County’s pheasant bounty; voter registration record; teacher job action
From the archives: Nov. 7, 2024
From the archives: Nov. 7, 2024
The following excerpts from The Millerton News were compiled by Kathleen Spahn, Vivian Sukenik, Nancy Vialpando and Rhiannon Leo-Jameson of the North East-Millerton Library.
November 2, 1933
‘Pheasant Season Opens with Bang’; The pheasant season opened literally with a bang, followed by many more bangs at daybreak on Monday morning when scores of khaki clad hunters began their annual invasion of the area populated by the now much pursued feathered denizens. The fusillade is to continue for six days, ending at sunset Saturday night. The pheasants, on whom open warfare was declared without so much as a warning, were in a general retreat within a few minutes after the bombardment began Monday morning, many of the feathered gentry falling before well aimed hunters’ bullets.
With the opening of the season on pheasants Monday, the hunting season is now in full swing. Dutchess County is experiencing one of the best hunting seasons in many years with game more plentiful. Because of private breeders and game clubs, pheasants are more abundant throughout the county than ordinarily.
‘Registration in Dutchess Sets Record’; Exceeds Total Number of Eligible Voters for 1932, Previous High Mark
Dutchess County has established an all time registration record this year with 1,919 more persons eligible to vote Nov. 1 than in 1932, which was the greatest previous registration . The records of the commissioners of electron disclosed that 57,026 registered for the presidential election last year, while this year the total registration for the county is 58,965.
Although an “off;” or local year, the total registration this year exceeds by 4,453 the 1928 registration when the Smith-Hoover campaign stirred up considerable political activity in the county. In that year, the city of Poughkeepsie set an all-time record of 18,000 voters.
When personal and non-personal registration ended Oct. 21, a check-up disclosed that both Poughkeepsie and Beacon dropped a trifle below their 1932 registrations, with only seven out of twenty-four election districts exceeding last year’s mark, while only two districts in Beacon surpassed the 1932 registration. Forty-one of the remaining fifty-five election districts in the county, all of which are located in townships, have increased registration totals. SOme townships and districts reported several hundred new voters having been added to the enrollment…
The town of North East has a registration of 866 in the first district and 751 in the second this year, representing a total increase of 132 over 1932. The town of Amenia has a registration increase of 253 this year, and the town of Dover has an increase of 198 registered voters over last year for the election on Nov. 7…
‘Dutchess Celebrates Birthday’; Anniversary Observed by Historical Society Wednesday; Fitting Pragram [sic]
The 250th birthday of Dutchess County was observed yesterday with a fitting program arranged by the Dutchess County Historical Society. A meeting at the county court house in the morning and a luncheon at the Nelson House at noon comprised the formal observance.
Originally The Duchess’ County, the County continues to spell its name with a “t” at the age of 250, although the letter does not really belong in the name. The county was named after Mary Beatrice d’Este of Modena, and was one of the original counties of the Province of New York. It was almost exclusively settled by Indains, and there were not more than three or four white people dwelling within its boundaries by 1700.
The Duchess for whom the county was named was Italian by birth, daughter of the Duke of Modena and second wife of James Stuart of England from 1685 until her husband as from 1673 till 1685 and Queen of England from 1685 until her husband as James II, was deposed in 1688 and fled into exile. Mary Beatruce’s life was eventful and tragic. She was married at fifteen to a man thirty years older than herself, lived in an alien county and was involved in turbulent political and religious disturbances, finally fleeing into exile with her baby son.
November 7, 1974
‘Webutuck Teachers Cut Extracurricular Activities’; Webutuck teachers pressed their job action one step further this week calling for a stoppage of “all non paying extracurricular activities and all voluntary duties until a new contract is negotiated.”
The Webutuck Teachers Association also stated that effective Monday this week, high school teachers would leave the school building at 3:45 p.m. and primary school teachers would leave at 3:30 p.m.
In a letter sent to Webutuck school administrators from the teachers association, the association stated: “you are fully aware of the present situation of the Webutuck Teachers Association in regard to their lack of current contract.
“At this time we find that we are being forced to adhere to the existing binding contractual agreement. According to the agreement, the teachers shall leave school every day at 3:45 from the high school building, and 3:30 from the elementary and primary school.
“At this time we also are stopping all nonpaying [sic] extracurricular activities and all voluntary duties until a new contract is negotiated.”
Kiau Loi, chairman of the teachers association negotiation committee, stated that the boycott is on activities not in the old teachers’ contract, which expired this past June 30, 1973. These include such activities as teachers participating in dances,
‘Halloween No Longer Fun’; (Letter from the Editor)
Halloween is longer fun. The merry pranksters have disappeared and abusive, irresponsible vandals have taken over.
In Millerton well over $3000 [sic] damage [sic] was done to five different stores and a fire was set. B-B guns and wrist rockets with steel marbles were the weapons used by the brash infiltrators.
Although these metal pellets penetrated only one section of the large display windows at Delson’s, the Village Toggery, J.B. Reed’s and Barnard’s Florists, the entire window must be replaced. In freezing weather the relatively small hole and air pressure will force the whole window to crack.
Although the fire on John Street was minor, the fire company had to be on the scene and thus its attention was directed away from any other possible emergency.
In another incident a man guarding a store was forced to dodge B-B pellets. A friendly jest is one thing, but physical abuse is another. It was also reported that apples were thrown through windows of village residences.
Shaving cream, soap, and tissue paper are harmless tools that allow kids to break the rules innocently one night a year. But heavy artillery is not amusing and no one should be proud of committing crimes like vandalism, arson or assault.
Millerton thought it would do a favor for the revellers and set the curfew for 9 p.m. on Halloween, Armenia had a 7 p.m. curfew and no trouble. Next year Millerton will know better.
November 4, 1999
‘Wind Whammy’; High gusts of wind brought down this enormous tree branch into the front yard of Basil and Maha Gabriel on Highland Street Tuesday. Mr. Gabriel’s Chevy Blazer was seriously damaged, but no one was hurt. Mrs. Gabriel and her son Matthew were at home at the time. Neighbor Mary Ann Sullivan saw the huge limb come crashing down. It took out electrical, phone and cable service for the Gabriels. The family praised both the Millerton Fire Department for guarding the live wires and Central Hudson for its help.
D.H. Callahan
Contemporary chamber musicians, HUB, performing at The Clark.
Northwestern Massachusetts may sometimes feel remote, but last weekend it felt like the center of the contemporary art world.
Within 15 miles of each other, MASS MoCA in North Adams and the Clark Art Institute in Williamstown showcased not only their renowned historic collections, but an impressive range of living artists pushing boundaries in technology, identity and sound.
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCA’s “Technologies of Relation” exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevan’s hand-drawn QR codes and Taeyoon Choi’s large-scale weavings of binary code.
Opening the same night was Zora J. Murff’s “RACE/HUSTLE.” Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece — whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities — carries razor-sharp visual commentary designed to unsettle.

On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled “Typescript,” features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pino’s “Passacaglia,” the quartet’s command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohl’s “Mirage,” a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekend’s larger theme: old tools made new again.
Like della Olga’s typewriter, Vasudevan’s QR codes or Murff’s charged imagery, the performances demonstrated that contemporary art often grows from familiar materials — reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
Aly Morrissey
Francesca Donner, founder and editor of The Persistent. Subscribe at thepersistent.com.
Francesca Donner pours a cup of tea in the cozy library of Troutbeck’s Manor House in Amenia, likely a habit she picked up during her formative years in the United Kingdom. Flanked by old books and a roaring fire, Donner feels at home in the quiet room, where she spends much of her time working as founder, editor and CEO of The Persistent, a journalism platform created to amplify women’s voices.
Although her parents are American and she spent her earliest years in New York City and Litchfield County — even attending Washington Montessori School as a preschooler — Donner moved to England at around five years old and completed most of her education there. Her accent still bears the imprint of what she describes as a traditional English schooling.
Today, she and her family call Sharon, Connecticut, home. While she still travels frequently to Manhattan, she embraces the contrast between city and countryside.
“For me, it’s all about the contrast,” she said, adding that she is friendly and curious about people here in a way that doesn’t feel natural in the city. “I want to know who you are, what you do, and why you’re here. You end up meeting these really interesting people.”
As a longtime editor in newsrooms like The Wall Street Journal, The New York Times and Forbes, Donner said she began to notice something unsettling about how stories were framed, and whose voices were missing.
“It’s just the way news is done,” she said. “It’s the DNA of what we deem newsworthy and important in mainstream media.”
The problem, she explained, isn’t that women aren’t covered at all. It’s that when women are covered, it’s often in a stereotyped way. Women are frequently framed through familiar narratives – the gender pay gap, unpaid labor, caregiving – important issues that persist, she said, but are often treated as repetitive or secondary. Meanwhile, the stories deemed front-page worthy tend to revolve around power, economics, war and politics — and men.
“If we don’t make a deliberate effort to cover women, women won’t be covered,” Donner said.
The issue isn’t unique to any outlet, she stressed. “It’s just the way news is done.”
But that DNA — who gets quoted and whose experiences are centered — has consequences.
And for Donner, that realization demanded a response.
Enter The Persistent.
Founded in 2024, The Persistent was built around what Donner calls a simple but deliberate premise.
“Women don’t get covered in the same way men get covered,” she said.
The goal isn’t to exclude men or create a siloed “women’s section.” Instead, Donner said, it’s about correcting an imbalance by putting women at the center of the story.
Describing the approach as a reframe, this means expanding who is quoted as an expert. It means spotlighting women in business, politics, culture and global affairs. It also means examining major news stories through a lens that mainstream outlets often overlook.
“What we can add,” she said of The Persistent, “is perspective.”
Now approaching its second year — a milestone that will be celebrated next month — the publication operates with an all-women team of writers, editors and illustrators based across the world. The team meets regularly over Google Meet.
“They’re awesome,” Donner said of the editorial meetings. Some of her staff are mothers, some are not. All bring lived experiences to the table. Donner has intentionally created a newsroom culture that balances rigor with support.
“If your writing doesn’t measure up, I’m going to tell you,” she said plainly. “But it’s not a battle. It’s a partnership.”
Beyond publishing stories that matter, Donner wants contributors to be seen.
“I don’t just want people to read the story and forget who wrote it,” she said. “We can do a lot better if we amplify each other.”
As a woman, Donner rejects the idea that success is finite. She wants everyone to have a slice of the pie.
“Just make the pie bigger,” she said. “Bring more seats to the table. Make it richer.”
Donner credits her “mum” for articulating what would become her professional identity.
“You are what you can’t help doing,” her mother used to say.
Today, without hesitation, Donner said she can’t help being an editor.“My identity as an editor is very strong,” she said. Editing, she explained, is less about correcting typos and more about building and shaping ideas.
“Sometimes I imagine this physical movement of cracking something open,” she gestured.
That instinct traces back to childhood. She recalls sitting in a classroom around age 10, listening to a classmate read a short story aloud. For Donner, that moment crystallized something fundamental.
“Someone else’s words made me just sit up straight in my chair and think, wow, that is so good.”
Today, whether she’s in a historic manor house in Amenia or on a Google Meet with her team across the globe, that instinct remains the same: crack the story open, elevate the unheard voice and reframe the narrative.

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Natalia Zukerman
On March 7, Berkshire Opera Festival will bring “Winterreise” to Studio E at Tanglewood’s Linde Center for Music and Learning, with baritone Jarrett Porter and BOF Artistic Director and pianist Brian Garman performing Franz Schubert’s haunting 24-song setting of poems by Wilhelm Müller.
A rejected lover. A frozen landscape. A mind unraveling in real time. Nearly 200 years after its premiere, “Winterreise” remains unnervingly current in its psychological portrait of isolation, heartbreak and existential drift.
Porter, praised by Opera News for his “imposing baritone” and “manifest honesty,” has built his career on major European opera stages, including Oper Frankfurt. But recital work, he says, is closest to his heart.
“I love to recital. If I were to pick my career, I would be doing some opera and mostly recital,” he said. “I think there can be difficulty with grabbing an audience in a recital, but this is one of the greatest pieces to do so because it is so psychological, so powerful, so universally moving.”
Unlike opera, there are no sets in a recital, no costumes or lighting cues to lean on. “The singer with no sets or costumes is left to create a kind of one-man show,” Porter said. His solution is internal. “The way that I process learning something like this and having the responsibility to hold an audience without set or costumes or lights or props is to stage it in my mind. Each song has an identity.”
Schubert’s writing, Porter insists, needs no adornment. “Schubert does an amazing job at setting the scene, and for me, you don’t need anything else. I feel like anything added to it would be almost subtracting. I’d rather just see the singer and the pianist the way that Schubert intended it to be.”
At the center of “Winterreise” is the wanderer, an unnamed figure moving through snow and memory after a failed love affair. For Porter, the character is both specific and universal. “There’s so much ambiguity in the piece,” he said. “We don’t know all of the answers in the first song. We don’t really know who this person is. There are tidbits of information dropped throughout each song. And I think the tendency is to put a narrative on that and to try to connect the dots rather than embracing what it is. The ambiguity is actually where the beauty is.”
That ambiguity extends to the cycle’s ending and the encounter with the eerie hurdy-gurdy player in “Der Leiermann.” Does the protagonist die? “I think one could make that argument,” Porter said. But he resists a neat conclusion. “Death is right in front of him. Death is actually the most peaceful answer to his problem and it’s not given to him. There’s something more, a deeper level.”
Rather than a literal death scene, Porter sees a reckoning. “For me, he’s not granted the easy way out. He has to sort of come to terms with being nothing and having no real skill as a songster or a poet or a wanderer.” The winter landscape, he suggests, mirrors the psyche: “The winter is sort of the mirror of his heart.”
In shaping the emotional arc across all 24 songs, Porter leans into uncertainty rather than resolution. “What I relate to in this piece is that in life, you don’t know what’s going to happen. And you don’t know the next day. Even in tragedy—especially in tragedy—there’s so much question.”
Porter performed Gounod’s “Faust” at BOF in 2024 with Garman conducting but this will be the first time the two will be collaborating with Garman at his instrument. “I love making music with Brian,” said Porter. “I’m a huge fan of his musicianship. I think we’re sort of bitten by the same bug that Schubert is, and so I was super honored that he asked me to do this with him.”
For tickets, visit berkshireoperafestival.org
Sally Haver
Christine Gevert, artistic director, brings together international and local musicians for a season of rare works.
Crescendo, the Lakeville-based nonprofit specializing in early and rarely performed classical music, will close its 22nd season with a slate of spring concerts featuring international performers, local musicians and works by pioneering composers from the Baroque era to the 20th century.
Christine Gevert, the organization’s artistic director, has gathered international vocal and instrumental talent, blending it with local voices to provide Berkshire audiences with rare musical treats.
“The biggest event of this part of our season is our April 25 and 26 concerts, with the US premiere of ‘A Jewish Cantata’ and the iconic ‘Misa a Buenos Aires,’” said Gevert. “The composer, an internationally renowned musician, will come and share the podium with me.”
Among the other season highlights are concerts showcasing the works of two trailblazing female musical innovators, Francesca Caccini, the early Baroque composer, poet and singer; and Wanda Landowska, the 20th-century virtuoso who single-handedly brought the harpsichord back from obscurity. Also not to be missed is the May 30 concert, Bach’s Motets in Concert, featuring all six of Johann Sebastian Bach’s surviving motets, sung by four eight-part double choruses and accompanied by period instruments, widely considered the pinnacle of Baroque choral music.
For a schedule of concerts and tickets, visit crescendomusic.org
Jennifer Almquist
Aldo Leopold in 1942, seated at his desk examining a gray partridge specimen.
In his 1949 seminal work, “A Sand County Almanac,” Aldo Leopold, regarded by many conservationists as the father of wildlife ecology and modern conservation, wrote, “There are some who can live without wild things and some who cannot.” Leopold was a forester, philosopher, conservationist, educator, writer and outdoor enthusiast.
Originally published by Oxford University Press, “A Sand County Almanac” has sold 2 million copies and been translated into 15 languages. On Sunday, March 8, from 3 to 5 p.m. in the Great Hall of the Norfolk Library, the public is invited to a community reading of selections from the book followed by a moderated discussion with Steve Dunsky, director of “Green Fire,” an Emmy Award-winning documentary film exploring the origins of Leopold’s “land ethic.” Similar reading events take place each year across the country during “Leopold Week” in early March. Planning for this Litchfield County reading began when the Norfolk Library received a grant from the Aldo Leopold Foundation, which provided copies of “A Sand County Almanac” to distribute during the event.
Aldo Leopold, born in 1887 in Iowa, was educated at Yale University, where he studied in the newly formed forestry school, graduating in the class of 1909. His then-radical concept of a “land ethic” states that land as a whole — soils, water, plants, animals and humans — should be understood as one community. Leopold explained, “A thing is right when it tends to preserve the integrity, stability and beauty of the biotic community. It is wrong when it tends otherwise.”
For a small town of roughly 2,000 people, Norfolk has an abundance of conservation land, including the 6,000-acre Great Mountain Forest and Aton Forest, a 1,300-acre research forest. It is a community where many share a sense of responsibility to live sustainably on the land. Sharing Leopold’s essays at the Norfolk Library honors his legacy.

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