
Jacquie Rice, left, squad officer for the nonprofit Salisbury Volunteer Ambulance Service, and Barrie Prinz, president of the Board of Trustees and volunteer squad member, prepare for an ambulance call.
Debra A. Aleksinas
Jacquie Rice, left, squad officer for the nonprofit Salisbury Volunteer Ambulance Service, and Barrie Prinz, president of the Board of Trustees and volunteer squad member, prepare for an ambulance call.
SALISBURY — While responding to a recent 911 call, members of the nonprofit Salisbury Volunteer Ambulance Service were hampered by darkness and had difficulty locating the caller’s residence.
“We had to slow the ambulance down, get the flashlights out and go looking for the house number,” which was not clearly marked from the road, recalled Jacquie Rice, SVAS chief of service.
Such delays by emergency responders, she said, happen all too often, wasting precious minutes which, in serious situations like heart attacks or stroke, could mean the difference between life and death.
House numbers that are missing or are not easily identifiable present a critical challenge for medical responders, said Rice, a long-time Salisbury resident who has volunteered with the ambulance squad for the past 45 years.
Numbers etched in stone walls or non-reflective numbers on mailboxes, fences or trees can be a nightmare to find once the sun goes down.
Most obstacles are preventable
Missing or poorly displayed house numbers are not the only challenges the ambulance squad faces as it traverses the 40 square mile community’s 70 miles of rural roadways. Winter brings with it the added challenges of snowstorms and dwindling daylight hours.
“There are all kinds of challenges that come with us being so rural,” Rice said.
Unplowed or blocked driveways, a single driveway with multiple homes, overhanging branches, locked doors, closed gates, snow- and ice-covered walkways and porches are among common obstacles that hamper medical response.
“We are really good at grabbing shovels off front porches,” Rice said, who noted that the ambulance service purchased a snowplow that attaches to its rescue truck for use during severe snowstorms.
Most obstacles are preventable, according to Barrie Prinz, president of the SVAS board of trustees and squad member, who was on call with Rice on the Friday after Thanksgiving.
“The more people are prepared, the more time they save for rescue personnel,” Prinz said. “A lot of folks are not anticipating calling an ambulance, but you can save critical minutes and save lives.”
Taking steps ahead of time to ensure movement inside the home also saves valuable response time.
“People don’t think, ‘What if I have an emergency?’ We’ve moved furniture and other items” to gain access to the patient, Prinz said. “Take a look around the house for obstacles, like stuff on stairs, furniture in hallways. Every minute saved is a minute we can spend on the patient.”
‘We didn’t want to wait’
Locked doors also impede emergency response.
“If we get to the house and the door is locked, we will break it down. If you have someone with you, have them go unlock the door after calling 911,” Prinz said.
Rice recalled that several weeks ago rescue personnel gained entry to a home by breaking a small windowpane on a porch door.
“We reached inside and opened the door, but we cleaned it all up and put cardboard on the broken window. We didn’t want to wait, as it was a medical emergency.”
As happens often in a close-knit town like Salisbury, Rice said she knew the person in distress.
“Salisbury is a very old community, so many of the people we go and see, we grew up with,” Rice said. “This gentleman was the father of some of my friends growing up. I kind of knew the layout of the house a little more.
“The types of calls that are very difficult are the people you know but they are also very good calls when you get there, and they feel more comfortable in their medical emergency.”
Many people also do not realize that ambulances and rescue trucks are wider and taller than normal vehicles.
“There are certain driveways where we have to pull in both mirrors to drive down,” because they are so narrow, Rice said. “If you want us there quickly, please remove the barriers. Help us help you.”
That includes low-hanging branches and overgrown trees and bushes, walls and locked or closed gates.
While a driveway’s clearance may accommodate an average-size vehicle, ambulances are 8 feet, 6 inches wide, not including side mirrors, and 10 feet tall, Prinz noted. “And we have some pretty long driveways in our town. If we have to leave the ambulance by the road and walk, that’s ok unless time is critical, and we have to carry you away.”
Another tip offered by rescue personnel is to secure any pets in a crate or another room.
File of Life could save a life
Other pertinent information useful to first responders is the medical history of the patient, including name and date of birth, illnesses or allergies and a list of medications with dosage.
Prinz suggests using a File of Life magnetic folder that adheres to the refrigerator door and holds vital medical data such as emergency contacts for everyone in the household.
“It is critical to have a list of medications in a place where we can see it, like the refrigerator,” she said. “If we don’t know you’re a diabetic, for example, that would help us save an incredible amount of time in determining how quickly you need to get to a hospital.”
The File of Life packet should also include a valid advanced directive such as a Do Not Resuscitate, also known as a DNR, order or a medical power of attorney.
“If we know what medications you’re on and your medical conditions, it can change the course of how we treat you and how quickly we treat you,” said Prinz.
The forms and magnetic envelope are available to residents free of charge at Salisbury Town Hall and the local library.
They can also be requested via the SVAS website by filling out the comment section, emailing salisburyambulance1971@gmail.com, or stopping by headquarters at 8 Undermountain Road in Salisbury.
Advance preparation is essential
While no one likes to think about having to call 911 in an emergency for themselves or a family member, it is essential to be prepared, said Prinz.
The ambulance squad is frequently called out to assist with falls in or around the home. Seniors with mobility issues can benefit by installing grab bars in the bathroom, or in hallways, said rescue personnel.
“I hope people don’t hesitate to call. Yes, you might be in an embarrassing situation and don’t want people to see you at their worst, but we really don’t judge,” Prinz said.
SVAS responds to 700 calls annually. “Everything from standby at a football game to folks for lift assists to medical emergencies resulting from falls or car accidents,” Prinz said. “The population keeps going up every year because more people have moved here, especially around COVID time.”
Rice also noted that the Good Samaritan Law provides immunity for individuals experiencing or witnessing underage alcohol intoxication or a drug overdose if they summon emergency services.
“There’s no judgment,” the squad chief said. “If you find someone unresponsive, we want you to call 911.”
Paquito D’Rivera performs at the Mahaiwe in Great Barrington on April 5.
Natalia Bernal is the Mahaiwe Performing Arts Center’s education and community engagement manager and is, in her own words, “the one who makes sure that Mahaiwe events are accessible to all.”
The Mahaiwe’s community engagement program is rooted in the belief that the performing arts should be for everyone. “We are committed to establishing and growing partnerships with neighboring community and arts organizations to develop pathways for overcoming social and practical barriers,” Bernal explained. “Immigrants, people of color, communities with low income, those who have traditionally been underserved in the performing arts, should feel welcomed at the Mahaiwe.”
Partnerships with organizations like Volunteers in Medicine Berkshires (VIM), the W.E.B. Du Bois Legacy Committee, and Community Access to the Arts (CATA) have helped bridge that gap. But for the Latinx community, there’s an even more targeted effort: the Spanish-language Community Advisory Network (SCAN).
“Six years ago, we started an advisory group of Spanish speakers in the community,” Bernal said. “They tell us what the community wants to see, how they’d like their culture represented. Today, SCAN has 12 members. We meet four times a year and are in constant communication. It’s because of them that we’ve hosted free Spanish-language film screenings and live performances.”
For Bernal, this work is personal. “When I first moved to the U.S. in 2003, it was because I got a Latin American scholarship to study at Berklee College of Music. That first year, I went home to Uruguay for Christmas and saw Paquito D’Rivera perform at a jazz festival. I was determined to meet him, and I did. Later that year, Paquito came to Berklee and invited me on stage.”
Now, two decades and 16 Grammys later, Paquito D’Rivera is coming to the Mahaiwe on April 5, and there’s a chance history might repeat itself. “He saw a post we made about his concert and commented, ‘Ay, chica, que maravilla, are you gonna sing a song with us?’ I almost died,” Bernal laughed. “I don’t know if it will happen, but it would be a dream.”
About the possibility of a guest appearance by Bernal, D’Rivera said, “Natalia is a very dear, valuable colleague, and jazz is about improvisation, so the surprise factor is always part of the fun here.”
D’Rivera’s concert is just one example of how the Mahaiwe is making world-class performances accessible. “My whole day has been about offering ‘pay what you can’ tickets for this show,” Bernal says. “We also issued a 50% discount to our partners. We work with ESL teachers, public libraries, literacy agencies, anyone who can help us get the word out.”
That kind of grassroots effort has been transformative. “Last year, we screened ‘Florencia en el Amazonas,’ the first opera written in Spanish ever performed at the Met,” Bernal said. “I sat in the Mahaiwe in tears. As someone who loves opera, it was the first time I heard one written in my own language. It was so powerful.”
Natalia Bernal, Mahaiwe’s education and community engagement managerPhoto by Martin Cohen
For Bernal, it all comes back to representation, on stage and in the audience. “My son is eight. I bring him to everything I can. Spanish shouldn’t just be something that happens at the dinner table. It should be in the world, in all these shapes and forms.”
And that’s what SCAN is helping build: a future where Latinx voices aren’t just included, they are central. “Our SCAN advisors are volunteers, cultural ambassadors,” Bernal said. “They help us distribute surveys, talk to the audience, and strengthen the community. Nobody should feel alone. Everybody should feel like they belong here.”
Education and outreach are central to D’Rivera’s work as well. He said, “It is an important part of our mission to plant and nurture the seed of quality music in our communities.” He continued to say, “Using our visibility and influence in favor of justice is always a very effective vehicle in denouncing violations of human rights around the world.”
This shared mission of education and social justice extends beyond the Mahaiwe. “We are one of the few arts organizations in a monthly meeting with BASIC (Berkshire Alliance for Immigrant Services). We have direct ties to the Berkshire Immigrant Center, VIM, and others so that we are well-informed and ready to serve,” said Bernal.
That commitment to community, culture, and access is why Bernal’s dream panel—Women in the Music Business—would feature Paquito’s wife and longtime manager, Brenda Feliciano. “She’s a tower of power. She’s been managing his career for at least 45 years. If I could organize an event one day, she would be the cherry on the cake.”
Until then, Bernal will keep doing what she does best: making sure the Mahaiwe is a place where everyone, regardless of language, income, or background, feels at home. And maybe, just maybe, she’ll find herself back on stage with Paquito D’Rivera, just like that first time, all those years ago.
For more info and tickets to Paquito D’Rivera, visit mahaiwe.org
There is magic in a home filled with the things we love, and Mary Randolph Carter, affectionately known as “Carter,” has spent a lifetime embracing that magic. Her latest book, “Live with the Things You Love … and You’ll Live Happily Ever After,” is about storytelling, joy, and honoring life’s poetry through the objects we keep.
“This is my tenth book,” Carter said. “At the root of each is my love of collecting, the thrill of the hunt, and living surrounded by things that conjure up family, friends, and memories.”
The creative director at Ralph Lauren for almost four decades, Carter began writing this book during the pandemic, a time of rediscovering comfort. “I found more time to appreciate those special things that give our homes warmth and connection.” Working with Ralph Lauren, she learned that the best spaces tell a personal story. “His desk was filled with toy cars, miniature shoes, superheroes, English dandies, cowboys on horseback. The walls? A gallery of his children’s paintings, iconic photos of Frank Sinatra and Gary Cooper. Everything told a story.”
Carter acknowledges how homes can become overwhelmed with stuff but sees a difference between clutter and collection. “To live happily, create environments that inspire and comfort rather than encumber you! Look around and ask, ‘What is truly meaningful? What makes you smile? What recalls the people and places you cherish?’” Then, she added, “weed out the rest with discipline and courage!”
Provided
Each home in Carter’s book reflects its inhabitant’s spirit. “The first time I walked into Bethann Hardison’s apartment, I knew right away how authentic it was to who she is.” Hardison’s walls are lined with artwork from friends Keith Haring, Jean-Michel Basquiat, and Haitian paintings, testaments to a life well lived. “Though her mantra is, ‘the lighter the load, the freer the journey,’ she also admits some things ‘delight your environment’ and can’t be parted with. Amen to that!”
Having survived two childhood fires, Carter deeply understands what truly matters. “It’s not the things, but the people and memories they evoke.” She loves her collections, but they don’t possess her. “They make me happy, but they do not define me.”
She delights in how people showcase treasures. Paula Grief, for instance, lives in a ten-foot-wide house and had to part with many books. “She tucks the ones she can’t live without through the rungs of her staircase. I love that ingenuity!”
When asked about her most cherished possession, Carter tells a story of loss and serendipity. A childhood portrait of her in a blue velvet dress was lost in a fire. “Years later, the artist’s daughter found another version. Now, it hangs in our apartment, surrounded by flea market art and one of my favorite saints, Our Lady of Guadalupe.”
Adding to the cozy feeling of this book, Carter’s son, Carter Berg, took the photographs, and her sister, Cary, contributed the illustrations. “Cary once stayed in our apartment and painted a dozen objects from our cluttered kitchen. I hung them immediately. When I started this book, I knew she had to capture my favorite objects.”
Four of the featured homes are local to the Northwest Corner, including Carter’s in Millerton, Joan Osofsky’s in Lakeville, Robin Bell’s in Salisbury, and Paula Grief’s in Hudson. They all gathered at the White Hart/Oblong Speaker Series on March 27.
After perusing the richly colored pages of this book, you may feel tempted to shop. “You don’t need money to create a meaningful home,” Carter insisted. “Some of my favorite paintings cost no more than $10 or $25. Value is personal. It’s not about provenance but the story an object tells you or the one you make up.”
Carter’s advice? “Fall in love with the wackiest thing. Surround yourself with what matters, and you’ll live happily ever after.”
On Saturday, April 5, at 3 p.m., The Triplex Cinema in Great Barrington and Jacob’s Pillow, the dance festival in Becket, Massachusetts, are presenting a special benefit screening of the cinematic masterpiece, “The Red Shoes,” followed by a discussion and Q&A. Featuring guest speakers Norton Owen, director of preservation at Jacob’s Pillow, and dance historian Lynn Garafola, the event is a fundraiser for The Triplex.
“We’re pitching in, as it were, because we like to help our neighbors,” said Norton. “They (The Triplex) approached us with the idea, wanting some input if they were going to do a dance film. I thought of Lynn as the perfect person also to include in this because of her knowledge of The Ballets Russes and the book that she wrote about Diaghilev. There is so much in this film, even though it’s fictional, that derives from the Ballets Russes.” Garafola, the leading expert on the Ballets Russes under Serge Diaghilev, 1909–1929, the most influential company in twentieth-century theatrical dance, said, “We see glimpses of that Russian émigré tradition, performances we don’t see much of today. The film captures the artifice of ballet, from the behind-the-scenes world of dressers and conductors to the sheer passion of the audience.”
Hailed as one of the greatest films about ballet, “The Red Shoes,” 1948, is a dazzling fusion of dance and cinema, featuring a mesmerizing 17-minute ballet sequence performed by Scottish ballet dancer and actress, Moira Shearer. Directed by Michael Powell and Emeric Pressburger, the film’s breathtaking use of Technicolor and evocative storytelling continues to captivate audiences, including legendary filmmakers like Martin Scorsese, Brian De Palma, and Steven Spielberg all of whom have cited the film as an influence on their work.
Garafola recalled seeing the film as a young dancer. “I remember being more taken with the plot then, but seeing it again recently, it was the color, the fantasy, and the glamour that struck me. Given how gray England was after the war, the film’s vibrant costumes and settings create an almost dreamlike escape.”
Owen echoed Garafola’s sentiment. “It’s magical. Color was their thing, and this latest restoration makes it even more breathtaking.”
The film underwent an extensive digital restoration at the UCLA Film and Television archive between 2006 and 2008 and premiered at the Cannes Film Festival in 2009. This is the version of the film which will be screened at the Triplex.
Owen said, “I love the depiction of young ballet audiences racing to their seats. That kind of enthusiasm is contagious. It’s what draws young dancers in.” Both Owen and Garafola epressed hope that young dancers will attend the event, sharing in the film’s enduring inspiration.
Owen and Garafola’s Q&A is sure to be lively and educational as they delve into the film’s legacy in both dance and cinema. “It’s not just a film for dance lovers. It’s a filmmaker’s film, too,” Owen added.
Join The Triplex and Jacob’s Pillow for this rare opportunity to experience “The Red Shoes” on the big screen, a film that continues to enchant, inspire, and ignite artistic passion.
Tickets are available for $75 at www.thetriplex.org.