New Millbrook Bank branch application moves forward

Elizabeth’s Jewelry and Fine Gifts is the site of a proposed Bank of Millbrook branch on Route 44 in Millerton.
John Coston

Elizabeth’s Jewelry and Fine Gifts is the site of a proposed Bank of Millbrook branch on Route 44 in Millerton.
MILLERTON — The site plan for the Bank of Millbrook was approved during the North East Planning Board meeting on Sept. 18.
The application plans to open another branch on Route 44 in Millerton, where Elizabeth’s Jewelry and Fine Gifts is located. The bank plans to convert the 2,500 square foot store to host different amenities for the public.
“The applicants are proposing to convert an existing 2,500 square foot jewelry store into a branch of the Millbrook Bank,” said Peter Sander, a representative for the bank. “Included in part of these proposed improvements is a new drive-through lane, which will access a teller window and have a bypass lane. We will also be installing an exterior ATM.”
According to Sander, the new entrance will provide better sight lines and regulate traffic flow by having one way out and one way in. Some board members were wary of the new proposed entrance and exit and agreed with the applicants to come back if they feel that is not working in the town’s best interest.
In the last board meeting for site approval, the Bank of Millbrook was sent back to reduce its lighting yet again. The board requested lowering the wattage of the lamp poles around the site.
“In response to planning board comments where we significantly reconfigured the lighting plan, we reduced the intensity, and we put some dark sky-compliant fixtures in,” Sander said. “We still need New York state banking regulations.”
The plan given to the board members showed three 50-watt poles on the west side of the building and two 80-watt poles in the front of the building.
“As we talked about in the past, one of the ways to reduce glare and also to reduce over lighting is to have more lights that are dimmer,” said board member Bill Kish. “I think that the two lights in the front that are 80 watts should be replaced with 50-watt lamps … We should also see a third 50-watt lamp added.”
Sander responded, “The areas you are referring to as being overlit vary between 1.3 to maybe 5 [foot candles], and those are sidewalk pedestrian areas and places where people park so they can withdraw hundreds of dollars out of an ATM.”
According to Sander, reducing the light in the front and adding another pole, as Kish suggested, would put the Bank of Millbrook under the requirement for New York State Banking, which the bank had already expressed concern about.
The applicant’s first proposal consisted of 12-foot candles, which are now at 5.5 in the higher-lit parts of the bank.
“They’ve achieved reductions; this is an improved lighting, and I think the applicant was trying to do what it thought you guys asked,” said Chris Langlois. “In some cases, they [lights] are down by half. I think there has been a compromise. There has been improvement.”
The board asked the applicant to consider putting in a motion-activated light or a timer to reduce the glare going into the town, the road and the sky.
All board members except Bill Kish approved the site plan for its next steps.
In an earlier Planning Board article, legal representative for the Bank of Millbrook Peter Sander was incorrectly identified.
Millerton News
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NOTICE CONCERNING
THE EXAMINATION OF
ASSESSEMENT INVENTORY
AND VALUATION DATA
Pursuant to Section 501 of the Real Property Tax law, notice is hereby given that the assessment inventory and valuation data is available for examination and review.
This data is the information which will be used to establish the assessments of each parcel that will appear on the tentative assessment roll of the Town of Amenia. The Tentative Assessment Roll will be filed on or before May 1, 2026.
The information may be reviewed online at gis.dutchessny.gov/parcelaccess/ on May 1,2026.
Alternatively, data can be viewed at the Assessor’s office, Amenia Town Hall, 4988 Route 22, Amenia, NY. Monday and Tuesday between the hours of 9:00a.m.- 3:00p.m. Appointments will be necessary. For an appointment, please contact the office at 845-373-8860 x 104
Donna DiPippo
Assessor
Town of Amenia
03-05-26
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Public Notice
Pursuant to Section 501 of the Real Property Tax Law, Assessment Inventory and Valuation Data for the Town of Pine Plains is now available for examination and review. This data is the information that will be used to establish the assessment of each parcel which will appear in the tentative assessment roll on May 1, 2026.
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Nathan Miller
Pine Plains Councilwoman Jeanine Sisco displays a photograph of flashing lights used to alert drivers to pedestrians in crosswalks in Millerton during a public forum at Pine Plains Town Hall on Tuesday, March 3. Sisco outlined plans to repair sidewalks and install two new crosswalks in downtown Pine Plains as a first phase in sidewalk repairs across the town.
PINE PLAINS — Town Board members unveiled plans for sidewalk renovations in downtown Pine Plains as they prepare to apply for a federal grant to fund the first phase of the project.
Councilwoman Jeanine Sisco described the first phase of the sidewalk project at a public forum at Pine Plains Town Hall on Tuesday, March 3.
The first phase calls for repairing sidewalks along Church Street and Main Street and the crosswalks where those streets meet. Two new crosswalks are planned — one on Church Street at the intersection with Academy Street and another on Main Street that will connect the sidewalk on the east side of the street to the Pine Plains Free Library and Community Center.
Town Board members said they intend to apply for a Transportation Alternatives Program grant. The federal funds are administered through the New York State Department of Transportation to finance projects that promote walkability and lessen dependence on cars in a community. The application deadline is March 12, 2026.
Discussion at the public forum centered around crosswalk safety and the inclusion of flashing yellow lights on signposts for pedestrians to activate when they cross. Sisco said it's unclear whether flashing lights will be required at the crosswalks.
She showed pictures of crosswalks in Pleasant Valley, New York, across Route 44, that do not have flashing lights, which she said indicated the lights may not be required in Pine Plains. Sisco also showed pictures of the crosswalks in downtown Millerton that feature lights that would be similar to installations in Pine Plains if required.
Residents were divided on the issue, with opponents raising aesthetic concerns and supporters citing research that flashing lights improve driver awareness and safety at crosswalks.
Pine Plains resident Torey Soracco said she opposed flashing lights at the crosswalks and questioned prior Town Board statements that indicated the lights may be required under grant stipulations.
Soracco asked about the lights' effectiveness, and whether alternative safety measures had been considered. She supported a police presence at the crosswalks to deter unsafe driving.
"I want to make sure we're doing the best way we can," Soracco said. "We already know a way to do that. The fastest way is to give people tickets."
Michael Stabile, who serves as Chair of the Pine Plains Planning Board, spoke in support of flashing lights. He said Federal Highway Administration (FHWA) studies show flashing lights at crosswalks improve driver awareness.
The lights, officially known as "rectangular rapid flashing beacons," reduce pedestrian crashes by up to 47% according to data from the FHWA. Figures on the FHWA's website also state that driver yield rates increase up to 98% at crosswalks with flashing lights.
"I worry about putting sidewalks in that don't have enough safety features," Stabile said.
Sisco said town officials are budgeting for flashing lights in the event they are required, but current plans are to avoid the lights if possible.
Town Supervisor Brian Walsh laid out the timeline of the project. He said the grant process and design work for the first phase would likely take the rest of this year and continue through 2027. He added that the current timeline indicates the first phase of repairs will be complete in late 2028.
After that first phase, Walsh said the project would expand outward from the town center to repair damaged sidewalks and install new paths.
Those plans have not been laid out yet, with no clear timeline given at the public forum. Board members acknowledged the project will be a lengthy process.

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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.
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

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