
Senator Michelle Hinchey leads rally on Friday, March 22 opposing cuts to education funding in the Governor Hochul’s proposed FY 2025 Executive Budget for New York State.
Office of New York State Senator Michelle Hinchey
Senator Michelle Hinchey leads rally on Friday, March 22 opposing cuts to education funding in the Governor Hochul’s proposed FY 2025 Executive Budget for New York State.
Legislators debate cuts proposed by Hochul’s 2025 Executive Budget
KINGSTON — In the final weeks of budget negotiations, State Senator Michelle Hinchey led the New York State United Teachers (NYSUT), parents and school superintendents from schools across the 41st Senate District to call for changes to Governor Kathy Hochul’s Proposed Executive Budget for 2025, which cuts last year’s state record $34.5 billion in public education funding by $419 million.
The cuts would impact all of the state’s nearly 700 school districts, say opponents of the budget; they note that the cuts to education would most heavily impact high-needs districts and small, rural areas.
The cuts are due to a change Hochul has proposed to the state Foundation Aid Formula, which, at over a decade old, is still used to determine school district funding.
Schools in the Mid-Hudson region would be hit hardest by the change, with a 4.2% decrease in total funding, a cut of over $31 million dollars.
In Hinchey’s district alone (parts of Greene, Columbia and Ulster counties as well as northern Dutchess), the cuts would total $25.7 million if the proposed budget is enacted in its current form.
State Assemblymember Sarahana Shrestha of Assembly district 103, which includes Red Hook, Rhinebeck, and parts of Ulster County, partnered with Hinchey in organizing the March 22 rally.
In our schools
Robert Farrier, business administrator at the Webutuck Central School District, said that if enacted, the cuts would impact Webutuck CSD’s academic programs, though which ones and how much has not yet been determined.
Elliot Garcia, Assistant Superintendent of Business and Personnel of the Millbrook Central School District, said that the proposed state budget “has certainly influenced our budget planning for the 2024-25 school year.”
He said that Millbrook CSD had also overestimated the state funding that Millbrook CSD could expect this year (school year 2023-2024) .
“Given that fact, we must plan for the coming school year as if our state aid package will be unchanged, and could potentially be reduced,” he said. He said that the problem “is further compounded by the reality that over 60% of our budget contains expense increases which are either fixed or contractually obligated.
“With that being said, we are being very conservative with our budget projections for next school year,” he said. “We continue to fine tune the proposed budget for the 2024-25 school year to identify any and all opportunities to responsibly reduce our proposed expense budget in kind in order to maintain our existing programs.”
Dr. Brian Timm, Superintendent of the Pine Plains Central School District, said, “The proposed cuts to Foundation Aid by Governor Hochul are extremely impactful to a number of school districts across the state,” including Pine Plains CSD.
He added, “I wouldn’t say at this point that anything in the proposed budget would negatively impact student lives,” but continued, “we are making adjustments to the Pine Plains CSD budget for 2024-2025.”
Timm said that Pine Plains CSD will look at adjusting some services with BOCES and faculty and staff health insurance, but would mostly offset differences by reallocating appropriations funds — “a one time cost to the district that would present a problem moving forward,” said Timm. “It’s not sustainable.”
Legislators’ alternative
On March 14, the Senate and Assembly passed a one-house budget resolution which proposes amendments to Hochul’s proposed Executive Budget including the restoration of the “hold harmless” provision, which ensures that school districts are allocated at least as much aid as they received the previous year, regardless of declines in enrollment.
The budget resolution proposes $747 million in aid to school districts throughout the state (as opposed to the $507 million increase proposed by Hinchey’s budget).
Legislators are also requesting a review of the Foundation Aid formula.
Earlier in March, Hochul’s budget director, Blake Washington, said that a revenue consensus meeting with the State Legislature determined there is $1.3 billion in tax collections coming to the state which had not been previously allocated, which could be used to negate the changes to the Foundation Aid.
“We are hopeful that some if not all of the Foundation Aid is returned for the 2024-2025 school year and that the Foundation Aid Formula is revised,” said Timm.
The final enacted budget will evolve from negotiations between Governor Hochul and the legislative branch.
The budget deadline for New York State is April 1.
Paquito D’Rivera performs at the Mahaiwe in Great Barrington on April 5.
Natalia Bernal is the Mahaiwe Performing Arts Center’s education and community engagement manager and is, in her own words, “the one who makes sure that Mahaiwe events are accessible to all.”
The Mahaiwe’s community engagement program is rooted in the belief that the performing arts should be for everyone. “We are committed to establishing and growing partnerships with neighboring community and arts organizations to develop pathways for overcoming social and practical barriers,” Bernal explained. “Immigrants, people of color, communities with low income, those who have traditionally been underserved in the performing arts, should feel welcomed at the Mahaiwe.”
Partnerships with organizations like Volunteers in Medicine Berkshires (VIM), the W.E.B. Du Bois Legacy Committee, and Community Access to the Arts (CATA) have helped bridge that gap. But for the Latinx community, there’s an even more targeted effort: the Spanish-language Community Advisory Network (SCAN).
“Six years ago, we started an advisory group of Spanish speakers in the community,” Bernal said. “They tell us what the community wants to see, how they’d like their culture represented. Today, SCAN has 12 members. We meet four times a year and are in constant communication. It’s because of them that we’ve hosted free Spanish-language film screenings and live performances.”
For Bernal, this work is personal. “When I first moved to the U.S. in 2003, it was because I got a Latin American scholarship to study at Berklee College of Music. That first year, I went home to Uruguay for Christmas and saw Paquito D’Rivera perform at a jazz festival. I was determined to meet him, and I did. Later that year, Paquito came to Berklee and invited me on stage.”
Now, two decades and 16 Grammys later, Paquito D’Rivera is coming to the Mahaiwe on April 5, and there’s a chance history might repeat itself. “He saw a post we made about his concert and commented, ‘Ay, chica, que maravilla, are you gonna sing a song with us?’ I almost died,” Bernal laughed. “I don’t know if it will happen, but it would be a dream.”
About the possibility of a guest appearance by Bernal, D’Rivera said, “Natalia is a very dear, valuable colleague, and jazz is about improvisation, so the surprise factor is always part of the fun here.”
D’Rivera’s concert is just one example of how the Mahaiwe is making world-class performances accessible. “My whole day has been about offering ‘pay what you can’ tickets for this show,” Bernal says. “We also issued a 50% discount to our partners. We work with ESL teachers, public libraries, literacy agencies, anyone who can help us get the word out.”
That kind of grassroots effort has been transformative. “Last year, we screened ‘Florencia en el Amazonas,’ the first opera written in Spanish ever performed at the Met,” Bernal said. “I sat in the Mahaiwe in tears. As someone who loves opera, it was the first time I heard one written in my own language. It was so powerful.”
Natalia Bernal, Mahaiwe’s education and community engagement managerPhoto by Martin Cohen
For Bernal, it all comes back to representation, on stage and in the audience. “My son is eight. I bring him to everything I can. Spanish shouldn’t just be something that happens at the dinner table. It should be in the world, in all these shapes and forms.”
And that’s what SCAN is helping build: a future where Latinx voices aren’t just included, they are central. “Our SCAN advisors are volunteers, cultural ambassadors,” Bernal said. “They help us distribute surveys, talk to the audience, and strengthen the community. Nobody should feel alone. Everybody should feel like they belong here.”
Education and outreach are central to D’Rivera’s work as well. He said, “It is an important part of our mission to plant and nurture the seed of quality music in our communities.” He continued to say, “Using our visibility and influence in favor of justice is always a very effective vehicle in denouncing violations of human rights around the world.”
This shared mission of education and social justice extends beyond the Mahaiwe. “We are one of the few arts organizations in a monthly meeting with BASIC (Berkshire Alliance for Immigrant Services). We have direct ties to the Berkshire Immigrant Center, VIM, and others so that we are well-informed and ready to serve,” said Bernal.
That commitment to community, culture, and access is why Bernal’s dream panel—Women in the Music Business—would feature Paquito’s wife and longtime manager, Brenda Feliciano. “She’s a tower of power. She’s been managing his career for at least 45 years. If I could organize an event one day, she would be the cherry on the cake.”
Until then, Bernal will keep doing what she does best: making sure the Mahaiwe is a place where everyone, regardless of language, income, or background, feels at home. And maybe, just maybe, she’ll find herself back on stage with Paquito D’Rivera, just like that first time, all those years ago.
For more info and tickets to Paquito D’Rivera, visit mahaiwe.org
There is magic in a home filled with the things we love, and Mary Randolph Carter, affectionately known as “Carter,” has spent a lifetime embracing that magic. Her latest book, “Live with the Things You Love … and You’ll Live Happily Ever After,” is about storytelling, joy, and honoring life’s poetry through the objects we keep.
“This is my tenth book,” Carter said. “At the root of each is my love of collecting, the thrill of the hunt, and living surrounded by things that conjure up family, friends, and memories.”
The creative director at Ralph Lauren for almost four decades, Carter began writing this book during the pandemic, a time of rediscovering comfort. “I found more time to appreciate those special things that give our homes warmth and connection.” Working with Ralph Lauren, she learned that the best spaces tell a personal story. “His desk was filled with toy cars, miniature shoes, superheroes, English dandies, cowboys on horseback. The walls? A gallery of his children’s paintings, iconic photos of Frank Sinatra and Gary Cooper. Everything told a story.”
Carter acknowledges how homes can become overwhelmed with stuff but sees a difference between clutter and collection. “To live happily, create environments that inspire and comfort rather than encumber you! Look around and ask, ‘What is truly meaningful? What makes you smile? What recalls the people and places you cherish?’” Then, she added, “weed out the rest with discipline and courage!”
Provided
Each home in Carter’s book reflects its inhabitant’s spirit. “The first time I walked into Bethann Hardison’s apartment, I knew right away how authentic it was to who she is.” Hardison’s walls are lined with artwork from friends Keith Haring, Jean-Michel Basquiat, and Haitian paintings, testaments to a life well lived. “Though her mantra is, ‘the lighter the load, the freer the journey,’ she also admits some things ‘delight your environment’ and can’t be parted with. Amen to that!”
Having survived two childhood fires, Carter deeply understands what truly matters. “It’s not the things, but the people and memories they evoke.” She loves her collections, but they don’t possess her. “They make me happy, but they do not define me.”
She delights in how people showcase treasures. Paula Grief, for instance, lives in a ten-foot-wide house and had to part with many books. “She tucks the ones she can’t live without through the rungs of her staircase. I love that ingenuity!”
When asked about her most cherished possession, Carter tells a story of loss and serendipity. A childhood portrait of her in a blue velvet dress was lost in a fire. “Years later, the artist’s daughter found another version. Now, it hangs in our apartment, surrounded by flea market art and one of my favorite saints, Our Lady of Guadalupe.”
Adding to the cozy feeling of this book, Carter’s son, Carter Berg, took the photographs, and her sister, Cary, contributed the illustrations. “Cary once stayed in our apartment and painted a dozen objects from our cluttered kitchen. I hung them immediately. When I started this book, I knew she had to capture my favorite objects.”
Four of the featured homes are local to the Northwest Corner, including Carter’s in Millerton, Joan Osofsky’s in Lakeville, Robin Bell’s in Salisbury, and Paula Grief’s in Hudson. They all gathered at the White Hart/Oblong Speaker Series on March 27.
After perusing the richly colored pages of this book, you may feel tempted to shop. “You don’t need money to create a meaningful home,” Carter insisted. “Some of my favorite paintings cost no more than $10 or $25. Value is personal. It’s not about provenance but the story an object tells you or the one you make up.”
Carter’s advice? “Fall in love with the wackiest thing. Surround yourself with what matters, and you’ll live happily ever after.”
The first play in four years returned to the Webutuck Auditorium Friday, March 28. The production of Clue was put on entirely by students from the Webutuck Middle School and starred an ensemble cast of, from left to right, Jacob Dean as Mr. Green, Caroline Eschbach as Mrs. White, Brooke Bozydaj as Yvette, Liam Diaz as Wadsworth, Nolan Howard as Colonel Mustard, Mariah Bradley as Miss Scarlett and Lois Musgrave as Mrs. Peacock who is pictured on the floor of the stage.