New CT laws take effect: Paid sick leave, absentee ballots, coerced debt

The Connecticut Capitol Building in Hartford, March 25, 2021.
Tony Spinelli


The Connecticut Capitol Building in Hartford, March 25, 2021.
Legislation concerning student loan repayment assistance, paid sick days and absentee ballots are among over a dozen laws that took effect in Connecticut on Jan. 1.
Laws are passed by the Connecticut General Assembly during each year’s legislative session or in a special session. They typically take effect on Jan. 1, July 1 or Oct. 1.
Here are some of the new laws that were implemented when the new year began.
Paid sick days
Legislation passed in 2024 expands Connecticut’s paid sick leave law beginning Jan. 1 by applying it to more employers and broadening the definition of a “family member” and the circumstances that qualify for sick time.
As of Jan. 1, employers with at least 25 employees will be required to offer paid sick days. That employee count will lower to 11 in 2026 and then to one on Jan. 1, 2027.
Seasonal workers — those who work 120 days or fewer in any year — will remain largely exempt.
Employees can use sick time to care for a family member, and the law expands the definition of “family member” to include a sibling, parent, grandparent, grandchild, or an individual whose “close association the employee shows to be equivalent to those family relationships.”
Previously, the law had only covered care for children and spouses.
Additionally, the new law covers employees who use sick leave because of the closure of their workplace or a family member’s school or place of care due to a public health emergency, and when an employee or family member is deemed at risk to others after being exposed to a communicable illness.
Absentee ballot application changes
A new law requires that absentee ballot applications be clearly marked with the specific year they’re valid for, and prohibits applications and ballots without the year noted on them from being distributed or used.
The law also puts tighter regulations on absentee ballot application requests, prohibiting town clerks from giving a person five or more ballot applications if the date they request them is 90 days or more before absentee ballots are issued for that election.
The updated regulations follow an ongoing absentee ballot scandal in Bridgeport, where a judge ordered the city to re-do its 2023 mayoral primary election between Mayor Joe Ganim and his opponent John Gomes following allegations of absentee ballot fraud.
Earlier this year, Connecticut prosecutors also charged several Bridgeport political operatives with abusing the absentee balloting system during the city’s 2019 Democratic primary for mayor.
Elder care reform
A wide-ranging law reforming the elder care industry requires that beginning Jan. 1, the Department of Social Services must develop and maintain an online home care provider registry to help consumers find workers who have the correct language proficiency and skills.
Historically, people on the state’s Medicaid program seeking care at home have received a binder with printed pages that in many cases contained outdated employee information.
Other portions of the law have previously been implemented, including a requirement that DSS and the Department of Public Health post prominent links to a federal website that uses a five-star rating system to compare nursing homes and a requirement that home care workers wear badges with their name and picture during client appointments.
Coerced debt
A new law seeks to provide recourse to victims of “coerced debt,” which is debt that is incurred in an individual’s name under duress, intimidation or threat of force — typically by a victim’s former spouse or partner.
The law requires that when a person claims their debt was coerced and provides documentation, collection entities must pause collecting that debt for at least 60 days while they review the individual’s claim.
If a collection entity decides to stop collecting from a victim and had previously given negative information about that person to a credit agency, the collector is required to tell the agency to delete that information.
If a court determines debt was coerced, the person who caused it can be held liable to the collection agency for the total debt, as well as to the victim for legal fees.
Employer student loan reimbursement
Existing Connecticut law allows employers to receive a tax credit for making payments toward qualifying student loans on behalf of an employee. The new legislation expands eligibility by applying the law to all student loans, rather than only loans issued by the Connecticut Higher Education Supplemental Loan Authority.
Natalia Zukerman
Mickalene Thomas and Delano Dunn at Wassaic Project.
Before “Echoes in the Margin,” Delano Dunn’s new solo exhibition at Troutbeck in Amenia opened, the artist sat down with curator and artist Mickalene Thomas for a conversation at the Wassaic Project on Wednesday, June 24. Their wide-ranging discussion offered an intimate look into Dunn’s practice while situating the work within broader questions of history, memory and representation.
Presented by the Wassaic Project, the exhibition brings Dunn’s richly layered paintings into conversation with Troutbeck itself, the historic estate long associated with artists, writers and civil rights leaders, including W.E.B. Du Bois, Langston Hughes and many more.
Thomas, an artist whose multidisciplinary practice spans painting, collage and installation, first met Dunn when she was his graduate adviser at the School of Visual Arts. “I think your work needs to be out there more,” she said, noting the urgency of this collection in the current socio-political moment.
Dunn’s layered collages often begin with an image unearthed from flea markets, used bookstores and forgotten archives.
“I go to secondhand shops, old bookstores, any place that looks like it has history in it,” he said.
Sometimes, he explained, an image becomes the centerpiece of a work. Other times it simply sparks an idea.
“There’ll be an idea that pops into my head. I’ll read something or hear music or a lyric, and then I’ll think, ‘I’ve got to find an image that matches that.’”
His color palette also carries its own history.
“I grew up in L.A. during the L.A. riots,” Dunn said. “I would sit on my porch as a kid. I was watching the neighborhood burn, but the sky was beautiful.”
He still paints with those saturated blues, reds and oranges.
“Color can transport you. Color can make you feel safe, or happy or scared,” he said. “Those colors made me feel safe.”
For Dunn, Troutbeck’s own layered history became an active part of the work. Learning that the estate had hosted W.E.B. Du Bois, Langston Hughes, Ida B. Wells and generations of civil rights leaders informed his direction.
Dunn was given access to Troutbeck’s archives and found handwritten notes by Langston Hughes, and writings by Du Bois and Wells that found their way into the exhibition.
“There was a letter between Amy Spingarn and Martin Luther King Jr.,” Dunn recalled. “To be in its presence and hold it... you don’t see communication like that every day.”

Much of Dunn’s work invites viewers to dig deeper into history rather than accept simplified narratives.
“I want them to look at it and go, ‘Wow, this is really amazing and interesting and colorful and beautiful,’” he said. “And then I want them to be terrified shortly after that.” He accomplishes this through bold, colorful, and often playful compositions that draw the viewer in before revealing their more complex historical underpinnings. As Thomas wrote, “Dunn’s compositions invite viewers to sit within that tension and take it in.” That impulse toward deeper investigation extends to Dunn’s own children, who are often his first audience.
“They’ll ask, ‘What is this? Why does this person look the way they look? Why are you using that color? Why are you using glitter?’”
Those conversations, he said, become lessons in looking beyond appearances.
Thomas framed collage itself as a kind of storytelling practice —“the gathering of information… piecing things together”—and praised Dunn’s ability to translate research, memory and visual pleasure into a unified language. She also underscored the importance of creative joy in the process. “If you’re going to your studio and you’re not having fun,” she said, “you shouldn’t be doing it.”
Dunn said one of the biggest misconceptions he hopes to challenge is the idea that there is a monolithic Black experience.
“There are so many different perspectives out there. This is just one of them,” he said. In the same breath, Dunn said he adopts the label “Black artist” because “it would make my Grandpa proud.”
The nearly two-hour conversation shifted seamlessly between humor and history, studio practice and social commentary, ultimately returning to what both artists believe art can accomplish: encouraging curiosity, complicating familiar stories and inviting viewers to question what they see.
As Dunn put it, “History is so much more nuanced than what we’re taught. There’s so much more going on below the surface.”
D.H. Callahan
Vemilo performs at the Moviehouse in Millerton.
On Friday, June 26, patrons at the Moviehouse in Millerton were treated to a performance by local artist and musician Vemilo, who returned to the theater’s biggest room for a second full-length show.
Regular patrons will know Theatre Three as the setting for post-screening interviews, Q&As, discussions and the theater’s monthly movie trivia night. Vemilo’s performance entirely reimagined the space. With just a few props and pieces of furniture, the stage was transformed into Vemilo’s sanctuary.
Vemilo, who grew up in the area and lives in Millerton, defines himself as “a pop performance artist whose purpose in life is to break boundaries, stigmas and bring people together through his music, fashion and visuals.” To breathe life into that vision, Vemilo changes genres, outfits and even gender expressions throughout his performances.
The show, entitled “Metaonoia,” took the enthusiastic audience through multiple, often emotional stages of what Vemilo refers to as his rebirth. Short vignettes set up original songs about identity and relationships, with the audience clapping along to the beat.
Moviehouse manager Jeremy Boviard is excited about alternative uses for the theatre. It could potentially act as a midsize venue for musical, literary and other artistic performances. The nearby Colonial Theatre in North Canaan has dipped its toes into live performances, but with that property up for sale, that momentum seems to be slowing.
With such a vibrant artistic community in the Northwest Corner and Dutchess County, another quality performance space would be a welcome addition. After all, if Vemilo’s performance taught us anything, it’s about the power of transformation and versatility.
D.H. Callahan
Scott Siegler at his home in Sharon.
Scott Siegler is bored of success stories. But Scott Siegler has had the kind of successful Hollywood career that people write books about.
Before he was 30, he’d earned three degrees. Before he moved to Hollywood, he’d already won an Emmy for one of the nine documentaries he directed and produced. Before he helped launch Netscape, bringing the Internet to the public, he’d already started his own Hollywood studio.
Siegler’s had a lot of success in his life, but he’s not going to talk about it unless you ask him directly. He’ll reluctantly tell you about defending “Married… With Children,” the longest-running live-action sitcom ever aired on Fox, when groups of concerned parents tried to get it banned from Television. But bring up a real struggle, like the time he led the board of Pandora through 25 unprofitable quarters, and he lights up. The challenges thrill him more than the successes ever could.
Now, after spending a lifetime rising to business challenges of every stripe, he’s settling into a more creative role. According to his longtime friend David Chase, creator of “The Sopranos,” it’s about time. Chase, who wrote the foreword to Siegler’s debut book, “Mobsters in the Mansion,” reminisces about meeting Siegler over 40 years ago. While Siegler had all the business sense of a top executive, Chase could tell that there was something wilder and more mischievous than the average Hollywood suit.
That mischief springs to life on the pages of“Mobsters in the Mansion.” The loosely autobiographical collection dives into the humor of hubris and failure. The stories unfold chronologically, from adolescence to midlife, but the characters don’t adhere to any timeline. Instead, Siegler uses new people and perspectives to personify the stories he tells, allowing readers to immerse themselves in the emotional truth of the experiences rather than the particulars of one life.
Writing fictionalized stories based in reality freed Siegler from writing the truth. He believes the heart of the story is what matters more than the literal details. “It’s true,” he claimed during a conversation about his book, “but that doesn’t mean it actually happened.”
On Tuesday, July 7 at the Scoville Memorial Library in Salisbury, Siegler will appear in conversation with renowned journalist Brian Ross. Ross has won six Peabodys, six duPont-Columbia Awards and is the author of the New York Times bestseller, “The Madoff Chronicles.” His career in journalism — a profession that leaves little room for creative liberties — should provide an intriguing foil to Siegler’s relationship with the truth.
To register for the event, visit scovillelibrary.org

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Lakeville Journal
Crescendo, the Lakeville-based nonprofit specializing in early and rarely performed classical music, is taking a deep dive into the works of Johann Sebastian Bach this summer as artistic director, Christine Gevert, explores the genius of one of history’s greatest composers through a series of public masterclass workshops at Saint James Place in Great Barrington. More information at crescendomusic.org.
Alec Linden
Deborah Shiflett-Fitton operates a "walking wheel," an antique wool spinning device that would have been used by early American homespun fabric makers before more modern designs, like the one operated by Jo Mellis to the right, took over.
KENT – In celebration of the nation’s upcoming 250th birthday, the Kent Historical Society has opened an exhibit that shifts the focus from the battlefield to the home. The domestic sphere and the women who ran it, the installation argues, were no less important in the cause of American independence than the treaties and military campaigns that dominate U.S. history education.
“Homespun Kent: Revolutionary Households” kicked off with appropriate Revolutionary fanfare for an evening reception on Saturday, June 27, at the Historical Society’s Seven Hearths Museum. Approximately 100 history enthusiasts enjoyed the detailed tour of Kent’s home life during the Revolutionary Era, which took full advantage of the preserved interior of the 1751 building.
“Women were the architects of an economic force that encouraged domestic self-reliance,” states an informational video that ran in a cozy parlor at the start of the tour. The homespun fabric movement was a women-led effort to domesticate cloth production in protest of imported British merchandise in the years leading up to the Revolution, which the exhibit professes both helped cultivate a spirit of independence at a crucial moment while also servicing the practical need for wartime supplies.
“It’s more important than tea because you need cloth to wear clothes!” said Deborah Chabrian, board president of the Kent Historical Society.
She explained that beyond the focus on fabrics, the exhibit is meant to amplify a quieter but no less important story of the American Revolution. “I had never really thought deeply about how it affected someone at home,” Chabrian said.
“The women had to be just as strong,” she continued. “They had to hold the country together” while the men were on the battlefield.
The Seven Hearths Museum is an ideal venue for the exhibit as a Revolutionary home itself, explained Christine Adams, executive director of the Historical Society. Built originally as a combined residence and general store, by 1776 it was occupied by Daniel Beebe, Esther Pratt Beebe and their two children.
Daniel and his son Daniel Jr. would both leave to fight for the Patriots, leaving Esther to presumably operate the store, as well as an active fur trading post upstairs and a butchery, by herself as one of the few active supplies purveyors in early “frontier” Kent.
According to an informational pamphlet distributed at the event, Esther is one of many “resilient housewives, mothers, and spinners who labored over spinning wheels, grew and carded flax, and wove wool to clothe their families, effectively anchoring early American domestic life.”
“These were stories I never heard growing up,” Adams said.
The opening reception also featured several live demonstrations of Revolutionary Era home life. In a sunny corner room, Kent Art Association Executive Director Deborah Shiflett-Fitton, dressed in colonial garb, operated an antique “walking wheel” or wool wheel which would have been used by homespun fabric makers in colonial America.
It had been sitting in the building’s attic for years, she said as she deftly operated the device, and was revived in preparation for the exhibit by accomplished furniture restorer and Historical Society Vice President Roger Gonzales.
In the kitchen, Chabrian, also clad in antique clothing, cooked corn chowder over a wood fire in one of the museum’s namesake hearths. She explained that the soup was thickened with crackers according to an old technique that would have been used by cooks in chowders in the Revolutionary days.
Once finished, the ample pot was emptied in seconds by eager guests. Attendees then moved on to an eclectic selection of small bites that had been brought in colonial potluck fashion, complimented by beer, wine, cider and charcuterie, courtesy of the Historical Society.
Chabrian said that the overarching motivation behind the whole effort, which involved months of researching books, local history accounts and even original 18th century documents still on file at Town Hall, is to “to bring an awareness to the history that we have here,” and hopefully inspire more to help steward it.
“Homespun Kent: Revolutionary Households” is on display until Oct. 31 at the Seven Hearths Museum. The museum is open Saturdays and Sundays from 11 a.m. to 4 p.m. or by appointment.
Allison Gollenberg
Civil rights activists Rev. Nelson Johnson and his wife, Joyce, are among the vibrant portraits featured on the Kent Green as part of a public art installation.
KENT – A new public art installation featuring a rotating display of portraits will be on view at the Kent Green until July 15 as part of the town’s America 250 celebration. The portraits depict prominent Americans known for promoting civic engagement, social justice, and environmental stewardship.
Currently, the display includes five portraits and will remain there until July 1, when they will be replaced with five different images. Kent Memorial Library will show a film about the stories behind the portraits on July 11 at 6:30 p.m.
Exhibit organizer Megan Haney said the purpose of art is to “raise people’s awareness of themselves, their own potential and their responsibility to keep up the struggle to maintain American ideals.”
She said that while it is important to celebrate America, it is equally important to correct the course of the country “by asking, ‘Are we doing a good enough job?’ And frankly, we’re not.”
The exhibit was created by Maine artist Robert Shetterly and his nonprofit arts and education group, Americans Who Tell the Truth. Founded in 2002, it uses original portraits set against vibrant colors depicting courageous citizens. Each portrait is accompanied by a biography and quote for visitors to take home.
Haney and a friend learned about the project from a PBS documentary, inspiring them to bring the show to the Northwest Corner.
“If one person is affected by this exhibit, I think it will be a success,” said Lynn Gray, who also organized the exhibit. “Sometimes it just takes one.”
Shetterly started painting the portraits in the years after 9/11, riddled with grief but also upset with the Bush administration for lying about weapons of mass destruction to promote the war in Iraq, he said.
“I thought, what can I do as an artist?” he said. “I thought, why don’t I surround myself with Americans who make me feel good about the country? I did it to make myself feel better. They’d be with me because I was painting their portraits.”
Shetterly said his goal was to create 50 paintings, but today he’s made 290 and they’ve travelled to 40 states. Now, he said he hopes to paint 300. All the portraits can be viewed at americanswhotellthetruth.org.
“I don’t know if we’ve ever been at more of a time in our history when we’ve needed courageous citizenship,” Shetterly said. “I don’t want people to look and see superheroes. They’re not to be up on pedestals, in fact, they’re models of how we can be. Everyone I’ve painted was flawed, but also did something courageous.”

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