Matthew 22:37-38: ‘Jesus said unto him, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind. This is the first and great commandment.’
By Steven Brodsky
If you are getting back to the heart of worship (where it’s all about Jesus!) or are there now, hallelujah.
If you need help getting back to this heart of worship or staying there (everyone does), prayerfully ask for God’s assistance and read the Bible.
Posted 3-5-25
Yesterday morning at 7:39 a.m., a verse from a Psalm of David was sent to me by a friend.
By Steven Brodsky
… I saw the verse shortly after it was sent.
It was an opportune time to reflect upon that particular verse, Psalm 143:8: “Cause me to hear thy lovingkindness in the morning; for in thee do I trust: cause me to know the way wherein I should walk; for I lift up my soul unto thee.”
I invite the readers of this column to reflect upon this verse at any time of day or night (and especially in themorning) and to perhaps include it in a time(s) of praying Scriptures.
May the readers of this column be abundantly blessed with love today and evermore.
John 3:16: “For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.”
Posted 2-14-25
Inside San Quentin’s yard
By Steven Brodsky
… was the venue for Ben Fuller to perform and to share some of his testimony (about God’s grace in his life) with San Quentin inmates.
From that ministry opportunity:
Ben Fuller, and others, will be performing in Lancaster County, PA at WJTL Fest on Saturday, May 17, 2025. Visit WJTL Fest – The Junction Center | WJTL for information and a link to purchase tickets.
… on this tree, is the cleansed-of-the-stain-of-sin condition of those who have truly accepted God as their Lord and Savior:
Photo by Steven Brodsky
Isaiah 1:18: “Come now, and let us reason together, saith the LORD: though your sins be as scarlet, they shall be as white as snow; though they be red like crimson, they shall be as wool.”
Posted 1-20-25
What might the words that we’ve spoken since the start of 2025 reveal about our hearts?
By Steven Brodsky
… This rhetorical question may be invaluable to some of us.
Luke 6:45: “A good man out of the good treasure of his heart bringeth forth that which is good; and an evil man out of the evil treasure of his heart bringeth forth that which is evil: for of the abundance of the heart his mouth speaketh.”
… is the friend identified in “God Really Loves Us”:
If you have the same friend, may your “life testify hallelujah”!
James 2:23: “And the scripture was fulfilled which saith, Abraham believed God, and it was imputed unto him for righteousness: and he was called the Friend of God.”
John 15:15: “Henceforth I call you not servants; for the servant knoweth not what his lord doeth: but I have called you friends; for all things that I have heard of my Father I have made known unto you.”
Posted 12-5-24
Hallelujah for hard fought hallelujahs
By Steven Brodsky
… and hallelujah for Brandon Lake’s “Hard Fought Hallelujah.”
A powerful video:
Psalm 34:1: “I will bless the Lord at all times: his praise shall continually be in my mouth.”
Of course, dear readers, there may be times when such blessings and praise will be hard fought.
Posted 11-21-24
To commemorate Billy Graham’s birthday (and for other reasons): ‘How to Get to Heaven’
… if Rocky Raccoon, the fictional character in the Beatles’ “Rocky Raccoon,” actually read any words in the Bible that was placed in a hotel room by The Gideons International.
I can tell you that many people have been eternally blessed by their having read verses in Gideons-placed Bibles.
James 5:16: “Confess your faults one to another, and pray one for another, that ye may be healed. The effectual fervent prayer of a righteous man availeth much.”
Have questions about prayer?
You may find answers to some or all of those questions at:
Psalm 119:103: “How sweet are thy words unto my taste! yea, sweeter than honey to my mouth!”
This verse came to my mind while I was enjoying a spoonful of wildflower honey a few minutes ago.
Some of this column’s readers will recall the verse the next time they taste honey.
And some will recall the verse when they next taste the sweetness of the Bible.
Posted 8-27-24
One thing that we can’t take back from the enemy
By Steven Brodsky
… unfortunately, is stolen time.
Our lives are short, like the lifespan of a vapor.
James 4:14: “Whereas ye know not what shall be on the morrow. For what is your life? It is even a vapour, that appeareth for a little time, and then vanisheth away.”
Time is valuable, including the time spent to write this column installment and the amount of time that readers will spend engaging with the installment.
God-willing, our time will be well-spent.
Take the time to watch (and enjoy!) this video:
Posted 8-14-24
Have you been redeemed?
By Steven Brodsky
… Hallelujah, if you, dear Entertainment, Culture and More column reader, have been redeemed.
For all of us to enjoy, Big Daddy Weave’s “Redeemed”:
Philippians 1:6: “Being confident of this very thing, that he which hath begun a good work in you will perform it until the day of Jesus Christ:”
Posted 8-12-24
Every morning
By Steven Brodsky
Photo by Steven Brodsky
… God’s mercies are new!
Lamentations 3:22-23: “It is of the Lord’s mercies that we are not consumed, because his compassions fail not. They are new every morning: great is thy faithfulness.”
Posted 7-10-24
If you’ve found a friend in Jesus
By Steven Brodsky
… the lyrics of this song may tell your story also:
John 8:36: “If the Son therefore shall make you free, ye shall be free indeed.”
Posted 6-24-24
Shackled and unshackled listeners
By StevenBrodsky
… have been enjoying episodes of UNSHACKLED, the iconic radio drama show, since 1950.
John 8:36: “If the Son therefore shall make you free, ye shall be free indeed.”
Posted 6-6-24
‘O death, where is thy sting? O grave, where is thy victory?’ – 1 Corinthians 15:55
By Steven Brodsky
… This video is embedded here especially for the miracle children who regularly visit the sections of the Entertainment, Culture and More column:
Posted 4-10-24
A life that is proof of what God can do
By Steven Brodsky
You may know people who’ve experienced God-enabled transformation similar to the kind that Stephen McWhirter sings about in “My Life Is Proof.”
I do.
Matthew 19:26 KJV: “But Jesus beheld them, and said unto them, With men this is impossible; but with God all things are possible.”
Posted 4-4-24
Need a reminder that the battle has already been won?
By Steven Brodsky
… If you do, you’ve come to the right place.
Psalm 63:4: “Thus will I bless thee while I live: I will lift up my hands in thy name.”
Posted 2-19-24
‘But the cross says they’re wrong’
By Steven Brodsky
… thankfully.
Posted 12-4-23
Leonard Cohen and Billy Joe Shaver drew upon the same Bible verse
By Steven Brodsky
… 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.”
… some of us will be asking this question after daylight saving time goes into effect on Sunday, March 9, 2025 at 2:00 a.m. local time.
This question is likely to be more persistent and pressing for anyone who will be eagerly looking forward to getting together with a romantic interest.
… can be a helpful start to alleviating loneliness.
It’s not uncommon for people to experience loneliness, and some other difficult emotions, more intensely during the holiday season: in some appropriate circumstances, sincerely extending and receiving expressions of “hello in there” may be especially beneficial at this time of the year.
As we know.
Posted 11-24-24
Nefesh Mountain releases the official lyric video for ‘Milestoned,’ the second single to be released from Nefesh Mountain’s upcoming double album titled ‘Beacons’
By Steven Brodsky
… The official lyric video for “Milestoned” was released today, as was a press release about the single and the double album.
An excerpt from that press release:
NASHVILLE – November 20, 2024–“Milestoned,” a glorious Americana/psych-folk ode to Southern Rock from the genre-defying band Nefesh Mountain, celebrates the spirit of living life on the highway. Co-written by band founders Eric Lindberg and Doni Zasloff, it is the second single to be released from the electrified Americana half of the band’s upcoming double album titledBeacons, set for release January 31, 2025.
While its two full-length albums are distinctly different, both sides of Beacons clearly exude what makes Nefesh Mountain unique in the first place—a vast musical knowledge and equally vast curiosity, paired with impeccable musicianship. One disc is pure bluegrass, while the other radiates unadulterated Americana.
Beacons is also the band’s first foray into the electric/jam world, and while the sonic shift may be new for some fans, it’s actually old terrain for guitarist Eric Lindberg, who cut his teeth playing electric guitar in his formative years as a studio musician and hired gun on New York’s music scene.
“I’ve been on the road and slugging it out for the better part of the last two decades,” says Lindberg, “and it feels like whatever phase of life I’m in, I can always count on this completely organic high that I get from music, travel, and being in the flow night after night on the road. We tried to express this feeling of being literally mile-stoned by infusing the lyrics with all these little “druggy” surprises. It was a really fun song to write and play with the band, and finally stretch out a bit on the tele too!”
“Being a part of Nefesh Mountain has put me on the most adventurous journey of music, love, and life,” exudes Zasloff. “This song is all about embracing these magical and mystical parts of life and being on the road, getting to soak in the vast landscape of America.”
… to commemorate Buddy Holly’s birthday by listening to:
Buddy Holly was born on September 7, 1936, 88 years ago.
Posted 9-7-24
‘Mercy,’ indeed
By Steven Brodsky
… Roy Orbison’s ‘Oh, Pretty Woman’ was released 60 years ago.
Released on August 29, 1964:
Posted 8-29-24
‘Pride and Joy’
By Steven Brodsky
… shared here on the 34th anniversary of Stevie Ray Vaughan’s passing away on August 27, 1990:
A helicopter crash took the life of Stevie Ray Vaughan. Stevie Ray Vaughan was 35 years old.
Posted 8-27-24
Paul Simon heard Jessy Dixon perform ‘The Wicked Shall Cease Their Troubling’
By Steven Brodsky
… in Radio City Music Hall in 1972, which prompted Paul Simon to invite Jessy Dixon to sing with him on Saturday Night Live. The two would go on to tour together in the U.S. and overseas for eight years.
Enjoy this video of Jessy Dixon singing “The Wicked Shall Cease Their Troubling” at The Dome:
Job 3:17: “There the wicked cease from troubling; and there the weary be at rest.”
Jessy Dixon passed away on September 26, 2011 at age 73. This post appeared in the Conversations About Faith section of the Entertainment, Culture and More column.
Posted 1-10-21, Reposted and Revised 8-19-24
How meeting Livingston Taylor at a concert affected the career of John Flynn
By Steven Brodsky
John Flynn has been interviewed several times for this column. In a 2011 radio interview, John and I spoke about Livingston. We did so again last year in this interview for this column.
John, where and when did you first meet Livingston Taylor and how old were you at the time?
Gene Shay introduced me to Livingston back in the ’80s. It was prior to one of his appearances at the old Bijou Café in Philadelphia. I was in my early twenties and just starting out. I was a big fan of Livingston’s and I had just appeared on Gene’s radio show on WMMR. I heard Gene mention that he was going to host Livingston’s show, so I asked for an intro. Gene was just too nice to say no.
What was going on in your life?
I was playing some bar gigs, writing songs and mailing demos to Nashville. This was a few years before I got signed to my first publishing deal down there.
Describe what took place. What did Livingston tell you?
To begin with, Livingston was incredibly gracious. As a performer, I really see that now in hindsight, because usually the last thing I want to do before a show is to meet new people and have them sing their songs to me. Actually, I don’t think I’ve met anyone before or since who would have extended themselves in this way to a stranger. But that’s exactly what happened. Gene apparently bragged about me enough to get Livingston to hand me his guitar and sit down directly in front of me. He asked me to play him a song and listened with an almost unnerving, totally focused attention. When I was done he asked if I had any more. I did a second song and he asked for another. I was only too happy to oblige, figuring that if he’d listen to three songs he must be hearing something he liked. When I finished singing, Livingston kind of scrunched up his face and got real thoughtful. There was a long pause. Then he said, “John, there are so many wonderful ways to spend your time in this life. Take a walk, read a good book, spend some time with someone you love. Please do ANY of these things rather than write any more mediocre songs.” The rest was a little bit of a blur. He talked about Cole Porter and Yip Harburg, writers I didn’t really know much about at that point. He really challenged me to study the greats. He spent like ten minutes talking about song structure, and he played me these long-forgotten but really beautiful introductions to popular old standards. – Unknown (at least to me) musical salutations from bygone eras, that had been intended by their composers to set the mood and put the listener in the proper frame of mind to receive the coming song. He even explained that he would be doing relatively few of his own songs in his show that evening because great songs are rare, and a song should be great if you’re gonna sing it. That was the bottom line. If you weren’t going to try to write a great song, then why write one at all?
How did you respond to this at the time?
I guess I was disappointed. But disappointment wasn’t all I took away from the encounter, because Livingston could have easily tossed me a few compliments. He was probably never gonna have to see me again so that would have been the easy thing to do. But I sensed that he respected songs and songwriters too much for that. He chose the harder path and told the truth. He threw down the gauntlet. And, in my way, I accepted the challenge that night. I determined to work much harder at my craft. To really try to write great songs. I’m not saying that’s what I’ve always accomplished. But he got me to aim there. I’ve always been grateful for that.
How did the encounter impact your life?
I’m here forty years later answering questions about music.
Author’s note to readers: Livingston Taylor is a professor at Berklee College of Music.
… after recalling this morning that the City of Philadelphia had honored Solomon Burke by having declared that July 19, 2002 would be “Solomon Burke Day.”
Solomon Burke (March 21, 1940 – October 10, 2010) was born in Philadelphia.
Posted 7-19-24
Non-botanical ‘poison ivy’
By Steven Brodsky
… The kind of “poison ivy” that appears in a song written by Leiber and Stoller that was recorded by The Coasters 65 years ago (on July 16, 1959) wasn’t botanical.
The song: “Poison Ivy.”
A species of poison ivy (and other plants) is pictured here:
Photo by Steven Brodsky
Posted 7-16-24
Wouldn’t be prudent to dance till a quarter to three
By Steven Brodsky
… nowadays, if you were listening to Gary U.S. Bonds’ recording of “Quarter To Three” when the single went to the top of the Billboard Hot 100 chart for the first of two weeks, 63 years ago, on June 26, 1961.
Many of you will be singing and/or dancing while listening to the Gary U.S. Bonds recording, and while watching the following embed of Springsteen covering “Quarter To Three” in concert:
Posted 6-26-24
‘Blue,’ Joni Mitchell’s fourth studio album, was released 53 years ago
By Steven Brodsky
… on June 22, 1971.
One can get a bit blue realizing that so much time has transpired since this monumental album was released.
Enjoy!:
Posted 6-22-24
The ‘bright elusive butterfly of love’
By Steven Brodsky
Photo by Steven Brodsky
… will be fluttering into the lives of some people in the coming months.
Enjoy!:
Posted 5-10-24
Let’s hope
By Steven Brodsky
… that the first-person character in Simon & Garfunkel’s “I Am a Rock” has emerged from social isolation, and that he is now enjoying beneficial relationships.
Community can be invaluable.
Photo by Steven Brodsky
Posted 11-24-24
‘Anyone Who Had A Heart’
By Steven Brodsky
… to commemorate Dusty Springfield’s birthday:
Dusty Springfield was born 85 years ago on April 16, 1939.
Posted 4-16-24
Remembering Solomon Burke (March 21, 1940 – October 10, 2010) on Solomon Burke’s birthday
By Steven Brodsky
Solomon Burke, Grammy-winner and Rock & Roll Hall of Fame inductee, was born in West Philadelphia. His records and concerts influenced some of the greatest artists in soul, rock, and other genres.
… and read the chapter “The Song of Solomon: A Triptych” in Peter Guralnick’s excellent Looking to Get Lost: Adventures in Music and Writing.
On July 19, 2002, the City of Philadelphia honored Solomon Burke by declaring the day to be “Solomon Burke Day.”
I had the honor of doing a longform radio interview with Solomon Burke. The interview aired live on May 21, 2010.
Posted 3-21-24
Whether or not the song character in ‘I’m Not in Love’ was in love
By Steven Brodsky
… 49 years after 10cc’s The Original Soundtrack album was released, “I’m Not in Love” (on one of the album’s tracks) continues to be loved by many people.
The Original Soundtrack was released on March 11, 1975.
Posted 3-11-24
Fifty-one years ago, Bruce Springsteen performed a concert at Villanova University’s St. Mary’s Hall auditorium
By Steven Brodsky
… That concert took place on January 16, 1973 before an audience of only fifty or fewer people because advertising for the concert could not run in a campus newspaper (because of a newspaper strike) and because The Boss was young in his career.
How young? Springsteen’s debut studio album, Greetings from Asbury Park, was newly released; the album was released on January 5, 1973.
“Spirit in the Night,” a track from Greetings from Asbury Park, NJ:
Posted 1-16-24
There weren’t many attendees at Bob Dylan’s Carnegie Hall debut performance
By Steven Brodsky
… nearly 62 years ago, on Saturday, November 4, 1961. Reportedly, 53 people purchased tickets to see the then 20-year old Dylan perform in a small auditorium that was located in Carnegie Hall. Tickets were priced at $2.00.
Bob Dylan did not perform “Blowin’ in the Wind.”
The song hadn’t been released nor had it been recorded.
Bob Dylan recorded “Blowin’ in the Wind” on July 9, 1962 at Columbia Recording Studios.
The recording was released on the A-side of a single on August 13, 1963 (the B-side is “Don’t Think Twice, It’s All Right”); it appears as a track on the album The Freewheelin’ Bob Dylan, released on May 27, 1963.
Bob Dylan’s Philadelphia debut didn’t draw much of crowd either, as this concert too was performed prior to the release of “Blowin’ in the Wind.” Gene Shay invited Dylan to Philadelphia, Pennsylvania to perform the concert. The concert took place on Saturday, May 3, 1963 at the Philadelphia Ethical Society building on Rittenhouse Square. Approximately 45 people were in attendance. Tickets were priced at $1.50.
A few months before Bob Dylan’s Philadelphia debut, Dylan performed “Blowin’ in the Wind” on a television show:
Gene Shay told me that Dylan’s Philadelphia debut concert almost didn’t take place: the sound system components for the concert were inaccessible.
Gene Shay passed away from COVID-19 on April 17, 2020. He is greatly missed.
Posted 10-4-23
There’s a bluebird in many hearts
By Steven Brodsky
… whose presence may be more apparent today, the birthday of Charles Bukowski (August 16, 1920 – March 9, 1994).
A recitation of Charles Bukowski’s “Bluebird”:
Miranda Lambert co-wrote and recorded “Bluebird.” The song was penned with some inspiration from the same-named Bukowski poem.
Shel Silverstein’s ‘A Boy Named Sue’ was released by Johnny Cash 54 years ago, on July 26, 1969
By Steven Brodsky
Shel Silverstein, a creative genius, wrote many other songs. He was a children’s book author, a cartoonist, and he was a poet. Read about the life of Shel Silverstein in the book A Boy Named Shel, by Lisa Rogak.
Posted 7-26-23
‘I was glad to get it over with, and I thought that would be the last of it.’
By Steven Brodsky
… said Freddy Fender about recording “Before the Next Teardrop Falls.”
Of course, it wasn’t the last of it: many millions of people would hear and adore the record.
“Before the Next Teardrop Falls” was released on February 1, 1975.
It arrived at the number one spot on the Billboard Hot 100 chart on May 31, 1975 (and would remain on that chart for a total of 21 weeks).
On the 48th anniversary of the record reaching the summit of the Billboard Hot 100 chart, enjoy:
Freddy Fender was born Baldemar Huerta, in 1937, in a Texas border town. He was the son of migrant workers.
Freddy Fender served in the U.S. Marines for three years.
After his discharge, he achieved recognition as a singer of Spanish translations of rock and roll and other songs.
In 1960, his release of “Wasted Days and Wasted Nights” took off in the U.S. This national breakthrough was soon tamped down by a prison sentence. He served nearly three years of a five-year sentence in a very tough Louisiana prison for possessing two marijuana joints.
After his prison release, there was a long period of time working various jobs—with music a part-time endeavor.
While Freddy Fender was at work in a car wash, a record producer heard him singing and recognized his voice. Freddy was handed the producer’s business card. The encounter resulted in Freddy returning to recording.
Janis Ian, born in New Jersey on April 7, 1951, turned 71 years old today.
Happy birthday wishes to Janis Ian.
The song begs the question: What “truths,” dear readers, did you or will you learn at seventeen? There are some “truths” that are best unlearned.
Posted 4-7-23
On the 83rd anniversary of Woody Guthrie penning the lyrics to ‘This Land is Your Land’
By Steven Brodsky
Woody Guthrie wrote the lyrics to “This Land is Your Land” on February 23, 1940 in a hotel that was located on the northwest corner of 43rd Street and Sixth Avenue in Manhattan (Sixth Avenue is now also known as Avenue of the Americas).
He was the ‘Jackie Robinson of television’; on his ‘show rode the hopes and fears and dreams of millions of people’; his show debuted nationally on November 5, 1956
By Steven Brodsky
… He was Nat King Cole, the first African American to host a television show on nationwide television. That show was TheNat King Cole Show. Today is the 66th anniversary of the national debut of the Nat King Show on NBC TV.
Nat King Cole ranks among the most acclaimed jazz and pop musicians of all time. Born as Nathaniel Adams Coles in Montgomery Alabama in 1919, he would go on to achieve recording and concert performance success that was nearly unmatched by others of his generation. “Mona Lisa,” “Unforgettable,” “The Christmas Song,” are among the nearly 700 songs that he recorded. Well over 100 of Nat King Cole’s records charted. He was a prominent presence on national television shows (he appeared on the Ed Sullivan Show on six occasions).
The Nat King Cole Show was popular and attracted some of the most sought-after entertainers, but it could not secure a national sponsor (other than a few sponsors for brief periods of time before the show expanded from 15 minutes to a half hour). There were 30 sponsors with cooperative arrangements supporting the show across the country on local stations, but nationwide—not one.
In an essay in the February 1, 1958 issue of Ebony titled “WHY I QUIT MY TV SHOW” by Nat King Cole (as told to Lerone Bennett Jr.), Nat King Cole said, “For 13 months, I was the Jackie Robinson of television… On my show rode the hopes and fears and dreams of millions of people.”
Winter will end this month in the Northern Hemisphere
By Steven Brodsky
… and most of this column’s readers are looking forward to the arrival of spring, a season with weather that’s generally more conducive to enjoying activities in the great outdoors.
When and where those activities (camping, fishing, etc.) will take place at night (especially in the absence of ambient light), children and adults can contemplate with awe, Psalm 8:3-5: “When I consider thy heavens, the work of thy fingers, the moon and the stars, which thou hast ordained; What is man, that thou art mindful of him? and the son of man, that thou visitest him? For thou hast made him a little lower than the angels, and hast crowned him with glory and honour.”
Posted 3-3-25
2025 trout stocking by the Pennsylvania Fish and Boat Commission has begun
By Steven Brodsky
From a Pennsylvania Fish and Boat Commission news release issued today, February 18, 2025:
Today, the Pennsylvania Fish and Boat Commission (PFBC) began its annual trout stocking operations ahead of the upcoming spring trout season. With help from volunteers, in 2025, the PFBC will stock approximately 3.2 million adult trout in 691 streams and 130 lakes open to public angling. Species being stocked include Rainbow, golden Rainbow, Brown, and Brook Trout. The average trout being stocked is 11 inches long and weighs just over a half-pound. The Statewide Opening Day of Trout Season for 2025 is Saturday, April 5th. A Mentored Youth Trout Day will be held on Saturday, March 29th. To check out the trout stocking schedule or buy your fishing license, visit Fishandboat.com. Individuals or small groups of volunteers (1-4 people) do not need to register to help stock trout, but larger groups should coordinate stocking plans in advance by contacting their regional PFBC law enforcement office to ensure they can be accommodated.
Posted 2-18-25
Approximately 8,400 pheasants are scheduled to be released by the Pennsylvania Game Commission over a two-day period, February 12, 2025 and February 13, 2025
By Steven Brodsky
… as was announced in a news release issued by the Pennsylvania Game Commission on February 6, 2025.
From that news release:
The Pennsylvania Game Commission will be releasing approximately 8,400 pheasants, mostly hens, to provide additional hunting recreation in the last two weeks of pheasant season, which runs through Feb. 28.
“The Game Commission purchases the pheasant chicks raised on our game farms from a private sector supplier,” said Wildlife Operations Division Chief Ian Gregg. “During the 2024 production season, we requested our supplier to raise additional pheasants to be held through the fall and early winter as an ‘insurance policy’ against any disease issues that might arise in the supplier’s primary breeder flocks. Although highly pathogenic avian influenza is known to be present on the Pennsylvania landscape, and it is impossible to completely eliminate the risk of a future disease outbreak that could impact 2025 production, the primary breeder flocks have remained healthy to date and it is not feasible for the ‘backup’ birds to also be held into the upcoming breeding season. Therefore, these surplus pheasants will be released a few weeks before the end of the pheasant season to provide late-winter hunting opportunities.”
Releases are planned to occur during a two-day window next week, on Wednesday, Feb. 12 and Thursday, Feb. 13 at select locations in each of the Game Commission’s six regions. Hunters should be aware, however, that logistical issues could result in last-minute changes to the planned schedule.
The locations expected to receive birds in the February stocking are as follows:
Northwest Region
SGL 95 (Butler Co.)
SGL 330 (Clarion Co.)
Buzzard Swamp area, Allegheny National Forest (Forest Co.)
Shenango Lake (Mercer Co.)
Southwest Region
SGL 203 (Allegheny Co.)
SGL 285 (Beaver Co.)
Conemaugh Lake (Indiana Co.)
SGLs 117, 232, 245, and 297; Cross Creek Park; Hillman State Park (Washington Co.)
Loyalhanna Lake (Westmoreland Co.)
Northcentral Region
SGL 333 (Centre Co.)
SGL 87 (Clearfield Co.)
SGLs 252 and 317 (Union Co.)
Southcentral Region
SGL 249 (Adams Co.)
SGLs 48 and 97 (Bedford Co.)
SGL 169 (Cumberland Co.)
SGL 124 (Franklin Co.)
SGL 251; Raystown Lake (Huntingdon Co.)
SGLs 258, 281, and 290 (Perry Co.)
SGLs 188, 194, and 212 (Snyder Co.)
SGLs 242 and 243 (York Co.)
Northeast Region
SGL 40 and Beltzville area (Carbon Co.)
SGLs 58, 226, and 329 (Columbia Co.)
SGLs 119 and 187; Butler Enterprises Hunter Access property; Frances Slocum and Nescopeck State Parks (Luzerne Co.)
SGLs 84 and 165 (Northumberland Co.)
Southeast Region
SGL 280/Blue Marsh (Berks Co.)
The Game Commission’s regular pheasant stocking schedule extends from early October to early January, with over 240,000 pheasants released during that period in 2024-25 and similar numbers planned for 2025-26.
“This year’s February stockings should be considered experimental, and may or may not be repeated in future years depending on 2025 results, annual evaluation of disease risks, and agency budget constraints,” Gregg said.
Posted 2-11-25
Congratulations to the 18 graduates of the 36th Class of the Pennsylvania Game Commission’s Ross Leffler School of Conservation
By Steven Brodsky
… They graduated on February 1, 2025 and they’re now working as Pennsylvania State Game Wardens.
From a news release issued by the Pennsylvania Game Commission on February 5, 2025:
Graduate Kaitlyn Corle received the class award for academics, with a score of 96.08%. Corle was also presented the EVOC driving award for exhibiting safe and exceptional police driving skills during the training program.
Graduate Zachary Killeen was honored with the marksmanship award, achieving the highest overall proficiency in a series of courses firing the handgun, rifle and shotgun. Killeen also was selected as the fitness award winner for maintaining the highest standard of physical fitness during the training program.
Graduate Joshua Douglas earned the academy torch award for maintaining the highest professional standard of conduct, values, ideals, and demonstrated abilities as judged by his fellow classmates.
Graduation of new game wardens follows 44 weeks of intensive training, including 10 weeks of field training.
Training School Director Kyle Jury praised graduates for their dedication and demonstrated commitment to our natural resources.
“These 18 new graduates now embark on their careers as state game wardens by serving in geographical districts across the Commonwealth,” Jury said. “By pursuing this career path, they fulfill an instrumental part of the agency’s continued and dedicated effort to wildlife conservation. Having these individuals join the ranks of game wardens will strengthen the agency’s efforts to safeguard the hunting heritage the Game Commission was founded on so that it can be passed on to future generations.”
In 1930, Ross Leffler, then president of the Pennsylvania Board of Game Commissioners, proposed the establishment of a training school for game protectors, as game wardens then were called. When the training school opened its doors in 1932, in Brockway, Jefferson County, it was the first such conservation officer training school in the world and served as a model for other states.
From 1932 until 1935, the Ross Leffler School of Conservation offered in-service training for game protectors. The school became a permanent facility until 1986, when it was moved to the agency’s Harrisburg headquarters.
Posted 2-7-25
Public access at the Middle Creek Wildlife Management Area will be restricted beginning February 4, 2025, as a result of highly pathogenic avian influenza (HPAI) affecting many areas of Pennsylvania
By Steven Brodsky
The following news release was issued by the Pennsylvania Game Commission today, February 3, 2025:
ACCESS RESTRICTED AT MIDDLE CREEK
Due to highly pathogenic avian influenza (HPAI) that is currently affecting many parts of the state, the Pennsylvania Game Commission is restricting public access at the Middle Creek Wildlife Management Area, effective Tuesday, Feb. 4, 2025.
With the continued warming trends and the anticipated arrival of snow geese to Middle Creek, this decision was made out of an abundance of caution for human and domestic animal health.
Beginning Tuesday, the following areas will be CLOSED to all public access:
Willow Point Parking Lot and Trail
Archery Range
Boat Launch
White Oak Picnic Area
All shoreline access of the lake, INCLUDING fishing
The Wildlife Drive remains seasonally closed, and an extended closure is possible.
Hiking trails (with the exception of Willow Point Trail and Deer Path Trail) and the Visitor Center will remain open during regular business hours, and all events will take place as scheduled.
All visitors are reminded:
If you have pet birds, backyard domesticpoultry, or connections with commercial poultry facilities, you are STRONGLY discouraged to visit during this time to minimize transmission risk.
You are HIGHLY ADVISED to remain in your vehicles while observing wildlife from roadways.
Please remember the public plays a critical role in wildlife health surveillance. Report sick or dead wild birds to the Game Commission by calling 1-833-PGC-WILD (1-833-742-9453).
Posted 2-3-25
CWD detected in two deer (one wild, one farmed) in Luzerne County, PA in an area that is 40 miles away from where CWD had been detected in wild deer
By Steven Brodsky
… as reported in this just-issued news release from the Pennsylvania Game Commission:
NEWLY DETECTED CWD POSITIVES IN NORTHEAST PA
The Pennsylvania Game Commission, in conjunction with the Pennsylvania Department of Agriculture, is announcing two deer have tested positive for Chronic Wasting Disease (CWD) in a new area of Pennsylvania.
The two deer, one hunter-harvested and one from a captive facility, were detected in Luzerne County. Both deer were adult males.
The Luzerne County detections are 40 miles from the nearest wild CWD detection. They will ultimately result in Disease Management Area (DMA) changes later this spring – the details of which will be released following the Game Commission’s Board of Commissioners meeting in April.
The captive deer that tested positive for CWD Dec. 16 was from a breeding deer farm in Luzerne County. Initial positive test results from the Pennsylvania Animal Diagnostic System Laboratory were confirmed in the USDA’s National Veterinary Services Laboratory in Ames, Iowa on Dec. 23. The Pennsylvania Department of Agriculture placed the farm under a quarantine order for five years. The order requires the farm to test any additional deer that die on the farm, and not transfer any deer on or off the farm. Any subsequent positive test results will extend the quarantine order requirements and restrictions for another five years.
Pennsylvania deer farms must participate in one of two stringent programs – the Herd Certified Program, or the Herd Monitored Program. The Herd Certified Program meets U.S. Department of Agriculture CWD standards and is required for any cervid farmer wishing to ship deer across state lines. Both programs require proper IDs; record-keeping on all animals moved on or off farms; annual herd inventories; reporting of CWD suspect animals and animals that die, escape or are stolen; maintaining a minimum 8-foot-high fence; obtaining permits to import animals from out-of-state; and other measures to monitor herds for disease. Only farms enrolled in the Herd Certified Program are permitted to move live deer across state lines, with official identification that will aid veterinarians in tracking disease origins in the event remaining deer die and test positive.
Chronic Wasting Disease programs in captive deer are managed by the PA Department of Agriculture and are necessary to help slow the spread of the disease and allow these businesses to operate.
An always-fatal neurological disease caused by a misfolded protein called a prion, CWD is a threat to deer and elk. It’s classified as a transmissible spongiform encephalopathy (TSE) and is similar to scrapie in sheep, mad cow disease in cattle and Creutzfeldt-Jakob disease in humans.
CWD spreads through direct animal-to-animal contact, as well as indirectly through prion-contaminated environments. CWD-infected individuals shed prions through saliva, urine and feces, and infected carcasses contribute to environmental contamination. Once in soil, CWD prions remain infectious for decades. Therefore, feeding deer is strongly discouraged and is illegal within existing DMAs.
There is no evidence of CWD infecting humans or other species under natural conditions. However, much is still unknown about CWD, therefore the Centers for Disease Control and Prevention recommends not eating the meat of a CWD-positive deer.
The Game Commission will host an informational meeting to answer any questions from the public. It is scheduled for Thursday, Feb. 27, form 6 p.m. to 8 p.m. at Penn State Hazleton, Graham Building Room 115, Parking Lot F. Penn State Hazleton Campus address is 76 University Drive, Hazleton PA 18202. Contact the Game Commission’s CWD Hotline at 1-833-INFOCWD, email INFOCWD@pa.gov or visit www.arcg.is/1G4TLr for more information.
Posted 1-31-25
An update on Highly Pathogenic Avian Influenza (HPAI) in Pennsylvania was provided by Dr. Andrew DiSalvo, the Pennsylvania Game Commission’s wildlife veterinarian, at the Pennsylvania Board of Game Commissioners meeting that took place on January 24, 2025
By Steven Brodsky
… You’ll find that update in this video:
From a Pennsylvania Game Commission news release that was issued on January 25, 2025:
HPAI UPDATE DETAILED
First detected in Pennsylvania in 2022, Highly Pathogenic Avian Influenza (HPAI) has resurged across Pennsylvania in recent weeks, causing significant bird mortality – particularly in wild geese – that appears on the rise.
At Friday’s meeting, the Game Commission’s Wildlife Veterinarian, Dr. Andrew DiSalvo, provided the agency’s Board of Commissioners with a thorough update about the ongoing situation. The meeting is available on the Game Commission’s YouTube channel, but those wishing to view the presentation can directly access it at this link: https://www.youtube.com/live/RwQpoB0VESE?si=CXVBZvqARRCePD77&t=2435.
HPAI poses risks not only to wildlife, but to domestic animals and humans. People should always view wildlife from a safe distance, avoid wildlife feces and should never handle sick or dead birds.
Those encountering sick or dead wild birds can report them to the Pennsylvania Game Commission, preferably by phone, by calling 1-833-PGC-WILD (1-833-742-9453).
Posted 1-29-25
Some of the best birdphotos
By Steven Brodsky
… that birders contributed to the Cornell Lab of Ornithology’s Macaulay Library archive in 2024 are accessible for you to view online.
Similar (and surprising) beneficial encounters await many of us this season.
Enjoy winter 2025!
Posted 1-1-25
Attention boaters: the Pennsylvania Fish and Boat Commission (PFBC) has announced the availability of a new online boating safety education course
By Steven Brodsky
… Details about this course were revealed in a press release that was issued by the Pennsylvania Fish and Boat Commission (PFBC).
From that press release:
HARRISBURG, Pa. (December 5) – The Pennsylvania Fish and Boat Commission (PFBC) is excited to announce the availability of a new, low-cost online boating safety education course!
The course, offered in partnership with the nonprofit BoatUS Foundation for Boating Safety and Clean Water, is available for only $17, is approved by both the PFBC and National Association of State Boating Law Administrators (NASBLA), and recognized by the United States Coast Guard.
In Pennsylvania, a Boating Safety Education Certificate is required for any person born on or after January 1, 1982, to operate boats powered with motors greater than 25 horsepower or any personal watercraft. To receive a certificate, boaters must successfully complete an approved boating safety course – either online or through in-person instruction.
The BoatUS Foundation course consists of six lessons and quizzes along with a final exam. Students may use a computer or mobile device to start, pause, and resume their learning at any time, and the full course can be completed in approximately four-to-eight hours. Individuals who successfully complete the online course will immediately receive a temporary Boater Safety Education Certificate which can be printed and is valid for 60 days. Within four-to-six weeks, students will receive their permanent certificate in the mail in the form of a durable plastic card that is valid for the boater’s lifetime.
“Not only does this boating safety course come at a great value and convenience, but it’s also proven that this type of education saves lives,” said Paul Littman, Director of the PFBC’s Bureau of Boating. “Approximately 75% of boating fatalities occur on boats where the operator did not have any formal boating safety education. There’s never been a better time to earn your certificate than right now thanks to this partnership.”
To access the course, visit the PFBC website (FishandBoat.com), and the select the BoatUS Foundation option.
Thought of the poem today when this early spring spattering of translucent yellow came into view trailside in a National Park:
Photo by Steven Brodsky
Some of this column’s readers will recall the Emily Dickinson poem the next time that they take notice of nature’s yellow in the great outdoors.
Posted 3-24-24
A tarantula species was named after Johnny Cash 8 years ago, on February 5, 2016
By Steven Brodsky
… The species is found near Folsom State Prison, the venue where Johnny Cash’s first live album, Johnny Cash at Folsom Prison, was recorded on January 13, 1968. The album was released on May 6, 1968.
Folsom State Prison is located in Folsom, California.
… to the kind of death that was experienced by the character in Seamus Heaney’s poem “Death of a Naturalist.”
Posted 7-12-22
A Conversation With Katie Fallon, Author of ‘Vulture: The Private Life of an Unloved Bird’
By Steven Brodsky
Katie Fallon is a co-founder of the Avian Conservation Center of Appalachia. She’s worked with many species of raptors and other kinds of birds. Katie’s books include Cerulean Blues (2011) and the recently released Vulture: The Private Life of an Unloved Bird. Her essays have appeared in a number of literary journals. She has a lifelong love of nature. I’ve heard that the first word she ever spoke was “bird.”
Your new book gives vultures, particularly turkey vultures, the positive attention these non-predator raptors deserve. What brought about your interest in these maligned birds?
I’ve been fascinated by vultures for at least fifteen years. There was a roost near where I lived in West Virginia; every day I’d drive by this big, old dead tree with ten or so turkey vultures hunched in it. They became a familiar sight, and I looked forward to seeing them. Vultures are big and kind of dramatic, and in flight, there’s nothing more beautiful. In addition, they’re the ultimate recyclers—they turn death into life.
Many people in the U.S. have an aversion to vultures. Speak about this.
I think vultures remind people of their own mortality. It can be a little creepy to think about a large, dark bird waiting to consume your body when you die. In general, I don’t think people in the US are comfortable with thinking of our bodies as food. Vultures remind us that life will continue after we die, and that some life will continue because we die. They remind us of our animal bodies. Which can be unnerving!
In the absence of vultures, we’d have major health issues to contend with. Tell us why.
Vultures clean up our ecosystems by removing animal carcasses that could potentially contaminate soil and water. They can eat animals that have died of anthrax and botulism. In the absence of vultures, mammalian scavengers could increase in number, and many mammalian scavengers such as raccoons, skunks, feral dogs and cats can spread rabies; vultures do not. Several vulture species in India have suffered catastrophic population crashes in the last twenty years, and public health has suffered. India leads the world in human rabies cases, and the number of cases has increased as the number of feral dogs increased in the absence of vultures.
People get close to vultures by attending your presentations that feature non-releasable birds. How are these birds acquired? How are they trained?
The nonprofit I co-founded, the Avian Conservation Center of Appalachia, keeps eight non-releasable raptors for educational purposes (you need permits from the US Fish & Wildlife Service to do this, of course – the birds aren’t pets or personal property). All of our birds were injured wild birds that cannot return to the wild. We have three vultures. Lew the turkey vulture was hit by a car and suffered an injury to his shoulder that prevents flight. His “girlfriend,” Boris, was shot in the wing, and by the time she reached us the bone had already healed incorrectly. Our black vulture is Maverick, and he was hit by a car, which resulted in a shoulder injury that prevents adequate flight.
Our birds are all trained using positive reinforcement. We avoid negative reinforcement and punishment, and we try to empower the birds to have some control over their environments. We condition behaviors by offering food rewards when the birds perform the behaviors. Vultures (especially our black vulture!) learn quickly, and they are a lot of fun to work with.
What myths and misunderstandings about vultures do these presentations help to dispel?
People are surprised at how clean and charismatic the vultures are – and how beautiful they are up close, despite their featherless heads.
What vulture behaviors do people find to be most interesting?
People often ask if vultures throw up on us; our education vultures usually don’t (unless they get scared). Vultures also expel liquid waste on their legs and feet, probably to clean them as well as to keep cool. This often fascinates people as well.
Which species of vulture are found in Pennsylvania and neighboring states?
We have turkey vultures and black vultures. During the last Ice Age we may have had California condors, too, and possibly some other now-extinct vultures.
What has been learned about migration of these species?
Hawk Mountain has taken the lead on turkey vulture migration research. Dr. Keith Bildstein and his team have placed transmitters and wing tags on turkey vultures all over the Americas. They’ve learned that our eastern turkey vultures are partial migrants—some spend the winters in Florida, some on the New Jersey shore, some in Virginia, and in many places in between. Many western turkey vultures are complete migrants, leaving their breeding ranges in Canada and heading all the way to South America. And still others in the American southwest migrate into Central America and return. It’s fascinating how the different subspecies have different migratory strategies. Dr. Bildstein and his colleagues have ongoing research projects about turkey vulture migration, and are discovering more all the time.
Vultures have spectacular flying ability. What makes this possible?
Turkey vultures are very light – they have almost the same wingspan as a bald eagle but weigh less than half what an eagle weighs. Their wings are long and broad, and are made for soaring.
How high can they fly?
The Ruppell’s vulture holds the record for the highest-flying bird. Unfortunately for that individual, it was hit and killed by a jet flying over Africa at 37,000 feet.
Vulture: The Private Life of an Unloved Bird informs readers about lead toxicity in vultures. What is the extent of the problem? How do vultures ingest lead?
Vultures (and eagles, hawks, crows, ravens, and owls) can ingest small pieces of spent lead ammunition in animal carcasses or “gut piles” left by hunters. When someone shoots a white-tailed deer, for example, the deer is usually field-dressed, and many of the organs are left. This can be a delight for vultures and other scavengers! In ecosystems, scavengers often follow the big predators to clean up the leftovers; here, the same thing is happening—a human is the big predator, a gut pile is the leftover, and a vulture or eagle is the scavenger. However, if small lead fragments are still in the gut piles, avian scavengers can inadvertently ingest the lead and become sick. Lead toxicity from spent ammunition is the biggest obstacle in the way of California condor recovery.
The Avian Conservation Center of Appalachia provides rehabilitation for injured birds. What kind of care do vultures receive?
We’ve treated vultures with a wide variety of injuries and ailments—broken bones, head trauma, lead toxicity, soft tissue injuries. Every bird we admit receives an immediate comprehensive examination by an avian veterinarian, and is then treated as necessary with antibiotics, antifungals, anti-inflammatories, fluid therapy, or chelation therapy. They also receive orthopedic surgery if necessary. We do our best to get the birds back out in the wild if possible.
It must be very joyful to enable an injured bird to regain flight ability. Please tell us about a memorable release.
Two and a half years ago we released a female turkey vulture that had been shot with a shotgun—she had three pellets embedded in soft tissue. We had to leave the pellets in her body because removing them would cause damage. Once she was nursed back to health, we released her wearing a transmitter to track her movements. We learned that she travels to northern Georgia in the winters and comes back to West Virginia in the breeding season. We are thrilled that this vulture was able to return to the wild—and thrive!
Vulture watching is growing in popularity. Turkey vultures are very widespread. Where are some of the best places and times to observe them?
In many parts of the southeastern United States, you can see turkey vultures any day of the year in a variety of habitats. In the winter, vultures can be observed roosting together in and near many cities: in Virginia, check out Leesburg, Staunton, Radford, Pulaski, and Charlottesville; in West Virginia, many vultures can be observed migrating in the fall over Hanging Rock Tower in Monroe County and over Harper’s Ferry in the eastern panhandle. During the summer and fall, the overlook at Cooper’s Rock State Forest near Morgantown, WV, is a sure place to see turkey vultures. Hawk Mountain in Pennsylvania, of course, is an excellent place to watch turkey vultures and birds of prey during migration, especially in September and October.
What stimulated your interest in nature?
I’ve always been an outdoors person. I grew up in northeastern Pennsylvania, and I had horses as a kid. I spent a great deal of time with my horses, trail riding and competing, and when I got a bit older I often went hiking and camping with friends and family. One of my favorite childhood hiking spots was Ricketts Glen State Park—it’s filled with hemlock trees and many gorgeous waterfalls. It’s definitely worth checking out if you visit northeastern PA.
Was “bird” your first word?
Yes! My parents had bird feeders in their yard when I was a baby (well, they still do) and my mother says she used to hold me in front of the window to show me the birds at the feeder. One day, she said, “Look at the birds! Look at the birds outside.” And I nodded and said, “Bird.” I haven’t stopped talking about them since.
Tickets for Servant Stage Company’s production of ‘Little Women The Musical’ are now available; performances will take place in Lancaster County, Pennsylvania, March 14, 2025 – April 12, 2025
By Steven Brodsky
… Cast members talk about Little Women The Musical:
Tickets are pay-what-you-will, consistent with Servant Stage Company’s mission to make exceptional theatre experiences accessible to everyone.
A New Season of Theatre Classes in Servant Stage Company’s Monday Night Drop-Ins Program is Underway
By Steven Brodsky
… Class subjects include: acting, improvisation, vocal technique, and dance.
These classes are pay-what-you-will.
From a Servant Stage Company press release issued on Febuary 14, 2025:
2025 marks the fourth year for the Monday Night Drop-Ins program. Last year’s program served 373 unique students (an 83% increase from the previous year) over the course of 64 classes, with many attending multiple classes. “It’s our goal to be a theatre home for people of all ages,” says Executive Director, Johnathan Bauer. “We want to create opportunities for those just getting started out all the way to those working on the professional level, and our Monday Night classes are a key component of that vision.”
The 2024/2025 National Alliance for Musical Theatre Member Theatre and Writer Recipients of Writers Residency Grants (part of the Frank Young Fund for New Musicals) have been announced
By Steven Brodsky
… Congratulations to the grant recipients.
From a news release issued by the National Alliance for Musical Theatre yesterday, February 18, 2025:
New York: The National Alliance for Musical Theatre (Betsy King Militello, Executive Director) has announced the NAMT Member Theatre and Writer Recipients for the 2024/2025 Writers Residency Grants, part of the Frank Young Fund for New Musicals. The Frank Young Fund is a major funding program to support the development and production of new musicals. Writers Residency Grants encourage collaborations between NAMT Member theatres and writers at the earliest stages of a project.
“Developing new musicals requires space, time and trust—three things our members provide with immense dedication,” says Betsy King Militello. “These Writers Residency Grants strengthen the foundation for musical theatre’s future by ensuring that writers and theatres can explore, experiment and build relationships. We are proud to continue investing in our members’ commitment to foster new work, and we can’t wait to see the incredible projects that will emerge from this year’s residencies.”
The Frank Young Fund for New Musicals has awarded each of the following member organizations $500 to $2,000 for Writers Residency Grants for the 2024/2025 Cycles:
American Music Theatre Project at Northwestern University (Chicago, IL) for Desaparecidas by Jaime Lozano, Florencia Cuenca & Georgina Escobar
Ars Nova (New York, NY) for Where We Meet by Kate Eberstadt
Goodspeed Musicals (East Haddam, CT) for Legendary by Cheeyang Ng
Montclair State University (Montclair, NJ) for King of Harlem by David Gomez & John-Michael Lyles
New York Theatre Barn (New York, NY) for The Phoenix by Cheeyang Ng, Eric Sorrels & Desdemona Chiang
Olney Theatre Center (Olney, MD) for Okuni by Naomi Iizuka & Paul Hodge
Prospect Musicals (New York, NY) for YUKON HO by Adrian Blake Enscoe, Sydney Shepard & Regina Strayhorn
Theater Latté Da (Minneapolis, MN) for Yoko’s Husband’s Killer’s Japanese Wife, Gloria by Brandy Hoang Collier, Clare Fuyuko Bierman & Erika Ji
Theatre Now New York (New York, NY) for Kusama by Yuriko Shibata & Andrew Strano
The next application cycle for the Writers Residency Grants will open May 1, 2025, for projects slated to take place between July 1, 2025 and December 31, 2025. For more information, visit namt.org/wrg. Applicants must be U.S.-based NAMT member not-for-profit theatre organizations. For more information on membership, visit namt.org/membership.
The Frank Young Fund for New Musicals is overseen by NAMT New Works Director Frankie Dailey, and the recommended Grant Recipients for the Writers Residency Grants are selected by the New Works Committee, a distinguished panel of industry leaders from across the country. The 2024/2025 New Works Committee was co-chaired by Eric Keen-Louie of La Jolla Playhouse (CA), Hattie Andres, formerly of Seattle Rep (WA), Justin Lucero of Theater Latté Da (MN) and Ray Hogg of Prime Mover Theater Company (TO). Committee members include Joe Barros of New York Theatre Barn (NY); Jaime Bartolett of Shea Theatricals (NY); Bill Berry of The 5th Avenue Theatre (WA); Cat Brindisi of Asolo Rep (FL); Victoria Bussert of Baldwin Wallace University Conservatory of Music (OH); Kate Galvin of Constellation Stage & Screen (IN); Marguerite Hannah of Horizon Theatre (GA); Elizabeth Kensek, formerly of WaterTower Theatre (TX); Tom Morrissey of Theatre Now New York (NY); Alan Paul of Barrington Stage Company (MA); Laura Peete of Theatre Under The Stars (TX); Damaso Rodriguez of Seattle Rep (WA); Amber Wallace of Ogunquit Playhouse (ME); and Adam Yankowy of Michigan State University (MI).
Posted 2-19-25
These video clips from Servant Stage Company are sure to evoke wonderful theatre memories
By Steven Brodsky
… for those of you who attended some of Servant Stage’s 180 pay-what-you-will performances in 2024:
Attention actors and actresses: information about auditioning for Servant Stage Company’s 2025 Season is accessible at: 2025 Auditions — Servant Stage.
Those engaged with the arts are more likely to be socially connected
By Steven Brodsky
This press release was issued moments ago by the National Endowment for the Arts (NEA):
Washington, DC—A new research brief released today by the National Endowment for the Arts (NEA) examines recent patterns of arts engagement among U.S. adults, and the relationship between arts engagement and social connectedness. The findings come from the U.S. Census Bureau’s Household Pulse Survey from April to July 2024.
NEA ChairMaria Rosario Jackson, PhD, said: “Timely data on arts engagement in our country is key as researchers seek to measure the health of the arts sector following the COVID-19 pandemic, as well as to improve our understanding of how the arts can impact many aspects of our lives, including issues of loneliness and social isolation. The National Endowment for the Arts is pleased to add this report to our expanding body of research on the arts’ benefits for our lives and communities.”
Highlights from “Arts Attendance, Art-Making, and Social Connectedness: Spring/Summer 2024” are below. The findings about the arts’ positive links to social connectedness are especially promising in light of a 2023 Surgeon General’s advisory about the adverse health effects of loneliness and social isolation. See the full NEA research brief for additional statistics, including differences in arts participation rates by age, gender, race/ethnicity, education, and annual income. Future research will examine subgroup differences in the outcomes associated with arts participation.
Arts Attendance and Arts Creation:
Between April and July 2024, a quarter (25.0 percent) of U.S. adults attended at least one live, in-person performance and/or art exhibit in the previous month.
17.0 percent of adults went to the movies in the previous month.
16.3 percent of adults created, practiced, or performed artworks in the previous month.
Access to Arts and Cultural Amenities:
A total of 62.2 percent either agreed (45.8 percent of all adults) or strongly agreed (16.4 percent) with the statement: “There are plenty of opportunities for me to take part in arts and cultural activities in my neighborhood or community.”
Among those least likely to agree with this statement were younger adults (54.4 percent versus 70.4 percent of those 65 or order); Hispanics and non-Hispanic Blacks (53.4 and 53.2 percent, respectively); and those who did not go to high school.
The Arts and Social Connection:
Attending meetings or clubs:
Adults who attended arts events and/or created art within the previous month were more likely than those who did not to participate in social groups—such as church groups, unions, fraternal or athletic groups, or school groups—and to do so at higher frequency levels.
42.0 percent of arts attendees reported not belonging to such a group, compared with 52.1 percent of non-arts attendees.
46.4 percent of arts creators—and 57.7 percent of non-creators—reported not belonging to a social group.
Arts attendees and arts creators are also more likely to attend organization or club/group meetings.
29.2 percent of arts attendees went to organization or group/club meetings 12 or more times. For non-arts attendees, that rate was 15.0 percent.
Among arts creators, the rate of participating in such meetings 12 or more times a year was 28.2 percent, versus 19.3 percent of non-creators.
Perceptions of loneliness
Adults who attended live arts events were less likely than non-arts attendees to report feeling more acute levels of loneliness.
2.7 percent of adults who attended live arts events in person reported “always” feeling lonely, compared with 5.1 percent of non-arts attendees.
38.7 percent of arts attendees reported feeling only “rarely” lonely, compared with 25.4 percent of non-arts attendees.
However, adults who created or performed art were generally more acquainted with at least some level of loneliness than were non-creators.
Only 18.4 percent of arts creators reported “never” experiencing loneliness, versus 27.3 percent of adults who did not create or perform art.
Social and emotional support
Adults who attended live arts events in the previous month were more likely than non-arts attendees to report receiving the social and emotional support they needed.
29.8 percent of arts attendees reported “always” receiving such support, compared with 23.4 percent of non-arts attendees.
Arts creators were more likely to receive social and emotional support than were non-creators.
38.8 percent of arts creators, versus 30.3 percent of non-creators, “usually” received the support they needed.
Phone conversations with friends, family, neighbors
Adults who had attended arts events in the past month were more likely than non-attendees to talk with friends and family on the phone—and to do so more often.
Arts creators were more likely than non-creators to talk with friends and family on the phone once or twice a week, but less likely to talk five or more times a week.
Time spent with friends and family
Adults who attended arts events and/or created art were more likely than those who did not to get together with friends or family.
45.1 percent of arts attendees met with friends and family once or twice a week, compared with 30.3 percent of non-arts attendees.
35.6 percent of arts creators got together with family or friends less than once a week, compared with 42.1 percent of non-creators.
About the NEA’s Office of Research & Analysis
Research into the value and impact of the arts is a core function of the National Endowment for the Arts (NEA). Through accurate, relevant, and timely analyses and reports, the NEA elucidates the factors, conditions, and characteristics of the U.S. arts ecosystem and the impact of the arts on other domains of American life. Visit the Research impact page on the NEA’s website for more information, including:
In-depth reports and analyses of research topics in the arts, including surveys of arts participation and reports on the economic impact of arts and culture.
The National Arts Statistics and Evidence-based Reporting Center (NASERC)—an online hub for monitoring the U.S. arts ecosystem through a series of national indicators, and for accessing data-driven guides and reports aimed at arts practitioners.
National Archive of Data on Arts Culture (NADAC)—an online repository of arts and cultural datasets, for analysis by scholars, arts managers, and policy leaders.
Information on the NEA’s Research Awards: Research Grants in the Arts (RGA) and Research Labs, transdisciplinary research teams investigating the value and impact of the arts.
Monthly podcast and blog post on arts research topics.
About the National Endowment for the Arts
Established by Congress in 1965, the National Endowment for the Arts is an independent federal agency that is the largest funder of the arts and arts education in communities nationwide and a catalyst of public and private support for the arts. By advancing equitable opportunities for arts participation and practice, the NEA fosters and sustains an environment in which the arts benefit everyone in the United States. Visit arts.gov to learn more.
W.B. Yeats received the Nobel Prize in Literature in 1923 “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation.”
Posted 4-23-22
A Conversation With Staś Kmieć
By Steven Brodsky
It’s a challenge to be restrained in praise of the Yiddish-language, Joel Grey-directed, NYTF production of Fiddler onthe Roof—the show is that good. Fiddler, about as perfectly constructed a musical as there ever was, is here masterfully presented—reflecting the care and talent of the creative team, cast, and musicians. Dance in Fiddler is an important element—it entertains, reflects cultures and a time in history, and like everything else in this musical carries forth the story.
Staś Kmieć created the musical staging and choreography for this production. Staś is a world-class dancer and choreographer and an expert in Polish folk dance and culture. He was the perfect choice. Staś has performed and toured in many countries with dance icons such as Nureyev. He’s danced with the Boston Ballet, the Metropolitan Opera Ballet, has been on the stages of Broadway, and appeared on film and television. He has choreographed musicals, plays, ballet, and opera in the U.S. and abroad. His background with Fiddler includes being on 2 two-year national tours of the musical with Theodore Bikel and 6 subsequent productions for 1,682 performances. Oh, and he’s also directed Fiddler a number of times.
Staś, this Fiddler is most special, in its creation and performance. How did you feel to be chosen as choreographer?
It is indeed a blessing. I have a long relationship with this show, but this was going to be different. With the recommendation of the Jerome Robbins Foundation and the “keeper of the Fiddler flame,” Sammy Dallas Bayes, I had been in the mix for this production since January. When Joel was officially announced as the Director in March, things took flight. The next day I was asked to meet with him and NYTF Artistic Director Zalmen Mlotek, and in the time it took me to ride the subway back to my apartment, I received notification that I was to be engaged for Fidler Afn Dakh [Fiddler’s title in Yiddish].
My title would be “Musical Staging and Choreography” —basically responsible for the stage picture whenever you hear music in a song, dance, scene or scene-to-scene transition. This would include the body language of the actors and how to incorporate the set pieces to effectively evoke a new location or scene. I also contributed and collaborated regarding blocking, group scenes, props, lighting, and costumes.
Due to my knowledge of the work, the culture and the time period being portrayed, I would provide an anchor to the work, but with one foot in tradition, and the other in concept.
As Fiddler should not be considered as a museum piece, I enjoyed the challenge of breathing new life and a fresh perspective into the work. Joel’s concept allowed me to explore, and I relished this opportunity to create.
The story is familiar. What happens within the story is grounded in the word “tradition.” The staging and choreography reflect realism—inspired by and always with a deep respect to the Jerome Robbins original. Some areas are completely new, while others build upon the original. I added layers of traditional dance, custom, shtetl culture, real actions and interactions, as only someone who knows and admires the work can do.
What were the challenges of choreographing this production?
There were many variables to consider. The size of the cast and the stage were the biggest considerations. Although a cast of 26 is considered large, I am accustomed to working with 40, and a minimum of 35. In so many ways I had to be creative with my use of the actors and the approach to the material.
Because Safra Hall is an auditorium and not a traditional theater space, a unit set was designed that was minimalist and representational. The costume design was also representative of a band of actors of today’s Jewish community who are telling the story of the 1905 Anatevka shtetl-village.
Then there was the glorious, beautiful Yiddish language. While this added a new dimension and colored the work in an exciting way, consideration needed to be made that the majority of the audience would not fully understand it. Combined with the set and costume challenges, the story needed to be conveyed visually. Audience members have remarked at how they became so attuned to the gestures, facial expressions and detail of the staging and choreography, that they experienced the musical from a totally different perspective.
Please describe the interaction that you had with Joel Grey. Collaboration and interaction—Joel and I have become the “perfect match!”
The genius of the original production of Fiddler on the Roof came from the collaboration of its creative personnel headed by director-choreographer Jerome Robbins.
Working with Joel since March during pre-production, auditions and rehearsals have been a treat. Through his eyes, I envisioned new ways of illustrating this classic work and was challenged by the prospect of this unique Fiddler.
Our approach to staging a musical is different, but the “yin and yang” of our relationship has proved to be most beneficial. It was a melding of ideas—we were on the “same page” with our thoughts, and, most importantly, trusted each other.
We have tabled discussion of future joint ventures but have hinted about several ideas we would like to pursue.
The tavern scene is spectacular and conveys by dance and other interaction the dynamic of the Jews and their non-Jewish neighbors. There’s presence of threat, some willingness to narrow a gap, and a semblance of communion brought about through dance. The dancing is wonderful, the acting superb. Speak to us about this scene.
“To Life – L’Chaim” (celebrating the marriage arrangement of Tzeitel to Lazar Wolf) matches the boisterous bravado of the Russians with the inner reserve and pride of the Jewish villagers. Two uniquely different styles of dance.
Robbins’ use of show-specific dance was clear and no better illustrated than in the integrated ethnic dance in Fiddler.
Due to my immense background in folk dance and its authentic elements, I was able to infuse and travel beyond the realm of what was previously done. This amounted to more levels (literally and figuratively) of Russian dance and an even stronger dynamic.
What was it like to choreograph the wedding scene?
The wedding of Tzeitel and Motel is a play in itself and I’ve incorporated many traditional Jewish elements. Beginning with the tying on stage of the customary “gartel” and continuing to the ceremony under the chuppah canopy—the bride is circled around the groom three times (traditionally it is seven) and there is breaking of the wine glass. Stanchions separate the genders, there’s a mothers-in-law koylitsh dance with the bride; and seated in chairs, the couple is hoisted into the air before settling down to more separate dances. I’ve included a “Patsch Tants” and “Freylekh Hora,” so there is even a greater element of traditional dance.
The iconic Bottle Dance is included with embellishments, but remains true to its source. Joel’s first question to me was, “How do you balance the bottles?” I told him, “a bottle, a hat and lots of practice!”
One section that has now been authentically clarified is the role of the “badkhen”—the wedding master of ceremonies, deliciously played by Michael Yashinsky. Serving as a wedding jester of sorts, he is supposed to move the wedding company to laughter (at the expense of others, i.e. Lazar Wolf) and to tears. He commands rapid transitions between extremes with concentrated bursts of melancholy or of joy.
I included a “Mitzvah Tants,” and restored the “kale baveynen,” where the “badkhn” attempts to get the bride and others to cry over serious matters before then making them laugh and rejoice. The text was omitted from the Yiddish translation, as it had evolved as an ad-lib and was never documented in the script.
The wedding scene ends Act 1 with a depiction of the disturbing reality of conflict.
Please speak about your experience of working on other scenes in the play.
I enjoy working with actors, who are in movement as their characters, not as dancers.
“The Fiddler” is a symbol of the traditions Tevye is trying to hold onto as his world changes around him. Played by Lauren Jeanne Thomas, the Fiddler is seen only by Tevye and remains within his struggle of conscience. With a proud, playful, mischievous, defiant, mournful and hopeful disposition, I wanted to bring this relationship via staging to the forefront.
Marrying outside of the Jewish faith is a violation of religious beliefs and grounds for disownment. With the “Chavaleh Ballet,” I strived to simply and effectively evoke happier times in Tevye’s dream-like recollection, and then bring the harsh reality into focus, as he is compelled to reject his beloved daughter. The juxtaposition of these two scenes creates a heart-wrenching poignancy.
Which non-dance moments in Fiddler are most poignant to you?
The opening “Tradition” (“Traditsye”) and the Exodus closing (though there is an element of movement involved in both). They are about identity and community—and are based on the communal circle.
Tevye explains that it is the longstanding traditions of their village, culture, and religion that steady and guide the people of Anatevka. Then the inhabitants of the small-town Jewish village community—the Shtetl emerge. They are close-knit townspeople. Theirs is a culture “lost in time,” which only exists in the memories and in the partial and altered behavior of its members now scattered around the world.
A small moment at the end where the Rabbi bows to his son Mendel and they separate—leaving in two separate directions, gets me every time.
Due to the representational nature of our set, the closing moments had to be considered carefully. I decided to end on a final image that represents the legacy and culture that was left behind and the imprint and memory that lingers on.
Sheldon Harnick, the show’s lyricist, remarked that “the ending is perfect, don’t change a thing.”
What did you find to be most unusual about the staging of this play, other than the language?
I would have to say the sparse production elements. Joel brought me into a design meeting before the rest of the production team. I said, “It’s different, and will challenge my views, and I’m ready to meet that challenge.”
Even though we didn’t have an actual house or tailor shop, and not even a doorway, I insisted that the kissing of the entryway mezuzah (containing a miniature parchment inscribed with verses from the Torah) remain. I taped a line as to where the entrances would be, and the actors identify the space as they mime the action.
How did working with the Yiddish-language script affect you?
It was mostly seamless. I know the text so intimately that I understood it, without exactly understanding it.
In preparation for each section to be staged, I would review the script, which appeared in 3 lines—Yiddish, transliterated English, and the show’s original libretto.
There were occasional areas of departure and lines that fell on different beats. The heart and soul of the work remained, and achieved grater relevance in the language of author Sholem Aleichlem’s 1894 classic Tevye the Milkman and other Tales, on which the musical is based.
Which acting moments are among your favorites?
Several come to mind: Steven Skybell in “If I Were a Rich Man” (“Ven Ikh Bin a Rotshild”), Skybell and Mary Illes in “Do You Love Me?” (“Libst Mikh, Sertse?”), the Chava rejection scene, Hodel’s “Far From The Home I Love” (“Vayt Fun Mayn Liber Heym”), and the kitchen scene with Jackie Hoffman as Yente.
When working on “Rich Man,” I told Skybell that we would discover his personal signature movement. It would not be Mostel or Topol, but him. Steven offers an authentic, honest and intrinsically Jewish portrayal and I see much of my grandfather’s persona in his performance.
Topol, who attended a performance early in the run, remarked about “Do You Love Me?”: “That’s how it should be done! So moving, so intimate, so real, so warm.” My sentiments exactly. Joel and I spent a long journey with this song and we are both moved each performance.
What do you think will be your fondest memories connected to this this production years from now?
The experience of working alongside and exchanging ideas with an icon who I grew up with, have admired for years, and who is now my friend. The cast—a special bend of talent, hard work and raw energy. The dedication of the National Yiddish Theatre Folksbiene, and the unique, creative process of rediscovering a work that I deeply love. There’s always something new to learn.
Originally Posted 7-23-18, Reposted 4-1-20
A Conversation With Steven Skybell
By Steven Brodsky
To be cast in a major role in a watershed theatrical staging of one of the world’s most popular musicals is about as rare an occurrence as hens’ teeth. It’s happened for Steven Skybell. He’s Tevye in the soon to open National Yiddish Theatre Folksbiene’s Fiddler on the Roof.
This production is an American premiere of a Yiddish translation by Shraga Friedman that’s reported to have not been staged in over half a century. This Fiddler will very likely bring audiences somewhat closer to the heart of Sholem Aleichem and the shtetl life he wrote about. Fiddler, of course, is an adaptation of a number of Aleichem’s stories; Yiddish was his mother tongue.
Joel Grey is directing the show. He’s working with an esteemed cast and creative team. From Fiddler’s original production, the Folksbiene has engaged Sheldon Harnick (Pulitzer Prize and Tony Award-winning lyricist) and the legendary producer/director Hal Prince as consultants. That production was unforgettable. (I was at one of the performances.) So will NYTF’s Fiddler. It’s a shame that it is scheduled for a run of only 8 weeks.
Steven Skybell has performed on Broadway, Shakespeare’s Globe in London, and elsewhere. He’s an OBIE Award recipient. Steven has taught acting at Yale, Harvard, and Fordham. He is on the acting faculty of NYU.
What went through your mind and what emotions did you experience when you first learned that you were cast as Tevye?
There have been times in my life when things seemed destined to happen. When I heard they were doing a Yiddish production of Fiddleron the Roof, I felt that it was something that I wanted to be a part of, and everything seemed to move into place accordingly. So when I found out that I was going to be playing Tevye in this Yiddish production of Fiddler on the Roof, I was happy beyond belief! I have wanted to be an actor since childhood; there is something about Fiddler on the Roof that holds a special place in a Jewish boy’s dreams. I’ve had the opportunity to be in Fiddler four previous times, beginning as early as age 11, when I held the chuppah in the wedding scene in an amateur production in my hometown of Lubbock, Texas.
The opportunity to be a part of this watershed production with the National Yiddish Theatre Folksbiene, is nothing less than a dream come true. It’s an honor and a delight. I am so looking forward to being able to share this amazing story with these memorable characters and melodies, merged with the authentic sound of the language of Sholem Aleichem. It’s a once-in-a-lifetime opportunity.
What aspects of Tevye’s experience and character resonates most strongly to you?
The role of Tevye is an amazing challenge in the world of musical theater. He gets to go through every emotion imaginable in the course of this play. And because he is so fully realized, I think he becomes an everyman for the audience. There are so many aspects of Tevye that I recognize in my own character. Obviously, the chance to play a Jewish person in conversation with his God, struggling to make right decisions concerning his family and his future, resonates very strongly with me. Tevye is a survivor. And while the circumstances of the play seem to overwhelm him, they don’t. I like to think, in my own life, I too am able to withstand and stay positive even in the face of life’s most difficult challenges. It’s that spirit, that life force, that is embodied in Tevye which inspires me and which I’d like to think lives within me as well.
An aspect of Tevye that has become clearer to me in this rehearsal process, is that even though we see him in the midst of what he describes as “a big poverty” and even though he dreams of being “as rich as a Rothschild,” in the course of the evening we see that he is far from being poor and destitute, and that he has been blessed with great richness and riches.
There is obviously a strong tragic vein in this musical, and that’s a challenge and a pleasure to play as an actor, but there’s also great humor and great joy. It’s this merging of “carrying a tear with joy” that makes this role and this musical so special.
What exposure to the Yiddish language did you have prior to accepting this role?
Like many Jewish children of the ’60s and ’70s, I grew up hearing my grandparents speak Yiddish. But sadly, it was only used when they wished to keep their meaning hidden. Later in my life, my brother and I began studying Yiddish together over the phone. We got some grammar books and would go through exercises and drills together over the phone. And then in the summer of 2005 (I believe), I was performing in Chicago, and I contacted the woman who teaches Yiddish at Northwestern University, Khane-Faygl Turtletaub. I went to her home once a week and had private Yiddish lessons. I just loved the language. And I did think that perhaps one day I might be able to find an opportunity to use Yiddish on the stage. When I met with the creative team for this production of Fiddler on the Roof, Zalmen Mlotek asked me why it was that I had learned Yiddish, and I could tell him that I did dream of one day performing with the Folksbiene. Needless to say, it has been an amazing challenge to rehearse in Yiddish, sing in Yiddish, and act in Yiddish. This theater does a great job in helping all the actors feel comfortable in this language.
Describe the challenges that Yiddish is presenting to you as you rehearse and otherwise get ready for the opening of this play.
Some specific challenges about performing in Yiddish include simply trying to memorize a language that is not completely your own. There’s also a difference between which word in English might be stressed and which word in the Yiddish version wants to be stressed, so that is something that has taken some painstaking practice.
Please give us an insider’s vista into Joel Grey’s direction of this play.
This is actually my second time to be directed by Joel Grey. He is, needless to say, an amazing performer. And he has the ability to empathize with the challenges of the actor and he also knows how to best help us, since he’s been on our side of the footlights too. He has such a deep and clear perspective on this play. And it is very refreshing to see that he is urging us all to go deeper than simply trying to recreate the Broadway version. This Yiddish version has its own soul, and Joel Grey is challenging us to dig deep for truth, for humor, and for Jewish soul. He is witty and funny and moving every day in rehearsal. It’s an honor for me to get to work with him, and his boundless energy is an inspiration. I definitely want to be like him when I grow up!
Jerome Robbins helped acquaint the original cast of Fiddler with Orthodox Jewish wedding dancing and other practices by clandestinely taking (with the assistance of a wedding caterer) cast members to Orthodox Jewish weddings. Have you and other cast members found it helpful to do any research to ensure accuracy on stage?
Although I was raised in the Reform movement of Judaism, my siblings and I have all found our way back to a more traditional Judaism over the years. All my siblings are now Orthodox. And over the years I have had the opportunity to observe the more traditional practices in their homes; and I even took part in a Shabbos exchange program through their shul which included spending the Sabbath in an ultra-Orthodox home in Boro Park, Brooklyn.
We also have in our cast, some Orthodox people. And they have been very helpful in filling out moments for us all and answering questions about certain details.
What scenes are you finding to be most enjoyable to rehearse?
The interesting thing about Fiddler on the Roof, is that it is an amazingly constructed piece of theater. It works so well. So truly every scene is a joy to rehearse. There’s nothing that is flawed in this piece. I will say that in rehearsal it has been so amazing to watch the dancers do their stuff. There is some incredible choreography in this musical and already the dancers are performing at such a high level of virtuosity and prowess. It’s a joy to watch.
How old were you when you first got involved in theatre? What stimulated your interest?
There was a children’s theater and a community theater in my hometown of Lubbock, Texas. I began performing there when I was 10 years old and very quickly felt like I had found something that I really wanted to do and loved to do. Since that time performing at the age of 10, I basically have pursued the dream my entire life.
As a high schooler, I spent my summers performing at the Interlochen Arts Academy summer camp in Interlochen, Michigan. That is where I became even more determined to pursue this as a career. I performed in musicals, operettas, and Shakespeare. And it was there that I first played Tevye at the age of 17! From there went on to pursue theater at Yale College and then received my Masters at the Yale School of Drama. I’ve been fortunate to build a career and stay busy on stage, television and film. And while it is not always an easy career, it has remained for me completely fulfilling and rewarding.
Originally posted 6-18-18, Reposted 4-1-20
A Conversation With Jennie Eisenhower
By Steven Brodsky
Performances September 18–October 7, 2018
Erma Bombeck was a national presence despite being a self-proclaimed “ordinary housewife”—in the years when that domestic role was accorded greater value and came with much constraint. As a writer and television personality her reach was enormous. Erma Bombeck’s column, it has been reported, at the apex of its popularity appeared in 900 newspapers. She wrote 15 books; many were bestsellers. She contributed to some of the most widely circulated magazines of her time and was a part of the Good Morning America television program for many years. Humor was a hallmark of Erma Bombeck, and her relatability a bridge to fans who identified with her as she addressed circumstances and travails similar to their own. Bombeck wrote from home—the location where many housewife-readers spent much of their own time. Erma Bombeck (as a character in the play that Jennie Eisenhower is directing at the Bristol Riverside Theatre) says, “The key to my writing is that I’m ordinary.” Her ordinariness, candor, humor, insights, terrific writing, personal initiative, and more, made her extraordinary. The one-woman play Erma Bombeck: At Wit’s End, Jennie’s Bristol Riverside Theatre directorial debut, will allow audiences to “meet” Erma Bombeck—the woman much of America knew and adored.
About Jennie: she is a renowned screen and stage actress, has won acclaim for her directorial work, and is a two-time Barrymore Award recipient.
Jennie, how familiar were you with Erma Bombeck prior to being asked to direct this one-woman play at Bristol Riverside Theatre? (Erma Bombeck passed away in 1996.)
I knew the name Erma Bombeck and knew that she was a columnist who wrote about motherhood and family. I had no idea until I began to research Bombeck in preparation for At Wit’s End that many of her one-liners were banging around in my subconscious for years without me knowing they were hers!
What do you most appreciate about the script?
I love that it infuses the biographical elements of Bombeck’s life with her humor and that the majority of the script quotes her directly. With 20 years of columns and 15 books there is so much to draw from and I am glad the authors took advantage of that. I laughed out loud several times during my first pass at the script, which is rare for me. Additionally, though Erma was in the height of her fame in the ’70s, ’80s and ’90s, I feel that the material is still incredibly relevant and compelling today.
How is directing a one-person play different than directing a play with numerous actors?
At Wit’s End is a solo piece that directly addresses the audience. Therefore the audience is a very active second character in the play and a lot of the work that Licia and I are doing won’t come alive until we have people watching. Most of the plays I’ve directed with large casts employ fourth wall realism and don’t actively engage with the audience and as a result feel very different to rehearse.
Licia Watson is portraying Erma Bombeck. What does she bring to the role?
Casting Erma was difficult. I wasn’t looking for an impersonator but I was looking for someone who could capture Bombeck’s unique mixture of earnestness and mischievousness. When Licia walked into the room to audition for us (we did two days of casting in NYC), she was instantly likable. That quality is, I believe, essential to making the show work and something that can’t be forced. Licia is the sort of person who, like Bombeck, I feel I could spend hours chatting with. Hopefully our audiences feel the same way!
What can you tell us about directing Licia in this production?
Licia is a director’s dream. First of all, she arrived on the first day of rehearsal with our 40-page, single-spaced script committed to memory. Because of her diligent preparation we were able to dive right into staging and begin to bring the play to life. Licia is flexible, brings great ideas to the table, and is a great collaborator. She is a wonderful comic technician and lovely person to spend time with. I am so grateful to have her on this project.
What are your favorite theatrical moments in Erma Bombeck:At Wit’s End?
I have two favorites: the first is when Bombeck attempts to impersonate the quintessential ’60s housewife only to nearly vacuum up her child’s hamster. The second is when Bombeck gives really confident and sassy responses to questions during an on-the-road press interview. These are two places where I find the script illustrates Bombeck’s unique personality so well. The juxtaposition of a flustered, can’t-quite-keep-it-all-together housewife and a strong, assertive public speaker—she really was both!—is delightful.
When and why did you decide that you wanted to make acting and directing a career path?
I was very theatrical as a child and loved to sing, act and put on shows for my family, forcing my brother and sister to work as co-stars, lighting technicians—whatever the production demanded! Next, I auditioned for middle and high school musicals and plays. I loved all of that so much I decided to major in theatre at Northwestern University and then pursue theatre for a living. I didn’t pursue work as a director until I had been in the business for about five years. Though as a child I was starring in and directing all of the family shows I created, for some reason it didn’t occur to me that I could be a director professionally. Perhaps it was because I subconsciously internalized the fact that most famous directors (with notable exceptions, of course) were male while I was growing up? Or because none of the shows I was in on campus at Northwestern were directed by women? For whatever reason, directing didn’t seem to be a possibility for me until I had been at it awhile and I became more confident as an artist.
What supported you in that decision and what obstacles were in your way?
I had an incredible opportunity to run a magnet arts high school music theatre program in Florida when I was 27. I needed a change and wanted to get away from my work as a musical theatre performer and get out of New York City. That year in Florida I directed two giant musicals and realized I was not only capable of directing but also passionate about it. When I moved from Philadelphia to Florida about 10 years ago I did so with the intention to direct professionally and have had the opportunity to do so at some wonderful theatres in this region. The Philadelphia theatre scene seems to understand that artists have many facets and isn’t as apt to pigeonhole people into one aspect of the industry like some of the larger markets are. Because of that, I have been able to wear many hats, so I am very grateful to the Philadelphia community and specifically Bristol, the Walnut, The Media Theatre and The Arden (so far!).
What aspects of Erma Bombeck’s celebrated “ordinariness” resonate with your own experience?
Motherhood is the great equalizer. I don’t care if you’re the queen of England, a movie star or a pro tennis player—if you’ve had a baby (and I have!), you’ve been thrown up on, kept up all night, and felt both love and frustration beyond what you ever imagined is possible. We are all ordinary when it comes down to the deep love we feel for our kids and how little control we have over their actions or how the world will mold them. That’s why Bombeck’s humor is so enduring.
What do you most admire about Erma Bombeck’s life work in and outside of her role and responsibilities as a housewife?
It’s ironic that when people bring up Erma, the first thing that comes up is “housewife.” Her brand and the humorous writing that made her famous is all about her role as a housewife, but she was a full-time working mother! I admire so much about her and am awed by her ability to raise three children and accomplish so much while doing so. I am grateful to Bombeck for her tireless work campaigning for the ERA. Her political activism not only made an important contribution to woman’s rights but also allowed her fanbase to witness a feminist who was still comfortable embracing the traditional role of homemaker and mother. I think she sent an important message about feminism to American women: that being a feminist didn’t necessarily mean one should divorce their husband, leave their kids, burn their bra or join a commune. A woman could be a stay-at-home mom and still demand the same respect and the same rights awarded to men.
If you would have had the opportunity to meet Erma Bombeck when you were a teenager, what questions might you have asked her?
I actually really wish I could meet Erma now, being a mother. I am endlessly fascinated by women who are able to manage having children and busy careers and what their secrets are. Also, I only have one child—women that have multiple children and are able to do more than get laundry put away blow my mind. So I would have had a lot of questions to ask Erma about how she did it all. It’s a shame she wasn’t with us longer as I would have loved to have met her.
What experiences in your life shape you the most as a performing artist and director?
I believe all artists are shaped by their life experiences and we inevitably bring parts of ourselves to every project we undertake. Every show I direct or perform in requires me to draw from different experiences I have had. On this particular show I am definitely drawing from my own experiences as a mother and as a feminist—and also as the daughter of an incredible mom (Julie Nixon Eisenhower) who raised three kids, was an impeccable homemaker and was STILL able to write a non-fiction book and become a New York Times bestselling author while we were all under the age of 10! This show is definitely for her.
Ticket information about the Bristol Riverside Theatre’s production of Erma Bombeck: At Wit’s End is available at: www.brtstage.org.
Posted Sept. 5, 2018
A Conversation with Playwright Lauren Gunderson
By Steven Brodsky
Lauren Gunderson’s plays are enormously in demand. American Theatre said that she is “the most-produced living playwright in America, who reaches that spot on the strength of six separate titles.” One of those is I and You, scheduled for production at People’s Light from March 29 – April 23, 2017. The script won the 2014 Harold and Mimi Steinberg/American Theatre Critics Association New Play Award. The questions and responses will endeavor to avoid spoiler territory; the play is best enjoyed in the absence of foreknowledge of its denouement.
What stimulated your interest in theatre?
The words came first. I loved crafting ideas through language even from an early age. I remember being so proud of a fifth-grade creative writing assignment where I wrote about a baseball being pitched in a World Series game (I was a big tomboy and loved Braves baseball). It was from the baseball’s perspective. The ball flew through the night air, cutting through the bright sports lights, spinning dizzily and arrested in the leather glove with a splash of wind and a smack on it’s cheek. I thought I was the first person in history to play with perspective like that.
I also loved acting and my mom will still tell the story of me playing Baby Bear in my kindergarten’s production of “The Three Little Bears” in Spanish. So playwriting was a combination of two things I loved and it’s what has kept me writing to this day.
At age 16, you wrote a letter to the Pulitzer Prize-winning playwright Margaret Edson. Tell us about the letter and the friendship that ensued.
Maggie is an Atlanta writer and teacher. I was overwhelmed with admiration for her play “Wit” when it came out and wrote her a note out of the blue expressing that. Amazingly she wrote me back and invited me over for tea to talk about writing. I couldn’t believe it. I will never forget the power of that gesture to a young writer. The respect and friendship she offered me set me going with confidence and inspiration. We connect every time I get back to Atlanta and I am deeply honored to call her a friend.
Walt Whitman’s Leaves of Grass is a vehicle of connection for the two characters in the play. Tell us about your first exposure to that poetry collection and how it affected you.
I remember reading Whitman in high school on a misty fall night in Atlanta sitting on the roof outside my bedroom window. His poetry was so invigorating to me, so rebellious and bold. It was one of the first American literature assignments that felt so charged and scandalous and rule-breaking. But it was also hopeful – even defiantly so. I think his work really affected my sense of what art can do for us. It can surprise, challenge, inspire and energize us to keep being better people and living louder and seeing the goodness and connectedness in all of us. Yawp!
How much fun was it to write about teenagers?
The language is fun, swift, rhythmic. It flows really easily and there is a lot of humor – self-deprecating or sassy. They can withstand emotion better than many adults because they can pivot from one feeling to another. The best part about writing teenagers is that they are at a time in their life where their future adulthood is imminent but inaccessible. They are all hope, idealism, and potential. They can be anything they dream… just not yet. That encourages a kind of grand thinking that is fun to write and also meaningful and nostalgic.
What did you experience in your teenage years in common with either or both of the characters?
I was much more of a nerd like Anthony but way less athletic. I can admit to some of Caroline’s angsty tendencies but I was too much of an optimist to align with her personality.
What are some of the most gratifying comments you’ve received from people who’ve attended “I and You”?
One teenager saw it at a high school matinee and brought her parents and grandparents back with her to see it again! I also love seeing so many young black men on stages across the country in this play. Diversity onstage is deeply important to me and I am proud that this play is a part of that trend towards representation equity in American theatre.
Was the writing process for this script much different than it was for your other plays?
Yes! This play works like a music box – the mechanics must be tight yet fluid to earn the pop at the end. I had to really be conscious of creating honest characters with depth of heart so it’s not just about the surprise. But I definitely knew where it was going before I started writing it. I had to know the ending to craft the story just right.
What locations and conditions do you find conducive to writing plays?
Morning + coffee + quiet.
Tell us about your writing routine.
See above
You were the first playwright to present a Perspectives in Criticism Talk at ATCA’s annual conference. How daunting was carrying out that honor?
It was riveting actually. I was honored to speak to a room full of theatre nerds and everyone was excited to talk about real issues. The first line of my speech was, “Hello my name is Lauren, I am a playwright and you are a room full of critics and this won’t be awkward at all.”
Have reviews of your plays affected your creativity?
No. I have a policy of enjoying the good reviews and ignoring the bad one. Life is too short to feel bad if someone didn’t understand or appreciate your work. So I just think, “onwards!”
Who do you rely upon for constructive criticism of your scripts?
I have some brilliant friends who are writers and I often ask them to read early drafts. But I learn the most from hearing the work in the mouths and bodies of excellent actors. Their ideas and experiences within my work are always the best lessons on its efficacy and authenticity.
Does rewriting tend to be less joyful than composing first drafts?
I love rewriting! It’s like solving a puzzle.
Were there many rewrites of I and You?
There always are. We learned a lot from the first production and continued honing the script after that. A lot of the rewrites were about heightening the tension between the two so it can burst and soften as they really start to connect on a deep, emotional level.
Information about the People’s Light production of I and You is at: www.peopleslight.org.
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.”
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
To take us into February
By Steven Brodsky
… Dar Williams’ beautiful “February”:
May we come to regard the coming month as a month that was accompanied by much beauty and love.
And, to the writers among us: may you successfully express some of what comes your way in February on paper and screens.
Posted 1-31-25
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.
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.
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.”
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
When the world was newer to all of us
By Steven Brodsky
Photo by Steven Brodsky
… some of this column’s readers experienced the gathering of leaves in grade school.
A memory of gathering leaves as a child may have been dormant till now, as dormant as a deciduous tree that will have shed all of its leaves for winter.
Same can be said about the capacity to enjoy a more youthful sense of wonder while engaged in the non-cleanup (no rake in sight) activity of gathering leaves.
Posted 9-29-24
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:
“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.”
Read the poem aloud; it’s not difficult to hear its musicality and to see the gorgeous imagery conjured by: “The moon was a ghostly galleon tossed upon cloudy seas.”
Upon seeing the moon on special evenings, people sometimes sing the quoted line from the Noyes poem in the manner that Phil Ochs did on the linked recording, implicitly acknowledging the effectiveness of the poem and the song.
Posted 1-27-23
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.
Experience the harmonious blend of a soothing sound bath.
Michael will guide you through a serene journey using crystal singing bowls, Tibetan singing bowls, tuning forks, gongs, drums, chimes, rattles, and other sacred instruments. These sounds will help trigger your relaxation response, bringing you to a state of calm and peace.
If You Go
Bring a Yoga mat, and maybe a pillow to make you more comfortable to recline. Chairs and back jacks are provided.
Reserve your spot today and embark on a journey of healing and tranquility.
Date: Sunday, March 23, 2025
Time: 11 am – 12:15 pm
Please bring a Yoga mat and maybe a pillow to make you more comfortable to recline.
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)
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 GameCommission 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 GameCommission, 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 GameCommission 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 GameCommission 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 GameCommission’s website. Each artist must be a Pennsylvania resident. For further information, contact the GameCommission 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 GameCommission’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 GameCommission’s role in wildlife conservation and serves as an important reminder that we all can make a difference.”
Posted 1-13-25
The National Gallery of Art Sculpture Garden Ice Rink skating season will run from Saturday, November 23, 2024 – Sunday, March 2, 2025 (weather permitting)
By Steven Brodsky
… A number of Entertainment, Culture and More readers are looking forward to skating at this iconic rink during the rink’s soon-to-arrive skating season!
This video for Joni Mitchell’s “River” was embedded here last year to accompany an announcement about the prior skating season at the rink:
If you’ll once again be satisfying the wish to enjoyably “skate away” at this rink or if you’ll be visiting the rink for the very first time, happy skating!
Posted 10-30-24
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.
“The Bones of the Apostle” by John Amos is a historical novel featuring two aging British private detectives—Flinders Petrie and Thomas Pettigrew. They have built a thriving business and have received many accolades for their fine work in the past. However, they yearned for just one more “big adventure”.
Months go by and then one day they are visited by the Patriarch of the Eastern Church. At the time of Christ’s ascension into heaven, the apostles scattered throughout the world. Peter went north to Rome. Thomas went east to Mesopotamia and established the Eastern Church. The Church flourished until the seventh century when the Ottomans overran the land and the Muslim Church was established. However, the Eastern Church continued its practices in secret. The bones of the Apostle Thomas were returned from India, where he died, to a basilica in Italy. Later they were sent to the Church of the East where they were cared for and honored for centuries. Recently, the bones were stolen. The bones were contained in a silver casket which was guarded day and night. One morning, the guards were found dead and the casket was missing. The Holy Scriptures were desecrated, and the altar was on its side but there were no other clues. The Patriarch begged Flinders and Pettigrew to take the case.
So Finders and Pettigrew took the train to Oxford. When they arrived, they went to the library to meet a contact from the British Secret Service. They were greeted by Father Divinius, a secret agent masked as a priest. Divinius took them to the bowels of the library where many artifacts were stored. They met with other agents and told them that they thought this was the work of “the Veiled One”, a very bad character the detectives had had encounters with in the past. The British Intelligence Service managed to trace “the Veiled One” to Baghdad so it was decided that Flinders and Pettigrew would go there. However, Divinius insisted that another agent accompany them, Grazelda Jones, who was also a witch.
They set off across the Red Sea and the by land to Bagdad. When they arrived, the place was in chaos. The Mongols were overrunning the city. Danger was everywhere. The group discovered that “the Veiled One” had set up his location in a bombed out, walled structure that had many rooms. The three found a small breach in the wall and made their way in. After a long search, they found “the Veiled One”. Flinders engaged him in a battle of swords; however, “the Veiled One” was wearing chain mail and Flinders was unable to wound him. Grazelda found them and shot at “the Veiled One” numerous times. The chainmail protected him somewhat but she was able to wound him slightly. She grabbed the casket of bones and the three took off down a long hallway. They managed to get to the river and made their way to the British Consulate. They had to escape the country by driving for four days across the Syrian Desert before they came to a seaport and could return to England.
This book was fun to read. It was filled with action and adventure. The historic descriptions of the fall of the Ottoman Empire were well researched. The last few chapters of the book contained an additional story that was heartwarming. All in all, it was a good read.
About the Author John Amos
John Amos holds a Ph.D. from the University of California at Berkeley and a JD from the Monterey College of Law. He has taught at the university level for over twenty-five years and has numerous academic publications. His fiction works include several novels. He has lived and studied in the Middle East—Egypt, Lebanon, Libya and Turkiye. He currently practices law in California.
After ringing in the new year, volunteer cantors at a local Catholic Church were told their services were no longer needed. After years of cantoring, we were told about faults with our singing without any remedies that might correct them. The leaders of the church have decided that they want professional musicians, cantors, lectors, etc. replacing those who are volunteers.
Being a volunteer cantor involves quite a commitment and no money but it’s a joy to be able to sing the beautiful hymns while inviting all to join in. I know there are those in the congregation that are quick to find fault with our less than perfect voices but most of the people who attend mass are lovely. I will miss them and my choir members.
We are told that the church is on a mission to increase their congregation. To do that, they want only the best representing them in the areas mentioned above. No one can deny that many have left the church in recent years but I have to say that this is not the solution.
I would suggest that they look at the fact that many churches (not all) have forgotten our commitment to the lives of the most vulnerable among us. As Eric Metaxas said in his ‘letter to the American church,’ “God calls us to defend the unborn, to confront the lies of cultural Marxism, and to battle the globalist tyranny that crushes human freedom. Confident that this is His fight, the Church must overcome fear and enter the fray, armed with the spiritual weapons of prayer, self-sacrifice, and love.”
I have been attending church my whole life. I have never chosen a church because of its cantors. It is the pastor or deacon who delivers a homily that touches you with a love and caring that clearly comes from God.
As one of my New Year’s resolutions, I will visit other parishes to see if they’ve found the secret to filling those pews.
Though it wouldn’t be logical to conclude that Santa was the one who brought a fire truck (!), a book, and a doll to the children in the recording that’s linked below Santa’s picture, who can rule out the possibility that Santa bestowed those gifts?
Posted 12-14-24
The official video for ‘Wildfire,’ Kip Moore’s latest song, has been released; the first batch of Kip Moore’s international tour dates for 2025 has been announced
By Steven Brodsky
Enjoy:
From a press release:
November 26, 2024 – Multi-platinum singer/songwriter Kip Moore has announced his first batch of international tour dates for 2025. Kicking off in May, Moore will storm through Europe, including Sweden, Norway, Germany, Switzerland, Netherlands, and the UK throughout the spring. The tour announcement arrives on the heels of his 2024 International Artist Achievement Award received last week at The 58th Annual CMA Awards. Moore also earned a nomination for the award in 2023. The accolade caps off a busy year on the road for Moore as he continues to cement his place as one of country music’s top global powerhouses. Tickets and VIP packages will go on-sale this Friday, November 29th at 10:00am local time. For more information or to purchase tickets, see below or visit his website.
Moore also shared today the official video for his latest song “Wildfire,” a raw and poignant visual to accompany the soaring, wistful tune, co-produced with Oscar Charles and co-written with Charles, Dan Couch, and Hank Born.
Posted 11-27-24
On Joni Mitchell’s 81st birthday
By Steven Brodsky
Joni Mitchell was born on November 7, 1943 in Fort Macleod, Alberta, Canada.
Happy birthday wishes go out to Joni Mitchell!
Let’s celebrate her birthday by listening to this iconic album:
Posted 11-7-24
Mea culpas
By Steven Brodsky
… are present in this exceedingly relatable John Denver song:
John Denver’s recording of “I’m Sorry” was at the top of the Billboard Hot 100 chart 49 years ago, on September 27, 1975.
Many people have been in the same sort of sorry state that the speaker in the song is in (the song’s success is proof of that).
Most of them have gotten better.
And others will; no mea culpa will be needed when that happens!
Posted 9-27-24
With another heating season near
By Steven Brodsky
Fireplace Photo by Steven Brodsky
… for most of this column’s readers, let’s revisit the characters in Bill Morrissey’s “Birches”:
Warren’s wife (in the song) chooses to burn “birches” on a cold night for emotional and physical warmth.
Let’s hope that she will have warmth of both kinds during the upcoming heating season.
And let’s hope that we’ll have that too.
Posted 9-25-24
When the fall geese migration period coincides with a seasonal urge that some people have to go away
By Steven Brodsky
…you might find that it’s opportune to listen to Joni Mitchell’s “Urge for Going” and Mary Oliver’s “Wild Geese” poem.
Take notice when you next “see the geese in chevron flight” during the migration period.
Those geese may be “heading home again.”
Some of this column’s readers will be acting upon a seasonal urge to go.
Best wishes, of course, to those who will stay and to those who will go.
Posted 9-6-24
He ran scared
By Steven Brodsky
… but the final line of the song that arrived on the top of the Billboard Hot 100 chart 63 years ago on June 5, 1961 reveals that his (the protagonist’s) fears were seemingly ungrounded: “You turned around and walked away with me.”
That song, written and recorded by Roy Orbison:
Scary, indeed, is that 63 years have gone by!
Posted 6-5-24
The video for K.T. Oslin’s ‘Hold Me’
By Steven Brodsky
… is embedded here today in commemoration of the birthday of three-time Grammy-winning singer-songwriter K.T. Oslin.
K.T. Oslin was born on May 15, 1942.
‘Hold Me” was released on a single in 1988.
K.T. Oslin passed away on December 21, 2020 age 78.
Posted 5-15-24
Bob Dylan’s ‘Ain’t No Man Righteous, No Not One’
By Steven Brodsky
…was recorded on May 3, 1979, 45 years ago.
Bob Dylan wrote the biblically congruent “Ain’t No Man Righteous, No Not One” (read Romans 3:10, Psalm 14:1-3, Psalm 53:1-3, and the entire Bible).
Recorded at a November 16, 1979 Bob Dylan concert:
Many of this column’s readers who were fortunate to have been graced by “mother’s tender love” will recall that special kind of love when listening to Billy Joe Shaver’s “Magnolia Mother’s Love” (the lyrics are autobiographical).
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.
… many people have experienced that at some point(s) in their lives.
Jackson C. Frank experienced the blues and other painful challenges in extremis.
He was last referenced here in August 2019; too long ago.
Prompted by an admirable cover of the Jackson C. Frank-penned song “Blues Run the Game” that aired yesterday on a public radio station, I’m sharing this link: Blues Run the Game (2001 – Remaster) – YouTube.
Only one official album by Jackson C. Frank was released during Frank’s lifetime. It came out in 1965. That eponymous album was produced by Paul Simon.
Posted 1-23-23
‘And he did not know how well he sang; it just made him whole.’
Familiarity with the song ought to be a prerequisite for reviewing the arts.
This is being posted on Harry Chapin’s birthday.
Harry Chapin was born on December 7, 1942. (He passed away on July 16, 1981 at age 38 as the result of a car accident, while en route to perform a benefit concert.)
If Harry Chapin were alive today, he’d be 80 years old.
I never interviewed Harry Chapin, though I did long-form radio interviews that aired live with two immediate family members of his and with the person who had been Harry Chapin’s best friend.
Had I interviewed Harry Chapin, would certainly have asked him about “Mr. Tanner” and would have thanked him for his humanitarian efforts.
Harry Chapin accomplished much in the short life he had; he made the world “a better place to be” for many people.
Posted 12-7-22
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 New Album ‘Once A Day’ Released Today
By Steven Brodsky
Once A Day is retro-wonderful, a masterful romp into the classic country music sound and heart that has largely vanished from today’s mainstream “country” genre. Fans of classic country music of the ’50s and ’60s will love this album. (I am one and I do.)
April Verch had this to say about Once A Day: “In many ways, making this album was not a choice. It was something I felt I had to do. It has been more daunting than any other project I’ve embarked on, because these songs, these artists, the history of this music matters to me on the deepest level. It is a love letter and a thank you letter in one, to the artists, songwriters, musicians, and industry professionals who created, perhaps in some cases without even realizing it, an era of music that speaks to me in a way that no other music does. If someone hears a song on this album and that prompts them to look up and love the original that will be the highest compliment I could receive.”
Information about April Verch’s overseas and U.S. concert tour is available at: www.AprilVerch.com.
