Podcasts about Dutchess Community College

Checking in with CEO of Pattern for Progress Pattern for Progress, a nonprofit think tank based in Newburgh, is celebrating its 60th year. We spoke with Adam Bosch, its president and CEO. How did the organization begin? When we were founded in 1965, the Hudson Valley was going through a lot: urban renewal in city centers, people moving from New York City to suburban areas, the beginning of the environmental movement and the seeds of innovation at places like IBM in Poughkeepsie. In addition, the U.S. Army was getting ready to sell Stewart Airbase into private hands. There was a need for an objective, independent research and planning organization. Today, we're again in a period of rapid change. We have a housing crisis in affordability and availability. We have a new wave of technology in the form of AI and remote work, and we have generational investments being made in our downtowns, bringing small cities back to life. And the pandemic drove tens of thousands of residents into the region. Our job is to look at those things, measure them and try to explain their effects on our communities and regionwide. What are you working on in 2025? We're creating community-driven plans for the reuse of buildings or parcels that have been abandoned for decades. We can set up tax credits on parcels that make them more feasible to be redeveloped as housing, mixed-use or as new manufacturing centers. The idea is to create development in our downtowns that provides progress without displacement. With housing, there's an indication that corporate actors are moving into the region. There's not a lot of data, but I'll give you my anecdotal evidence. At my house in Ulster County, I am getting two flyers per month from corporations offering to buy my house - all cash, sight unseen. We're going to trace these LLPs and LLCs to their common corporate owners and be able to quantify the extent of corporate homeownership and how it's changed over the past decade. The governor has proposed that if a company owns 10 or more properties or has $50 million or more in assets, it shouldn't be allowed to bid on a home for the first 72 hours it's on the market. In places like Arizona, Nevada, or down to the Carolinas, there are entire neighborhoods owned by a single corporation that rents homes back to people. We want to understand the effect it has on access and the cost of homeownership. What do you see as the most important issues facing the region? Housing is No. 1. There's not even a close second. We do not have enough homes to sustain the population we have, and the cost of both homeownership and rent have outpaced our growth and wages by a lot. That means housing is gobbling up more and more take-home pay. No. 2 would be workforce. We have awesome training facilities at Dutchess Community College, Orange Community College, Marist and SUNY New Paltz, but the data show our labor pool is getting ready to shrink by about 120,000 people in the next 15 years. It's the size of the workforce that's a concern in the near- and medium-term, along with what I call the "youth crunch." We have seen births - not birth rates - decline over the past two decades by about 25 percent to 35 percent in each of our counties. Dutchess is down by 25 percent. Putnam is down the most of any county. If you look at the population of infants, children and teens now and compare it to a decade ago, we have 40,000 fewer kids in the region. After that, I would say community development in terms of: Are we able to attract and retain jobs to the region? Do they pay a living wage? The other two to mention are childcare businesses shrinking by 40 percent in 15 years and outdated water and sewer infrastructure. The redevelopment of the former Downstate Correctional Facility in Fishkill and a transit-oriented development at the Beacon train station could add 1,600 housing units in and around Beacon. What does the community need to see from the developers? When we did a report on the adaptiv...

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are public policy and communications expert Theresa Bourgeois, Semi-retired, Editor at large/columnist/editorial writer, Times Union Jay Jochnowitz, and Associate Professor of Government at Dutchess Community College and President of the World Affairs Council of the Mid-Hudson Valley Dr. Karin Riedl.

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are CEO of The Business Council of New York State Heather Mulligan, Siena College Professor of Economics, Aaron Pacitti, Associate Professor of Government at Dutchess Community College and since 2023, she has been President of the World Affairs Council of the Mid-Hudson Valley Dr. Karin Riedl, and Economist, working as Associate Professor of economics at Bard College, President of the Levy Economics Institute, and expert at the Institute for New Economic Thinking Pavlina Tcherneva.

The Roundtable Panel: a daily open discussion of issues in the news and beyond. Today's panelists are Chief of Staff and Vice President for Strategy and Policy at Bard College Malia DuMont, Senior Fellow, Bard Center for Civic Engagement Jim Ketterer, Political Consultant and lobbyist Libby Post, and an Associate Professor of Government at Dutchess Community College and since 2023, she has been President of the World Affairs Council of the Mid-Hudson Valley Dr. Karin Riedl.

City tries to match better-paying departments As of Sunday (Sept. 1), every Beacon police officer will receive a 5 percent raise to bring the department's salaries more in line with neighboring jurisdictions, according to the city. A rookie officer who would have been paid $61,683 annually under the city's contract with the police union will now receive $64,767 under the amended agreement. In addition, increases already negotiated in the four-year contract, which expires at the end of 2025, will bring the starting salary to $66,062 beginning Jan. 1. The department, budgeted for 36 officers, including Chief Tom Figlia, has been short-staffed off and on for years. But with seven openings and officers collectively working as many as 80 hours of overtime each week to meet the contractual requirement of four officers on each shift, the shortage has become a crisis, Figlia told the City Council on Aug. 19. Of the 31 police officers hired in Beacon since 2014, 12 have left for better-paying jobs elsewhere, Figlia said. According to figures provided to the council, a patrol officer in Poughkeepsie reaches his or her top pay of $106,414 after four years of service. In the Town of Poughkeepsie, it's $113,300 after five years. In Beacon, a patrol officer hits the ceiling of $98,553 after six years. The 5 percent raise, which the council approved unanimously, brings the number to $103,481. The ceiling rises to $106,068 next year. "We're getting to a point where we're no longer competitive with the departments around us," said City Administrator Chris White. "When I negotiated the last [union] contract in 2021, inflation was 2 percent, so the raises, which were 2 or 3 percent, looked pretty good." The increases are "crucial to making sure the great staff that we have don't go elsewhere because of the pay disparity," he said. "We don't get all the way, but it sends a message that we value the work they do." The city can handle the wage adjustment, "although it will tighten our budgets up," Mayor Lee Kyriacou said. He said to expect the 2025 budget, which the council will be asked to approve in December, to be close to the state-mandated tax cap. "We're going to have to do this for all three of our collective bargaining agreements," Kyriacou said, referring to the firefighters' union and the Civil Service Employees Association, which represents city employees. He noted that development in Beacon, which last year added $27 million to the tax rolls, will need to continue to sustain the pay increases. Municipalities in Dutchess County can only hire police officers from a list of candidates who have passed a civil service exam. Isabella Nocerino, a patrol officer sworn in Aug. 19, was Beacon's sole hire from the last civil service list, while Poughkeepsie hired six officers, White said. Figlia said that, in some recent years, more than 1,000 applicants have taken the civil service exam for police. But last year, fewer than 400 people did. Among those who pass, only one in four usually makes it through a rigorous background check, the chief said. He recalled taking the exam in 2004 in a Dutchess Community College cafeteria "chock full of people." Nationally, 47 percent more officers resigned in 2022 than in 2019, the year before the pandemic began and the murder of George Floyd by a Minneapolis police officer, according to a 2023 survey by the Washington, D.C.-based Police Executive Research Forum. "We need to recognize that the last four years have been really hard on policing," White said, recalling the retirements in July 2020 of Chief Kevin Junjulas and Capt. Gary Fredericks. "That wasn't because of pay; that was because of anti-police sentiment. That's played a role with all of this."

Must 'obligate' pandemic money by Dec. 31 With a Dec. 31 deadline to "obligate" funding from the American Rescue Plan Act, a $1.9 trillion pandemic-relief bill enacted by President Joe Biden in 2021, Putnam and Dutchess counties are joining other municipalities in a mad scramble to avoid losing some of the millions they've received. Putnam received $19 million and Dutchess $57 million from the $350 billion appropriated for state and local governments. In addition to being obligated - meaning "contracts, sub-awards and similar transactions that require payment," according to the federal government - ARPA money must be spent by Dec. 31, 2026. On Aug. 12, the Dutchess Legislature approved a resolution to reallocate to the 2024 budget $10.7 million in unspent ARPA funds that had been designated for parks, a Poughkeepsie youth center, sheriff's vehicles and other projects that will instead be paid for using reserves. Those funds, along with $9.3 million originally destined to replace reserves used for Dutchess' Housing Trust Fund and $5.7 million that had yet to be allocated, will instead be used by Dutchess Community College and for the county's share of a preschool special education program. In recent months, Putnam legislators have voted on a flurry of requests to reallocate ARPA funding, including $370,000 Philipstown had planned to use to buy water for the Garrison Landing Water District. Water purchases were deemed ineligible, so the money will instead be used on a public works project in the town. On Monday, the Putnam Legislature's Rules and Audit committees approved redirecting to the county clerk's office $31,000 from $300,000 in ARPA money for highway infrastructure studies. Michael Bartolotti, the county clerk, said he will use the funding to purchase laptops, printers, barcode scanners and other equipment from the state Department of Motor Vehicles so that staff from the DMV office in Brewster can hold regular mobile office hours in Philipstown and other parts of the county. Being able to process DMV transactions at sites outside of Brewster has been "definitely a vision and has become a priority of mine," said Bartolotti. He named the Friendship Center in Cold Spring, the William Koehler Memorial Senior Center in Mahopac, town offices and nursing homes as potential locations. "It's a really good opportunity for our DMV to extend its footprint throughout the community and get to citizens instead of always having citizens come over to us," he said. Less certain is the fate of Sheriff Kevin McConville's request to reallocate half of the $2 million in ARPA money the Legislature approved in 2022 for infrastructure projects to improve school security. In a letter to County Executive Kevin Byrne, McConville said the security projects will not meet ARPA's deadlines "because of delayed responses from vendors and manufacturers." The Rules Committee voted Monday to table a resolution shifting $1 million of the funding to construct a new building at Camp Herrlich, which a nonprofit operates on county-owned property in Patterson. The ARPA funding would be used to replace a rundown building with a dining room and kitchen that caters to Camp Herrlich's summer program and before- and after-school programs for students in the Carmel school district. Legislator Ginny Nacerino, who represents Patterson, said that although she has supported Camp Herrlich, she was "taken aback" when the request appeared on the Rules Committee's agenda and "was never brought into the fold and knew nothing about what was being considered." Nacerino, before asking to table a vote on the request, said she had "many questions" about the project, including how it relates to school safety, a dearth of details and whether the money will be spent before the federal government's deadline. "I would think a sitting legislator who represents the Town of Patterson would have some knowledge about this before it hit the agenda," she said.

In this episode of Guerrilla History, we are lucky to be joined by a special guest in Cuba as well as a special guest host whom many of you will likely remember from past episodes of the show.  Here, we bring on Cuban journalist Liz Oliva Fernández from Belly of the Beast to discuss Bob Menendez (who was just convicted on corruption charges), US-Cuba policy, and how these are related. This episode is being based off of two documentaries that Liz hosted for Belly of the Beast - Hardliner of the Hudson which takes a deep look at Menendez, and Uphill on the Hill which is an examination of recent US-Cuba policy. Watch these, and subscribe to Belly of the Beast on YouTube! Adnan was not able to join Henry for this one, so we drafted in our friend and former guest Taylor Genovese as a special guest host.  Taylor is an Assistant Professor of Philosophy at Dutchess Community College, an editor at Iskra Books, and a documentary filmmaker.  You may remember Taylor as a guest from two previous episodes - Peasants' Revolt of 1381 and Art and the Working Class.  Major thanks to Taylor for coming in on relatively short notice for this one! Liz Oliva Fernández is a Cuban journalist and the presenter of The War on Cuba, for which she won a Gracie Award. Apart from her journalism and filmmaking, Liz is a dedicated anti-racist and feminist activist.   Follow Belly of the Beast on Twitter @bellybeastcuba to keep up with Liz's work. Help support the show by signing up to our patreon, where you also will get bonus content: https://www.patreon.com/guerrillahistory 

Artist Lindsey Guile (she/her) draws charcoal images of nude, fat people…on canvases that are eight-feet tall. Her fat bodies literally take up space and tower over viewers. Lindsey shares what motivated her to embrace fat liberation (spoiler: gallbladder disease and an eating disorder) and use her artistic talents to challenge the hierarchy of art.Lindsey Guile is a body and fat-liberation artist exploring concepts of self-image through the lens of contemporary feminist theory. Lindsey's practice embraces an intermedia approach that utilizes drawing, printmaking, and ceramics in her explorations into how body image affects self- worth. Her work has been exhibited at The Arnot Museum, The Dorsky Museum, The Birke Art Gallery, The Mary Cosgrove Dolphin Gallery, Untitled Space Gallery, Women's Work Gallery, The Williamsburg art & Historical Center, and more. She was an Artist in Residence at the Blue Mountain Center in the summer of 2021.Lindsey is an Assistant Professor of Visual Art at Dutchess Community College. She is also the Director of the Mildred I. Washington Art Gallery on campus. She has an MFA from SUNY New Paltz and a BFA and MA degrees from SUNY Oswego. Lindsey currently lives in Poughkeepsie, New York. Please connect with Lindsey through her website and Instagram.This episode's poem is called “Keeping Still” by Pablo Neruda.Connect with Fat Joy on the website, Instagram, subscribe to the Fat Joy newsletter, and watch full video episodes on YouTube. Want to share some fattie love? Please rate this podcast and give it a joyful review. Our thanks to Chris Jones and AR Media for keeping this podcast looking and sounding joyful

Today on the show I get to speak with Laura Victoria Ward, CMA, RSME, a dancer, choreographer, movement teacher, Laban/Bartenieff Movement Analyst, musician, painter, consciousness explorer, somanaut, and meditator.She is the artistic director of Kingston Contemporary Dance Theatre (formerly Octavia Cup Dance Theatre), a multi-disciplinary, multi-generational company. She has been creating dance theater and performing in New York City, the Hudson Valley, and internationally for over 25 years.She regularly creates and performs with Tonus Maximus and the Glam Rock Cabaret, The Goddess Party, and she is in your grandmother's punk rock band–a.k.a. Dick Pinchers. Recently, she played Columbia in Rocky Horror Picture Show with R'Ville Stage Creations.She holds a BA from SUNY Empire State in Dance, Theatre, and Movement Studies and has studied with Irene Dowd, Liz Koch, and Gil Hedley. She studied the Meisner technique with Michael Harney.  Her teaching experience includes Wagner College, Gina Gibney, Dance New Amsterdam, Equinox, Dutchess Community College, Manhattan School of Music, the Laban/Bartenieff Institute of Movement Studies, Cornell Creative Arts Center, and privately. She has received several KCACTF Awards for her choreography at Ramapo College in New Jersey, as have the ensembles she has worked with. Her Ramapo choreography credits include Spring Awakening, Twelfth Night, Urinetown, Church, Ride the Cyclone, and Church.This year Laura received a Dance Force Choreographer's Initiative grant (NYSCA) which she is just beginning to work on. She has 2 paintings in a show at the Berkeley Alembic.She shares her early memories of movement and how her awareness of the body has developed and shaped who she is and the work she does. It's quite an inspiring conversation as Laura is steeped in body wisdom while being playful and open about how that weaves into her life. We learn about her own practices in both movement and stillness and what she offers to others as their guide. She indulges my questions about toddler movement, the nervous system and truth and offers a short yet powerful practice towards the end of the show. Connect with her via Facebook or Instagram for updates on classes, Dick Pinchers and Tonus Maximus and the Glam Rock Caberet.You can also check out her YOUTUBE Channel, Somatics with Laura V Ward here!See you at The Goddess Party performance this Saturday. And here's the info on costume designer Ramona who we gushed about!Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

This weekend's 1 in 36 guest is Linda Bertolozzi. Linda is the Director of Office of Accommodative Services at Dutchess Community College (DCC). Anderson and DCC are long time partners and friends, collaborating on many projects over the years. Linda joins us to discuss the many different ways the Office of Accommodative Services (OAS) departments helps students, including the Think Ahead program. OAS is committed to providing equal access and an inclusive campus community by providing accessibility services and advocacy for individuals with disabilities. Tune in to learn more about Linda and the OAS department, or visit: https://www.sunydutchess.edu/around-campus/student-services/accommodative-services/   Don't forget! DCC is hosting a FREE Transition to College workshop on March 19th Time:  8:45 am - 1:00 pm The James and Betty Hall Theatre, 53 Pendell Rd, Poughkeepsie, NY 12601, USA Dutchess Community College This workshop is for high school students with an IEP or 504 Plan; their parents/guardians; school personnel and any others involved in the college planning process.

Free Loop will become Main Street shuttle Dutchess County Public Transit will hold an information session at Beacon City Hall at 5:30 p.m. on Wednesday (Feb. 28) to discuss schedule and route changes that will begin June 1, including a streamlined Free Loop bus that will run up and down Main Street. Dutchess County runs three bus routes in Beacon. It said Route B, which travels on Route 9 to and from Poughkeepsie, will offer hourly service, including eight additional daily trips. Buses will run on the half-hour (picking up riders, for example, at 1:30 p.m. and again at 2:30 p.m.). Route F, which runs from Beacon to Hopewell Junction with stops at the Beacon train station, the Amazon warehouse and iPark in East Fishkill and the Fishkill campus of Dutchess Community College, will see its hours extended to 10 p.m. Following input from the City of Beacon, Route G, also known as the Beacon Free Loop, will become a Main Street shuttle Monday through Saturday and add Sunday service from 10 a.m. to 5:50 p.m. Because of low ridership, it will abandon its Figure 8 loop that includes stops near Mount Beacon and the Beacon Housing Authority. Instead, following a recommendation by the city's Main Street Access Committee, it will leave the Metro-North station every 30 minutes on the hour and half hour, travel down Main Street, turn around at East Main and return to the train station. The B and F routes will stop at the Beacon Housing Authority but the rides won't be free. City Administrator Chris White said Wednesday (Feb. 21) that he will bring a plan to the City Council to subsidize the 75-cent fare for low-income riders. The new route schedules are posted at dutchessny.gov/publictransit. In addition to input from the city, the changes followed a study by a consulting firm that analyzed ridership and surveyed passengers. Dutchess County will provide free rides for passengers attending next week's meeting at City Hall, which can be reached via Route B or the Free Loop.

Beacon Free Loop to become Main Street shuttle Dutchess County Public Transit on Dec. 8 announced plans to make changes to its bus routes, including the Beacon Free Loop, beginning March 30. The Beacon Free Loop (Route G), which now runs throughout the city and to Fishkill/Poughkeepsie, will become a Main Street shuttle Monday through Saturday and add Sunday service from 10 a.m. to 5:50 p.m. Route B (Fishkill/Poughkeepsie to Beacon) will increase to hourly service, with eight additional trips on each route, which are the most traveled in the system, according to the agency. The hours of Route F (Beacon to Hopewell Junction), which serves stops such as a new Amazon facility and iPark in East Fishkill, the Dutchess Community College campus on Route 9 in Fishkill and the Beacon train station, will be expanded to 10 p.m. For more information, see dutchessny.gov/publictransit or call 845-473-8424.

RadioRotary interviews Branka Bryan, Executive Director of Grace Smith House, a shelter in Dutchess Country for women (and some men) confronted with domestic violence. Grace Smith House started in 1981 and now serves over 2,500 victims each year. In October-- Domestic Violence Awareness Month-- a project designed to dramatize the effects of domestic violence once again is in local galleries in Poughkeepsie and Rhinebeck. The Grace Smith House Clothesline Project is a powerful visual display of t-shirts created by survivors of domestic violence, or their loved ones. Each shirt is decorated to represent a particular victim's experience. The t-shirts are on display at local art galleries. The Purple Ribbon Project in honor of Domestic Violence Awareness Month is for students and staff at Bard College and Dutchess Community College to tie a purple ribbon onto a tree branch. Each ribbon represents support for survivors of domestic violence. Along with the ribbons, lawn signs showcase domestic violence statistics and Grace Smith House resources Learn more Grace Smith House: mailto:https://www.gracesmithhouse.org/ Domestic Violence Services, Dutchess County: mailto:https://www.dutchessny.gov/Departments/Community-Family-Services/Domestic-Violence.htm National Domestic Violence Awareness Month: https://nationaltoday.com/national-domestic-violence-awareness-month/ CATEGORIES Domestic Violence Support Groups Women WORDS: Domestic Violence, Shelters --- Support this podcast: https://podcasters.spotify.com/pod/show/radiorotary/support

You're listening to Burnt Toast! This is the podcast about anti-fat bias, diet culture, parenting, and health. I am Virginia Sole Smith. Today I am chatting with Lindsey Guile. Lindsey is an Associate Professor of Art at Dutchess Community College, and a body and fat liberation artist.  Lindsey uses large format drawing and ceramics to explore concepts of self image, body image and self worth through the lens of contemporary feminist theory. Her work has been exhibited at The Arnot Museum, The Dorsky Museum, The Birke Art Gallery, The Mary Cosgrove Dolphin Gallery, Untitled Space Gallery, Women's Work Gallery, The Williamsburg Art & Historical Center, and so many others. Lindsey currently lives in Poughkeepsie, and is someone I know locally through fat activism work here in the Hudson Valley. She is awesome! Seeing Lindsey's eight foot tall drawings of fat bodies in person was one of the most powerful experiences I've had since I started writing and thinking about bodies in the way that I do. We are putting lots of images in the show notes, so definitely check them out and definitely follow her on Instagram. But know that these images are not doing her work justice. The actual size and scale of these drawings is something you have to experience in real life. Lindsey is a total delight. I love talking to her about her process, about how she thinks about this work, and about the power of drawing bodies. So here's Lindsey! PS. If you're enjoying the podcast, make sure you're following us (it's free!) in your podcast player! We're on Apple Podcasts, Spotify, Stitcher, and Pocket Casts! And while you're there, please leave us a rating or review. (We like 5 stars!)Episode 105 TranscriptLindseyI am a self-described feminist, body neutral, fat liberationist, body liberationist, figurative artist. I know there are a lot of terms there, but there is a lot that I want to embrace. I work mainly in large-scale drawings that explore the idea of femininity from the feminine gaze. I have people who model for me, they can be clothed or nude. It's totally up to them. I create an atmosphere that's really based on consent. And I've been doing this regularly for about five years, although the series started about 10 years ago.VirginiaBring us back to 10 years ago. What made you say “I not only want to draw bodies, I not only want to draw people, but I would like to draw them eight feet tall. I would like them to take up all of the space?”LindseyHow often do feminine folks get to just take up space unapologetically? That's one thing that really stuck in my brain in terms of size, is that I wanted them to really just command a room—quietly though, because I do draw versus paint. And I think painting, while wonderful, is a lot louder. I think there can be such a power and sometimes subtlety to drawing. But where it started was me white knuckling my way through my own recovery from diet culture and disordered eating which was just so difficult for me, especially when I was in my Master's of Fine Arts program. I remember laying on the floor in my studio apartment having a panic attack, knowing that I could either continue to engage in diet culture or I could pass my classes. It took up so much of my brain power to do all that. And it got to the point where it just was not sustainable. I finally had to be like, I can't do this anymore. I started following some folks online who were fat and I was like, look, these people are doing this. It's okay, I can let this go. I've always been a figurative artist. I love drawing the human figure. So I was like, “You know what, maybe I need to draw myself nude.” I had always been interested in being a nude model. But my body shape wasn't what people drew when I was a student. So it seemed very cut off to me. One of my friends was like, “Hey, I think you need to draw yourself.” So I drew myself, collarbone to thigh. It actually hangs in my bedroom now, that drawing. And it was difficult, because I was dealing with my own body image issues—but then people were coming into my studio like, “Oh my gosh, like, look at the draping on the stomach from all the weight fluctuations. This is really beautiful. And this is such a great drawing. I love how you're honoring that body.” I didn't tell people it was me.VirginiaOh, that's interesting. So you're really getting their unfiltered response. They weren't like, “Oh, it's Lindsey so I should say something nice to Lindsey about Lindsey.” LindseyYeah. Then it was like a light bulb that went off, which was: I can use the system and the hierarchy of art to start flipping the narrative and draw fat bodies. And figures that are not just fat—although I think a lot of larger people come to me because I am larger, and it's a safe space to start to tell people's stories in that way. Also, having drawn myself and understanding how difficult it was to look at myself in that way, I think it gave me extra compassion for the people coming in, where I know this is a very scary thing for them to do.VirginiaSince you brought up drawing yourself, I'm curious to hear how that experience changed how you relate to your body? LindseySo I joke with people that the only time I've ever been small was when I was born because I was super early. I'm also just shy of six feet tall, so I've never fit into a certain beauty narrative. And even when I was the most engaged in diet culture, I still have always been plus-sized. To see myself there in this drawing and to see it as an artist and as the person who drew it was really profound. I did my first drawing of me on a large scale in 2019 and it was really nerve wracking to see that in a gallery and people interacting with it. I remember actually it was in a college I teach at, one of my students was like, “Does that look like the person?” and I felt like saying “Well, I don't know, does it?”I guess it's a little weird to put yourself out there, but I've learned to look at myself with the eyes of an artist rather than the eyes of the patriarchy and diet culture. It's taught me a lot of kindness towards myself. I'm not saying I don't struggle with it, but it's given me so much more.VirginiaIt feels like a way of reclaiming your body.LindseyOne thousand percent. That's actually a big theme for a lot of people I work with: Reclaiming their body in some way, shape, or form. Actually, I was telling a friend this morning I just started a new drawing of myself. I'd wanted to do one when I hit 40 and then I just wasn't in the space to do it. But I've done a lot recently with therapy. I got a bunch of tattoos, a nose ring. I was like, “I think I'm ready to tell that story of me again.”VirginiaI was just thinking how tattoos are often another way people reclaim their body. And so many of your subjects have tattoos and you draw tattoos really beautifully. LindseyThe first tattooed model I drew, that's specifically what she talked about. She's a larger woman and she talked a lot about how people would stare at her and she decided that she was going to give them something to stare at. She has so many tattoos. In fact, it's funny—she's a dear friend now—she'll be like, “Lindsey, I have more tattoos. When do you want to draw me again?” She's also a tattoo apprentice so it's like wrapping around.VirginiaLet's talk about your process a little bit. I don't speak Fine Art particularly fluently, but I do think there's an image we have of figure drawing of the model being just this sort of amorphous body, right? It's like men painting women because they're beautiful and nothing else. They're not people apart from the bodies. But your process is so different from that. LindseyI've been working as a figurative artist for for over 20 years and I've seen exactly what you're talking about. I've even joked with my students that [the model is] a still life that breathes. And I realized I was still objectifying our models which, obviously was a problem. With my process, I usually use social media and I'm like, “Hey, I'm looking for models.” I explain the whole process, that you don't have to be nude. It's consent driven, so you can tell me—I had a model once who was like, I'm okay with being fully nude but I don't want you to show my vulva. And I was like, perfect, not a problem, we'll pose around it. So they reach out to me, we set up, we usually have a little bit of a chat. And I utilize the college's drawing studio to photograph because I just don't have room in my studio at home. And while they are up on a podium, that's more for just so I can get the right angles. I try to create this atmosphere that is just really respectful. Usually, when they come in, they get to the level of dress or undress that they're comfortable with. We get ready to start and I say, tell me about the story of your body. What are those things that have influenced you? They know that they can tell me anything. But they can also say, “Please don't utilize this in an artist talk.” So I do tell them, “I'm going to give talks. What can I say? And what can't I say?” And we go from there. Some models are like “I don't know how to pose” and I say I just want something really natural, what feels comfortable to you? How do you like to stand? How do you like to sit? And a lot of times my goal when I first start in talking with them and just getting them comfortable, is so that they stopped noticing the camera.VirginiaI have a similar thing with hoping they don't notice the tape recorder, so I can relate to that. LindseyAnd it's also important to know that if at any point it becomes very emotional for them, which it definitely has, that I will actually put the camera down. Because I'm not there to exploit feelings. It's happened a few times where a model was just so overcome with that moment that I set the camera down and they said “You can keep photographing.” I'm like, I want you to have this moment for you. So it usually takes about an hour to photograph. I zoom around, like I'm on the floor, I'm on a roll-y stool. I photograph all the models from below so that when you as a viewer are in a gallery and they're larger than life, they look down on you. It's very deliberate to put the viewers in a position of submission to the figures. It's usually pretty subtle because I don't want to smack the viewer side of the head with it. But I really want them to feel it. VirginiaI wonder is that vulnerable for your subjects? Because I'm just thinking of how women are trained to photograph ourselves and from below is never the angle that we're told is the right angle.LindseyNo one's really ever said much because I do explain why this is. They can also say, “I'm really insecure about this part of me or that,” and we'll work around it in photographing. But I can also say, “well, let let me try this shot and then I can let you see if you want to see.” I think I've only had three models who actually wanted to see the photographs of them. Oftentimes they're like, “I trust you to do what you do.” And we'll go from there. Then I choose the image that I draw from. I haven't had anyone complain yet because I usually find an image that felt like our session. I try to keep the technical aspects of a drawing out of it and just think, what did this feel like for them? Were they really tentative? Were they just really empowered? Were they somewhere in between? And go for it. There have been a few times where I'm photographing and I knew the shot the minute I got it. There was a model, she'd model for me once, and she was like, “Can I model for you again?” And I said, “Yeah, let's do it.” She came in. She's like, “I don't want to talk.” Okay. She was like, “I have some emotions I have to get out and I know you're a safe person. I'm okay with you photographing it. And I'm just gonna move around. I'm probably going to cry. I just want to get it out.”VirginiaWow.Lindsey And she did it. And I knew the minute I took the photograph, it was just incredibly powerful.I work primarily in drawing because I feel that charcoal especially is just so beautiful. It's very tactile. I wanted them to feel the hand of the artist in there. One thing that comes up is when people are like “Oh, people who don't love themselves, they must stand in front of the mirror and like shake their stomachs,” or something like that. For me, it was very different. For me, I disassociated from myself. I just pretended I wasn't there from the neck down. VirginiaPrior to drawing yourself?LindseyPrior to drawing myself. So I don't go to hyper realistic drawing because I feel like I've been given such a gift by the people who model for me. I want there to be a sense of touch, that they've been loved and cared for, this image that they've given, and that's one of the most important parts to me. That they know that in this space that they've been cherished and their stories are so important. And charcoal does that for me. I think it's just very eloquent and can do a lot without telling people how to feel at least in the way that I handle it. VirginiaI was going to say there's such a softness to your work, which isn't quite right. There is softness to the bodies. The work itself feels very strong to me, but there's a loving quality to it that comes through. I'm guessing that's what you're talking about here with the medium and wanting to be clear that this isn't a photo of somebody's body, even though you also are amazingly realistic. Like, the way you draw people's tattoos is mind blowing. There is a level of insane precision here, just so we're clear. But yes, it is clearly an artist's view of someone, not a photo of someone.LindseyI love it when people bring up the tattoos. My piece “Brazen” is of the woman I mentioned earlier who talked about using her body to reclaim tattoos. I have three drawings of folks who are heavily tattooed. One I just finished this summer [above] and it probably was the most nerve wracking thing for me to figure out artistically. I thought I had it with the first two drawings I did. And then the one I just finished, the title is called “Unwavering” if people want to look it up. She has so many tattoos. Usually I draw the form of the body first, and then I add the tattoos on. I had to draw the tattoos first.VirginiaOh, wow. You put her body around her tattoos. That's fascinating.LindseyAnd I was like, how do I do this? You're drawing other people's artwork.VirginiaSo no pressure there. LindseyYeah, no pressure, no pressure. And it's on a 3D form. And all three of those models are tattoo artists.VirginiaSo they would know if you miss something. LindseyAnd they're all good friends of mine. And I every now and then I'll message them, like I did the model I just finished, I was like, “I kind of guessed.” She's like, “I won't tell anybody.” I'm like, “Okay, perfect.”VirginiaLet's talk a little bit about the response to your work. I'm curious both what the models think but then more broadly, when you're doing shows and showing your work, what kind of reactions do you get?LindseyYou know, overwhelmingly positive. I have not had a model say, “I don't like it.” Probably one of my favorites was early on in the series, I had worked from a former student and she came to a show early to see the piece. She was crying in front of the piece and she said, “you made me look beautiful.” And I said, “I didn't make you anything you aren't already.” It's funny because I'm a bit of an awkward person, socially awkward.VirginiaI mean, I disagree, but keep going.LindseyI project a lot of confidence. Years of working retail, right? But inwardly, sometimes I'm screaming “I don't know how to interact.” But I love it when people are like, “I want to show this to my friend or my daughter,” or something like that. There's been a few times though, where I've gotten a few like “ew, gross.” I had a small solo show here in Poughkeepsie and I was watching the gallery and a gentleman came in, and probably gentleman is a kind word here. VirginiaGenerous. LindseyAnd he didn't see me. He was like, “ugh, ugh,” and he kept making these gross sounds. Then he looked at me, looked me up and down, and said, “you must be the artist.” And I was like, “Yes, I am.” And he was like, “Well, I wouldn't hang these in my bedroom. Why can't you draw normal people?” And of course, this is the town I work in and I'm kind of a public figure so I had to be very nice, which hurt me. VirginiaI love that he thought art should be drawn for him to…hang in his bedroom. That's such an interesting way to think about art. Do you know what I mean? That's how entitled he feels to these bodies. Interesting.LindseyHe was like, “I wouldn't want to wake up to them.” And I'm like, “well, I don't want you to wake up to my drawings regardless.”VirginiaSir, I would not want to wake up to you.LindseySomeone didn't say it to me, they said it to someone related to the gallery, that they thought my work was pornography.VirginiaJust because some people are naked?LindseyYeah, just because the nudity. And actually I go out of my way to not portray anything overtly sexual. It's just not what I'm focusing on. So part of me wants to be like, “Wow, your porn must be really boring.”VirginiaNot a lot happens in your porn.LindseyTo each their own!VirginiaI mean, I guess there is a group of people who just think nudity equals pornography no matter what. Do they not ever go to Italy? Did they not hear of the Renaissance? I don't understand because we have centuries upon centuries of naked people in art. But I wonder if there are some folks who are especially quick to go there because you are showing are fat bodies?LindseyI think so. Because the work does make people uncomfortable. Because they're not Photoshopped, because they're not the beauty ideal. I think it forces a lot of people to confront their own biases. So it might be an easy way to say, “This is inappropriate.” Hopefully those are the people that even afterwards think about the work and let it kind of sit in the back of their head and maybe changes a little bit of what they think. You know, that's all I can hope.VirginiaThis is like the same with the trolls who message me about my work saying, “I don't think fat chicks are attractive.” And it's so interesting to me, because nothing I write about has to do with whether men find fat woman attractive. I think it taps into the fact that there are some men who do find fat women attractive and yet feel like they can't be public about it. So then they have to turn that negatively onto fat women. I said that, awkwardly, but you know what I mean? LindseyIt's their denial. It's interesting that the few people I've known that have said this about my images being pornographic are older women.VirginiaOh, so it's tapping into their own stuff.LindseyI think a lot of the way that they grew up, that thinness was ideal, you got it through whatever means necessary. To then see people really living in their own bodies, and not just in bodies, but then modeling in art, and nude. It challenges a lot of those preconceived notions.VirginiaThis is making me think of something you told me previously, I can't remember if it was a professor of yours or someone who commented on a pose, and was like, “Oh, she's so ashamed of her body because she's covering.” Do you want to tell that story? LindseyYeah, it was about my first large drawing of myself, actually. When I took the photo, I'd cross my arms and one is kind of underneath my chest and one's kind of going over top and it's meant to be like this hug. It was more of like, “It's going to be okay” for myself. And because I'm busty, I kind of caught my bust in my arm. I remember my professor was like, “Well, that's not correct anatomically.” And I'm like, “Pretty sure it is.” And she was like, “well, I feel like this figure is just ashamed of herself. And like, she's sitting in the mirror hiding.” And I'm like, “This is a very kind of loving hug. And she's not covering anything unless you count the sternum, right?” The stomach was there. The vulva is there. The breasts are there. And I said, “I really think that you're projecting your own insecurities onto my figure.” And everybody was just kind of quiet. VirginiaI think they knew. I mean, the first time I saw your pieces in person, you were there— I cried. And, I was thinking before we started recording, like, why did I cry and what it was. It felt just very visceral. It was so healing to be in the presence of fat, beautiful bodies like that, and feel the power that they held. But I can see, for someone who's in a different place with fatness with their own body, it's going to bring that up and be really challenging and that's also really good. LindseyThat's exactly what I want. I want people to go in there and really start investigating for themselves and reevaluating how they see themselves and see others and how they judge others. I generally don't care what people think about my artwork. Took a long, long time to get over that.VirginiaThat sounds very evolved of you. I'm impressed.LindseyWell I kind of had to, because I'm a very sensitive person and I want people to like me. But it took a long time for me to realize that this is what I want to do. People are not going to like it. But there are people who it's going to move. VirginiaTell us a little bit about your teaching process, and how this comes into play.LindseyI'm an associate professor of visual art at Dutchess Community College. In particular, I teach the figure drawing class. You know, when we look at art history—which, I love art history, but a lot of it is women drawn by men, women in a very subservient position in the pieces—it's very much drawn from the male gaze. So I'm very aware of that. One of the things I do when I teach the class is, I focus a lot on bringing in contemporary figurative artists. I tell my students that this represent sthe wonderful diversity that we have in the class. But also, in many ways, I take body liberation and stretch it out to not just include weight. The classroom is, to me, fully inclusive, to the best of my ability and I will keep learning. We have trans and non binary models, we talk about using language beyond the binary. I talk with my models ahead of time, and I say, “when I talk about your figure, and I'm going to have to, what terms are you most comfortable with?” But then it's also making sure I have a lot of body diversity, as much as I can. Though sometimes you're limited by just the model roster. I've also been known to say like, “Okay, we're looking at this model, and this is how this anatomy shows, but it's going to show on someone different like me who is larger.” And it neutralizes this idea of fat and largeness. They seem to respond really well, which has been great. For a while, we didn't have many curvy models. We had one of our long-standing models, she can only model once a semester. She came in and after she left, the next class, they were like, When is she coming back? We love her. You can see so many different things.”VirginiaWhat a powerful way to give them an appreciation of body diversity.LindseyI used to be very insecure about my chest. And I saw how chests come in all shapes and sizes and I'm no longer self conscious about that anymore. In fact, I'm a nude model myself.VirginiaSo do you do that for other artist friends? How does that work?LindseyI model up at Woodstock School of Art in the summers. I just tell them when I'm prepared and I model for their classes and their open studios. So I get to work with a lot of different artists there. VirginiaWhat is that like, the experience of nude modeling? It feels like it's probably a lot more work than people realize.LindseyYes, I joke that all I have to do is sit still look pretty, right? Or just sit still. I don't have to look pretty. But sitting still can be so hard.VirginiaSo hard! Oh, I'm terrible at it. I would not last five minutes.LindseyUsually you get a break every 25 minutes. But if you go into a 25 minute pose oftentimes you're like, “Is my leg still there? Oh, no, my leg is there. It really hurts.” Or, “I have sweat running down my back, or my nose itches.”VirginiaThe nose itches would be killer. I bet you regret a lot of poses like 18 minutes in. You're like, this was not the pose.LindseyYou learn the capabilities of your body as you've been doing it. But sometimes I'm like, “Oh, yeah, I totally put my hand there and it's supporting all my weight.” I said it'd be fine for 20 minutes and then like 10 minutes in and you're like, I'm going to die. VirginiaI don't have a wrist anymore. It's fine.LindseyBut it's also very empowering because it is a safe space. There's only been one instance where I've been modeling and someone was clearly upset that they had a plus size model. And I just stared them down. Because he wasn't drawing! VirginiaOh, he was just sitting there sulking?LindseyYeah, he was sitting there sulking. And that is not acceptable. As someone who also teaches the course, you do work. I never stare people down because I don't want artists to get nervous. But I stared him down until he started working.VirginiaI enjoy that greatly. ButterLindseyI hope it's okay to just give a shout out. And I think it's to tattoos.VirginiaYay. That's fun!LindseyThe way we reclaim our bodies with them, and the inspiration they've given me. Particularly a shop that I absolutely love, if that's alright, is Guts'n Glory in Rosendale. That's where those three tattoo artists work. They've given me such amazing work and made me feel so much more myself and empowered me. It's an amazing shop. There are queer folks there. It's just absolutely beautiful. So they're my butter.VirginiaI love that. I do not have any tattoos. Yet, I should say. Life is long, we'll see. I've just never been able to commit, but I have a deep appreciation for them. I think that's the overthinking thing I can really relate to. I'm like, “They're so wonderful I couldn't possibly pick one!” Which is, you know, anyway, we can unpack that later. But I love hearing what they do for people and their relationship with their body. So, that's such a great butter. I was also overthinking what my butter should be today, when I realized it's very obvious. Since I am talking to Lindsey Guile my butter is “Valiant” by Lindsey Guile, [above] which is the most incredible drawing that I just got from your “Unapologetic” series. This is a present that Dan and my family all went in on together, as a congratulations for my book. So it's really special that they wanted to do something nice to celebrate the book. But also the fact that they picked Lindsey's artwork and then it led me to get to know Lindsey—I'm so excited about it. I'm currently on the hunt to find a framer who can frame something this large.LindseyIt's only almost 80 inches. It's fine. VirginiaI emailed my local frame shop who are so lovely and do such good work, and they were like, “We are not set up for that.” But you've given me names of a couple places. So this is my Butter Project. I'm going on a little framing odyssey with it. And you came over and we picked the wall in my house that it's going to hang on. It will not be done by the time this episode airs, but I will definitely do a follow up when I have it in the house so everyone can see it. It's just amazing. And there is an incredible space tattoo on Hannah. It was one of the details I really loved about it. And I just love her expression. LindseyI'm so glad, too, because Hannah was fantastic to work with as well. And one of the few times I've actually gotten to talk with someone who occupies this body liberation space.VirginiaWe should say the model is Hannah Noel Smith, who is a therapist and fat activist who specializes in eating disorder recovery. She's also a buddy of mine from the Body Liberation Hiking Club. Did you get to know her through drawing her? Or how did that work?LindseySo I had an artist residency at the Blue Mountain Center and I put out a call on social media that was looking for local models and she got right ahold of me. It was really funny because when we met, she was like, “I found you shared by another fat creator.” And then was like, “Oh, my gosh, you're in Poughkeepsie? I'm in Poughkeepsie!”VirginiaSmallest world. Well, it is really exciting because the fat activism community is, of course, large and spread out all over. But here in the Hudson Valley, we don't have so many of us. It's been fun to start to come together a little more. LindseyI think all my friends are like, “Yes, we know Virginia, you posted about her.” I'm like, “She's really cool.”VirginiaSame, same. Definitely a mutual admiration society. Lindsey, thank you for doing this. Why don't we wrap up telling folks where we can follow you? And how we can support your work?LindseyFirst of all, again, thank you for having me. This has been absolutely delightful. You can follow me on Instagram at Lindsey Guile Studio and I have a website. In terms of support, I have no shows right now. I'm working right now to show later. I do have two solo shows coming up in the spring of 2024, one here in the Hudson Valley, one out in the Rochester area. So if you follow me and you can come to an opening, that's absolutely wonderful. And if you ever have an interest in buying something, just send me an email. I'd love to have a shop, but I already have a full time job.VirginiaWell, when you have details on the show, we'll put them in the newsletter and make sure folks know and go. And I can't wait to go to the next one. LindseyThank you so much. The Burnt Toast Podcast is produced and hosted by me, Virginia Sole-Smith. You can follow me on Instagram or Twitter.Burnt Toast transcripts and essays are edited and formatted by Corinne Fay, who runs @SellTradePlus, an Instagram account where you can buy and sell plus size clothing and also co-hosts mailbag episodes!The Burnt Toast logo is by Deanna Lowe.Our theme music is by Jeff Bailey and Chris Maxwell.Tommy Harron is our audio engineer. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit virginiasolesmith.substack.com/subscribe

Today Ian Wing and Gregg Megaw discuss Ians introduction to Soccer, the timeline of his coaching roles in New York state and his current role of Director of coaching at East Fishkill Soccer Club. We also discuss how he got into college coaching, botH his volunteering and roles in an assistant capacity before taking a head coaching job at Dutchess Community college. We also discuss how children playing multiple sports with juggling competitive soccer.

For June the Creative Economy crew dropped in on a couple openings: June 10, 2022 : John Van Alstine | Directors Circle Preview Event John Van Alstine has been described as an abstract artist with a keen sense of composition, who evokes narratives from inanimate objects, and a sculptor who finds the balance and energy in the moment. Van Alstine works at the nexus of natural forces and the man made, at the intersection between wild nature and technology. Interviews include John, Guest Curator Caroline M. Welsh and the Hyde Collections Education & Engagement Curator Katelyn Foley. June 3, 2022 : Lasting Impression Exhibition | Pine Hills Public Library Art professors often have dual roles: making art and turning students into artists. Eleven regional printmaking professors were asked to exhibit and to, in turn, invite a current or former student to exhibit alongside them. “Lasting Impression” reveals both the range of print work being made in our region and the lasting impressions students and faculty make on each other. Ten regional colleges are represented in the exhibition: Bard College, Bennington College, Dutchess Community College, Middlebury College, Rensselaer Polytechnic University, Skidmore College, SUNY Oneonta, University at Albany, University of Hartford, and Union College. 3 Questions with Freelance Television Sound Engineer and Creative Economy Journal Host Moses Nagel. Moses has a rich career in the field of television, radio and podcasts and shares little bit about what its like to be and in demand sound based creative.

In this episode Harold King speaks with Dr Peter Grant Jordan, President of Dutchess Community College. With a proud 60-year history and more than 50 academic programs, Dutchess Community College is highly regarded for providing an outstanding education in an enriching, caring and supportive environment. Their faculty and staff are committed to student success and their affordable tuition offers students and families significant savings on the first two years of a college education.Harold talks with Peter about his long and impressive academic career, his commitment to the community college role and mission, how that role and mission is evolving and how DCC is rising to the occasion by forming strong partnerships with industry, other academic institutions and community organizations. We hope you enjoy meeting Dr. Jordan.

Dr. Toni-Marie Ciarfella, Deputy Commissioner for Special Needs of Dutchess County, comes to RadioRotary's microphone with news of the county's several programs available for people with special needs. The campaign, which includes local businesses as well as the county, is called Think Differently. Related to it are the awards and events dealing with employment, called Think Jobs, and an educational program run by Dutchess Community College called Think Ahead.Some fifteen local agencies, such a New Horizons, ARC, the Anderson Center for Autism, and the Down Syndrome Association of the Hudson Valley are part of the effort, which was started by Country Executive Marcus Molinaro in 2015. The Anderson Center is central to the program, which focuses much of its energy on making the county a place where those on the autism spectrum can be comfortable. Learn More: Think Differently: https://www.thinkdifferently.net/ Think Jobs: https://thinkdutchess.com/about-us/careers/ Think Ahead: https://www.sunydutchess.edu/academics/academicsupport/opportunityprograms/think_ahead.html Anderson Center for Autism: https://www.andersoncenterforautism.org/ Dutchess Country Department of Children and Family Services: https://www.dutchessny.gov/Departments/Community-Family-Services/Community-and-Family-Services.htm CATEGORIES Developmentally Disabled Dutchess County Mental Health Quality of Life Words for Search: autism, mental health, social services, Dutchess Country --- Support this podcast: https://anchor.fm/radiorotary/support

Help so your utilities don't get cut off, college access, and business classes This week in La Voz en Breve, journalist Mariel Fiori has a show on education and family. She spoke with Rosa María Castillo-Kesper, Director of Operations for the Public Utility NY Law Project, who explained what resources consumers and tenants on the verge of losing their services have. The emergency number if you are about to lose your phone, water, internet, electricity or gas service is (877) 669-2572. Serves everyone, regardless of immigration status. Steven Posada, Diversity Admissions Counselor at Dutchess Community College, returned to talk about the university admissions process for immigrants. He discussed the aviation mechanics program, other careers, and virtual events on financial aid for undocumented students, thanks to the NYS Dream Act. For more information, visit the DCC website or call 845-431-8017. In addition, Glamis Haro, Senior Business Advisor at the Columbia-Harlem Small Business Development Center, told us about services in Spanish and how Latino entrepreneurs can be successful, beyond a business plan. She can be reached on her email at glamisharo@columbia.edu Ayuda para que no le corten los servicios públicos, acceso universitario y clases para negocios Esta semana en La Voz en breve, la periodista Mariel Fiori tiene un programa de educación y familia. Conversó con Rosa María Castillo-Kesper, Directora de operaciones de Public Utility NY Law Project, quien explicó qué recursos tienen los consumidores e inquilinos a punto de perder sus servicios. El número de emergencia si está a punto de perder su servicio de teléfono, agua, internet, electricidad o gas es el (877) 669-2572. Atiende a todes, sin importar estatus migratorio. Volvió Steven Posada, Consejero de admisiones de diversidad en Dutchess Community College, a hablar del proceso de admisión universitaria para inmigrantes. Comentó sobre el programa de mecánica de aviación, otras carreras, y los eventos virtuales sobre ayuda financiera para estudiantes indocumentados, gracias al NYS Dream Act. Para más información, visitar la página web de DCC o comunicarse al 845-431-8017. Además, Glamis Haro, consejera senior de negocios de Columbia-Harlem Small Business Development Center, nos contó sobre los servicios en español y cómo los empresarios latinos pueden tener éxito, más allá de un plan de negocios. La pueden contactar en su correo electrónico al glamisharo@columbia.edu

Sean Buchanan is an Assistant Coach and Recruiting Coordinator at Albright College, a Division III program in Reading, Pennsylvania. He played collegiately at Dutchess Community College, then transferred to SUNY New Paltz, where he tragically suffered a career ending back injury. He then started his coaching career as a Student Assistant Coach at SUNY New Paltz in 2012 and an official Assistant Coach in 2013. Then in 2014 he was an Assistant Coach at Dutchess Community College. Later, from 2015-2017 he was a Hitting Coach and Recruiting Coordinator at Ave Marina College, an NAIA program and in 2019 an Assistant Coach at Desales University. In the midst of all that, he also spent 5 years coaching in the Perfect Game Summer League. In 2020, he was officially hired on as the Recruiting Coordinator at Albright College where he still remains. In this episode, we start off talking about his career ending back injury and how he got through that as a 20-year-old college student, also how that jumpstarted his coaching career. We than discuss what Coach Buchanan believes to be the most challenging thing he has faced as a College Coach so far in his career. We than dive into developing players for life and how Coach Buchanan goes about that in his programs. Also, diving into the DIII baseball division and how the level of competition is not so far off from the other levels, as well as late recruiting and low-budget tech you have to work through at this level. Lock into this podcast to learn from Sean Buchanan, a Recruiting Coordinator and assistant Coach at Albright College. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fiob/support

  Dana Jones '20 is the founder of Accessadoor, an organization dedicated to making handicap accessible doors accessible by all. The kit enables establishments to turn ordinary handicap accessible doors into a system that can be operated by a smartphone app. She chats with Amy Woods '97 about her experiences in becoming an entrepreneur and founder before graduating college - funding, creating a team, dealing with rejection, and the benefits of just going with the flow. Dana is a Hudson Valley native with and graduated from Marist in 2020 with a bachelors in Business Administration with a Concentration in Entrepreneurship. She transferred to Marist in 2018 after finishing her associate’s degree at Dutchess Community College.  

In this episode Council of Industry Vice President Johnnieanne Hansen speaks with John Waldron, Plant Manager at IBM Poughkeepsie and Warren Boldrin, Senior Manager. The Poughkeepsie site manufactures IBM’s “Z” System Mainframes. The “Z” System is one of the world’s most advanced mainframe computers running critical information infrastructure. Both John and Warren are longtime IBMers. John came to the company in 1984 via R.E.T.S. Electronic Technical school in Philadelphia. His first job in 1984 was Electronics Technician. Warren is a graduate of Dutchess Community College and has a B.S degree in Production Management, and M.S. degree in Computer Science; both from Marist College. His roles at IBM have included Quality Engineering and Business Transformation. His current responsibilities include Advanced Manufacturing Sciences, High-end Order Fulfillment, Materials Management, Remanufacturing/Return Logistics, and Customer Solutions. Johnnieanne, John and Warren talk about the mainframe computing, the past, present and future of IBM Poughkeepsie and workforce development strategies including the company’s role with P-TECH.

In this episode YIV's Holly Skodis interviews Sande Nosonowitz about how her yoga journey led her to becoming a vegan activist. Sande is a master-certified vegan coach, writer and educator. For three years, she penned a column for Living & Being Magazine (part of the USA TODAY network) called ‘Living & Being Vegan,’ and has just published her new book, “OBLIVIOUS; A Vegan Memoir.” This comes after her first compilation book, “Living & Being Vegan; How Veganism Heals Your Body, Mind and Spirit.” Her multi-media presentation, “How Veganism Heals,” has been enjoyed by groups at venues such as The Mid-Hudson Regional Hospital, Dutchess Community College, The Omega Institute Staff Program, The DrawDown National Environmental Program, The Fountains at Millbrook Community Education Series, and coming this fall, The Vassar College Lifelong Learning Institute.She’s a proud co-founder of the Hudson Valley Vegfest held annually in New York State. Sande is also a certified yoga & meditation instructor who designs a line of yoga & vegan-inspired jewelry that she lovingly calls, “Hip & Holy Bling.”Sande teaches a full transition to veganism, including online modules, cooking classes, field trips to the grocery store and trips to the animal sanctuaries. An activist, teacher, student and animal lover, Sande lives in upstate New York with her vegan husband and plant-based yellow lab, Henry.OBLIVIOUS; A Vegan Memoir is available on Amazon, and you can learn more about all of Sande’s offerings on her website; www.sundaravegan.com *Sundara is the Sanskrit word for beautiful, interpreted as inner beauty, flowing from grace and wisdom.Connect with Sandee:Instagram: @sundarajewelFacebook: @sande.nosonowitzWebsite: sundaravegan.com

Luckily I got to speak to Bill Duke! Film director and actor Bill Duke was born on February 26, 1943 in Poughkeepsie, New York and is the son of Ethel Douglas Duke and William Duke, Sr. After earning his A.A. degree from Dutchess Community College, Duke became interested in the performing arts while attending Boston University, although he initially enrolled as a pre-med student. He eventually majored in theater there and then went on to earn a M.A. degree in fine arts from New York University's Tisch School of the Arts. Duke later enrolled in the American Film Institute (AFI). Duke began his career as an actor in New York City theaters like The Public Theater and New Federal Theater, performing in plays such as LeRoi Jones' Slave Ship and Melvin Van Peebles' musical Ain't Supposed to Die a Natural Death. Duke's first movie role came in 1976 when he portrayed a fierce young Black Muslim revolutionary named “Abdullah Mohammed Akbar” in Car Wash. Duke's television directorial debut came in 1982 when he directed episodes of Knot's Landing, Falcon Crest, and Flamingo Road for Lorimar Productions. Duke's most prominent and critically acclaimed television work, however, has been his direction of teleplays for the PBS series American Playhouse including “The Killing Floor,” “A Raisin in the Sun,” and “The Meeting,” a 90-minute drama that depicted an imaginary meeting between Dr. Martin Luther King, Jr., and Malcolm X. During the 1980s, Duke amassed more than 100 television directing credits, including more than 70 episodes of roughly 20 television series such as Miami Vice, Dallas, Crime Story, Cagney and Lacey and Hill Street Blues. Duke directed his first feature film in 1990, a film adaptation of Chester Himes' novel A Rage in Harlem. Duke went on to direct many other films including Deep Cover, Sister Act 2, Hoodlum and Deacons for Defense. In 2004, Governor Arnold Schwarzenegger appointed Duke to the California Film Commission, which works to enhance the economic climate of the state by keeping film industry jobs in California. Duke also works with non-profit and charity organizations such as Educating Young Minds, an organization that helps inner-city students excel at school and in life. Duke is the recipient of numerous awards including the AFI's Lifetime Achievement Award, the NAACP's Special Award for Outstanding Achievement, SCLC's Drum Major for Justice Film Award and a Cable Ace Award. President Bill Clinton appointed Duke to the National Endowment for the Humanities. You can find Bill Duke on twitter here: https://twitter.com/RealBillDuke?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorBuy Bill's book here! https://www.amazon.com/dp/B07GQFXZ7Y/ref=cm_sw_r_tw_dp_U_x_NXfQBb5A6369SWhile many film fans may not be familiar with Bill Duke's name, they most certainly recognize his face. Dating back to the 1970s, Duke has appeared in a number of popular films, including Car Wash, American Gigolo, Commando, Predator, and X-Men: The Last Stand. Fewer still might be aware of Duke's extraordinary accomplishments off-screen—as a talented director, producer, entrepreneur, and humanitarian. You can also check my documentary The People of Brixton, on Kwelitv here: https://www.kweli.tv/programs/the-people-of-brixton?autoplay=true Damien Swaby Social Media Links: Instagram https://www.instagram.com/damien_swaby_video_producer/Twitterhttps://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorFacebookhttps://www.facebook.com/Damien-Swaby-213805135363397/?ref=bookmarksBill Duke talking about his last film being shot on an iPhone and directed by Steven Soderbergh, influenced me to make my latest short film on one. You can view it here! https://vimeo.com/348228831

Luckily I got to speak to Bill Duke! Film director and actor Bill Duke was born on February 26, 1943 in Poughkeepsie, New York and is the son of Ethel Douglas Duke and William Duke, Sr. After earning his A.A. degree from Dutchess Community College, Duke became interested in the performing arts while attending Boston University, although he initially enrolled as a pre-med student. He eventually majored in theater there and then went on to earn a M.A. degree in fine arts from New York University's Tisch School of the Arts. Duke later enrolled in the American Film Institute (AFI). Duke began his career as an actor in New York City theaters like The Public Theater and New Federal Theater, performing in plays such as LeRoi Jones' Slave Ship and Melvin Van Peebles’ musical Ain't Supposed to Die a Natural Death. Duke’s first movie role came in 1976 when he portrayed a fierce young Black Muslim revolutionary named “Abdullah Mohammed Akbar” in Car Wash. Duke’s television directorial debut came in 1982 when he directed episodes of Knot's Landing, Falcon Crest, and Flamingo Road for Lorimar Productions. Duke's most prominent and critically acclaimed television work, however, has been his direction of teleplays for the PBS series American Playhouse including “The Killing Floor,” “A Raisin in the Sun,” and “The Meeting,” a 90-minute drama that depicted an imaginary meeting between Dr. Martin Luther King, Jr., and Malcolm X. During the 1980s, Duke amassed more than 100 television directing credits, including more than 70 episodes of roughly 20 television series such as Miami Vice, Dallas, Crime Story, Cagney and Lacey and Hill Street Blues. Duke directed his first feature film in 1990, a film adaptation of Chester Himes' novel A Rage in Harlem. Duke went on to direct many other films including Deep Cover, Sister Act 2, Hoodlum and Deacons for Defense. In 2004, Governor Arnold Schwarzenegger appointed Duke to the California Film Commission, which works to enhance the economic climate of the state by keeping film industry jobs in California. Duke also works with non-profit and charity organizations such as Educating Young Minds, an organization that helps inner-city students excel at school and in life. Duke is the recipient of numerous awards including the AFI’s Lifetime Achievement Award, the NAACP’s Special Award for Outstanding Achievement, SCLC’s Drum Major for Justice Film Award and a Cable Ace Award. President Bill Clinton appointed Duke to the National Endowment for the Humanities. You can find Bill Duke on twitter here: https://twitter.com/RealBillDuke?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor Buy Bill’s book here! https://www.amazon.com/dp/B07GQFXZ7Y/ref=cm_sw_r_tw_dp_U_x_NXfQBb5A6369S While many film fans may not be familiar with Bill Duke’s name, they most certainly recognize his face. Dating back to the 1970s, Duke has appeared in a number of popular films, including Car Wash, American Gigolo, Commando, Predator, and X-Men: The Last Stand. Fewer still might be aware of Duke’s extraordinary accomplishments off-screen—as a talented director, producer, entrepreneur, and humanitarian. You can also check my documentary The People of Brixton, on Kwelitv here: https://www.kweli.tv/programs/the-people-of-brixton?autoplay=true Damien Swaby Social Media Links: Instagram https://www.instagram.com/damien_swaby_video_producer/ Twitter https://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor Facebook https://www.facebook.com/Damien-Swaby-213805135363397/?ref=bookmarks Bill Duke talking about his last film being shot on an iPhone and directed by Steven Soderbergh, influenced me to make my latest short film on one. You can view it here! https://vimeo.com/348228831

Sarah Dwyer-Shick is the founder of the Sports Bra Project. A three-sport athlete in college, Dwyer-Shick holds a bachelor’s degree from Smith College and a master's degree in Sports Management from the University of Denver. After a 15-year NCAA soccer coaching career, Sarah shifted her focus to youth development. As owner of SJI Training, she has worked with numerous youth clubs as a coach and consultant. Sarah served for five years as Director of Coaching for New York’s Girls North Olympic Development Program and coached for eight years with the NY Rush/Patriots Club. She is currently a Technical Director at Downtown United Soccer Club in Manhattan, and the Assistant Men’s Coach at Dutchess Community College. Support The Sports Bra Project How you can support the show: Subscribe to the "On the Touchline" newsletter Go to https://www.duktigbrand.com/ Place your order. At checkout enter the promo code BROADWATER19 to save 10%. Never miss an episode of this show every Wednesday and Saturday by subscribing on: Sponsor the show? Have a great product or service you want to tell the soccer community about? For $100 you can sponsor this show. https://www.patreon.com/onthetouchline Listen to the show on these platforms: Apple Podcasts Stitcher Spotify Google Podcasts TuneIn Radio Please be sure to share the podcast with those in the soccer community by tagging me on Instagram and Twitter @SoccerCoachJB. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/onthetouchline/message

Elian Trumpetto, Executive Director of the Council on Addiction Prevention of Dutchess County, and Mike Hill director of the Drinking Driver Program at Dutchess Community College, discuss the program “Alive at 25,” which is sponsored by the National Safety Council. Alive at 25 is a 4-hour educational program aimed at 16- to 24-year-olds to heighten their awareness of the hazards of driving drunk, drugged, or distracted. New York State has rules for young drivers about who the other occupants of a car may be, since research has shown that other young people are a principle distraction. --- Support this podcast: https://anchor.fm/radiorotary/support

This week in La Voz en breve, journalists Mariel Fiori and Antonio Flores-Lobos, candidly talk with Janina Cabarcas about the work her organization (Hispanic Hug) does. We also spoke with Dutchess Community College professor, Camilo Rojas, about film, literature and life.

Antoine is an aspiring artist, born in Poughkeepsie, New York. He knew that singing was his passion when he was young. He graduated from Poughkeepsie High School and attended Dutchess Community College where he majored in business. Antoine is a singer/songwriter with unlimited talent which you will discover once you feel Let Me Live,” a sure hit. Antoine sings with feeling and emotion, you can sense the gospel background in “Secrets.” His range is unique, his style is his only, he is R&B and Hip-Hop rolled into one special artist. Contact:  Antoine RNB  antoinernb(at)gmail(dot)com  http://www.antoinernb.com  http://www.dowjonestheproducer.com http://www.spateradio.com  

http://harlemtalkradio.com HARLEM ROOTS AND BEYOND Host: Lydgia Pass Guest: Bettina Wilkerson aka Gold (poet writer) Your listening to segment 1of 2. Be sure to listen to the 2nd part of this segment. Gold has shared the stage with such esteemed acts as recording artist Noel Gourdin (R&B/Soul singer) and has opened for Jermaine Paul (winner of the 2012 NBC hit series “The Voice”), Rudy Francisco (Individual World Poetry Slam Champion) and Janine Simone (3rd place Knick Poetry Slam winner 2009).  She has performed at Hofstra University, Vassar College, and Dutchess Community College just to name a few stops on her performance journey. Gold is the creator, Co –Executive Producer & Co Host for the radio show “The Sweet Suite-Music from the Unsigned” which aired 2010/2011 on WBAI 99.5 fm Pacifica Radio in New York City for International Working Women’s Day. To fill her passion of mentoring and fostering young talented minds, Gold created a poetry group under the moniker of “The Evolving Word-Smiths”.  Giving local young poets the opportunity to perform alongside her enabling them to be exposed to audiences they may have never reached; the experience has been transformative for some of these younger poets. Presently Gold is filming a reality project which she is the featured poet.  For more information on Gold contact bgoldwpoetry@gmail.com or follow her on face book at https://www.facebook.com/bettinagold.wilkerson?ref=tn_tnmn#!/pages/Bettina-Gold-Wilkerson/408311444664?fref=ts as well as on twitter at https://twitter.com/bGOLDw

http://harlemtalkradio.com HARLEM ROOTS AND BEYOND Host: Lydgia Pass Guest: Bettina Wilkerson aka Gold (poet writer) Your listening to segment 1of 2. Be sure to listen to the 2nd part of this segment. Gold has shared the stage with such esteemed acts as recording artist Noel Gourdin (R&B/Soul singer) and has opened for Jermaine Paul (winner of the 2012 NBC hit series “The Voice”), Rudy Francisco (Individual World Poetry Slam Champion) and Janine Simone (3rd place Knick Poetry Slam winner 2009).  She has performed at Hofstra University, Vassar College, and Dutchess Community College just to name a few stops on her performance journey. Gold is the creator, Co –Executive Producer & Co Host for the radio show “The Sweet Suite-Music from the Unsigned” which aired 2010/2011 on WBAI 99.5 fm Pacifica Radio in New York City for International Working Women’s Day. To fill her passion of mentoring and fostering young talented minds, Gold created a poetry group under the moniker of “The Evolving Word-Smiths”.  Giving local young poets the opportunity to perform alongside her enabling them to be exposed to audiences they may have never reached; the experience has been transformative for some of these younger poets. Presently Gold is filming a reality project which she is the featured poet.  For more information on Gold contact bgoldwpoetry@gmail.com or follow her on face book at https://www.facebook.com/bettinagold.wilkerson?ref=tn_tnmn#!/pages/Bettina-Gold-Wilkerson/408311444664?fref=ts as well as on twitter at https://twitter.com/bGOLDw