There is an old saying: If you borrow a couple of hundred thousand, it is your problem; if you borrow a couple of million, it is the loaner’s problem. I called the New York State Dormitory Authority (NYDA) and the Office of Mental Health (NYOMH) and asked them a simple question: How much of their budget goes to paying the bonds raised to build the various NYOMH buildings across the state? The responses I got ranged from “we don’t have that information” to “why are you asking” all the way to “that is confidential information available through the governor’s office only.”Here is why I was asking: The Dormitory Authority had held the title to the 850-acre Harlem Valley Psyche Center (HVP) because of outstanding bonds, all $16 million of them, which had been used to finance capital projects at the psychiatric center. The NYDA sold it all for $3.95 million to Dover Knolls Development Company. So, what did they do with the original $16 million construction and refurbishment bonds? Did they pay them off? Nope. Did they defease them? Nope. They simply moved them from an NYDA line item in the state budget to “another line item” somewhere. Taxpayers are still paying off those bonds. When we were first looking at changing the HVP in the early 1990s to private use, the problem was the bonds, big fat bonds, Michael Milken and Ivan Boesky bonds paying “investors” (bond holders) 22 percent and 24 percent a year. Yes, you read that right, almost a quarter of the original investment paid, every year, to Wall Street bondholders.Now, let’s not make a big deal out of one psych center. Never mind that there are 29 such centers in New York state alone. Let’s ask where the other New York state junk bonds are while taxpayers lay out horrendous interest. Airports, tunnels, bridges, highways, power grids, schools — all sorts of bond issues were arranged by Milken and Boesky for mega-interest payments. Across the nation it was happening everywhere. I have no doubt Wisconsin has these same higher-than-normal bonds in its budget. Barron’s magazine estimates that revenue bonds comprise 65 percent of all state debt, up from 40 percent in 1975.I doubt any journalist has ever done due diligence in rooting them out. Why is this a difficult task? Because the politicians want to get re-elected and it is hard to tell the taxpayers to tighten their belts, pay more tax, when your cronies and previous politicians have so poorly run New York state’s finances that taxpayers cough up, at least, $2.5 billion a year in sky-high interest. If the interest rate was closer to commercial rates, the bonds for New York state could only cost $320 million. And what is the state’s deficit projection? $4-plus billion? Seems to me that is reason enough for someone to look into regaining some $2 billion a year.When Argentina was bankrupt and could not pay its international loans, the government there defeased them overnight. In short, they cancelled them, passed a law shredding the contracts, and said, “You money lenders have made enough profit on our backs.” What happened? Outrage in Washington and Europe. Action? War? Sanctions? None. New loans were made in weeks at 1 percent and 2 percent interest. Argentina balanced its national budget within three years and that country is now booming. And they are still playing hardball with outstanding loans at 8 percent, wanting 2 percent! Why not? The country of Argentina is not leaving anytime soon. Simply put, they cannot default, so why pay higher-than-usual rates?I have a suggestion to states’ governors: Stop siding with the fat cats in Wall Street, stop being “honorable” while your predecessors sold the farm from beneath you. Stop blaming the civil servants you hired, the ones you have an honorable contract with, the ones who have paid into pension funds you have raided for decades. Try doing the really honorable thing: Defease the bonds, to hell with bondholders who have profiteered for decades, balance the states’ budgets and bring the economy back. Peter Riva, formerly of Amenia Union, lives in New Mexico.
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Meg Sher, executive director of the David M. Hunt Library in Falls Village.
“I was a library kid. I walked to the library after school,” she said.
For Sher, the library is as much about the people as it about the books.
“Part of the job I love so much is that running the library is such a community,” she said.
She treasures the relationships she has built, whether recommending books, celebrating accomplishments or helping patrons through difficult times.
“I am thankful that our community is so supportive of the library, unlike what is happening in some other places where librarians are villainized,” Sher said.
Sher takes pride in the Hunt Library’s reputation for being “open and welcoming to everyone. People come in and see things and get pulled into things they weren’t expecting. Our library is seen as a positive force.”
Sher came to Falls Village after being awarded a fellowship at Adamah Farm, then a program of the Isabella Freedman Jewish Retreat Center. She worked at pickling, in the greenhouse and later in the development office. She also worked as a nanny.
At the same time, “I was in the library all the time,” she recalled. “I’m a voracious reader. The library is where I met a lot of my first friends in Falls Village.”
She became assistant librarian at Hunt and worked in that position for almost a decade before becoming the executive director four years ago.
Meg Sher, executive director of the David M. Hunt Library in Falls Village.L. Tomaino
Sher met her husband, Adam, while working at Adamah. They had their wedding there in 2012. He now emcees many events which she co-organizes with the Falls Village Recreation Commission.
Sher and her family live near the library.
“It’s an easy commute,” she said with a smile. “My kids run back and forth. I can go home to walk the dog if I need to.”
“My kids have grown up here.” Her oldest son, Eli, “loves volunteering. He helps with Augustfest and often helps set up chairs for ArtWall gatherings.” Her younger son, Noah, is often at events and was eager to taste cookies at last year’s holiday cookie swap.
When she is not at the library, Sher likes to hike with her family. Bella, their Portuguese water dog, often accompanies them.
Sher enjoys seeking out people to offer events at the library.
“I do a lot of different community programming. It is one of my favorite parts of the job.”
Augustfest, featuring food, music and an auction, is the library’s biggest fundraiser.
“This summer we had a record 152 attendees, which was pretty incredible.”
Yonah Sadeh, a filmmaker from Falls Village, inaugurated the VideoWall this year, Sher explained.
“I’ve known Yonah since he was two. It’s wonderful to work with him as an adult.”
The VideoWall complements the library’s ArtWall, which showcases a new artist each month. Sher praised the ArtWall committee for its work and highlighted December’s popular “12x12 Show,” featuring works by local artists, each measuring 12 by 12 inches and priced at $150.
Sher added that some of the artists who exhibit at the ArtWall offer workshops to students at Kellogg School, next door to the library. In September, artist Danielle Mailer worked with the children. Vincent Inconiglios taught a class last November.
Being next to the school, said Sher, is a great advantage.
“Kids are coming after school, to see friends, work on projects, find a great book. Kids that love the library end up using the library as grownups.”
This past year, in partnership with Adamah, the library and school created a garden, with excess produce made available at The Center on Main.
This year is Sher’s second year participating in the Troutbeck Symposium in Amenia with James King, director of the library at Salisbury School. The Troutbeck Symposium is “a gathering of a year of student historical inquiry across the region” in which students “uncover stories that have been overlooked, forgotten, or never recorded.”
Last year, Sher and King began a project with a group of students researching Irish immigrants in Falls Village, exploring ancestry and creating small magazines about their findings.
They continued this year, visiting St. Patrick’s Catholic Cemetery on Dublin Road, cleaning seven gravestones and even righting one with the help of stonemason and gravestone restoration expert Karl Munson. Paul Kozeazny, a representative of the Catholic archdiocese, helped secure access to the site.
A film documenting their activities will be shown at the symposium in spring 2027.
A full schedule of programs and events, ranging from tech help to ceramic mug-making, can be found on the library’s website.
Despite spending her days surrounded by books, and a busy schedule of programming, Sher still loves to settle in with a book at home.
For more information on library programs and events, visit huntlibrary.org
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Touré was born in northern Mali in 1981. His father, the renowned guitarist Ali Farka Touré, came from a family of soldiers and wanted his son to join the army. The younger Touré studied drums and the calabash and practiced guitar in secret. He earned his father’s blessing to pursue music shortly before Ali died in 2006, and they played two tracks together on Vieux’s debut album.
Touré is known for his deft, polyrhythmic playing, and his songs grow out of riffs that repeat and layer to hypnotic effect. He draws on rock, blues, Latin music and various African traditions. This distinctive blend builds on his father’s work adapting the sonic traditions of Mali’s arid north to the guitar.
Vieux’s album “Mon Pays” (“My Country,” 2013) honored Mali’s culture after Tuareg separatists and extremist groups seized the north in 2012. “Samba” (2017) was recorded before about 50 listeners in Woodstock, New York. In 2022 came “Les Racines” (“The Roots”), a return to his father’s desert blues, and “Ali,” on which he and the trio Khruangbin reworked eight of the elder Touré’s songs.
Touré leads the Ali Farka Touré Foundation, which focuses on cultural and educational work in Mali. Around the anniversary of Ali’s death, it holds a festival in Bamako, Mali’s capital. Bamako has been under blockade for much of the past year, besieged by JNIM, an al-Qaeda affiliate. Against this backdrop, Touré continues to carry the music of Mali to audiences abroad.
At the Nov. 5 concert, Touré’s desert blues will share the bill with Gnawa, the music LanGus plays, which developed in Morocco among West Africans who were brought north across the desert as enslaved people. Gnawa is religious music traditionally performed at all-night healing ceremonies called lila, intended to carry participants into trance.
Samir LanGusProvided
LanGus was born and raised outside Agadir, Morocco, and began learning Gnawa from its masters at age 8. He plays the sintir, a three-stringed bass lute made of wood and camel skin. The player strikes a low string with the thumb to create a deep, resonant pulse. Iron castanets clatter over the sintir’s bass line, and vocalists trade call-and-response refrains.
LanGus infuses the tradition with jazz and improvisation. In New York, he founded the ensemble Innov Gnawa. His first solo album, “Gnawa Love,” came out in February.
Touré and LanGus’s Nov. 5 concert is one of the last public events at Race Brook Lodge, which is for sale and ended full-service operations at the end of 2025. The lodge’s final scheduled event, on Nov. 6, is an evening of Rumi’s poetry with translator and vocalist Haleh Liza Gafori, cellist Isabel Castellvi and ceremonial bard James Bird.
For tickets, visit rblodge.com.
James FitzGerald is a student at Yale Law School, where he focuses on ecological restoration and international environmental cooperation. He splits his time between Lakeville and New Haven.
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