Education
Trial of Music Teacher Accused of Sexual Abuse Stirs Painful Memories
A courtroom can become a sort of time machine.
The criminal trial of Paul Geer, a former music teacher, played out in federal court in Albany, N.Y., last week. But testimony and photographic evidence transported everyone back to the 1990s and early 2000s to a town 125 miles away, Hancock, and to the Family Foundation School’s secluded campus in the woods.
The reform school is long closed and has settled several lawsuits by former students accusing Mr. Geer of sexual abuse over decades. But the trial brought the place back into the public spotlight.
There is a photo of a large basement lined with bunks. The female students slept there, beneath Mr. Geer’s home. There is the barn, where he held practice for his young singers.
Middle-age men and women sat in the witness stand and were asked the same question: “Do you see Paul Geer here today?”
They scanned the room, resting their eyes on the stout, bald, bespectacled man hunched at the defense table. Some knew him when he was in his 20s or 30s. Now he is 57.
They all pointed — him.
They were asked about how he terrorized them, or worse, decades ago, when they were teenagers.
In 2024, Mr. Geer was charged with six counts related to bringing three children across state lines to engage in sexual activity. The case led to a trial that began on Feb. 19.
On Friday, closing arguments took place. About a dozen former students who had mostly never met before, having attended the school at different periods, watched in the gallery. The jury began deliberating soon after.
Over the past week, witnesses were shown photographs of the place many have tried to forget. Their names have been redacted from public records in the case, but several have come forward in interviews and lawsuits.
“This is the isolation room where I had to stay for five days,” one former student, Elizabeth Boysick, 41, testified, looking at a picture of a tiny, windowless room. “It’s very hard to look at. Nobody should be treated like this. Especially children.”
The school was founded in the 1980s by Tony and Betty Argiros, a couple who had each struggled with addiction and built the place on the tenets of Alcoholics Anonymous and its 12-step program. Parents from surrounding counties and states sent their troubled children to the small campus, billed as a “therapeutic boarding school,” in the foothills of the Catskills.
Upon arrival, the children were strip-searched in front of other students, and an adult watched as they rubbed lice shampoo into their hair and genitals in a shower, according to testimony. They were assigned to a “family,” with staff members playing the role of parents.
Mr. Geer, who taught at the school from the early ’90s until it closed in 2014, was the “father” of Family Six. He openly described himself to students as a sex addict who hit rock bottom while driving one day and nearly crashing as he masturbated, former students testified. “This constant, returning story,” Steve Zahoroiko, 43, a former student and, later, a marine, testified. “That was the shining moment in his life, when he turned everything around.”
He forced students to admit to impure thoughts and actions in front of their new family. “Talk about whatever sex lives we supposedly had,” Mr. Zahoroiko said.
Mr. Geer was repeatedly described as flying into a rage when confronting a student. “Being screamed at by him very close to my face,” Ms. Boysick testified. “Red-faced, sweating.”
Other students recalled being forced to run in place all day — “trotting” — or haul buckets of rocks up and down a hill as a punishment.
Prosecutors called several former students who said they were sexually abused by Mr. Geer. A 39-year-old man identified as “Victim 3” testified that he had been forced by Mr. Geer to join the choir — “I wasn’t a singer” — and that the teacher had abused him on a school trip to Toronto, in a hotel room. Prosecutors showed videos of his singing in the choir, a younger Mr. Geer energetically conducting the group.
“Never thought I’d be up here on the witness stand talking about this, ever again,” the former student testified. “But he was the devil.”
Mike Milia, 46, another former student, testified that Mr. Geer took him on a fishing and sightseeing trip to Maine for several days in 1994, when he was 15. His parents did not know about the trip. Prosecutors showed photographs of the smiling teenager posing before roadside signs — “Brake for Moose.”
“We never put a fishing rod in the water,” Mr. Milia testified. Instead, Mr. Geer bought beer and pornographic magazines and sexually abused the teen for days, he testified.
Mr. Geer’s lawyers with the federal public defenders’ office sought to soften the grim portrayal of the man and the school. A former administrator, Emmanuel “Mike” Argiros — a son of the founders — testified that he had never heard complaints about Mr. Geer abusing children, and that he had sent three of his own children to the school, in part for its excellent music program.
Former students were confronted with smiling yearbook photographs of their teenage selves, paired with glowing testimonials about their time there. Mr. Zahoroiko, the former marine, chuckled on the witness stand and said the students did not write those blurbs; the school did.
Defense lawyers have raised inconsistencies in the students’ versions of events over the years, in F.B.I. interviews and elsewhere. Elizabeth Ianelli, a former student and an organizer of the earliest public attacks against the school, wrote a memoir of her time there, “I See You, Survivor,” published in 2023.
But she was called as a witness for the defense on Wednesday, and lawyers raised contradictions between what she had written and what she testified.
Throughout, Mr. Geer watched in silence, occasionally wincing in apparent physical pain and seeming to have difficulty rising from his chair when jurors entered or left the courtroom.
Lauren LaCroix, 34, flew to Albany from San Diego, where she lives with her husband and young sons, to watch the trial. She had tried to put her time at the school behind her. Now, she found comfort in meeting other former students.
“There’s no explaining,” she said. “They get it right away.”
Listening to accounts of abuse, she thought of a female staff member who had pulled her aside shortly after her arrival at the school. “She said, ‘I never want you alone with Paul Geer,’” Ms. LaCroix recalled.
On Monday, after an afternoon and a following morning of deliberations, the jurors returned with its verdict.
Guilty on the two counts involving the choir singer in Toronto.
Guilty on the two counts for Mr. Milia on the road trip to Maine.
But jurors were unable to reach a verdict on the counts related to Ms. Boysick — the only counts without photographs to document her time with Mr. Geer.
To those in the audience, Mr. Geer appeared to tear up with emotion at the verdict. He was led away in handcuffs, to remain in jail until his sentencing in July.
Ms. Boysick, who was among the first students to publicly come forward, using her name in a lawsuit, felt vindication, not loss, in the verdict, despite the outcome of the counts involving her.
“I’m going to totally own those guilty verdicts,” she said. “It wouldn’t have happened if it wasn’t for me.”
She said that moments before the verdict, Mr. Geer looked at her — “Wide-eyed, pure fear, what’s about to happen to me?” she said.
It was a feeling Ms. Boysick and her old classmates in the gallery once knew well.
Education
École des Sables, Africa’s Premier Dance School, Faces a Precarious Future
Toubab Dialao came to the rescue. This small fishing village was already an unlikely haven for artists: In the 1970s, the Haitian artist Gérard Chenet, a political exile, had settled in the area and built a hybrid art center, Sobo Badè, which boasts a theater and space for artist residencies, as well as a hotel and restaurant.
“Step by step, my father brought a lot of international artists,” Ibrahima Jacques Chenet, Chenet’s son, said at Sobo Badè. Some stayed and opened other art spaces, earning Toubab Dialao a reputation as a cultural village, Chenet said.
After holding some intensives at Sobo Badè, Acogny and Vogt looked for a space of their own. Acogny sold a small apartment she owned in Paris and Vogt added his savings to secure the grounds of the École des Sables and build the sand studio. Yet developing the school further, and making it financially viable, proved daunting.
“We would hold workshops with dancers from 25 African countries,” Vogt said, “but we had to find ways to cover the costs, because African dancers often don’t have the money to pay for training.”
In the absence of funding from Senegal’s ministry of culture, help has mostly come from European and American foundations, as well as the European Union; the luxury brand Chanel has been a partner for the past two years. Over the years, the school was able to build bungalows to house students and artists on site, as well as a second studio. But the lack of resources directed to culture on the African continent is an issue for artists, Acogny said. (Earlier this week, the budget for the African Dance Biennial, set to open on April 29, was still around $47,000 short, according to Vogt.)
Education
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Education
A Time of Growth for Museums for Children
This article is part of our Museums special section about how institutions are commemorating the past as they move into the future.
As kidSTREAM prepares to open in Ventura County, it joins a national wave of new children’s museums, expansions of existing institutions and a broadened lineup of programming aimed at young visitors.
Originally opened in 1963 as the Junior Museum of Oneida, the institution has relocated several times and reopened last May in a 14,000-square-foot space. A two-story climber anchors the main floor, allowing children to navigate ramps, platforms and woven rope pathways. The museum houses five themed galleries, including World Market, which introduces music, art and cultural traditions from around the world, and Let’s Experiment, devoted to STEAM-based learning through prism and light exploration, an animation station and other hands-on activities.
The Museums Special Section
Founded by two mothers, Erin Gallagher and Meg Hagen, the museum opened last September in a former farm and garden center. They set out to establish a dedicated children’s institution to serve as an anchor for the community. The 6,400-square-foot space includes 12 exhibit areas focused on STEM exploration, art, engineering, imaginative play and sensory activities. It also offers family and after-school programs, as well as designated sensory-friendly hours. An additional 4,000 square feet of outdoor play space is expected to open in late spring.
In March, the 90,000-square-foot museum expanded with the Gallery of Wonder, a 9,000-square-foot early childhood space designed for children from infancy to age 5. The gallery includes five interactive environments. Into the Woods invites climbing, swinging and fort building in a forest setting, while Under the Waves offers a softly lit ocean cove with sensory-focused light and sound where children can play with puppets. Viva Village centers on community life, encouraging children to role-play everyday helpers. Tot*Spot, reimagined as an oversized garden, caters to infants and toddlers, while the outdoor Treetop Terrace is a space for active play.
The museum debuted two permanent exhibits in October as part of a broader transformation. Galactic Builders is a 1,788-square-foot space-themed environment that invites children to design rockets, engineer rovers and explore physics concepts through hands-on exploration. SKIES is a quieter, sensory-focused space featuring reading nooks, a dedicated area to rest and recharge and immersive visuals of sunrises, sunsets and drifting clouds. Together, the additions expand the museum’s interactive footprint by more than 4,500 square feet and mark the first phase of a multiyear effort to update its learning environments for young visitors.
In November, the museum unveiled a $11.6 million expansion that doubled its footprint to more than 30,000 square feet. The addition includes three galleries, two of which house permanent exhibits. The Sunflower Gallery is a hands-on environment where children can explore the prairie ecosystem and includes a two-story sunflower structure they can climb. The Hall of Bright Ideas celebrates creative Kansans with engineering-based activities. A third gallery will host traveling exhibitions, and the expansion adds three laboratory classrooms for STEAM programs and camps.
Conceived by a former preschool teacher and children’s cartoon artist, Mike Bennett, the Portland Aquarium opened last June as an animal-free, cartoon-style aquarium. Bennett said he wanted marine science to feel like “stepping inside a hand-drawn cartoon.” The 5,000-square-foot space showcases six ocean biomes, including the Wreck, focused on deep-sea carnivores and mysterious creatures, and the Open Ocean, highlighting some of the largest animals that swim in the seas. Throughout, visitors encounter illustrations of more than 100 marine species, including sea otters, jellyfish and great white sharks. Each child receives a guidebook created in collaboration with marine biologists to use throughout the galleries.
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