‘I’ll miss this’: Ralph Fedele retires from Town Board after 12 years

Ralph Fedele sits at a desk in the historic Irondale Schoolhouse, which he led the effort to relocate to downtown Millerton.
Photo by Aly Morrissey


Ralph Fedele sits at a desk in the historic Irondale Schoolhouse, which he led the effort to relocate to downtown Millerton.
MILLERTON — After serving for 12 years on the North East Town Board, Ralph Fedele says he has only one regret.
“I wish I could be called a ‘local,’” he joked with a warm, booming laugh.
Fedele moved to Millerton from New York City 37 years ago, in 1988, and has since worn many hats — volunteer, historian, advocate, elected official — yet he still doesn’t believe he’s earned that title.
“I’m a transplant,” he said matter of factly. “I’m from the city.”
Before settling in Millerton, Fedele spent 25 years working in merchandising at JCPenney.
His roots, however, trace back to Rhinebeck, where he grew up on a 97-acre farm and enjoyed what he describes as an idyllic childhood.
“It was marvelous,” he said, with a twinkle of nostalgia in his eyes. As a boy, he climbed apple trees, spent hours in the family barn’s hayloft, played with neighbors until sunset, and helped his Sicilian grandmother — his nonna — in the garden. Today, Fedele wears her ring. “Any time I’m a little depressed or I want to remember,” he said, “I can talk to her.”
Growing up with an Italian grandmother sparked a lifelong love of history and culture. That curiosity eventually took Fedele to Italy, where he visited the church in which his grandmother was baptized. “Because I love history so much, I wanted to know where my grandmother was from, so I traveled to her village in Sicily.”
Along the way, he uncovered another piece of family history. His great-grandfather, Giovanni Nicolini, was a noted Italian sculptor whose work still stands outside Palermo’s Teatro Massimo, the largest opera house in Italy. Fedele later made a pilgrimage there and photographed his ancestor’s name on the bronze plaque outside of the theater.

The Irondale Schoolhouse
Years after settling in Millerton full time, Fedele was driving north on Route 22 when he spotted an old, classic building and couldn’t stop thinking about it.
“It was in dire straits,” he recalled. “Right on the road, but beautiful. I remember thinking, ‘Wouldn’t that be a great building to move into the village?’”
That moment would eventually turn into Fedele’s lasting legacy.
He left his post at the North East Historical Society to found Friends of the Irondale Schoolhouse, leading an eight-year effort to “move, restore, and repurpose the building.”
Supervisor Chris Kennan said the project remains inseparable from Fedele’s name. “Every time I pass by the Schoolhouse, I think of Ralph,” Kennan said. “It was his vision and persistence that enabled this dream to become a reality.”
Fedele joked that people may have thought he was crazy during the lengthy restoration. “I was a tyrant,” he said with a laugh. “I really made sure that we were able to get it done.” The effort required coordination with the state, the county, village and town officials, and his newly assembled nonprofit board.
As a self-proclaimed history buff, Fedele didn’t stop at the restoration. He found a list of students in old records and did what any determined historian would do. He opened the telephone book and started making calls.
Eventually, he tracked down one of the schoolhouse’s original students — Mary (Mechare) Leitch — who, at the age of 101, returned to the building after renovations were complete.
“It was a marvelous time,” smiled Fedele. “I was so happy to see her.”
‘Trust is earned’
Today, even though he won’t call himself a local, Fedele is a familiar fixture in town. You can find him each week enjoying conversation and a cup of coffee at Talk of the Town Deli, or getting stopped in town by neighbors and friends for a chat.
“I have gained the trust and confidence of a lot of people,” Fedele said. “It comes a little bit at a time. Trust is earned.”
Not only has Fedele served as a town board member, he has volunteered for Townscape and served as the president of the North East Historical Society. He was also one of the first advocates of preserving history by fixing toppled gravestones at the Spencer’s Corners Burying Ground.
His service was formally recognized at his final Town Board meeting through a resolution commending his three four-year terms as councilman, citing his “good humor, kindness to all and deep concern for the community’s senior citizens and for those living on fixed incomes.”
An emotional Fedele addressed the room with a mantra he often repeats. “When you leave, leave this place a little bit better than you found it,” he said. “That’s what I have always tried to do.”
Neighbors react
During the public comment, several residents stood to thank Fedele.
Claire Goodman, a member of the village Zoning Board of Appeals and Townscape volunteer, said Fedele was among the first to welcome her to Millerton.
“Whether we’re standing out in the cold, scrubbing tombstones at Spencer’s Corners, or ringing the bell at the schoolhouse, you always have such grace and you’re such a gentleman.” She added, “The way you laugh, it opens my heart.”
Kathy Chow, who serves on the Conservation Advisory Council and the Climate Smart Task Force, referred to Fedele as a “pitbull,” adding, “We all have hard things that we do, and we keep pushing at it, but you’re the one who makes me think I can keep going.”
Fedele describes his retirement from the town board as bittersweet. “I’m going to miss this,” he said. “I really am.”
Richard Feiner And Annette Stover
Continuing a popular tradition, the Sharon Playhouse will present a one-performance-only staged reading of “The Divine Sister,” another riotous comic romp by the acclaimed playwright and performer Charles Busch, on Friday, Aug. 28 at 7 p.m.
The play is a wild and witty homage to Hollywood films that feature nuns — from “The Song of Bernadette” and “The Bells of St. Mary’s” to “The Singing Nun” and “The Sound of Music.” It is classic Charles Busch: wickedly funny, gloriously over-the-top and overflowing with theatrical joy.
Busch is no stranger to the Playhouse, which has previously produced readings of his Tony-nominated Broadway hit, “The Tale of the Allergist’s Wife” and his hilarious spoof, “Die Mommie Die!” High time indeed to celebrate this irreverently reverent piece of theater.
“The Divine Sister” centers on the Mother Superior of St. Veronica’s Convent and her efforts to save the struggling order and school, which are upended by mysterious visitors, forbidden romance, shocking revelations and increasingly outrageous miracles. In a review of the play’s original production, The New York Times wrote, “‘The Divine Sister’ finds Mr. Busch returned to peak form. This gleefully twisted tale of the secret lives of nuns — in which the playwright doubles as leading lady — is Mr. Busch’s freshest, funniest work in years.”
In addition to Busch, the reading reunites members of the play’s original 2010 Off-Broadway cast: two-time Tony Award nominee Alison Fraser; 2021 Isabelle Stevenson Tony Award recipient Julie Halston; and Sharon Playhouse favorites Jennifer Van Dyck and Jonathan Walker. Completing the cast is Lucy Rhoades, seen earlier this season at Sharon Playhouse in “Swingtime Canteen” and last summer in “Million Dollar Quartet.”
“This is the kind of special event we love to present,” said Sharon Playhouse Artistic Director Carl Andress. “Charles is one of our country’s great comic playwrights and performers, and every time he comes to Sharon it’s a celebration. Whether you’re a longtime fan or discovering his work for the first time, ‘The Divine Sister’ is a wonderful introduction. Reuniting so much of the original Off-Broadway cast for one unforgettable evening makes this a truly special event.”
Busch has been recognized with countless awards for his indelible contributions to American theater. He was inducted into New York’s Theater Hall of Fame in 2024 in honor of his distinctive body of work. He also is the subject of the documentary film, “The Lady in Question is Charles Busch.”
The reading will take place on the Olsen Stage, with all proceeds going to benefit Sharon Playhouse’s productions and educational programs and helping ensure that the Playhouse continues to thrive as a cultural destination for audiences and artists in the region.
“The Divine Sister” is presented by Dugazon and Pete Hathaway, producers, in association with Amy Danis and Mark Johannes, associate producers.
The day before the reading, producer Hathaway will host “A Divine Celebration with Charles Busch,” an exclusive cocktail party on Thursday, Aug. 27, from 5 to 7 p.m. All ticket proceeds from this event will also directly benefit the Sharon Playhouse.
Tickets for both “The Divine Sister” and “A Divine Celebration with Charles Busch” are available at sharonplayhouse.org.

Want more of our stories on Google? Click here to make us a Preferred Source.
Natalia Zukerman
KK Kozik in her studio
Maybe it takes the ability to interpret what you’re looking at to really see.
— KK Kozik
KK Kozik has a theory about getting older.
“I don’t think you have eyes to see until you have eyes to see,” said the painter. “And maybe it takes the ability to interpret what you’re looking at to really see, and maybe that’s what comes with wisdom.”
It is a particularly fitting philosophy for an artist whose paintings often begin with the world around her but rarely end there. There might be something recognizable — a stone wall, an apple tree, a crow — but then there is something less certain. Something that appears to be one thing becomes another upon inspection. Memory gets involved. So does imagination. So does time.
Since moving from New York City to Sharon, Connecticut in 2006, the landscape around her has become increasingly important to that process.
“I just saw things differently,” Kozik said.
The change was not immediate. She remembers an earlier version of herself driving through Vermont without paying much attention to what was happening beyond the windshield.
“I didn’t have the means to see what was happening around me,” she said. “I just sort of la, la, la, la, la, driving to Vermont.”
But, she said, she started to pay attention differently.
“I became more sensitized as time went on,” she said.
Asked whether that change came with age, she said, “Age and so-called wisdom.”
There’s a sense of loss in her landscapes, but a particular kind of loss that also has a twinge of redemption. Specifically, what happens to a landscape when people leave it?
“When the people go away, the wildlife comes back,” Kozik said.

Kozik’s work has never settled into a single recognizable formula. She has painted landscapes, figures and still lifes, moved toward abstraction and returned to representation. Her subjects change, but the underlying impulse remains: to take what is in front of her and discover what else there might be.
Kozik describes herself as someone who is always trying to figure things out. Her paintings often have the feeling of a thought in progress rather than a conclusion. They have been called “single-line novellas,” a description that makes sense: They can contain the suggestion of an entire story without telling you exactly what happened.
The animals are part of that storytelling.
They arrived partly because of what was disappearing.
“They were like the new redemption in a way,” she said.
There is something almost funny about the way Kozik talks about this — not because the loss itself is funny, but because she refuses to turn it into a grand pronouncement. She observes something, considers it, and lets it complicate the work.
That same sensibility comes through when she talks about her own development as an artist. Her paintings make room for interpretation. They don’t always tell the viewer what an animal symbolizes, or why a landscape has been altered, or where a particular image came from. Instead, they leave enough evidence to make you curious and enough room for your own stories.
The effect is not accidental. Kozik has spent years thinking about how images work, both as paintings and as containers for ideas.
Her work is currently included in “The Naturalist,” a group exhibition on view through Sept. 13 at Kenise Barnes Fine Art in Kent, alongside Richard Klein, Sally Maca, Rick Shaefer and Tricia Wright. The exhibition brings together artists whose work engages with the natural world, including its forms, histories and mysteries.
Kozik is an especially apt fit for the exhibition. She is described by the gallery as a landscape painter, figurative painter and interiors/still-life painter whose work frequently moves toward painterly abstraction. Her practice, the gallery notes, is “fluid and continuous” — always searching for new pictorial problems to solve.
That search has also extended beyond her own studio.
For several years, Kozik ran ICEHOUSE Project Space, an 18th-century icehouse on Sharon’s town green that she transformed into an unusual venue for contemporary art. It opened in 2018 with Dan Devine’s “Inside-Out NASCAR” and went on to host site-specific projects by artists including Mark Dion, Eric Aho, Janet Biggs, Richard Klein, Kristin Jones, Lisa Hoke and Ryan Frank. The projects addressed everything from the decline of winged insects and native and invasive plants to Sharon’s iron industry, its gardens and its history as an ice-producing community.
The space is now closed, but its premise still feels connected to Kozik’s painting practice. Each project responded in some way to the physical location, turning what might otherwise have been a little historic outbuilding into a setting for contemporary art.
Kozik’s own work does something similar with the landscape. She takes a place and lets it become more than a place.
Kozik’s paintings tell us that something happened before we arrived, and that something will happen after we leave.
And then there is the question of what to do with the space in between.
Maybe Kozik’s paintings are less about that space and more about an idea, as she put it, of “which questions to think about.”
Sally Haver
Jazzmine Bone and A Stitch in Tyme power through the Gambler’s Choice run during the 2024 Lakeville Open.
For nearly seven decades, the Lakeville Open Horse Show has brought riders, horses and spectators together for a day of competition and community.
This year’s show takes place on Sunday, Aug. 30, at Riga Meadow at Coole Park, 1031 Bengal Amenia Road in Millbrook.
The event, which has been held continuously for 69 years, is open to the public with free admission.
Individual competitions will run from 8 a.m. to 5 p.m., and visitors can stop by briefly or settle in for the day.
A food truck, bake sale and portable restrooms will be available on-site.
The show is the primary fundraiser for The Lakeville Pony Club, with proceeds supporting young riders who need financial assistance to participate in lessons. Members and their families work throughout the year to create the event for both competitors and spectators.

For those new to horse shows, the day offers a chance to learn more about the sport and understand what happens in the ring. In equitation competitions, judges evaluate the rider’s skill, from beginners learning walk and trot to more advanced riders navigating cantering and jumping courses.
Hunter competitions focus on the horse’s style and smoothness over fences, while jumper classes emphasize accuracy and speed as horses and riders race against the clock without knocking down rails.
The day also includes a crowd favorite: the costume class, where horses and riders dress up in creative ensembles for a chance at the top prize.
Programs will be available onsite to help spectators identify competitors and horses. A full list of competitions, entry information and details for those interested can be found at rigameadow.com
Whether an experienced equestrian or simply curious about the sport, the Lakeville Open Horse Show offers a chance to enjoy a Hudson Valley tradition that continues to bring the community together.
D.H. Callahan
This year, the ARChive of Contemporary Music, or ARC, is moving its collection to a permanent home in Ridgefield, Connecticut.
ARC is somewhat hard to imagine. Comprised mainly of huge collections from musicians, archivists, and DJs, it has compiled more than three million sound recordings, consisting of over 90 million songs.
But with the rate that it collects, there’s a good chance that number has now hit its ninth digit. The collection is arguably even more impressive than its board, which has included such illustrious members as Q-Tip, Keith Richards, Nile Rodgers, Fred Schneider, Martin Scorsese, Paul Simon, Carl Bernstein, and David Bowie, many of whom house their personal collections at ARC.
Given its size, it is likely to take ARC about two years to be open its new location to the public. It hopes to have its collection in the building within a year, and then spend the following year putting it all into place.
Since 1985, founder and director B. George has been storing away musical media on Chambers Street in New York City. George moved to the area in the 1970s, and quickly became friends with many of the day’s top musicians, who would gather in the one downtown eatery open after-hours, Dave’s Lunch. It’s where he met David Bowie and Lou Reed.
George was immersed in the culture, DJing parties, and rubbing elbows with musicians. He worked with Laurie Anderson, and released her ‘O Superman” single on his micro-label One Ten Records.
The artistic scene was thriving, due in no small part to its affordability. New York City had been written off by mainstream America as a dirty, crime-ridden trap.
A famous Daily News headline still tickles George to this day. It reads “Ford to City; Drop Dead.” Even the president of the United States thought New York was irredeemable. But in its weakest hour, the city created one of the greatest assets it’s ever provided: a place for poor artists to create without the looming threat of eviction or starvation.
In 1980, George edited a book titled “Volume: International Discography of the New Wave.” The book was so successful that people started sending him recordings for the next edition. Quickly, George had more than he knew what to do with, so by 1985, he started looking for a home for this rapidly growing collection. He found it on Chambers Street in lower Manhattan for just $68 a month.
The reality of financial constraints seems to be a constant concern for George. To him, the “revitalization” of the city meant fewer opportunities for artists to create without the need for a safety net. That era is now decades in the rear view mirror, and the whole creative world has felt the effects.
Today, George feels that “cool” has become too heavily commoditized to allow artistic scenes to thrive. Once corporate America identifies the next hive of underground cultural activity, it pounces.
George saw this happen in SoHo, where the rent he couldn’t afford in the ‘80s of $100 has now risen to as high as $10,000 a month. This pattern seems to keep repeating. In recent years, a vibrant creative scene in Williamsburg, Brooklyn mirrored the same trajectory, at an accelerated pace. An area littered with loft parties and underground venues in the early 2000s has already been replaced by luxury fashion storefronts in a matter of years.
That’s what’s driven George to move the ARChive out of the city. As his collection continues to grow, there’s simply no way to meet the financial demands for space in Manhattan. So five years ago, he started moving media to Dutchess County, as part of a short term agreement at an estate in Staatsburg. Now he’s found a more permanent solution in Ridgefield, Connecticut
For the ARChive, physical media is the priority. While it has a partnership with archive.org, digitizing millions of songs, and making them available to the public, ARC is not a traditional media library. Its collection has not been open to the public to browse at leisure. Instead, it mostly makes its resources available to researchers and rights holders.
This new home, however, presents new opportunities, and George is excited to share portions of the Archive with a broader audience. This will include a Japanese-style listening area – built in partnership with Klipsch and Sonos – DJ and listening spaces with extra copies of its robust music-book collection (they have over 35,000), and more public-facing spaces to experience otherwise inaccessible recordings. Its Adopt-a-Record program will allow the public to sponsor pieces of media much like sponsoring an endangered animal. For an additional donation, donors can even get their picture taken with their record at the ARC headquarters… once it’s open.
For George and the ARChive of Contemporary Music, the collecting never stops. With collecting trips all over the world, and donations coming in from every imaginable genre, they can only hope that their next expansion won’t be necessary any time soon. For now, it’s time to settle in, and listen to some tunes.
Learn more and support ARC at https://arcmusic.org/

Want more of our stories on Google? Click here to make us a Preferred Source.

Want more of our stories on Google? Click here to make us a Preferred Source.