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Courtesy North East Historical Society
MILLERTON — In a November lecture at the NorthEast-Millerton Library Annex, William Tatum III, emeritus of the Dutchess County Historical Society, described how the map lines of the Town of North East were drawn, redrawn, and redrawn again.
“2023 is a big year for Dutchess because it is the 200th anniversary of a major change,” began Tatum. “It is the 200th anniversary of Pine Plains being established as an independent town.”
Tatum said he likes to give the “other side of the story. What about the old town? What about communities from which these new towns came?”
He gave a timeline:
— In 1683, Dutchess County was established as a “paper entity” with 12 counties, 10 of which survive. Two were “bartered away” said Tatum, to get another territory in 1731.
— 1737: North East is established as a precinct.
— 1788: North East is incorporated as a town.
— 1818: Milan splits from North East.
— 1823: Pine Plains becomes an independent town.
Precincts — a Colonial term used instead of “towns”— were formed in New York when a group of partners “formed a patent,” and then would seek out Indigenous tribal leaders to “buy” land from them.
Tatum said they would buy “a vaguely defined amount” of land. He gave an example of how what would become Rumbout (Rombout) was purchased: from the top of Mount Beacon, the partners declared, “We are purchasing all that we can see.”
After the purchase, this patent would have to be approved. First, the paperwork was sent to Manhattan, where it was looked over and approved or rejected by authorities there.
If approved, it went on to London (a six-week to three-month trip depending on “the time of year and prevailing winds”), where it needed approval from the Board of Trade.
Then it would go to the crown, where it needed to approved by the king’s ministers, and then finally to the king or queen.
If approved, it then went through all these steps in reverse, until it got back to the Colonies, where the land claimed in the patent became a precinct.
In 1706, eight investors plus one silent partner, all men “well placed and influential” in society, formed Little Nine Partners Patent for the area of North East; their patent was officially approved by Queen Anne in 1708.
In 1731, “The Oblong” was added to the territory by the Treaty of Dover. This is when two counties were “bartered” to Connecticut for the Oblong, and North East gained its panhandle.
In 1744, after 40 years, the Little Nine Partners Patent (consisting of Dutchess County) was finally divided into seven precincts (South, Rumbout, Beekman, Poughkeepsie, Crum Elbow, Rhinebeck and North East). “Lots were assigned by lottery with two young boys under the age of 16 drawing the assignments” said Tatum. “I like to imagine it was out of a hat, but out of some kind of container.”
Once the patent was divided, it could be sold or rented to the colonists.
To form a new town, colonists had to advocate with petitions and letters to the State Assembly, so that the state would pass a law establishing a town.
Milan split from North East in 1818 to form a new town, and North East lost one-third of its territory. Due to a fire at the state capital in 1911, many of the records of how and why Milan split from North East were lost.
Then in 1823, Pine Plains decided to form an independent town. This was a problem since it left North East with “a whole new series of boundaries, because to keep that community viable, you had to take roughly the northern third of Amenia,” said Tatum.
Tatum added, “And some people are still not OK with that secession of territory from one town to the next.”
Tatum continued, “To divide town A and B was somewhat simpler” but what “North East of 1823 faced was as complicated as it could be.”
The center of North East’s government had to be moved from its seat in what had become Pine Plains. Accounts and paperwork had to be divided between North East and Pine Plains, and then this had to be done again with the new territory gained from Amenia. New officials had to be appointed and elected.
After 1823, “Little was left of the old North East” and it had a “brand new civic identity,” concluded Tatum.
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Leila Hawken
AMENIA — About 10 residents attended the regular meeting of the Recreation Commission Tuesday, Feb. 27, to hear details of conceptual plans for recreational enhancement through the phased development of two town parks.
Landscape architect Jane Didona of Didona Associates in Danbury, who has been working with the commission for more than a year, presented conceptual design plans for the dual projects, expected to be mulltiphased over several years of development. One project, Amenia Green, would improve the town-owned land adjacent to the Town Hall, and the other, Wassaic Park, would develop acreage abutting Wassaic Brook and the Rail Trail and include a new playground adjacent to Gridley Chapel.
Questions from residents mainly sought clarification with some concern expressed about future cost, although all comments were favorable toward the plans.
“Play is an important aspect of everyone’s life and the life of their community,” Didona said, introducing the plans. Adequate data-based planning avoids fragmentation, she noted.
Wassaic Park, Didona said, holds about 9 landlocked acres, with the area south of the brook considered to be a floodplain and therefore unsuitable for a suggested dog run. More recent drawings have moved the half-acre dog run to another location within the park.
Speaking of dog runs, Didona said, breeds need to be kept separated according to their temperaments and they need to be at least 350 feet from any residence.
Also requiring separation according to age group is the playground area anticipated for the land adjacent to Gridley Chapel. Toddlers and young children need to have playground equipment that stands apart from equipment used by older children.
Planning has been done in cooperation with officials from the state Department of Environmental Conservation (DEC) who have visited the site and made recommendations to assist with meeting regulations and eventually submitting grant applications.
Included in the planning is a recreational sports field that can be used for a variety of sports. A pump track and skate park were moved within the planning to a different location within the park to offer access from the Rail Trail and accommodate inclusion of a walking trail around its perimeter.
The land area to be converted to Wassaic Park and the Gridley Chapel yard is largely owned by the Wassaic Project. The owners have indicated that the pump track area would be developed by the Wassaic Project and the land leased to the town for $1 a year. The town would assume responsibility for insurance.
An existing small pond at the site could be used for winter skating, surrounded by a short walking trail, Didona said.
“We have to keep the brook cool because it is stocked with trout,” Didona explained while outlining the group of improvements to facilitate fishing within the park, including the construction of a fishing platform, accessibility for people with disabilities, and other improvements. The DEC has offered to assist with construction of the fishing access features.
Expert in landscaping, Didona described the presence of large amounts of invasive plants on the site, noting that grant funding is readily available if planning includes environmentally desirable plantings and features.
Recreation Commission secretary Peter McCaffrey noted that this planning for both park areas is akin to a master plan, a multiphase, multiyear effort.
Review of the plans at the Tuesday meeting, Didona explained, had focused more on Wassaic Park because plans for Amenia Green had already been accepted by the town in June 2023. Responding to a resident’s request at the end of the meeting, however, Didona reviewed the plans for Amenia Green, noting the planning phases are nearing completion for that project.
The Amenia Green plans envision correction of the existing drainage issues, expanded parking opportunities, a walking trail around the perimeter of the green area, a pavilion to offer concerts, and a splash pool for the playground area with sheltered seating for adults.
Details of the drainage plans involve new technology including underdrains combined with newly developed drainage fabric to allow water to seep away, an alternative to clay pipes. The system also uses a gravel layer, but Didona explained that soil testing will determine the volume of the gravel layer.
“There will be more places for water to go and to be absorbed gradually,” Didona said.
Speaking of the phased program, Didona said that the town’s Recreation Commission needs to “build momentum” toward the next steps in the phased program of recreational park enhancement.
Commenting after the meeting when asked about the next step, McCaffery replied that the Recreation Commission will study the plan and focus on what is needed for the first phase, including surveying and mapping of wetlands and floodplain, and assessing impact on endangered species in the area, notably salamander and bog turtles. The next steps will also call for the creation of formalized design drawings by an engineer, in advance of receiving cost estimates for construction.
To view images of the park plans, go to www.ameniany.gov
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Yehyun Kim/CTMirror.org
Nuvance Health, which owns four hospitals in Connecticut and three in New York, will merge with Northwell Health to form a larger regional health system across two states.
Together, the companies will own 28 hospitals and more than 1,000 sites of care and employ 14,500 providers.
“By joining forces with Northwell Health, we are taking a giant leap forward in our shared mission to enhance the quality, accessibility and equity of the health care we provide to our communities,” said Dr. John M. Murphy, president and CEO of Nuvance Health. “This agreement enables us to make significant improvements to health outcomes for community hospitals and to deliver unparalleled care and drive positive change in the health care landscape.”
In Connecticut, Nuvance owns Danbury Hospital, Norwalk Hospital, Sharon Hospital and New Milford Hospital.
Northwell, based in New Hyde Park, New York, owns 20 hospitals.
“This partnership opens a new and exciting chapter for Northwell and Nuvance and provides an incredible opportunity to enhance both health systems and take patient care and services to an even higher level,” said Michael Dowling, president and CEO of Northwell Health. “We have similar missions in providing high-quality care for patients in the communities we serve.”
The deal is still subject to a certificate of need process for state approval in Connecticut and New York, and must also be approved by the Federal Trade Commission. Amy Forni, a spokeswoman for Nuvance, said certificate of need applications are expected to be filed in the coming months.
Nuvance and Northwell officials said the merger will bring greater access to primary, specialty and hospital care through a diverse network of providers. “Northwell will make significant investments in Nuvance Health, helping it continue to evolve as a high-quality and comprehensive health care system,” they said in a statement.
Leaders of both companies said they hoped the merger would create a broader workforce pipeline and expand medical innovation across their facilities.
“Together, both organizations would have the ability to make significant improvements to health outcomes and address health disparities across the communities they serve,” they wrote in a statement. “As nonprofit organizations, Northwell and Nuvance Health would also continue to provide care to anyone, regardless of their ability to pay.”
The News will occasionally will offer articles from CTMirror.org, a source of nonprofit journalism and a partner with The Millerton News.
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Submitted
Keith Boynton is a filmmaker who grew up in Salisbury, Connecticut. He attended Salisbury Central School, Town Hill School, and Hotchkiss. He has made numerous feature films including Seven Lovers, The Scottish Play, The Winter House, and is just wrapping up a new film, The Haunted Forest, which is a horror/slasher movie. Boynton has made numerous music videos for the band Darlingside, and for Alison Krauss. He is a poet, a playwright, and comic book art collector.
JA: This series of stories The Creators focuses on artists, their inspiration, and their creative process. Keith, what was the seed that got you started?
KB: I think the earliest stage of everything is just daydreaming. I’ve been a daydreamer my whole life, probably most kids are. Those daydreams are just daydreams - they don’t come to anything - but occasionally something happens in your imagination that you can’t let go of. Something you want to make real, whether that’s a goal in your life, or a project that you want to pursue, or something you want to create, it just sticks in your mind, and can change your whole life.
JA: Was there a favorite book that you loved growing up?
KB: My favorite book in childhood was The Wreck of the Zephyr by Chris van Allsburg. Some books just fired me up a like Maniac Magee, by Jerry Spinelli, an amazing book that was probably the most exciting thing I’d ever read up to that point. I remember finishing it and just sprinting up and down the driveway. I loved all the William Steig books, especially Dominic. Some art forms lend themselves to the imagination. One of the things I love about cartooning (I’m a huge comic book fan, and I collect comic book artwork) I love the way it can be anything. It is the unfettered exercise of the imagination, whereas making a live action film is a very fettered exercise of the imagination. You are bound by the technology and the reality of what you’re shooting, and the limitations of what you have available, so it’s still a creative act, but it’s not the kind of thing you can just daydream on the paper. You must contend with a lot of reality on the way to making that dream something real.
JA: Why do you love language?
KB: I mean, words are magic. They can create whole worlds. I‘ve always been fascinated by them. There’s nothing more human than the urge to communicate, but words do more than communicate; they conjure. It’s a hell of a thing.
JA: You cannot escape the business side of filmmaking. How do you handle all that, financing, promotion, deal making, streaming, film festivals?
KB: It is a job in itself. The mindset of promoting a film is the opposite of making one. It’s rare to find one person who’s good at both. I want the film to be successful, yet don’t see myself as a marketer. When I am forced into that role it’s an awkward fit. I love the response of an audience. I love watching a movie with an audience, or even better being in front of an audience, that immediate kind of connection. The relationship that you have with anyone in the business of curation of a Film Festival, or a studio executive, lacks immediacy. Yet you must not become an artist who thinks they’re entitled to an audience, or entitled to a platform, or entitled to be regarded as special. Audience members who grant you their time are giving you a gift, which is often unearned.
JA: Do you control the editing process?
KB: I edit my own films, I direct them, and I write them. I’m steering the ship to a certain degree at every stage which is gratifying.
JA: How do you cast your films?
KB: For some films I have used a casting director. For The Haunted Forest, the slasher film that we shot in the fall in Maryland, that is just wrapping up, I was the casting director myself. My first time working without a casting director in probably a decade. It was far more work than I realized. There were 38 speaking roles and I had to piece them together for my people to submit it on the Internet, to attract people who lived in the area. Some were actors, some were not, some from New York, some local. It was an incredible hodgepodge of people some of whom had never acted before, and some phenomenally accomplished actors.
JA: Tell us about The Haunted Forest:
KB: Cousins on my dad’s side, the Markoffs, live in Montgomery County, Maryland. They’ve been operating this haunted forest for about 30 years on their property, creating scary tours in October where you walk through, and people jump out and frighten you. It is like a homemade, horror film Disneyland. I was blown away by the scope of it, the scale of it plus the attention to detail and just the passion that they put into this place. My brother Devin McEwan [slalom canoeist, gold medalist 2015 Pan American Games, medalist 2016 Olympics] had the idea to set a film there. He conceived of the story idea. We developed the screenplay together. Great shout out to my brother without whom this movie would never have been dreamed of, much less brought into being. It’s a story about a young man passionate about horror and Halloween. He gets a job at the Haunted Forest, loves his job, meets a girl, then people at the Forest start dying for real and no one knows why. It is a murder mystery, slasher thriller which is not my wheelhouse as a filmmaker, or even necessarily as an audience member, but I had so much fun making this. The film still has a certain romanticism, maybe more than previous films. The genre is larger than life. There’s darkness and terror, but also the opportunity for heroism and overcoming. I think some of the most cinematic stuff that I’ve ever captured is in this movie. We are close to locking the picture edit, and then after that we sign color, music, visual effects and it’ll be ready to premiere at the actual Haunted Forest this fall. Anyone in the DC area, come watch this movie on site and get scared out of your minds.
JA: Were the special effects challenging for you and for the actors?
KB: I had a steep learning curve. We brought in a special effects expert. Some actors were covered in blood, and it was cold at night, yet the vibe on set was amazingly good, people had so much fun. While most of my films are realistic there’s a certain attraction to melodrama. I want to be fantastical, operatic, yet feel grounded and human and real. If you can pull that off, that’s magic.
JA: How can people watch your films?
KB: Three of my movies, Seven Lovers, The Scottish Play, and The Winter House – are available on Amazon and Apple TV. The best way to keep up with me is facebook.com/TheKeithBoynton, and crazylakepictures.com
JA: Your favorite films and directors?
KB: It’s a Wonderful Life, The Sting, Back to the Future, Point Break. Frank Capra, Christopher Nolan, Martin Campbell, Steven Soderbergh.
JA: Relationships feature in your films, and music videos. Does that come from your own well of experience?
KB: I did grow up in an incredibly warm family, incredibly welcoming, supportive, creative, funny, eccentric. I had a pretty idyllic childhood. [Keith’s father Jamie McEwan was an author and medal-winning Olympic slalom canoeist. Keith’s mother Sandra Boynton is an illustrator known for her iconic, delightful creatures and designs] That does stay with you forever. Optimism is one of the gifts the arts can give us when we need something to hang on.
JA: Tell us about your friendship with the band Darlingside.
KB: I’ve known Don Mitchell since he was little. We grew up together. We used to play the Legend of Zelda in his mom’s basement. Later, after hearing their brilliant music, I offered to make some music videos. I have used their music in my films. They are the loveliest people, so sweet, so committed to what they’re doing. They are really four of my favorite human beings in the world.
JA: Your film The Scottish Play, was just shown on Channel 13 as their Valentine’s Day romantic offering. How did you write so many lines of iambic pentameter?
KB: I have always been interested in Shakespeare’s time. I did some Shakespearean acting as a child. The language is extraordinary, alien yet familiar. It does create a different world, a heightened world, a romantic world, something you can indulge in, escape into, so for a long time I wanted to find some way to play in that sandbox of Shakespearean language. I conceived of the idea of having Shakespeare appear as a ghost because then it can be a contemporary story and Shakespeare can be anything that I imagine. He doesn’t have to be tied to his own biography or anyone else’s version of Shakespeare. I can just write him any way I choose. That movie came out of my desire to synthesize the real and the fantastical.
JA: Do you prefer making independent films?
KB: One of the reasons I toil away in the indie world is because I relish the control. My work can be ignored but it can’t be stopped, or changed, influenced by anyone, which is why I direct my own scripts instead of trying to sell the scripts. Screenwriters have no control over what happens to their screenplay. I was a writer first and foremost. [Boynton has an MFA in playwrighting from Columbia]. I had to learn to direct movies because that’s the only way to protect and make sure the story gets out in a way that you feel comfortable with.
JA: You are a romantic at heart, true?
KB: Romance is a recurring theme in my work, although not so much in my life, and maybe those two things are related. It has been a preoccupation of mine since childhood. My very romantic view is a great engine for stories. I do have a small pipeline with my own poetry on Facebook where I can reach a small number of people very quickly. I wish I could scale up a film pipeline, and I knew just how to reach that audience with that same level of immediacy. It would be an extraordinary feeling, so liberating creatively. Sometimes it is so hard to get up the energy and enthusiasm to begin a new project, when so many things that I’m proud of have been orphaned, forgotten, or fallen on deaf ears.
JA: How do you gauge the success of a film?
KB: There are three categories of response: people that I know which can be gratifying, I sometimes hear from professional critics, and then sometimes a random stranger stumbles upon the movie and loves it. Sadly, the scale of money, time, and energy that goes into a film does not always correspond to the to the scale of the impact.
JA: Do you love filmmaking enough to be satisfied despite a lack of response?
KB: I love being on the set. It is only two weeks out of every two to three years, but I love that feeling of working together.
JA: What’s next?
KB: I’m gearing up to another movie in September and that’ll be shot here in Salisbury, maybe at Mt. Riga. It will be about 10 months between shooting one feature film and another. The film is broadly in the category of horror or psychological thriller. More about mood and character and fabulous actors. I’m going to reuse some of my favorites from people who maybe had a smaller part in my other films.
JA: You describe your work on your website: “it’s humor and a touch of optimism. also, we like coffee.”
KB: I think coffee is one of the core principles of life. It’s certainly a major theme in my work. I think every play or movie contains at least one reference to coffee and usually a very loving reference. It’s a touchstone, but also maybe it represents warmth and comfort.
JA: What do you love about filmmaking?
KB: The camaraderie, the moments of magic, the sense of capturing something special and unrepeatable, the sublime irrelevance and absurdity of the whole endeavor, the excuse to drink endless cups of coffee, those occasional moments when you whisper to yourself (or to someone else): We’re making a movie. (And you are.)
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