#Bennington Performing Arts Center

[larryland]

Stories and Songs from the Suffragists at the Bennington Performing Arts Center Bennington Performing Arts Center and the American Association of University Women present  "From the Parlor to the Polling Place: Stories and Songs from the Suffragists"

[moonflowerlesbians]

6. with dani and jamie would be so cute 🥺 like a lil vermont winter fic

for you, anon! I altered the wording ever so slightly, but the concept is identical. I hope you enjoy :)

you can also read on AO3

~~~

Their flat is located a few streets off from the center of town, close enough to walk but far enough to provide a sense of distance from the bustle of the main drag. Tonight, they set out just after sundown to ensure good seats to what Dani has affectionately dubbed, “the greatest holiday spectacular to ever grace the streets of Bennington,” and what Jamie has deemed, “an entirely American embarrassment.”

It’s their third winter in Vermont, and this year, The Leafling has generously sponsored half of Bennington High School’s Marching Seahorses’ winter uniforms in exchange for a full page ad in their concert programmes for a year and a sign carried at the front of the annual holiday parade. Or, rather, the kids had come to the shop with instruments, a flyer, and an unrehearsed elevator pitch, and Dani had been utterly charmed.

“It’s good to see them so passionate about something,” Dani had said.

Jamie had hummed and had continued tending to her sprouts.

“It would be good publicity,” Dani’d argued.

“Most expensive advertisement of my life.”

“Come on, they’re cute.”

“‘Cute’ doesn’t keep the lights on, Poppins.”

Unfortunately for Jamie, Dani has an irritating way of getting what she wants. And that’s how their small business ended up shelling out an ungodly amount of cash for an extracurricular named after the least fearsome sea creature Jamie can think of.

They don’t even have legs for Christsake.

But, the sheer delight on Dani’s face upon Jamie’s concession softened her heart. In any case, Dani made certain to thank her thoroughly and, ah, enthusiastically, that evening.

Jamie begins to regret her decision, now, as she’s dragged from her cozy flat into the absolutely frigid night air. She’s bundled in her warmest coat, a toque tucked over her ears to stave off the cold, but she swears she’s still going to catch frostbite.

Dani, meanwhile, wears a fleece-lined denim jacket over top one of her many cable-knit jumpers and insists she’s overheating. She carries a blanket under her arm, the other linked with Jamie’s, as she all but skips down the street.

“The English couldn’t handle a Midwestern winter. This is nothing,” she had said.

She’s always loved Christmastime, Jamie has come to learn. Dani has regaled her with seemingly endless stories about stringing popcorn and cranberry garlands, baking biscuits with Judy O’Mara, and breaking the occasional ornament decorating the tree. She’d felt awful about that last one, terrified to tell Mrs. O’Mara. She went on to explain in touching detail how Mrs. O’Mara had taken her hand and reminded her that it was just a bauble.

It made Jamie wonder how often Dani got into trouble for accidents in her home. A question for a later date.

As they near Main Street, the sound of jovial chatter and the unmistakable carolers grows louder. The shops they pass have festive window displays, elves in stockings of red and green reading storybooks or sledding down white fabric hills. Dani blows right past, determined to reach her carefully preselected place on the sidewalk. In what Jamie is convinced must be sub-zero temperatures, she can’t imagine the winter festival will be a popular destination.

She soon finds she is mistaken, however, when they round the corner and encounter a throng of people. The road has been blocked off at either end, and families drift in and out of the shops. Some skate on the temporary ice rink set up to the side. The lights lining the trees reflect prettily off the storefronts, the branches arching up and over the street. It would be like something out of a fairytale had the weather not been turning Jamie’s hands to icicles.

Dani is very proudly pointing to a square on the sidewalk out in front of the coffeehouse, and before Jamie is entirely sure what’s happened, she’s sitting on their too-small tartan picnic blanket over pavement that is far too cold on her arse. Dani is warm at her side, and they’re pressed close, using the size of their blanket as an excuse to disregard social acceptability.

“How long until this thing starts?”

Dani checks her wristwatch. “Thirty minutes, I think?”

“Fuckin’ freezing.”

The apparent mother of three standing nearby shoots them a glare.

“Jamie…” Dani gives an apologetic look, but the woman is already herding her children off in the direction of an arts and crafts booth.

“You know, if we were home, I’d wager we’d find a proper way to warm up.” She gets a sharp elbow to the ribs for that one and lets out a muffled oomph, though she wryly notes the new flush to Dani’s cheeks.

“Hot chocolate? I’ll go find us hot chocolate. I’m pretty sure there was a table supporting the junior high theatre department.”

“S’long as you’re not making it.” But Dani is already halfway down the block.

Then, Jamie is alone, freezing her arse off while waiting to see a mediocre high school marching band play in ungodly weather to make her partner happy. It’s the kind of domesticity she could never quite envision for herself. She’s come to find she’s, somewhat begrudgingly, fond of it.  

Bells jingle, the sound echoing off of low brick buildings. Red ribbon bows hang from lamp posts and doorknobs and rubbish bins, with tails that swing in the breeze. The air is crisp; it blows down from the mountains and feels like a fresh start.

Dani returns with two styrofoam cups, passing one off to Jamie, and sits with her knees to her chest.

Jamie eyes the pale brown liquid skeptically before taking a cautious sip.

“Dani,” she says, “why have you handed me cocoa-flavoured water?”

Dani grins sheepishly. “The kids may have made it.”

“I should applaud you, really. You’ve managed to find the one demographic worse at brewing than you.”

“Rude.”

Jamie receives another jab to the side, nearly sending her drink sloshing onto her lap.

“Hey, now, keep that up, and we’ll end the night in the emergency ward.”

“Oh, please, you’ve got enough layers on to stop a bullet.”

“You laugh now, but just wait ‘till we’ve been sitting here for hours.”

“Shh,” Dani interrupts, “it’s starting!”

A dozen or so children in leotards and tight buns dance down the street, followed by a horse-drawn vehicle painted cherry red, in which a larger man dressed as Saint Nicholas stands, waving at the assembled crowds.

Dani’s excited grip on Jamie’s bicep silences any snide remarks she might have made about the quality of performance. Dani’s eyes shine with glee, and it’s so lovely, the few silver strands of her hair capturing the twinkling holiday lights, that the words die in Jamie’s throat. She allows herself to fall into the spirit of the thing, content to sit beside Dani in the corner of life they’ve carved out for themselves. Even if that means listening to a rather shoddy trombone rendition of “Jingle Bells.”

Sure enough, though, heading off the band, a handful of students bear a banner proclaiming the high school’s name and the season’s sponsors. There, listed below the bakery, is The Leafling. Jamie feels a flash of pride. Somehow, seeing their little shop represented for the town to see feels real, grounding, in a way she can’t explain. They’ve found a place, a rhythm, to settle. They’ve left their mark on this town tradition and become a part of something. It feels like home.

So, perhaps she cheers a bit louder when the musicians pass them. This earns her an amused smile from Dani, at which she rolls her eyes.

It’s a relatively short parade. There are only so many volunteer organizations, churches, and youth groups in the town, after all. Jamie’s legs are stiff when she finally stands and offers a hand to help Dani up. Her arms are wrapped around herself.

“Cold?”

“No,” Dani says, “Come on, we should look at booths before we head home. Support the other local businesses.”

They wander the various tables, some offering wares, some business cards, some consultations, dipping in and out of shops until a sniffling noise catches Jamie’s attention. Dani not-so-subtly swipes at her nose.

“You alright?”

“Oh, yeah, I’m fine. Just-- fine.”

Jamie raises an eyebrow, trying to catch Dani’s eye, but she seems determined to look everywhere except Jamie. “You want my jacket?”

“I told you I’m not cold.”

“Right, ‘course not. Just positively shivering from excitement, then, are you?”

“Mhm.”

“No need to be brave on my account, Poppins, I won’t tell the world your secret.”

“And what secret is that?” Dani’s hands are tucked into her sides.

“That Dani Clayton, certified Midwesterner, can’t hash a brisk Vermont evening.” Her voice drops to a whisper, “Isn’t even snowing.”

“Hey,” Dani protests.

“Just take my jacket.”

“I’m fine.”

“Poppins.” Her tone is playful, a warning disguised as a tease.

Dani’s sighs. “Fine.”

“Ah, that’s a girl.” Jamie shrugs out of her top layer, draping it delicately over Dani’s shoulders. “Come on, then, can’t have you turning to ice on my watch.”

“You said something earlier about the proper way to warm up at home…”

“Was talking ‘bout a good cuppa,” Jamie smirks, “Why? D’you think of something else?”

Dani grumbles. “Tease.”

“Mhm,” Jamie murmurs, pressing her cold nose to Dani’s neck the instant they were out of sight, causing a squeal. “You like it.”

“Shut up.”

[fordlibrarymuseum]

Betty Ford and Dance

Betty Bloomer had a passion for dance from an early age. Every day after school she went to class at the Calla Travis School of Dance, and learned every type of dance that she could. 

After graduating from Central High School in 1936, she attended the Bennington School of Dance in Vermont for two summers. While studying there she met choreographer Martha Graham, who would be one of the most influential people in her life. Betty continued her studies with Ms. Graham in New York City, becoming a member of her Auxiliary Performance Troupe and performing at Carnegie Hall.

In 1940 she returned to Michigan and formed her own performance group. She also worked with children with disabilities, helping them experience the joy of rhythm and movement in dance. During the summer she worked as a dance instructor at Camp Bryn Afon in Rhinelander, Wisconsin.

Many years later as First Lady, Betty Ford continued to promote programs for children with disabilities and brought public attention to the importance of the performing arts. She encouraged her husband’s decision to present the Presidential Medal of Freedom to her mentor Martha Graham, the first dancer so honored. State dinners often ended with dancing that lasted late into the night. Betty never missed an opportunity to learn new steps, even kicking off her shoes to join ballet students in their rehearsal while visiting China!

[fybrooksashmanskas]

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A post shared by Michael Sylvan Robinson (@michaelsylvanrobinsonart)

michaelsylvanrobinsonart: TBT Spring, 1994 three recent Bennington alum (Valerie, Brooks, and me) put together a cabaret w/original scenes as a fundraising event for God’s Love We Deliver at the Westbeth Theatre Center, and a group of friends and theater colleagues joined in the cast, performing to a wonderful audience. Twenty-five years later, I’m thrilled to be joining both Valerie and Brooks again as we participate in an important fundraising event - 24 Hour Play: Bennington alum performance at the Lucille Lortel on Monday, Jan. 21 - I’m one of the costume designers) as Bennington alum (and some special guests) come together to create original new plays in a creative 24 hour process in support of student scholarships and in memory of beloved Bennington teachers and friends. So here’s to the meeting of art + community service + collaboration + old friends + new connections! I’ll be sharing more of the 1994 “Closer than We Think” photos rediscovered in my artist journals (unfortunately not in great shape) with great affection and remembrance for those early NYC years

[benningtonadmissions]

our high school extra curriculars

In high school, I played volleyball. I played all times of the year because I loved it so much! I played school season, club season, occasionally beach, and I even had a personal trainer (random lol) but my extra curricular was the most formative part of high school for me. Being on a team is sick and I think has helped me in my transition into studying acting and working with people in such an intense focus and practice. Being an athlete is a lot like being in a play but it’s harder to stay in shape.

 This is my club team from junior year at Santa Monica Volleyball Club! I played libero, so I’m the one in the white jersey.  -Edie ‘20

In high school, I was involved in music, playing bass in the jazz band, as well as a multitude of instruments with School of Rock NYC, a performance program. The above picture shows me playing lead guitar on Paramore's "The Only Exception" in the SORNYC Divas show.

I was also involved heavily in high school theatre, as a sound designer, director and actor. -Rob ‘19

I worked at See's Candies in high school, which is a deliberately old-timey chocolate shop. It was a nightmare to work there over the holidays, and I gained about 15 pounds because they actually encouraged us to eat the chocolates so that we would "know the products." Sadly, I don't have any photos of the uniform, but it has very literally never been updated since the company was founded in the 1920s. I had to wear a slip and nude tights, which were extremely difficult to find for purchase  in the modern era. Good times!

Here's what I would've looked like a century ago!

In high school I was on the varsity indoor and outdoor soccer teams! I loved soccer and being on a team so much! It was so nice have a sense of community centered around a common goal and physical activity. It has also helped me keep active now. I played mid-field and defense. We won two championships!

I also worked on my school’s literary magazine as the poetry and fiction editor, which I still do on Bennington’s arts and literary magazine, SILO. -Emma B ‘20

I was a cheerleader in my first year of high school. The training for cheerleading was incredibly demanding and intense, but I became much more flexible and my team won the first prize in our city’s cheerleading competition. In my junior and senior year, I joined my high school’s fashion club as a fashion designer. We turned our sketches into reality and made the first fashion show of high school students. It was a blast!! -Kim ‘20

I played lacrosse for 4 years. I joined the team my freshmen year so that I wouldn't have to be a part of the PE program. That first year, the whole team were freshmen and we were all new to playing, so I loved the camaraderie we had of learning all these new skills together. Throughout high school, there were so many times that I felt overwhelmed in class and having lacrosse and the team to back me up felt great. I also appreciated the chance to be active, and its one of the things I miss most about high school is the access to trainers and motivating teammates. -Kayla ‘20

(I’m number 9)

Me in high school with a bad bleach job and lots of eyeliner! I danced all through high school, but I went to an arts high school where I took dance class everyday (so I don't know if that technically counts as an extra-curricular). I did Ballet, Graham, and Horton technique in the program I was in. I was also a camp counselor at a camp in Upstate NY for a few years during high school. -Emma  N. ‘19

[jonathanmilliondollarsmile]

#GorgeousOldHomes Repost from @circahouses • Cheeky cherubs + pristine plasterwork = dream house!⁠⁠ ⁠⁠ ($925,000 / Cambridge, NY)⁠⁠ -⁠⁠ From the listing: Located in the victorian Village of Cambridge, New York, The Rice Mansion Inn was built in 1903 for seed tycoon of-the-era, Jerome B. Rice, and his wife Laura who owned the Rice Seed Company located across the street. Cambridge is located in the foothills of the Adirondack (NY) and Green (VT) Mountains and less than an hour’s drive to Saratoga Springs, NY, Albany, NY, Manchester, VT and Bennington, VT.⁠⁠ ⁠⁠ The Inn is conveniently located on Main Street within an easy stroll to eating, dining and entertainment including Hubbard Hall (performing arts center) and Argyle Brewing. Anglers will find nirvana on the Batten Kill and Cycling enthusiasts will delight in the rolling hills dotted with bucolic farms.⁠⁠ Today, the Mansion and adjacent Carriage House offer twelve guest rooms with the elegance and grace of the early 19th Century enhanced by the comforts expected by today’s standards. The Mansion rooms (four in total) are large with a king bed, sitting area and private bath decorated in traditional style. The Carriage House rooms (eight in total- including a two bedroom and three bedroom unit), each offer an in room bath, and many offer extra space for relaxing.⁠⁠ ⁠⁠ The property sits on .94 acres with a 2,500 sf owner/operator living quarters on the 3rd floor of the Mansion. For those looking to operate as an Inn/Bed & Breakfast many of the furnishings and linens are included, making this a truly turn key operation. Learn more about the property at www.ricemansioninn.com⁠⁠ -⁠⁠ #circaoldhouses #oldhouses #circaoldhousesny https://www.instagram.com/p/CU48XweFxlNWQTQvB5sLQP1nazDoleG7aAypuw0/?utm_medium=tumblr

[larryland]

Bennington Community Theater Announces Auditions for Broadway-style Musical Revue Bennington Community Theater invites singer/actors to audition for a Broadway-style musical revue conceived and directed by D.

[mrhenryharrell]

Virtual SolarFest Celebrates 25th Anniversary

Online July 25th & 26th

Beginning at noon on both Saturday, July 25th and Sunday July 26th, SolarFest is continuing a tradition in a completely new way with online music workshops and presentations.

“While the pandemic prevented us from gathering in person this year,” according to SolarFest President Bill Laberge, “we are privileged to work with outstanding professionals on the challenges we face, and with exciting performers who can provide a much-needed boost for our spirits.”

Important policy discussions taking place right now among elected officials, policy makers, educators, media, business and community leaders. These involve climate change, public health, and a sustainable economy.

And SolarFest provides some very timely presentations on the latest thinking in agriculture, energy, transportation, and economic development.

Richard Heinberg

For their 25th Anniversary, SolarFest is being offered for free, and is exploring new technologies to help people stay connected. Trustee Dr. Steve Berry says, “When social distancing, it’s important to stay in touch. We want to help people maintain the personal and spiritual bonds we all need to become stronger.”

Leading visionaries have always been part of SolarFest, to help people understand the challenges and opportunities in community redevelopment, natural resource restoration, and climate adaptation:

SolarFest Trustee Dave Conna and Richard Heinberg, Senior Fellow at the Post Carbon Institute, enjoy a wide-ranging conversation; including shared disappoint at being included in a recent Michael Moore film, and how we can realistically take on the issues

Storm Cunningham

The keynote address: The Transition to a Regenerative Economy, is given by Storm Cunningham, a global thought leader in community revitalization, co-hosted with the Center for the Advancement of Public Action at Bennington College

This year, SolarFest offers four important and interactive workshops:

Since the beginnings of SolarFest, the most popular workshop covers the ever-changing subject of renewable power. Bill Laberge takes us through the topics from photovoltaics 101 to the latest storage technology to demonstrate how to get the best for your home or business

Answering the question, ‘Is NOW the time for electric cars?’ will be a panel discussion including experts from across the region, moderated by Peter O’Connor, the Plug In America Policy Specialist for the Northeast and Mid-Atlantic

Leading a discussion on Regenerative Agriculture & Food Systems to improve the health of soils, people and society, Jesse McDougall is a regenerative farmer in Shaftsbury Vermont, accredited with the Savory Institute

John Blittersdorf has 40-years of experience living off the grid. The dean of renewable energy in Vermont, John explains being off-grid at all levels; Tiny Houses to McMansions, and how it’s different (better) than living on the grid

Patchouli & Terra Guitarra

Lara Herscovitch

Three incredible musical performers guaranteed to put the “FEST” in SolarFest:

Folk festival headliner Patchouli and Terra Guitarra, featuring soulful fusion of blazing Spanish and world guitar instrumentals, pure, haunting lead vocals, and the beautiful harmonies of Bruce Hecksel and singer-songwriter Julie Patchouli

Lara Herscovitch is a gem of a modern American troubadour. A singer-songwriter-poet and performer, she writes masterful modern folk-Americana music, sings and leads with authenticity, integrity, humor and heart, and delivers performances that inspire, inform, uplift and entertain

Freddi Shehadi

Emmy Award winning guitarist/songwriter Freddi Shehadi’s compositions have been heard worldwide on major network shows and films. Freddi commands a wide range of styles and textures in his performances, capturing the energy of a performance from spontaneity. Expect to “feel” as much as you “hear” from this dynamic musician

# # # # # #

About SolarFest

Since 1995, the mission of SolarFest has been to connect people, the arts, ideas and technology, fostering partnerships to create a vibrant present and a sustainable future. Helping to convene different communities; designers, tradespeople, farmers and academics, and others working to solve our most urgent problems, SolarFest continues its 25-year legacy of providing a unique blend of music, art, and education, outstanding speakers, and the most interesting conversations.

Virtual SolarFest Celebrates 25th Anniversary posted first on Green Energy Times

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[stacyswirl]

IT'S THAT TIME AGAIN!  HERE IS MY TOP TEN ALBUMS FROM 2018!

By midway through the year, I knew who would be in the top 3, and that it would be difficult to order them.  Ordering 4 through 10 was faster and easier than any list ever has been before.  But those top 3, so difficult.  Here are some thoughts on each. in ascending order.  MUCH TEXT TO FOLLOW.

10: Muse - Simulation Theory I just got this album a few weeks ago.  It's not super amazing, but is definitely loads better than their last album, 2015's "Drone".  I like the '80s synth stylings, especially on the opening and closing tracks.  Plus, just look at that amazing vaporwave album cover. A favorite: "The Void" https://www.youtube.com/watch?v=ztnEjj5WW8k

9: Cut Chemist - Die Cut Cut Chemist hasn't put out a proper album since 2006!  This album is pretty scattershot, but it has some great tracks.  It's basically a mid-level DJ Shadow album, with some trippy dance tracks and some fun hip-hop songs.  But since Shadow himself hasn't put out a decent album since 2011 this was plenty welcome. A favorite: "I Got a Weapon" https://www.youtube.com/watch?v=HTPQI2_N2cI

8: Charlie Puth - Voicenotes A newcomer to my lists!  I first heard his song "How Long" in 2017, and loved it, but there was no album yet!  Finally, he put out a full-length and it is wonderful.  This is just a sexy album, full of amazing basslines and syncopated beats.  The real standout track is "Attention".   A favorite: "LA Girls" https://www.youtube.com/watch?v=iW3Than5jrs

7: Aurora - Infections of a Different Kind Another newcomer!  Her first album from 2016 was such a big hit in our household, but I think we found it slightly too late to chart, so to speak.  Phoenix discovered this elfin performer, and within a week we got to see her in concert.  This new album is much shorter than her first, and so far not quite as amazing.  But I know it has hidden depths that will reveal themselves over time. A favorite: "Forgotten Love" https://www.youtube.com/watch?v=TPUFd7cv9q8

6: Death Cab for Cutie - Thank You for Today I've been on a bit of a Death Cab kick for a while, since falling especially in love with their last album, 2015's "Kintsugi".  This is a very soft album, but with some good rhythms and melodies that do the perfect mixture of lull me and keep me interested.  The opening song "I Dreamt We Spoke Again" has a very Post Service feel to it. A favorite: "I Dreamt We Spoke Again" https://www.youtube.com/watch?v=1aZUgUii4Sk

5: Metric - Art of Doubt Metric has been a favorite of mine since I discovered Broken Social Scene in 2007 along with all their related bands.  Their last album, 2015's "Pagans in Vegas" was a disappointment, I never really got into it.  This one's really good though, it has the perfect modern Metric sound, cold and electronic yet enveloping and organic at the same time.  Very good stuff. A favorite: "Now or Never Now" https://www.youtube.com/watch?v=NC8MfulGMXE

4: The Decemberists - I'll Be Your Girl I have not loved a Decemberists album this much since 2009's #1 "Hazards of Love".  In late 2017 they put out the first single from this album "Severed" and I was blown away by their use of sythesizers, it was completely different than anything they'd done before, and I listened to it over and over.  When the album proper dropped it was a somewhat slow burn for me at first, nothing on it was as immediately catching as Severed.  But over time it has become a huge favorite.  Much of the album has an electronic texture, either subtly in the background or front and center.  One of my favorite songs, "Cutting Stone" sounds much like a classic Decemberists folksy ballad, but there's not a guitar anywhere, its all synths.  Also, a special shout out to "Rusalka, Rusalka/Wild Rushes", it sounds like a Hazards of Love b-side. A favorite: "Cutting Stone" https://www.youtube.com/watch?v=rfRwOyBWUsk

3: Dessa - Chime Dessa has shared my "top favorite band" spot with Silversun Pickups for several years now.  Her last two albums took my #1 spots in 2013 and 2010.  Chime is at first a bit of a departure, but is also just a natural extension of where she's been heading for years.  It has genuine pop music on it, and she sings much more than raps on the album as a whole.  She changed her sound, she changed her look (went blond and curly), and I love it all.  I was at first disappointed at the lack of hard hip-hop bangers (outside of a couple near the beginning of the album) but have made peace with that because of how much I love the rest of the album.  Also: I read her book of personal essays "My Own Devices" which was really good, and informed me about many of the emotional behind the scenes-ness to much of her music.  This album is so great, and if it weren't for the next two albums, it would have taken #1 easily.   A favorite: "Jumprope" https://www.youtube.com/watch?v=hc7lGAssa1I

2: A Perfect Circle - Eat the Elephant This is one of those glorious returns.  APC hasn't put out an album since 2004's "Emotive", and that was honestly barely an album.  2003's "Thirteenth Step" was their last true album, and it is still a huge favorite of mine.  So it's been roughly 15 years.  In that time, singer Maynard James Keenan has put out a wealth of music, mostly under his Puscifer solo band name.  Some of that music has been beautiful and amazing, but no full album has been that great.  Billy Howerdell, former Tool guitar tech turned musical-side of A Perfect Circle has put out an album under the name Ashes Divide, and it was decent.  But the magic that is A Perfect Circle has been distinctly missing that whole time.  "Eat the Elephant" (a reference to destroying the republican party) is great from start to finish.  It is dark and challenging, atmospheric and beautiful.  It stands beside their older albums as a true equal and I couldn't be happier with it.  I thought for the longest time this would garner #1 this year, it completely deserves it.  A masterpiece. A favorite: "Disillusioned" https://www.youtube.com/watch?v=u05S9cq2bLY

1: Mike Shinoda - Post Traumatic This one's difficult to talk about.  In 2017, the singer of Linkin Park, Chester Bennington, killed himself.  LP had been a favorite band of mine since high school, I hadn't loved all their music throughout time but always loved them as a band.  It was really rough for me, definitely the most I'd been affected by a "celebrity death".  Mike Shinoda, Linkin Park's resident rapper and production genius had always been my favorite member.  In January 2018 he put out three songs, with appropriately low-budget filmed-at-his-studio-selfie-style videos that granted an intense and personal look into his life and feelings over the last months.  I listened to those three songs over and over, they made me cry many times.  In June he put out a full-length album, that began with those three songs.  The album ranges from specific and personal to broad and emotional.  There are a few great guest artists, including Chino from the Deftones and last year's surprise #10 singer K. Flay.  The production on the album isn't overly flashy but it has that Mike Shinoda sound that I've loved for years.  I used a huge amount of these (and Linkin Park) songs in my recent sync of Star Wars: The Last Jedi, which proved their impact on me.  The album is raw, unpolished, and uncompromisingly emotional.  It's personal significance is what put it at #1. A favorite: "A Place To Start" https://www.youtube.com/watch?v=eijqQgC2S-g

[fordlibrarymuseum]

Famous Friends: Betty Ford and Martha Graham

Betty Ford and Martha Graham in the West Sitting Hall in the White House, 2/16/1976

Betty Bloomer Ford fell in love with dancing as a young woman, a passion that led her to attend summer sessions at the Bennington School of Dance in 1936 and 1937. There she met modern dance pioneer Martha Graham. “I worshiped her as a goddess,” Betty recalled in her autobiography. “She brought into a room a presence that was riveting. To this day, I feel that shiver of awe and delight when she comes on the scene.”

In 1938 Betty moved to New York City to study dance at Graham’s school. She became a member of the Martha Graham auxiliary performance troupe and performed at concerts in New York.

Excerpts from the program of Martha Graham and Dance Group concert at Carnegie Hall in New York City, 10/9/1938; Betty Bloomer appeared in “American Document” as part of the Assistant Dance Group

Although she was serious about dancing, Betty’s active social life sometimes got in the way of her training. “You can’t carouse and be a dancer too,” Martha, who was known for her strict discipline, told her. Betty knew she would have to make a decision about her future career, and at her mother’s urging she returned to Michigan in 1940.

Betty brought Martha’s modern dance techniques back to the Midwest. For a short time she became “the Martha Graham of Grand Rapids,” starting her own dance group and teaching at the Calla Travis Dance School.

Betty Bloomer (at left) Dancing with Three Other Young Women, 1948

As First Lady Betty Ford maintained her connection with Graham, inviting her former mentor to visit her at the White House. She also stopped by the Martha Graham Center in New York City and attended the Martha Graham 50th Anniversary Gala Celebration in 1975.

Betty Ford and Martha Graham Watching Dancers Rehearsing at the Martha Graham Center in New York City, 6/11/1975

President Ford honored Graham with the Presidential Medal of Freedom on October 14, 1976. Betty made sure it was a special night, including performances of two of Martha’s works after dinner.

President Gerald R. Ford Presents Martha Graham with the Presidential Medal of Freedom, 10/14/1976

Thanks to her former student’s persistent lobbying, Martha Graham was the first dancer to receive the nation’s highest civilian honor. She wrote to her “very dear Betty” to thank her after the ceremony. “You and the President gave me the most incredible gift of the world,” she said. “It was a great effort and so much love and faith went into it to make it lovely.”

Betty Ford and Martha Graham toasting at a Martha Graham Company Performance and Benefit Supper at the Kennedy Center for the Performing Arts, 11/16/1976

Cheers to friendship!

[grandgrandgalop]

Steffi Drewes, Daniel Poppick, Wendy Chin-Tanner, Kate Leah Hewett Saturday, February 2nd The Spotty Dog Books & Ale 440 Warren Street Hudson, NY 12534 7pm / free  About the readers: Steffi Drewes is author of the poetry collection Tell Me Every Anchor Every Arrow (Kelsey Street Press, 2016) and four chapbooks, most recently New Animal (Dancing Girl Press, 2017). Her work has appeared in various journals and event series, including the 2018 Way Bay Poetry Assembly and postcard project at Berkeley Art Museum and Pacific Film Archive. She is also the recipient of writing and art residencies at Vermont Studio Center, The Desert House in California, and the Wassaic Project in New York, where she debuted an original set of photo-based tarot cards and performed readings at the Wassaic Summer Exhibition: Vagabond Time Killers. Today she works as a freelance writer and editor in the San Francisco Bay Area. Daniel Poppick is the author of The Police (Omnidawn, 2017). His poetry appears in BOMB, the New Republic, Fence, Bennington Review, the PEN Poetry Series, and other journals. A graduate of the Iowa Writers' Workshop and Kenyon College, he has taught at the University of Iowa, Coe College, and the Parsons School of Design, and has been an artist in residence at the MacDowell Colony and Yaddo. He currently lives in Brooklyn, where he coedits the Catenary Press with Rob Schlegel and Rawaan Alkhatib. Wendy Chin-Tanner is the author of the poetry collections "Turn" (Sibling Rivalry Press, 2014), which was a finalist for the Oregon Book Awards, and "Anyone Will Tell You," (Sibling Rivalry Press, 2019). She is a poetry editor at The Nervous Breakdown, founding editor at Kin Poetry Journal, and co-founder of A Wave Blue World, an independent publishing company for graphic novels. Some of her poems can be found at RHINO Poetry, Denver Quarterly, The Rumpus, Vinyl Poetry, The Collagist, North Dakota Quarterly, and The Mays Anthology of Oxford and Cambridge. A trained sociologist specializing in race, identity, discourse analysis, and cultural studies, Wendy was born and raised in NYC and educated at Cambridge University, UK. She is the mother of two daughters and the proud daughter of immigrants. Kate Leah Hewett is a poet, writer and music promoter based in Hudson NY. She arrived in Hudson from the North of England, where she spent a number of years working with artists and musicians of many genres. Kate doesn’t believe in working in isolation, and feels that collaboration is key in producing work that resonates outside of her own brain. Her writing draws on her own queer experience and the vital influence that the wider queer and creative community has had on her life. Find her at @kateleahhewett on Instagram.

[flynncenter]

Testimony at Vermont Nonprofit Legislative Day

By John R. Killacky, Executive Director, Flynn Center for the Performing Arts

These remarks were originally addressed on March 23.

In 1965, the National Foundation on the Arts and Humanities Act established the National Endowments for the Arts and Humanities. In this law, Congress declared, “It is vital to democracy to honor and preserve its multicultural artistic heritage as well as support new ideas, and therefore it is essential to provide financial assistance to its artists and the organizations that support their work.”

Since their inception, these two agencies, along with Corporation for Public Broadcasting (founded in 1967) and Institute for Museum and Library Services (established 1996) have been extraordinarily successful in democratizing the development and delivery of cultural programs in theaters, museums, libraries, parks, hospitals, military bases, and public television and radio stations in rural and urban communities across our nation.

President Trump has called for the elimination of these four august agencies, along with a slew of others in a radical downsizing of federal government investment. This is not the first time arts funding has been on the chopping block. Newt Gingrich’s 1994 “Contract with America” called for elimination of arts funding, as part of shrinking the size of government.

Gutting these four cultural agencies produces no real savings since their budgets are infinitesimal. The debate really is whether the federal government should be in the business of funding the arts at all. Emotional arguments will take place in Congressional appropriation committees in Washington later this spring.

Vermont has much to lose. In 2016, the state received over $4.7 million from the National Endowment for the Arts (NEA), National Endowment for the Humanities (NEH), Corporation for Public Broadcasting (CPB), and Institute for Museum and Library Services (IMLS). Block grants go to Vermont Arts Council, Vermont Humanities Council, and the Department of Library Services.  

This money is matched many times over by state government, Vermont Arts Council, Vermont Humanities Council, arts organizations, libraries, and museums. VPR and Vermont PBS also match monies received from Corporation for Public Broadcasting. Alex Aldrich, the head of Vermont Arts Council, talks about how each dollar from the NEA generates close to $13 from public and private sources.

Federal agencies also cover the cost of free film licenses for libraries and lower music royalties for VPR. And offer indemnity insurance for museum exhibitions.

If these four federal arts, humanities, and public broadcast agencies are eliminated, Congress will have undone 50 years of federal support that nurtured Vermont’s cultural assets and created welcoming common ground for people to celebrate other cultures, connect to our creative selves, and share fun with family and friends.

Here are the kinds of programs at stake:

At the Flynn, federal funding helps to provide not only world-class performances and community activities with visiting artists, but also $27,000 to subsidize scholarships for classes. It helps allow 6,100 kids to attend student matinees free, 87 schools to host in-classroom workshops, and free movement workshops for folks with Parkinson’s and drumming workshops for people on the autism spectrum. The funding also helps 55 social service agencies give 2,000 discounted tickets to clients.

Shelburne Museum received $2.25 million over the last ten years from NEA, IMLS, and NEH to help renovate many of its historic buildings and develop programs. Federal dollars were often the first money in on these projects.

ECHO, Montshire, and Fairbanks Museums receive $200,000-$400,000 per year from IMLS that is matched 1:1 with partner commitments and local cash grants. Federal support allows ECHO to build out exhibitions and offer 900 free memberships to low-income families.

The inter-library loan services in Vermont is supported with IMLS funds and the Department of Libraries and Vermont Humanities Council co-sponsor the First Wednesdays program, featuring outstanding speakers on a wide range of topics in nine public libraries.

The Vermont’s Department of Libraries also received a $339,000, three-year grant from IMLS to introduce STEM (Science, Technology, Engineering, and Mathematics) learning to Vermont children and families.

Over the last two seasons, Vermont PBS and Burlington Discover Jazz Festival broadcast 16 hours of jazz concerts. These programs were free to viewers, but cost about $8,000 per hour.

I cannot imagine the media landscape without the range of free local, national, and international news, public affairs and cultural programming if funds are eliminated for VPR and Vermont PBS.  This will have a ripple effect on the amount of national programming available for broadcast at a time when unbiased journalism has never been more important.

Nonprofits cultural organizations employ many people in Vermont. The Flynn paid $2.5 million in salaries to 287 employees last year. Multiply this by folks working at Paramount Theater, Bennington and Brattleboro Museums, Circus Smirkus, and others — it is easy to see that many jobs are at risk with the loss of federal funding.

Cultural organizations have a huge economic impact in every town. Just talk to the restaurants near to the Paramount in Rutland, or restaurants in my town when Burlington City Arts presents its outdoor Festival of Fools.

Tom Torti, president of the Lake Champlain Regional Chamber of Commerce, recognizes how important cultural organizations are to the vibrancy and success of the region’s private sector when he says, “It’s the culture of Vermont that sells Vermont.”

Every nonprofit across the state has similar stories of the transformative power and economic impact of the arts. In the weeks ahead, there will enormous lobbying on the national front to support these four federal arts agencies. Luckily, our Vermont Congressional delegation supports the arts, but I am not sure we have enough bipartisan support.

If these four agencies are eliminated, cultural leaders will need to come to local and state government next year, along with our colleagues from human and social services, to ask Vermont to help fill enormous financial gaps.

[larryland]

Vermont Arts Exchange Brings Gypsy Layne Back to Bennington

Vermont Arts Exchange Brings Gypsy Layne Back to Bennington

Vermont Arts Exchange is bringing Gypsy Layne back to Bennington and back to our stage, February 14th and 15th. Call 800-838-3006 for tickets

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[fxmobilemechanicservicesoma-blog]

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