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vol. 42 | february | 2011 music






cinema listings for the hudson valley

creative living in the hudson valley

music | art | theatre & cinema listings for the hudson valley

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dear readers


ell, we’re back….did you miss us? Our apologies for not coming out January 10th before making the transition to the first of this month, but we couldn’t make the turnaround happen faster. The extra breathing time has helped renew us, and we’re eager to get back to the business of bringing you the arts and lifestyle possibilities in the Hudson Valley…as we have been since July 2007. Supposedly everything will be different this year, now that we have new governance in the state capital and U.S. House of Representatives, who apparently have the immediate goal of repealing last year’s health care bill with what’s called “Repealing the Job-Killing Health Care Law,” or some such. I’m trying to get my head around this level of sloganeering: just how does not being turned down for insurance due to a pre-existing condition kill a job? How does a program that the non-partisan Congressional Budget Office says will cut the deficit by billions over the next ten years kill a job? It takes some twisted projections to make the connection here. Or maybe they’re talking about jobs we could do without, like the insurers who use contract technicalities to refuse a claim, or double/triple premiums whenever they feel like it. Now I could get behind killing those jobs. No, once again we are being tested. Democracy truly does require an informed citizenry to survive and flourish, and despite the abundance of information available—thanks to cable and satellite TV, the internet—the majority of us seem to be becoming less informed by the day. Rather than seeking news from reputable and journalistically balanced sources we tend more towards looking for sources that reinforce our already developed beliefs, which divides us further. There doesn’t seem to be a market for honest journalism these days, as news sources become more dependent on corporations for their survival. And corporations operate for their own welfare, not for the benefit of providing people with “the truth.” This is where the importance of education really comes into play. An understanding of history helps one see the larger picture of what’s going on in the world now; understanding math and science has never been more important as energy needs rise, and we steadily become more of a threat to the planet that sustains us. Exposure to the arts gets right to the true meaning of humanity and society: who we are, what we want to say, what we all share. Without some kind of education to help process it, all the information available out there becomes noise that can then be fashioned into weapons, wedges that can easily be used to keep us fearful of each other, mistrustful. We’re pretty big on education over here at Roll, coming from families of teachers—one of us was actually a teacher for many years (hint: it’s not me). And we’ve had quite a variety of experiences: preparatory school, Northern and Southern public schools, teacher’s college, universities, Sudbury, BOCES. We’ve been grateful for what we got from all of them: the education, of course, but also self-discipline and motivation, social skills by working with others, and the ability to learn even more. And maybe we’re crazy, but we think the world could use some more educated people out there, paying attention to current events, sifting through the data, making their voices heard. And voting. So here’s our education issue, just in time for Spring! I’ve tried to maintain an educational theme throughout this issue, and we are truly fortunate that we have some really wonderful schools around the Hudson Valley to share with you. In our own way, we try to make sure every issue is an “educational issue.” We certainly hope longtime readers have learned a thing or two reading Roll. We’ve definitely learned a thing or two writing it. Happy 2011 to you, Dear Reader! We’re looking forward to bringing you more in the coming year, with more enhanced coverage online, our peerless events listings, and even more of the great artists and happenings in the area. And remember: we now come out the first of every month; deadline for listings is the 15th. Cheers, Ross Rice, editor 2


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table of contents 2

editor’s note—


roll art & image— Q&A with top illustrator Elwood Smith: “Elwood’s World” at the Norman Rockwell Museum, by Ross Rice


everybody is an artist: The Woodstock School of Art, by M. R. Smith

13 roll theatre & cinema— fearless: actor, screenwriter,

director Nicole Quinn, by DB Leonard & Adele Jones

roll the music— life lessons: jazz pianist and educator Lee Shaw, 15 by Peter Aaron 18 roll

listings— art | music | theatre & cinema

30 roll CD reviews— roll back- old time country CD compilations new releases from C.B. Smith, Love Eat Sleep, and The Erin Hobson Compact


roll dollars & sense— the Tax Relief Act of 2010, by Beth Jones


roll cuisine corner— for the love...of chocolate, by Julie Goldstein


roll community— getting more bang for the buck: Green Jobs/Green New York, by Sarah Charlop-Powers


Wine Shop, Beacon

roll wine & spirits—learning to taste, by Timothy Buzinski, Artisan


Rob Brezsny’s freewill astrology—


roll portrait

our cover artist this month is laura von rosk. more of her work can be seen at the carrie haddad gallery in hudson, new york

Cover Art, Whiteface L anding, 2009 by L aura Von Rosk, © 2011 L aura Von Rosk 4


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roll magazine is published monthly by Roll Publishing, Inc.

Editor |

Ross Rice

Creative Director |

Donna Calcavecchio

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Ali Gruber

Contributors Peter Aaron, Sarah Charlop-Powers, Timothy Buzinski, Julie Goldstein, Adele Jones, Beth Jones, Crispin Kott, DB Leonard, Ross Rice, M. R. Smith


Eric Angeloch, Dennis O’Clair, John Kleinhans, Anya Lindahl, Jennifer May, Matt Petricone, Diane Reiner, D. M. Richardson

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Submissions | Advertising contact: | 845.658.8153 Ad deadlines and artwork submissions are the 13th of the previous month. Events

roll magazine publishes event listings for local music, art, theatre, film, dance and spoken-word events. Deadline for submission is the 13th of the previous month. Email event listings to: Include date, name, venue, time and location.


If you are interested in writing for roll magazine, or have an interesting story on creative living in the Hudson Valley, email a brief press release or story idea to Or send to: Roll Publishing, Inc. PO Box 504 | Rosendale, NY 12472 Roll Publishing, Inc. is not responsible for anything, including the return or loss of submissions, or for any damage or other injury to unsolicited manuscripts or artwork. Any submission of a manuscript or artwork should include a self-addressed envelope or package bearing adequate return postage. All contents copyright 2010 by Roll Publishing, Inc. 6


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roll art & image



Smith. More often than not great illustrators don’t quite get the publicity that great cartoonists and comic artists do. And those folks don’t get a heck of a lot as it is. That could change for Elwood starting this year, with a special retrospective showing at The Norman Rockwell Museum, in nearby Stockbridge, Massachusetts. “Elwood’s World”—which opens February 19 and runs through May, before going on national tour—offers a rare glimpse at the 50-year evolution of a master craftsman with a cornucopia of original drawings and watercolors, complete with some of his recent animations. His work—which marries contemporary social observations with 40s/50s Sunday comic visual style, infused with humor ranging


all artwork copyright 2011


n the field of illustration this guy is a rock star, with his work featured regularly in Time, Newsweek, Forbes, New York Magazine, The Wall Street Journal, Sports Illustrated, The New York Times, Chicago Tribune, and many more. His signature style has enhanced the advertising campaigns of Sony, GE Cellular One, Blue Shield/ BlueCross of Texas, Pizza Hut, Cornell University, Carlsburg Beer, Bell Atlantic, AT&T, McDonalds, Saturn, GM, Nabisco, Prudential and Quaker State; as well as numerous children’s books. He’s even played guitar, written songs, and made records with local guitar hero John Platania (Van Morrison). But you can be forgiven if you’ve not heard of Elwood H.

| Elwood H. Smith

top illustrator

Elwood H. Smith by M att Petricone


“Elwood’s World” at the Norman Rockwell Museum, by Ross Rice

from wry to sly—should be instantly recognizable to all who view it. Admit it, you’ve seen these funny looking little guys before, haven’t you? We at Roll have had the pleasure of interviewing Elwood before, in 2007, and found ourselves soon becoming good friends with him and his wife artist/creative partner Maggie Pickard. Since then he’s graced our cover annually with a special holiday theme (thanks again, Elwood!). So when we heard about this show at the Rockwell, well, we just had to make sure we helped get the word out about it. Unfortunately, we all got snowed in on interview day, so we had to do this one on the phone…

This is a pretty big year for you coming up starting with this show at the Norman Rockwell Museum and subsequent tour. Can you tell us a bit about what the show covers, and how it came about?

Though it is a retrospective, it’s not going to be all encompassing. I wanted to keep the early part of the thing short, and have the bulk of my work from the time since I moved to the Hudson Valley. I’ve had some personal fine art shows, and many group shows, but never a oneman show of my commercial work. I’ll turn 70 in May of this year. And I thought: I’d like to have something around my 70th birthday…just in case I’m not around too much longer. Maggie and I really liked the people at the Norman Rockwell Museum, so I sent a carefully composed email to (NRM deputy director/curator) Stephanie Plunkett, telling her that of all the places I thought of where I would most like to have this show, the Rockwell was my top choice. I know there’s a certain amount of chutzpah in doing that, but I thought that if I didn’t do it, it might not occur to them to ask me in! She wrote back quickly to tell me they would be happy to do it.

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Though you have vastly different approaches, you definitely share with Rockwell the ability to tell a larger story with a single image. You’ve mentioned previously enjoying his work as a kid. Was he an influence on you as you developed your craft? He really was. I never thought of having somebody who would really be a mentor, or “art hero,” whatever term is being used. There were people who influenced me over the years, people I honored and loved, but I’ve sort of gone my own way. As I look back, when I was a young kid I sorted out those early comics into a hierarchy, with Walt Kelly’s Pogo right at the top. I think any creative person does that—it didn’t take long before I started rating everything. I didn’t have anybody else giving me guidance, like when you read Shakespeare in high school, and (the teacher) tells you why something is great. When writing some words about the upcoming show, I was recently looking at some Rockwell covers—Saturday Evening Post. There are some really great illustrators who did those covers, but I was right then, and I feel right now, that Rockwell was the top dog. If you look closely, the way that he composed, the way each hand, each gesture….one could say he was too particular. But for a young person, I couldn’t have had a better role model. He set a high standard for construction, composition, beautiful drawing. The other way he was great was—as you mentioned—his storytelling. It’s just amazing, his painting…he worked from photographs he took


himself, almost always using “local yokels” instead of professional models. He was an influence in quite a few ways.

OK, here’s a stupid question, but one that bears repeating anyhow. You’re stylistic approach clearly comes from “old-school” Sunday comics like Krazy Kat, Barney Google, and Pogo. You studied cartooning at an art school in Chicago. Yet you are now considered an “illustrator.” So at what point does a cartoonist become an illustrator? Well, that’s not a stupid question. If fact, I’m often referred to as a cartoonist, someone even once said I was a “New Yorker cartoonist,” and I had to say, “well, I’ve drawn for The New York Times, not The New Yorker. And I’m really not a cartoonist,” which is when they got really embarrassed! Nancy Boyer Feindt (Elwood’s hometown high school art teacher, Alpena, Michigan) was one who found the Chicago Academy of Fine Arts cartoon program for me, because at that time I wanted to be a cartoonist. The instructor there had done a comic strip, had minor success, but was not a good teacher. Really nice guy, but he didn’t infuse us with any energy; he’d give an assignment, then just sit there and doze off. When I finished school there, I needed a job, and in those days the main job people got (coming out of art school) was working for studios. They would hire illustrators, cartoonists, airbrush artists, and that’s how you started out, doing your cartoons in your spare time. I went around from place to place, in Chicago, still working at the supermarket, getting


desperate. I landed a job about an hour northwest of Chicago, assistant to the assistant art director. Worked there for a year and a half, and was up for the draft. I joined the National Guard, went through basic training and all that stuff, and when I got back, worked there a little more. But I wanted to be closer to the big city. By then I was getting the Push Pin Graphic (periodical) from Push Pin Studios, the premier studio with Milton Glaser and Seymour Chwast. It kinda blew my socks off! They did these funny illustrations but there wasn’t much cartoon-style stuff. When I saw this stuff, I thought: I gotta get in the sea, I gotta start getting my feet wet. So I got a job in Chicago at Marshall Fields department store, and it was the worst six months I ever spent at a job. (Elwood proceeds to describe an almost Dickensian cubicle hell scenario, complete with low pay, hard deadlines and sadistic overseers.) After that, I worked at an advertising agency for awhile, and then another. But I knew if I didn’t jump into illustration at that time, that I maybe wouldn’t be able to do it. So it was at that point that (the ad agency) let me stay on and use that space, and do layouts off and on. Then I worked for another studio—an actual illustration studio—for a short time before I started freelancing. I’ve been doing that ever since.

Was this the point where you developed your signature old-school comic style, with the deceptively simple line work, round eyeballs, little hands and feet? Finding a style is very natural to some people, but I was the opposite. And I never had, or never could find one, or didn’t trust myself. And at the time I’m talking about was when I first started illustrating. I was

starting to be influenced by Push Pin, and then (the animated Beatles movie) Yellow Submarine came out, those big splashy colors. It took me a long time to get the style you now know as the Elwood Smith style. I moved to New York City in 1976. I would say it was ‘77 or ’78 when I just didn’t like the style I had, which was more of a crosshatchy style. And then I re-discovered the old comics, and started buying up originals and old, slightly falling apart hard covered comics of the 30s and 40s. And studied them, even buying the kind of pens they had. I became a really intense fan of that stuff; in a way, that was full circle because that was the stuff that I absorbed as a kid, but did not utilize until 1978, when I really started to get a handle on how to do that. And then that style morphed over the years, (starting with) the big Barney Google feet, big shnozzes, then over time the hands and feet became smaller.

We’ve listed above a sample of your many illustration clients since you made the New York City move, and it’s actually hard to find someone you HAVEN’T drawn for. So tell me, how does a young swashbuckling illustrator take Manhattan, start the ball rolling the way you were able to? Well, I did it myself at first. But the first couple of years, well, I really hate—I’m being verbose with you right now—but I really hate cold calling. I would have to write down exactly what I was going to say; I would get so frightened, I would get confused. So those first years, they were agony when I had to call. The surprise for me was when I went out to see these people, the New York people were sweethearts! They cautioned me in Chicago, saying

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“those New York art directors are gonna eat you for breakfast.” But they were all—OK, there were a few not—but almost all of them would look at my work. And when I first went out there in ’76 I didn’t take any of my published work, because I had my new style. It was all strictly original art put in one of those heavy portfolios you carry around, each one framed carefully. And they would look through it and would give me work, or they were often very generous….almost always they would crank their Rolodex, write down three or four people, whom I’d then go see.

So—other than of course the Rockwell exhibit—how are things today in the real “Elwood’s World?”

And it took off. I would just be who I was, and people liked that, they were used to reps coming in with a whole sales pitch.

I‘m busy on a kid’s book assignment I’m working on. And before we came up with the “Elwood’s World” show at the Rockwell Museum, Maggie and I got together with an old friend (and designer) Nancy Davis, and created “Elwood’s World” online, a place people can come, play games, buy merchandise. We recently signed with King Features, who has the world’s largest licensing division. We’ve been feeding them newer original work, plus Maggie’s been going into the vaults; right now the cauldron is bubbling, we’re stirring it. And it could tip over and burn our feet.

Recently, you’ve been getting more into computer animations using various Flash programs, and collaborations with 3D animator Brian Hoard. Is this the next step in your development, the “animated illustration?”

As you said earlier, you turn 70 this year, and I swear you—and Maggie too—look at least 15 years younger. Though I suspect your youthfulness is the result of a relentless sense of humor, how about you let us in on your secret…

I did my first animation in Photoshop, just taking a bunch of images and make them work as a bunch of cells, and brought them into iMovie, connecting them. It was fairly crude. I read a lot online about animation, what makes it work, and then I got Toon Boom Studio’s animation program.

I have to say first that I’m very lucky that I don’t have any major health ailments—gonna knock on the pencil wood here. Things are going well now, but on the turn of a dime you can have misfortune. So first I have to say that the thing that’s really been great is I’ve reached this very ripe age, and gotten to accomplish a lot of what I wanted to. I have a full head of hair, and it’s dark. Which makes a lot of people think that I’m younger.

I love working with somebody else (like Brian), because they get to do all the hard work! I met Brian was I was working with Toon Boom. The people in Canada who make that program didn’t have very good tutorials, so you would rely on the chat room where you’d talk with (others using the program), one of them was Brian, and he helped me a lot. (At one point) he said to me, “you know, I don’t have that many ideas, and I love your work. If you’d be willing to do the work, I’d be willing to do the animation.” I always have a basketful of ideas, so I said “yeah!”

I have moments of despair, but I would say in the main that I try to keep the glass half full, and I have a real enthusiasm for learning, it’s really fun. And one thing I have to say (is important) is having dear friends, who make your life so much better. I know it sounds kinda New Age-y— and I loathe New Age-y stuff— but it’s the idea of community. I feel a real affection for my close and more distant friends. It feels good, keeps you lively.

I think one of the things that’s kept me young and sort of vibrant in this business is a sense of curiosity, of “what is this?” I love the computer. A lot of people my age damn the computer, “it doesn’t have any soul.” I just made animations because it seemed to be interesting. Maggie likes me to make them because they're promo tools. But right now if I could retire, I would make those little films and animations, I would just do things that tickled my fancy.

That four and a half mile daily walk probably doesn’t hurt either… Yeah, and I wouldn’t do it if it wasn’t for Maggie! I don’t like exercise at all. But you know you need it.

Elwood H. Smith’s “Elwood’s World” exhibition runs February 19 through May 15, at the Norman Rockwell Museum, 9 Rte. 183, Stockbridge MA,, 413.298.4100. Opening reception with the artist Sa 2/19, 4-6 PM. Visit for more information.

go to to see a video of Elwood in his studeo, talking about his work.



roll stage & screen

FEARLESS: actor, screenwriter, director

Nicole Quinn


Nicole Quinn


M att Petricone

by DB Leonard & Adele Jones

icole Quinn is unafraid. Of taking on the difficult topics of age, gender, race; of challenging the status quo. Nicole is not afraid of anything, it seems.

“I’m a story teller, that’s how I define myself,” says Quinn. “The medium always changes. And not intentionally—I follow the way the story arises and how it wants to reveal itself.” Indeed. Her prolific talent is evident in plays, short stories and film, as an actor, screenwriter and director. In every arena, Quinn has maintained a deep compassion for the “great arcs that we share,” she says.

Born in a Catholic adoption home in California, Quinn was welcomed as a baby into a family in which both education and activism played a significant role. Except for one year at the Marymount School in Mexico, Quinn spent her formative years, from the ages of eight to seventeen, in a Catholic boarding school—an institution she essentially integrated. This had its predictable result: at one point, the parents of one of her friends had a teacher inform Quinn she was forbidden to speak to her friend. Quinn called the school’s bluff, telling them that if that were the case she—and her parent’s sizable financial support—would be leaving, and the school relented. Unwittingly, they all had helped her develop a lifelong fiery determination. “They taught me to defend myself,” states Quinn. “I always feel like I was raised on the razor’s edge of cultural reality.” From an early age, Quinn began challenging the ways in which society defined itself. In the late sixties, at the age of eleven, she was returning from her semester in Mexico, and when filling out an immigration form, she was required to identify her race. She wrote “human.” Quinn was detained for an hour and a half. “I’m mixed race,” she laughs. “Aren’t we all?”

After graduating from UC Berkeley, she worked at Berkeley Repertory Theater for three years before moving—with husband Paul, whom she’d met at Berkeley—to New York City to pursue her theater career, performing in regional theater, soap operas, films and Shakespeare productions. While working in the theater world, the couple lived in Brooklyn, raising two children. As a mother wanting to participate in her children’s lives, Quinn switched gears from acting and touring to devoting herself to the written word. From the city she submitted a script, The Torment, to River Arts—a Woodstock writer’s workshop co-taught by Michael Christofer and locally prominent playwright, writer, and editor Nina Shengold. Not only would the script get her accepted into the workshop, it would forge a lasting connection with Shengold and become a bridge for her to the Hudson Valley, eventually leading her family to Accord as full time residents in 1980. Shengold became an early advocate of Quinn’s work, passing her script onto her own agent, who eventually took Quinn on as a client. That connection led to writing assignments in Hollywood for HBO, Showtime, network television and Jodie Foster’s Egg Pictures. While Hollywood provided opportunities for Quinn to hone her writing skills, she soon became aware that Hollywood wanted “Nicole Lite,” which meant stereotypical stories and characters with little depth. Determined to “not to be part of the problem,” she struggled to create authentic characters in her writing, working against the prevalence of ageism and racism. Finally breaking with Hollywood, Quinn found herself with an unique opportunity to show what she was capable of, while keeping close to home. Her 2007 debut feature film, Racing Daylight —which she wrote and directed—starred Hudson Valley resident Melissa Leo (The Fighter,

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For ten years, Quinn has done both, formally and informally, as she and Nina Shengold have been teaching a playwriting workshop at Rondout Valley High School, with a group called Underage Thespian Action. The heart of the program is devoted to the collaborative nature of theater, encouraging the students to develop their unique voices—often deep ones. “Some are mining their own homosexuality, their own fears, their own passions,” said Quinn. “And we get the gift of seeing what they’re struggling with.” Focusing on the practicality of production, each play has a limit of five actors and five pages. There are no sets, allowing the words themselves to be the vehicle. For six weeks the students write with the instructors, then cast and produce their work, engaging in every detail. Finally there is the ultimate test of the live performance. (This year’s spring semester will feature performances starting the first week of April.) Shengold and Quinn pushed for deep truth from their students, and got it. Last year, the program ran into some resistance from the new school superintendent and school board concerning the use of profanity in one student’s work. The administration was concerned that the language would appear to condone “bad language.” It seemed important to all concerned that a distinction between behavior in everyday interaction and artistic content be made clear. “Words are not the enemy,” Quinn declared emphatically, “it’s the way we use those words.”

A proud proponent of the concept that school not be the only form of education, Quinn has devoted much of her time to her unrelenting activism. “If you’re in a community, everybody is your responsibility,” she says. Recently when Quinn needed a theatrical run for Racing Daylight, the owners of the Rosendale Theatre volunteered their historic space free of charge. Later when they requested Quinn’s aid in helping to generate a community base to purchase the theatre, there was no question: with Actors and Writers (please see this month's Theatre/ Cinema highlights), she became one of the founding members of the Rosendale Theatre Collective, a new volunteer organization that now provides a lasting foundation for independent film and live theater and music in the region. Presently, Quinn serves on the board, as well as the children’s programming committee, the fundraising committee, and the humble concession stand. “It’s yeasty here,” Quinn said of Ulster County, which proudly boasts one of the country’s largest concentrations of artists outside of New York City—a community in which she is firmly entrenched. Looking ahead, she has several irons in the fire: “The Gold Stone Girl”—a “dystopic, futuristic, feminist fantasy” novel, new film, [Slap and Tickle] a coming of age story based in the Depression era, and a comedic action thriller film titled “Meaning of Wife”, with Kim Wozencraft. It’s hard to imagine Nicole Quinn slowing her furious pace or her search for meaning—either in her own work or in the support of others—and the resulting stories exhibit an honesty and reality often missing in an increasingly superficial entertainment business. Fearless indeed. | go to to see a video of Nicole as she talks about life, theatre and more...

l: last year's student production at

Believing there was a good reason for using the particular word in the play, Quinn and Shengold defended the student’s work along with the

more fundamental concept of free speech. But Quinn feels strongly that such words should not be used frivolously. “There is no excuse for using expletives as a shortcut to emotion,” she says. “It’s about meaning,” she adds. “It’s always about meaning, isn’t it?” Following a board meeting where the community showed them unequivocal vocal support, the right to artistic expression was granted.

Rondout Valley High School by Anya Lindahl; r: Nicole Quinn relaxing at Jack & Luna's by D. M. Richardson

Frozen River) and David Strathairn (Good Night & Good Luck). A multilayered, magically realistic narrative of two lovers separated by time, the movie was shot on location in Accord. The film generated enormous support from the community and has achieved a wide audience to date— as well as a collection of independent awards including first place at the Women’s International Film Festival in Miami. “I always think you should enlighten as you entertain,” says Quinn.



roll the music

l •i •f •e lessons: jazz pianist

& educator

Lee Shaw Lee Shaw by Dianer Reiner

by Peter Aaron


eonard Cohen didn’t release his first album until he was 32, ancient by pop music standards. It took Al Jarreau until he was 35 to do the same. Composers César Franck and Leoš Janácek didn’t get their breakthroughs until they were in their 50s, while Anton Bruckner didn’t even enter the field until he was 40. But when it comes to being called a late bloomer, at 84 jazz pianist and educator Lee Shaw has them all beat.

Although she’s had a glowing reputation among her peers and with inthe-know jazz lovers for almost half a century, Shaw didn’t fully emerge as a leader and active recording artist until the early 2000s, which have seen a full-on renaissance for the Albany-area resident. With her topflight trio of Saugerties bassist Rich Syracuse and Shokan drummer Jeff “Siege” Siegel, the pianist has recently found a welcoming second home on the European circuit and has released a string of acclaimed albums. To say Shaw puts her largely rut-treading, stay-put local jazz compatriots—

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Center for the Digital Arts

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even those half her age—to shame would be obvious. So, then, to what does the piano stylist attribute this later-in-life resurgence? “Well, the real reason it began to happen is because of [Syracuse and Siegel],” Shaw says with characteristic modesty, also crediting her record label and publicist. “Rich and Jeff worked on us getting over to Europe and getting a label, and it’s been wonderful. We’re like family, the three of us. I feel so lucky.” Shaw was born in the dust-blown town of Ada, Oklahoma, in 1926. Surprisingly cultured for its size and remoteness, Ada hosted concerts by visiting symphonic orchestras and even a local opera group, which, along with her school’s excellent music program, inspired Shaw to learn piano. With the help of lessons she was soon able to read music and play by ear the Great American Songbook standards she was hearing on the radio “in the 1930s, when they were new.” She left for Chicago to attend the American Conservatory of Music with the aim of becoming an accompanist for classical singers. But before that could happen, her musical life took an unexpected turn. “I had studied [cocktail pianist] Cy Walter and could play in that style, but I felt that something was still missing,” Shaw says. “Then my agent took me to hear Count Basie, and I knew I had to study jazz.” At first it was difficult to find a jazz-sympathetic teacher among the conservatory’s classical faculty, but soon she was performing in a piano/bass duo. In 1961 she talked a club owner into also hiring a young drummer just in from New York, Stan Shaw, who would marry Lee only six months after they met, remaining with her for the rest of his life. After a year in Puerto Rico and a brief return to Chicago, the two headed to Stan’s hometown. Although it would be decades until it recorded, the Lee Shaw Trio, which at different times featured such bass greats as Slam Stewart, Richard Davis, and Major Holley, became a hit at Manhattan’s jazz temples. By now Lee was also making a name for herself as a pianist, taking lessons from the great Oscar Peterson and even being offered a job by Lionel Hampton (not wanting to be away from Stan, she turned it down). Unfortunately for the Shaws, however, by this time the landscape was about to change. “When the Beatles came along club owners were less interested in jazz,” recalls Lee. “And the [late ’60s] race riots made Harlem clubs unsafe for us.” So in 1971 the couple relocated to the Capital Region, were they became the royalty of the local scene by booking and backing imported horn players like Dexter Gordon, Al Cohn, Pepper Adams, Al Gray, Zoot Sims, and Frank Foster. In order to take care of Stan’s ailing parents, they moved again in

1976, to Florida, where Lee taught piano. There, she met a teenaged, classically weaned player who would become her best-known student: John Medseki of Medeski, Martin & Wood. “As a musician I couldn’t have gotten a better foundation than the one I got from Lee,” says Medeski, a Woodstock resident. “She’s a living musical encyclopedia, she knows hundreds of tunes. And she’s just as hungry now to grow and learn herself as she’s ever been.” By the early ’80s the Shaws were back in Albany, debuting with 1984’s live-in-Oklahoma Lee Shaw OK (Cadence Jazz Records) and working until the early ’90s, when Stan became ill and could no longer play. As she cared for Stan (who would eventually pass in 2001) Lee remade the trio to include Hudson Valley guitarist Mike DeMicco and Syracuse for 1996’s Essence (Cadence Jazz). As Stan’s health declined the unit backed away from recording until 2002, when a new lineup of Shaw, Syracuse, and Siegel cut A Place for Jazz (Cadence Jazz). The newfound, steady stream of releases picked up again with two self-released sets, 2006’s Little Friend and 2007’s Originals, getting the trio attention overseas and leading to yearly European touring. “[Playing with Shaw] is really inspirational,” says Siegel. “She’s incredibly driven, and she lives for every single note. She’s really taught me a lot.” 2008’s CD/DVD Live in Graz (Artists Recording Collective), which captures Shaw and band in Germany, introduced many to her fleet, effervescent, and always surprising music; the studio set Blossoms (ARC) followed soon after. So well received has she been that in 2009 Art Gallery Reutlingen held the two-day Lee Shaw Jazz Festival, which resulted in a live album named for the venue and featuring saxophonists Johannes Enders and Michael Lutzeier. Her newest release, the exquisite Together Again: Live at the Egg (like Live at Art Gallery Reutlingen, on ARC), which finds her reunited with Medeski onstage in Albany, is a master class in elegant improvisation. So what’s the best part about being a teacher-musician who’s finally getting her due? “Learning!” says the 1993 Oklahoma Jazz Hall of Fame inductee without missing a beat. “But I most look forward to playing. It doesn’t matter if it’s a club or a concert—I just wanna play.” John Medeski and Lee Shaw’s Together Again: Live at the Egg is out now through Artists Recording Collective. The Lee Shaw Trio plays at 74 State Street in Albany on second and fourth Saturdays and the Stockade Inn in Schenectady on second Fridays; the Lee Shaw Duo performs at One Caroline Street in Saratoga Springs on third Sundays; Shaw plays a solo jazz brunch at Justin’s in Albany on third Sundays.

Lee Shaw by Diane Reiner

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art listings

art listings

ACCORD—North Light Studio, 4 City Hall Road, 845.626.2843 ACCORD—Stone Window Gallery, 17 Main Street, 845.626.4932 Open Sa And Su 10 AM- 6 PM And Weekdays By Appointment ANNANDALE-ON-HUDSON—Hessel Museum Of Art At Bard College, Route 9 G, 845.758.7598 ASHOKAN—Robert Selkowitz Sunlight Studio Paintings And Winternight Gallery 3024 Route 28,, 845.657.6982 BEACON—Back Room Gallery, 475 Main Street, 845.838.1838 BEACON—Beacon Artist Union, 161 Main Street, 845.440.7584 2/6 through 2/27- BETTER BY THE DOZEN group show by artists from amos eno gallery, nyc; featuring eric banks, tulu bayar, anthony cuneo, charleen kavleski, lacey kim, jose-ricardo presman, marina reiter, sun young seo, ulrike stadler, walt swales, walter thompson and margaret withers Sa 2/6- Opening Reception 6-9 PM BEACON—Beacon Institute for Rivers and Estuaries, 199 Main Street, 845.838.1600 (Gallery closed Fridays) BEACON—Daniel Aubry Gallery, 426 Main St., 845.519.4070 Ongoing- works by KATIE HAGAN, PURVIS YOUNG BEACON—Dia:Beacon, 3 Beekman Street, 845.440.0100, Th-Mo 11 AM-6 PM Ongoing- 24 COLORS – FOR BLINKY by IMI KNOEBEL Ongoing- SOL LEWITT DRAWING SERIES Through 2/13- WORK AS ACTION by FRANZ ERHARD WALTHER Through 10/31- BLINKY PALERMO: RETROSPECTIVE 1964-1977 Through 6/26- KOO JEONG A: CONSTELLATION CONGRESS Sa 2/26- gallery talk: GARY CARRIÓN-MURAYARI on WALTER DE MARIA BEACON—Dream in Plastic, 177 Main St,, 845.632.3383 Gallery Hours Th/Fr/Sa/Mo 12 PM- 7 PM, Su 12 PM- 6 PM BEACON—Fire Lotus, 474 Main Street,, 845.235.0461 BEACON—Floor One, 17 East Main St., 845.765.1629 BEACON—Fovea Exhibitions, Beacon Gallery, 143 Main Street, 845.765.2199 BEACON—The Howland Cultural Center, 477 Main Street, 845.831.4988, Th-Su 1-5 PM 2/5 through 2/27- AFRICAN-AMERICAN ART SHOW Sa 2/5- Opening Reception 3-5 PM BEACON—Hudson Beach Glass Gallery, 162 Main Street, 845.440.0068 Through 2/6- ROUTE 28 OR THEREABOUTS group show BEACON—Marion Royael Gallery, 460 Main Street, 727.244.5535 BEACON—Morphicism, 440 Main St.,, 845.440.3092 BEACON—Open Space Gallery, 510 Main St., 718.207.3793 BEACON—Riverwinds Gallery, 172 Main St., 845.838.2880 BEACON—Van Brunt Gallery, 460 Main Street, 845.838.2995 BETHEL—Bethel Wood Center For The Arts, 200 Hurd Road and Route 17B, 845.454.3388 BOICEVILLE—Fabulous Furniture Gallery & Sculpture Garden, 3930 Route 28, 845.657.6317 CATSKILL—Gallery 384, 384 Main Street, 917.674.6823 Ongoing- REMOVE THE LANDMARK: works by cannon hersey and aaron yassin CATSKILL—Gallery 42, 42 Prospect Ave., 518.943.2642 CATSKILL—Greene County Council on the Arts Gallery, 398 Main St. 518.943.3400, Through 3/5- CUT PAPER UNIVERSE by DIANA BRYAN (see highlight) Through 3/5- PAPER ARTS group show of folded, cast and cut paper CATSKILL—M Gallery, 350 Main Street, 518.943.0380, Sa & Su 12-5 PM 2/26 through 3/15- AMERICAN TONALISM new works by painter PATRICK MILBOURN and photographer LEE ANNE MORGAN Sa 2/26- Opening Reception 3-8 PM CATSKILL—The Open Studio, 402 Main Street, 518.943.9531 CATSKILL—Sawdust Dog Gallery, 375 Main Street, 845.532.4404 CATSKILL—Terenchin Fine Art, 462 Main Street, 518.943.5312, Mo-Sa 1-6 PM CATSKILL—Thomas Cole National Historic Site, 218 Spring Street, 518.943.7465 18

CATSKILL—Union Mills Gallery, 361 Main St., 845.510.8081 CATSKILL—Verso Fine Art, 386 Main Street, 518.947.6367 CHATHAM—Joyce Goldstein Gallery, 16 Main St., 518.392.2250 ELLENVILLE—Aroma Thyme Bistro, 165 Canal Street, 845.647.3000 GARDINER—Bruynswick Art Gallery And Studio, 1058 Bruynswick Road 845.255.5693 GARDINER—Ulster Savings Bank, 2201 Rte. 44/55, GARRISON—Garrison Art Center, Garrison’s Landing, 845.424.3960, 12-5 PM GHENT—Omi International Arts Center, 1405 County Rd. 22, 518.392.4747 HIGH FALLS—Kaete Brittin Shaw Functional And Sculptural Porcelain, Rte 213, 845.687.7828 HIGHLAND—Elisa Pritzker Studio At Casa Del Arte, 257 South Riverside Road, 845.691.5506 Through 3/1- ALREADY 10? 10th ANNIVERSARY WITH A LATIN ZEST HUDSON—Carrie Haddad Gallery, 622 Warren Street, 518.828.1915 Through 3/6- ARTHUR HAMMER, LESLIE BENDER and JENNY NELSON figures and abstractions HUDSON—Carrie Haddad Photographs, 318 Warren St., 518.828.1915 Through 2/27- NATURE OF PATTERN large scale photographs by LISA FRANK with works by CARL BERG and JEFF BRIGGS HUDSON— Columbia Greene Community College, 4400 Route 23, 518.828.4181 HUDSON—Hudson Opera House, 327 Warren Street, 518.822.1438 Through 2/12- CHINA JORRIN photography exhibition of panoramic prints 2/19 through 3/26- 15th ANNUAL JURIED ART SHOW EXHIBITION Sa 2/19- Opening Reception 5-7 PM HUDSON—John Davis Gallery, 362 1/2 Warren Street, 518.828.5907, Th-Mo 10 AM-5:30 PM 2/3 through 2/27- LARRY BROWN paintings Sa 2/5- Opening Reception 6-8 PM HUDSON—Limner Gallery, 123 Warren Street, 518.828.2343 HUDSON—Thaddeus Kwiat Gallery, 437 Warren Street, 518.653.5407 Through 2/26- NATHAN MELTZ with JENNY KEMP and DOUG HOLST mixed media exhibit HUDSON—The Orange House, 416 Columbia Street, 518.822.8448 HUDSON—Time and Space Limited, 434 Columbia St., 518.822.8448 Through 3/1- DISPOSABLE LANDSCAPES an exhibition of cheap art by JUSTIN LANDER KATONAH—The Katonah Museum of Art, 134 Jay St., 914.232.9555 KINGSTON—A.I.R. Studio Gallery, 71 O’Neil Street, 845.331.2662, We-Sa 9 AM-1 PM KINGSTON—Agustsson Gallery, 176 Broadway, 845.331.1388, Tu-Su 10-6 PM KINGSTON—Arts Society Of Kingston (ASK), 97 Broadway, 845.338.0331 2/5 through 2/26- CHRONOGRAM covers show Sa 2/5 - Opening Reception 5-8 PM KINGSTON—BSP (Backstage Studio Productions), 323 Wall Street, 845.338.8700, Weekdays 3-8 PM, Fr & Sa 3 PM-12 AM KINGSTON—Battledore Limited (Art Gallery Devoted To Presenting The Art Of Maurice Sendak), 600 Broadway, 845.339.4889 KINGSTON—Cellar Studio And Gallerie, 69 Esopus Avenue, 845.331.6147 KINGSTON—Cornell St. Studios, 168 Cornell Street, 845.331.0191 KINGSTON—Donskoj & Company, 93 Broadway, 845.388.8473, Th-Sa11-5 PM KINGSTON—Duck Pond Gallery (At Esopus Library), 128 Canal Street, Port Ewan, 845.338.5580, Mo, Tu, Th 10 AM-5:30 PM We 10-8 PM, Fr 10-7 PM, Sa 10-4 PM KINGSTON—FHK (Friends Of Historic Kingston Gallery), corner of Main/Wall Street,, 845.339.0720, Sa & Su 1-4 PM or by appointment


art listings

art listings

KINGSTON—Gallery At R&F Handmade Paints, 84 Ten Broeck Ave., 1.800.206.8088 2/5 through 3/19- WAXING GEOMETRIC by ASTRID FITZGERALD (see highlight) Sa 2/5- Opening Reception 5-7 PM KINGSTON—Keegan Ales, 20 St James Street, 845.331.2739 KINGSTON—Hillside Manor, 240 Boulevard KINGSTON—Hudson Valley LGBTQ Community Center, 300 Wall St., 845.331.530 KINGSTON—Kingston Museum Of Contemporary Art, 103 Abeel St. 2/5 through 2/26- new works by ANITA WETZEL, BETH HUMPHREYS, CASSANDRA QUACKENBUSH and MICHAEL CICCONE KINGSTON—Michael Lalicki Studio, 18 Hone St. 845.339.4280 KINGSTON—One Mile Gallery, 475 Abeel St., 845.338.2035 KINGSTON—The Fire House Studio, 35 Dunn Street, 845.331.6469 KINGSTON—Ulster Savings Bank, 280 Wall St., 845.338.6060 2/1 through 3/30- PASTEL JEWELS paintings by MARIANNE R. HEIGEMEIR MIDDLETOWN—SUNY Orange, Harriman Hall, 115 South Street, 845.341.4891 Through 2/13- CYNTHIA HALL mixed media; CYNTHIA HARRIS-PAGANO portraits, still lifes and landscapes MILLBROOK—Millbrook Gallery and Antiques, 3297 Franklin Ave, 914.769.5814 MOUNT TREMPER—Mount Tremper Arts, 647 South Plank Rd., 845.688.9893 MOUNTAINVILLE—Storm King Art Center, Old Pleasant Hill Rd., 845.534.3115 Ongoing- 5+5: NEW PERSPECTIVES onsite sculpture exhibit; THE VIEW FROM HERE: STORM KING AT FIFTY museum exhibit NEWBURGH—Ann Street Gallery, 104 Ann Street, 845.562.6940 Th-Sa 11 AM- 5 PM NEWBURGH—Pop-Up Gallery, 9 Chambers St., 845.304.3142 Ongoing- works by STEPHANIE BURSESE, ROBERT BRUSH, JOHN DELK, DAVID FREUND and BARBARA SMITH GIOIA NEWBURGH—The Karpeles Manuscript Library Museum 94 Broadway, 845.569.4997 Ongoing- SLAVERY museum exhibit Ongoing- LARGELY LANDSCAPES by LOIS LIPPER Through 3/31- PORTRAITS IN AMERICAN HISTORY by DONA MCPHILLIPS COUCH NEW PALTZ—Center for Symbolic Studies, 310 River Rd. Ext., 845.658.8540 NEW PALTZ—Mark Gruber Gallery, New Paltz Plaza, 845.255.1901 NEW PALTZ—New Paltz Cultural Collective, 60 Main Street, 845.255.1241 Every Tu- CRAFT NIGHT- bring your project to work on in good company Every Third Sa- NEW PALTZ THIRD SATURDAY: live music and art show NEW PALTZ—Samuel Dorksy Museum Of Art At Suny New Paltz, 1 Hawk Dr., 845.257.3844 Through 3/18- BINARY VISIONS woven coverlets from the historic huguenot street collection Every Su- FREE GALLERY TOUR of binary visions 2/11 through 4/14- FROM HUGUENOT TO MICROWAVE new and recent works by MARCO MAGGI (see highlight) Fr 2/11- Opening Reception 5-7 PM Fr 2/11- CURATOR’S GALLERY TALK on huguenot to microwave 4-5 PM Su 2/20- PANEL DISCUSSION on binary visions 3 PM NEW PALTZ—Unframed Artists Gallery, 173 Huguenot Street, 845.255.5482 Through 12/19- LET IT SNOW mixed media group show NEW PALTZ—Unison Arts, Unison Theater, 68 Mountain Rest Road, 845.255.1559 Every Th- LIFE DRAWING SESSIONS 7:30 PM Ongoing- OUTDOOR SCULPTURE EXHIBITION 2/4 through 2/27- 8th ANNUAL LIFE DRAWING AT UNISON exhibition Fr 2/4- Opening Reception 5-7 PM NEW PALTZ—Unison Gallery at Water St. Market, 845.255.1559

NEW PALTZ—Water Street Market, 10 Main Street, 845.255.1403 NEW WINDSOR—Wallkill River Gallery (Works Of John Creagh And Pat Morgan), 845.689.0613, Mo-Fr 9:30 AM- 6:30 PM Sa 10 AM- 5 PM Through 2/28- ROUGH AT HAND; CARRIE JACOBSON and SENIORS PAINT THE TOWN; emerging artist JUDITH MACCALLA Sa 2/5- Opening Reception 5-7 PM PAWLING—Gallery On The Green, 3 Memorial Avenue, 845.855.3900 PEEKSKILL—Bean Runner Café, 201 S. Division Street, 914.737.1701 Through 4/9- FATHER & SON: COLORS AND CONNECTIONS painted retrospective of works by PETER K. EAGLETON and PETER J. EAGLETON Sa 2/5- Opening Reception 3-6 PM PEEKSKILL—Flat Iron Gallery Inc., 105 So Division Street, 914.734.1894 PEEKSKILL—Paramount Center For The Arts, Upper Art Gallery, 1008 Brown Street, 914.739.2333 PEEKSKILL—The Hat Factory, Yamet Arts, Inc., 1000 N. Division Street Suite 4, 914-737-1646 PEEKSKILL—Hudson Valley Center For Contemporary Art, 1701 Main Street, 914.788.0100 Ongoing- IN.FLEC.TION Ongoing- MOUNT MASLOW by FOLKERT DE JONG Ongoing- LAUNDRETTE by THOMAS HIRSCHHORN Ongoing- AFTER THE FALL PHOENICIA—Arts Upstairs, 60 Main Street, 2nd Floor, 845.688.2142 PHOENICIA—Cabane Studios Fine Art Gallery and Photography Studio 38 Main Street, PINE PLAINS—The Chisholm Gallery, 3 Factory Lane, 518.398.1246 POUGHKEEPSIE—Arlington Art Gallery, 32 Raymond Avenue, 845.702.6280 POUGHKEEPSIE—Barrett Art Center/clayworks/gallery, 485 Main Street, 845.471.2550 POUGHKEEPSIE—Café Bocca, 14 Mt. Carmel Place, 845.483.7300 Ongoing- LIQUID EARTH by CRAIG PEYTON POUGHKEEPSIE—Cunneen-Hackett Arts Center, 9 Vassar St., 845.486.4571 POUGHKEEPSIE—Dutchess Community College, Mildred Washington Art Gallery 53 Pendell Road,, 845.431.8916, Mo- Th: 10 AM- 9 PM, Fr: 10 AM- 5 PM POUGHKEEPSIE—Gallery 45, 45 Pershing Ave., 845.471.7477 POUGHKEEPSIE—The Frances Lehman Loeb Art Center At Vassar 124 Raymond Avenue,, 845.437.7745 Through 3/27- 150 YEARS LATER new photography by TINA BARNEY, TIM DAVIS and KATHERINE NEWBEGIN (see highlight) POUGHKEEPSIE—Locust Grove, 2683 South Rd,, 845.454.4500 Through 2/27- POINTS OF VIEW photographs of the hudson valley by FRANC PALAIA POUGHKEEPSIE—Marist College Art Gallery, 3399 North Road, 845.575.3000, Ext. 2308 POUGHKEEPSIE—Mill Street Loft, 455 Maple Street, 845.471.7477 2/19 through 3/16- ARTI INSTITUTE SENIOR PROJECT EXHIBIT Sa 2/19- Opening Reception 5:30 PM POUGHKEEPSIE—Palmer Gallery At Vassar College, 124 Raymond Ave., 845.437.5370 Through 2/10- TEEN VISIONS ‘11 annual exhibit of work by students of regional high schools RED HOOK— Taste Budd’s Café 40 W Market St. 845.758.6500 Through December- FEATURED ARTIST: ANDREAS SAN MILLAN Through January- FEATURED ARTIST: TERESA PELLEGRINI RED HOOK—The Arts Center of the Greater Hudson Valley 7392 S Broadway (Route 9), 845.758.8708 RED HOOK—Betsy Jacaruso Studio & Gallery, The Chocolate Factory 98 Elizabeth Street,, 845.758.9244 RHINEBECK—Albert Shahinian Fine Art - Upstairs Galleries, 22 East Market Street Suite 301, 845.876.7578

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art listings

art listings

RHINEBECK—Gallery Lodoe, 6400 Montgomery Street, 845.876.6331. Open 11-6 PM, except Tu RHINEBECK—Hammertown Rhinebeck, 6420 Montgomery St., 845.876.1450 RHINEBECK—Montgomery Row, 6423 Montgomery St., 845.943.0373 ROSENDALE—Lifebridge Sanctuary, 333 Mountain Rd., 845.338.6418 ROSENDALE—Roos Arts, 449 Main Street,, 718.755.4726 2/6 through 3/12- AIRING DIRTY LAUNDRY by ANGELA ROSE VOULGARELIS ROSENDALE—The Rosendale Café, 434 Main Street, 845.658.9048 ROSENDALE—Women’s Studio Workshop, 722 Binnewater Lane, 845.658.9133 SAUGERTIES—Café Mezzaluna Bistro Latino And Gallery, 626 Route 212 845.246.5306 SAUGERTIES—Catskill Gallery, 106 Partition Street, 845.246.5554 SAUGERTIES—Clove Church Studio & Gallery, 209 Fishcreek Rd., 845.246.7504 open noon- 4 PM SAUGERTIES—Dutch Ale House, 253 Main St., 845.247.2337 SAUGERTIES—Half Moon Studio,18 Market Street, 845.246.9114 SAUGERTIES—Inquiring Minds, 65 Partition St., 845.246.5775 Every Th through 3/24- SAUGERTIES ART LAB drop-in art open to all interested, all ages, with EDITH BOLT 3:30 PM SAUGERTIES—Loveland Museum/Justin Love Painting Gallery And Studio 4 Churchland Road,, 845.246.5520 SAUGERTIES—Muddy Cup/inquiring Mind Coffeehouse & Bookstore, 65 Partition St. 845.246.5775 SAUGERTIES—The Doghouse Gallery, 429 Phillips Rd., 845.246.0402 STONE RIDGE—Center for Creative Education, 3588 Main Street, 845.687.8890 STONE RIDGE—The Drawing Room, 3743 Main St., 845.687.4466 STONE RIDGE—Pearl Arts Gallery, 3572 Main Street, 845.687.0888 STONE RIDGE—SUNY Ulster, Muroff Kotler Gallery, Cottekill Road, 845.687.5113 TIVOLI—Tivoli Artists Co-op And Gallery, 60 Broadway, 845.757.2667, Fr 5-9, Sa 1-9, Su 1-5 Ongoing- ROCHELLE REDFIELD solo show 2/4 through 2/27- ANNUAL EROTICA SHOW mixed media exhibit with work of a sensual or suggestive but not pornographic nature 18+ Sa 2/5- Fundraising Reception 7-9 PM WASSAIC—The Wassaic Project, The Maxon Mills, 37 Furnace Bank Rd., and The Luther Barn, 15 Furnace Bank Rd., WEST HURLEY—Soho West Gallery, Route 28 at Wall Street, 845.679.9944 WOODSTOCK—Byrdcliffle Art Colony/Theater, 3 Upper Byrdcliffe Way, 845.679.2079 WOODSTOCK—Center For Photography At Woodstock, 59 Tinker Street, 845.679.9957 Through 3/17- MADE IN WOODSTOCK V featuring work by cpw’s artists-in-residence from 2007-2009 (see highlight) WOODSTOCK—East Village Collective, 8 Old Forge Road, 845.679.2174 WOODSTOCK—Elena Zang Gallery, 3671 Route 212, 845.679.5432


WOODSTOCK—Fletcher Gallery, 40 Mill Hill Road, 845.679.4411, Th-Su 12-6 PM WOODSTOCK—Forster Gallery And Studio, 72 Rock City Road, 845.679.0676 WOODSTOCK—Galerie Bmg /contemporary Photography 12 Tannery Brook Road,, 845.679.0027 (Open by appointment only through 4/8) WOODSTOCK—Hawthorn Gallery, 34 Elwyn Lane, 845.679.2711 WOODSTOCK—James Cox Gallery At Woodstock, 4666 Route 212, 845.679.7608 WOODSTOCK—Klienert/James Arts Center, 34 Tinker Street, 845.679.2079, Fr-Su 12-5 PM WOODSTOCK—Lily Ente Studio,153 Tinker Street, 845.679.6064, 212.924.0784 WOODSTOCK—Lotus Fine Art, 33 Rock City Rd, 845.679.2303 WOODSTOCK—Sweetheart Gallery, 8 Tannery Brook Road, 845.679.2622 WOODSTOCK—The Bearsville Theater, 291 Tinker Street (Route 212), 845.679.4406 WOODSTOCK—The Colony Café, 22 Rock City Road, 845.679.5342 WOODSTOCK—Varga Gallery, 130 Tinker Street, 845.679.4005 WOODSTOCK—Willow Art Gallery, 99 Tinker Street 845.679.5319, Th-Mo 12:30-6 PM WOODSTOCK—Woodstock Artists Association & Museum, 28 Tinker Street, 845.679.2940 2/12 through 4/3- HARRIET TANNIN: A RETROSPECTIVE Sa 2/12- opening reception 4-6 PM WOODSTOCK—Woodstock School Of Art, 2470 Rte. 212, 845.679.238818


music listings ANNANDALE-ON-HUDSON—Richard B. Fisher Center - Bard College, Route 9G, 845.758.7950, Box Office: 845.758.7900 Fr/Sa 2/11- 2/12- AMERICAN SYMPHONY ORCHESTRA performs beethoven, sibelius, handel, and jolivet (see highlight) 8 PM Su 2/20- CONSERVATORY ORCHESTRA 3 PM BEACON—Chill Wine Bar, 173 Main St., 845.765.0885 BEACON—Howland Cultural Center, 477 Main Street, 845.832.4988 Sa 2/12- SECOND SATURDAY KIDS’ SERIES w/ UNCLE ROCK 8 PM Fr 2/18- OPEN MIC NIGHT 8 PM Fr 2/25- ADAM LEVY & THE MINT IMPERIALS 8 PM BEACON—Open Space Gallery, 510 Main Street,, 845.838.0028 BEACON—The Piggy Bank, 448 Main Street,, 845.838.0028 BETHEL—Bethel Woods Center For The Arts, 200 Hurd Road and Route 17B (at the site of the original 1969 Woodstock Festival), 845.454.3388 CHATHAM—PS/21, 2980 Route 66,, 518.392.6121 CORNWALL-ON-HUDSON—2 Alices Coffee Lounge, 311 Hudson St. Fr 2/4- VUVUZELA w/ HORRAH! A BOLT OF LIGHT and MAMALAMA 7 PM Fr 2/11- LLOYD UNITED and THE TINY MUMMIES 8 PM ELLENVILLE—Aroma Thyme Bistro, 165 Canal Street, 845.647.3000 All shows 8 PM unless otherwised noted Every Th- JOHN SIMON and the GREATER ELLENVILLE JAZZ TRIO 7-10 PM Every 1st Fr- OPEN MIC NIGHT 10 PM Fr 2/4- BRYAN GORDON Sa 2/12- LARRY BALESTRA Sa 2/19- ERIC ERICKSON Sa 2/26- HELEN AVAKIAN FISHKILL—The Keltic House, 1004 Main Street, 845.896.1110 GARRISON—Boscobel House & Gardens, 1901 Rte. 9D, 845.265.7858 GARRISON—Philipstown Depot Theatre, Garrison's Landing, 845.424.3900 GREAT BARRINGTON, MA—The Mahaiwe Theater, 14 Castle Street, 415.528.0100 HIGH FALLS—High Falls Café, Route 213 and Mohonk Road, 845.687.2699 Every Th- ACOUSTIC THURSDAY w/ KURT HENRY Sa 2/5- THE TRAPPS 9 PM Sa 2/12- BREAKAWAY w/ ROBIN BAKER 8 PM Su 2/13- VALENTINE’S SINGER SHOWCASe w/ VINNY MARTUCCI 12 PM Tu 2/15- VALENTINE’S BLUES & DANCE PARTY w/ BIG JOE FITZ 7 PM Sa 2/19- THE DYLAN EMMET BAND 8 PM Sa 2/26- DAVID KRAAI & THE SADDLETRAMPS 9 PM Su 2/27- THE REBECCA COUPE FRANKS TRIO 12 PM HIGHLAND—Boughton Place Theater, 150 Kisor Rd., 845.691.7578 HUDSON—Club Helsinki Hudson, 405 Columbia St., 518.828.4800 (All shows 8PM unless otherwise noted) Fr 2/4- TODD SNIDER (see highlight) Su 2/6- RORY BLOCK & CINDY CASHDOLLAR Fr 2/11- CHRIS SMITHER (see highlight) Th 2/17- RASPUTINA Fr 2/18- SLAVIC SOUL PARTY HUDSON— Columbia Greene Community College, 4400 Route 23, 518.828.4181 HUDSON—Hudson Opera House, 327 Warren Street, 518.822.1438 Sa 2/12- JENNY LIN piano performance 8 PM HUDSON—Time and Space Limited, 434 Columbia St., 518.822.8448 HUDSON—Spotty Dog Books & Ale, 440 Warren Street, 518.671.6006 Sa 2/5- ALEXANDER TURNQUIST, GLENN ROTH 8 PM Fr 2/11- MUFFIN MAN, LAST GOOD TOOTH 8 PM Sa 2/19- LAVENDER, JOHN MANNION 8 PM Su 2/20- LIV CARROW, JACKSON EMMER 8 PM HYDE PARK—Hyde Park Brewing Company, 4076 Albany Post Road,, 845.229.8277 Every We- OPEN MIC Blues Jam 8:30 PM KINGSTON—A.I.R. Studio Gallery, 71 O’Neil Street, 845.331.2662 Every 2nd Sa- ACOUSTIC ARTISTS COALITION & ART PARTY 8-11 PM

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music listings

music listings KINGSTON—Arts Society Of Kingston (ASK), 97 Broadway, 845.338.0331 Fr 2/4- THE SHAUT, EARLY AND TREAT JAZZ QUARTET 7 PM KINGSTON—Backstage Studio Productions (BSP), 323 Wall St., 845.338.8700 KINGSTON—The Basement, 744 Broadway, 845.340.0744 Every Mo- METAL MONDAYS 9 PM KINGSTON—Keegan Ales, 20 St James Street, 845.331.2739 Every We- Open Mic Night 6:30 PM Every 2nd Su- THE BIG BANG JAZZ GANG plays the music of MINGUS MONK DUKE and more Fr 2/25- ERIN HOBSON COMPACT cd release party 8 PM KINGSTON—Kingston Shirt Factory, 77 Cornell St. KINGSTON—Skytop Brewing Company And Steakhouse, 237 Forest Hill Drive, 845.340.4277 Every 1st Sa- THE UPSTART BLUES ALLSTARS 9 PM Every Tu- STUMP TRIVIA! 8 PM Every Th OPEN JAZZ SESSION 8-11 PM KINGSTON—Snapper Magees, 59 North Front Street, 845.339.3888 All shows start at 10 PM and are 21+ KINGSTON—Stockade Tavern, 313 Fair St., 845.514.2649 KINGSTON—Ulster Performing Arts Center, 601 Broadway, 845.473.5288 Su 2/27- TAJ MAHAL (see highlight) 7 PM KINGSTON—Wallspace, 323 Wall St.,, 845.338.8700 KRUMVILLE—Country Inn, 1380 County Rd. 2,, 845.657.8956 Every We- LIVE MUSIC w/ TRIPLE PLAY 7 PM Fr 2/4- ROSS RICE’S VERY SEXY TRIO 9 PM MARLBORO—The Falcon, 1348 Rte. 9W,, 845.236.7970 Music starts at 6 PM; Headliner at 7 PM Th 2/3- BOB WISEMAN w/ THE LAST CAR Fr 2/4- JOEL HARRISON STRING CHOIR music of paul motian Sa 2/5- PROFESSOR LOUIE & THE CROWMATIX w/ DAVID KRAAI & AMY LABER Fr 2/11- THE DONNY MCCASLIN GROUP 7 PM Sa 2/12- GARLAND JEFFREYS w/ REED’S BASS DRUMS Th 2/17- EDDIE DEIHL & FRIENDS 7 PM Fr 2/18- NOAH PREMINGER GROUP w/ SETH DAVIS Sa 2/19- CHRIS BERGSON BAND 7 PM Fr 2/25- JONAH SMITH BAND w/ LARA HOPE & THE CHAMPTONES Sa 2/26- THE MARCUS STRICKLAND QUARTET w/ THE YOUTH GROUP aka THE BOB MEYER PROJECT MIDDLETOWN—Corner Stage, 368 East Main Street, 845.342.4804 Every We- ACOUSTIC OPEN MIC NIGHT Every Th, Fr, & Sa- OPEN BLUES JAM w/ THE MIKE QUICK TRIO 9 PM MIDDLETOWN—Paramount Theatre, 17 South Street,, 845.346.4195 MIDDLETOWN—The Mansion Series, 14 Wilcox Ave., 845.343.3049 MILLBROOK—La Puerta Azul, 2510 Route 44, 845.677.2985 Every Th- OPEN MIC NIGHT 8:30 PM MILLBROOK—Seany B’s, 3264 Franklin Avenue, 845.677.2282 MILLERTON—Manna Dew, 54 Main Street, 518.789.3570 Every Th- OPEN MIC NIGHT 10 PM Every Fr- LIVE JAZZ, BLUES, AND FOLK 10 PM MOUNT KISCO—Aaron Copland House at Merestead, 455 Byram Lake Rd, 845.788.4659 NEWBURGH—Pamela’s On The Hudson, 1 Park Place, 845.563.4505 NEWBURGH—The Ritz Theater, 111 Broadway,, 845.563.694 Sa 2/19- MINNEAPOLIS GUITAR QUARTET 8 PM NEW PALTZ—Gomen Kudasai, 215 Main Street, 845.255.8811 NEW PALTZ—New Paltz Cultural Collective, 60 Main Street, 845.255.1901 Every Th- OPEN MIC 8 PM Sign ups at 7:30 PM Every Su- JAZZ JAM 2 PM Every Third Sa- NEW PALTZ THIRD SATURDAY: live music and art show NEW PALTZ—SUNY New Paltz, Mckenna Theatre, 1 Hawk Drive, 845.257.3880 22

Tu 2/8- VIRTUOSI-IN-PROGRESS recital 7 PM Th 2/17- GREG DRAPER classical guitar AT SHEPARD HALL 8 PM Tu 2/22- CAROLE COWAN violin 8 PM NEW PALTZ—Unison Theater, 68 Mountain Rest Road, 845.255.1559 NEW PALTZ—Water Street Market, 10 Main Street, 845.255.1403 OLIVEBRIDGE—Ashokan Center, 477 Beaverkill Road, 845.255.1559 PAWLING—The Towne Crier, 130 Route 22,, 845.855.1300 Fr/Sa shows at 8:30 PM, Su 7:30 PM unless otherwise noted We and Th- Open Mic Night 7 PM Fr 2/4- CHRIS SMITHER Sa 2/5- LUTHER “GUITAR JR” JOHNSON & THE MAGIC ROCKERS Su 2/6- CHRIS CASSONE BAND w/ DAN LAVOIE 2 PM Fr 2/11- STEPHANE WREMBLE & THE DJANGO EXPERIMENT Sa 2/12- MARY FAHL Su 2/13- NATALIE AMENDOLA w/ DOUG SMITH 4 PM Fr 2/18- PETER CALO & ROB MORSBERGER w/ KATI MAC Sa 2/19- LARRY CORYELL w/ MARK EGAN and JOHN COLLIANI Su 2/20- TANNAHILL WEAVERS from scotland 4 PM Fr 2/25- RHETT TYLER BAND w/ RUBY HOGG Su 2/27- PATTI ROTHBERG w/ ZOE JOBE 4 PM PEEKSKILL—12 Grapes Music & Wine Bar, 12 North Division Street, 914.737.6624 We 2/2- FAMILY FUN NIGHT w/ kids’ open mic 7 PM Mo 2/7- GREG WESTHOFF & THE WESTCHESTER WING BAND 8 PM Th 2/10- OPEN MIC NIGHT w/ petey hop 8:30 PM Fr 2/11- THE RAHSAAN LANGELY PROJECT dinner & romance evening 8 PM Sa 2/12- DUTCHESS DI & THE DISTRACTIONS valentine’s special 9:30 PM Su 2/13- THE RHONDA DENÉT PROJECT 5:30 PM Mo 2/14- THE CALLEN SISTERS 7:30 PM Th 2/17- DREW BORDEAUX, TITO WILSON, RICH KELLY and CHRIS BURKE 8:30 PM Sa 2/19- KJ DENHERT 9:30 PM PEEKSKILL— BeanRunner Café, 201 S. Division Street, 914.737.1701 Every 2nd & 4th We- LATIN JAZZ w/ SKIN AGAINST METAL 7 PM Fr 2/4- MARY CRESCENZO TRIO 7:30 PM Sa 2/5- RICHARD GOODS & NUCLEAR FUSION 7:30 PM Fr 2/11- ARMEN DONELIAN TRIO 7:30 PM Sa 2/12- JAMAIKIT FUNKY 7:30 PM Su 2/13- LAWRENCE ANTHONY 5 PM Fr 2/18- LIGHT RIDERS aka premik and friends 7:30 PM Sa 2/19- A2D QUARTET 7:30 PM Fr 2/25- MIKE CLARK w/ TIM OUIMETTE and KATI MAC 7:30 PM Sa 2/26- SKIN AGAINST METAL 7:30 PM PEEKSKILL— The Division Street Grill, 26 North Division Street, 914.739.6380 PEEKSKILL—Paramount Center For The Arts, 1008 Brown Street, 914.739.2333 Fr 2/4- THE CAROLINA CHOCOLATE DROPS 8 PM Th 2/17- DRIVE BY TRUCKERS 8 PM PEEKSKILL—Peekskill Coffee House, 101 S. Division St., 914.739.1287 POUGHKEEPSIE—Ciboney Cafe, 189 Church St., 845.486.4690 POUGHKEEPSIE—Cunneen-Hackett Arts Center, 9 Vassar St., 845.486.4571 POUGHKEEPSIE—The Bardavon, 35 Market Street, 845.473.2072 POUGHKEEPSIE—Cafe Bocca, 14 Mt Carmel Pl., 845.483.7300 Sa 2/5- RON RENNINGER 7:30 PM POUGHKEEPSIE—Juniors Lounge, 504 Salt Point Turnpike, 845.452.6963 POUGHKEEPSIE—The Chance, 6 Crannell St. 845.486.0223 We 2/2- WE CAME AS ROMANS w/ FOR TODAY, WOE IS ME, TEXAS IN JULY and THE WORD ALIVE 5 PM Th 2/3- LYNCH MOB w/ STARSTRUCK, FREAKSWITCH and MID LIFE CRISIS 7 PM Fr 2/4- THE MACHINE performs PINK FLOYD 8 PM Sa 2/5- THE BAMBOOZLE BREAK CONTEST 12 PM Fr 2/11- JOE LYNN TURNER w/ SHADOWS’ EDGE 8 PM We 2/16- ILL NIÑO w/ A NEW REVOLUTION, EKOTREN and FASHION BOMB 7 PM


Fr 2/25- EAT YOUR <3 OUT FESTIVAL 5 PM Sa 2/26- TIMES OF GRACE 7:30 PM Su 2/27- THE BAMBOOZLE BREAK CONTEST 12 PM POUGHKEEPSIE—The Loft, 6 Crannell St., 845.486.0223 Fr 2/4- MOST PRECIOUS BLOOD w/ INCENDIARY, COLONY, LIVING LASER and AFTER HOURS 7 PM POUGHKEEPSIE—Platinum Lounge, 367 Main Street, POUGHKEEPSIE—Skinner Hall Of Music, Vassar College, 124 Raymond Avenue, 845.437.7319 Fr 2/4- MUSIC FACULTY CONCERT music of beethoven and schubert 8 PM Sa 2/5- open rehearsal: MAHAGONNY ENSEMBLE 11 AM Sa 2/12- senior recital: SAMUEL SCHRADER tenor w/ GREGG MICHALAK piano; music of purcell, schubert, mendelssohn, schumann, gounod, britten, bernstein and others 1:30 PM Sa 2/19- senior recital: DOMINO GEHRED-O’CONNELL soprano & CHARLES O’MALLEY tenor w/ DAVID ALPHER piano; music of mozart, fauré, poulenc, gershwin, porter, and others 1:30 PM Sa 2/19- senior recital: JONATHAN FULLER tenor w/ RICHARD MOGAVERO piano; music of handel, mozart beethoven, satie and others 4 PM Su 2/20- MUSIC FACULTY CONCERT music of oswald von wolkenstein, hans sachs, neidhart von reuental and wolfram von eschenbach 3 PM Sa 2/26- senior recital: TORU MOMII violin w/ THOMAS SAUER piano; music of bach, mozart, sarasate and toru momii 4 PM Sa 2/26- VASSAR COLLEGE ORCHESTRA 8 PM Su 2/27- VASSAR COLLEGE AND COMMUNITY WIND ENSEMBLE 3 PM RED HOOK— Taste Budd’s Café 40 W Market St. 845.758.6500 Every Sa & Su- LIVE AT TASTE BUDD’S live music Sa 2 PM/Su 12 PM Sa 2/5- BUB LUSK 2 PM Sa/Su 2/12- 2/13- ANNE MIRONCHIK 1 PM Sa 2/19- GUNTHER BROWN 1 PM Su 2/20- ACOUSTIC MEDICINE SHOW 1 PM Sa 2/26- C.B. SMITH MUSIC 2 PM Su 2/27- KEVIN MASCH 12 PM RHINECLIFF—The Rhinecliff Hotel, 4 Grinnell St., 845.876.0590 Every Tu- LOCAL MUSICIAN SHOWCASE w/ Karl Allweier 9 PM Every Sa- LATE LOUNGE AT THE RHINECLIFF 9 PM Fr 2/4- ICY MOONS OF JUPITER 8:30 PM Su 2/6- THE BERNSTEIN BARD TRIO 11:30 AM Fr 2/11- BIG JOE FITZ 8:30 PM Su 2/13- VALENTINE’S BRUNCH w/ ELAINE RACHLIN 11:30 AM Fr 2/18- VAGUE ASSURANCES 8:30 PM Su 2/20- BLUE GARDENIA 11:30 AM Fr 2/25- JOHN J & JAY TRAPP duo 8:30 PM Su 2/27- PERRY BREEKMAN 11:30 AM RHINEBECK—Center For The Performing Arts, Route 308, 845.876.3080 Sa 2/19- UNCLE ROCK 11 AM RHINEBECK—Starr Place Restaurants & Lounge , 6417 Montgomery St., 845.876.2924 Every 1st Fr- OPEN MIC Every Th- KARAOKE w/ D.J. TEDESH ROSENDALE—Market Market, 1 Madeline Lane,, 845.658.3164 Th 2/3- FIRST THURSDAY live music showcase 8 PM Fr 2/4- BIG SKY 10 PM Sa 2/5- LULU’S ASCENT w/ LIANA & THE MICHAELS 9 PM Th 2/10- SHANE MURPHY 8 PM Fr 2/11- LARKIN GRIMM w/ NINA VIOLET 9 PM Sa 2/12- 80s PROM NIGHT w/ DJ ALI GRUBER 10 PM Th 2/17- ROSS RICE’S VERY SEXY TRIO, THE ANKLEBITERS 8 PM Fr 2/18- BREAKFAST IN FUR w/ SETTING SUN 9 PM Sa 2/19- TRIBUTON tribute concert 9 PM Th 2/24- OPEN MIC NIGHT 8 PM Fr 2/25- THE SHELTERING SKY w/ DEAD EMPIRES and IT’S NOT NIGHT, IT’S SPACE 9 PM ROSENDALE—Rosendale Theatre, 330 Main St., 845.658.8989 ROSENDALE—The Rosendale Café, 434 Main St., 845.658.9048 Sa 2/5- THE SAINTS OF SWING QUARTET 8 PM Fr 2/11- SALSA DANCE PARTY 9:30 PM Sa 2/12- AMY FRADON valentine’s concert 8 PM


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music listings

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SAUGERTIES—Café Mezzaluna Bistro Latino And Gallery, 626 Route 212 845.246.5306 Every 1st & 3rd Th- OPEN MIC SAUGERTIES—John Street Jam, 16 John Street,, 845.943.6720 Sa 2/12- SARAH BOWMAN, CHRIS MERENDA, CB SMITH, RON RENNINGER, BRENDAN HOGAN and KEITH MONACCHIO 7:30 PM, 10 PM SAUGERTIES—Inquiring Mind Coffeehouse & Bookstore, 65 Partition St., 845.246.5775 All shows 7 PM unless otherwise noted Every Tu- AFTERNOON WITH BOB LUSK instrumental 12:30 PM Every Tu- OPEN MIC w/ CHRISSY BUDZINSKI 7 PM SAUGERTIES—Saugerties United Methodist Church, 59 Post St., 845.246.5021 Su 2/13- SAUGERTIES PRO MUSICA 3 PM STONE RIDGE—Center for Creative Education, 3588 Rte. 209, 845.687.4143 STONE RIDGE—Historic Tralee Barn,, 845.657.5701 STONE RIDGE—Jack And Luna’s, 3928 Main Street, 845.687.9794 STONE RIDGE—SUNY Ulster - Quimby Theater, 491 Cottekill Road, 845.687.5262 TIVOLI—The Black Swan, 66 Broadway, 845.757.3777 WOODSTOCK—Byrdcliffle Art Colony/Theater, 3 Upper Byrdcliffe Way, 845.679.2079 WOODSTOCK—Harmony Café at Wok ‘n’ Roll, 52 Mill Hill Rd., 845.679.3484 WOODSTOCK—The Bearsville Theater, 291 Tinker Street (Route 212), 845.679.4406 Every Th- BLUEGRASS CLUBHOUSE 8 PM Every Th- MISS ANGIE’S KARAOKE 10 PM Tu 2/1- NEKO CASE w/ LOST IN THE TREES 8 PM Sa 2/5- 27th ANNUAL WOODSTOCK TRIBUTE TO BOB MARLEY 8 PM Fr 2/11- MAMALAMA 9 PM Sa 2/12- SYD STRAW’S HEARTWRECKED SHOW (see highlight) 9 PM Mo 2/14- DR. DOG lovers only night (see highlight) 8 PM Th 2/17- THE DON AND BUNK SHOW 8 PM Fr 2/18- JEFFREY GAINES w/ CAT COSENTINO 9 PM Sa 2/19- THE BIG TAKEOVER cd release party w/ ROYAL KHAOS and PAPER PLANETS 8 PM Fr 2/25- THREE 9 PM Sa 2/26- KANE BROS. 9 PM WOODSTOCK—The Colony Café, 22 Rock City Road, 845.679.5342 Every Mo- SPOKEN WORD: poetry, prose, and open mic with vinyl showcase 9:30PM WOODSTOCK—The Kleinert/James Arts Center, 34 Tinker Street, 845.679.2079 WOODSTOCK—Tinker St. Cinema, 132 Tinker Street WOODSTOCK­—Maverick Concert Hall, Maverick Road, 845.679.8217 WOODSTOCK—Woodstock Artists Association & Museum, 28 Tinker Street, 845.679.2940 WOODSTOCK—Woodstock Community Center, Rock City Road, 845.246.2121 Sa 2/12- CONTRA DANCE with caller SARAH VANNORSTRAND music by ANDREW & NOAH VANNORSTRAND 8 PM

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theatre/cinema listings ANNANDALE-ON-HUDSON—Richard B. Fisher Center, Route 9G, 845.758.7950, Box Office: 845.758.7900 ANNANDALE-ON-HUDSON—Ottaway Film Center at Bard College, 845.758.7900 BEACON—Beacon Institute for Rivers and Estuaries, 199 Main Street, 845.838.1600 BEACON—Dia:Beacon, 3 Beekman Street, 845.440.0100, Th-Mo 11 AM- 6 PM BEACON—Howland Cultural Center, 477 Main Street, 845.832.4988 Fr 2/4- CALLING ALL POETS: JIM EVE & WALTER WORDEN 8 PM Sa 2/12- PASSING THE TORCH THROUGH ARTS theatre performance 8 PM BEACON—Howland Public Library, 313 Main St., 845.831.1134 BETHEL—Bethel Woods Center For The Arts, 200 Hurd Road and Route 17B (at the site of the original 1969 Woodstock Festival), 845.454.3388 CHATHAM—PS/21, 2980 Route 66,, 518.392.6121 CHATHAM—Crandell Theatre, 46-48 Main Street, 518.392.3331 ELLENVILLE—Shadowland Theatre, 157 Canal Street, 845.647.5511 GARRISON—Philipstown Depot Theatre, Garrison's Landing, 845.424.3900 GREAT BARRINGTON, MA—The Mahaiwe Theater, 14 Castle Street, 415.528.0100 We 2/2- cinema: GROUNDHOG DAY 7 PM Th 2/3- nt live: KING LEAR by WILLIAM SHAKESPEARE 2 PM Sa 2/5- cinema: WHITE IRISH DRINKERS (2011) pre-release screening 7 PM Sa 2/12- met live: NIXON IN CHINA by JOHN ADAMS 1 PM Mo 2/14- cinema: CASABLANCA (1942) 7 PM Su 2/20- THALIA FOLLIES: DIVIDED WE STUMBLE political cabaret 3 PM Sa 2/26- met live: IPHIGENIE EN TAURIDE by CHRISTOPH GLUCK 1 PM HIGHLAND—Boughton Place Theater, 150 Kisor Rd., 845.691.7578 HUDSON—Columbia Greene Community College, 4400 Route 23, 518.828.4181 HUDSON—Hudson Opera House, 327 Warren Street, 518.822.1438 Sa 2/19- PEKKA theatre for the toddler 10 AM, 12 PM HUDSON—Space 360, 360 Warren St.,, 1.800.838.3006 Shows are 8 PM, Su 2 PM HUDSON—Stageworks - The Max and Lillian Katzman Theater 41-A Cross Street,, 518.822.9667 Sa 2/5- HEDDA LETTUCE 8 PM HUDSON—Time & Space Limited, 434 Columbia Street, 518.822.8448, check website for times Th 2/3- nt live: KING LEAR by WILLIAM SHAKESPEARE 7 PM Th 2/11- nt live: KING LEAR by WILLIAM SHAKESPEARE 8 PM Sa 2/12- met live: NIXON IN CHINA by JOHN ADAMS 1 PM Sa/Su 2/19- 2/20- NIXON IN CHINA by JOHN ADAMS 1 PM Sa 2/26- met live: IPHIGENIE EN TAURIDE by CHRISTOPH GLUCK 1 PM KINGSTON—Arts Society of Kingston (ASK) , 97 Broadway, 845.338.0331 Every Tu- PLAYWRIGHTS’ LAB 6:30 PM 2/11 through 2/13- WITH AND WITHOUT by JEFFREY SWEET KINGSTON—Backstage Studio Productions (BSP), 323 Wall St.,, 845.338.8700 KINGSTON—Coach House Players, 12 Augusta Street, 845.331.2476 KINGSTON—Ulster Performing Arts Center (UPAC), 601 Broadway, 845.339.6088 Sa 2/12- met live: NIXON IN CHINA by JOHN ADAMS 1 PM Fr 2/25- cinema: BACK TO THE FUTURE (1985) 7:30 PM Sa 2/26- met live: IPHIGENIE EN TAURIDE by CHRISTOPH GLUCK1 PM KINGSTON—White Eagle Hall, 487 Delaware Ave, 845.255.7061 Every 3rd Su- WEST COAST SWING WORKSHOP AND DANCE 5:30-7 PM MIDDLETOWN—SUNY Orange, Harriman Hall, 115 South Street, 845.341.4891 MARLBORO—The Falcon, 1348 Rte. 9W,, 845.236.7970 Su 2/20- AMOR & PSYCHE opera 5 PM



theatre/cinema listings

theatre/cinema listings MOUNT TREMPER—Mount Tremper Arts, 647 South Plank Rd., 845.688.9893 NEWBURGH—The Downing Film Center, 19 Front Street, 845.561.3686, check website for times Every Su- FILMS WITH FRANK 1 PM NEW PALTZ—Gomen Kudasai, 215 Main St., 845.255.8811 NEW PALTZ—New Paltz Cultural Collective, 60 Main Street, 845.255.1901 NEW PALTZ—SUNY New Paltz, Mckenna Theatre, 1 Hawk Drive, 845.257.3880 NEW PALTZ—Unison Theater, 68 Mountain Rest Road, 845.255.1559 Fr/Sa 2/11- 2/12- MOHONK MOUNTAIN STAGE COMPANY presents UNDERNEATH THE LINTEL by GLEN BERGER 8 PM Fr/Sa 2/25- 2/26- ALFRED STIEGLITZ LOVES O’KEEFfE by LANI ROBERTSON 8 PM NEW WINDSOR—National Purple Heart Hall of Honor, 374 Temple Hill Road, 845-561-1765 PEEKSKILL—BeanRunner Café, 201 S. Division Street, 914.737.1701 PEEKSKILL—Paramount Center For The Arts, 1008 Brown Street, 914.739.2333 Sunday shows at 3 PM, all other shows at 8 PM unless otherwise noted Sa 2/12- STEP AFRIKA 3 PM PHOENICIA—STS Playhouse, 10 Church Street, 845.688.2279 POUGHKEEPSIE—Arlington Reformed Church, Rt. 44/55 and Main St., 845.475.0803, 845.473.7050 POUGHKEEPSIE—Cunneen-hackett Arts Center, 9 & 12 Vassar Street 845.486.4571 POUGHKEEPSIE—Nelly Goletti Theatre at Marist College, 3399 North Road, 845.575.3133 POUGHKEEPSIE—Poughkeepsie Tennis Club, 135 S. Hamilton St., 845.454.2571 POUGHKEEPSIE—St. John’s Evangelical Lutheran Church, 55 Wilbur Blvd. POUGHKEEPSIE—The Bardavon, 35 Market Street, 845.473.5288, Box Office: 845.473.2072 Th 2/3- CLOWNS by WILLIAM SHAKESPEARE featuring SEAN PATRICK FAGAN and students from poughkeepsie's COLUMBUS SCHOOL 7 PM Fr 2/4- PAULA POUNDSTONE 8 PM Fr 2/11- cinema: AN AFFAIR TO REMEMBER (1957) 7:30 PM POUGHKEEPSIE—Vassar College, 124 Raymond Avenue, 845.437.7319 Every We- RUSSIAN FILM SERIES 8 PM Tu 2/1- FOREIGN FILM SCREENING: NASTROISHCHIK/THE TUNER (2004) Fr 2/4- VRDT DANCE PERFORMANCE 8 PM POUGHKEEPSIE—Mid Hudson Civic Center, 14 Civic Center Plaza, 845.454.5800 RHINEBECK—Center For The Performing Arts, Route 308, 845.876.3080 Fr/Sa shows 8 PM, Su 3 PM 2/4 through 2/6- MAGUS by CAREY HARRISON (see highlight) Fr/Sa 8 PM, Su 3 PM 2/11 through 2/27- CATS by ANDREW LLOYD WEBBER Sa 2/5- WILD WORLD OF ANIMALS by TWO BY TWO ZOO 11 AM Sa 2/12- THE FIREBIRD by THE PUPPET PEOPLE 11 AM We 2/16- A MIDSUMMER NIGHT’S DREAM by WILLIAM SHAKESPEARE young person version by SHAKESPEARE THEATRE NJ 9:30 & 11:30 AM Sa 2/26- MAGIC & BEYOND featuring illusionist DAVID GARRITY 11 AM RHINEBECK—Cocoon Theatre, 6384 Mill Street (Route 9), 845.876.6470 RHINEBECK—Oblong Books & Music, 6422 Montgomery St. (Route 9), 518.789.3797 RHINEBECK—Starr Place, 6417 Montgomery St.,, 845.876.2924 RHINEBECK—Upstate Films, 6415 Montgomery Street (Route 9), 845.876.2515. Call for dates and times. ROSENDALE—Rosendale Theatre, 330 Main St., 845.658.8989 Sa 2/5- CREAM OF SHORTS short theatre retrospective (see highlight) 8 PM Su 2/13- dance film sunday: LIMÓN: A LIFE BEYOND WORDS (2001) 2 PM

SAUGERTIES—Muddy Cup/inquiring Mind Coffeehouse & Bookstore 65 Partition St., 845.246.5775 STONE RIDGE—SUNY Ulster - Quimby Theatre, Cottekill Road (Route 209), 845.687.5000, 800.724.0833 TIVOLI—Kaatsbaan International Dance Center, 120 Broadway, 845.757.5106 TIVOLI—Watts de Peyster Hall, 1 Tivoli Commons, Tivoli, 845.230.7020 WAPPINGERS FALLS—County Players, 2681 West Main Street, 845.298.1491 2/4 through 2/19- THE LION IN WINTER by JAMES GOLDMAN (see highlight) WOODSTOCK—Byrdcliffle Art Colony/Theater, 3 Upper Byrdcliffe Way, 845.679.2079 WOODSTOCK—Kleinert/James Arts Center, 34 Tinker St., 845.679.2940 Fr 2/4- an evening with DAVID BERKELEY reading/performance and book signing 8 PM WOODSTOCK—Overlook United Methodist Church, 233 Tinker St, 845.246.7991 WOODSTOCK—The Bearsville Theater, 291 Tinker Street (Route 212), 845.679.4406 WOODSTOCK—Upstate Films in Woodstock, 132 Tinker St., 845.679.6608 WOODSTOCK—Woodstock Playhouse, Route 212 and 375, 845.679.4101 WOODSTOCK—Woodstock Town Hall, 72 Tinker St., 845.679.7900

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27 |

february/music highlights Fr 2/4, 2/11- TODD SNIDER (2/4) and CHRIS SMITHER (2/11) at Club Helsinki, Hudson—Here’s a killer double shot plucked from Club Helsinki’s formidable February line-up.



deluxe Todd Snider has navigated a singularly windy path, with count ‘em twelve albums bouncing from major to medium labels—MCA, John Prine’s Oh Boy—meanwhile touring relentlessly. Each of those albums are chock full of high value songwriting, reaching from the deepest and most personally resonant moment possible, to the funniest damn thing you ever heard, often in the same line. His latest, the Don Wasproduced The Excitement Plan (Yep Roc) was cut live in two and a half days—with just Todd, Was, steel/ dobro player Greg Leisz, and drum

can't find your event listing? don't forget, we'll be out on the 1st of the month —our deadline is now the


of the previous month

legend Jim Keltner—but it sounds like it took more like a lifetime, it’s that good. Jesse Rubens opens. Then the following week, it’s area favorite Chris Smither passing through, touring his most recent release. Though he usually performs solo—smoky voice over deft fingerpicking blues—Chris recently had such a good time playing with a pickup rhythm section on a run to the Netherlands that he pulled them into the studio, and with a handful of fresh tunes plus choice tracks by Bob Dylan and Mark Knopfler, made Time Stands Still (Signature Sounds/Mighty Albert). For all shows there we recommend making early reservations for dinner—great food, and it’s the best way to get the best seats in the house. Club Helsinki Hudson, 405 Columbia St., Hudson,, 518.828.4800.

Fr/Sa 2/11 & 12- AMERICAN SYMPHONY ORCHESTRA performs Beethoven, Sibelius, Handel, and Jolivet, at Richard B. Fisher Center, Bard College, Annandale-on-Hudson—It must have been quite an evening, that concert on December 8 1813, in Vienna. Good times: the French were on the run, thanks to the Duke of Wellington’s Spanish victory with the Battle of Vitoria, and Napoleon’s defeat in Leipzig. But there was still very much the need for funds to be raised on behalf of Austro-Bavarian soldiers, mostly from the Battle of Hanau, top;

eve n t s @ r o l l m a g a z i n e . c o m 28


Todd Snider, photo by Todd Purifoy, bottom; Chris Smithers, photo by Jeff Fassano

where Napoleon’s army in retreat had left numerous locals injured. This

pop changes, making for one of the more interesting young bands on the

was no ordinary fundraiser though: Ludwig van Beethoven himself was

national scene. Bearsville Theater, 291 Tinker St. (Rte. 212), Woodstock/

conducting not only his new patriotic mini-symphony Wellington’s Victory

Bearsville,, 845.679.4406. SYD STRAW Sa

for the occasion, but also—way more importantly—the world premiere

2/12 9 PM, DR.DOG Mo 2/14 8 PM

of his Symphony No. 7 in A major, which many consider to be his penultimate under director/conductor Leon Botstein, will bring that moment into

Su 2/27- TAJ MAHAL at Ulster Performing Arts Center (UPAC), Kingston—I hear that somewhere there’s a big ass palace—I’m thinking

the present, contrasting again the decidedly martial Victory—considered

India—named after this amazing and inspiring musician. No? Well it

a major influence on Tchaikovsky’s 1812 Overture—with the bold,

ought to be, because as far as I’m concerned, the musical cornucopia of

yet meditative power of the second movement from the Seventh: the

quality this artist has provided the world since the early 60s is every bit as

transcendent Allegretto. Plus, a preview of the 2011 Bard Music Festival’s

well-crafted and durable as that famous place. Though likely best known

featured composer Jean Sibelius with his vocal work Luonnotar, George

for his seminal blues, rock and R&B work over the years—finally netting

Frideric Handel’s “Let the Bright Seraphim” from Samson, and André

two Grammy Awards, in 1997 and 2000— with over 30 releases, Taj Mahal

Jolivet’s Concertino for Trumpet, Strings, and Piano, featuring soloists Mary

has played just every kind of music possible, drawing from sounds from

Bonhag, soprano, and Tamás Pálfalvi, trumpet. With a pre-concert talk (7

the Caribbean, India, and Africa, always with great results. Here are

PM) by Peter Laki. Richard B. Fisher Center, Bard College, Annandale-

three personal Taj Mahal Polaroids for you. One: New Hampshire kid sees

on-Hudson,, 845.758.7900. Both shows 8 PM

the movie Sounder with his folks, 1973, realizing that he had never really

work, or certainly one of them. The American Symphony Orchestra,

heard the blues before, feeling glad he finally was. Two: seeing Taj and

Sa 2/12, Mo 2/14- SYD STRAW’S “HEARTWRECKED” SHOW (2/12) and DR. DOG’S “LOVERS O N LY N I G H T ” ( 2 / 1 4 ) a t Bearsville Theater, Woodstoc—

his band—with Jesse Ed Davis on guitar, set the bar high

Well whaddaya know, another two-

casts a spell, and everybody (mercifully) forgot everything

fer this month. Maybe we’re just

that had happened before he started singing and playing.

making up for lost time here, but

We can’t endorse this show enough: make no other plans

this February has a lot going for it

this evening if you love great music. Ulster Performing

musically in the Hudson Valley. And


for the other bands on The Rolling Stone’s Rock and Roll Circus. Only the Who cleared it. Three: Know-it-all pro with his improvisational pseudo-hippy band opens for Taj in Memphis, early 90s. The man comes out with one guitar,

here’s a nice double shot for V-Day,

Syd Straw

starting with Syd Straw, whose




Broadway,, 845.339.6088. 7 PM

“Heartwrecked Show”—featuring her trademark expressive and smoky vocal style, with appropriate tunes—is usually only caught annually in New York City, but she’s bringing it up to the deep suburbs for one night only. Straw has been a Zelig-like vocalist; collaborators include the Golden Palominos—which included, among others, Michael Stipe, Matthew Sweet, and Anton Fier—as well as Richard Thompson, Peter Blegvad, Rickie Lee Jones, Leo Kottke, and the Skeletons. Plus, she was on The Adventures of Pete & Pete, one of those Nickelodeon shows sentient adults could actually enjoy with their kids in the 90s. But I digress—bottom line, this will be a great show. Then on Valentine’s Day proper, WDST Radio Woodstock 100.1 brings you Dr. Dog, with their special “Lovers Only Night.” The good “doctor” has ties to the area, having recorded their recent release Shame Shame last year at Dreamland Studio, in West Hurley. The Philadelphia-based quintet—“discovered” by My Morning Jacket’s Jim James—has an easygoing organic approach, with fun songs that mix skillfully shambolic NYC-style guitar with Nilsson/Rundgren piano

29 |

Taj M ahal


music reviews THE ERIN HOBSON COMPACT— fortune cookie Philosophy

“Water Signs” is awash in light rhythms and guitars and vocals that sound like they were recorded on the other side of a lake, while “Everyone’s a Critic” is about the friendliest-sounding angst anyone’s heard this side of Carly Simon’s “You’re So Vain.”

(Choking Chicken Records)

Hobson and Co.’s last album, Talk Radio, evokes an era when alternative radio was all the rage, when Jewel and Alanis and Sarah MacLachlan led a mild revolution into the poetic folkhouse of the soul. Fortune Cookie Philosophy picks up where its predecessor left off, at least over the first two tracks (“Fortune Cookie Philosophy”, “Material Things”). But that’s where Fortune Cookie Philosophy crumbles, though rather than falling apart altogether, it hits the roots and the dirt. “Purple Crayon” is where the album goes off the plan, shuffling along a loose Stones-y trail that opens up the remainder of the set to new worlds. “Not a Love Song” is about as far away from the shrill post-punk cacophony of the similarly named decades-old number by Public Image, Ltd., and unless shrill post-punk cacophony is your thing, that’s probably a great relief.

Fortune Cookie Philosophy is a collective work, though it’s really a showcase for Hobson’s smooth voice and guitar and her musical and songwriting partnership with Steven Ross. In the latter, fans of plaintive, soulful sounds will find a wealth of pleasure to behold. —Crispin Kott Erin Hobson Compact has their CD release party for Fortune Cookie Philosophy at Keegan Ales, 20 St. James St., Kingston, Friday February 25, at 8 PM.

C.B. SMITH — Flesh & Bone

LOVE EAT SLEEP—love eat sleep (Bernsteini Music)

(C.B. Smith Music)

There’s so little available to let the world know who Love Eat Sleep is— if you happen to not be familiar with bandleader/songwriter Jeremy Bernstein’s work with Woodstock favorite, Stoney Clove Lane—we’re left to rely almost solely on the music. That’s not necessarily the worst thing in the world, unless the last thing you want to hear is crunchy guitars, vocals that blend the rough with the smooth, and mid-tempo rock ‘n’ roll that goes almost anywhere but up. But if that idea sounds good to you, jump right in, because Love Eat Sleep may be one of the great unheralded albums of late 2010.

Guitarist, songwriter, and vocalist C.B. Smith isn’t an anomaly, though he is an original. The Catskills are rife with rootsy Americana music, and Smith—host of a long-running songwriters night at Woodstock’s Colony Café—certainly falls into that broad category. But he also approaches his music from an angle that’s absolutely genuine, and that’s always worth a listen regardless of the genre.

Bernstein has a pretty terrific beard, if his Facebook profile is to be believed. You might think that doesn’t much matter, but when you think of all the ironic indie beards roaming the streets of Brooklyn, it’s nice to see some facial hair given an air of authenticity by some seriously earthy music. Witness “Glow,” which ambles in like a coherent Devendra Banhart backed by a kick-ass band. Dig the country-fried harmonies and unashamed positivity of “Let Go,” or the backwoods Sparklehorse fuzz of “Ruby Dog” (including a reference not lost on anyone who’s seen The Wiz.) Love Eat Sleep is a curious and odd animal, but one you’re going to want to let stay a while if it comes through the front door. —Crispin Kott

Make no mistake, though: Flesh & Bone is authentic, alright, so much so that you can hear the picks and fingertips on the metal of guitar strings. The production is spare enough that it’s like you’re right there in the room, feeling the electricity flash. Though the album bears his name alone, Smith is generous with his fellow musicians, including Matt Bowe (mandolin), Andy Bing (dobro) and Chuck Jacob (upright bass). They not only get plenty of face time on the CD artwork, but they’re also right there in the mix, an integral part of the music as it’s heard just as they clearly were in its inception. “Limelight (Three Kings)” is a jaunty acoustic shuffle almost tailor-made for intimate stages, while “Something ‘Bout a Train” does in three minutes what most films can’t accomplish in two hours in evoking the romance of rail travel.

Love Eat Sleep will be performing at Levon Helm’s Midnight Ramble, Woodstock, Saturday February 26. Please visit for ticket info.

Though the group’s sound is as tightly knit as a wool sweater, a few guest appearances blend seamlessly into the overall aesthetic, including the somber heartbreak of “Blue Sky Girl,” a duet with Leslie Ritter.


—Crispin Kott


roll back Various Artists— Gastonia Gallop: Cotton Mill Songs & Hillbilly Blues (Old Hat Records) Various Artists— Bloody War: Songs 1924-1930 (Tompkins Square Records)

When it comes to old-time country, the music captured at the dawn of the recording age is truly where the rubber—or perhaps the wooden wagon wheel—meets the road. The rural musicians one hears on the crackly 78s waxed in the pre-World War II period were born just before or after the turn of the last century, and were the final survivors of an era of oral tradition where songs were still learned firsthand; as phonographs became more affordable people began to learn and copy songs from records instead of only each other, steadily sowing the seeds of sameness. Thus, it can be said that record-making technology has been both a blessing and a curse: While it’s provided the invaluable service of preserving thousands of amazing performances and immortalizing almost as many of the actual songs, it’s also somewhat taken a hatchet to the very untutored innocence that defines the folk process. All of which means that raw, down-home sounds like the ones on these two fine compilations represent the last burning embers of a rapidly dimming epoch. In addition to variations on the rustic Anglo-folk ballads passed down from their elders, topical songs were central to the repertoires of many early country artists. Floods, train wrecks, the Great Depression, and maritime disasters are staple subjects on the “hillbilly” records of the 1920s and ’30s. And of course so is working life and all that often goes with it: hard labor, tough conditions, poverty, and, shall we say, the lessthan-fair conduct of many employers. Covering the years 1927 to 1931, Gastonia Gallop: Cotton Mill Songs & Hillbilly Blues focuses mostly on the latter via music from Gastonia County in North Carolina’s Piedmont region. The area was home to some incredible players, rough-’n’-ready types who performed at weekend dances but, come Monday, were once again back in the textile mills, toiling alongside their audiences. The 24 cuts here, all heavy on harmonica, banjo, fiddle, and guitar, include odes to workaday concerns (David McCarn’s “Cotton Mill Colic,” Wilmer Watts and the Lonely Eagles’ “Been on the Job Too Long” and “Cotton Mill Blues”), as well as clog-hopping dance tunes (the title tract by McCarn, the Three ’Baccer Tags’ “Get Your Head in Here,” Fletcher & Foster’s “Charlotte Hot Step”). A beautifully assembled booklet includes an introduction by the Carolina Chocolate Drops’ Justin Robertson and the fascinating account of assassinated protest singer-songwriter and labor leader Ella May Wiggins.

Another of the topics of the day was one that, quite tragically, also continues to be all too timely now: war. The 15-track Bloody War: Songs 1924-1930 explores this tragic subject with pieces that were written in reaction to World War I, such as “Uncle Sam and the Kaiser” by Ernest V. Stoneman and “The Rainbow Division” by Tom Darby and Jimmie Tarlton. But, emphasizing the heritage of what were even then being marketed as “old-time Southern tunes,” the set also holds items harkening back to the Civil and Spanish-American wars (respectively, “The Faded Coat of Blue” by Buell Kazee and “Not a Word of That Be Said” by Wade Mainer, who is still alive at 103; and “The Battleship of Maine” by Red Patterson’s Piedmont Log Rollers). Fans of early country should already know “white blues” king Frank Hutchison, as well as Fiddlin’ John Carson and the duo of G.B. Grayson and Henry Whitter; cutting across the racial barrier are offerings by African-American blues acts Coley Jones and William and Versey Smith. Appropriately, proceeds from the album will benefit Iraq and Afghanistan Veterans of America.

—Peter Aaron Gastonia Gallop: Bloody War:

31 |

tax relief act of 2011



By Beth Jones, RLP®

f 2012. State and local sales tax, higher education tuition, and teacher’s classroom expense deductions were extended only through 2011. Please note: Although it is not a deduction, you can still exclude from income up to $5,250 of employer-provided educational assistance for higher education.

The Tax Relief, Unemployment Insurance Reauthorization, and Job Creation Act of 2010 was signed into law on December 17, 2010. Without this compromise legislation, income and estate tax rates for most Americans would have increased. But this reprieve is only temporary, as most of the new tax provisions expire at the end of 2012. Here’s a quick guide to the key provisions.

Other credits: Tax credits directly reduce your tax liability and are potentially more valuable than deductions. The refundable Child Tax Credit, the expanded Child and Dependent Care Credit, and the American Opportunity Tax Credit (formerly the Hope Credit) have been extended through 2012.

Capital gains and qualified dividends: Long-term capital gains and qualified dividend rates will remain at a maximum tax rate of 15 percent for 2011 and 2012. Taxpayers in the 10-percent and 15-percent brackets qualify for a 0-percent tax rate on all or some of their capital gain income. This provision is good news to taxpayers who rely on dividend income; without Congressional action, dividends would have been subject to tax rates as high as 39.60 percent in 2011. Itemized deductions and personal exemptions: Taxpayers will use their itemized deductions and personal exemptions regardless of their income. Repeal of the itemized deduction and personal exemption phaseouts will continue through 2012. (For some taxpayers, several itemized deductions are not recognized under the Alternative Minimum Tax calculation.) Marriage penalty: The standard deduction for married couples who file jointly will continue to be double the deduction for single filers through 2012. Alternative Minimum Tax: The 2010 and 2011 AMT exemptions were increased, resulting in a reduction of the impact of the AMT on middle class taxpayers. More significantly, certain nonrefundable personal credits can be used to offset AMT liability for 2010 and 2011. These include the Child Tax Credit, Child and Dependent Care Credit, Nonbusiness Energy Property Credit, and others. Charitable IRA: For tax years 2010 and 2011, taxpayers over age 70½ are permitted to make a tax-free transfer of up to $100,000 from their IRAs to qualified charities. Transfers intended to qualify for the 2010 tax year can be made as late as January 31, 2011. Making a transfer from your IRA can satisfy some or all of your required minimum distribution. Payroll tax reduction: In 2011, payroll taxes will be reduced 2 percent. Because the tax act was passed so close to the start of 2011, expect some delay before the reduction is reflected in your paycheck. Energy-efficient improvement credit: Expenses paid for energyefficient furnaces, water heaters, insulation, windows, doors, and other qualified property may qualify for a credit through 2011, although the maximum lifetime credit is reduced to $500 for 2011. If a credit was taken in a prior year, no further credit is available. Other deductions: The expanded student loan interest and Coverdell education savings deductions were extended through

roll—dollars & sense

Individual income tax rates: Rates will remain at the 2010 levels for 2011 and 2012 for all taxpayers, including couples with income over $250,000 and single taxpayers with income over $200,000. The lowest marginal tax bracket will remain at 10 percent and the highest will stay at 35 percent.

Business tax extenders: Several business-related tax provisions scheduled to expire in 2010 were extended. If you are a business owner, contact your tax advisor as to provisions that may affect you. Estate and gift taxes: Based on the expiration of previous legislation, there was no estate tax for taxpayers who died in 2010. There was also no automatic “step-up in basis” that brought an heir’s basis in his or her inheritance up to fair market value. So, in 2010, some beneficiaries realized a higher income tax impact when they sold the inherited assets than they would have paid in estate taxes. Congress attempted to fix this inequity by giving executors the choice of tax treatments. Executors for decedents who died in 2010 have the choice of: 1. A $5 million exemption and a 35-percent top estate tax rate or 2. No estate tax, but a cap on an income tax basis increase for estate assets. The lifetime gift tax exclusion for gifts transferred in 2010 remains $1 million. For deaths after December 31, 2010, the estate tax returns. The new act reunifies the gift and estate tax exemption and increases it to $5 million per taxpayer, with a maximum tax rate of 35 percent. This means that you can potentially give away $5 million during your lifetime without tax impact. The generation-skipping tax exemption will also increase to $5 million. Remember that, for lifetime gifts, you can apply a $13,000 per donee annual exclusion to your gifts before you tap into your unified credit exclusion. Married couples can double the annual exclusion and gift $26,000 per donee. A new provision added to the tax code is the portability provision, which permits a spouse to apply the unused portion of a deceased’s spouse’s $5 million exemption to increase the surviving spouse’s available exemption. In light of the new estate provisions, 2011 is a good time to have your estate planning documents reviewed by your attorney to ensure the language is flexible enough to adapt to your goals. This material has been provided for general informational purposes only and does not constitute either tax or legal advice. Investors should consult a tax or legal professional regarding their individual situation. Beth Jones, RLP® is a Registered Life Planner and independent Financial Consultant with Third Eye Associates, Ltd, a Registered Investment Adviser located at 38 Spring Lake Road in Red Hook, NY. She can be reached at 845-752-2216 or Securities offered through Commonwealth Financial Network, Member FINRA/SIPC. © 2010 Commonwealth Financial Network®



february/theatre/cinema highlights Fr-Su 2/4, 5, 6- Woodstock Players and CENTERstage present MAGUS, by CAREY HARRISON, at The Center for Performing Arts at Rhinebeck, Rhinebeck—Fans of the late Rex Harrison—My Fair Lady, Doctor Doolittle, Cleopatra, etc.—should be glad to know that in the case of son Carey Harrison, the apple didn’t fall far from the tree. An acclaimed actor, director, and playwright in his own right, the junior Harrison’s plays have been seen in over 30 countries, and broadcast on Masterpiece Theatre in the U.S. His new play, Magus, celebrates the power of magic, bringing together William Shakespeare, Franz Kafka, and Miguel de Cervantes in the dreams of one man: the famous Elizabethan mathematician and sorcerer Sir John Dee, performed by the author/director himself. And speaking of magic, CPAR has more in store later in the month for young people, with an elementary school-age performance of Shakespeare’s A Midsummer Night’s Dream by Shakespeare Theatre of New Jersey (We 2/16, 9:30 & 11:30 AM), and Magic & Beyond, featuring illusionist David Garrity (Sa 2/26, 11 AM). The Center for Performing Arts in Rhinebeck, 661 Rte. 308, Rhinebeck,, 845.876.3080. Fr/Sa 2/4 & 5 8 PM, Su 2/6 3 PM

2/5 th r o u g h 2/19- C o u nty Players present THE LION IN WINTER, by J ames G oldman, at the County Players Theater, Wappingers Falls—If you think your family Christmas gatherings are dysfunctional, you should check out this bunch. It’s 1183, and King Henry II is having his wife Eleanor of Aquitaine—who, by the way, he has had imprisoned for ten years—visit his French château. Three sons vie for succession to the throne: he favors the youngest, she favors the oldest, while the one in the middle plays one off the other. James Goldman’s The Lion in Winter plays out the inevitable royal family conflicts with wit and intelligence, and the Broadway play (1966) has spawned an Oscar-winning film starring Peter O’Toole and Katherine Hepburn (1968), a made-for-television version with Patrick Stewart and Glenn Close (2003), and a 1999 revival on Broadway with Laurence Fishburne and Stockard Channing. One of the premier community theatres in the region—The County Players— takes on the now-classic work, with CP first timers Jeff DeRocker and Erle Bjornstad in the lead roles. Directed by Bill Peckham. County Players Theatre, 2681 W. Main St., Wappingers Falls,, 845.298.1491.Performances are Fr/Sa 2/4, 5, 11, 12, 18, 19 8 PM, Su 2/13 2 PM

Sa 2/5- Actors & Writers




retrospective of short theatrical works by the company, at the

Rosendale Theatre, Rosendale—Theatregoers in the Hudson Valley are in luck: Actors & Writers—a 26-member ensemble of theater, TV and film professionals who all live in the region—have made their new residence at the newly purchased and refurbished Rosendale Theatre. Now A&W

performances can be produced year-round instead of just in the summer (there was no heat at their previous home at the Olivebridge Odd Fellows Hall). This enormously gifted group of writers and performers—which includes Academy Award nominees Melissa Leo and Ron Nyswaner, SNL alumna Denny Dillon, and stage and film luminaries Mary Louise Wilson and Adam LeFevre, among others—tends more toward the staged reading, often working out new scripts by company members. But they also host cabarets, short play festivals, and even productions in caves, with only one guiding artistic policy: “Nothing by Andrew Lloyd Webber.” They celebrate their 20th year in 2011, so they’re A & W photos by Jennifer M ay kicking it off with an evening of “vintage gems” from their annual Shorts Festivals, featuring pieces by company writers Katherine Burger, Mark Chmiel, Sarah Chodoff, Mary Gallagher, Mikhail Horowitz, Adam LeFevre, Nicole Quinn, Laura Shaine, Nina Shengold and David Smilow. Rosendale Theatre, 408 Main St., Rosendale,, 845.658.8989. 8 PM

Su 2/13- Rosendale Theatre Dance Film Sunday presents a tribute to dancer José Limón: a screening of LIMÓN: A LIFE BEYOND WORDS, at the Rosendale Theatre, Rosendale—As part of their ongoing Dance Film Sunday series, the Rosendale Theatre Collective will have a special screening of Limón: A Life Beyond Words (2001), an awardwinning documentary about José Limón, the revolutionary modern dancer and choreographer (1908-1972) described by The New York Times as the “greatest male dancer of his own or any other time.” Directed by Malachi Roth and narrated by Uta Hagen and Isaiah Sheffer, the film details how the tumultuous events of Limón's childhood and youth directed his artistic life. Deborah Jowitt of the Village Voice wrote about Limón: A Life Beyond Words, “This film is important to the entire dance world, and to those everywhere who value artists.” With a post-movie discussion led by Sarah Stackhouse, who worked closely with Limón. Rosendale Theatre, 408 Main St., Rosendale,, 845.658.8989. 2 PM

33 |

roll art & image

everybody WSA office/gallery building, photo by John Kleinhans


estled in the crook of a turn on Rte. 212 just a few miles east of Woodstock, the school compound could be easy to miss, were it not for the sculpture: a clutch of oversized multi-colored straws positioned out front. But we make the turn into the driveway, the neutral white of the new snow throwing into stark relief the six bluestone and timber structures that comprise the Woodstock School of Art, all of which are humming with artistic activity on a cold January afternoon. “Art School,” some sniff, like it’s some luxury, hardly useful in this blink-and-miss digital era. But if there is one thing the WSA folks know, is that there is an artist inside each of us—for some, cowering in a psychic corner—that could use some breathing time. The school offers a unique blend of freedom and seriousness, where artists at all levels can find top-flight instruction, equipment and resources, alternate modes of expression, with a naturally beautiful artist-friendly environment to create in.

Since Roll started in 2007, we’ve often relied on word-of-mouth and reputation when selecting featured artists, which have so far included Robert Angeloch, Eric Angeloch, Mariella Bisson, Jenny Nelson, Lois Woolley, and Hongnian Zhang. All are—or have been— 34

instructors at WSA. To say it’s the premier private art school in the region would not at all be an overstatement. So this being our education issue, how could we not check it out? “You’ve gotta be nuts,” WSA Executive Director Nancy Campbell tells me. No, she’s not giving me a personal rebuke for an impertinent question, she’s matter-of-factly telling me the academic requirements for enrollment at the school. Artist/instructor/”WSA lifer” Eric Angeloch nods agreement. “I’ve got high school students who really don’t know much of anything, and in the same class I’ve got a guy who has been a professional illustrator and designer for perhaps 30 some-odd years, he can draw like crazy, he’s great. But he needs a different environment for the more painterly things he wants to do. We get everybody.” The lack of pedagogical canon makes it easy for students to dip into their discipline of choice, be it drawing, painting, landscape and figure study, abstract, watercolors, graphic design, lithography, printmaking, collage, portraiture, whatever. Weekly classes with faculty are enhanced with monthly daylong workshops in a wide range of disciplines; Woodstock is and always has been a hotbed of artistically talented folks, willing to share. Students are predominantly regional, though the school has a (unheated) dormitory/barn available for lodging in the summer.


is an artist: The Woodstock S • c • h • o • o • l of Art

by M. R. Smith


n the late Thirties, The National Youth Administration was a New Deal agency charged with the mission of helping young people retrain for new employment, and for their New York program the Woodstock area was chosen—“the center for arts and crafts for America,” according to director Richard S. Wallach—for a crafts school, teaching skills such as metal and wood work, stone quarrying and carving, blacksmithing, weaving, and wool processing. In 1939 local sculptor Tomas Penning was tapped to design the compound of buildings at the old farm off Rte. 212, and the students themselves quarried the bluestone, using it to build the structures under the supervision of Penning and regional artisans and instructors. The program was a success, but thanks to World War II, enrollment vaporized, and the school closed down in 1942, as most of America’s youth suddenly found itself otherwise employed overseas.

of establishing the town as an art mecca, having a successful run there until its last class in 1926, when they pulled back to their New York City base. But as the post-war art scene was starting to flag in Woodstock in the late 40s, several artists—particularly painter Arnold Blanch— wanted to re-establish the League at the old craft school, and with their help leased the buildings and property from then-owner,the City of Kingston Water Department. The revived school opened in 1947 and was a hit, thanks to esteemed faculty including Blanch, Fletcher Martin, Yasuo Kuniyoshi, Paul Burlin, and sculptor Paul Fiene, even providing a setting for three national arts conferences in the first years, sponsored in part by the Woodstock Artists Association. But as attendance began declining in the late 60s, the Kingston Water Department still refused to sell the land to the League, which needed to build dormitories on the property to attract and keep non-local students. The school couldn’t afford to keep losing money, so the League left when the lease ran out in 1979. Once again the buildings stood vacant.

Five years later, the buildings still stood dormant. Enter the Art Students League of New York, which though originally established in the city in 1906, had a satellite school in Woodstock that played a big part 35 |

Painting Class, photo by Eric Angeloch

And in spite of the tepid economy, student count has been up recently, the most since 2007. Internationally known artists Hongnian Zhang, Eric Angeloch, and Staats Fasoldt have increasingly popular painting, drawing, and watercolor classes respectively, and Kate McGloughlin’s graphic design programs—covering printmaking, collagraph, monotype, carborundum printing, etc.—have been taking off lately. It’s all a fitting extension to the history of the bluestone buildings, built right after the Great Depression by an offshoot of the Work Progress Administration, to help youths 18 to 24 learn some sort of viable trade. In fact, First Lady Eleanor Roosevelt personally attended its dedication, in 1939.

continued on pg 36...

continued from pg 35...

Jenny Nelson's abstract painting class, photo by John Kleinhans

Staats Fasoldt's watercolor class, photo by Eric Angeloch

Flashback to 1968, where five young artists—Robert Angeloch, Franklin Alexander, Lon Clark, Wallace G. “Jerry” Jerominek, and Edward Chavez—decided to form their own school on the second floor of a one-time stagecoach stop and tavern, overlooking the creek in the center of Woodstock. Though the town was hopping with the hip, music and art were in full blossom in the run-up year to the seminal concert at Yasgur’s Farm in 1969, the brand new Woodstock School of Art promised in their catalog an environment for those not needing “stimulation by bombardment.” The school eventually had to leave the village location— the new landlord wanted to capitalize on the boomtown—managing to survive intact through the partnership and artists’ individual studios. But when the bluestones were vacated in ‘79, Robert Angeloch—who had been a student instructor there during its heyday—saw a unique opportunity, rallying together the local citizens into an ad hoc committee with the purpose of preserving the school site for the use in the service of art, keeping it safe from commercial development, and in the process secured a five-year lease on the property. In 1980 the Woodstock School of Art incorporated as a not-for-profit, and moved in to find they had a lot of work to do, “which I did!” says Eric Angeloch. When the ASL left, “they took everything out of here. The buildings had not been maintained to speak of; the grounds were a mess.” During that transition everybody was pitching in with the refurbishing, often between classes. The greater Woodstock arts community stepped up, funds were raised, donations of money, time, and needed equipment made. Within a few years of opening in 1981, they had doubled their student body, and in 1985, they had winterized enough to offer classes year-round. Finally, in 1993, the Kingston Water Department indicated a willingness to sell the property and buildings. That same year, the complex was accredited by state and federal officials with a listing in the Register of Historic Places, insuring that the character of the site would be preserved; now the city couldn’t sell it to commercial developers even if it wanted to. The price was set at $250,000, a pretty stout price for an organization pretty happy to just break even annually. Though eighteen months of heavy fundraising netted $50,000, things were looking grim for the balance, until an anonymous donor came forward with an interestfree loan of the remaining $200,000—to be repaid over five years—and the sale was completed. The loan was eventually repaid on time, thanks certainly to the ongoing generosity of regional art patrons, and with full ownership and control of the property, the school has survived and thrived ever since. New projects abound in the new year, starting with a monthly critique session led by school instructors titled “Wednesday Afternoons With…”, 36

where students and artists can bring samples of their work to be critiqued with a “blend of honesty and compassion,” giving insight to help artists understand their individual stylistic direction. Every Saturday afternoon all artists have access to a group nude model session (no instruction) for a small fee. And starting in February figurative painter Keith Gunderson will be offering a class in Ecorche: an intensive human figure study that involves using an armature—provided by the instructor—to construct a sculpture of an entire human body, from bones, to muscle, to skin. Gunderson also teaches a companion Artistic Anatomy foundation course for all artists interested in working with the human form, using a live model. Outside of NYC, it’s the only access an artist has to this level of anatomical study. But it’s not all so serious here. Nancy points out: “People are afraid of art and art schools. So many people have said to me, well, I don’t know if I can go there, I’m not an artist. But then as soon as you get in you realize this is just fun, it’s non-challenging, non-confrontational, not competitive. People don’t see if they can do better than the others. One big message we need to get out is: this is for everybody. You don’t have to be able to draw a straight line, most of the time, we don’t.” “I have a ruler,” Eric chimes in helpfully. And an art education tends to elevate the students’ quality of life, wherever they end up. Eric—who for many years has been teaching his drawing/painting/composition class “Thursday afternoons, 1 to 4…for the rest of my life!”—knows its real value. “I’ve actually gotten quite a few emails from former students, who were grateful to have studied here, and how it’s affected their professional lives. High school kids too, who ended up going off to college, (some) ended up as flower artists, design professionals, whatever. They all seem to really credit the school with helping them.” Indeed, the bluestone buildings—cheerily lit by abundant north light through skylights and wide windows—seem alive with a positive purpose not too far distant from the buildings’ original New Deal intent some 70 years ago—with a (thankfully) much smaller Depression preceding. As Eric says, “I always tell people, if you’re ever in a class where you’re not having fun, you should probably try elsewhere. And very rarely do people leave.” Please visit for more information about the Woodstock School of Art, 2470 Rte. 212, Woodstock, 845.679.2388 Special thanks to Polly Klein for additional historical information.


roll cuisine corner

for the love... of chocolate by Julie Goldstein

Fast forward five centuries: recently trendy artisan chocolate makers have emerged. These real-life Wonkas create spectacular confections, focusing on sustainably grown and harvested cacao as well as pure and interesting ingredients paired with the chocolates. Most take scrupulous steps to experiment with different procedures and combinations that make their sweets unique. Seattle-based Theo Chocolate produces specialty Fair Trade chocolate with pairings such as sea salts, herbs, and spices. Brooklyn’s Mast Brothers Chocolate was created by two brothers, who conduct the entire chocolate-making process apart from growing the beans themselves, even making the decorative wrappers from recycled paper. The ultimate indulgences at Bull and Buddha are our chocolate and banana wontons. We take rich dark chocolate and minced bananas, wrap the mixture in wontons and fry them until they are crispy. They make a perfect dessert to share this Valentine’s Day at our Poughkeepsie location, or you can try to make them at home.

Ah, chocolate: exhilarating to find in eggs on Easter, exciting to gamble for on Chanukah, and thrilling to collect on Halloween. And, of course, the most sensual holiday for chocolate is Valentine’s Day: those who celebrate the day may find themselves in a dash on February 14th to pursue the most romantic gift— champagne and roses are nice, but you can almost never go wrong with chocolate. So where did this decadent and addictive indulgence come from and how did it transform into one of the most adored foods of all time? Many terms are used when it comes to chocolate, and it can be a bit mystifying to understand which term is attached to which product. “Cacao” refers to the tree or its bean before any processing takes place. “Chocolate” is what is actually produced from the beans, and “cocoa” is the powdered form of chocolate, most commonly used for baking. Chocolate is often described as heavenly; perhaps this stems from Mayan literature where cacao is referred to as god’s food (the Latin name for the cacao tree is theobroma cacao, based on the Greek words for “food of the gods”). Cacao originated in the Amazon at least 4000 years ago, and according to anthropological evidence, the sweet cacao fruit was fermented and consumed as an alcoholic beverage in Honduras as far back as 1400 B.C.E. Now found in cakes, cookies, mousses, and mud pies, chocolate was originally consumed as a beverage. Not as the warm, rich, sweet cup of comfort we are accustomed to today, but a cold bitter drink called xocoatl, or chocolati, from the Mayan term for “bitter water.” Both Mayan and Aztec cultures utilized cocoa beans as the foundation for their stimulating beverage laced with spices and chili peppers. The Aztecs believed that consumption of the beans of the cacao tree enhanced wisdom and power, that it both nourished and fortified the body and soul. Their instincts must have been true as recent studies show that a bit of dark chocolate can be good for the heart and blood circulation. Aztecs also believed chocolate to be an aphrodisiac, which years later many still consider to be true. (Well, at least on February 14.) Sugar was not part of the formula until Spanish explorer Hernando Cortez proposed that the addition of cane sugar to chocolati would enhance the charm and allure of the beverage, which he despised when the Aztec King Montezuma first presented it to him. Little did he know that his addition of sugar would change the way the world viewed and tasted chocolate, especially once it made it back to Europe.

Chocolate Banana Wontons [makes 25] 25 wonton wrappers 2 bananas, peeled and chopped into small chunks 4 ounces bittersweet chocolate, chopped 1 egg, beaten (for egg wash) Vegetable oil for deep-frying Ganache for dipping (see below) In a fryer or large pot, heat oil until about 375ºF, or until it fizzles when a spare wonton is dropped in. In a bowl, mix the bananas and chocolate together. Place the wonton wrappers under a damp towel to prevent them from drying out and, taking only a few at a time, place a tablespoon of filling into the center of each wonton. Brush each side of the wonton with the egg wash, and fold over the filling diagonally, making a triangle, gently pressing out as much air as possible. Carefully place into the hot oil and fry until golden brown.

Dipping Ganache 1 cup bittersweet chocolate, finely chopped 1/3 cup heavy cream ¼ cup chopped toasted hazelnuts Slowly heat the cream in a small saucepot. When it begins to steam remove from heat—be sure not to boil the cream. Slowly stir the warm cream over the chopped chocolate until it is homogenized and silky smooth. Sprinkle hazelnuts on top.

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February 5 | 8pm Actors & Writersâ&#x20AC;&#x2122; creAm of shorts: A shorts retrospective by donation February 11 through 17 the fighter 7:15pm nightly (closed Tuesday) $6/$5 members February 13 | 2pm Limon: A Life Beyond Words $6/$5 members

nightLy movies At 7:15 cLosed most tuesdAys Admission: $6

February 15 | 7pm speAking in tongues $10 suggested donation

upcoming Films & special evenTs a 38

February 18 through 24 true grit 7:15pm nightly (closed Tuesday) $6/$5 members February 25 | 8pm A gospel play by michael monasterial: sAm cook Where hAve you Been BABy? $20 |

© 2011 Nadine Robbins, The Bright Lights of Broadway, Oil on Canvas, 48”x72”



in a custom portrait painting by Nadine Robbins 845-233-0082

c r e ART a t e

galleries 39 |

february/art highlights 2/5

Gallery, through 3/18).

3/19- “WAXING GEOMETRIC” solo exhibition by ASTRID FITZGERALD, at The Gallery at R&F, Kingston—For artists all through

over the world, the R&F Handmade Paints factory in Kingston is an enormously valuable resource in the field of encaustic painting, which is basically the use of pigment-infused hot wax to paint/sculpt on wood or prepared canvas, resulting in color combinations and textural possibilities difficult— if not impossible—to achieve with traditional oil-based paints. The in-house Gallery at R&F is an ideal place to see work in this medium, and through mid-March they are featuring Astrid Fitzgerald’s “Waxing Geometric,” which documents her exploration into “philosophical geometry, including the Fibonacci sequence, the Pythagorean Theorem and—most importantly— the Golden Mean proportion, a unique ratio preferred by nature as the most advantageous geometry for growth and energy conservation.” The Swiss-born NYCtrained Fitzgerald has shown internationally for 25 years, was selected to represent the US at the ArtCanal Exposition in Le Landeron, Switzerland in 2002, and is also an educator and author, presently living in Kerhonkson. The Gallery at R&F, R&F Handmade Paints, 84 Ten Broeck Ave., Kingston,, 845.331.3112. Gallery open Mo-Sa 10 AM-5 PM. Opening reception Sa 2/5 5-7 PM

2/12 th r o u g h 4/14“FROM H UGU E N O T TO M I C R O WAV E ” : new and recent wo rks by MARCO MAGGI, a t the S a m u e l D o r s k y M u se u m , S U N Y N ew P a ltz , N ew Paltz— The artworks of Uruguayan-born Marco Maggi often tend to be subtle studies in extremes, blending the everyday and mundane with images of extreme detail and attention, often with an odd humor that always makes you wonder: do I get it? This exhibition at the Dorsky (in the Chandler and North Galleries) includes recent Plexiglas-and-paper objects, altered rulers and straight edges, aluminum-foil drawings, dropped-paper works, a video projection, and a new, large-scale installation work that intervenes in the gallery space itself. Though he lives and works in New Paltz, Maggi is well-known internationally, with extensive exhibits shown throughout the U.S., Europe, and Latin America since 1998. (Also one of Roll’s first art feature subjects, in 2007.) Also at the Dorsky: “Binary Visions: 19thCentury Woven Coverlets from the Collection of Historic Huguenot Street” (Bedrick Gallery, through 3/18), Part Two of “The Illustrious Mr. X: Museum Collection as Character Study” (Anderson and Corridor Galleries, through 7/17), and “Thoughts of Home: Photographs from the Center for Photography at Woodstock Permanent Collection” (Greenberg

Through 3/5- DIANA BRYAN’S “CUT PAPER UNIVERSE” at Greene County Council on the Arts (GCCA) Gallery, Catskill—Though she passed away recently in 2010, artist/environmental activist Diana Bryan left behind a lasting image in the art world, very much like the stark backlit silhouettes she is known best for. As a respected educator and lecturer, Bryan taught illustration at Parson’s School of Design for 20 years, while teaching workshops on professional development and advising artists on portfolio presentation. She also was a tireless researcher for the Arts, Crafts, Theater, Safety (A.C.T.S.) Organization investigating environmental and occupational safety hazards for artists. But the casual observer will see familiar work; her detailed paper cutouts have graced Rolling Stone and The Wall Street Journal, and she was commissioned to create 13 massive paper cutout murals for the New York Public Library’s Books of the Century exhibit, later translating those works to laser-cut steel. Most recent works include a steel silhouette of the Mid-Hudson Bridge at the Ulster County Transportation Building, and the Dutchess County Tourism mural that includes Bannerman’s Castle, Pete Seeger, and early Dutch settlers. The silhouette format suits her storytelling style, infusing her humor with a tinge of darkness and magic. This show is in tandem with the GCCA Paper Arts Exhibit, see website for more. The GCCA Catskill Gallery, 398 Main St., Catskill, www., 518.943.3400. Mo-Sa 10 AM-5 PM, Second Saturdays 12-8 PM

Through 3/27- “MADE IN WOODSTOCK V” group show by recent participants of WOODSTOCK A-I-R, at The Center for Photography at Woodstock, Woodstock—As an educational and technological resource for the modern photographic artist, The Center for Photography at Woodstock has no peer in the region, making it a useful digital counterpoint to the more classic and analog art instruction at the Woodstock School of Art (see Roll art & image). Since 1999, CPW has sponsored an outreach program to artists of color called Woodstock A-I-R, an artist in residency program that provides students with two to four weeks at Byrdcliffe, combining quiet and solitude with artistic community. The program encourages the pursuit of creative risk-taking in an inspiring and supportive environment where, working without

this pg., clockwise top-bottom, A strid Fitzgerald; Diana Bryan; Daniel Handel; Morales Hernandez; M arco M aggi. next pg., top; Tarrah Krajnak & Wilka Roig, bottom; Tim Davis



distraction, photographic artists can focus intensely on their own work, continue works in progress, lay out their goals for the future and break new creative ground. All this plus critical and technical support, and access to CPW’s Digital Kitchen. Participants from 20072009 are featured in “Made In Woodstock V,” revealing the intensely diverse, dynamic interests of the artists as a group, and addresses each image-maker’s own particular story and voice. Artists include William Cordova, LaToya Ruby Frazier, Tia-Simone Gardner, Lawrence Getubig, Daniel Handel, Wayne Hodge, Jeanette Louie, Hee Jin Kang, Tarrah Krajnak & Wilka Roig, Emily Hanako Momohara, Ricardo Morales-Hernández, Dawit L. Petros, Tim Portlock, Justine Reyes, Kanako Sasaki, Lupita Murillo Tinnen, and Donna J. Wan. If you are interested in the program, applications for the 2011 program are due February 28. The Center for Photography at Woodstock, 59 Tinker St., Woodstock,, 845.679.6337. We-Su 12-5 PM

T hrough 3/27- “150 YEARS LATER: NEW PHOTOGRAPHY BY TINA BARNEY, TIM DAVIS, AND KATHRINE NEWBEGIN” at the F r a nces L ehm a n L oe b A rt C ente r , V a ss a r C o l l e g e , P oughkeepsie — As Vassar College celebrates its sesquicentennial anniversary this year, the Frances Lehman Loeb Art Center continues the school’s strong legacy of capturing the unique architecture and lifestyle of the campus in photography. Three professional photographers were commissioned—none Vassar alumni, interestingly—to create an exhibition that uncovered a side to the school rarely seen by the average visitor. “150 Years Later: New Photography by Tina Barney, Tim Davis, and Katherine Newbegin” is curated by Mary-Kay Lombino, who allows the trio to roam wildly around campus with widely varied results. Barney opts for the more direct approach, with intimate close-ups of people in the school environment, while Davis documents the bittersweet chaos of “Move Out Day,” and Newbegin explores the hidden and forlornly aging basements and attics. Complimenting the exhibition will be original photographs from previously commissioned collections, including architectural shots by Paul Strand in 1915, and a series on campus life by Albert Eisenstadt, for the February 1937 issue of LIFE. The Frances Lehman Loeb Art Center, Vassar College, 124 Raymond Ave., Poughkeepsie,, 845.437.5632. Tu/We/Fr/Sa 10 AM-5 PM, Th 10 AM-9 PM, Su 1-5 PM

“Catch the Spirit of the Mountain” Indian Mountain School 

Rigorous academic curriculum 4:1 student-teacher ratio 600 acre campus Adventure education Film, fine arts and music Strong athletic program 

A Co-Ed Independent School Pre-K 9th Boarding 6th 9th 860 435-0871 211 Indian Mountain Rd., Lakeville, CT 06039

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roll community



By Sarah Charlop-Powers

Save Money, Save Energy Every winter, our national dependence on foreign energy sources becomes glaringly obvious to families across the country. Tied to the fluctuating cost of oil, home heating can be one of our greatest expenditures. The safety net for families facing high energy costs is often insufficient and many households struggle to make ends meet. Despite the availability of information about improving residential efficiency, relatively few individuals take proactive steps to reduce energy use. Last year, New York State passed legislation to stimulate job growth while reducing residential energy costs. The Green Jobs/Green New York (GJGNY) Program provides New Yorkers with access to energy audits, installation services, low-cost financing and training for green-collar careers. The program is endowed with $112 million from the sale of carbon emission credits and is intended to create 14,000 familysustaining jobs, while significantly reducing energy costs for an estimated 1 million homes and businesses.

Home Efficiency The average home loses nearly half of its heat. This is an undue tax on the environment, wasting limited resources and emitting greenhouse gases without providing a human benefit. In contrast, energy efficient homes use far less energy, minimizing both economic and environmental impacts. Most people have very little concept of the inefficiencies in their homes. For example, more than 30% of heat loss comes from walls and ceilings, whereas windows only account for 10%. Unexpected sources such as poorly sealed pipes and fireplaces are responsible for another 25%. The good news is that insulation and sealing tend to be relatively inexpensive, giving homeowners a big bang for their buck. Though the sale of high-efficiency new homes is steadily increasing, new home construction currently represents a small portion of the home market. Improving existing homes is a must and is best accomplished when the characteristics of each building is considered. To accomplish this goal, the New York State Energy Research and Research Development Authority (NYSERDA) has incentivized home-specific retrofits. 42

The Home Performance with Energy Star program is a residential energy audit service that allows homeowners to hire an independent contractor who provides a comprehensive assessment of the home, and with the addition of Green Jobs/Green New York funds, most households qualify for free energy audits of their homes under the program. The auditors, who are certified by the Building Performance Institute, assess the heating and cooling systems of the home, as well as the building’s insulation and windows. Using diagnostic tests which measure air leakage, heat loss and appliance efficiency, contractors can identify costeffective energy saving improvements such as adding insulation, sealing vents and ducts, repairing and replacing heating and cooling systems, water heater upgrades, windows, appliances, light bulbs and health and safety improvements. The auditor provides a detailed report, which outlines suggested retrofits. The report includes a cost estimate and approximate payback period for each improvement.

How to Participate Applicants for this program must own a one-to-four family residential building, meet the income qualifications and may not have previously received a free or reduced cost audit. By submitting a simple one-page


application and providing information about the previous year’s utilities, a homeowner is eligible. The audit is free for households earning less than twice the area median income and are subsidized for families with higher incomes. 92% of households are eligible for free audits. Applications and program information are available at The applicant receives a reservation number that can be used with any contractor in the NYSERDA network. After the audit is complete, the customer can decide whether to pursue the suggested retrofits. Participating customers receive a 10% rebate and are eligible to finance up to $13,000 at rates of between 3.49% and 3.99%. Retrofits are expected to save between 30 to 40% of energy use, resulting in savings that are greater than the associated loan. Information about Energy Star Financing is available at main/homeownersnyfour.

Job Training Opportunities Individuals interested in becoming participating contractors can receive training through the Clean Energy Technology Consortium (CETT) at Ulster, Dutchess, Sullivan, Orange and Rockland community colleges. CETT also offers courses in photovoltaics, wind energy, solar thermal and geothermal. More information is available at

BPI training is appropriate for existing contractors and for individuals interested in a career change. NYSERDA provides a 50% reimbursement for BPI training courses and a 25% reimbursement for home performance equipment. Contractors are reimbursed $250 for each audit performed. All home retrofits must be done with a certified contractor in order to be eligible for rebates and financing. Participating contractors also benefit from funding for advertising and from project referrals from other innetwork contractors.

Why Act Now? With winter well underway, there’s no better time to explore energy efficiency upgrades to your home when you can get a comprehensive audit—which will provide you with valuable information and help you to prioritize future retrofits—at no cost. You’ll benefit from an increased understanding of how your home works and a sense how much individual upgrades will cost. If you decide to invest in retrofits, you can take advantage of low-interest financing and rebates. It is unusual to be invited to take advantage of something with a high value at no cost. Green Jobs/ Green New York offers a rare opportunity—consider signing up today. For more information about Green Jobs Green New York, please visit, and contact Mid-Hudson Energy $mart Communities at 845.331.2238. Sarah Charlop-Powers lives in Rosendale, NY, where she serves as the chair of the Town’s Climate Task Force.

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roll wine & spirits

learning to Taste by Timothy Buzinski co-owner Artisan Wine Shop, Beacon What better occasion than Roll’s Education Issue to ponder my own education in wine. In my early to mid-twenties, before enrolling at the Culinary Institute of America, I had already started exploring wine with keen interest. By the time I arrived at Hyde Park, I was familiar with many of the major grape varieties and some basic growing areas or appellations. Yet, I lacked the ability to differentiate wines in any meaningful way.

or not and if I can discern a direction the wine is going: earthy, red fruit, citrus, spice, floral, oaky, etc., I find this sufficient for my purposes. From there I can delve more deeply, but with more simplistic wines, sometimes I don’t need to in order to enjoy them. If and when I am ready to examine aromas further, I then have a reference point from which to begin.

HOW TO TASTE The turning point came when I was taught “how to taste” during the wines portion of our two-year culinary arts program. Our first in-class wine tasting: could this have been the most exciting moment of my culinary education? A subject I had been dabbling in for years, but without formal instruction. After much discussion and direction on precisely how to open a bottle of wine and an involved pouring process ensuring that each student received the correct wine in the correct glass, we finally set about to taste.

COLOR: First step, evaluate the color and clarity of the wine even before taking a sniff. I quickly lifted my first glass, a white, against a light from the ceiling. This immediately drew the attention of our instructor, Michael Weiss, who warned against this since various lights and surrounding walls could influence the perceived color. The best practice was to use a plain white background placed on the table, such as the white paper the glasses had been conveniently set upon. This was obviously the better choice as it showed off the difference in shade from the wine’s core to its rim. If I hadn’t been in such a hurry to smell and taste the wine, I might have realized how much information could be gained from this simple glance. I now know that color reveals much about the style and age of the wine. A darker white might indicate age or perhaps some grape skin contact, or simply a more robust wine than a lighter-colored version. All useful tidbits when attempting to unlock the mysteries of a given wine. NOSE: Next came the nosing of the wine, a process that uses the most sensitive taste organ to discern aromas & flavors in a wine. When our class was given the go-ahead to smell the wine, we were told not to be bashful. Some were simply waving the glass under their nose as if sampling the latest offering from Chanel (by the way, perfumes and colognes are discouraged). Better to place your nose directly in the glass to identify any aromas captured therein. If you read some wine magazines, you’ll often encounter what seems a laundry list of aromas and flavors tasters perceive in the wine. Quite intimidating when as a student I stuck my nose in the glass of white wine and thought, citrus and maybe some faint grassiness. Over time, I’ve learned it’s not important for me to try to describe every aromatic note. Some would disagree, but as long as I am able to determine if the wine is potentially flawed


PALATE: Of course, tasting the wine was next and here again, the temptation to name each nuance creeps up on you. As a culinary student, this was even more intense, as if trying to decipher the subtle ingredients in a Punjabi curry. Taking a similar tact as with aroma, I try to narrow the focus. Additionally, I pay particular attention to the integration of oak (if present) and the amount of tannins. One of the most surprising revelations of that first tasting was how much focus can be placed on the finish of the wine, i.e. how long after swallowing one can taste the wine. I found this practice was never innate and I occasionally still need to remind myself to consider this, as it can be the difference between an average and a very good bottle of wine. THERE’S MORE TO IT Well, now that we tasted the wine, one would think we were done. Yet I soon found out that this is where the real work begins. As our other instructor, Steven Kolpan, frequently challenged us over the weeks, now was the time to consider the overall merits of the wine. Was the wine in balance, was there too much alcohol or too much acidity or perhaps not enough fruit? Was this wine ready to drink or did it need time in the cellar? What type of food would be appropriate for this wine? So many questions to consider at this point and on that initial tasting day, I could barely remember the wine from the two sips I had taken (and spit, by the way). Now, after much practice, the technique I touched on that day has become a consistent methodology. On that day, I completely missed the fact that I was being given a measuring stick, a way to evaluate the wines I tasted and just as importantly, a way to compare and discuss the merits of various wines. I still use this basic formula for tasting each time I taste a wine. I’ve made the process my own over the years, simplifying certain parts but holding true to the format. This allows me to identify memorable characteristics of the numerous wines we carry; I can group wines together and thus recall the more nuanced points: which wine has more tannin and structure, which has more forward fruit. While this technique is ultimately the basis for any wine education, it is merely one portion. One must consider the historical aspects, the geography of where and the tradition of what grapes were planted, the overall philosophy of the estate, the winemaker, and the limitations or laws of the region or appellation. Only with this knowledge can a


complete picture of the wine be formed; however, critical tasting will always be a legitimate measure of a given wine and thus a value to any wine lover. Now as a professional, tasting wine on a regular basis, this technique is well ingrained, yet there is always room for improvement.

A LIFE-LONG STUDENT Before my wife Mei Ying and I opened our wine shop in 2006, I had worked in wine for almost 10 years. Since then, I’ve continued to taste a considerable number of wines, some as the wine buyer, but others simply to explore certain types and styles. In addition to tasting, I read wine and food magazines, books, articles and blogs. Whenever possible, I pick the brains of winemakers, importers and colleagues to better understand the wines I taste and how they compare with those “benchmark wines” I’ve been unable to taste. It is a never-ending stream of information, covering everything from geographical minutiae to philosophical debates on style. Indeed, this is part of what makes wine so engaging, and makes me a life-long student. As much as I enjoy learning on my own, the classes I’ve taken since graduating from the CIA have expedited the learning process. Each has shown the value a structured course offers. A greater measure of discipline is required and I find my preconceptions and misconceptions challenged in the classroom. So I’m considering taking another class to polish, refine and hone my skills this winter, a quiet and inviting time of year to spend indoors thinking about wine. Perhaps you too would like to brush up on your wine education, in which case, grab a notebook and practice your own rendition of critical tasting; it’s a pleasure in itself and gives you the basis to enjoy the world of wine a bit more fully. Roll’s longtime wine & spirits contributor Timothy Buzinski is the owner with wife Mei Ying So of Artisan Wine Shop, 180 Main St., Beacon,, 845.440.6923. Open Mo-Sa 12-7 PM, Su 12-5 PM

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february/ 2011 © Copyright 2011 Rob Brezsny

ARIES (March 21-April 19): Now and then, members of other astrological signs complain that I seem to favor you Aries above them. If that’s true, I’m certainly not aware of it. As far as I know, I love all the signs equally. I will say this, however: Due to the idiosyncrasies of my own personal horoscope, I have been working for years to get more skilled at expressing qualities that your tribe tends to excel at: being direct, acting fearless, knowing exactly what you want, cultivating a willingness to change, and leading by example. All these assets are especially needed by the people in your life right now. TAURUS (April 20-May 20): I’ve found that even when people are successful in dealing with a long-term, intractable problem, they rarely zap it out of existence in one epic swoop. Generally they chip away at it, dismantling it little by little; they gradually break its hold with incremental bursts of unspectacular heroism. Judging from the astrological omens, though, I’d say that you Tauruses are ripe for a large surge of dismantling. An obstacle you’ve been hammering away at for months or even years may be primed to crumble dramatically. GEMINI (May 21-June 20): My brother Tom and I used to be on a softball team in Santa Cruz. I played third base and he was the pitcher. For one game he showed up with a new glove that still had the price tag dangling. I asked him if he was going to snip it off. “Nope,” he said. “It’ll subtly distract the batters and give me an advantage.” That day he pitched one of his best games ever. His pitches seemed to have extra mojo that kept the hitters offbalance. Were they even aware they were being messed with? I don’t think so. In fact, my theory is that because Tom’s trick was so innocuous, no one on the opposing team registered the fact that it was affecting their concentration. I suggest you try a similar strategy, Gemini CANCER (June 21-July 22): A famous atheist named Edwin Kagin has incorporated performance art into his crusade against religious believers. Wielding a hairdryer, he “de-baptizes” ex-church-goers who want to reverse the effects of the baptism they experienced as children. The stream of hot air that Kagin blows against their foreheads is meant to exorcise the holy water daubed there way back when. Could you benefit from a similar ritual, Cancerian? If you have any inclinations to free yourself from early imprints, religious or otherwise, you’re in a favorable phase to do so. LEO (July 23-Aug. 22): In an old Star Trek episode, a woman visits the starship’s medical facility seeking chemicals she needs to start a hydroponic garden. The chief doctor, who has a high sense of self-worth and a gruff bedside manner, scowls at her. Why is she bothering him with such a trivial request? “Now I know how Hippocrates felt,” he complains, “when the King needed him to trim a hangnail.” (Ancient Greek physician Hippocrates is referred to as the “Father of Medicine” because of his seminal influence on the healing professions.) I suspect that sometime soon, Leo, you will be in a position similar to the ship’s 46

doctor. Unlike him, however, you should carry out the assignment with consummate grace. It’ll pay off for you in the long run—probably in ways you can’t imagine right now. VIRGO (Aug. 23-Sept. 22): In Leonard Cohen’s song “Anthem,” he sings “There is a crack in everything / That’s how the light gets in.” From what I can tell, Virgo, the weeks ahead will be one of the best times all year for welcoming the light that comes through the cracks. In fact, I urge you to consider widening the cracks a little—maybe even splitting open a few new cracks—so that the wildly healing light can pour down on you in profusion. LIBRA (Sept. 23-Oct. 22): When was the last time you created a masterpiece, Libra? I’m not necessarily talking about a work of art; it might have been an exquisite dinner you prepared for people you love . . . or a temporary alliance you forged that allowed you to accomplish the impossible . . . or a scary-fun adventure you risked that turned you into a riper human being with a more authoritative standing. Whether your last tour de force happened seven weeks ago or seven months ago, my sense is that you’re due for another one. The cosmic rhythms are conspiring to make you act like an artful genius. SCORPIO (Oct. 23-Nov. 21): Why is everything so eerily quiescent right now? Should you be worried? Has the momentum been sucked out of your life? Have you lost your way? Personally, I think you’re doing better than you realize. The dormancy is a temporary illusion. To help give you the perspective you need, I offer you this haiku-like poem by Imma von Bodmershof, translated by Petra Engelbert: “The great river is silent / only sometimes it sounds quietly / deep under the ice.” SAGITTARIUS (Nov. 22-Dec. 21): I saw ex-Poet Laureate Robert Hass read and discuss his poem “Etymology.” He said that while many of the fluids of the human body are named with English words, at least one isn’t: the moisture of a woman who is sexually aroused. The Anglo-Saxons did have a word for it, he noted: silm, which also referred to the look of moonlight on the water. “Poor language,” Hass concluded, bemoaning a vocabulary that ignores such an important part of human experience. Your assignment, Sagittarius, is to correct for any problems caused by poor language in your own sphere. If you’ve been lazy about articulating your meaning or needs, then please activate your deeper intelligence. If there’s a situation in your life that’s suffering from a sloppy use of words, reframe its contours with crisper speech. You could even coin some new words or borrow good ones from foreign tongues. CAPRICORN (Dec. 22-Jan. 19): Stand-up comedian Arj Barker says that when he writes each of his jokes, he’s thinking that all he needs to do is make it funny enough to get at least three people in the audience to laugh at it. More than three is gravy, and he hopes he does get more. But if he can just get those three, he believes, he will always


get a lot of work in his chosen profession. In accordance with the astrological rhythms, Capricorn, I urge you to adopt a similar approach. To be successful in the coming days, you don’t need an approval rating of 80 percent. AQUARIUS (Jan. 20-Feb. 18): The renegade spiritual sect known as the Church of the Subgenius values one treasure above all others: not salvation, not enlightenment, not holiness, but rather Slack. And what is Slack? It is a state of being in which everything flows smoothly—a frame of mind so unfettered and at ease that the entire universe just naturally cooperates with you. When you’ve got abundant reserves of Slack, you don’t strain and struggle to make desired events unfold, and you don’t crave things you don’t really need. You’re surrendered to the greater intelligence that guides your life, and it provides you with a knack for attracting only what’s truly satisfying. Happy Slack Month, Aquarius! I suspect you will have loads of that good stuff, which means your freedom to be your authentic self will be at a peak. PISCES (Feb. 19-March 20): “Everybody gets so much information all day long that they lose their common sense,” said writer Gertrude Stein many decades ago. Isn’t that about a thousand times truer in 2011? It takes rigorous concentration not to be inundated with data. But that’s exactly your assignment, Pisces. It’s absolutely crucial for you to be a beacon of common sense in the coming days. To meet your dates with destiny, you will have to be earthy, uncluttered, wellgrounded, and in close touch with your body’s intuition. If that requires you to cut back dramatically on the volume of information you take in, so be it.

To check out my expanded audio forecast of your destiny go to

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Roll Magazine, February  

Creative Living in the Hudson Valley. Articles on art, music & theater as well as extensive events listings.

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