Conversations About Art

The Railroad Museum of Pennsylvania has scheduled two railroad photography sessions; railroad photographer and author Brian Solomon will lead these sessions

By Steven Brodsky

… The sessions were announced today, April 11, 2025, by the Friends of the Railroad Museum of Pennsylvania in this news release:

Strasburg, Lancaster County, PA — Due to the popularity of its first Railroad Photography 101 session in February, the Railroad Museum of Pennsylvania has now scheduled Railroad Photography 101, sessions 2 and 3, led by noted railroad photographer and author Brian Solomon.
Session 2 will be held on Tuesday, May 13 from 10:00 a.m. to 12:00 p.m., and will emphasize technique and the approach to indoor light. Brian will use portable stationary lights to illuminate several prominent rolling stock exhibits in order to allow for better photographs. This may include the 1838 Philadelphia & Reading Rocket, and the Reading Company’s shop switcher No. 1251. Session 3 will take place on Tuesday, June 10, from 9:00 a.m. to 11:00 a.m., and will focus on composition and the approach to outdoor light, weather permitting.
Participants may bring their smart phone, digital camera or film camera to take memorable photos of the Museum’s historic railroad equipment. Session sizes are limited to 25 individuals and are designed for beginning photographers ages 18 and over. Registration is available on Eventbrite for both sessions two and three, and the cost is only $25.00 per person per session.
Brian Solomon earned a bachelor of fine arts degree in photographic illustration from the Rochester Institute of Technology. He produces a daily blog about railroad photography and his articles and photography have appeared in many railway magazines including Trains Magazine, Railway Age, Railroad Explorer, Railfan & Railroad, National Railroad Historical Society Bulletin, Germany’s Modelleisenbahner, the Journal of the Irish Railway Record Society and the UK’s Rail Magazine. Brian was presented with the Railway & Locomotive Historical Society’s prestigious Fred A.& Jane R. Stindt Photography Award in 2020 for his lifetime achievements in railroad photography.
Brian is the author of more than 70 books and writes a monthly travel column and feature articles for Firecrown Media’s Trains Magazine. He is the marketing manager for New Hampshire’s Conway Scenic Railroad, and lives with his wife Kris in Lancaster County, Pennsylvania. Many of his books are available for purchase in the Railroad Museum of Pennsylvania’s Whistle Stop Shop museum store.
The Railroad Museum of Pennsylvania is home to a world-class collection of about 100 historic locomotives and railroad cars, a working restoration shop, an immersive education center, a vast research library and archives, special events and exhibits and a Museum store.
A Smithsonian Affiliate, the Museum is one of 11 historic sites and museums administered by the Pennsylvania Historical & Museum Commission as part of the Pennsylvania Trails of History®, with the active support of the nonprofit Friends of the Railroad Museum of Pennsylvania. Visit RRMuseumPA.org or call (717) 687-8628.

Posted 4-11-25

Hopefully, a child song character has outgrown/unlearned the damaging lesson that was inflicted upon him by a teacher on his first day of school.

By Steven Brodsky

… He’s in this song:

Perhaps he was the recipient of subsequent (and great) arts education that allows him to now enjoy seeing and representing all of the colors of the rainbow.

I wish Harry Chapin would have done a “Flowers Are Red” sequel!

Speaking of a “rainbow,” here’s a piscine beauty:

A rainbow trout
Photo courtesy of the Pennsylvania Fish and Boat Commission (PFBC)

The rainbow trout photo accompanies a post about the Pennsylvania Fish and Boat Commission’s 2025 adult trout stocking schedule. You’ll find that post at: https://delcoculturevultures.com/2025/02/02/conversations-about-nature/.

Posted 2-2-25

Attention wildlife artists: the barn owl is the featured species of the Pennsylvania Game Commission’s 2026 Working Together for Wildlife Art Contest

By Steven Brodsky

… Details about the 2026 Working Together for Wildlife Art Contest are in this news release that was issued by the Pennsylvania Game Commission on January 10, 2025:

BARN OWL FEATURED IN ART CONTEST

It’s time to go back to the drawing board, or painting easel if you prefer.
The Pennsylvania Game Commission has announced its 2026 Working Together for Wildlife Art Contest, with entries due by May 2, 2025.
The 2026 featured species is the barn owl. One or more barn owls can be featured in an original horizontal artwork measuring exactly 22 ½ by 15 inches, or a vertical artwork measuring exactly 15 by 22 ½ inches. Each artwork must be surrounded by a 3-inch-wide white border or mat, which is in addition to the listed artwork dimensions.
Artists can use whatever mediums and materials they choose, and artworks must be left unsigned and unframed.
Unlike in previous years when submissions were mailed or hand-delivered to the Game Commission, all submissions for the 2026 contest must be submitted by e-mail to rebawillia@pa.gov by 4 p.m. on May 2. Artists may submit more than one work, but for each submission, there is a nonrefundable $50 entry fee. Artists 18 and younger can enter for free.
Entry fees must be mailed to the Pennsylvania Game Commission ATTN: 2026 WTFW Contest, 2001 Elmerton Ave., Harrisburg, PA 17110-9797. Artists should be sure to include their name with payment.
All entries will be reviewed and evaluated by a committee of qualified Game Commission personnel.
The artist whose painting is selected for the 2026 Working Together for Wildlife fine art print series will receive $5,000 plus 50 artist proof prints. The winning artist must pencil sign up to 750 limited edition fine art prints produced from the original painting, with signing conducted at the Harrisburg headquarters, and the artist receiving the cash award after the prints are signed.
In addition, cash awards will be presented to other top-finishing artists. The artist submitting the second-place painting will receive $1,500; third place, $1,000; fourth place, $800; and fifth place, $500. In the event of a tie, the awards for the two places will be combined and split evenly.
Participating artists will have the chance to view entries after final selections are made.
Official rules about the contest are available on the Contests page of the Game Commission’s website. Each artist must be a Pennsylvania resident. For further information, contact the Game Commission 1-833-742-9453 (1-833-PGC-WILD).
Founded in 1980, the Working Together for Wildlife program has raised over $2 million for wildlife management and research across the Commonwealth.
“Revenues received from the sale of signed and numbered prints help finance wildlife research and management programs in Pennsylvania, meaning participating artists not only have a chance to take home winnings, but to help fund wildlife conservation through their work,” said Lauren Ferreri, who leads the Game Commission’s Bureau of Information and Education. “By inspiring artists, engaging the public and allowing both to help benefit wildlife, the Working Together for Wildlife program continues to promote the Game Commission’s role in wildlife conservation and serves as an important reminder that we all can make a difference.”

Posted 1-13-25

A Conversation With Victoria Browning Wyeth

By Steven Brodsky

Victoria  Browning Wyeth is the granddaughter of Andrew Wyeth and the niece of Jamie Wyeth. She is the great-granddaughter of N.C. Wyeth. Victoria is widely known for her dynamic gallery talks and lectures on the life and art of Andrew Wyeth. Victoria is a gifted photographer; her photos have been exhibited at a number of museums.

What are some of your fondest memories of your grandmother?

One of my fondest memories of my grandmother were our nicknames for each other. I always called my grandmother by two names: “Betsy” or “Mamma Sheep Turd.” I realize the second name might raise a few eyebrows so let me explain. I grew up in New York City, but would spend every summer in Cushing Maine with my grandparents. As a young girl, and as a grown woman, I have always detested sand, dirt and bugs. When I was about nine or so, my grandparents purchased Allen Island (near Port Clyde, Maine), and, in addition, a very large flock of sheep to help with the lawn “maintenance.  Along with the sheep came sheep turds…. EVERYWHERE. So, she called me “City Slicker” and I called her “Mamma Sheep Turd.” When I was in college and we wrote each other letters, the post office at my college would giggle when they handed me a letter because of the return address. I always smile when I think of the looks people gave us when we used these names for each other.

My second fondest memory was when she taught me to put on makeup and put my hair in a French twist. I can still feel her hands in my hair helping me pin it up. When it came to applying makeup she would always say, “Vic… less is more.” To this day I am not much of a makeup person.

Finally, my most recent favorite memory involved cooking for my grandmother (and my uncle Jamie) on Sunday nights. Betsy was the chef in the family – her meals were simply out of this world yummy. Mashed potatoes, cookies, creamed eggs, popovers, etc. You name it and she could make it. After my grandfather died she scaled back her cooking quite a bit. Around six or seven years ago I started cooking Sunday dinners for my family. I wasn’t the best chef at first; I burned fish more than I would like to admit. One of the things that still brings a smile to my face was watching her gobble up every last morsel. She would look at Jamie and me and say, “mmmmm this is good.”

Betsy handled much of the business affairs of her husband Andrew. What prepared her for this?

She always had such a powerful business sense. I’m not quite sure where this came from, but she handled Andy’s business affairs with such grace and intelligence. She was quite the inspiration.

Please describe how Betsy furthered the career of Andrew?

My grandmother helped further his career by supporting him in numerous ways. The most important was through her love: she loved him with all of her heart. She would always tell him what she thought of his newest painting – if he needed to simplify something, if the color was too intense, etc. She was also very instrumental in titling many of his paintings.

What was the extent of Betsy’s involvement in titling the paintings of her husband?

She had a huge role in the titles. Take the painting Wind from the Sea. When my grandparents were discussing the piece Betsy said, “It looks like a wind is coming in from the sea.” Andy replied, “That’s it!! Wind from the Sea.” Her vocabulary was most impressive. For example, she would do the New York Times crossword puzzles in ink. This gave her an incredible bank of words to choose from when she helped to title the work.

Her ability to title wasn’t limited to paintings: when I was in graduate school and writing long research papers, I would call her and tell her my paper topic. She would then call me back with a title. For example, I wrote a paper on shell shock in British troops during World War I. She came up with the title “Over the Top.”

Were you able to observe Andrew while he was painting? If you were, did he discuss what he was working on?

Andy HATED having people watch him paint. He felt that having you watch him paint was an invasion. The only times I watched him paint were: (1) outside my window in the summer. He would work on watercolors or drawings outside my parent’s house in Cushing, Maine. He didn’t know I was looking, but I was. I couldn’t help myself. This is when I was a young girl (under 13). (2) When I would accidentally walk into the house when he was working on something. I would apologize and he would smile and say, “Hi darlin’. I’m just finishing up.” (3) When I posed. This was my favorite because we got to discuss everything. I would barrage him with all sorts of questions about his work, his life, his friends, etc. The last time I posed (back in 2005) I was giving lectures at the Brandywine River Museum. It was so cool because I would incorporate what we talked about into my gallery talk that day. 

How sensitive was Andrew to what critics wrote about him?

He couldn’t have cared less what the critics thought.

Which paintings of his do you believe he remained most attached to? 

He was almost always most attached to the painting that he was working on.

To your knowledge, were there times in Andrew’s life when he was without artistic inspiration? If there were, how did he reacquire inspiration?

To the best of my knowledge this never happened. Even when he was in the hospital (for a hip replacement) he drew his hospital room and the view out the window. He was inspired by everything and everyone.

 Of the photos that you took of Andrew Wyeth, is there one that especially evokes cherished memories? Can you share those memories with us?

The one I took of him painting outside my window in Cushing, Maine. He was painting me and we would start working very early in the morning – 6:45 a.m. I overslept one morning and rushed downstairs. As I looked out of the living room window, I found him sitting out there with his watercolor pad on his lap, tissues everywhere (to blot the paper) and his watercolor box by his side. Whenever I get sad and miss him, this is what I think of and it always makes me smile. 

You’ve given many pro bono talks. Which of those talks have been most gratifying to you? Please tell us why.

My favorite talks, pro bono and paid, have been the ones I have done at the state and local prisons. I feel that those who are incarcerated should be exposed to art as much as possible. Since they can’t go to a museum, I bring a museum to them. For example, this past January I lectured on the work of my grandfather to the gentlemen at the Maine State Prison in Maine. I went on January 16th – which is a very special day for me – the anniversary of my grandfather’s death. It was a beautiful snowy day and I packed my car up with a bunch of my uncle’s and grandfather’s watercolors and drawings and headed to the prison. I thought it would be fun to create a pop-up gallery in the prison and even more interesting to bring one of my grandfather’s models with me. It was a very special day for all of us. I will never forget looking at the reactions on the guys faces as they looked at the art.

The Brandywine River Museum of Art is currently closed to the public (as are other museums) because of the COVID-19 crisis. Is there a painting in the Museum’s collection by Andrew Wyeth that, at this moment, you are especially looking forward to seeing when the doors reopen?

I love seeing my grandmother’s portrait – Maga’s Daughter. I’m very excited to go visit her and say hi.

Posted 6-8-20

Conversations With Writers And More

There will be spring days ‘so perfect’

By Steven Brodsky

… as perfect as the day that’s featured in the poem “Today,” by Billy Collins:

https://www.poetryfoundation.org/poetrymagazine/poems/40824/today-56d21ebdad746

Such days foster expansiveness under a “larger dome of blue and white.”

Photo by Steven Brodsky

Those days will be perfect enough to possibly help to alleviate or eliminate impingements on one’s writing flow that may have set in over the winter.

Posted 3-31-25

Things that bug us

By Steven Brodsky     

Photo by Steven Brodsky

Writers usually find it easier to shoo away or crush flies at spring, summer, and autumn picnics than to decide if they should write about some pesky (and personally troublesome) subjects.

If you’ll be attending picnics, enjoy them!

Nice (and easier) writing can arise from those picnics, whether or not flies and other external pests will be present.

Posted 3-28-24

The road I chose today

By Steven Brodsky

Photo by Steven Brodsky

… a road not made of asphalt, enables me to commemorate Robert Frost’s birthday, which arrives in two days, by sharing this link: https://poets.org/robert-frosts-road-not-taken.

Robert Frost was born on March 26, 1874.

I’m appreciative that Robert Frost chose a road that facilitated his penning “The Road Not Taken.”

Posted 3-24-25

April is coming, ‘she will’

By Steven Brodsky

… In many of the regions where readers of this column reside, streams will be “ripe and swelled with rain.”

The writers among us can choose to act upon exceedingly rich and abundant writing prompts that the month of April and spring evoke.

Some of the better writing prompts will quickly disappear from consciousness, as if they’ll be carried off by the rushing waters of a “ripe and swelled with rain” April stream.

Such a stream:

Photo by Steven Brodsky

Will you have pen and paper at hand to capture writing prompts and to actualize some of those prompts into first drafts?

Posted 3-14-25

Whether or not you will be welcoming the arrival of March

By Steven Brodsky

… March will be here soon.

It’s never too early or too late a date to enjoy this Emily Dickinson poem: https://poets.org/poem/dear-march-come-1320.

Posted 2-25-25

Disattired

By Steven Brodsky

… is this adaptively “wise” tree:

Photo by Steven Brodsky

It’ll “stand sleeping in the cold” tonight.

Not easy (and unlikely) for most poets: to write with the level of poetic eloquence and concision that William Carlos Williams did in this ten-line poem: https://www.poetryfoundation.org/poems/45504/winter-trees.

While the “wise” trees will do what they will in the remaining nights of this winter, wise and dedicated writers will be striving to improve their writing ability.

Posted 2-23-25

The last vestige of light is present on these woods

By Steven Brodsky

… at the start of this snowy evening.

Photo by Steven Brodsky

Though I would like to linger at these woods, it wouldn’t be expedient: there are “promises to keep” and “miles to go before I sleep.”

The words between quotation marks in the above paragraph are those of the speaker in this poem by Robert Frost: https://www.poetryfoundation.org/poems/42891/stopping-by-woods-on-a-snowy-evening.

I have to move on from these woods and this post.

Thanks for stopping by.

Posted 2-12-25

A biblical admonition for writers and/or bookworms

By Steven Brodsky

Writers and/or bookworms (many writers are bookworms) may find  Ecclesiastes 12:12 to be a catalyst to offset effects of excessive sedentary time with healthful activities.

Ecclesiastes 12:12: “And further, by these, my son, be admonished: of making many books there is no end; and much study is a weariness of the flesh.”

Be well!

Posted 2-10-25

In the closing hours of 2024, headwinds are in the forecast for January  

By Steven Brodsky

… for some of the writers among us.

You may have experienced first-month-of-the-year headwinds before.

It’s clear that the speaker in William Carlos Williams’ “January” has.

Note the first word of the poem: “Again.”

January by William Carlos Williams – Poems | Academy of American Poets

Good luck to those of you who will be writing through headwinds in January.

Happy New Year.

Posted 12-31-24

Christina Rossetti’s ‘A Christmas Carol’

By Steven Brodsky

…was an outflow of Christina Rossetti’s having given her heart to Jesus (read Rosetti’s “A Christmas Carol,” and take note of the words in the last line of the poem): A Christmas Carol | The Poetry Foundation.

Christina Rossetti | The Poetry Foundation 

The poem was not written by a woman with a stony heart.

What can God do for a person with a stony heart?

Ezekiel 36:26: “A new heart also will I give you, and a new spirit will I put within you: and I will take away the stony heart out of your flesh, and I will give you an heart of flesh.”

Posted 12-21-24

Ted Kooser’s ‘Christmas Mail’

By Steven Brodsky

… linked here for our holiday season enjoyment, before the Christmas rush gets fully underway: https://www.poetryfoundation.org/poems/55886/christmas-mail.

The Christmas cards that the mail carrier in the poem delivers have transportive power, as does the poem: they take us to a special time and place.

Season’s greetings to all of you.

May writing that you do on pages, screens, and on holiday cards be graced with transportive power.

Ted Kooser served as the U.S. Poet Laureate from 2004-2006. He was awarded the Pulitzer Prize for poetry in 2005.

Posted 12-8-24

Serviceably macabre

By Steven Brodsky

… for Halloween enjoyment is Robert W. Service’s “The Cremation of Sam McGee”: The Cremation of Sam McGee | The Poetry Foundation.

This was recorded by Johnny Cash at Cash’s home:

Did the story of Shadrach, Meshach, Abednego, and a fourth person in a fiery furnace “walking in the midst of the fire” told in Daniel 3:16-28 help inspire Robert W. Service (January 16, 1874 – September 11, 1958) to write “The Cremation of Sam McGee”? I’d tell you if I knew.

Posted 10-11-24

O column readers

By Steven Brodsky

…  Walt Whitman was born 185 years ago, on May 31, 1839.

In commemoration of Walt Whitman’s birthday, enjoy:

O Captain! My Captain! by Walt Whitman (read by Tom O’Bedlam) (youtube.com)

Posted 5-31-24

A ‘wordless’ special encounter

By Steven Brodsky

Photo by Steven Brodsky

… with a heron or other wild animal can compel a person to write about the experience “over and over again.”

A compelling poem, Hayden Carruth’s “THE HERON”: https://www.poetryfoundation.org/poetrymagazine/browse?contentId=39844.

Posted 5-9-24

A winged writing prompt

By Steven Brodsky

… prompted by Emily Dickinson’s “Fame is a bee” (linked below):

Photo by Steven Brodsky

www.poetryfoundation.org/poems/52139/fame-is-a-bee-1788

No telling when this prompt will take wing and disappear from this page.

Emily Dickinson did not experience the sting of fame; she was not famous during her lifetime.

Posted 5-4-24

Curiosity

By Steven Brodsky

Photo by Steven Brodsky

… can prime an artist’s creative pump (yes, the proverbial cat that possessed this trait now comes to mind).

Posted 4-23-24

In commemoration of the birthday of Robert Frost (March 26, 1874 – January 29, 1963)

By Steven Brodsky

… Let’s enjoy Robert Frost’s “Birches”:

“Birches” by Robert Frost (read by Tom O’Bedlam) (youtube.com)

https://www.poetryfoundation.org/poems/44260/birches

“Birches,” a song by Bill Morrissey, had been referenced in the main section of this column. I believe that Bill Morrissey probably titled the song as a nod to the same-named Robert Frost poem. Bill Morrissey spoke of the impact of Robert Frost’s poetry in an interview: “And then, as I got older, people like Robert Frost really hit me.” Bill Morrissey’s “Birches”: https://www.youtube.com/watch?v=Y5n5ceAv_Bc&ab_channel=BillMorrissey-Topic. I never had an opportunity to interview Bill Morrissey.

Posted 3-26-24

A recitation of  W.H. Auden’s ‘O What Is That Sound’

By Steven Brodsky

… A great recitation of this unsettling poem:

Tomorrow is the birthday of W.H. Auden (February 21, 1907 – September 29, 1973).

Posted 2-20-24

Tracked and found a lost dog

By Steven Brodsky

… during a recent snowfall.

After finding the dog, turned around and noticed the tracks of the dog and my own in the snow “stretched out upon the world.”

Blizzard by William Carlos Williams | Poetry Foundation

The dog was returned to its owner.

Posted 2-15-24

Longing to be ‘lost’ in a romantic interest

By Steven Brodsky

… the condition of the speaker of “I Am Not Yours,” a poem by Sara Teasdale (1884 – 1933): https://poets.org/poem/i-am-not-yours.

The first-person character of Paul Simon’s “50 Ways To Leave Your Lover” does not have that condition:

48 years ago, on February 7, 1976, “50 Ways To Leave Your Lover” reached the top of the Billboard Hot 100 chart for the first of three weeks.

The poem and song are referenced here in advance of Valentine’s Day.

Posted 2-7-24

‘The work of a writer, his continuing work, depends for breath of life on a certain privacy of heart.’

By Steven Brodsky

… Yes. For the purpose of maintaining “a certain privacy of heart,” will leave it at that; no flippancy is intended.

The quotation is that of Tennessee Williams. It appears in New Selected Essays: Where I Live.

It’s presented here in commemoration of the birthday of Tennessee Williams this coming Sunday. He was born on March 26, 1911.

Posted 3-24-23

One can only imagine

By Steven Brodsky

… how great Hubert Selby Jr.’s novel Seeds of Pain, Seeds of Love (the working title) would be if the novel had been completed.

Revisiting this reading by Selby of a few pages from the incomplete manuscript of the novel because the pages and the reading are powerful and not everyone here now watched the reading when a link to it was originally posted, and because the writing exemplifies what can be achieved by someone who never completed formal education beyond the eighth grade and who had some huge personal challenges, and because I hope that the reading will inspire writing by some of you, but be aware that the reading contains a depiction of violence upon a juvenile by a parent and adult language: https://www.youtube.com/watch?v=Q0wAJ8AFRmQ.

An outstanding documentary about Hubert Selby Jr.: https://www.youtube.com/watch?v=cvDJNEcUxfs.

This posting is dedicated to the memory of Dan Fante (February 19, 1944 – November 23, 2015).

Dan Fante was encouraged to write by Hubert Selby Jr.

Have you read Dan Fante’s memoir? It’s titled Fante: A Family’s Legacy of Writing, Drinking and Surviving.

Posted 12-5-22

Seamus Heaney’s father and grandfather used a spade. Seamus Heaney, a squat pen.

By Steven Brodsky

… digging tools.

Nobel Prize-winning poet Seamus Heaney at Villanova University in April 2010 reading “Digging”: https://www.youtube.com/watch?v=KNRkPU1LSUg.

The text of “Digging”: https://www.poetryfoundation.org/poems/47555/digging.

Seamus Heaney was born in Northern Ireland on April 13, 1939. He passed away on August 30, 2013.

Posted 2-2-22

Great color choice for the wheelbarrow in a 16-word poem by William Carlos Williams

By Steven Brodsky

… W.C. Williams chose red—an excitatory and perfect color for the wheelbarrow in the poem “The Red Wheelbarrow.”

Had he chosen any other color, the poem’s effectiveness would be greatly diminished.

Read or recite the poem from memory with a different color for the wheelbarrow and check this out for yourself.

https://www.youtube.com/watch?v=NqIl3oX_44s&ab_channel=awetblackbough

https://www.poetryfoundation.org/poems/45502/the-red-wheelbarrow

Posted 8-19-21

 

Tickets on Sale for Colonial Theatre 26th Annual Blobfest

Colonial Theatre gears up to host a jam-packed weekend full of ghoulishly gooey fun for its 26th Annual Blobfest.  This year’s Blobfest theme is “Camp Blobfest,” promising an outrageously over the-top festival experience filled with nostalgia, thrills, and larger-than-life fun.   

From July 11 to July 13, the three-day festival pays homage to the theatre’s starring role in the 1958 classic Steve McQueen film, The Blob. Phoenixville’s favorite movie monster oozed into town more than 60 years ago after the Colonial Theater was featured in the famous 1958 film during a scene where a large crowd runs out of the theatre to escape the renowned blob. Since then, the Colonial has celebrated the film and all things sci-fi horror for a quarter century.  

Fan-favorite events returning to Blobfest this year include an electrifying stage show and iconic Run-Out, where attendees can relive the legendary escape scene from The Blob. Due to high demand, an additional Run-Out has been added to the event lineup. Tickets start at $40, offering fans a chance to be part of the action and excitement. Other beloved annual events include the high-energy 1950s rock ‘n’ roll Blob Ball, the lively Saturday Street Fair, Shorty’s Short Film Contest, and the Blobfest 5K, 10K, and Half Marathon with tickets for the race starting at $35. Attendees can also take part in the Facade Decorating Contest and Costume Contest, showing off their best Blob-inspired looks and creative storefront displays. Screenings of The Blob and other horror classics will show throughout the three day festival, including the Spanish-language version of The Blob, La Masa Devoradora, Evil Dead 2: Dead  by Dawn, and Gremlins 2: The New Batch

Tickets for Camp Blobfest events can be purchased online or in person at the Colonial Theatre box office.  

The Colonial Theatre is at 227 Bridge Street, Phoenixville, PA .  

Conversations with Songwriters and Musicians

Just announced: Michael Martin Murphey to perform a concert at the Sellersville Theater on Saturday, June 14, 2025 at 8:00 p.m. (doors will open at 7:30 p.m.)

By Steven Brodsky

 

 

… Tickets are now available.

Visit https://www.st94.com/events/michael-martin-murphey/ for additional information and a link to purchase your tickets.

Posted 4-8-25

Leonard Cohen and Billy Joe Shaver drew upon the same Bible verse

By Steven Brodsky

Note to readers: This article appeared at: https://delcoculturevultures.com/2025/03/10/conversations-about-faith/Does Isaiah 64:6 raise questions for you? You may find answers to those questions at: https://www.gotquestions.org/imputed-righteousness.html.

… The verse is Isaiah 64:6. As translated in the King James Version, the verse reads: “But we are all as an unclean thing, and all our righteousnesses are as filthy rags; and we all do fade as a leaf; and our iniquities, like the wind, have taken us away.”

I’m writing about Leonard Cohen’s “If It Be Your Will” and Billy Joe Shaver’s “If You Don’t Love Jesus.”

Most people who’ve heard the songs haven’t encountered the verse directly (and most of this column’s readers haven’t heard the Billy Joe Shaver song).

In the Leonard Cohen song, Isaiah 64:6 is alluded to in the line: “In our rags of light, all dressed to kill.”

In the Billy Joe Shaver song, an allusion to the verse appears as: “Take your rotten rags of righteousness and stuff ’em up your self.”

“If It Be Your Will”: https://www.youtube.com/watch?v=RXoqQAvkLfQ&ab_channel=LeonardCohen-Topic.

“If You Don’t Love Jesus”: https://www.youtube.com/watch?v=-MbF0bc7iEs&ab_channel=Boofitts. The song is “strident,” as I described it during a radio interview that I did with Billy Joe Shaver a number of years ago.

Posted 8-2-21, Reposted and Revised 3-11-25

Jelly Roll’s (Jason DeFord’s) opening statement at a Senate committee hearing

By Steven Brodsky

Thank you, Jelly Roll!

Posted 1-12-24

In tribute to the late Jimmy Buffett

By Steven Brodsky

… I’m pleased to share links to a nearly one-hour phone interview that Clay Eals did with Jimmy Buffett on October 26, 2000 for Clay’s book Steve Goodman: Facing the Music.

From The Paul Leslie Hour:

A Never-Before-Heard Interview with Jimmy Buffett – Part 1 of 3 – YouTube

A Never-Before-Heard Interview with Jimmy Buffett – Part 2 of 3 – YouTube

A Never-Before-Heard Interview with Jimmy Buffett – Part 3 of 3 – YouTube

ABOUT – THE PAUL LESLIE HOUR

A 2017 Entertainment, Culture and More interview with Clay Eals is posted at: A Conversation With Clay Eals, Author of ‘Steve Goodman: Facing the Music’ – delcoculturevultures.com.

Posted 9-13-23

A Conversation With April Verch 

By Steven Brodsky 

April Verch is one of the most admired fiddlers worldwide. It’s not only extraordinary fiddle playing that endears her to fans, however. It’s also her stepdancing, singing, music composition and lyric writing, and a unique and wonderful artistic expression that flavors the various traditional fiddle music styles that she performs and records.  April had prodigious talent with the fiddle at an early age. At an even younger age, she demonstrated remarkable ability in stepdancing. Her talent continued to grow and brought her recognition in her native Ottawa Valley, Canada and later on far beyond. In 1997 she won the Canadian Grand Masters Fiddling Championship. At the 2010 Olympic Winter Games in Vancouver, her performance with five other fiddlers in a segment that presented Canadian fiddle music was broadcast to millions of viewers. She has performed in many countries, and is a concert and festival favorite. In the greater Philadelphia region, April performed last year at the Delaware Valley Bluegrass Festival. She received a rousing reception. Last month, April performed at the Lansdowne Folk Club. Some of our readers were in attendance; they thoroughly enjoyed the concert.     April, you were 3 years old when you began stepdancing. At age 6 you started learning to play the fiddle. What was going on in your life and surroundings that contributed to those learning choices?   My parents are both fans of our local (Ottawa Valley) music and dance traditions. I grew up attending square dances, festivals and jamborees with them and listening to my dad’s country band practice. My older sister, Tawnya, was taking stepdancing lessons and I wanted to do everything she did, so I started taking stepdancing lessons at the age of 3. We took lessons from a local teacher, Buster Brown, who taught the style with his wife Pauline 5 days a week in different communities around the Ottawa Valley.     I’ve heard that you wanted to take up the fiddle earlier. Why didn’t you do so?   We were dancing to fiddle music and I was drawn to it, so I decided I wanted to play fiddle, too. I think I also liked the fact that every time there was fiddle music people were happy and having a good time. I believe I decided when I was 3 that I wanted a fiddle, but my parents didn’t really think I knew what I wanted for sure, and they were also worried that I wouldn’t have time and attention to practice both fiddle and dance, so I had to wait until I was 6 for my first fiddle. It was my birthday present. I think I had finally bugged them long enough at that point that they figured it wasn’t something that was going to pass!      You sometimes stepdance and play fiddle concurrently. When did you first start doing this?  When I was competing in Ontario fiddle and stepdancing competitions as a young girl, which we often did, though it was more about the social gathering than the actual “contest,” I saw a woman by the name of Cindy Thompson fiddle and stepdance at the same time. I don’t know exactly how old I was, maybe 9 or 10, and I was blown away. I figured “if she can do it, I can do it!” So I started working on it on my own and gradually taught myself to combine the two.    The opening track on The April Verch Anthology CD is “Canadian Reel Medley: Trip to Windsor, Back Up and Push, Dusty Miller, Woodchoppers Breakdown.” How old were you when this was recorded?  This track starts with an old recording from the late 1980s (I was around 10 years old at the time) and then it melds into a recording of me playing the same tune from a CD entitled Verchuosity which was released on Rounder Records in 2001.      What were the circumstances?  My dad and my sister and I had gone to play on CHIP radio in Fort-Coulonge, Quebec. It was a station we listened to a lot.—They played a lot of old country music and a lot of local artists. One of the hosts at the time was Red Bennett, and we had met him at a few events and he had invited us to come and play live on his show.    What do you recall about the experience?   It was my first live radio experience and I was pretty excited! We played a few tunes and he interviewed us in between.     Please talk about what is to be heard on the track.  The track starts with Red asking me about what we were going to play next and I say something like “some of my favorites, maybe yours too, eh?” I sound like I’m trying to be very grown up but really I just sound like a kid who’s thrilled to be playing on live radio. And then I tear into a tune much too fast, which I think a lot of kids do—tend to play too quickly.… So when it melds into the “current day” version of the same tune, the pace slows considerably to where the tune can groove a bit more!    The anthology CD allowed you to choose from tracks that were on 10 of your previously released recordings. What specific memories arose when you revisited some of the songs selected for inclusion on the CD?  It was amazing to listen back to each recording, because each one reminded me of a different phase of my life and my career. Remembering not just who was in the band or the studio at that time, but what was happening in my life, what my hopes and dreams were for that recording… For me personally, listening back was like seeing snapshots in a photo album.     Please tell us about the current members of your band.  Not a day goes by that I do not feel extremely grateful to have such amazing bandmates. Cody Walters plays bass and clawhammer banjo. He resides in Asheville, NC. And from Boston, MA, Alex Rubin joins us on guitar. Both Cody and Alex also contribute vocals. They are fantastic musicians and really wonderful human beings to hang out with offstage as well. I have tremendous respect for them.    You started full-time touring in 2000. Please tell us about several of your most memorable performance-related experiences.    Performing in the Opening Ceremonies of the 2010 Olympic Winter Games in Vancouver was definitely a highlight and a huge production. I feel so fortunate to be able to play in so many different parts of the world and also so many different types of venues and events. Each one is different and special in its own way, and the the most memorable experiences for me as a performer come from the connections that we make in sharing our music with an audience. Hearing their stories after the show, seeing their faces and reactions. That’s what means the most. That can happen in a tiny space of a big hall, but it’s what sticks with me always.    How do you occupy your time while traveling to performance venues?  In all honesty, I spend almost all of my time working on the “business” aspect of my career when we are in the van, at the hotel, or between tours. I do have hobbies too, but right now my focus is mostly on doing what I can to keep us touring and doing what we love, and I’m okay with that, even if it’s sometimes a heavy load to keep up with. I feel fortunate to be able to do it.     You perform a variety of traditional fiddle styles. How are some of them similar to one another and how are they different?  A lot of the differences lie in the bowing patterns and ornamentation. Some styles are more articulate while others use longer bows and more notes slurred together. The ornamentation in the left hand also differs from style to style. In the fiddle styles that I play, the thing that ties them all together in my mind is that they are intended for dancing. They have a driving rhythm and how you achieve the dance groove might be different, but that is the ultimate goal for the music.    What formal and informal training and music exposure has been most helpful to you?    I first learned from local fiddlers that taught me “by ear.” Later I studied classical violin as well and learned to read music. Both methods and experiences were invaluable and I am glad to have both. More than anything have passionate, patient and dedicated teachers been my greatest asset.    You attended Berklee College of Music. How did that experience benefit you as a musician?  Attending Berklee really opened up my ears to styles of music I had never been exposed to before and made me realize how vast the possibilities are for my instrument, or any instrument for that matter. It was also great to be surrounded by so many musicians that were passionate about their craft and to learn about the business aspect of the industry. I still refer to some of my music business course books to this day.    Other than the styles of music that you perform and record, which do you most enjoy?  That’s a difficult question for me—I seem to go through phases and love a lot of genres. I don’t know that I would say that there are any that I love that I haven’t tried, because I tend to try most of them when I get really passionate about them. Right now I can’t seem to get enough of old classic country music.    When not on the road on in the studio, what are some of the activities that you most like doing?    I enjoy reading, walking, gardening and crafts. And hanging out with my family and neighbors. I’ve so much to learn from them.     Are you giving thought to your next CD?  I am! We will be recording this fall for a new CD to be released in 2019.    What do you expect might be on it?  I’m leaning towards that old classic country sound and thinking of going more in that direction. You heard it here first!  April Verch’s website address is: www.aprilverch.com

Posted 2-14-18

 

Pennsylvania history comes to life in Quintessence’s ‘Return of Benjamin Lay’

On May 1, Pennsylvania history comes to life in a new play at Quintessence Theatre Group in “The Return of Benjamin Lay” by playwright, screenwriter and poet Naomi Wallace and University of Pittsburgh Distinguished Professor of Atlantic History, Marcus Rediker. Presented as a co-production by Quintessence and New York’s Playhouse Creatures Theatre Company, the one-man play starring stage and screen actor Mark Povinelli is inspired by the true story of an 18th-century Quaker man, born a dwarf in Copford, England who emigrated to America and settled in Abington, Pennsylvania. Lay lived his life as an activist revolutionary who fought and advocated for the abolition of slavery in Colonial America.

Directed by Ron Daniels, The Return of Benjamin Lay runs from May 1 to 18, with 15 performances on stage at Quintessence Theatre at the Sedgwick.  

It’s 2025. In the silence of a Quaker meeting house, Benjamin Lay (Mark Povinelli) – a shepherd, sailor, radical, and the British Empire’s first abolitionist – returns from the grave almost 300 years after his death, as feisty and unpredictable as ever. The four-foot “David” confronts the “Goliath” of slavery as he demands once again to be readmitted into the Quaker community that disowned him for ideas considered dangerous and disruptive.  

 The play was first performed at the Finborough Theatre in London in 2023, produced by Arsalan Sattari  Productions.  

Philadelphia is a city steeped in history, and some know stories of the local little person who put on anti-slavery protest theater on the streets of colonial Philadelphia by covering himself in blood. Quintessence is honored to welcome Mark Povinelli and The Return of Benjamin Lay to share the extraordinary life of one of America’s first activists and change makers, a Philadelphian who risked all by standing in opposition to the leaders of his country and his Quaker faith to insist upon life and liberty for all.” – Quintessence’s Producing Artistic Director Alex Burns

The co-production is directed by Ron Daniels, who has directed productions at numerous theatre companies across the U.S., including the American Repertory Theatre in Cambridge  (where he formerly served as the Associate Artistic Director), the Public Theatre in New York City, and the Old Globe in San Diego. 

 

TICKETING INFORMATION 

The Return of Benjamin Lay runs from May 1 to 18, and opens on Saturday, May 3, at 7:30 p.m. All performances take place at the historic Sedgwick Theater (7137 Germantown Avenue), a flexible black box theater. The play has a 70-minute runtime with no intermission and is recommended for audiences ages 10 or older. 

General Admission tickets start at $50, with Premium seats available starting at $60.  Ticket link: Quintessence Theatre Group 

Public and street parking is available throughout the Mt. Airy neighborhood.  

SPECIAL PROGRAMMING 

Two Post-Show Convos: Thursday, May 1, after the 7 p.m. performance and Sunday, May 4, after the 3 p.m. performance – The Return of Benjamin Lay co-playwright and award-winning historian Marcus  Rediker and actor Mark Povinelli join the audience for a post-show conversation.  

Opening Night and Book Signing: Saturday, May 3, at 7:30 p.m. – Co-playwright and author Marcus  Rediker will be present to sign copies of his book The Fearless Benjamin Lay – The Quaker Dwarf Who  Became the First Revolutionary Abolitionist; ($22) and the graphic novel, Prophet Against Slavery,  illustrated by David Lester with Marcus Rediker and Paul Buhle ($16). Quintessence supports independent booksellers and is in partnership with 50 Watts Bookstore of Chestnut Hill. 

Meet-the-Artist: Thursday, May 8, at 7 p.m. – Stay after the performance for a discussion with the star of The Return of Benjamin Lay, and enjoy the conversation and Q&A moderated by Quintessence Director of Education, Adam Pelta-Pauls. 

Pay-as-Led Night: Thursday, May 15, at 7 p.m. – In Friends tradition, Pay-as-Led is a way of acknowledging that wealth is not distributed evenly among Quakers. You may determine your own ticket price for this performance.  

LPA Meet-the-Artist: Friday, May 16, at 7 p.m. – Stay after to meet the star of the show, Mark Povinelli.  This evening celebrates Mark and Little People of America (LPA). Everyone is welcome!  

‘Church & State’ Next For Barley Sheaf Players

Barley Sheaf Players continues the 2024-2025 season with

Faith. Politics. Chaos. And a ticking clock.

Three days before Election Day, a conservative senator makes an offhand remark that threatens to upend his entire campaign. As the media firestorm erupts, his team scrambles to control the damage—but the real battle is within.

Can he stick to the party line, or will a personal crisis force him to rethink everything? With biting humor and razor-sharp dialogue, Church & State dives into the messy collision of faith, politics, and public image in the digital age. Witty. Thought-provoking. Unapologetically timely. This fast-paced dramedy will have you laughing, cringing, and questioning everything by the final curtain. What happens when conviction meets consequence? Find out in “Church & State”.

Show Date:

Friday Performances

April 25, May 2, 9, 2024 — 8pm

Saturday Performances

April 26, May 3, 2024 — 8pm

May 10, 2024 — 2pm

Sunday Performance

May 4, 2024 — 2pm – Relaxed Performance

Cast

Senator Charles Whitmore – Greg Kasander

Sara Whitmore – Courtney Abud

Alex Klein – Abby Gould

Tom/Security – Michael Hildebrand

Marshall/Reporter – Rick Cowling

Male News Anchor – Don Cheetham

Female News Anchor – Emilia Casas

Rugged American Male – Kevin McCann

Directions: The theatre is at 810 N Whitford Rd, Lionville, PA 19353

For more information or reservations call 610-363-7075 or visit The Barley Sheaf Players

Murder at the Fang-Tastic Fundraiser May 9-10

Murder at the Fang-Tastic Fundraiser by Julie Zaffarano

Everybody’s Theater Company is very excited to produce this brand-new, over-the-top murder mystery written by Philadelphia playwright Julie Zaffarano.

Murder at the Fang-Tastic Fundraiser revolves around a fundraiser and sneak preview that the cast and production staff of the musical version of Dracula present to future investors (the audience). During the evening of painful parody songs and pretty lame writing, someone is murdered. Can Detective Miss Agatha (Aggie) Marble solve the case? A full course dinner will be provided along with this three act murder mystery play.

PERFORMANCES

Friday & Saturday, May 9 & 10, 2025 at 6:30PM

Whitemarsh Valley Event Center, Fort Washington

Tickets are $45 each (+$3.00 in fees)
Your ticket includes DINNER & DESSERT 

There will be a CASH BAR open during the evening

‘Crossing Delancy’ at Allens Lane

“Crossing Delancey” is a charming, humorous and heartfelt story exploring the bonds of family and tradition; the culture clash of New York’s old East Side and new West Side. Isabelle is a young modern, independent woman who works in a bookstore and lives alone on the new West Side. Her irascible grandmother, Bubbie, lives on the Lower East Side and worries that Isabelle doesn’t have a man in her life. Bubbie hires a Yenta to help Isabelle find love. Does the old traditional way of finding love prove successful? Come and see this sweet tale of life on the Lower East Side.
Performances April 25 – May 11, 2025

If You Go

Tickets online $20
Tickets at the door $25
Friday and Saturday performances start at 7 pm
Sunday performances start at 2 pm
Friday, April 25:  Cocktail reception with the cast and director.
Friday, May 2:    Café Theater with BYO dinner and drinks.
Sunday, May 11:  Post play ‘talk back’ with the cast and director.

About Allens Lane Art Center: Since its founding in 1953, Allens Lane Art Center has been a cornerstone of the Mt. Airy community by bringing residents together to participate in and experience the arts. Whether it’s art classes for children or adults, art exhibitions, or cutting-edge plays on the main stage, there is something for everyone at Allens Lane. Allens Lane Art Center offers opportunities for people to explore their creative potential. 

 

Book: ‘Empress Creed’

By Karen McCarraher

The author describes her book as “a woman’s crime love story set in the urban Midwest during the Great Depression”.

Ella Monroe grew up in the south side of Chicago with an alcoholic, prostitute mother.  After an attack by one of her mother’s “clients”, Dulce moved in with Mama Lee who ran a day care center in her neighborhood.  Dulce dreamed of becoming a couture fashion designer.  She did not go to school; but Mama Lee recognized how bright she was and provided books and materials for her to learn. 

When she was in her teens, she met Perry Savage, an Army Captain, and spent one night in delightful ecstasy.  She left him early the next morning with just a note. Perry searched for her but because she had not given him her true name, he was unable to find her and he returned to the Army.

 

Dulce’s friends had nicknamed her “Lil Empress”. As she grew older, she despised her poverty and drifted towards the dark side of Chicago.  Although she still dreamed of becoming an international fashion designer, she began running numbers for “Countess” who was a queen in Detroit’s gambling trade.  She saved her money and bought a run-down hotel in Gary, Indiana.  She had it completely refurbished and named it “The Palace”.  It was from there that she launched her gambling and other activities such as money laundering.  These were very lucrative and Empress became very rich.  

Years later, she again met Perry Savage. They fell in love and were married.  Perry became her bodyguard, hotel manager and anything else Empress asked him to do.  All the while she continued to design clothes for herself, Countess, Mama Lee, Perry and all her friends.  

During that time, the Midwest (as well as other parts of this country) was blighted with racial discrimination and police corruption. Empress had managed to keep her business away from them until one day, when she and Mama Lee went out to buy sodas and they encountered the police. Empress was arrested for no reason and when Mama Lee objected, the police chief grabbed her around the neck and choked her to death.  Thus began a war between the corrupt politicians and police and Empress’ organization.  Empress was disgusted with America.  She and Perry went to France and noted that people of color were not treated differently.  Empress longed to move and raise her children there.

 

So, readers, do Empress and Perry get their happily ever after or is she destroyed by the Chicago or Gary, Indiana corruption?  Does Empress ever fulfill her dream of fashion design?  Read on to find out. 

This is a powerful book about the climate in America in the thirties, the joy of family and friends, and the love and belief in God.  And thank heaven for the teacher who told the author: “Girl, write the damn book”…

About the Author

Tarris Marie was raised by her grandparents who lived in the Midwest.  She grew up listening to their music and hearing their stories which formed the basis for her book. It is our hope that Tarris will continue to bless us with more of her talent.

Published by: 

Black Odyssey Media, LLC, Dallas, TX

Available from Amazon.com

Curio Theatre Cancels ‘A Funeral Farce’

To celebrate Curio’s 20th season in West Philadelphia, Curio was slated to bring back their original comedy, 2009’s A FUNERAL FARCE. April 30 – May 17. The theater has just announced it will cancel the production due to serious family illness. They hope to stage the show in their 21st season.  Any tickets purchased will be refunded.

Curio Theatre Company is at 4740 Baltimore Avenue, Philadelphia.

For more information, visit Curio Theatre Company