SALISBURY — Noel Sloan asked a visitor if he wanted to see the shrine: photographs in his Salisbury home of British Prime Minister Margaret Thatcher, including a couple from when Sloan actually met the legendary “Iron Lady.”Sloan, who holds dual citizenship in the United Kingdom and the United States, is an unapologetic Thatcher fan and has been asked several times to deliver a speech he wrote, “Margaret Thatcher: Britain Transformed,” about Thatcher’s accomplishments and legacy. The talk was presented locally as part of a series sponsored by the Reagan-Thatcher Forum (Sloan’s presentation was the inaugural one in the series, last year). He will be speaking at The Hotchkiss School in April (at a date to be determined). Sloan attended Hotchkiss as a young man and fell in love with the Northwest Corner. He is now a banker in New York City but has been a weekender here for the last 13 years. He has been involved in the school’s Portals music program and is a trustee for the Scoville Memorial Library.Sloan gave The Lakeville Journal an informal version of his remarks in his Smith Hill home last Sunday, Jan. 8.Why he admires ThatcherThe United Kingdom was a pretty miserable place in the 1970s, he said, with high inflation and frequent strikes contributing to a malaise that began in the late 1960s.“England was known as ‘the sick man of Europe,’’’ Sloan said (looking very English in aged corduroy trousers and an open-collared tattersall shirt peeking out from a pullover). “It was seen as ungovernable, by either Conservative or Labor governments.”“What was exciting about Margaret Thatcher is she was absolutely convinced she could solve all these major problems. And as the years unfolded, she did.”According to Sloan, under Thatcher the U.K. went from high taxes and labor unrest to low taxes and very few strikes — and re-eestablished itself as a world power.The most dramatic event in Thatcher’s premiership was the coal miner’s strike in 1984-85. Much like Pres. Ronald Reagan’s defeat of the American air traffic controllers union in 1981, Thatcher’s actions had long-lasting effects.Sloan explained that in 1984 state-owned coal mines were losing money. Thatcher’s government announced “pit closures,” — closing the less-productive mines — and the national coal miners union began a strike.A 1974 miners strike during the government of Prime Minister Edward Heath had resulted in widespread power outages and the introduction of the “three-day week,” in which power was only on for three days of the week.The Thatcher government stockpiled coal prior to the 1984 action, which deprived theNational Union of Mineworkers (NUM), headed by Arthur Scargill, of some leverage.“And a fair number [of miners] stayed on the job,” Sloan said, adding that the well-publicized conflicts between police and miners began initially with police trying to prevent violence between rival factions of miners when a separate union, the National Association of Colliery Overmen, Deputies and Shotfirers, striking miners formed pickets to try and prevent other miners from going to work.And support for the strike was not unanimous within the NUM, either, with the Nottinghamshire branch mostly staying on the job and eventually forming its own union.The strike formally ended in March 1985, after almost a year, with the NUM in disarray.Public sympathy turned against the NUM, Sloan said, when it was revealed it had received financial support from the Soviet Union and, oddly enough, Libya.“I guess they just wanted to stir up trouble,” Sloan said of the Libyan angle.The significance of the broken strike was that it “marked the end of militant trade unionism” in the U.K.Changing Britain’s outlookBetween the miners strike and the 1982 Falklands War against Argentina, Thatcher became quite popular — and powerful.“It was apparent that taking on this woman was not a good idea,” said Sloan. And, he added, the national mood improved markedly. “All [post-war] British prime ministers had been presiding over the orderly management of decline. She didn’t believe in decline. She didn’t subscribe to the consensus. It was a very, very bold belief.”Sloan said that Thatcher’s tenure (she resigned in 1990) changed the country’s politics completely, to the point where Labor politicians publicly said their party was wrong to oppose reining in the unions, and allowing citizens to purchase their public housing units.The Labor government of Tony Blair “changed to much more of a Thatcherite government. She changed not one, but two British political parties.”“She’s still controversial, but in the last few years there has been a distinct reassessment. The changes Thatcher made were, in the long run, good.”Sloan said the current government of David Cameron is cutting public spending so aggressively that even Thatcher might pause.And Thatcher resisted privatizing the coal mines and British rail. “John Major’s government did that.”Also under Blair, tuition fees for university students were first instituted. Under Thatcher, tuition was free.“Both Conservative and Labor governments have taken her agenda a little further.”Sloan said that the new film about Thatcher, “The Iron Lady” (starring Salisbury resident Meryl Streep) is a sympathetic and accurate portrayal — and an irresistible story.“Her life is made for a movie,” he said. “She was the daughter of a grocer, raised in very modest circumstances. When she became a member of Parliament in 1959, there were 25 women out of 625 MPs in the House of Commons.“It took enormous ambition just to be an MP.”In 1973, Thatcher said publicly that she did not believe there would be a female prime minister in her lifetime, Sloan said.And he described Thatcher’s tenure as a cabinet member (for education) as unremarkable.But in a short period of time she became a powerful and convincing leader of the opposition in Parliament, and went on to become the most successful peacetime prime minister since World War II.“How is it someone who was just competent became someone of such importance?” Learning and leadingSloan said that Thatcher, deciding that the Heath government was “a complete disaster,” spent her time learning, especially about economics.And she worked on her public persona, eventually becoming as effective as Reagan in her ability “to distill complex issues into simple, almost homely phrases.“She’d make the comparison to a housewife looking after a family budget. She explained things succinctly. “And like Reagan, she hated jargon.”But unlike Reagan, who had the advantage of his acting experience, “she relied more on sheer force of personality.”Asked if Thatcher is a nice person, Sloan said as prime minister Thatcher was “nice to people who didn’t have a high position.”Sloan told an anecdote of a waitress at a reception spilling hot soup on a dignitary at an offical event. “Thatcher helped the waitress clean it up; she knew the waitress would be upset.”“The people who worked for her liked her, and the scene in the movie [with the staff crying after her resignation] is accurate.”Perhaps the most telling moment of the film, Sloan said, shows Thatcher, in tears, writing letters to the families of soldiers who died in the Falklands War.But with cabinet ministers, “she could be extremely tough. To people who could talk back, she was tough, even unpleasant.”As to Thatcher’s reputation as a somewhat unlikely sex symbol to a certain percentage of British males, Sloan quoted French leader François Mitterrand, who described her as having “the eyes of Caligula and the mouth of Marilyn Monroe.”Another time, Thatcher, who had a cold, made a speech. Her voice was husky, and afterwards someone told her she sounded sexy.“What makes you think I’m not sexy all the time?” she is said to have retorted.
Latest News
Slow fashion takes the runway at Stone Ridge Orchard
Natalia Zukerman
Sep 23, 2026
The organic runway at HVSFW puts sustainable style among the apple trees at Stone Ridge Orchard.
Jay Ballesteros
Fast fashion has made it possible to buy the latest trend almost as quickly as it appears on social media. The environmental cost, however, is anything but fleeting. Fashion production accounts for about 10% of global carbon emissions, consumes enormous quantities of water and energy, and an estimated 85% of textiles end up in landfills each year. Synthetic fabrics also shed microplastics when washed.
So what would happen if we slowed things down?
That’s the question behind Hudson Valley Sustainable Fashion Week[end], a two-day celebration of sustainable style, local makers and the possibilities of keeping clothing in circulation. The weekend lands at Stone Ridge Orchard, a 200-year-old working farm, on Sept. 25 and 26, pairing an evening fashion show with a new all-ages Slow Fashion Fair.
“To me, slow fashion means intentional fashion. Careful, thoughtful, human,” said Joanne Louis-Paul, the event’s communications director. “Slow fashion is the speed at which one person can sew an intricately detailed dress. It’s taking the time to go to a thrift store or clothing swap and sifting through an unknown bounty of possibilities. It’s extending the life of a piece of clothing for as long as possible.”
In everyday terms, she said, “It’s stopping to think before purchasing anything or giving anything away.”
Friday’s fourth annual Organic Runway brings Hudson Valley designers to the farm for a sunset showcase of garments made from repurposed textiles and produced locally. Designers include Clare Bare, ennui, Kacy Coyle, KNUD, la vie après l’amour, Last Night on Earth, So Vicki and Touch Threads. The evening runs from 4 to 8 p.m., giving attendees time to pick apples and sip local cider before settling in for the runway.
“We’re all about the whimsy here at HVSFW,” Louis-Paul said. “The runway is so incredibly dreamy. Being outside makes for an unpredictable, one-of-a-kind backdrop every year, and there’s just nothing like that sunset glow.”

The unlikely pairing of fashion and farming is also part of the point.
“Once you’re sitting amongst the apple trees, you realize how much sense it makes to mend the relationship between fashion and nature,” she said.
Saturday introduces the inaugural Slow Fashion Fair, from 11 a.m. to 5 p.m., with workshops, mending, fiber art, vendors, music, eco-friendly kids’ crafts and a clothing swap. There will even be sheep.
“We wanted to have a fair so we could invite more people in the eco-friendly ecosystem into the fold,” Louis-Paul said. “We get to highlight not only designers, but makers and artisans of all kinds.”
The organizers hope the fair appeals not only to people already thinking about climate and sustainability but also to those encountering the ideas for the first time. With mending, a clothing swap and hands-on workshops, the emphasis is on showing visitors things they can actually do.
“There are so many things anyone can start doing today,” Louis-Paul said. “From something as simple as sewing a patch onto a stain or tear to hosting a mini clothing swap at your house with friends and family, there are tons of ways to engage with your wardrobe more thoughtfully.”
She speaks from experience. Before becoming involved with the event, she said, secondhand shopping held little appeal.
“As someone who never liked the idea of thrifting, I am now completely sold on circular fashion,” she said. “I recently sewed a broken strap on a dress I got at a clothing swap, and I felt so accomplished! Being in this world has shown me that conscious consumption is attainable and fun.”
But behind the fun is a serious concern about what happens to clothing once consumers decide they no longer want it.
“Just because you throw it away doesn’t mean it goes away,” she said, pointing to discarded clothing accumulating in other parts of the world and the microplastics shed by synthetic fabrics. “The planet and people are suffering because of this throwaway culture we’ve adopted. If an outfit is new but super cheap, believe there’s a high cost to someone else.”
For more information and tickets, visit hvsfw.org
Keep ReadingShow less
Susan Schneider and the magic of marbling
Robin Roraback
Sep 23, 2026
Susan Schneider, owner of Shandell’s in Ashley Falls, in her studio.
Susan Schneider, owner of Shandell’s in Ashley Falls, in her studio.
It’s a joyful process. —Susan Schneider
A beautiful September morning found Susan Schneider of Shandell’s working in her Ashley Falls home studio, while linen cocktail napkins she had marbled the day before hung on a line outside her back door. Her helpers, dogs Daisy and Stubbs, are never far from her.
“Marbling,” Schneider explained, “the art of floating paint on a liquid and printing it on a medium, has been around for hundreds of years.”
She has been creating lampshades for 25 years and has settled in Ashley Falls, where she is renovating a barn behind her house for a larger studio. Her mission: “Changing the view on plain white lampshades, one at a time!”
Besides using marbled paper, she uses papyrus, silk and hand-painted papers for the shades.
Shandell’s on Main Street, offers a large selection of marbled decorative home items on its website — trays, coasters and bookends, to name a few — as well as scarves and belts. Schneider will also customize items and creates custom wallpaper, gifts and favors for weddings and special events. She offers consultations by appointment.
Schneider explained how she began making lampshades.
“I was in business as an antiques and textile dealer, needing lampshades at the time (the early 1990s). I had a dealer who used to make lampshades. She was moving and sold me everything she had in her barn for making them. Arcs, templates for lampshades, and tools.”
Schneider used the marbled paper from the endpapers of old books to make small lampshades.
“I collected those voraciously.”
The papers were too small for the larger lampshades she wanted to make. To get paper in the size she needed, she decided to learn how to marble.
That was 10 years ago. She now has 20 tanks for marbling, including one 10-foot tank that allows her to make 3 yards of fabric at a time.
As she demonstrated the marbling process, making covers for journals, it was easy to see why she “got hooked.”

She explained that marbling takes a couple of days of preparation. She prepares water mixed with carrageenan the night before so that it thickens and becomes a viscous liquid onto which the acrylic paints can be dropped. Paper or fabric must also be prepared with alum, which “makes the paint stick,” she said, a day or two ahead of time.
When she was ready to start, Schneider first used a level to make sure the tank was even. Then she pulled a squeegee across the surface of the carrageenan mixture to break the surface tension, followed by strips of newsprint for the same purpose. She also dipped small pieces of newsprint into the mixture.
“The hardest thing to teach people is to break the surface tension first,” she noted.
Next, she used droppers to place rows of paint onto the mixture.
“It’s a joyful process,” she said as she chose more colors. “It’s totally the pleasure of the colors.”
She explained, “The colors are stopped from spreading by the surface tension.”
Then she added newsprint around the edges of the tank to break the tension again and added another layer of color. Next, she used a marbling comb, slowly dragging it back and forth across the width of the tank to create a feather-like design.
Combs come in many sizes, with teeth spaced at different intervals and in different patterns. She chose another comb to drag through the length of the tank, making the design more intricate before laying two pieces of paper on the surface. After a second or two, she lifted them, perfectly capturing the pattern, and carried them to the sink for a rinse with water.
Once she squeegeed away the paint left in the tank, she was ready to begin the process again.
Next, she created a different type of design, dripping colors in a less ordered array, then twirling them into curving lines and circles with a thin rod.
When the surface was ready, she laid a journal cover on top, then lifted it out, covered in a vibrant pattern of swirling colors.
For observers, the process can seem magical.
Schneider loves to share the delight of marbling by teaching classes at Dewey Hall in Sheffield. Upcoming classes will be held Nov. 20, 21 and 22. Beginning in November, she will also offer private classes in her home studio. Schneider had never pictured herself having a business like Shandell’s, but she discovered a passion for creating, as she says, “things that make you smile.”
For more information about her work and upcoming classes or to contact her for a consultation, visit shandells.com.
Keep ReadingShow less
Through the lens of war
Patricia Platt
Sep 23, 2026
“Omaha Beach Rescue, D-Day +1, Normandy, June 7, 1944.” one of the best-known photographs of D-Day.
Walter Rosenblum
Longtime Norfolk resident Nina Rosenblum will present her award-winning documentary, “They Fight With Cameras,” on Saturday, Sept. 26, at 6:30 p.m. at the Norfolk Library.
The film tells the story of her father, decorated U.S. Army Signal Corps combat cameraman Walter Rosenblum.
“It is very special for me to screen ‘They Fight With Cameras’ at the Norfolk Library because our family has deep ties to Norfolk,” Rosenblum said.
After the war, Walter taught photography at the Yale Summer School of Art in Norfolk for 25 years, and he and his wife, photography historian Naomi Rosenblum, later retired to the town they loved.
The film was produced and directed by Nina and her partner, Daniel Allentuck, son of Oscar-winning actress Maureen Stapleton of Lenox, Mass. For Nina, the evening is a chance to show her Norfolk friends “a side of my father that was not well known to them: a courageous combat cameraman whose images helped the world confront the truth of the war.”
Walter Rosenblum was one of the most decorated Signal Corps cameramen of the war, receiving the Silver Star, Bronze Star, Purple Heart and Presidential Unit Citation. He filmed some of its defining moments: the D-Day landings on Omaha Beach, the capture of Cherbourg and the bitter winter campaign in Alsace. On April 29, 1945, he was among the first Americans to enter the concentration camp at Dachau.
“It’s like a nightmare you’re trying to photograph as you’re trying to survive,” he recalled. “It’ll never leave me.”
Narrated by Liev Schreiber, the 55-minute film recounts Rosenblum’s service through his own photographs, never-before-seen motion picture footage, after-action reports and recently discovered wartime letters. It has received best documentary honors at 15 international film festivals.
The film also restores the names of anonymous soldier-cameramen who served alongside him, including movie cameraman Val Pope, who was killed by a sniper in Brittany.
“The vital role played by World War II combat cameramen has been largely overlooked,” Rosenblum said. “Operating under extreme danger, often armed with nothing more than a camera, they captured the definitive visual record of the century’s defining conflict, and their footage provided undeniable proof of Nazi atrocities at the Nuremberg trials.”
“They Fight With Cameras” screens Saturday, Sept. 26, at 6:30 p.m. at the Norfolk Library, 9 Greenwoods Road East. Admission is free; registration is requested at norfolklibrary.org.
Keep ReadingShow less

Want more of our stories on Google? Click here to make us a Preferred Source.
Brian Gersten finds the story in the overlooked
D.H. Callahan
Sep 23, 2026
Filmmaker Brian Gersten
D.H. Callahan
At 6 p.m. on Saturday, Sept. 26, award-winning filmmaker Brian Gersten will screen four short documentaries at the David M. Hunt Library in Falls Village, exploring obscure topics such as a lingering territorial dispute between the United States and Canada, a nationwide toilet paper panic sparked by a late-night joke, the infamous “Balloon Boy” saga and the history of bowling in America.
The Chicago-raised, Millerton-based filmmaker has worked as an editor on feature-length documentaries like the cycling film “Enter the Slipstream” and Netflix’s profile on author Tom Wolfe, “Radical Wolfe.” In 2025, “Why We Dream,” a film he edited about bringing D-Day veterans back to the beaches of Normandy, premiered aboard the U.S.S. Intrepid in New York City. When it comes to directing, Gersten’s own interests focus more on the underappreciated and unremembered, as the four short films he directed will demonstrate.
“The Gray Zone” explores the casual conflict of Machias Seal Island, a small island off the coast of Maine or Nova Scotia, depending whom you ask. It is the last piece of land disputed by the United States and Canada. While the island is mostly seabirds and seals, it also houses a lighthouse, making it more important than any other strip of rock poking above the waves in the area. News and politics publication The Atlantic chose “The Gray Zone” as one of its Atlantic Selects short films to highlight, and that was before tensions between the two nations became strained. If things get any more tense, Gersten might have to head back out to sea to make a sequel.
On a similarly low-stakes topic with potential high-stakes outcomes, “The Great Toilet Paper Scare” covers a little late-night joke that had some real-world consequences. Again, this short seems to be even more prescient than when Gersten made it in 2020, with themes of out-of-control gas prices and supply shortages across the country setting the stage for some good, clean bathroom humor, if you will.
Conversely, “Balloon Boy” was a high-stakes situation with low-stakes results. In 2009, the same year Disney released their hit animated movie “Up,” it seemed the entire nation had tuned in to witness the real-time drama of a 6-year-old boy who had allegedly climbed into his family’s experimental “flying saucer” weather balloon and taken off into the sky above Colorado.
Finally, “Memory Lanes” explores the history of bowling in America through a much more personal lens than the other three. The film was made during the COVID-19 pandemic, which forced many bowling alleys across the country to close. This pause prompted Gersten to think about the history of bowling, its meaning to him and his family, the Midwestern community where he grew up and America at large. The result is an emotional study of a game that anyone can play, but precious few can master.
These are just some of the obscure and underappreciated topics that Gersten has focused on in his career. PBS featured his short film on hollering competitions in the American South. “Mr. Ash,” a profile on a Chicago-based magician and store owner, won him multiple awards. Premiering earlier this year to rave reviews, his short documentary “Hollywood’s Mermaid” explores the life of Esther Williams, a once-famous competitive swimmer turned star of the silver screen.
After his films screen, Gersten will participate in a conversation with Yonah Sadeh, the creator of the VideoWall at the David M. Hunt Library. VideoWall is an installation in the library designed to give the community access to local independent filmmakers. Gersten’s selected films will be available at the VideoWall through the end of the year.
Gersten can be found coming in third or fourth at The Moviehouse in Millerton’s Trivia Night on the last Tuesday of every month with his team, which no longer uses names based on the 1979 comedy masterpiece “The Jerk.”
To learn more about Gersten and see some of his work, visit briangersten.org.
Keep ReadingShow less
Sharon artist takes top prize at Lime Rock art show
Patrick L. Sullivan
Sep 23, 2026
Muriel Stockdale, left, and judge Roger McKee during the awards announcement at the juried art show at Trinity Episcopal Church. Stockdale\u2019s \u201cKevin\u201d was the second place winner.
Patrick L. Sullivan
The annual juried art show at Trinity Episcopal Church in Lime Rock was won by Mi-Kyung Hwang of Sharon for “Wild Hazelnut from Eggleston.”
The winners were announced at the show’s opening reception at the church Friday evening, Sept. 18.
Organizer Theresa Kenny said the show attracted some 66 artists, 10 of whom were new to the show.
Judge Roger McKee, who recently retired as an art teacher at Salisbury School, said of the winning work, “The technical mastery here is overwhelming.”

Hwang was unable to attend the reception, but the second- and third-place finishers were on hand.
Second place went to Muriel Stockdale’s “Kevin.” McKee said the piece “has just enough to be compelling without getting too caught up in the details.”

Joan Macfarlane’s “Branching Out” was the third-place winner. McKee described the piece as “a compelling balance of realism and interpretation.”
McKee and Emily Cox served as judges. Cox could not attend the reception, but McKee said they began their work by looking at the entire show, then went through it a second time, taking photos with their phones of the standout pieces before comparing notes.
“There was a lot of overlap,” he said. “We argued a little bit and then came to an agreement.”
The show is open for viewing Saturday and Sunday, Sept. 26 and 27, from noon to 4 p.m.
Keep ReadingShow less
From Woodstock to the Warner, Graham Nash is still singing for peace
D.H. Callahan
Sep 23, 2026
Graham Nash brings a career-spanning retrospective to the Warner Theatre in Torrington on Sept. 30, joined by Todd Caldwell, Adam Minkoff and Zack Djanikian.
Misti Layne
Imagine stepping out onto a stage in front of hundreds of thousands of tired, wet and weary strangers with a lineup of songs they’ve never heard before. If you’re Graham Nash, who will perform with his current band at the Warner Theatre in Torrington on Sept. 30, you don’t have to imagine. You only have to remember.
The legendary Woodstock music festival was only the second concert Nash played with Crosby, Stills, Nash & Young. David Crosby, Stephen Stills and Nash had already formed Crosby, Stills & Nash, releasing their debut album earlier that year. Theirs was a sound both new and nostalgic when it hit the scene in the late 1960s, and, thanks in part to the success all three members had had with previous bands, they instantly found a wide and willing audience.
But when they added singer-songwriter Neil Young, they also added new material they had performed together in front of an audience only once before.. Despite their inexperience with the material, their performance, which took place in the early morning hours of the festival’s final day, became one of Woodstock’s most memorable sets. Part of the encore of that seminal set was a protest song called “Find the Cost of Freedom.” It was just one of many socially conscious songs that would define the careers of Nash and his bandmates.
Nash was born in Blackpool, Lancashire, after his mother was evacuated there during World War II. Today, 84 years later, he is still fighting for peace. His weapon of choice, of course, is music.
Nash began his career with the successful British rock band the Hollies. He has recalled how everything changed when he first sang with Stephen Stills and David Crosby in Laurel Canyon, California.
Laurel Canyon was a musicians’ paradise, with soon-to-be household names popping into each other’s homes for impromptu jam sessions. When Nash took a trip to the area to visit his girlfriend, Joni Mitchell, Stills and Crosby, both of whom were looking for new bands, just happened to be there. The musical chemistry they discovered would lead to the formation of Crosby, Stills & Nash.
Since then, Nash has been an advocate for peace and other social causes, writing and performing protest songs around the world. “Ohio” was written by Neil Young and recorded by Crosby, Stills, Nash & Young, while Nash and Young co-wrote “War Song.” Nash and David Crosby co-wrote “Immigration Man.” On his own, Nash wrote “Military Madness,” reflecting on his childhood in the shadow of World War II while the United States was fighting the Vietnam War.
More recently, Nash announced plans to release a new song about the unprecedented violence perpetrated by Immigration and Customs Enforcement agents called, simply “ICE.” Even at 84, Nash continues to use music as a vehicle for political and social expression.
For tickets, go to warnertheatre.org.
Keep ReadingShow less

Want more of our stories on Google? Click here to make us a Preferred Source.
loading












