
Winchester Chief of Police Christopher Ciuci with Police Sergeant Peter DeLouis (left), and Officer Scott Twombly (right).
Photo by Jennifer Almquist
Winchester Chief of Police Christopher Ciuci with Police Sergeant Peter DeLouis (left), and Officer Scott Twombly (right).
More than 50 Connecticut school districts have been affected by “death threats” made on social media since the beginning of the school year. Public schools were evacuated and locked down in Winchester, Bristol, Bridgeport, Ansonia, Westport, Meriden, Norwalk, Waterbury, Fairfield, Uniondale, West Babylon, and Torrington as school officials erred on the side of caution. As of Oct. 25, 20 juveniles have been arrested.
Commissioner Charlene Russell-Tucker of the Connecticut Department of Education sent out a letter on Oct. 22 addressed to parents and guardians. The letter, also signed by Governor Ned Lamont (D) and Commissioner Ronnell Higgens of Emergency Services and Public Protection, serves to address parents’ fears and asks them to support safe schools.
“Plans focus on prevention, protection, mitigation, response, and recovery. Safety and security begin at home. We encourage parents and caregivers to help us with this.”
In a recent discussion concerning the “dangers of technology,” Governor Lamont highlighted “Kids Online Safety Act” (KOSA) introduced by U.S. Senator Richard Blumenthal (D-CT) and U.S. Senator Marsha Blackburn (R-TN) (which passed the Senate on July 30, 2024), and Blumenthal was asked about statewide online school threats.
KOSA, according to Blumenthal, “Creates a duty for online platforms to prevent and mitigate specific dangers to minors.”
“Social media is an accelerant, like in a fire,” said Blumenthal. “It can spread and deepen harmful comments, threats and bullying.” Blumenthal continued, “I think effective law enforcement, as we’ve seen in Connecticut, as well as disapproval from contemporaries, peers and fellow students, can have an enormous effect.”
“Police are being very careful to see which is a serious threat and which is maybe some lark. Or somebody thinking it’s a mischievous prank,” said Lamont. Blumenthal added, “This is no joke.”
According to The Children’s Defense Fund: “Gun violence remains the number one cause of death for children ages one to 19, with the gun death rate for children at almost five in every 100,000 in 2020. Babies born the year of the watershed Columbine massacre are now 24 years old. No youth today knows a world without the threat of sudden deadly gun violence.”
The Lakeville Journal interviewed Winchester Chief of Police Christopher Ciuci following recent threats and school closings affected Winsted.
Almquist: Chief Ciuci, when did you begin working with the Winchester Police Department?
Ciuci: I’ve been in Winsted for a year and a half, after just shy of 29 years in Berlin. I grew up in Fairfield County and now I’m learning Litchfield County.
JA: Parents on social media said they were afraid to take their kids to Pearson School in Winsted (elementary school serving 300 children grades 3 to 6) recently. There was talk of a boy threatening with a gun on their school bus. There seemed to be a lot of confusion — parents concerned about what’s real and what isn’t. There was also a lot of criticism of the response from various authorities, including school administrators and police. After school shootings like the recent one in Georgia, there is usually an uptick in copycats on social media, but this seemed different. The threats were more prevalent — more national and widespread. Do these threats seem different to you?
CC: There was a contagious effect throughout Connecticut. What exacerbated that really was the social media. Once it got out there, it just kind of spiraled. It is hard dealing with all these different social media platforms. Getting out the proper message — there is a lot of misinformation. We have dealt with things like this in the past, so there are plans in place. We have a good relationship with the schools, and Emergency Management in Winsted. When you’re talking about school safety, it’s really that partnership between all of us — the parents, the community, the town, the Police department, the Fire department, and Emergency and Emergency Management — everybody. There are plans in place at the school required by state law — school safety plans, lockdown drills.
JA: Was the school’s response adequate?
CC: I thought the principal over at Pearson School did a good job. They were dealing with a child that is only 9 years old. In Connecticut you can’t even charge a child under 10 with a crime. To be honest with you, we don’t even want to get involved with a child so young. With juveniles, our first default mechanism is to divert from the criminal justice system. Especially with a child that age. We have diversion programs; a juvenile review board here, but in this situation, nothing really fit that criterion, because of the age of the child. The school had procedures in place. They met with their social workers, and threat assessment team. They did what they were supposed to do and made an assessment.
JA: Why were parents so critical of the response?
CC: I know where things got carried away because instead of the parents dealing directly with the school, or dealing directly with us, they just started putting stuff out on social media. Then that triggers and creates alarms, and that is what we want to try to avoid. After any incident like this it’s important to sit down, look at how it was handled, and determine what can we do better next time.
JA: It was reported that recently in Ansonia, a 13-year-old girl confessed that she made a threatening school post. She was charged with first-degree threatening and second-degree breach of the peace. In Florida, Sheriff Mike Chitwood perp walked an eleven-year-old suspect into custody, and a video of the child being arrested was shown to the public. The authorities said they wanted to publicly shame the parents and their child. How do you respond to that approach?
CC: It is hard to determine a lot of these threats that that are circulating now, because the technology allows them to know they’re anonymous. We don’t know where they’re coming in. They are disguising the numbers, disguising emails, disguising the social media posts. So, it’s difficult to track that back to the source and pursue it criminally. Make no mistake, if we can identify them, we really have a zero-tolerance policy at this department when it comes to threats. If a child was of age to be criminally charged, we would still follow through with that referral process, but we would divert them to the juvenile review board. But if there was a crime committed by someone of age, the message we want to send the child is that we’re going to pursue criminal charges.
JA: How do you determine a real threat?
CC: It is a multi-layered problem when the threat is real — you have the actual perpetrator, you have an actual crime that’s going to be committed. I think probably the hardest thing is determining whether a threat is real or not. We’re a small department without enough staffing. When you talk about school safety it takes a town-wide commitment. Not just supporting the people involved in public safety, but financially supporting them as well. Providing public safety is not cheap. But it’s in between handling calls for service such as dealing with school incidents which pulls everybody away from everything else.
The Children’s Defense Fund states: “Our nation’s young people deserve the chance to have a childhood free from violence and a country with leaders who ensure that they are safe in their schools, neighborhoods, and communities.”
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.