operating through that menu and being a cook in that kitchen, it just made sense to me because we didn’t spend very much time talking about food costs. I realized it was because this course menu allows us to kind of balance out food costs based on the average diner ordering in different ways. So somebody’s chicken paid for somebody else’s lobster, in a way. I thought that was just a really smart way to go about controlling the cost of doing business, and it also allows you as the restaurant operator to take pressure off your cooks, to not be so concerned about whether we can afford to put lobster tail on the menu. BKM: It also creates a structured journey for the diner.
Muhammara and liptauer salad
right way, and someone calls you out on it. That’s not fun for some people. But for me, and for anybody who got into it, it’s like, “Okay. I’m in for the ride.”
BKM: So that’s how you run your kitchen?
MK: I try to as much as possible. It’s hard to have my eyes on all the places, and here I wear a lot of hats—chef, plumber, electrician, cleaner, and everything else as needed. I have no problem with that, but it can be hard to keep track of every little detail as much as I would love to. BKM: How do you describe the food at Liberty Street Bistro?
MK: That is the hardest question to answer because I don’t find it particularly French. I mean, there’s certainly French technique in our food, but I think it’s distinctly American, Hudson Valley-driven food. We’re trying to be as seasonal as possible, as local as we can be within reason, while offering value and not charging $100-a-head because it’s not practical. That is the hardest part, because I would love to use grass-fed everything from 20 miles away, but it’s impossible. You can’t do it at this price point. BKM: What brought you here to open this place?
MK: That’s a question I have a really hard time pinpointing a specific answer on. I like the idea of being able to move the needle a little bit for anything, whether it’s some sort of a way to improve a neighborhood. I think we do play a hand in that. I think you’ve seen good news come out of Newburgh recently, right? Lowest crime rate in 10 years. Did Liberty Street Bistro do that? No, but it didn’t hurt it either. 32 FOOD & DRINK CHRONOGRAM 3/19
BKM: You sort of jumped passed my question a bit. You were working at Batard in Tribeca for Marcus Glocker, right? Pete Wells reviews it and gives it three stars in the New York Times. Pretty impressive. But then you come and open up a place in Newburgh. How does that happen?
MK: When Batard got its three stars, shortly thereafter I had a conversation with Markus Glocker. He was always sizing you up for something, and I was very straightforward with him. I said, “Hey, I really want to go home and open up something.” I didn’t know whether that meant Newburgh or Cornwall or Beacon. I hadn’t really been home for a sustained period of time to know what was going on either. Cornwall sucked because it’s a bedroom community. Beacon sucked because the prices have just skyrocketed, but I had become really, really good friends with the owners of the Newburgh Brewery. We’re still good friends. My wife and I got married there. It was actually [Newburgh Brewery brewmaster] Chris Basso who said to me, “Hey, you know there’s this antique store up the street that’s closing. The space is for rent, and I know you’ve been looking for a restaurant space.” This is the spot. BKM: And it was a blank slate?
MK: Blank slate. Much to my surprise, I told the landlords what I wanted to do back there, which was pretty involved, and they were like, “Just go for it. Whatever you want. Just do it. Because nothing else is coming in here right now.” It had been sitting empty for a little while. It’s all history from there, really.
MK: Yeah, that is the obvious second part. I think the courses allow you to just say, “Okay, I’m here. There’s basically a ticket at the top that I’m selecting, and I’m just going to say we’re going here first, here second, here third, and here fourth.” But then you can do whatever you want within that realm. I think it’s a fun way to try new things, too, because we very rarely have a steak on the menu, which can really piss some people off. BKM: What’s the favorite thing that you guys are cooking right now?
MK: I love the offal dish that we have on right now. It’s all those foods that everybody thinks they’re going to hate. You know, sweetbreads and tripe and beef tongue. I think that’s a lot of fun. BKM: It’s the only dish on the menu that is not a description. It actually has a title. “The Importance of Offal.”
MK: It’s taken from a chapter title in The French Laundry Cookbook. I refer to that book constantly. We love that book. It’s from 1994, and it’s still as relevant as it was the day it came out. That chapter is amazing. It just goes into so much depth about washing tripe. How long can you talk about washing tripe? I love that book. That was like my little homage to TK [Thomas Keller]. That’s a really fun dish. BKM: Why did you open a bakery?
MK: When we started the bistro, I had no intention of making bread at all, zero. But I couldn’t get any bread. I just kept trying to find a nice dinner roll, just anything simple. I said, “To hell with this. I’m just going to pull out an old recipe and roll with it.” It’s been a giant pain because we don’t really have the oven space for it, but it’s a really good product, and people were really loving it. So, then this space opened up down the block. It’s a union hall that was built in the
HUNTER, NY Serving updated versions of your favorite German classics German beer, wine & spirits Head bartender David Garrett preparing a cocktail
`20s. It had been sitting empty for a couple of years, and then for about a decade before that it was a church. We asked ourselves, “Should we do a bakery?” I feel like there aren’t really any bakeries around here, certainly not higher-end artisan bakeries. If I want to go get a macaroon today, where am I going? The answer was nowhere. Or, do I want to get a really good croissant? I don’t really know, if I’m not going to drive an hour away. So, there is certainly room. Somebody described this area to me as a bread desert. I think they’re absolutely right.
Open Thursday - Sunday Happy hour 3pm - 6pm
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Fine Dining in a Historic Tavern & Former Speakeasy
BKM: Why dollar oysters?
MK: We don’t have it easy being in downtown Newburgh. If you’re from the Hudson Valley, probably every older person in your life has told you not to come here. Convincing people to get here is probably our biggest challenge, but once they’re here, they come back. The dollar oyster thing was like, “Come to the bar. Have some oysters and a cocktail,” and maybe that’s our first date. And maybe I’ll ask you for a kiss on the way home. We’ll see what happens. Liberty Street Bistro, 97 Liberty Street, Newburgh. Open for dinner Wednesday through Sunday; brunch on Saturday and Sunday. Libertystreetbistro.com.
Wine & Food Pairing Dinner on March 27th. We will be pairing ﬁve 90+ wines with a four Course menu. The wines will be presented by Anthony Prizzia of Fetzer Vineyards and Chef Jerusalem will create a special menu to pair with the wines. $75 per person +tax & tip. Limited to 30 people.
NORTH P LANK ROAD TAVERN 30 Plank Rd, Newburgh, NY · (845) 562-5031 (Just off of 9W at I-84) Tuesday through Sunday for Dinner, open at 3 pm Please call for Reservations and other information 3/19 CHRONOGRAM FOOD & DRINK 33
sips & bites Red Pepper Diner
In an inconspicuous yellow building on Route 9D in Wappingers Falls next to a gas station, Red Pepper Diner serves up authentic Sri Lankan cuisine. The diner keeps its interior simple and cozy with wooden booths, colorful Sri Lankan photographs and paintings, exposed brick walls, and bright flowers on every table. Try Red Pepper’s Kothu Roti ($12.99), made with shredded flatbreads, vegetables, spices, onions, and eggs, topped with curry sauce. Or if you’re in the mood for something sweet, try their specialty Watalappan, a tropical custard made with coconut milk, palm sugar, cashews, cinnamon, cloves, cardamom, and nutmeg. Red Pepper also offers a $17.99 buffet every week, a customer favorite, where you can stay stuffed with chicken, curry, lentils, potatoes, leeks, and fresh hoppers. If you’ve never tasted Sri Lankan cuisine, Red Pepper offers an affordable and delicious introduction.
1458 Route 9D, Wappingers Falls
coffee + community + crêpes pes
101 South Division Street Peekskill, NY 914-739-1287 www.peekskillcoffee.com
Voted Best Indian Cuisine in the Hudson Valley
Red Hook Curry House ★★★★ DINING Daily Freeman & Poughkeepsie Journal ZAGAT RATED
TUESDAY & SUNDAY 5-9PM
4 Vegetarian Dishes • 4 Non-Vegetarian Dishes includes: appetizers, soup, salad bar, bread, dessert, coffee & tea All you can eat only $15.00 • Children under 8- $8.95 28 E. MARKET ST, RED HOOK (845) 758-2666 See our full menu at www.RedHookCurryHouse.com
OPEN EVERY DAY Lunch: 11:30am - 3:00pm Dinner: 5:00pm - 10:00pm Fridays: 3:00pm - 10:00pm
Catering for Parties & Weddings • Take out orders welcome
Located on an historic 127-acre dairy farm, West Kill Brewing in Greene County uses locally foraged and homegrown ingredients in their craft beers—honey directly from their hives, cherries from their orchard, and thyme from their fields. The yeast? Cultivated in the surrounding Spruceton Valley. West Kill offers more than 20 different styles of beer, sorted into five categories: hoppy, Belgian, light/crisp, dark/malty, and barrel-aged. If you’re an avid hiker, take the West Kill Mountain route and reward yourself with a charcuterie platter and fireside a glass of Dusk, a barrel-aged beer made with black currants and locust flowers. West Kill keeps promising flavors on tap, such as Dark Hollow Beer, winner of a 2019 Good Food Award, available to try Friday through Sunday. Keep an eye out for their events, featuring local musicians, cooking classes, and beerpairing dinners.
2173 Spruceton Rd, West Kill
Hudson Food Studio, Hudson
After a trip to Vietnam, chef David Chicane returned to the US with the dream of opening a farm-to-table eatery with a “Southeast Asian accent.” Following a spell at an Asian-fusion restaurant in New Hampshire, Chicane opened Hudson Food Studio, which offers flavorful Vietnamese-inspired dishes prepared with sustainable, locally sourced ingredients. Known for their generous portions and friendly service, most tables at the intimate restaurant are usually snagged by 7pm. Their Vietnamese-inspired cuisine is packed with flavorful spices that will leave you savoring every bite. Popular dishes include warm sesame noodles, served with braised pork, sprouts, scallions, carrots, and onion in an oyster sauce ($18); and the jumping squid, prepared with red chili butter ($11). Bring your appetite and sense of adventure to explore the culinary offerings at Food Studio.
746 Warren Street, Hudson
NEW PALTZ, NY
845-255-1203 | NEW PALTZ, NY
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With distressed wood floors, white-washed walls and ceiling, and plenty of mirrors, Garden Cafe has a bright, modern look to go with its fresh take on vegan cuisine. Since Lea Haas took over the Woodstock eatery in 2015 and promoted Christine Moss to head chef, the establishment is moving forward with a refreshed vision and dedicated fanbase. Moss’s menu features dynamic, animal-free variations on global dishes using organic, GMO-free ingredients. With seasonal menu changes and daily specials (like the gluten free mac ‘n’ cheese made with cashew cream and peas), the dining experience is ever-new. Breakfast is served daily until 1pm. There is also an organic juice and smoothie bar, as well as a full wine and beer list. Who said eating vegan meant giving up life’s indulgences?
6 Old Forge Road, Woodstock
U G H KEEP
A T Z I S. C O
S IE , NY
2 oz. Del Maguey Vida Mezcal .75 oz. Mandarin Liqueur .5 oz. fresh lemon juice .5 oz. fresh lime juice 3 dashes Angostura Bitters
Shake, strain, serve up in a cup rimmed with salt. Photo by Mikael Kennedy
202 MAIN ST. POUGHKEEPSIE, NY | 845-454-1179 MON: 3PM - CLOSE | TUES - SAT: 12PM - CLOSE | SUN: 11AM - CLOSE
The present-day margarita is descended from a tart 19th-century cocktail called the daisy— a blend of spirits, citrus, and orange liqueur.
askins, housed in a former Germantown five-and-dime store, brings urban-chic spin to locally sourced comfort food in a space that is airy, sleek, and rustic all at once, with marble-topped tables offset by dark wood and glass accents. For co-owner Sarah Suarez, who first learned to bartend at Gramercy Tavern under bigwig craft mixologist Jim Meehan, an elegant, concise cocktail list was a must from the get-go. “When we decided to open Gaskins, we didn’t want to go overly in the direction of a cocktail program, we wanted something that appeals to everyone,” Suarez says. “We always have two to three classics that people are comfortable with and a few constantly changing cocktails that I or one of the bartenders create. It’s great, it gives them the creative license to play with fruit and herbs as they come into season.” So often, the drink menu is where rejected restaurant names find their second life. Such is the case with both the Germantowner (an upstate Manhattan, which is a fixture on the Gaskins menu) and the Ox Eye cocktail, a smoky mezcal play on the classic margarita. “An ox eye is a round window in an eave, roof, or dormer,” Suarez explains. “The drink has a double meaning. Not only is it named for that ox eye window above the entrance, but there is also a variety of flower called an ‘oxeye daisy’ and a margarita is technically an evolution of an old-fashioned cocktail called a daisy that includes a spirit, an orange liqueur, and citrus.” Voila. And, if you needed more convincing, it’s Suarez’s favorite cocktail at Gaskins. —Marie Doyon
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845-255-8636 845-255-8636 bacchusnewpaltz.com bacchusnewpaltz.com
3/19 CHRONOGRAM FOOD & DRINK 35
A PAINTER, A THREE-STORY LOFT, AND THE ART OF ALLOWING IN SAUGERTIES By Mary Angeles Armstrong Photos by Deborah DeGraffenreid
elli Bickman has a chest full of hope. Currently, it’s sitting at the foot of her bed under one of her exuberant, mural-style paintings—this one six-by-twelve feet of acrylic, oil crayon, and glitter on canvas. Titled Long Life, Joy, Prosperity, the piece is a meditation on the White Tara of Buddhist philosophy interwoven with sketched scenes from her life as well as the skull and blossoms motif that reoccurs throughout her work. It typifies Bickman’s larger body of art, much of which is hanging, in print or original, along the walls of her sunny, floor-through loft. Comprised of the three upper stories of a former Odd Fellows Temple, it’s a place where history, square footage, and purpose have conspired to create an 8,000-squarefoot live/work/gallery space for Bickman. Themes of abundance and generosity, as well as iconography, memories, archetypal imagery, characters from ancient myths, and even candy wrappers blend into the many layers of her vibrant work. “Reappropriation is key,” Bickman explains, describing both her creative process and her decorating style. Her hope chest sits at the center of the open, street-facing second floor which is large enough to house her painting studio, a sleep area, and an alcove where she
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Opposite: Kelli Bickman is the third floor ballroom of her loft. Hanging behind her is Christ Buddha, a 5’ by 7’ acrylic on canvas painting she completed after a trip to India. Raised a Catholic, Bickman has spent years studying a variety of spiritual traditions, including meditation, Buddhism, Hinduism. “So many spiritual traditions come from a place of lack and not being open to abundance,” she explains. Her life and art are the result of a process of conscious creation. “The universe always has your back.”
Top: Bickman’s loft occupies the top three floors of a former Odd Fellows Temple. Bickman’s mural Timeless Saugerties compliments the building’s 19th century gothic facade. Bickman painted the piece with 9 local young people during the summer of 2017 as part of her Mural Arts Program. Bottom: Once the center of Odd Fellows revelry, Bickman now utilizes the building’s third floor ballroom as a community event space. Musical performances, aerial yoga and her Mural Arts Program are regularly held in the 24-foot-high room. Her 4’ by 6’ Laughing at Death hangs above the mirror. Hanging amongst the arches, her 5’ by 7’ series contemplating spiritual themes was completed during her time in Florida. From left to right is Dancing Shiva, Vajrayogini, Taming the Mind, Christ Buddha, and Green Tara.
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38 HOME & GARDEN CHRONOGRAM 3/19
designs and mocks-up shoes, yoga clothes, and streetwear for her 11:11 clothing line. Inherited from her grandmother and restored by her father, Bickman has carried her carved cedar treasure chest with her from Minnesota to New York to Florida to the Catskills, using it to hold her sketch books and mementos. “It’s the only piece in here I really care about,” she explains, looking over the eclectic blend of dressers, end tables, lanterns, and desks she’s salvaged, traded for, or picked up at thrift stores. “I’m really good at taking nothing and turning it into something,” Bickman explains. Like her paintings, the harmonious whole of her home is so much more than the sum of its cacophonous parts. Young Artists Wanted A Minnesota native, Bickman attended the University of Wisconsin-Stout, where she double majored in sewing and art. “I’ve always been super creative, but I didn’t really explode in creativity until I was in college and I had all these materials to play with. College was a free zone to do just that,” she remembers. Her first two years were spent in apparel design, where she took classes on textiles, tensile strength, and pattern making. It gave her a solid foundation in fashion production, but she didn’t like working with conventional sewing machines, so she transferred to the art department. The freedom to be completely creative proved intimidating at first. “I took my first painting class and was so freaked out by the giant white surface, I didn’t know what to do.” So, for two years she focused on drawing, amassing a large collection of sketch books filled with her ideas, memories, and images. She kept them in her treasure chest at her parents’ house. It was in college while working at a local restaurant that Bickman met Neil Gaiman, who was living there with his family. “He has been one of my best patrons and supporters,” Bickman says of the author, who is now a professor at Bard College. Over the years, Gaiman collected a dozen of her paintings, and his mentorship has proved invaluable. “He gave me the fearlessness to be creative and get out in the world. As a mentor, he has shown me that it’s possible for an artist to make a living through discipline and focused intention.” After college, she wanted to give New York City a try. It was Gaiman who encouraged her to move, and connected her with a job working for Chris Claremont, a comic book writer best known for working on the Uncanny X-Men. She called up another friend she’d met at college who just happened to need a roommate for her West Village apartment.
Top: The loft’s main kitchen looks over the backyards over the neighboring buildings. Bickman painted the wall and trim a contrasting orange and blue, but left the original sideboard grey and yellow. Over the desk, she camouflaged some unsightly pipes with hanging lanterns and mementos. Bottom: The hanging installation includes gifts from her mother, crafts created by her daughter, and found objects —each one meaningful in its own way. “It was all stuff jammed up in a junk drawer,” she remembers. “I thought, so why not make it art?”
3/19 CHRONOGRAM HOME & GARDEN 39
Trunk Show Meanwhile, her trunk overflowed. When she couldn’t fit anymore sketch books inside, Bickman began the process of taking her drawings and turning them into paintings. “I had this trunk full of sketches that was just so full I didn’t know what to do, but I knew I had to do something with it.” Her first works were studies of found objects, painted in a stream-of-consciousness style. After completing a larger image, she would start drawing on the canvas, and then graffiti on top of her work. Her interest in spiritual studies quickly began to seep into her creative compositions. While living in Manhattan, Bickman took sojourns upstate to visit the Karma Triyana Dharmachakra Buddhist monastery in Woodstock. “I would bus up and stay here, volunteering in the kitchen,” she remembers. “I was always studying as much as I could.” After 14 years in the West Village, she moved to Florida, first to Jacksonville then St. Augustine, where she delved deeper into both Buddhism and Hinduism by joining a meditation group. “These deities just started coming to me in waves,” she explains. “I started painting them and then studying the meaning behind them.” She went on to study Christian iconography as well as Native American traditions, including images and themes from both philosophies into her later works.
Top: Bickman with some of her 11:11 brand clothing line. Painted with spiritually inspired motifs from her work, the line includes hoodies, yoga pants, tanks and shoes and is manufactured by a woman-run factory. Bottom: A gift from her mother, a Buddha statue graces a corner of her guest room. “I wake up every morning and make my gratitude list,” Bickman says. “I am so grateful to have the best patrons in the world.”
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Acts of Co-Creation A move to Peekskill in 2009 inspired her to begin full scale murals and outdoor installations. “I was so sick of being bombarded by billboards selling me crap, so I made exterior pirate billboards and put them up on the street in Peekskill,” she says. (The pieces, Art Can Set You Free and We Are Here to Be Happy, were later hung on the outside of the Varga Gallery in Woodstock.) Bickman’s mural arts program came next. “Everywhere I looked I saw a blank canvas for art,” she recalls. She began a program teaching local young people how to paint large-scale installations. Over the course of a year, Bickman worked with a group of students under the age of 21 to create an 8’ by 36’ acrylic on wood mural. Now installed on the exterior of the Peekskill Youth Bureau, facing city hall, the mural and the experience creating it inspired Bickman to continue the program. Her clothing and shoe line of “wearable art,” 11:11, was created, in part, to help fund the mural arts program. (Gaiman has also invested in Bickman’s clothing line.) The mural arts program has continued regularly and Bickman has jointly created several other murals throughout the Hudson Valley with groups of young people. A move further north—toward mountains and fresh air—was Bickman’s next step. “It seemed like the natural progression,” she says. Her long-term rental loft in Saugerties
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came five years ago. When she stumbled on it, she loved it immediately. “I loved this space, it was like a Tribeca loft, and I loved the light,” she remembers. The gothic brick building features an exterior facade of ornate scrollwork, trim, and a detailed cornice along the roof. Above the street-level front door, the letters “FLT” are printed. “They stand for friendship, love, and truth,” Bickman explains. “It was the Odd Fellows’ motto. They wanted to feed the orphans and help the poor, but they wanted to do it with revelry.” The second-floor landing features a large alcove where the charitable organization’s members hung their robes; Bickman now utilizes the space to showcase her “wearable art” clothing line. The spacious, sunny kitchen with 12-foot ceilings, has room enough for an eight-seat dining table at its center as well as a generously sized corner office nook. Decorated with a mix of art and festooned with a collection of hanging lanterns and mementos, the peaceful space overlooks the backs of the surrounding brick buildings. Bickman painted the walls orange and trimmed the window frames with blue. The original yellow and gray built-in sideboard features original sliding doors of beveled glass. Her painting Mind/No Mind serves as a large backsplash behind the sink. During a film shoot, the full downstairs bathroom was painted with graffiti. Bickman left the bathroom untouched after the film crew left. A double door parlor and back bedroom painted purple and blue complete the second floor. Bickman painted the staircase leading to the third floor with a floor-to-ceiling white dove, and added a wall-size decal of Ganesh along the third-floor landing. Once the center of the Odd Fellows’ revelry, the building’s third floor is a large ballroom painted bright pink, complete with Art Deco bar, and a second kitchen. Decorated with her first large-scale spiritually themed work, Bickman has tried to remain true to the spirt of the Odd Fellows’ original intent for the space, holding community events whenever possible as well as aerial yoga, German longsword classes, and musical performances. (The third floor has two more garret-style bedrooms with mountain views. Bickman rents them to fellow artists.). Like the Odd Fellows, Bickman sees how readily revelry and generosity coexist. “Everything can be spiritual,” Bickman explains. “It’s art as self as art.” Top: Bickman’s bedroom is decorated with her grandmother’s hope chest and some of her work. Her shoes are painted with the cherry blossom motif which, along with skulls, reoccurs throughout her fine art. “The skulls represent impermanence; the blossoms represent new life.” Bottom: Executive Cosmonaut, a 30” by 46” acrylic and glitter on canvas, is an example of Bickman’s tendency to utilize found objects in her art. Bickman bought 30 unfinished canvases from an artist who was moving across country. It’s now hanging in the hallway leading between the second and third floors of her loft. 42 HOME & GARDEN CHRONOGRAM 3/19
Imagine! The Snow Outside... While You Stay Cozy In Your Four Sea-
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Come Visit Our Design Center with Six Sunrooms on Display
INDIAN RIDGE ON THE MARKET FOR $829K
or 50 years, family-owned and operated Indian Ridge Campground has been a Catskills-based sanctuary for lovers of the outdoors. The campground has served as a cornerstone for many childhood memories, as the same families have been returning for generations. “Indian Ridge is a big, happy family,” explains John VanDenburgh, who has owned the campground since 2007. The 42.74-acre property, situated 10 minutes north of the Village of Catskill in Greene County, has been meticulously maintained, boasts 70 sites for both camper/RV and tent camping, as well as two rustic cabins and a three-bedroom chalet. Indian Ridge is the type of trusting, tight-knit community where regulars know their neighbors and leave their campers and RVs parked on-site year-round. With low turnover and high demand, the campground currently has a waiting list of campers to get in, looking to relax and enjoy the peaceful tranquility. When VanDenburgh first saw the campground, he decided he was going to live there. “I wanted to be a camper,” he says, which is easy to do for the campground’s next owner, too, thanks to the inclusion of a three-bedroom house. “This is a fabulous business opportunity with a high return on your investment,” says Cheryl Nekos of Win Morrison Realty. Indian Ridge campground also comes with facilities—restrooms and showers, laundry room, recreation/game room, and a convenience store. During their stay at Indian Ridge, campers can swim in the pool, chat on the decks and patios, play horseshoes on the shared lawn, paddle boat around the lake, and play tennis or basketball. Or, they can simply kick back and enjoy their wooded, private campsite, deep in the heart of the Catskills.
DOOR 15 AT THE WAREHOUSE
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HUDSON VALLEY HOME GOODS By Maria Ricapito
Trophy Deer Roe at Exit 19 arrives flat packed with simple instructions: fun and easy to assemble. Sections click together and are held securely with rubber rings. No glue or tools required. Environmentally friendly, made using eco materials and nontoxic coloring.
t’s official—residents of the Hudson Valley don’t have to trek to big-city showrooms to avail themselves of high-end, unusual, or designer home goods. Nor are we limited to just the big-box stores when we do house renos. At a few of our favorite local home goods stores you can get the work of nearby artisans and artists as well as the kind of things found on 1stdibs.com or on the pages of glossy shelter magazines. But it’s not all pricey— there are loads of gifts or tchotchkes (tasteful, of course) for all occasions. And some of these venues offer design consults for a low fee. Check out our roundup of home goods stores at price points all over the budget spectrum.
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Exit 19 This shop in Kingston—from the team behind Spruce in Rhinebeck, John Krenek and Jamie Niblock—opened in 2015 in the city’s Stockade District. Named for the nearest New York Thruway exit, the large tin-ceilinged space features a rotating collection of furniture by masters of the mid-century era. Also of the time: a heavy emphasis on barware. You’ll be able to stock a party-friendly bar with everything from Peychaud’s Bitters to muddling spoons and a hand-blown wine carafe with oak stopper (at only $35 it’s a very reasonable hostess gift). Serve it all up on a sleek, stainless steel Arne Jacobsen tray. The shop’s layered vignettes are filled with colorful blown glass vases, stacks of Ridley games, and art on the walls (including quirky animal portraits on plates and faux deer heads). You’ll go for decor inspiration and to browse the extensive selection of gorgeous scented candles, candle sticks, lanterns, Donghia silk pillows, lighting (task lamps that add a pop of color to a study), and coffee paraphernalia. The classic metal toolbox ($85) would make a great Mother’s Day (or Father’s Day) gift. The owners pride themselves on having goods from a few bucks to thousands. Exitnineteen.com
Hammertown This drool-worthy shop exemplifies the luxe eclectic style so favored by shelter magazines these days. There are three locations—Rhinebeck, Pine Plains, and Great Barrington. While all three have similar merch, the Pine Plains shop is the original store, opened 30 years ago in an old barn. It’s the largest location, and definitely a destination, especially on Memorial Day and Labor Day weekends for the biennial tent sale. The shops sell decorator-favorite furniture (from Mitchell Gold + Bob Williams, Lee Industries), rugs both vintage (Turkish, Oriental) and new (Dash & Albert, Jaipur), bedding, towels, lighting, tableware (from Fish’s Eddy to Royal Staffordshire), kitchen stuff (including utensils and cookbooks), also kids’ toys, jewelry, and scarves. The shop’s owner Joan Osofsky has penned books on country living—and entertaining. She gives shop talks on topics like picking paint colors and, for a fee, will consult with you in your home as part of Hammertown’s Approachable Design Services. For projects big or small, store designers will help with everything from measuring and furniture rearranging (or acquiring) to full on design work or staging a house for sale. This spring, the shop’s pieces to snap up include the Monique Sofa (a cushy one with down-blend pillows and brass castor wheels in a variety of fabrics), lots of kanthas (Indian quilting using old saris and castoff textiles), Loloi Rugs, and mudcloth pillows. Hammertown.com
Lili & Loo Each room in this Hudson shop feels like you’ve wandered into a private home. The retailer morphed from a Manhattan flea market stall full of diverse objects some 20 years ago to the current 15-room shop on two floors in three adjoining 19th century buildings on Hudson’s Warren Street, plus a 2,000-square-foot backyard. The vibe is very “world traveler,” stylish and sophisticated with a mix of decorative objects, anything you’d put on your table when entertaining, furniture (side tables to sofas), art, and an extensive selection of textiles to bedeck your windows and floors. For a fee, they’ll “roomscape” your house—i.e. give redecorating tips. In recent months, Lili and Loo has expanded its selection of wearables—clothing, sunglasses, purses, jewelry, etc. There’s a virtual gallery tour on the store website to pre-plan your shopping trip. Liliandloo.com
In Love Where You Live, Joan Osofsky shares her in-depth knowledge on stylish modern country living with a collection of creative ideas and real-life tips for making your home warm and welcoming.
ReStore of Newburgh Like any thrift store, you never know what you’ll find--a giant wrought iron wagonwheel chandelier or a set of ‘50s highball glasses or some retro door knobs. Or a couch. But these stores offer everything from furniture (small and large) to doors and windows to the literal kitchen sink. Unlike a commercial home good shop, where you can count on certain basics or multiples of a popular item, here the law is strike while the iron is hot and don’t put it down until you’re sure you don’t want to buy it. That said, volunteers are always glad to measure something or free a front door from the teetering stack for you to take a look. Or even price an unmarked item on the floor. Once priced, it’s firm—don’t try to bargain. However, you may not have the luxury of leisure here—some locations such as Newburgh require that items purchased from 10 to 3 pm must be picked up by 4:30 that same day. Items bought after 3 have to be collected by
noon the following business day. This store’s Facebook page and Twitter feed alerts you to any sales, donations from specific furniture makers, or specials (sales on tile or flooring or boxed lighting, etc.). Also good—you can off-load any of the non-joy-bringing home goods on your way in. Other Hudson Valley outposts can be found in Hudson, Kingston, and Poughkeepsie. Habitat.org/restores
100 Mile A couple with years of experience in luxury retail and high-end design, Josh Ingmire and Kristina Albaugh, bought a second home in the Valley in the early teens. Noticing the wave of other Manhattan expats (and wanting to live the country life), they decided to open their Rhinebeck emporium (they also collaborate on commercial and home design projects). The store/showroom vibe is clean-lined, modern, and minimal.
3/19 CHRONOGRAM HOME & GARDEN 45
A holiday table setting at Hudson Home on Warren Street in Hudson.
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Their focus is on innovative and influential brands (think: Cappellini, Flos, Ligne Roset, Moooi, and Poliform, among impressive others) of housewares, furniture, lighting, fragrance, jewelry, art, and decorative objects. Go if you’re planning to design a drop-dead-gorgeous modern luxe kitchen or bathroom that no one will mistake for the product of a big box store. 100mileny.com
Hudson Home Design and marketing pros Richard Bodin and Gregory Feller opened this airy, light-filled store in a former printing plant on Hudson’s Warren Street in 2004. In addition to interior design (their portfolio is on Houzz), they do retail well. They transformed the concrete shell into a store that they call their “incubator/ laboratory,” with soaring 24-foot ceilings showing off a mix of new and vintage finds inspired by the duo’s love of travel, nature, and history. They offer custom upholstery and case goods (aka dressers/ shelving), lighting, accessories, linens, tabletop, candles, and a savvy selection of art. Browse the second-floor showroom resource library of wall coverings, window treatments, fabrics, and rugs. Hudson-home.com
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North Elm Home Despite what the internet mattress vendors say, you really do have to test-lie-on a bed. Well, here in Millerton in a revived barn you can do so. You’ll find an extensive selection of mattresses— handmade Schifman’s, Beautyrest by Simmons, Black, and Serta iComfort. The show of local artists work on the store’s Art Wall changes every six weeks. In one place, you can see every style of dining set, customizable slipcovered sofas, hand-knotted carpets, and iron bedsteads. The outdoor furniture is both design-y and practical (Highwood faux wood Adirondack chairs, and pieces in teak, resin wicker, and aluminum). The second floor is virtually a separate antiques slash vintage shop (yes, they do consignments). The shop has two interior design consultants on staff. Northelmhome.com
A reversible handmade flat-weave wool rug in cheerful and colorful thin stripes from Burkleman in Cold Spring.
Burkelman Kevin Burke and David Kimelman opened their Cold Spring shop after years of work as New York City creatives (as art director/photographer and fashion exec, respectively). It’s a well-edited, wide-ranging selection with a humorous, modern filter (they opened a shop in Manhattan’s Noho neighborhood in 2018). They sell lighting (like the fun resin Banana lamp), throws, glassware, baskets for storage, linens, soaps, bar paraphernalia, serving pieces, and even jewelry. Go there for a most abundant selection of gorgeous rugs (from natural-hued sheepskins to flat-weaves to painterly and plush abstract patterns) and throw pillows (for example: kilims, jewel-toned silk velvets, blown-up gingham from a Brit textile designer). The pair have launched a lifestyle brand, which includes soy wax, cotton-wick candles. That Hudson Valley Candle ($38) is one of their bestsellers, with notes of tobacco, wood fire, and moss. In April, they’re launching a new one: Unwindulax, a melding of lavender, lemon verbena, and honey. This spring, they’ll launch a line of unisex eau de parfum fragrances. They have lots of handmade stoneware pieces like The Eclipse Platter ($298) for those who love to entertain. On June 1st, join the party for their Turkish textile trunk sale in Cold Spring, where you’ll see beautiful hand-loomed kaftans, beach and pool cover-ups, and artisanal towels. Burkelman.com
Marigold Home This designer, Maria R. Mendoza, has several shops in the region, including Rhinebeck and Woodstock. Her interior design business is headquartered at the Kingston location, which is also a source for Hunter Douglas window shades and blinds, furniture, home decor (vases, photo frames, cute objects), designer fabrics and trims (Shumacher, Duralee, Scalamandré, and so on) and an upholstery service. Go for weather-resistant custom upholstery for your outdoor furniture (now is a good time: it takes about six to eight weeks). Marigold-home.com
WHERE THE CREEK AND THE RIVER MEET: Catskill Point Marina and Restaurant For Sale
f you stand at the tip of Catskill Point facing east, the Hudson glimmers in the foreground as Olana rises on the opposite shore. Turn west, and you’ll see the wispy top fringe of the Northern Catskills across the Catskill Creek. It’s a breathtaking panorama, and one property in particular benefits from this rarified vantage point. Port of Call is a recently renovated waterfront restaurant in Catskill, which recently came on the market for $1.6 million. The glass-enclosed main dining area provides an all-season vantage point of river and creek, and in the warmer months diners can relish 360-degree views from the 2,800-square-foot rooftop deck. All told, Port of Call has capacity for over 200 patrons, making it a possible wedding reception space with unmatched views. The property is being sold with all its equipment, including a brand-new kitchen and appliances, as well as the marina, additional outbuildings, and parking for over 50 vehicles. Catskill Village, Up-and-Coming “Catskill is one of the last affordable towns within two hours of New York City,” says Greg Berardi of Win Morrison Realty. In fact, he continues, “Catskill has been bursting with life in the last 12 months. There are no vacant storefronts in the village anymore, and prices are up about 20 percent in the last year.” Why the growing interest? Berardi attributes part of the growth to the village’s central location. “[Catskill is] 12 minutes from Hudson, two hours from New York by Amtrak or the Thruway, and an easy commute to Albany.” Couple that with an historic, walkable Main Street and waterfront charm, and it’s easy to see why a sense of urgency surrounds the notion of investing in Catskill. 3/19 CHRONOGRAM HOME & GARDEN 47
health & wellness Transplant participants Jennifer Buda and Annakay Dennis before surgery at Westchester Medical Center.
HEAVENLY MATCHES ORGAN DONATION IS ONE OF THE ULTIMATE FEEL-GOOD ACTS FOR BOTH DONOR AND RECIPIENT. By Wendy Kagan
nnakay Dennis needed a miracle. After more than a decade of health issues starting when she was a preteen, she also deserved a break. At nine years old she was diagnosed with lupus, an autoimmune disease that can attack any part of the body. Later came diabetes and a series of medications to control both conditions. In 2016, when Dennis was just 21, the lupus entered her kidneys and she went into renal failure. “Too many things happened to me at this young age,” she says. “When my kidneys failed I had to go to dialysis three days a week, spending four hours on the machine, and I was going to cooking school five days a week. I was tired all the time.” A new kidney would give her new life, but initially, the idea of surgery was too scary for her. After a year of dialysis, Dennis saw it in a different light and agreed to put her name on the list for an organ transplant. Her doctors at Westchester Medical Center said she’d have to wait about five to seven years to receive a kidney from a deceased donor—unless she could find a living donor herself. It wouldn’t be easy: Various health issues ruled out her close family members as potential donors, and since Dennis had immigrated from Jamaica to New York several years back, her local network was
48 HEALTH & WELLNESS CHRONOGRAM 3/19
not a large one. But it only takes one good kidney match to make a world of difference, and providentially, someone stepped forward with a precious offer. It was Jennifer Buda— Dennis’s assistant youth-group leader at the Abundant Life Tabernacle Church in Kingston—who couldn’t get the idea out of her head that maybe she could help her fellow parishioner. It’s a rare person who will donate an organ to a non-family-member, undergoing major surgery and facing the risk, however small, of complications—but for Buda, the idea of family extends beyond the usual definition. “I’m the oldest of eight siblings, and if one of my brothers or sisters had been in this situation, I’d have been the first in line to try to give them a kidney,” says Buda, 34, who works as a registered nurse at the VA Hudson Valley Health Care System Castle Point campus. “In Christianity, we call ourselves the family of God. I’d seen Annakay go through so much and I thought, if I’d do this for my blood brothers and sisters, then why not for her? I’m also a nurse, and from the very beginning in nursing school, all I ever wanted to do was help people.” After a series of medical tests, Buda found that she and Dennis were a viable match.
On January 11, 2019, they went into surgery, where doctors extracted one of Buda’s healthy kidneys and spirited it into Dennis’s abdomen; the organ turned pink and started working right away. For both recipient and donor, it was a life-changing act. “It feels amazing and I was so grateful to receive a kidney from Jennifer,” says Dennis, who describes Buda as an angel in her life. “She has become like an older sister to me.” The Art of Saving a Life, Perfected We live in exciting times for organ transplantation, as the field continues to evolve at a rapid pace since the first successful kidney transplant, from one identical twin to another, in 1954. Two years later doctors performed the first bone marrow transplant, also between identical twins. The first liver transplant from a deceased donor happened in 1963, followed by intestinal and multivisceral transplants as well as miraculous heart and lung transplants. In 1989 came the first living-donor liver transplant, when a sick girl from Chicago received part of her mother’s liver. Just in the past five years, we are seeing babies born after uterus transplants from both living and deceased donors. Also new to the scene is face transplant, which can
change the life of a disfigured person and restore lost function, including the ability to speak in some cases. Meanwhile, researchers are hard at work attempting to grow human organs from stem cells, which could revolutionize the playing field altogether and potentially put an end to the shortage of organ donors worldwide. New York State, in fact, has one of the lowest rates of organ donation in the country, with only 35 percent of driving-age individuals registered as organ donors. Even more rare than deceased donors, of course, are living donors like Buda who altruistically choose to give a life-saving organ while they are still alive themselves. “The action of a person like this is wellrespected,” says Hiroshi Sogawa, MD, a multi-organ transplant surgeon and the head of kidney transplant at Westchester Medical Center, who explains that outcomes have improved since the beginning of transplants, thanks to surgical innovations and better immunosuppressant drugs. “Any operation has risks of complications, long-term problems, or even death,” he says. “Yet transplantation has evolved and this is not experimental. It’s standard procedure.” Some say that living donors are doubly heroic because they get to save two lives—the person they are donating to, and a person on the waiting list who now has a chance to move up. “Living donors help to make the pool of people waiting for a transplant a little smaller,” explains Sogawa. The organ also has better quality and longevity; while a living-donor kidney can last upwards of 15 years, a deceaseddonor kidney often lasts just over 10 years. (Interestingly, when someone receives a kidney transplant, doctors don’t remove the old, nonfunctioning kidneys—so there are some people walking around with five or six kidneys in their body, with only one of them actually doing its intended job of removing waste and balancing fluids.) Of course, not everyone is lucky to find a living donor, and people can get desperate waiting for a new organ. That’s why hospital transplant teams have a committee to assess potential donors and make sure there is no other interest such as money exchanged (it’s illegal in the US to sell your organ to someone). Yet desperation can also lead to creative solutions, such as the national donation chains that have cropped up in the last five years—allowing a family member or friend who is not a biological match to donate their organ to a stranger so that, in turn, their loved one may receive an organ from another donor on the chain. A Chance to Be of Service For some, deciding to donate an organ is an impassioned choice, even a calling. That’s how it was for Katy Matthews, a Brooklynbased maker of gemstone malas and the owner of KaMala Jewelry. When Matthews heard that a friend, Ben Fleisher, was in need of a kidney, she knew within a blink that she would be his donor. “There are a lot of things in life that you’re not sure about, but this is something that was very clear,” she says. Fleisher, an acupuncturist and the proprietor of Woodstock Healing Arts, an integrative medical and wellness center in Woodstock, had been gradually losing kidney function due to a condition called IgA nephropathy, in which an antibody called IgA builds up in the kidneys and causes irreparable damage. He had started dialysis in July 2017. “For the first couple of months, the dialysis made me feel better, but then I felt like I was walking through mud,” says Fleisher. “The body accumulates water and I started to feel worse and worse. I would leave dialysis with a crushing headache, exhausted and out of it.” Fueled by empathy, Matthews took action and signed up for donor testing at Mt. Sinai Hospital, where Fleisher hoped to have his transplant surgery. As a parent—she has a five-year-old boy, Elias— she was particularly moved to help. “He’s a human who deserves to live in his body and feel good,” she says of Fleisher. “Venetia [his wife] was a mother with two young girls, a business, and a very sick husband. They had two baby girls who needed to know their dad. For me it seemed so simple: I have something that somebody needs and they’re suffering. I can help.” The biggest hurdle to donating were the fears of some family members, who worried that she was putting
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Ben Fleisher and Katy Matthews moments before surgery, Mt. Sinai Hospital, March 27, 2018.
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herself at risk. “There’s not a lot of research or information on what it means to donate an organ,” adds Matthews. “People act like you’re signing your life away. It’s scary for a lot of people.” With an uncanny prescience, Matthews knew that she’d be Fleisher’s donor, but it took a while for his medical team to realize that as well. Six or seven months after signing up to be tested—after several other would-be donors were turned down—she received the call to come to the hospital for testing. Donor testing is a rigorous process but, says Fleisher, “Katy was hugely determined. Anything they brought up as a concern, she knocked it down. She was like a ninja.” In the end she was pronounced an excellent match, and the two went to surgery on March 27, 2018. Designed to be minimally invasive, the operations went without a hitch, performed by robot for Matthews and laparoscopically for Fleisher. With a perfectly functioning kidney, Fleisher started feeling better right away. But Matthews hit a few rough patches. “For me, it was the first time my body had half of its filtration system,” she says. “I was tired and nauseous. It takes six to twelve months for the remaining kidney to grow to make up for the missing kidney, so it’s an adjustment. The kidney grows up to 30 percent of its original size. We’re like lizards!” To top it off, Matthews had a rare post-operative complication: She developed crepitus, in which excess air (pumped in during surgery) gets trapped under the skin. She also had edema, or severe water retention. “I’m the tiniest person and I had 40 extra pounds of air and water on me,” she recalls. Even after such hardships, which lasted about a month, Matthews says she has no regrets. “Ben is feeling so good and doing so well,” she says almost a year later. Since IgA nephropathy tends to come back at the same pace as the original disease, Fleisher should get about 10 good years out of the organ and hopefully more. He describes Matthews affectionately as coparent to his new kidney and also as a saint; one of the biggest gifts for him was “the miracle of asking for help and getting it. I got a kidney and so much support from my family and our amazing community.” For Dennis, the prospects of long-term success are excellent; with lupus, recurrence of the disease in a new kidney is rare. Buda sees benefits in her life already—chiefly, the gift of being able to help someone live healthier and longer. “There is a reward in giving,” she says. Fellow donor Matthews agrees. “It was a way for me to connect back to that oneness of spirit and to be of service. It was an honor and a joy.”
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TEARING IT UP
2019 SHRED program, with youth from Poughkeepsie and Newburgh, at Windham Mountain
SHRED FOUNDATION By Phillip Pantuso
eople don’t understand the history of snowboarding, how it relates to creative thinking and shapes individuals who look at the world differently,” Danny Hairston says. “That could be an entire TED talk.” Hairston is describing the inspiration behind SHRED Foundation, an organization that harnesses the creativity and stick-to-itiveness of snowboarding to build job and life skills and offer alternative career paths for young people. Hairston founded Beacon-based SHRED (Students Helping Re-imagine Education) in 2014, applying insights from more than 20 years of working in youth development, from directing a violence-prevention program at a Brooklyn high school to serving as the fundraising and events coordinator for Burton Snowboards’ Chill Foundation. Growing up, snowsports were foreign to the Ohio-born Hairston, but after moving to Brooklyn he started snowboarding with his kids and quickly fell in love. “You talk about being outside of your element, falling and having to get back up,” he says. “There
52 OUTDOORS CHRONOGRAM 3/19
are a lot of lessons that build in self-efficacy.” Hairston saw a new approach that could be applied to helping youth in the community, and began developing a curriculum around a six-week beginner’s course of snowboarding lessons. SHRED Foundation operates on three pillars of motivation: Fear, Fail, and Flow, which describe the progression of learning how to snowboard. But they also apply to other areas of life, Hairston explains. “A lot of our kids are risk-averse, afraid of failing, especially in a school setting where the motto is, ‘Failure is not an option.’ But you’re always going to fail. What’s not an option is giving up. What do you learn from failure? What do you do moving forward?” To further its mission, SHRED partners with like-minded organizations in the Hudson Valley, such as the Boys and Girls Club in Poughkeepsie and Blacc Vanilla, the popular community hub/coffee shop in Newburgh, which helps Hairston make inroads with youth in the area via outreach. Another partner is Windham Mountain Resort, where the snowboard lessons (which
began January 27 and continue every Sunday through March 10, skipping Presidents Day weekend) take place. After each session, those in attendance tour a different component of the mountain operations so they can learn the aspects of the snowsports industry. “It’s about creating opportunities for kids who may not be college-bound right away,” Hairston says. SHRED also brings in people from across the industry to talk about their careers, from marketing and human resources to graphic design and videography. This year, SHRED is piloting a junior instructional program at Windham, where attendees will apprentice alongside snowboard instructors before returning next year to be instructors themselves. “We want it to be a bottom-up approach, one where the kids are learning as they go through this experience,” says Chip Seamans, the president and general manager of Windham Mountain Resort. “They’re getting a taste of some of the careers in the industry.” SHRED works with youths from fifth grade through the age of 21. By the time they’re 18, Hairston says, the goal is for them to
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have enough skills to get a steady job, or a strong-enough portfolio to get accepted to college. As SHRED enters its fifth full year, Hairston is working toward extending its programming year-round. He’s eyeing a space, and funding, for a “lab” in Newburgh where kids can learn all manner of entrepreneurial skills— retail design, documentary writing, content creation, marketing, and more—which would double as a hub for the community. Hairston envisions something like “a snowboard shop in front and classrooms in the back,” a place where kids can feel welcome, network with peers and mentors, and develop skills for their lives. “Potential” is a hazy harbinger; its meaning is often in the eye of the beholder, which is why those who dedicate their lives to helping at-risk youth develop their potential are generally so optimistic: they have to be. Where many might see attenuated prospects and dimmed hope, others see the opportunity to make a life-changing difference. “As far as youth development, I didn’t see anything that worked quite as well as this,” Hairston says. “This culture has a real DIY, creative aspect to it. There are people looking at outside-the-box ways to shape the world. We want to impart that to our kids: Just as you see the mountain in a different way as you learn to snowboard, you can apply that same outlook to the world. See what’s out there that needs to be changed, and create something.”
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Tradition & Trajectory
Horses are an integral part of Saugerties’s identity. Horse Shows in the Sun (HITS) stages a world-class equestrian series in the town each year. Photo by John Garay
SAUGERTIES By Kandy Harris
his might come as a real surprise to Saugerties weekenders and day-trippers, but this cutesy Mayberry-on-theHudson with a fanciful Victorian facade is just a touch complicated. How can it not be? Its history as a community began thusly: Indigenous Esopus tribe inhabits land where the Esopus Creek and Hudson River meet. Dutch settlers show up in the 1600s. Chief Kaelcop of the Amorgarickakan family trades the land where present-day Saugerties is for some textiles and trinkets to Governor Andros in 1667. Local history paints the exchange as hunky-dory, but the agreement has “It’s Complicated” written all over it. After all, it’s not like interactions between European settlers and indigenous peoples exactly began and ended with hugs and kisses. 54 COMMUNITY PAGES CHRONOGRAM 3/19
The Industrial Revolution brought its own prosperities and, later, complications when mills shuttered and passenger rail ended. Some businesses in the village trace their roots directly back to those heady industrial days in Saugerties’s history, like Montano’s shoe store, the Dutch Ale House, and the Orpheum Theater. Even the Exchange Hotel, Saugerties’s own venerable former-flophouseturned-boutique hotel (not to mention respected local dive bar) has a facade that still sports awnings, much like it did when it was built in the mid-1800s. And then, more complications arrived in the 1950s-70s, when parts of the town and village fell into disrepair, much like the Coast Guard station near the Saugerties Lighthouse when the lighthouse closed down in 1954. However,
The Saugerties American Legion Post 72 baseball team taking batting practice at Cantine Memorial Complex. Photo by John Garay
thanks to grassroots efforts, the late 1970s brought a renewed interest in preserving Saugerties’s history, which landed Saugerties Lighthouse on the National Register of Historic Places in 1978. In the 1980s, the eight blocks that make up Saugerties’s village center were also added to the National Registry, the first commercial district in the country to be so designated. Since then, local businesses like Mother Earth’s Storehouse, Smith Hardware, and Inquiring Mind Bookstore & Cafe, which remains the Little Indie Bookstore That Could, settled into the village and have remained viable ever since. Then, Horse Shows in the Sun (HITS) rode into town in 2004, and with it, an influx of equestrians, high-season day-trippers, and short-term renters, ushering in a new era
of tourism-based business opportunities in town. Green, the village’s favorite Mid-Mod home design store, also opened in 2004, and is now expanding its operations to include stores in Downsville and Long Eddy. Goodbyes... But a few of Saugerties’s longtime businesses have recently decided to move on. DIG owner Daisy Kramer-Bolle and her husband, Van, first opened the shop at 123 Partition then moved it up the block to 89 Partition. Now, they plan to close their Saugerties storefront in the spring and focus selling their wares over in neighboring Woodstock at Woodstock Design/Woodstock Trading Post on Tinker Street, formerly run by Kramer-
Bolle’s parents, Robin and Mike Kramer. While Kramer-Bolle, a Woodstock native who relocated to Saugerties from LA in 2005, considers DIG’s tenure in Saugerties a positive experience, rising operating costs have made it impractical for the shop to continue in the village. Partition Street Wine Shop, which also opened during the early `00s, has transitioned from regular brick-andmortar shop to a wine collective that offers curated, customized monthly delivery of small-production wine, cider, and spirits. Out on Route 212 in the Town of Saugerties, New World Home Cooking slung its last plate of blackened green beans last April, after keeping the fires burning at that location since 1998. 3/19 CHRONOGRAM COMMUNITY PAGES 55
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Artful Community Meanwhile, for other Saugerties-based ventures, it’s a new dawn. Just ask Jennifer Hix. The Saugerties village resident is currently gutrenovating 11 Jane Street, a long-time arts space in the village, into a shiny-new arts and performance space with a focus on creators workshopping their new creations, as well as both short and long-term residencies for visual and performing artists. Community involvement is the key to the heart of the 6,000-square-foot Victorian, says Hix. “It’s hard [for artists] to find opportunities like this outside of a university setting,” she says. “Artists will be able to try things out and get feedback from the community.” As for how the arts space will work, according to 11 Jane Street’s PR rep Jen Dragon, “We still have some kinks to work out.” There are plans in the works for a soft opening in early spring 2019, says Dragon, which will include “invited artists in residence, who will be working in the space, creating installation art—large-scale environments using sculptural elements as the main medium—and performance. They will also be giving artist talks, classes, and ticketed events and [will collaborate] with other artists and performers to create new work.” Dragon and Hix plan to hold this soft opening to coincide with International Sculpture Day on April 27. The arts have long been a driving force in Saugerties, as its annual Saugerties Artists Studio Tour attests. Now in its 17th year, the tour brings the public directly into the working spaces of dozens of artists who live and work in Saugerties. This year’s tour takes place August 9-11. In February, the Saugerties town board got on-board with promoting local arts by creating a formal arts commission for the town, which will help Saugerties artists win grants and consolidate resources. Other community-based efforts to improve Saugerties are growing, too...literally, in fact. The Saugerties Village Tree Commission, a band of volunteers that managed to land Saugerties its “Tree City USA” status, is launching “Art for Trees,” an online fundraiser scheduled for April to coincide with Arbor Day. “Art for Trees” will feature artists making affordably priced work available in exchange for a donation to the Tree Commission. Participating artists’ work will be viewable via the Tree Commission’s Facebook and Instagram pages. The Saugerties town planning board also recently approved plans for a proposed resort and restaurant located on the Hudson River in the Glasco neighborhood, about 2.5 miles outside of the village. Wyldwyck River Camp is set to feature a 120-seat restaurant, 72 total rooms in cabins, fields, staff quarters, artists’ studios, and horse stables. Saugerties’s short-term rental market also seems to be in full bloom. The Villa at Saugerties, for example, has been providing lux accommodations for the past five years and is still going strong. Owners Joe Moseley and Amanda Zaslow describe the Villa, situated on 3.6 acres just outside of the village, as “our
Smith Hardware 2018 holiday wiindow display art, Star Driver by Angela Gaffney-Smith.
1992 Saugerties High School grad Jimmy Fallon was named “Most Likely to Replace David Letterman” in his junior high yearbook.
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Closed in 1954 and fallen into disrepair, the Saugerties Lighthouse is now on the National Register of Historic Places and operates as a bed and breakfast. Photo by John Garay
Mediterranean modern oasis in the Hudson Valley” and was inspired by the couple’s honeymoon in Spain. The Long and the Short (Term Rental) Of It According to figures provided by Airbnb, the Hudson Valley reaped more than $50 million in income from the short-term rental platform in 2018, and Ulster County alone took in $24.4 million. An Airbnb search for accommodations in Saugerties yields over 270 listings in the town and village, revealing that local homeowners are looking to cash in. Jennifer Mangione of Grist Mill Realty says that she has many clients looking to buy homes with the idea of renting it short-term as a factor in choosing a property. “I’ve had a lot of people call with the idea that they want to do this, but there’s not a lot of inventory.” Long-term rentals are also hard to find, says Mangione. “I get tons of people who call for Saugerties [long-term] rentals, and we’re hard-pressed to find them. People are renting out their own spaces for Airbnb.” Up until recently, Saugertiesian Laura 58 COMMUNITY PAGES CHRONOGRAM 3/19
Wagner owned the striking c.1880 Victorian on Washington Avenue in Saugerties village. She bought the house in 2010, fully renovated it, and began Airbnbing it in 2014 to much success, says Wagner, who is also a real estate agent with Halter Associates. Wagner lived in the back of the house while guests stayed the front. “Managing an Airbnb is intense,” says Wagner, “[and] we were making money just to pay for the house.” So, when the local real estate market hit a peak, she decided to sell, but not just to any buyer: Wagner sold the house in December 2018 to guests who previously booked a stay there through Airbnb. The new owners plan to continue renting out the house on a short-term basis. In her real estate dealings, Wagner noticed that the prospect of short-term rental income has turned many a landlord’s head away from renting to long-term tenants. “Why would you make $12K a year [on a long-term] when you can make $36K a year on a short-term rental?” There are currently around a dozen long-term rental listings in the Saugerties area on Craigslist.com.
The community is adjusting as best it can to the glut of short-term rentals cropping up, says Saugerties town board member Paul Andreassen. “There have been resident concerns [with short-term rentals], as there have been in other nearby communities.” Currently, the town places no prohibitions on short-term rentals, nor do they intend to, according to Andreassen. “However, what might be considered by this board or future boards are some restrictions on noise, hours of operation, limiting the number of guests, and so on,” he says. “We’ll do what’s in the best interest of the property owners, the nearby residents, and the community of Saugerties as a whole.” For now, since the short-term rental industry is a recent development, much like Lyft and Uber, regulating them is “a work in progress,” says Andreassen. “We encourage property owners to ‘be a good neighbor,’” he says. “It should be simple.” After all, if there’s one thing that remains blissfully uncomplicated about Saugerties, it’s the town’s neighborly spirit.
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CONTAINERS The Art of Carole Kunstadt By Brian K. Mahoney Art photos by Mary Kelly Photography page, for me, is a very visual thing, but also a contextual thing,” says Carole Kunstadt. “I’ve always had this inclination for the written word. The ability to tap into the unknown and the unspoken through art has always been important to me.” Words, paper, books are at the core of Kunstadt’s artistic practice—she is a master architect of paper. And while printed matter is primarily used to convey meaning through words, words are usually obscured in the work of the Hurley-based artist. Kunstadt’s work is a kind of post-word world. It’s the reimagining of the pages that creates their magic. In Kunstadt’s hands, books are broken down and transformed, phoenix-like, into new shapes that encompass the original meaning of the words while transcending them. The repurposed forms reveal a previously undisclosed essence within the books. They also create new stories out of the antique objects, unlocking the physical potential latent in the pages. The feminist themes and iconography in Kunstadt’s work are hard to miss—irons, female authors, sewing, and eggs all feature prominently. Yet there is a quietness, a subtlety to her pieces that places it at the opposite end of the spectrum from what might be considered agenda-driven art. She freely admits to being a feminist, however. “I’ve come to it in the latter part of my life,” says Kunstadt. “Something changes when we lose our parents. Losing my mother, I was very concerned about who will tell her story and who tells the stories of women, particularly, when they pass. I think that helped generate this work, that concern.” The physical qualities of paper are also a central concern of Kunstadt’s work, and a metaphor for the durability and transience of the human experience. “Paper is very resilient, but it’s also very transitory.” I like that contradiction. It really captures for me the idea of life. It starts from a raw material and transforms into something in its lifetime that we use in various ways. In the end, it just returns to pulp. It can disappear.” Kunstadt’s work will be exhibited in two groups shows this month: “Drawings/Works on Paper, Part Two,” at Buster Levi Gallery in Cold Spring, and as part of the “Still Still Moving/Towards 2020” exhibition curated by Eleni Smolen at the Howland Cultural Center in Beacon. Portfolio: Carolekunstadt.com
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Pressing On installation, 86 antique sad irons on 16â€™ wooden table by Elizabeth M. Fraser (ca. 1920), Woodstock Artists Association & Museum Photo by Kevin Kunstadt
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An Estimate of the Religion of the Fashionable World: By One of the Laity is a book by Hannah More (1745-1833), an English religious writer and philanthropist who hobnobbed with the leading intellectuals of her day, including Horace Walpole and Samuel Johnson. Kunstadt came across the More volume in an antique bookstore in Connecticut, where she bought it for $20. The “Pressing On” series, which had its genesis in an unwanted iron, is a collection of over 100 antique irons covered in pages from More’s book. “My mom passed away in 2017,” says Kunstadt. “A few months later, while dissolving her possessions, my sister casually said, ‘This is one of the items. Nobody wants it.’ I said, ‘Well, I’ll take it.’ It was an old iron. Once I had it in my possession and handled it, somehow the idea came that this would be a terrific piece to combine with More’s pages. I don’t know how that idea popped into my head, but the minute I had it in my house and in my possession, the idea was generated.”
Left from top: Pressing On No. 49, No. 48, No. 51 antique sad irons, fox fur, paper. Pressing On No. 25, No. 10, No. 12, No. 44, No. 16 antique sad irons, scorched antique lace and paper. Pressing On No. 84 antique sad iron, scorched linen thread, paper.
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Pressing On No. 46 antique sad iron, scorched linen thread, paper.
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Sacred Poem LXXXIV, 22 karat gold leaf, thread, paper. Sacred Poem XVIII, gampi tissue, thread, paper.
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The works in Kunstdadt’s Sacred Poems series are constructed from pages of an 1844 psalm book that are sliced into thin strips and then sewn back together. “Before 2006, I hadn’t used books in my work,” says Kunstadt. “It was sort of a surprise when I started to use the materials of the book of psalms. It wasn’t what I thought it would be, which was just paper with text. It seemed to resonate on another level. Working with the paper delved into sort of the capacity of the words to not only be evocative, but for the whole volume to be this metaphysical container of where the life of the book had been or who the readers and individuals who had used the book in the past were imprinted within that book.”
Sacred Poem XLVI, 24 karat gold leaf, thread, paper.
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Above: Ovum LI - Homage To Margaret Fuller ostrich egg, linen thread, twigs, paper. Opposite from top: Ovum I - Homage To Margaret Fuller ostrich egg, steel cut tacks, fur, paper. Ovum VI - Breakthrough silk thread, bookplates.
Margaret Fuller (1810-1850) was a journalist, editor, critic, and womenâ€™s rights advocate who is regarded as the first American feminist. Kunstadtâ€™s Ovum series is an homage to Fuller, created, in part, using pages from her 1855 book, Woman in the 19th Century, and Kindred Papers Relating to the Sphere, Condition and Duties of Woman.
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Too Tough To Die
Richie Ramone on His Autobiography, I Know Better Now
Richie Ramone and band rock Club Amparo, Carlos Casares, Argentina, 2018. Photo by Ivan Weingart.
By Peter Aaron
he Ramones changed rock ’n’ roll forever. That’s a given. A fact that’s pointed out often, as it should be. What’s not pointed out often enough, however, is another fact: Richie Ramone changed the Ramones. The drummer was a 26-year-old New Jersey kid named Richard Reinhardt who’d drifted through a series of cover bands and never-quite-made-it acts before joining the world’s most famous punk rock band in 1982—and immediately brought some much-needed fire back to the group. Although the Queens quartet had been instrumental in launching the punk explosion not long after they formed in 1974, by the dawn of the 1980s their music had begun slipping. There’d been some patchy albums, second drummer Marky Ramone wasn’t holding up his end and was let go, and in came Richie to record their ferocious return to form, 1984’s Too Tough to Die. He’d make two more studio albums with the Ramones, 1986’s Animal Boy and
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1987’s Halfway to Sanity (for which he’d sing back-up vocals and pen such songs as “Somebody Put Something in My Drink,” one of the group’s greatest), and play nearly 500 shows with them before abruptly leaving in 1987. Marky would return for the remainder of the group’s career, but Richie, an incredible musician who’d essentially saved the band, dropped off the map. Few knew where he’d come from or where he’d gone to; even his ex-bandmates would barely acknowledge he’d existed. But wherever he was, he clearly had a story to tell. And, as fate would have it, I, Chronogram’s arts editor, would come to help him tell it, as the coauthor of his newly published autobiography, I Know Better Now. “I chased off the idea [of writing a book] a few times, I really had no interest,” he tells me about the queries made to the two of us about the project from a literary agent in the winter of 2017. “I thought, ‘Okay, maybe, but not now. Later on, after I’m not playing anymore, and I can just put my feet up.’ Like
On Golden Pond or something. [Laughs.] But then people around me convinced me and I thought about it some more and I figured I should strike while the iron was hot, with so many more people wanting to know about the Ramones these days. Another reason I didn’t want to do it at first was ’cuz there were already all these other books out about the Ramones and they’re mostly the same stuff, about all the fighting [between band members] and all that. I didn’t want [the book] to turn into that. But since you grew up in the same place as me [Northern New Jersey] and you knew a lot about the band, I could tell it was a good fit.” Writing the book took a full year. During that time, in addition to touring heavily with his band, Richie and his girlfriend lost their home and many of their possessions to one of the California wildfires and his father passed away. Throughout the process, what became increasingly clear was that Richie is one of rock ’n’ roll’s true survivors, a vital figure who’s seen it all, had his peaks
and valleys, done what he had to do to get by, played in one of the greatest bands of all time, and is still rocking hard today. Working on the book together was a new adventure for us both, one completely unlike anything either of us had done before; Richie telling his amazing life story in full for the first time, and me allowing that story to pass through me and onto the page— while staying out of the way as much as possible. It’s Richie’s story, and my chief aim was to make sure that that story was always being told in his voice. “People tell me [reading the book] is like sitting in a bar and sharing a beer with me while they listen to me talk, which is awesome,” says the drummer. “The Thanksgiving before my dad died, I read the first four chapters to my family when we were sitting around the table after dinner. That was…pretty emotional.” For this humble writer and fan, hearing that means more than anything. In this excerpt, it’s early 1983 and the Ramones have just returned to the East Coast from Los Angles, where they shot a video for the song “Psycho Therapy,” and Richie's about to play his first concert with the band. After two days of LA insanity, pretend and real, it was time to fly back to New York to start the tour—and a whole other kind of insanity. My first show with the Ramones was on February 13, 1983, at Mohawk Valley Community College in Utica. By then, in the US the band were playing colleges as often as they could, because a lot of those gigs paid better than clubs; colleges usually have a “student activities” grant that comes out of the funding they get every year, and the money from that tends to be pretty good. That was something I learned about right away that I didn’t really know before. Something else I learned about right away was all the stuff that happened backstage just before a Ramones show. Remember a couple of chapters back, I mentioned how there was something the band would do before playing, to keep from cramping up? Well this is it. Playing in the Ramones was like being an athlete. Even though John [ Johnny Ramone] never partied—at least not that I ever saw— and the rest of us did, we all had to warm up before we went on. That was mandatory. Yeah, you get to move around and play a little during soundcheck. But if that’s all you do, when it comes time to do the show, you’re still basically going from sitting all bunched up in the van all day, straight into having to play insanely fast. And play pretty much nonstop, for a full hour, because, live, the Ramones would just go from one song right into the next for the whole show. And you can’t just go from zero to a hundred miles per hour like that. If you do, your muscles are just going to totally lock up on you.
Dee Dee Ramone, Johnny Ramone, Richie Ramone, and Joey Ramone outside of Tower Records on Fisherman's Wharf in San Francisco after an in-store appearance in 1983. Photo by Chester Simpson
So, while Joey would be off in the corner doing his little vocal warm-ups or sniffing his nasal sprays, John, Dee Dee, and I would be in the middle of the dressing room, going through our nightly warm-up routine. We traveled with a small practice amp that John and Dee Dee would plug into, I’d grab a pair of drumsticks, and the three of us would sit in a circle. With me playing the beat on my thighs, we’d spend about twenty minutes running through, like, five or six songs, just to get the blood flowing and get our arms, hands, and legs used to moving fast. This works pretty well, and I still do it now before every gig. There was this other thing that was part of the pre-show stuff that John and Dee Dee always did, though—something I thought was weird, and probably most Ramones fans will, too. “Aw, jeez, we gotta go play for these dirty kids again,” John would say, sounding like he was really tired and annoyed about having to play the show. “We gotta do this again? Aw, Jesus Christ, not again. These dirty kids again….” And Dee Dee would say back to him, “Yeah, man, these fuckin’ dirty kids. Oh, man, what the fuck. Again, we gotta do this? Shit….” It sounds crazy, but that was how they psyched themselves up to play. By getting it into their heads that the people coming to see them were all a bunch of dirty losers who they didn’t want to be there playing for. They didn’t really think that, of course. They loved their fans. But I guess working themselves into the frame of mind where they were unhappy about playing, and wanted to take that out on the audience, helped get them in the mood to play harder and more aggressively. Like I said, it was weird.
“People tell me [reading the book] is like sitting in a bar and sharing a beer with me while they listen to me talk, which is awesome.” —Richie Ramone
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Richie Ramone at The Cheyenne Saloon in Las Vegas in 2014. Photo by Mozz Chopz
So, after experiencing all that for the first time, it came time to play. And that was weird, too. We always used a recording of the theme from The Good, the Bad, and the Ugly as our intro music the first couple of years, until we switched to that cut from the album The Spirit of ‘76 by the Eastman Symphonic Wind Ensemble. The four of us walked on, and the whole house just started cheering like crazy. It sort of felt like it all was happening in slow motion. I went into auto mode, doing what I was there to do. I stepped up onto the drum riser, and, not being able to see anything through the thick cloud of smoke, I waited. The lights went up, Dee Dee counted us off, and we went into it. We opened with “Durango 95,” a new instrumental John wrote that the band hadn’t recorded yet. (We did it later on Too Tough to Die, and it stayed in the set as the regular opener after the ’83 tour.) I wasn’t worried about that tune as much as I was about some of the big Ramones hits, which, with me being the new guy, the audience would be listening to more closely. Remember: I’d had to learn, like, 35 songs, with only two rehearsals. Anyway, a few songs in, everything was going great. We’d blasted through “Teenage Lobotomy,” “Psycho Therapy,” “Blitzkrieg Bop,” “Do You Remember Rock ’n’ Roll Radio?,” “Outsider” off the new album, and a few others, and they all felt really good. When I looked out at the crowd, everyone was bouncing up and down and going crazy, totally loving it. I was digging it, too. I wasn’t so nervous anymore. And then, about halfway through the set, John stopped the band. It turned out I was off. I forget what song we were doing, but I knew right away it was my fault, and I felt like shit about it. I can’t remember if it was because I was playing too slow or too fast or what. Any other band would have just played through until everybody found their place, and then maybe dealt with the mistake after the show, to make sure it didn’t happen again at the next one. Not the Ramones, though. It had to be right. From the beginning. If it wasn’t, the other guys would get so thrown off that they’d have a really hard time figuring out where they were. Especially John, and he ran the band. He gave me a look and said something to me about how I was playing it wrong. Dee Dee turned from me to the mic and told the audience, “Sorry, we have a new drummer tonight.” And then he just counted it off again, and we started the song over. The rest of the set went fine, and I don’t remember having any other problems. But it was crazy, to me, how they stopped the song like that. So, that was my first show with the Ramones. Definitely an unusual night. And there were many more to come.
I Know Better Now is published by Backbeat Books. An excerpt from the book is reprinted with permission below. 72 ARTS & CULTURE CHRONOGRAM 3/19
music David Garland Verdancy (Tall Owl Audio)
It comes to you wrapped in, appropriately, a garland of green: A chartreuse ribbon surrounds the grey box containing the four CDs that comprise composer, vocalist, and multi-instrumentalist David Garland’s sprawling album Verdancy. Relocated to Red Hook after more than 40 years as a participant on the Downtown New York experimental scene and almost 30 years as the host of the eclectic New York Public Radio music program “Spinning on Air” (now a podcast emanating from his home studio), Garland has clearly found a fertile furrow for his own art; the epic Verdancy encompasses a staggering four hours of music. It also features a formidable contributing cast of New York friends and Hudson Valley neighbors: Yoko Ono (lyrics on one piece and vocals on another), singer and violinist Iva Bittova, bansuri flutist Steve Gorn, singer Arone Dyer (Buke and Gace), composer and keyboardist Kyle Gann, and others. This is a rare kind of music that balances tranquility with moments of challenging dissonance—which somehow never feel dissonant or challenging, but soothing instead—and unpredictable, meandering structures. Perhaps it tilts toward Scott Walker’s later work, with impressionistic nods to minimalism, Anglo-ethnic folk forms, and chamber music. Although Garland contributes the majority of the vocals and lyrics plus piano, clarinet, ocarina, analog synths, and other instruments, the true sonic seed from which Verdancy sprouts, he says, is his electronically augmented acoustic 12-string guitar, whose controlled, gracefully arcing feedback permeates the set. With so much slow, deep music here, it should take you at least a year to properly listen to and absorb Verdancy (as it has for this reviewer). But your year will be infinitely better for it. Davidgarland.com. —Peter Aaron
Girl Gaze Fade Out (Team Love Records)
It is not clear whether or not it was an ironic intention of New Paltz outfit Girl Gaze to begin their debut release, Fade Out, with a lush piano suite that decidedly fades in to the rest of the album. I would like to think that this was on purpose. The track, appropriately titled “Intro,” hints at some lighter elements that will add flourish to the five-piece band’s eight indie-rock tunes. Once the album hits its stride, there are elements of “Twin Peaks”soundtrack-era Julee Cruise (as on the almost-whispered track “Melting”) and a chill-wave Nellie McKay, with the arrangements taking notes from modern indierockers Spiritualized, Spinto Band, and Cults (as on “Your Eyes”). There’s a dash of ’60s girl-group swing and harmonies between vocalists Cat Delaus and Michaela Passero. For a debut record, this is a remarkably realized release and the band has a clear working history of their medium of pop construction. Team-love.com. —Mike Campbell
Jeff “Siege” Siegel Quartet London Live (Artists Recording Collective)
If you wonder whether Woodstock-based drummer Jeff “Siege” Siegel’s nickname is merely the result of good-natured hyperbole, listen to “Meet Me at the Station,” the kickoff track of this outstanding CD and wonder no more. In the overture, Siegel unleashes a cymbal fusillade, coaxing splashes of ringing multiphonics and stunning polyrhythmic finesse. It sets the driving tone for this live date from 2010. Siegel and his cohorts—tenor saxophonist Erica Lindsay, pianist Francesca Tanksley, and bassist Uli Langthaler— revel in post-Coltrane, minor-key jazz, replete with unison piano/bass lines and passionate interplay, notably in Lindsay’s opening track, Tanksley’s “A New Freedom,” and their down-and-dirge-y reading of the late underground icon Arthur Rhames’s arrangement of “I Want Jesus to Walk With Me.” While taking nothing away from his exceptional bandmates’ fine playing, this recording is a powerful testament to Siegel’s talent, one absolutely deserving greater recognition. Artistsrecordingcollective.biz. —James Keepnews
Rebecca Haviland and Whiskey Heart Bright City Lights (Independent)
“Bright City Lights” rips open the album of the same name with a big rock sound—a drum roll, tough guitars, and a push of organ. It fairly screams “roots,” and it makes good on that promise at every turn, echoing the best elements of the Wallflowers, Ryan Adams’s Cardinals, and an imaginarily distaff Black Crowes. Whiskey Heart may be Haviland’s band, but the term describes the honeyed bourbon strut of her voice as well. The languid “Secrets of My Heart,” with its sweet Southern horns, could actually be sung by Chris Robinson; “Goodbye” might have been tracked in Muscle Shoals, rather than Brooklyn; and the pianobased “You and I” shares an urge with Tift Merritt, but with Haviland’s added smoke. Coproduced by Don Dilego, Bright City Lights is the rare seven-song disc that deserves to stretch to a full dozen tunes. Rebeccahaviland.com. —Michael Eck
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WOODSTOCK BOOKFEST TURNS 10
HOLD ONTO YOUR
Maggie Thrash, one of the featured authors at the Woodstock Bookfest. Photo by Franco Vogt
o quote George R. R. Martin, “a reader lives a thousand lives.” A kaleidoscopic feast of lives will be laid before us March 28-31 at the annual Woodstock Bookfest, a weekend-long gathering of literary minds and lovers of the written word. The event was born a decade ago under the “Woodstock Writers Festival” banner with “a ragtag collection of writers who wanted to put on a play,” recalls executive director (and author) Martha Frankel. “I don’t think the smart money was on us making it to 10 years,” she says. “And I don’t think anyone was quite prepared for how much work it would be. But we do have a blast.” As the buzz developed over the years, the organizers realized they were limiting themselves. “I had lots of people tell me, ‘I heard it’s great fun, but I’m not a writer,’” says Frankel. But everyone loves books, so in 2016, the gathering became the Woodstock Bookfest—and last year, over 1,100 people joined the party. This year’s festivities will include some familiar elements like Sunday breakfast at Joshua’s Cafe with Bar Scott and Abigail Thomas, and Frankel’s popular “Memoir a GoGo” panel. Edgar Award nominee Alison Gaylin will host a Mystery Panel with Frankie Bailey and Marlene Adelstein. WAMC radio host Joe Donahue will sit down with National Book Award winner Sigrid Nunez, and Bard College Literature Professor Joseph Luzzi will present “What Presidents Read.” And that’s just a taste of the panels, intensives, story slams, and parties. A few panels are still taking shape; planning is a fluid process, and one organizers hope to keep opening up. “The variety has grown, but more would be even better,” says Frankel. “We want to bring in all kinds of new voices.” Woodstockbookfest.com 74 BOOKS CHRONOGRAM 3/19
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books Gurdjieff Reconsidered: The Life, the Teachings, the Legacy By Roger Lipsey Shambhala, 2019, $24.95 George I. Gurdjieff was a man and a master. The materials that he uncovered from sojourns to Central Asia and the Middle East sought to remedy the spiritual poverty of the West. To the ever-increasing brutality of the 20th century, his discoveries enabled a way to a new life—more in consonance with nature and human nature. It granted creative powers their release. His investigations called for recognition of long-buried intuitions of humanity’s role in the life of the planet and the universe beyond. Gurdjieff Reconsidered, by Cold Spring resident Roger Lipsey, clarifies the development of the man’s teaching. Gurdjieff died in 1949 but the school that gathered around him continues to flourish. Intelligent and well-conceived, the account outlines how an awareness, carefully sensitized, can lead to an intense, compassionate being, one that neutralizes the distractions and neuroses of everyday life. As Lipsey draws on students’ first-person accounts, he shows the means by which a magister could bring a person’s capabilities to fruition so as to be able to meet the needs of a situation, any situation. Lipsey functions as the witness to the witnesses. Gurdjieff’s “methods of instruction” were improvisational, making use of what the circumstances provided. Lipsey shows him to be confrontational, loving, overbearing, fatherly; his approach could turn on a dime. He attracted great men and women (Frank Lloyd Wright, Katherine Mansfield, and Peter Brook, to name a few); he also made enemies—those who would react to abrupt exposure of their own lack of substance. Lipsey devotes one of the five chapters to refutations of some of Gurdjieff’s most biased critics. The sweep of Gurdjieff’s life is the stuff of myths. Lipsey gives a brief history of its scope, from birth in the Caucasus to his school near Paris. Special emphasis is given to the music and sacred dance that he created for students of his “Work.” Lipsey is at his best in describing their humanizing effects, how they could balance a psyche obsessed with production and possession of commodities. Inasmuch as a chief source of information comes from notes of group meetings with him, the reader gains a sense of what it was like to participate in an oral school of thought. The book veers between an apologia and an appreciation. Its “reconsideration” seeks to offer the insights of a participant as remedy to partial and second-hand renderings of the man’s contributions. It is an important book, one that will join the ranks of other texts of second- and third-generation pupils that reveal the master’s achievements. It should be read, particularly in its implicit message to read the master’s own writings more deeply and with an unjaundiced and searching eye. —David Appelbaum
THE AMAZING TRAGIC
WAIT, IT GETS WORSE
AMAZON, $14, 2018
DISRUPTION BOOKS, 2019, $17
In 2017, Jeffrey Bovee spent 22 days behind bars in the Orange County Jail in Goshen after using hard drugs for 34 years. Bovee claims that the police probably saved his life by locking him up. During his time served as an inmate, Bovee was forced to reflect on his life of addiction and the possibility of losing his girlfriend and two sons. As a form of rehabilitation and reconciliation, Bovee wrote this memoir during his incarceration, attempting to puzzle out the riddle of addiction. After finding faith in God and strength in his family amidst the wreckage brought on by his addiction, Bovee was able to rebuild his life. He now lives as a writer and musician in Woodstock with his family.
If you think you’ve had it bad recently, meet Lydia Slaby. At 33, she had everything she believed would make her happy: three fancy private school degrees, a successful husband who was in the inner circles of Barack Obama’s presidential campaign, and a high-paying job as an attorney. But under the surface Lydia’s life was in free fall. When she made a doctor’s appointment to talk about the toll of extreme stress, she was instead admitted with a diagnosis of lymphoma. Slaby, who now lives in Rhinebeck, learns through her cancer journey that control is an illusion, and perfection an impossible standard we set for ourselves.
CORPSE & CROWN
THE WOODSTOCK FLANEUR
INKYARD PRESS, $18.99, 2019
BUSHWHACK BOOKS, $18.95, 2018
Reimagining the Dickens classic Oliver Twist, Kwitney packs a punch in her newest historical thriller, which serves as a sequel to her first YA novel, Cadaver & Queen. The book follows Agatha DeLacey, who is a nursing student at Ingold’s East End hospital in London, when she meets the notorious, yet charming, Artful Dodger. As their relationship grows, Dodger’s work as a thief endangers Agatha, and she is blinded after a brutal attack. Having no choice but to take part in an experimental surgery at the hospital, Agatha’s sight is restored, but with drastic consequences. Agatha and Dodger must find a way to work together and expose a medical conspiracy before war breaks out between England and Germany.
Perkins, author of the “Walking Woodstock” column for the Woodstock Times, has been chronicling the world’ most famous small town for 50 years. These essays, collected from his columns, describe not only the characters that populate this odd former arts colony at the foot of the Catskill Mountains, but also a writer’s journey, quite literally: “In adolescence I began taking long walks as my own quiet protest against the hegemony of the internal combustion engine.” Perkins approaches his walking practice as he does writing one—deliberately, and with heart and soul. These sketches of small-town life abound with the vigor and absurdity of Woodstock itself.
NOT FOR NOTHING: GLIMPSES INTO A JERSEY GIRLHOOD Kathy Curto
BORDIGHERA PRESS, $16, 2018
Cold Spring resident Curto, who teaches creative writing at Montclair State University, brings together stories of growing up Italian-American in the 1970s and `80s in the Garden State. This debut memoir chronicles how the youngest of four siblings navigates an often-fractious family life—volatile father, drug addict brother—and finds her way as a young woman, creating an enduring portrait of the state of wonder kids find themselves in on the precipice of adulthood. Family life in all its agony and ecstasy on every page.
FARMING WHILE BLACK Leah Penniman
CHELSEA GREEN PUBLISHING, $34.95, 2018
Leah Penniman, executive director of Soul Fire Farm, is committed to ending racism and injustice in our food system. A social justice activist and farmer, Penniman’s book, “Soul Fire Farm’s Practical Guide to Liberation on the Land,” is a manifesto and tool kit for African-heritage people, from writing a business plan to restoring degraded land to crop planning and seed keeping. Penniman invokes Malcolm X as a jumping off point in her introduction: “Revolution is based on land. Land is the basis for all independence. Land is the basis of freedom, justice, and equality.”
3/19 CHRONOGRAM BOOKS 75
EDITED BY Phillip X Levine
Me To You
And oh, we used to fish
From the sky to the Earth From China to Timbuktu From Heaven to Mars From me to you I’m saying you can do it I’m asking you to believe That no matter what happens I’ve never been one to leave From one to another From old to anew From worry to hope From me to you
Aching, arching rods unreeling slipping line into wave beneath foam Bending over backward breaking wave The barb, the tip, the hit —p
—Abilene Adelman (12 years) Holes
I have holes to fill, holes in my yard. “Watch out for the holes!” I shout to the person delivering a package to me. “I need to fill them.” “Oh, you think you have holes.” They say to me. “You should see my yard!” This is what we do; this is what happens. Our yard has no holes then one day there they are, the holes are everywhere. We try to fill them. We try so hard. We heft our shovel and look for good earth or we go to a shop and ask, “Do you have good earth to fill my holes?” “Some try gravel; some try stone, some try bricks.” The sales clerk tells me. “Some say love your holes, some say god is in the holes.” The modest elderly woman at the counter chimes in. “Some think the holes could be used to grow food.” The painfully thin, young, girl says distractedly into her phone. “Some enjoy the work filling the holes brings them.” The fat man with the dirty fingernails says. “Some hate the holes”, the mottled old white man with yellow lips says, “you will fill them, but they will never fill.” “It is better to leave them empty as intended?” the mottled old man’s nurse adds. “What does it mean to live for someone else?” I ask. “What could it mean to live for yourself ?” is the reply I get from a voice behind the shelves. “What could any of it mean?” a stranger who walks in responds to my open question. “Watch out! Don’t trip into one of the holes in the street!” A stylish fellow having his lunch on a bench says to me as I leave the shop and step towards the curb. “And whatever you do, don’t fall head first.” another fellow, his associate I believe, adds with a smirk. “But we all fall head first at some point don’t we.” The first fellow’s lover whispers. “If not into the holes in the street.” “If not into the holes of someone else’s making.” “Then into the holes in our own yard.” The lover whispers to herself but looks at me and watches as I walk gingerly across the street. —Chuck Agro Coquettish
Biting My Tongue
You bit my lip too hard to be sexy, and I smile at your play, holding your hips gently.
Every since I met you all I can taste is blood.
76 POETRY CHRONOGRAM 3/19
The hundred-foot maple in the neighbor’s yard hangs an orange branch into our driveway. He is the oldest living thing on this block. His branches reached up at one point, but now sink low like the arm of a cellist pulling its bow across the yard. His leaves brush my windshield when I pull into the driveway, and his leaves are the first to turn orange this year. I wonder if the first leaves to go are the bravest, or the most insecure—blushing at the first sign of chill. The tomato plants that I never tied up snake across the garden, their red fruits like Easter eggs hidden beneath the chard— another hint of the summer that escaped me while I collected you in my arms again and again like treasure. I reviewed your face and called forth your smile—which began to open up like the pumpkin flowers I watched beneath the moonlight while soothing you at all hours of the night. I lay my hand on your sleeping belly, and feel you inhale before I return to bed. Somehow you doubled your size while we huddled in the only room with air conditioning, while the summer dished heat wave after heat wave, and we hid away inside. Suddenly we have only weeks before the first snowfall, and it is time to bury the garlic again. I want you to smell the soil in my skin, the late-season tomatoes and basil gone to seed. We will huddle through the coldest months, until you have tripled in size from the time you left my body, and the forsythia blossoms yellow flowers again. For now, we watch the old maple from your bedroom window, and count the years that he has seen. You hold no season. You grow as you will, regardless of how the rest of us fumble in the changing weather. For now, it is time for a story, and you are warm, impatient, so determined, in my arms. —Naomi Lore
Where Did They Go? Another new year, and I’ll try not to sound trite, but where did the birds go in the interval between Thanksgiving and the winter solstice? We loved our home, so why didn’t they, or were they confused by shifts back and forth— sometimes harsh, sometimes mild? Unlike you, I don’t need to justify my perch in the world, only once more take note of their patterns, remember their sounds to imitate. After you left, the birds stayed away, and I became colorless and old. Chirp, chirp. —Perry Nicholas
First of March
This salad from the drive-through that literally looks driven through after I left it on the table overnight and now I’m eating it anyway,
I gave ten dollars to a homeless woman. She was young, in her twenties. She had a dog and a cat. Nine weeks old she said. It was hot. The three of them were sitting on the sidewalk on Fourteenth Street. It was the sunny side of Fourteenth Street. Why she didn’t sit on the shady side I don’t know. Maybe the money was better on the sunny side. Maybe the passersby were more generous on the sunny side. I don’t know. I didn’t ask. It was very hot. I gave her ten. I do know this. The wrong people in this world have all the money. I wish I had lots of it, millions and millions. I would give it all to the homeless. I would give it to the girls and the dogs and the cats and the vets of Nam. But it’s the wrong people who have the millions and millions. The poets should have all the money. The poets should have the millions and millions. The poets would know what to do with it. The poets wouldn’t care what the homeless did with it. There would be no strings attached. Each would pursue happiness in his or her fashion. It would be just as Jefferson said. He, too, was among the wrong people with millions and millions. It’s always the wrong people. Walk down the sunny side of Fourteenth Street. You’ll see what I mean. It’s always the wrong people.
March will be like that. This month that started off with news of one more barfight from my son who now thinks he has nerve damage in a knuckle that he showed us over breakfast in the college cafeteria, the skin split but not red, a new scar for sure, he should have had the stitches. But after kitchen work and construction, this is nothing to him. I do not mention it is a year to the day since the death of his grandfather, my own father who kept failing and did not seek help and, surprise, none of the hospitals would help him, either. Rather, he expired, they expired him, they exed him off, he exed out. Today, wearing one of my thrift-store skirts to work, I walked up inside it and it ripped open in several directions as March has done to me so far, and with a stolen needle I’m sewing it shut like a C-section around what I still need to say that so far has stayed silent underneath.
The Sugar in the Stars
Sweetness dripped from your fingertips onto my skin and I can’t forget the way it felt when we cracked open the window and let the stars on in.
She knows words from long ago, That only other Grandmas know. Streetcar, ice box and Graham Page, In her day these were all the rage. A street car was a trolley Going up and down the town, Her ice box was your refrigerator, Filled by an ice man, Who never let you down. But what was a Graham Page, We all want to know, It was a car that went very slow
Untitled — Series of Scars A monster with a pretty face And sugared words whispered, “You are unlovable.” To my everlasting regret, I believed him. —Stampie Dear
Hot Shower The wife likes a hot shower. “It makes me woozy, like I’m on drugs,” she says. She wants a scientific explanation, but she won’t venture out to find it. She sits down on the couch next to her husband and the cat, sleeping in his lap. He reads her his bad poetry. It’s not simple. There’s no image she can grasp. He’s not saying what is meant to be said. He knows this. The wife likes a hot shower, but the house is cold, and she needs to attend to her hair, before it tangles up and explodes. —Brendan Press
As the Sun Pours Forth Its Light Every day I write a poem about death then I burn it and put its ashes in the
seaweed-green vase on the mantelpiece. When this vase is full I empty it in the
small field at the back of the house and then I start filling the vase all over again.
The wind either blows these ashes away or the rain washes them into the ground.
She bought a pet fish and a triptych which she hung properly: staggered, downward, diagonally. This is the best way in which one might hang a triptych in our chic bohemian home— romantic.
Though not everyone knows how best the décor goes, my love, the mystic, rightly hanged the triptych
By the wind they are turned into birds. By the rain they are turned into seeds. As birds they give life to songs. As seeds they give life to plants.
As the sun pours forth its light I roll a melon out of the garden. —Ronald Baatz
and the fish.
—Anthony Lee Hamilton
Full submission guidelines: chronogram.com/submissions 3/19 CHRONOGRAM POETRY 77
“Home Sweet Home” at Ann Street Gallery This group show, curated by Virginia Walsh, explores the domestic space, from the purely decorative to alternative models of home life and gender roles in paintings, sculptures, and installations. Featured artists include Angela Alba, Daniel Bare, Mary Carson, Eileen Eder, Greg Climer, Phyllis Gorsen, Leslie Graff, Heidi Hankaniemi, Adrianne Lobel, Timo Rissanen, Abbey Rosko, Polly Shindler, Betts Vando, Lydia Viscardi, and Melissa Zexter. Through Saturday, March 23.
Leslie Graff's Uncovered, an acrylic on canvas painting showing as part of the “Home Sweet Home” exhibit at Ann Street Gallery.
78 THE GUIDE CHRONOGRAM 3/19
March 24 25 26 27 28 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 March 5 : Marilyn Reynolds's Composition in the Round March 8: Charlotte Posenenske at Dia: Beacon March 10: New York Lingdro Troupe at the Tibetan Center March 14 : Gogol Bordello at Upstate Concert Hall March 16 : Hudson Valley String Competition March 20: Hudson Valley Restaurant Week March 24: Calpulli Mexican Dance at Kaatsbaan March 30: Woodstock Bookfest
For comprehensive calendar listings visit Chronogram.com/events. 3/19 CHRONOGRAM THE GUIDE 79
80 THE GUIDE CHRONOGRAM 3/19
Fifty-one years after Charlotte Posenenske renounced art forever, she is having her first American retrospective, at Dia:Beacon. The show opens March 8. Born in Wiesbaden, Germany, in 1930, Posenenske, who was half-Jewish, was forced to remain in hiding during the Nazi era. After the war, she worked for several years as a set and costume designer, then began producing art in 1956. Her first influences were Cézanne and Mondrian. Posenenske’s work had a clear progression: from drawings and paintings to wall-mounted sculpture, to freestanding sculpture, to artforms that could be manipulated by viewers (whom she called “activists”). And then, in 1968, Posenenske withdrew entirely from the art world and became a sociologist. Her goal was to combat the “efficiency experts” who studied factory workers and taught them to reduce unnecessary motions, so that they could become more like machines themselves. The ex-artist died in 1985 at the age of 54. Posenenske’s art career was relatively brief: 12 years. It began in the drowsy 1950s and ended in the Year of Revolt, 1968. The way Virginia Woolf’s suicide retroactively colors all her novels, Posenenske’s withdrawal from art permeates her retrospective. Now her entire career looks like a retreat from the traditional role of “artist.” Posenenske’s later pieces were fabricated in factories and sold at cost, so they were easily affordable. (She also switched from metal to cardboard.) Though she never said so explicitly, I suspect Posenenske feared the tragic fate of the political artist: to grow rich by exposing society’s inequalities. Also, she didn’t wish to monopolize the process of creation. Her last works, Series
E, invite viewers to arrange the art pieces themselves, which are partitions, and thus to reshape the room. Minimalist art dissolves into architecture. In the extreme case that there’s no art at all—pure minimalism—the gallery itself becomes the artwork. There is a spirit of play in Posenenske’s sculpture. “Her serial works are structured almost like games,” remarks co-curator Alexis Lowry. Vierkantrohre (Square Tubes, 1967), resemble huge Lego blocks that may be stacked and connected in multiple ways. Curators and collectors have a great deal of freedom in displaying the works. American minimalists were often drawn to geometry because it evaded all external meaning; Posenenske made pieces that echoed the industrial landscape—particularly surreal ducts on urban rooftops. Only her colors betray her intentions. They are the colors of a toy shop, not a steel mill. In the 1940s, Germany erected a vast machinery of death to eradicate Jews, Communists, Roma, and other undesirables. In the 1960s, as a mute protest, Posenenske created a machinery of whimsy. Dia:Beacon is uniquely suited to this exhibition. “Her pieces work really well in the building, because they are shapes derived from industrial architecture, so the scale of the objects fits the scale of the building,” notes Lowry. Dia:Beacon was originally a Nabisco factory producing cardboard boxes. “Charlotte Posenenske: Work in Progress” will remain at Dia:Beacon from March 8 to September 9. (845) 440-0100; Diaart.org. —Sparrow
The Artist Who Walked Away CHARLOTTE POSENENSKE AT DIA:BEACON From March 8 to September 9 Diaart.org
Above: Charlotte Posenenske, Two Series A Reliefs, 1966. © Estate of Charlotte Posenenske. Courtesy Collezione La Gaia, Busca, Mehdi Chouakri, Berlin Opposite: Charlotte Posenenske, Vierantrohr (Square Tube), Series D, 1967. Installation view, Offenbach, Germany, 1967. © Estate of Charlotte Posenenske. Courtesy Estate of Charlotte Posenenske, Mehdi Chouakri, Berlin and Peter Freeman, New York
3/19 CHRONOGRAM THE GUIDE 81
FORMANCE OUR 2019 LIVE PER RIL! SEASON OPENS IN AP
ASTIC MOVIES AND JOIN US IN MARCH FOR FANT NESS & DANCE CLASSES
AN ASSORTMENT OF YOGA, FIT & FAMILY YOGA! INCLUDING OUR NEW KIDS Photo by Rachel Snydstrup
Plus New Artists & Openings At
WALTZING IN A
WINTER WONDERLAND IN THE HUDSON VALLEY
hile the vast majority of wedding marketing shows sunkissed summer brides in strapless gowns posing against verdant landscapes, a winter wedding has its own charms and advantages. For one, getting hitched in the colder months takes off some of the competitive pressure—venues have more dates available (often at a discounted rate) and your guests are less likely to have a conflict. Winter weddings also open up a whole new wardrobe of options—peacoats, capes, fur shrugs, long-sleeve gowns, and woolen suits—and the chance for timeless wedding photos against the backdrop of just-fallen snow. While the Hudson Valley has grown in popularity as a summer and fall wedding destination, the region is equally beautiful in blanketed in snow. Tucked in the Catskill Mountains with 385 acres of rolling fields and forest, the Ashokan Center hosts weddings all year round. “With winter weddings, the one thing you do have to contend with is inclement weather,” says Ashokan Center special events coordinator Lisa Hurley. “Venues, like ours, that have onsite accommodations for all your guests mean you don’t have to worry about anyone driving in snowy, icy conditions.” Situated near its namesake reservoir as well as the Esopus Creek, the Ashokan Center is steeped in nature and offers wedding guests a range of exciting activities to choose from, including archery, blacksmithing, and winter hiking. Built in 2013, the retreat center’s buildings are sustainably made and offer a cozy, rustic interior. The Esopus Lodge can accommodate up to 185 seated guests. The ballroom and performance stage lend themselves to a wide range of entertainment options. After the night’s festivities, just a short walk away, the Sycamore Lodge, the Red Maple Lodge, and the Longhouse offer bunk bed lodging, so all guests can sleep onsite and relish a summer camp-like experience. “From December to February, Ashokan Center is a winter wonderland, perfect for cozy weddings,” Hurley says. If you’ve been dreaming in white, a winter wedding may be the perfect fit. Ashokancenter.org 82 THE GUIDE CHRONOGRAM 3/19
FOR THE MOVIE SCHEDULE AND CLASS TIMES & AVAILABILITY
845-707-8047 / MAIN STREET, HURLEYVILLE, NY
S PR I N G 2019
Detail of “Messenger” by Gaia
THERE’S SOMETHING FOR EVERYONE!
PLEASE VISIT HURLEYVILLEARTSCENTRE.ORG
GALA APRI L 6TH SENATE GARAGE
BOOKS Woodstock Bookfest
Playing to Win THE 2019 HUDSON VALLEY PHILHARMONIC STRING COMPETITION
The legendary Woodstock music festival isn’t the only local happening celebrating a big birthday this year: March 28-31, the Woodstock Book Festival will toast to 10 years with a weekend-long gathering of literary minds and lovers of the written word. The festival offers two ticket tiers. The full festival pass includes panels, parties, keynotes, writing workshops, and a story slam. Highlights include a conversation between WAMC’s Joe Donahue and Sigrid Nunez, who won the National Book Award last year for The Friend; a spirituality panel moderated by Gail Staub; and a crime fiction panel with Edgar Award finalist Alison Gaylin. Woodstockbookfest.com
MUSIC An Evening with Cabaret Legend Steve Ross In a celebration of the Great American Songbook, Hudson Hall presents the “Crown Prince of New York Cabaret,” Steve Ross. An internationally renowned performer, Ross brings his signature elegance and playfulness to the classic ballads of Cole Porter, Fred Astaire, and the Gershwins. Gregg Sheppard and John Philip will perform opening numbers, with a special appearance by acclaimed jazz vocalist Stevie Holland. March 30, 7pm. $25-$35. Hudsonhall.org
DANCE Calpulli Mexican Dance Company at Kaatsbaan With state-of-the-art studios and a dancers’ residency program on its pastoral Tivoli campus, Kaatsbaan cultivates an inspiring environment for the dance community. This month, for the first time, Kaatsbaan will host the Calpulli Mexican Dance Company. Through dance and live music, this troupe shares Mexican and Mexican-American heritage with communities around the world. On March 24, Kaatsbaan will debut “Puebla: The Story of Cinco de Mayo,” followed by a discussion about background of the new production. March 24, 2:304:30pm. $10-$20. Kaatsbaan.org
DANCE Tibetan Ritual Dance for Peace On March 10, Lin Lerner and the New York Lingdro Troupe will bring the Tibetan ritual dance, Lingdro Dechen Rolmo, to West Hurley. Celebrate the Lunar New Year of the Earth Pig and remember the Tibetan Uprising Day, when the Chinese Communists took over Tibet. The Lingdro is a sacred dance that brings together male and female dancers in a moving meditation, dressed in colorful costumes as they step, stamp, hop, and whirl. The festival is named after Ling Gesar, the warrior-king in Asian epics most often compared to King Arthur. The dance, said to send peaceful energy around the world during unstable times and prevent war and bloodshed, will be performed at the Tibetan Center. Tibetancenter.org
For comprehensive calendar listings visit Chronogram.com/events.
Robert Anemone, the 2015 Hudson Valley String Competition first-place winner.
Launched in 1966 as way to recruit string players for the orchestra, the annual Hudson Valley Philharmonic String Competition, which takes place this month, attracts some of the finest young conservatory-trained players in the world. The competitors—violinists, violists, and cellists ranging in age from 18 to 25—will vie for the grand prize package of $4,000 cash, a guest soloist slot with the orchestra, and the chance to travel to Italy for a week to perform at August’s prestigious Musical Landscapes in Tuscany festival. Susan F. Avery, the competition’s chair, answered some questions about the event below via email. The Hudson Valley Philharmonic String Competition will be held March 16 and 17 at Vassar College’s Skinner Hall (see website for the schedule of rounds). Both days are free to the public. Bardavon.org/annual-string-competition. —Peter Aaron For those who are unfamiliar with the competition, what makes it such a significant musical event? For 46 years we have encouraged and nurtured young talented musicians at the very beginning of their careers, while bringing the highest caliber of musical performance to Poughkeepsie, at the culmination of a music filled weekend. Supporting world-class music, bringing music into the community, and providing opportunities for music students are what we strive to do. This is a greatly anticipated musical event in Dutchess County and beyond. Music lovers are delighted to see and hear the future stars. Who are some of the past competition winners who’ve gone on to illustrious careers beyond the Hudson Valley? There have been many: violist Marcus Thompson (1967; Boston Chamber Players), violinist Ani Kavafian (1973; Lincoln Center Chamber Players soloist), violinist Adela Pena (1985; Eroica Trio), violinist Judith Ingolfsson (1996; 1998 Indianapolis International Violin Competition winner), and others. Last year, the competition ended in a three-way tie between violinists Ania Filochowska, Max Tan, and Choi Tung Yeung, an unprecedented occurrence in the event’s nearly 50-year history. Can you describe for readers the scene and the feeling in the hall that day? It was magical. All three got spontaneous standing ovations. I’ve never seen the audience so excited by all the players. Ania played Beethoven, Choi Tung played Prokofiev, and Max played Bruch’s Scottish Fantasy. No sooner did the judges retire to make the final decision than Sam Rhodes called me to confer with them. He
said, “We have a problem.” The problem was that they couldn’t separate the three artistically and therefore couldn’t give second and third place prizes. He even declared that each had played their concerto “as well as I have ever heard it played.” No amount of persuading could budge them, so the unprecedented triple first prize was awarded. All three finalists went to Italy and had a fantastic experience. Ania will be playing the Beethoven with the Hudson Valley Philharmonic at the Bardavon Theater on March 23. Max and Cherry will play with the orchestra during the 2019/2020 season. What are some of your other favorite moments from the competitions that have taken place during your six years as chair of the contest? Truthfully, the weekend is a bit of a whirlwind for me. I love seeing the camaraderie of the students many of whom already know one another. Although they compete at a very high level, they all seem to love getting together and there is a great sense of collegiality. A poignant moment occurred, when a small child couldn’t go into the hall; a young cellist came out to play especially for him. I will never forget the look of awe on that toddler’s face. I enjoy hearing the stories the competitors share with us. One young man played his grandfather’s cello, which was smuggled out of Europe during the war. His connection to that instrument was palpable. For anyone planning to attend any or all of the yearly competition’s three rounds—or who’s never attended a classical string competition—what should they look forward to? Attending a competition is a great introduction to classical music, for those who know little and for those who have been listening for a long time. It provides chances to hear and begin to understand the dedication and hard work behind all accomplished performance. If you attend the early round auditions on Saturday, you get to see the more technical aspects of the competition that add to the appreciation when you listen to a finished, well-rehearsed piece in a concert setting. In addition to his or her chosen concerti, every competitor has preselected a Bach piece. Violinists also select a Mozart concerto, violists play Schubert, and cellists select from Haydn. As the judges call out what they want to hear from each competitor, the audience gets to hear a sampling of musical history and a good idea of the breadth of virtuosity of the competitors. On Sunday morning, when six semifinalists play Brahms, it is a further journey into music history, and the audience can hear how differently each performer plays. 3/19 CHRONOGRAM THE GUIDE 83
Antique Fair and Flea Market May 4 - 5, 2019 August 3 - 4, 2019 at the
WASHINGTON COUNTY FAIRGROUNDS, Rt. 29, GREENWICH, NY (12 mi. East of Saratoga Springs, NY)
(65+ $3, under-16 - FREE)
Old-Fashioned Antique Show featuring 220+ dealers, free parking, great food, and real bathrooms. ($10 - Early Buyers Fridays before show)
$90 - Dealer Spaces Still Available: FAIRGROUND SHOWS NY PO Box 528, Delmar NY 12054 www.fairgroundshows.com firstname.lastname@example.org Ph. 518-331-5004
Rosendale, NY 1 2472 | 845.658.8989 | rosendaletheatre.org Dance Film Sunday On the Basis of Sex Music Fan Film A Tribute FRI 3/1 – MON 3/4 & THUR 3/7 The Turning Point SUNDAY To Nat King Cole on his 7:15pm. WED & THUR, 1pm
Sunday Silents The Ten Commandments SUN 3/3, 2pm, Piano by Marta Waterman
Then Came You
TUESDAY 3/5, 7:15pm World Cinema
Shoplifters (Manbiki kazoku) WED 3/6, 7:15pm Stan & Ollie FRI 3/8 –
MON 3/11 & THUR 3/14 7:15pm. WED & THUR, 1pm
3/10, $12/$10/$6, 2pm
Egg TUE 3/12, 7:15pm, Q&A
with Writer Risa Meckenberg and Actor/Producers Alysia Reiner & David Alan Basche
Roma FRI 3/15 – MON 3/18 & THUR 3/21, 7:15pm. WED matinee only at 1pm
Great Art on Screen Caravaggio: The Soul and the Blood
SUNDAY 3/17, $15/$12, 2pm
GROUNDBREAKING CINEMA SINCE 1972
100th anniversary week
by Will Friedwald, author, popular music expert, raconteur TUE 3/19, 1pm & 7:15pm
National Theatre The Tragedy of King Richard the Second By William Shakespeare SUN 3/24, $12/$10, 2pm
Dance Film Sunday
Impulso SUNDAY 3/31, $12/$10/$6, 2pm
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COMEDY Comedy Night at Phoenicia Playhouse
Under the Rainbow
“FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF” AT SUNY NEW PALTZ
Veterans of the New York City comedy circuit, husband and wife Max Cohen and Vicky Kuperman noticed on their many visits upstate that the Hudson Valley was sorely lacking a comedy scene. So the couple decided to organize a stand-up comedy series at the historic Phoenicia Playhouse, showcasing the best comedic talent both from the surrounding area and New York City. Comedian Joe Devito will headline the show on March 16, delivering his quick, witty commentary on everything from relationships to current events to his Italian American family. $20. Phoeniciaplayhouse.com
MUSIC Chris Botti at UPAC On March 29, Grammy-winning trumpet player Chris Botti will bring his blend of jazz, pop, and rock to the Ulster Performing Arts Center in Kingston. With Gold and Platinum albums under his belt, Botti’s experience includes performing with Sting, Barbra Streisand, Tony Bennett, Lady Gaga, and Frank Sinatra. Botti has played at the world’s most prestigious venues, including Carnegie Hall, the Hollywood Bowl, and the Sydney Opera House, and now, for the first time, at UPAC. $60-$95. Bardavon.org
FAMILY Ashokan Center Maplefest The oldest outdoor environmental education center in New York, the Ashokan Center will be hosting their annual Maple Fest on March 24. Enjoy live music all day along with a stack of pancakes fresh off the griddle, served with maple bacon and Ashokan maple syrup. Interactive events will be taking place throughout the day, as well. Participate in tree-tapping and syrupmaking demonstrations or take a tour of the 385-acre campus. You can also register for blacksmithing lessons for an additional fee. March 24, 10am-4pm. $5 for adults, free for kids under 12. Ashokancenter.org
FOOD Hudson Valley Restaurant Week Stumble across the Valley Table Instagram feed these days and you’re likely to find yourself drooling. It’s the runup to Hudson Valley Restaurant Week and things are looking tasty. Returning March 11-24, the biannual culinary coalition will span eight counties from Westchester to Greene, with more than 200 restaurants gearing up to offer special prix fixe lunch and dinner menus. Tasty new additions to the list include the Jolly Onion in Pine Island, the Stewart House in Athens, and Melzingah Taphouse in Beacon. Head to Valley Table’s website to review the full list and make your reservations. March 11-24. 3 courses, $22.95, lunch; $32.95; dinner. Valleytable.com/hvrw
For comprehensive calendar listings visit Chronogram.com/events.
Ifeoma Ukatu with Samantha Jane Williams, Cory Sierra, Stefanie Workman, and Deborah Crumbie in February rehersals for “For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf” at SUNY New Paltz. Photo by Maxamillian Evanega-Kahler
“For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf” is not a play; it’s a theatrical happening. Its technical term: choreopoem, or a form of dramatic expression weaving poetry, dance, music, and song together. The term was coined in 1975 by playwright Ntozake Shange for “For Colored Girls…” The unconventional—and Tony-nominated— production was the second performance by a black woman to ever hit Broadway. And this month, it comes to New Paltz. Set at the McKenna Theatre on the State University of New York at New Paltz campus, the all-student, all women-of-color cast follow seven ladies who, while suffering from oppression in a racist and sexist society, form a sisterhood through their stories of empowerment, love, and loss. Each woman is nameless, and only identified by a color—lady in green, lady in orange, etc. The absence of names lends a powerful effect, helping audience members from various ethnicities find identification and connection. Using free-form style, the specific stories are transformed into universal ones. “This is a play about healing,” says director Bria Walker. “These women have been silenced too long. Their stories have not been told enough and told by them. They’re finally taking over their own narrative.” For one of the first times in history, women are able to openly discuss rape, abortion, domestic violence, abandonment, sexual abuse. Sound familiar? Although written more than 40 years ago, Shange’s pieces are timeless—especially now. “Fortunately— and unfortunately—these stories work on a timely level,” says Walker, who’s also an assistant professor
of acting at SUNY New Paltz. “We’ve got all these cultural movements going on right now—Say Her Name, #MeToo, Black Girls Rock! You can see these throughout the pieces. There are so many parts of the script that hit us right in the gut today.” Yet it’s not all completely gut wrenching and emotionally heavy. Of the 20 different choreopoems, there are some that emulate the beautiful snippets of life, too: laughter, celebration, moments of joy. In “now i love somebody more than,” the lady in blue discovers her love for blues clubs, and becomes possessed by the music. And, adding dance and song help complement each piece’s emotional burden and lightness. Perhaps the most moving portions of the piece are those that mirror the life of the playwright. After four suicide attempts, Shange—who suffered from depression—was once overcome by the appearance of a double rainbow on a drive in California. In that moment, she realized something. “Women, and especially women of color, deserve to have their stories told and live with dignity and respect. They’re worthy of living a happy life,” says Walker. “And no matter how you identify in ethnicity or gender, everybody deserves healing.” “For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf” runs through March 10 with both 8pm and 2pm showings. McKenna Theatre, State University of New York at New Paltz. Tickets: General $18; Senior/Faculty/Staff $16; New Paltz Students $10. newpaltz.edu/theatre. —Zan Strumfeld 3/19 CHRONOGRAM THE GUIDE 85
Just My Type:
Linda Montano: Angela Dufresne Curated by The MelissaArt/Life Ragona & Anastasia James Hospital Curated by Anastasia James
Linda Montano, I’m Dying–My Last Performance, 2015, video, color, sound. Video still copyright of the artist, courtesy of Video Data Bank, www.vdb.org, School of the Art Institute of Chicago
Angela Dufresne, Kerry Downey, 2016, oil on canvas, courtesy the artist
JANUARY 23 – APRIL 14, 2019 FEBRUARY 9 – JULY 14, 2019
Opening reception: Saturday, February 9, 5–7 p.m. SAMUEL DORSKY MUSEUM OF ART
STATE UNIVERSITY OF NEW YORK AT NEW PALTZ
WWW.N EWPALTZ.E DU / M USE U M
KINGSTON CERAMICS STUDIO
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Sites Dia:Beacon, Riggio Galleries 3 Beekman Street Beacon New York www.diaart.org garrisonartcenter.org 845-424-3960
86 THE GUIDE CHRONOGRAM 3/19
Rube Goldberg at the Norman Rockwell Museum Goldberg (1883-1970), best known for his drawings of complicated gadgets performing simple tasks in convoluted ways, gets a retrospective at the Rockwell Museum that opens this month. “The Art and Wit of Rube Goldberg” offers a revealing look at Goldberg’s creativity through original comic strips from the 1930s, as well as World War II-era political cartoons and instructional materials from the Famous Artists School, which are now part of the permanent collection of the Rockwell Museum. March 2-June 9.
“The Art of Emily Cole” at Thomas Cole National Historic Site Emily Cole (1843-1913) was the daughter of Hudson River School founder Thomas Cole. This project marks the first solo exhibition of Emily’s artwork on both paper and porcelain, revealing her exquisitely painted botanicals. A contemporary newspaper review of an exhibition of Emily’s porcelain calls her work “unrivalled” for its “delicacy, purity of color, and transparency.” The exhibition— featuring 12 original sets of painted porcelain works c. 1900-1910, and 13 works on paper c. 1870-1880s—will be presented in the 1815 Main House, where both Thomas and Emily Cole lived and worked in Catskill. March 2-July 7 Boogie Rez at Cryptic Gallery Poughkeepsie’s newest gallery features contemporary art heavily influenced by street culture—its openings are gaining notoriety for their lively intersection of high art and hi- hop. This month, Riiisa Boogie and Rezones, better known as the duo Boogie Rez, exhibit their crossdisciplinary street art, inspired by graffiti, music, graphic design, and fashion. Through March 31
Rube Goldberg (1883-1970), The Simple Mosquito Exterminator, 1912. Syndicated nationally on July 17, 1912.
“Photowork 2019” at Barrett Art Center Barrett’s annual photography show is in its 32nd incarnation, juried this year by James A. Ganz, senior curator of photography at the Getty Museum. The exhibition includes artworks by photographers from the US and Italy, including several Hudson Valley artists: Poughkeepsie photographers Roberto Hull and Trevor Messersmith, Tad Philipp of Hyde Park, Susan Copich of Hillsdale, and Nancy Faulds of Putnam Valley. Through March 23 Sienna Martz and Erica Hauser at CMA Gallery At Mt. St. Mary College in Newburgh, “Explorations in Form,” a two-person show with painter Erica Hauser and sculptor Sienna Martz. Hauser’s photorealistic worked has wowed us in the past, and her work was featured on the cover of Chronogram in 2012. Her latest paintings are colorful, abstract blobs, like a 2-D version of a lava lamp. Martz, a sculptor who often works in fabric, was chosen recently for our “Emerging Artists to Watch Out For” feature. Through May 22
Tom Slaughter at MASS MoCA “Icon Alphabet” celebrates the joyful imagery of Tom Slaughter (1955-2014), best known for his bold and vibrant paintings and prints, and represents a fascinating hybrid of fine art and commercial design. This exhibit brings together the varied work—paintings, prints, wallpaper, and billboards—that made Slaughter’s minimalist style so recognizable. The exhibit, the first since his death, is designed by his daughters Hannah and Nell Jocelyn and son-in-law Jim Mezei. Through March 31 “Black Lit” at Marist College Featuring 31 books, all first editions or advance copies by African-American authors spanning more than 170 years, “Black Lit: The AfricanAmerican Narrative” is drawn from the private collection of Marist alum Alvin Patrick and is exhibited in the James A. Cannavino Library’s North Reading Room. The exhibit spans midnineteenth century slave narratives, the artistic heights of the Harlem Renaissance, and 21stcentury essays on racism in the United States. Through March 31
3/19 CHRONOGRAM THE GUIDE 87
510 WARREN ST GALLERY
BETSY JACARUSO STUDIO & GALLERY
CUNNEEN-HACKETT ARTS CENTER
"Peggy Reeves: Crossings." Reeves explores the imagined terrain of migrants on their journey using the chemigram process, a combination of painting and photography. March 1-31.
"Inner Visions: New Watercolors by Betsy Jacaruso and the Cross RIver Artists." Through March 31.
Work by Monica d. Church and Sean Hammerle. March 1-31.
510 WARREN STREET, HUDSON
ALBERT SHAHINIAN FINE ART GALLERY
22 EAST MARKET STREET SUITE 301, RHINEBECK "The Expressive Line: Paintings & Works on Paper." Through March 10.
THE ALDRICH CONTEMPORARY ART MUSEUM
43 EAST MARKET STREET, RHINEBECK
BUSTER LEVI GALLERY
121 MAIN STREET, COLD SPRING "Drawings/Works on Paper II." March 1-31.
BYRDCLIFFE KLEINERT/JAMES CENTER 36 TINKER STREET, WOODSTOCK
"Harmony Hammond: Material Witness, Five Decades of Art." March 3-September 15.
"The Haiku Box Project." Visitors to the Byrdcliffe Art Colony will be able to explore the grounds in search of artist-made haiku boxes installed along the wooded mountainside. Leave an anonymous haiku, thought, prayer, or secret inside the box. Through June 30.
ANN STREET GALLERY
CARRIE HADDAD GALLERY
"Home Sweet Home: A Group Exhibition." Through March 23.
"Contemporary Artists." New abstract paintings by Jenny Nelson and Nancy Rutter. Stamp drawings by Andrea Moreau and small landscapes by Laura Von Rosk will be featured. Donise English will exhibit new encaustic work and Birgit Blyth showcases chromoskedasic photography. March 6-April 21.
258 MAIN STREET, RIDGEFIELD, CT
104 ANN STREET, NEWBURGH
BARD COLLEGE AT SIMON’S ROCK
84 ALFORD ROAD, GREAT BARRINGTON, MA "She Said, He Said." A ceramics-based exhibition by Kathy King and Matt Nolen, curated by Ben Krupka. Through March 8.
BEACON ARTIST UNION
506 MAIN STREET, BEACON "Tendencies: A Group Show." Through March 9.
622 WARREN STREET, HUDSON
137 MAIN STREET, BEACON "Desert Qween." Work by illustrator Rebecca Pry. March 16-20.
BERKSHIRE BOTANICAL GARDEN
AQUINAS HALL MOUNT SAINT MARY’S COLLEGE, NEWBURGH
"The Bulb Show." Annual show features New England favorites and unusual South African bulbs in period conservatory. Through March 29.
"Explorations in Form." Works by Sienna Martz and Erica Hauser. March 1-May 22.
11 PEEKSKILL ROAD, COLD SPRING
5 WEST STOCKBRIDGE ROAD, STOCKBRIDGE, MA
39 SOUTH STREET, PITTSFIELD, MA "Leonardo Da Vinci: Machines in Motion." Explore 40 full-size models of Leonardo’s inventions. Through May 5.
88 THE GUIDE CHRONOGRAM 3/19
CREATE COMMUNITY GALLERY
"Forces of Nature." Three interdisciplinary artists whose work is very different in material and approach, but is rooted in the dialogue between body and nature. March 30-April 28. Opening reception March 30, 6pm-9pm.
12 VASSAR STREET, POUGHKEEPSIE
DE CHIARA PROJECTS
33B NORTH FRONT STREET, KINGSTON Second Nature: Group Exhibit. Artists: Undine Brod, Stephanie Diamond, Lilah Friedland, Eliza Evans, Julie Hedrick, Christina Osburn, Seth David Rubin, Stefan Saffer, Keiko Sono, Eugene Stetz, Jordan Tinker, Rachel Urkowitz, Hans van Meeuwen, Brigitta Vardi, Christ Victor and special guests. Through March 10.
DUCK POND GALLERY
128 CANAL STREET ESOPUS LIBRARY, PORT EWEN "Ulster County Photographer’s Club Annual Member’s Exhibition." March 1-30.
EAST FISHKILL COMMUNITY LIBRARY 348 ROUTE 376, HOPEWELL JUNCTION
"The Color Gallery: Exhibit by Seema Varma." Colorful, intuitive, arcrylic on canvas paintings of Seema Varma. March 1-29.
EDWARD HOPPER HOUSE ART CENTER 82 NORTH BROADWAY, NYACK
"Holly Zausner: Unsettled Matter." Multimedia installation featuring Holly Zausner’s 2015 film, Unsettled Matter. March 1-June 2.
4 NELSON AVENUE, PEEKSKILL "Blackskill: African American Life in Peekskill." Through March 10.
FRANCES LEHMAN LOEB ART CENTER AT VASSAR COLLEGE 124 RAYMOND AVENUE, POUGHKEEPSIE
"Freehand: Drawings by Inez Nathaniel Walker." Through April 14.
GARRISON ART CENTER
23 GARRISON’S LANDING, GARRISON "Environmental Works: New Sculptures by Kurt Steger." March 16-May 5. Opening reception March 16, 5pm-7pm.
“Where is the Madness You Promised Me” at HVMoCA This month at Peekskill’s high temple to contemporary art, a selection of international painting that takes the post-apocalyptic landscape to the next level. Inspired by personal experience and real-life observations, the works in “Madness” imagine potential dire futures while remaining firmly rooted in present fears and anxieties. Artists include Hernan Bas, Tjebbe Beekman, Jonas Burgert, Nigel Cooke, Ian Davis, Tim Eitel, Sven Kroner, Marin Majic, Djordje Ozbolt, Daniel Pitin, Rick Prol, Michael Raedecker, Norbert Schwontkowski, and Anj Smith. Through April 21
Composition in the Round by Marilyn Reynolds Housed in the old Stone Ridge Firehouse just off Route 209 in the village, Marilyn Reynold’s massive painting Composition in the Round (1983) encircles the room. A mixed-media work, its 100’ long and 8’ high. Installed in the firehouse last year, the kaleidoscopic work demands to be reckoned with once the viewer steeps into the room . A self-described intuitive painter, the canvas reflects the preoccupations of Reynolds in a dreamlike fashion, from disturbing gun violence to heroic eagles in flight. Open by appointment: Marilynreynoldsartist.com. Ongoing
Opposite: Hernan Bas, Night Flight or Midnight Migration, or On My Merry Way, mixed media on canvas, 2008.
Above: A detail from Marilyn Reynolds' Composition in the Round. Photo by Seth David Rubin.
HOLLAND TUNNEL ART
Ken Butler: "Hybrid Visions." Assemblage works created primarily from urban detritus. Through April 20.
Tom "Slaughter: Icon Alphabet." Through March 31.
Beauty Among the Ruins. Photos by Nancy Faulds of the Scranton Lace Factory. Through March 3.
46 CHAMBERS STREET, NEWBURGH
HUDSON BEACH GLASS GALLERY 162 MAIN STREET, BEACON
Richard Bruce: New Paradigms. Through March 3.
327 WARREN STREET, HUDSON "Maryna Bilak: Care." Through March 17.
1040 MASS MOCA WAY, NORTH ADAMS, MA
MID-HUDSON VALLEY FEDERAL CREDIT UNION 1099 MORTON BOULEVARD, KINGSTON "Dustpan Thoughts." Through March 31.
MORTON MEMORIAL LIBRARY 82 KELLY STREET, RHINECLIFF
"Morton Community Talent." Through March 30.
172 MAIN STREET, BEACON
ROCKLAND CENTER FOR THE ARTS
27 SOUTH GREENBUSH ROAD, WEST NYACK "Quantum Connections:Daniel Martin Diaz." Through March 24.
SAMUEL DORSKY MUSEUM OF ART 1 HAWK DRIVE, NEW PALTZ
18 WEST MAIN STREET, BEACON
"In Celebration: A Recent Gift from the Photography Collection of Marcuse Pfeifer." An exhibition featuring 52 images by important 19th and 20th century photographers. Through July 14.
"In The Garden Of Forking Paths." Brigida Caramagna, Colin Hunt, and Karsten Krejcarek. Through March 24.
THE CULINARY INSTITUTE OF AMERICA
1701 MAIN STREET, PEEKSKILL
THE MUROFF KOTLER VISUAL ARTS GALLERY @ SUNY ULSTER
"Appetites for Change: Foodways in Post-War America." Studentcurated exhibit. Through July 31.
"Death is Irrelevant: Selections from the Marc and Livia Straus Collection, 1975–2018." Through August 2.
491 COTTEKILL ROAD, STONE RIDGE
"Hammer Dance: New Works by Chris Victor." Through March 29.
TIVOLI ARTISTS GALLERY
JOHN DAVIS GALLERY
OAK VINO WINE BAR
"Ron Milewicz: Circumstances." Paintings. March 2-24. Opening reception March 2, 6pm-8pm.
"Hudson Valley Views." Julian Diamond: photos; Tarryl Gabel: paintings. Through March 31.
"In Plein Sight: Visions of the Hudson Valley." A presentation of Columbia County Plein Air Artists’ distinct “outdoor” style. Through March 10.
HUDSON MILLINER ART SALON 415 WARREN ST, HUDSON
"Farm Animals." Photographs by Shannon Greer. Through March 30.
HUDSON VALLEY MOCA
362 1/2 WARREN STREET, HUDSON
389 MAIN STREET, BEACON
Be Mine. Group show. Through March 24.
"In Place of Now." Co-curated by Judie Gilmore, gallery director, and writer and scholar Rone Shavers. Through April 14.
2642 NY ROUTE 23, HILLSDALE
140 NEW SCOTLAND AVENUE, ALBANY
3399 NORTH ROAD, POUGHKEEPSIE
"Black Lit: The African-American Narrative." Featuring 31 books, all first editions or advance copies by African-American authors, spanning more than 170 years. Through March 31.
"Johanna Lindsay:Photography." Through March 12.
MARK GRUBER GALLERY
17 NEW PALTZ PLAZA, NEW PALTZ "Andrea McFarland, the New Paltz Years." Through March 16.
23 MAIN STREET, MILLERTON
RHINEBECK ANTIQUE EMPORIUM
5229 ALBANY POST ROAD (RT 9), STAATSBURG "Emporium Sculpture Park." This new sculpture park exhibit curated by Franc Palaia includes 14 sculptures by 11 regional artists. Through May 31.
1946 CAMPUS DRIVE, HYDE PARK
60 BROADWAY, TIVOLI
WINDHAM FINE ARTS
5380 MAIN STREET, WINDHAM "A Breath of Fresh Air Floral Show." This vibrant floral show features gallery favorites Mireille Duchesne, Olive Farrell, Leila Yassami, Maya Farber and Ilona Sochynsky. From realism to impressionism, abstract and more. Through March 17
11 MOHONK ROAD, HIGH FALLS "To Know the Light." A group show featuring the work of 15 local artists. Curated by Mary Jane Nusbaum. Through April 1.
WOODSTOCK ART EXCHANGE 1398 ROUTE 28, WOODSTOCK
"Little Creatures." Rob Wade and Margie Greve. Through March 10.
3/19 CHRONOGRAM THE GUIDE 89
UNIS N ARTS CENTER & SCULPTURE GARDEN
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CATSKILL MOUNTAIN FOUNDATION presents The Academy of Fortepiano Performance Concerts A weeklong immersion into the world of historical pianos Saturday, May 25, 2019 Audrey Axinn, Maria van Epenhuysen Rose, Yi-heng Yang fortepianists, Cynthia Roberts, violin, and winners of the 2019 Sfzp International Fortepiano Competition The sound world of Mozart, Beethoven and others are brought to life as music is performed on the instruments of their time from the Steven E. Greenstein collection of the Piano Performance Museum. Sunday, May 26, 2019 Beethoven, Dussek and Romanticism ALEXEI LUBIMOV, fortepiano Sonatas by Beethoven and Dussek on a Broadwood grand piano and a selection of works by Chopin, Glinka, Field, and Pleyel on an 1840 Pleyel piano.
Concerts Location: Doctorow Center for the Arts, 7971 Rte. 23A, Hunter, N.Y. Times: 8:00pm Reservation Line: 518/263-2063
Tickets and info: www.catskillmtn.org 90 THE GUIDE CHRONOGRAM 3/19
Julia Kent plays Hudson Hall on March 8. Photo by Mikiodo
Julia Kent/Christopher Tignor/Alexander Turnquist March 8. Titled “Into the Here and Now,” this new music bill at Hudson Hall brings together three minimalistclassical/electroacoustic musicians who call Hudson home. Cellist Julia Kent arose on the New York scene as a member of Rasputina and Antony and the Johnsons. Christopher Tignor is a violinist and soundtrack artist who blends classical, electronic, and ambient music played live using a software program he created. Alexander Turnquist utilizes epic drones and delicate harmonics, adapting the inspirations of modern composers like Philip Glass and Steve Reich to 12-string acoustic guitar. (Steve Ross & Friends bring cabaret March 30.) 7pm. $15, $20. Hudson. (518) 822-1438; Hudsonhall.org.
Hiroya Tsukamoto March 10. Japanese guitar virtuoso Hiroya Tsukamoto studied at Berkelee College of Music in Boston, where he formed the world-fusion band Interoceanico. In addition to performing on his own, he leads the group Japanese National Television (NHK) and has recorded, performed, and shared stages with Esperanza Spaulding, Jim Kweskin, Michael League of Snarky Puppy, and others. He visits Unison Arts Center and Sculpture Garden for “Guitar Poetry,” a concert of acoustic originals that bring together folk, jazz, Latin, and traditional Japanese songs. (Andes Manta play South American music March 22; bluesman Brooks Williams slides by March 29.) 8pm. $15-$20. New Paltz. (845) 255-1559; Unisonarts.org.
Lucy Dacus March 15. Singer-songwriter Lucy Dacus blew up out of Virginia with 2015’s stunning-beyond-her-years debut, No Burden, whose rocketing status was fueled by the gushing online love for its sublime lead single, “I Don’t Wanna Be Funny Anymore." Dacus, who’s also a member of the popular trio boygenius and has won deep praise from the New York Times, Pitchfork, and NPR for her wounded, heart-bearing songs, plays Colony this month. Mal Blum and Fenne Lily open. (Sean Bonnette returns March 14; Murphy’s Law, the Bobby Lees, and others punk it up March 16.) 7pm. $25-$100. Woodstock. (845) 679-7625; Colonywoodstock.com.
Mighty Fine/Electric Mess/Harmonica Lewinsky March 8. Well described by their singer Steve Myers as “sweaty, rump-shakin’ punk soul,” Brooklyn’s Mighty Fine make supercharged sounds that collide at the gritty intersection of Bourbon Street and the Bowery. The organ-grinding punk of their NYC neighbors the Electric Mess mines the top ’60s and ’70s Anglo-American nuggets, while Harmonica Lewinski blows in from Rochester with a go-go gumbo of surf-trash moves a la the B-52s and the Cramps. Adding to this born-to-bewild night at Tubby’s will be your arts editor, spinning garage rock 45s. (Blood & Stomach Pills and Knock Yourself Out smash it up March 9; the Dan Melchior Band and Honey Radar rock March 18.) 8pm. Free. Kingston. Tubbyskingston.com.
Gogol Bordello March 14. What can be said about boisterous New York gypsy punks Gogol Bordello? Their shouty, drunken, fiddle-and-accordion-laced Slavic folk and roaring punk rock does for Eastern European music what the Pogues did for traditional Irish styles. Fronted by the exuberantly entertaining Ukrainian expatriate Eugene Hutz, the band came together on the Lower East Side in the late 1990s and went on to become international favorites at large clubs and festivals, thanks to their riotous, theatrical live shows. The chaotic caravan descends upon Upstate Concert Hall for this Capital Region return. (Tape Face sticks around March 17; Hatebreed hits April 6.) 8pm. $25. Clifton Park. (518) 371-0012; Upstateconcerthall.com.
Thumbscrew March 30. Any project involving New York guitarist and composer Mary Halvorson should have your ears. Called “one the most exciting and original guitarists in jazz—or otherwise” by the Wall Street Journal, she’s racked up reams of raves for her always unpredictable music (Down Beat critics poll placements for guitarist of the year, rising star jazz artist of the year, and rising star composer of the year) and bagged a besotted following that includes collaborator and mentor Marc Ribot. For this Jazz at Atlas presentation at Atlas Studio, Halvorson brings Thumbscrew, a new group that stars two other gifted instrumentalist-composers: bassist Michael Formanek and drummer/percussionist Tomas Fujiwara. (Tim Berne, David Torn, and Ches Smith jam April 20.) 8pm. $20, $25. Beacon. (845) 391-8855; Atlasnewburgh.com.
3/19 CHRONOGRAM THE GUIDE 91
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H Y P N O S I S - C OAC H I N G Kary Broffman, R.N., C.H. 845-876-6753 • karybroffman.com
Spring Forward. Plan.
It’s an especially powerful Pisces season this year, as Mercury Retrograde March 5-28 joins the Sun and Neptune in the final and most cosmic sign of the Zodiac, whose imaginative powers are enhanced by Jupiter in idealistic Sagittarius. Dreams and visions, prophecies and prayers, surrender and sacrifice, empathy and transcendence: these are the things that March is made of. The universal becomes intensely personal and extremely porous. Boundaries between objective truth and perceived reality blur. Trust your sixth sense as your most reliable navigation tool now! Uranus in Taurus disrupts the status quo, particularly in money markets, cryptocurrencies, and all things having to do with the environment. The “Green New Deal” is a perfect metaphor for a revised relationship to Mother Earth and our shared planetary resources, such as air and water, which some fear as radical while others understand as revolutionary. Mercury wears a jester’s hat as he stations retrograde on Mardi Gras (March 5), just prior to the tender, sensitive New Moon in Pisces on March 6. The joker is wild but nobody’s laughing: factual distortions and downright deceit from institutions previously assumed to be trustworthy wound the vulnerable and discourage the naive. That wound turns to righteous indignation as victimization is rejected in favor of activism by the Full Moon in justice-loving Libra at the Vernal Equinox on March 20. Impotent rage paralyzes, but decisive action heals! Resurrected dreams revive the faint of heart and renew hope as the like-minded multiply on their way to reaching a critical mass. The scope of the problem is revealed by the end of March. Accept the reality that you can’t sit this one out. Resist the urge to trade your walk-on part in this war for a lead role in a cage. Don’t wish you were here: Be here now!
ARIES (March 20–April 19)
THIRD EYE ASSOCIATES Life • Planning • Solutions ®
“Show me the money!” is your war cry this month, as issues of self-worth merge with how you are valuated in the material world. Your own ethical code is reflected in how others appraise your merit as the recognition you’ve worked hard for appears from surprising sources. Put fiery indignation to work March 7-8, directing your umbrage to the root of all injustice. Prepare to be smitten with admiration as a powerful Full Moon in Libra coincides with the Vernal Equinox on March 20. Take care how you pluck your unique rose, that obscure object of desire, from among the thorns.
TAURUS (April 19–May 20)
As Uranus enters Taurus this month for his seven-year stay, you’re about to undergo an extended personal remodel and renovation job. You’re unusually restless and crave action. Sports, exercise, dance, movement, gardening, and plain old-fashioned physical labor help ground you during this month. Say yes to any opportunity to be outside and in nature to balance your surging vitality in nature’s calming environment, especially March 10-11. For every major uncontrollable external change coming your way you’ll need to take up a personal practice cultivating internal security by creating a counterbalance of stability from the foundation of your personal values. 92 HOROSCOPES CHRONOGRAM 3/19
GEMINI (May 20–June 21)
Mercury Retrograde in Pisces square your Sun during March gives you the opportunity to review thoughts, beliefs, and conclusions you’ve drawn since November. Find the missing, overlooked, or ignored data to discover where the black holes in your decision-making are located. New information comes to light between March 20-27. It’s your ability to perceive the forest for the trees enabling the leap of faith you’ll need to take to jump over tall preconceived notions in a single bound. A slight moribund feeling ends abruptly on March 31 as Mars enters Gemini, escalating energy and propelling you into busy-bee mode.
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CANCER (June 21–July 22)
Issues of power and control clash with deeply embedded emotional truths this month. Your ability to discern the Real Thing from a Reasonable Facsimile Thereof is tested March 14-16. Don’t allow unresolved fears to bully you into accepting something or someone you know deep down isn’t authentic. Delay decisions until unreliable information and distorted facts are cleared away. When external pressures meet internal resistance, Cancer crawls into his crab shell, seeking safety and time to access inner wisdom. You’re tougher than you realize when up against forces that threaten your core security. Trust your own truth and your survival instinct!
LEO (July 22–August 23)
The Vernal Equinox on March 20 puts a spring in your step and arouses your hunger for a fresh and baggage-less (or, at the least, baggage-light) emotional connection. You’re unusually attracted to the unique while rethinking the status quo. Longterm loyalties without reciprocal investment come up for review. Your natural magnanimity is examined for cost effectiveness. You’re a bit cautious with recent windfalls; protect what you have right now rather than risk loss by pressing your luck—but that’s only in the realm of money. In the realm of the heart, prepare to split a pair of aces and double down!
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VIRGO (August 23–September 23)
Mercury Retrograde in Pisces March 5-28 makes straightforward communication feel more like slogging through standing water now. Go with the flow or make like Luca Brasi and learn to swim with the fishes! Instincts are activated where analytics usually reign; trust your own good sense to lead you to the right conclusions even if you feel inadequately informed. You know the location of your own True North, despite the shifting magnetic field casting doubts upon your inner compass. It’s time to synthesize everything you’ve endlessly analyzed—the goal has always been integration and wholeness! Clarity arrives on the 31st.
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LIBRA (September 23–October 23)
Your recent consciousness upgrade via greater self-acceptance shines on the Full Moon/Vernal Equinox on March 20. A natural partnership person, you find unexpected joy in solo opportunities which allow you to stretch your natural leadership muscles. You may experience surprising delight sharing values, resources and even intimacies with unique, original, or even eccentric others. You needn’t stoop to conquer—you’ve learned how to set a high enough bar and others will rise to it, hoping to please you. Your attention and approval are your most valuable resources: Dispense them wisely and with discretion—and only upon the worthy.
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3/19 CHRONOGRAM HOROSCOPES 93
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SCORPIO (October 23–November 21)
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You’re well-equipped to navigate the slip-sliding stream of nebulous uncertainties deluging the larger culture this month, as your legendary laser-like focus homes in on goals you set for yourself last April. Nobody is better than you at ignoring the external cacophony when you’ve made up your mind to succeed. Puzzle pieces you’ve been searching for are intuitively uncovered March 23-24, where they’ve been hiding in plain sight. It’s not all ruthless ambition: Your end game isn’t a solo act. You’re bringing everyone you love along with you. A rising tide lifts all boats, and you are that tide right now.
SAGITTARIUS (November 22–December 22)
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It’s time to review the contents of your dreams and test them for viability. Big ideas require big commitments—how far are you willing to go to make your dreams come true? A dream delayed is a dream denied, and you’re unwilling to wait because you know it’s your turn now. Patience during the sifting and review process pays off in the long run. Avoid impulsive decisions March 24-26. Understand that commitment and enslavement are not identical experiences. As you edit and refine the stuff your dreams are made of, you’ll discover what’s solid, what’s liquid, and what’s gas.
CAPRICORN (December 22–January 20)
Learning to trust is your big life lesson this year. The gift of vulnerability feels scary but it’s heart medicine, the antidote to your usual self-sufficiency which, while functional, leads to unwanted isolation. Sometimes it feels like you were born old, but as you open to others you find yourself actually youthening. Evaluate the practical cost of passion March 2729 and don’t discount the value of the rare and tender form your yearning takes. Unconventional others are unexpectedly attractive to you right now, tempting you to take a very big bite of a very shiny apple: Chew well before swallowing!
AQUARIUS (January 20–February 19)
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Venus in Aquarius through March 28 inspires love, creativity, art, music, and all forms of pleasure—the more original, the better. Your universalist tendencies peak at the Full Moon/ Vernal Equinox March 20 as aroused passions around humanitarian issues challenge you to put some skin into the game. A new communication opportunity enables both your persuasive abilities and your outreach to the like-minded. Use your unique individuality to find common ground outside the echo chamber: Your tent is big enough to accommodate a wider swath of personalities than any other zodiac sign. Gracious favors are yours without asking!
PISCES (February 19–March 20)
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94 HOROSCOPES CHRONOGRAM 3/19
Sun, Mercury, and Neptune in your watery sign cast a glamor upon your life this month. You’ll feel like the star of your own movie as your inner narrator sets a grand and glorious scene for you to star in. Is it a comedy or a drama? A tragedy or a farce? A musical or a documentary? The fertile soil where you’ve planted your seed during the New Moon in Pisces March 6 yields the first clue by March 30. Your powerful mindbody connection literally dictates all aspects of your health now. Choose conscious optimism for optimum healing power!
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Dutchess Hospital . . . . . . . . . . back cover Herrington’s . . . . . . . . . . . . . . . . . . . 38 Holistic Natural Medicine . . . . . . . . . . . . 49 Hollenbeck Pest Control . . . . . . . . . . . . 93 The Homestead School . . . . . . . . . . . . . 16 Hudson Hills Montessori School . . . . . . . . 51 Hudson Valley 5 Rhythms . . . . . . . . . . . . 84 Hudson Valley Goldsmith . . . . . . . . . . . . 26 Hudson Valley Sunrooms . . . . . . . . . . . . 43 Hurleyville Arts Center . . . . . . . . . . . . . . 82 Jack’s Meats & Deli . . . . . . . . . . . . . . . 31 Jacobowitz & Gubits . . . . . . . . . . . . . . 74 Jagerberg Beer Hall and Tavern . . . . . . . . 33 John A Alvarez and Sons . . . . . . . . . . . . 43 John Carroll . . . . . . . . . . . . . . . . . . . 49 Kaatsbaan International Dance Center . . . . . 16 Kary Broffman . . . . . . . . . . . . . . . . . . 92 Kasuri . . . . . . . . . . . . . . . . . . . . . . . 9 Katie Bull . . . . . . . . . . . . . . . . . . . . . 19 Kingston Ceramics Studio . . . . . . . . . . . 86
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Leed Custom Design . . . . . . . . . . . . . . 94
Dental Office of Drs. Jeffrey
Livingston Street Early
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Mid Hudson Regional Hospital . . inside back cover
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Emperor Akihito, steel, vintage buttons, chopsticks, 72" x 36", 2018. William J. Durkin has spent more than 30 years trying to capture the fleeting luminescence of fish that so entranced him as a boy growing up in the Bay Area. In 1990, he moved to Woodstock and opened the Gypsy Wolf Cantina, which was a local destination for Mexican food until it shuttered in 2015. Throughout this time, Durkin toyed with painting and metal sculpture, before finally finding his medium of choice in button collage. “The Shoaling” is an assembly of 40 fish sculptures that Durkin has created over the years, part of which will be exhibited at the Woodstock Artists’ Association and Museum this month. These sculptures are impressive specimens to behold. With the iridescence of mother-ofpearl, the sparkle of gold foil, and the refractive glimmer of colored plastic, they very nearly achieve the elusive, luminous ideal Durkin seeks, even if the artist will never be satisfied. Part biological study, part folklore, part environmental activism, each sculpture and its accompanying caption is an homage that informs and delights. (Of the lemon shark, Durkin writes “social and non-threatening with poor eyesight.” Of the bonefish he writes, “one of the three species that can disturb fly fishermen’s dreams.”) “FOCUS: Gaia 2019” is a group show at the Woodstock Artists Association and Museum featuring two of Durkin’s fish sculptures. The exhibition runs March 9-31; the opening reception is March 16, from 4-6pm. Woodstockart.org —Marie Doyon
96 PARTING SHOT CHRONOGRAM 3/19
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