Salisbury prepares for launch of 100th Jumpfest

John Satre, one of the original Satre brothers, is credited with pioneering the sport of ski jumping in the United States.
Photo Provided


John Satre, one of the original Satre brothers, is credited with pioneering the sport of ski jumping in the United States.
SALISBURY, Conn. — Salisbury’s longstanding tradition of ski jumping is reaching new heights this year with the 100th annual Jumpfest, scheduled for Feb. 6–8 at Satre Hill.
The weekend-long celebration opens with a community night on Friday, Feb. 6, followed by youth ski jumping competitions and the Salisbury Invitational on Saturday. The event concludes Sunday with the Eastern U.S. Ski Jumping Championships.
While spectators look skyward to watch the high-flying athletes, Jumpfest will also invite the community to look back on Salisbury’s deep-rooted ski jumping history.
Ski jumping originated in Norway in the 19th century and is a tradition familiar to most Nordic children. That was the case for the five Satre brothers — John, Magnus, Ottar, Sverre and Olaf — who grew up competing in ski jumping and cross-country skiing.
When John Satre moved to Salisbury in 1923 to work as a chauffeur, he brought the tradition with him. The rolling hills and heavy winters of the Northwest Corner resembled those of Norway, allowing John to seamlessly integrate his passion into his new community.

Within a year, his brothers followed him to Salisbury.
In 1926, John Satre captivated roughly 200 spectators by skiing off a snow-covered barn roof.
The brothers soon formed the Salisbury Outing Club — now known as the Salisbury Winter Sports Association (SWSA) — and began construction of a permanent ski jump in the same location it sits today: Satre Hill.
By 1933, the Satre brothers had won numerous championships and helped popularize the sport across the United States. Salisbury hosted the U.S. Olympic Trials in 1932, and the following year hosted the National Championships.
Tragically in 1934, at the age of 40, John Satre was killed in a car accident. The New York Times hailed him as a pioneer in U.S. skiing and his legacy is carried on in the winter sports culture that is nurtured in Salisbury today.
During this time, local children were introduced to the sport, creating makeshift jumps in their backyards out of crates and hay bales. One of these children was Richard Parsons, who became the first Salisbury resident to earn recognition for cross country skills. He earned a spot for the 1932 Lake Placid Winter Olympic Games and in 1936 competed in the Winter Olympics in Garmisch, Germany, where he was the leading American-born cross-country skier.
During World War II, young athletes who would have normally been jumping were enlisted in the service, causing a lull in the sport and deterioration of the jump itself. After the war, however, community members eagerly worked to rebuild the jump, and another Salisbury athlete emerged.

Roy Sherwood was first introduced to ski jumping when his father built him and his brother their own ski jump in their backyard. Sherwood quickly gained ground, earning himself the title of “hometown hero.” By 1954, Sherwood was offered a spot on the U.S. Olympic Team for the 1956 games in Cortina, Italy.
Sherwood’s path to the Olympics was far from easy. A year before the Games, he was diagnosed with polio, threatening his ability to compete. He recovered enough to travel to Italy, only to hit an icy patch during a practice run.
Sherwood rebounded and competed the next day, placing 36th out of 51 — the second-highest finish by an American — and was later inducted into the U.S. Ski & Snowboard Hall of Fame.
Today, four jumps line Satre Hill — K10, K20, K30, and K65. The 65-meter jump is used for competitions, and the smaller jumps are used to teach local youth during winter camps.
Islay Sheil, a Housatonic Valley Regional High School student and Lakeville resident, is the current SWSA athlete on the rise in ski jumping today. Her passion for the sport emerged during one of the SWSA winter camps, and last March earned gold in the Junior National Championships. The next Junior National Championships will be hosted in Salisbury in 2027.
While Salisbury celebrates the 100th anniversary of its own ski jump this year, the Olympic Games will be held in Milan and Cortina, Italy, the same place that Sherwood gained global recognition.
To honor the town’s remarkable history and tradition of ski jumping, Jumpfest will begin early with a Winter Warmer on Jan. 31 between 5:30 to 8 p.m. It will be at the home of Salisbury First Selectman Curtis Rand. Small plates and drinks will be served. Limited tickets are available for $50 and more details can be found at Jumpfest.org/100years/

On Feb. 1, a double feature screening of On the Hill and Downhill Racer will be held at The Moviehouse in Millerton, followed by a panel discussion on winter sports and SWSA’s role in Salisbury’s history. There will also be a raffle and SWSA merchandise for sale.
Tickets for the showing are $16 and details can be found at Jumpfest.org/100years/.
On Friday, Feb. 6, Jumpfest will host community night at Satre Hill. SWSA will offer free admission for the night. Gates open at 6 p.m. and “Target Jumping Under the Lights” will begin at 7 p.m. There will be fireworks sponsored by NBT Bank, bonfires, and food and drinks available for purchase. The Human Dogsled Race is set for 8:30 p.m. Teams of five can register at Jumpfest.org
On Saturday, Feb. 7, the Junior Competition on K20 jump will begin at 9 a.m. The Salisbury Invitational Ski Jumping Competition will practice from 11 a.m. to noon and compete at 1 p.m. Community members are invited to the Snow Ball at the Lakeville Town Grove at 8 p.m. Dancers will be accompanied by live music from the Steve Dunn Band. Entrance to the Ball is $20 with children 12 and under free of charge.
On Sunday, Feb. 8, Satre Hill will hold the Eastern U.S. Ski Jumping Championships. Athletes will practice between 11 a.m. to noon and compete at 1 p.m.
Willie Hallihan of SWSA explained that the length of time and number of people involved on an emotional level has made the sport “iconic to Salisbury.”
Hallihan recounted in the PBS documentary “The Jump” that the ski jumps are “like a family member to a lot of people”.
Patrick L. Sullivan
This fish took a Wooly Bugger in basic black, with rubber legs. Always get the rubber legs.
Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Every August I shift gears and head to the ancestral HQ with no electricity, minimal plumbing and a warm-water lake chock-full of largemouth bass, not to mention smallmouth, perch, pickerel and panfish. The largemouth are the main attraction.
I used an antique rowboat for years. Then a canoe, which was awkward to manage solo, especially when the wind picked up.
Then I hit on a succession of inflatable pontoon and belly boats, powered by oars and/or swim fins, and there I have remained.
Did I forget to mention that no motors are allowed on this lake? Well, no motors are allowed, and it’s no good arguing that a small electric trolling motor couldn’t possibly hurt anything. Ask me how I know this.
It’s a quiet, rejuvenating few weeks. The phone gets enough signal on one end of the deck to receive messages and maybe make a call if the wind is right. If something comes up, it’s only 15 minutes to so-called civilization.
When not fishing, I read, visit assorted cousins, listen to baseball on the AM radio and/or stare blankly into the middle distance.
Bassing with a fly rod in still water is a different game than chasing trout in streams.
A medium-fast-action rod, 8 to 10 feet, in line weight 7 or 8 is the starting point. The flies are big, and the wind is constant, so the angler needs some power, tempered with a bit of finesse.
I usually bring two rods. One is rigged with a floating line with a heavy front taper for turning over surface flies such as poppers.
The other has either a sink-tip or intermediate line. The lake is not all that deep, and the Woolly Buggers, Clousers and other streamers are heavy. The idea is to stay out of the vegetation while getting close to where the lunkers are hunkered down.
I use short nylon leaders, 7.5 feet with 1X tippet out of the package, and modify them constantly with additional sections of fluorocarbon tippet, snaps and droppers.
Surface action is usually minimal during the day unless it’s overcast. The lake runs east-west, so the angler can track the midmorning and late-afternoon shadows and work those areas.
Or the angler can wait until about 6:30 p.m., when things start to pick up.
Or get out there at the crack of dawn, which is best if surface action is the goal.
For subsurface fishing, some experimentation is required to find the right combination of flies, leader and sink rate. The angler also has to decide whether to troll.
There are a few places where a dry-dropper rig is appropriate, the dry being an extremely buoyant popper with a piece of stout fluorocarbon tippet tied to the bend of the hook and something heavy and wiggly at the end, like a stonefly nymph with rubber legs. (Always get the rubber legs.)
If this sounds like a bobber, it’s because it is. Don’t tell anyone. The purists don’t like it.
A net with a long handle is necessary. There is no leverage when sitting in what amounts to a floating chair.
I do not bring my phone for fish pictures. I will drop it into the depths. Ask me how I know this.
Instead I bring a small point-and-shoot camera. These get lost too, but perversely I have better luck keeping the cheap gear safe than the expensive items.
Sunscreen is applied liberally and frequently. After 50-odd years of being outside, I now have to visit the dermatologist every so often to have my face edited, and I don’t enjoy it.
A baseball cap does nothing for the ears and neck. I have a hat with a wide brim and a vented top, so it doesn’t get too hot. It looks stupid, but this is an acceptable risk.
Finally, a word about the quarry. Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Smallmouth, not so much. These aren’t especially big, but every smallie I’ve ever met thought it was much bigger than it actually was. Expect acrobatics.
Perch usually grab my fly when I don’t want them to.

Panfish are everywhere. They are extremely cooperative. Chasing sunnies is a good way to get a newcomer started.
And then there are the pickerel. These are nasty fish. Very antisocial. I keep a pair of long-handled pliers handy to get the fly out of their mouths safely while admiring the large number of very sharp teeth. They will bite the pliers. Do not use your fingers. Again, ask me how I know this.
Upon release, it’s not unusual to observe the pickerel hanging around a few yards away, glaring and plotting hideous revenge.
So this is the August routine, occasionally leavened with a scramble into a brook trout stream if conditions allow.
It’s peaceful. Kind of boring, in a good way.
And then in the fall the game shifts back to rivers and streams for trout.
Natalia Zukerman
Broadway is going way off Broadway when it heads outdoors for The Festival at Hutton Brickyards in Kingston Aug. 14-16, transforming the Hudson River waterfront into a three-day celebration of show tunes, stars and sing-alongs. The inaugural event features an all-star lineup including Audra McDonald, Kelli O’Hara, Renée Elise Goldsberry, Brian Stokes Mitchell and dozens more, along with a 30th anniversary celebration of the musical “Rent” featuring original cast members.
Hutton Brickyards is a former 19th-century brickyard transformed into a historic riverfront hotel and event destination spanning 100 acres along the Hudson. Beyond the nightly concerts, festivalgoers can expect campfire sing-alongs, dance parties, master classes, costume contests and a marketplace highlighting Hudson Valley food, drinks and artisans.
Three-day passes and more information are available at BroadwayFest.com.

Want more of our stories on Google? Click here to make us a Preferred Source.
Natalia Zukerman
The Crandell Theatre in 1948.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces.
Crandell Theatre in Chatham has spent a century bringing stories to the big screen, and this December the historic theater will celebrate its 100th anniversary with a yearlong tribute to the films, filmmakers and community members who have helped keep it alive.
The celebration continues Sunday, Aug. 23, with a special screening of Martin Scorsese’s “The King of Comedy,” presented as part of the theater’s 100th Anniversary Series by Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences. Kramer will introduce the 1982 film, a darkly comic exploration of celebrity, obsession and the pursuit of fame.
The 100th Anniversary Series invites industry leaders and film experts to share movies that have influenced them and continue to inspire new generations of audiences.
“The King of Comedy” is a fitting selection for a theater whose own story is rooted in the enduring power of cinema. Built in 1926 by Chatham native Walter S. Crandell, the theater opened on Christmas Day of that year with the silent film “Michael Strogoff.” Designed by Glens Falls architect Louis L. Wetmore in the Spanish Renaissance style, the freestanding building quickly became a beloved fixture on Main Street.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces. Sound equipment was added in 1929, allowing the theater to transition from silent films to “talkies.”
Over the decades, ownership changed hands, but the theater remained a gathering place for generations of moviegoers. In 2010, following the death of longtime owner Tony Quirino, the theater faced an uncertain future. Community members rallied to save it, with the Chatham Film Club raising approximately $600,000 to purchase the building and complete critical repairs.
The Crandell reopened as a nonprofit community theater in July 2010. In 2018, the organization officially adopted the theater’s name, bringing together its film programming, preservation efforts and annual FilmColumbia Festival under one mission: preserving the theater as a cultural anchor for Chatham and the surrounding region.
A major restoration and modernization project was completed in 2025, bringing the historic theater up to current standards while preserving its architectural character. The renovation included updates to the auditorium, projection systems and building infrastructure.
For former board member Carol Sadlon, the upcoming centennial represents both a celebration of the theater’s history and a testament to the community that has protected it.
“It has been an honor to serve on the Board of the extraordinarily unique Crandell Theatre, celebrating its 100th birthday this December,” Sadlon said. “Renovating the not-for-profit community theater has been a labor of love and commitment for all involved.”
Sadlon noted that the theater’s creation in 1926 reflected the optimism of the era, and that the same spirit continues today.
“Walter S. Crandell, successful Wall Street investor and native son of Chatham, built the 500-seat theater for a community of 3,000 people,” she said. “Thanks to an equally optimistic group of people, the Chatham Film Club, who purchased the theater in 2010, and a very generous community, the theater lives on to continue entertaining for future generations.”
The Crandell Theatre’s 100th Anniversary Series screening of “The King of Comedy” will take place Sunday, Aug. 23, at 4 p.m.
For tickets and more information, visit crandelltheatre.org.
Natalia Zukerman
MOMIX is one of the featured performers at this year’s Arts Connected fundraiser on Aug. 29.
The Northwest Connecticut Arts Council will celebrate the region’s vibrant arts community with Arts Connected 2026, its annual fundraising event, on Saturday, Aug. 29, from 5 to 8 p.m. at Buck’s Rock Camp in New Milford.
More than a fundraiser, Arts Connected is designed as a celebration of the artists, performers and organizations that make the Northwest Corner’s cultural landscape thrive. Guests can enjoy live music and performances, a curated gallery of artwork by regional artists, local food and drinks, and opportunities to connect with fellow arts supporters. Tickets include hors d’oeuvres, an open bar and all entertainment.

The evening will feature live plein air painting by artists from Plein Air Litchfield, performances by Our Culture Is Beautiful (OCIB), fire performer Cinderfella, and Susan Becker Aziz’s monumental humpback whale puppet, originally created for Paul Winter’s “Missa Gaia.” Guests will also have the opportunity to purchase artwork from a curated exhibition, with proceeds supporting the Arts Council’s mission to strengthen and promote the arts throughout Northwest Connecticut.
This year’s honorary host committee includes Meryl Streep, Diane von Furstenberg, Tim Daly, Téa Leoni, Maria Horn, Patti LuPone, Jack O’Brien, Sam Waterston and Paul Winter. Creative cocktail attire is encouraged, and attendance is limited. The event is open to guests 21 and older.
For more information or to purchase tickets, visit artsnwct.org
Robin Roraback
Once I get all the colors in, they change. Who knows? I might consider more radical colors and then bring it back a little.
— Robert Cronin
Renowned painter Robert Cronin of Falls Village celebrated his 90th birthday with an exhibition, “Robert Cronin: New Paintings,” at the Hunt Library in Falls Village which opened Aug. 8 and will be on view through Sept. 11.
Cronin paints most days in his home studio. He keeps his work fresh by trying new things and has had different phases of work, including figure paintings, paintings on paper, a modular, circle and enclosure series of paintings, as well as a tinplate sculpture series.
Cronin said he never expected to pursue art as a career. He started out at Boston College pursuing another degree but, luckily for him, flunked out and enrolled at the Rhode Island School of Design.
At first, he thought he’d pursue industrial design. But once he was immersed in drawing and painting, he realized he had a natural talent for it. “I fell in love with basic stuff. I had never owned a set of paints.” While at RISD, “In 1958, I instinctively fell into abstract work.”
After graduating from RISD and working for a time as a cleaner at Massachusetts General Hospital while painting whenever he could, he was awarded a full scholarship to an MFA program at Cornell University, along with a living stipend.
He went on to teach for 18 years at various schools, including Brown University, Bennington College and the School of the Worcester Art Museum, which he said he enjoyed the most. “I love my memory of that more than academic places. Whether Brown or a certificate program like Worcester, when you’re good, you’re good.”
After leaving Worcester in 1980, he moved to New York City to pursue his art career. He found success and exhibited his work in several galleries in New York City and around the world.
In 1990, Cronin moved to Connecticut, settling in Falls Village, where he left his tinplate sculpture phase behind and concentrated on painting again.
He explained his current approach to painting. “Everything in this show,” he said, “had a preliminary drawing. Most of my life has been starting from scratch, with no preliminary drawings.”
He makes many small sketches. “One out of 20 drawings may become a painting.” He enlarges the sketch on a copier, transfers it using a grid and paints it on a 16-by-20-inch canvas.
“Once I get all the colors in, they change. Who knows? I might consider more radical colors and then bring it back a little.”
Of starting a new painting, he said, “You don’t know what you are getting into, but it’s terrific.”
To learn more about Cronin and his work, visit robertcroninart.com.
The exhibition will be on view at Hunt Library in Falls Village through Sept. 11. Cronin will give an art talk Thursday, Aug. 13 at 5:30 p.m.

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.