Garden of Atoms: Family’s battle against radioactive dump

Left to right: Matthew L. Myers, Stephen Myers, Betsy Myers, and Shepherd P. Myers.
Jennifer Almquist

Left to right: Matthew L. Myers, Stephen Myers, Betsy Myers, and Shepherd P. Myers.
WINSTED — “It only takes a few people to start something,” began Betsy Myers in her hour-long presentation Aug. 17 at Ralph Nader’s American Museum of Tort Law.
Myers, her husband Stephen Myers, and sons Shepherd and Matthew, who now live in Salisbury, recalled together their epic battle against the siting of a low-level nuclear waste facility (including high-level waste by dilution) by New York state in their rural town of Almond. The New York State Radioactive Waste Siting Commission was under a federal mandate to find a home for nuclear waste.
Allegany County, next to the Pennsylvania border, was one of the possible sites. Almond is an isolated farming community in that county, where the Myers family moved in 1979 with their young sons. They left New York City to have a quieter life. They both taught in the rural central school. When they learned of plans for locating a nuclear waste site 10 miles from their home, they immediately began getting the word out into the community.
Betsy and Stephen started small, sharing the information with the folks that hung out at the local pub, Mulhesian’s Bar. Myers, who resembles artist Georgia O’Keefe, recalled “I worked the crowd in the bar, said we must fight against the dumping of nuclear waste in our county, and they said I was a dreamer.”
Thus began an amazing struggle pitting a rural farm community against the powers of New York State, Governor Mario Cuomo and Congressman Amory Houghton, Jr. Houghton, the wealthiest member of congress at that time, was an heir to the Corning Glass Works fortune. He recognized potential profit for his family business in the siting of the nuclear waste facility. A process called vitrification basically encased the nuclear material in glass (a concept that has since proven flawed), was seen at the time as a means of safely disposing of nuclear waste. If implemented, the process could have meant a fortune to Corning Glass Works, according to Myers.
The Myers duo founded Concerned Citizens of Allegany County (CCAC), a community-based grassroots organization. When the group held their first community meeting in Belfast, New York, on Jan. 26,1989, 5,000 people showed up, out of a population of 16,000 in the county. It was a mixture of hardscrabble farmers and highly educated professors.
Myers explained that it was a complicated group to appeal to. She said, “There were a lot of guns in the county, and some really tough locals. We wanted peaceful protests – no guns, no knives, no violence. It is enduring that everyone bonded against nuclear waste.”

Governor Cuomo, who aspired to become President, came to the area to purportedly to give a grant to the Alfred University’s ceramics school, but his real purpose was to check out the tales of a radical “Bump the Dump” campaign. At that time there were a handful of commercial dump sites proposed for spent reactor fuel up and down both coasts. Congressman Houghton took Steve Myers to Barnwell, South Carolina, to show him a “successful” nuclear site. To Houghton’s chagrin, Myers brought a Geiger counter with him, and came home to Almond stating, “there is no safe storage.” [Note of interest; the current 235-acre low level-radioactive waste disposal site in Barnwell County receives waste from South Carolina, New Jersey, and Connecticut.]
The dire nature of the problem galvanized the people to block all efforts of the State Siting Commission from entering the county. Every vehicle in town — cars, trucks, and farm tractors — parked on both sides of the street blocking access, someone put a dead skunk into the exhaust fan of the Siting Commissioner’s RV. They marched to Albany carrying wooden caskets representing the potential towns under consideration as sites. Two farmers welded shut the bridge to keep them from entering town. Wearing a red arm band meant you were willing to be arrested, a yellow arm band indicated you were a supporter.
Some state official referred to the locals as “people kept in the dark and fed mushrooms.” Thus, was born the paper mushroom masks that all the protestors wore to protect their identity from the recent injunction against them. Anyone recognized by the State Police would receive 30 days in jail and a $1,000. fine.
As the State increased pressure on the people, they began pushing back harder. Men rolled giant snowballs to block the roads, and parked every manner of combine, bailer, and mower across the bridge. During the final site Commission visit, a bunch of elders blocked the Caneadea Camelback Bridge by handcuffing themselves to a chain across the span. They became known as “Grandparents for the Future.”
Some of the protesters had ridden in on their workhorses. An overzealous State Police captain moved in, arrested the men, and ordered his troopers to beat the horses. “We were on our horses and the troopers beat some of our riders into the mud,” recalled Glen Zweygardt. That was the final straw. Myers said to a hushed crowd at the American Tort Museum, “NY State lost, the night they beat the horses.” The next day Cuomo ordered the commission to suspend their surveys.
The activists’ legal challenge questioning the constitutionality of the siting process at the state level, based on the Tenth Amendment concerning state’s rights, moved through the courts, 13,000 residents signed a petition, and their case was eventually heard in 1992 by the Supreme Court, who ruled in favor of the people in New York v. U.S.et al, which determined that “Congress cannot force states to assume ownership and liability of low-level radioactive waste within its borders.” It was a hard-fought victory.
The legal documents, correspondence, newspaper clippings, buttons, posters, tee-shirts, even the mushroom masks, are held in a level II security vault at Cornell University, donated by both Myers’ sons. The Myers Collection is stored alongside a copy of the Gettysburg Address. The legacy of the grassroots movement begun by Stephen and Betsy Myers to protect the safety of their children and their neighbors from nuclear poisoning, still resonates in every small town and city in America.
“Once Upon a Time in America” features ten portraits by artist Katro Storm.
The Kearcher-Monsell Gallery at Housatonic Valley Regional High School in Falls Village is once again host to a wonderful student-curated exhibition. “Once Upon a Time in America,” ten portraits by New Haven artist Katro Storm, opened on Nov. 20 and will run through the end of the year.
“This is our first show of the year,” said senior student Alex Wilbur, the current head intern who oversees the student-run gallery. “I inherited the position last year from Elinor Wolgemuth. It’s been really amazing to take charge and see this through.”
Part of what became a capstone project for Wolgemuth, she left behind a comprehensive guide to help future student interns manage the gallery effectively. “Everything from who we should contact, the steps to take for everything, our donors,” Wilbur said. “It’s really extensive and it’s been a huge help.”
Art teacher Lilly Rand Barnett first met Storm a few years ago through his ICEHOUSE Project Space exhibition in Sharon, “Will It Grow in Sharon?” in which he planted cotton and tobacco as part of an exploration of ancestral heritage.
“And the plants did grow,” said Barnett. She asked Storm if her students could use them, and the resulting work became a project for that year’s Troutbeck Symposium, the annual student-led event in Amenia that uncovers little-known or under-told histories of marginalized communities, particularly BIPOC histories.
Last spring, Rand emailed to ask if Storm would consider a solo show at HVRHS. He agreed.
And just a few weeks ago, he arrived — paints, brushes and canvases in tow.
“When Katro came to start hanging everything, he took up a mini art residency in Ms. Rand’s room,” Wilbur said. “All her students were able to see his process and talk to him. It was great working with him.”
Perhaps more unexpected was his openness. “He really trusted us as curators and visionaries,” Wilbur said. “He said, ‘Do with it what you will.’”

Storm’s artistic training began at New Haven’s Educational Center for the Arts. His talent earned him a full scholarship to the Arts Institute of Boston, then Boston’s Museum School, where he painted seven oversized portraits of influential Black figures — in seven days — for his final project. Those works became the backbone of his early exhibitions, including at Howard University’s National Council for the Arts.
Storm has created several community murals like the 2009 READ Mural featuring local heroes, and several literacy and wellness murals at the Stetson Branch Library in New Haven. Today, he teaches and works, he said, “wherever I set up shop. Sometimes I go outside. Sometimes I’m on top of roofs. Wherever it is, I get the job done.”
His deep ties to education made a high school gallery an especially meaningful stop. “No one really knew who these people were except maybe John Lennon,” Storm said of the portraits in the show. “It’s really important for them to know James Baldwin and Shirley Chisholm. And now they do.”
The exhibition includes a wide list of subjects: James Baldwin, Shirley Chisholm, Redd Foxx, Jasper Johns, Marilyn Manson, William F. Buckley, Harold Hunter, John Lennon, as well as two deeply personal works — a portrait of Tracy Sherrod (“She’s a friend of mine… She had an interesting hairdo”) and a tribute to his late friend Nes Rivera. “Most of the time I choose my subjects because there are things I want to see,” Storm said.
Storm’s paintings, which he describes as “full frontal figuratism,” rely on drips, tonal shifts, and what feels like emerging depth. His process moves quickly. “It depends on how fast it needs to get done,” he said. “Sometimes I like to take the long way up the mountain. Instead of doing an outline, I just start coloring, blocking things off with light and dark until it starts to take shape.”
He’s currently in a black-and-white phase. “Right now, I’m inspired by black and white, the way I can really get contrast and depth.”
Work happens on multiple canvases at once. “Sometimes I’ll have five paintings going on at one time because I go through different moods, and then there’s the way the light hits,” he said. “It’s kind of like cooking. You’ve got a couple things going at once, a couple things cooking, and you just try to reach that deadline.”
For Wilbur, who has studied studio arts “ever since I was really young” and recently applied early decision to Vassar, the experience has been transformative. For Storm — an artist who built an early career painting seven portraits in seven days and has turned New York’s subway corridors into a makeshift museum — it has been another chance to merge artmaking with education, and to pass a torch to a new generation of curators.
Le Petit Ranch offers animal-assisted therapy and learning programs for children and seniors in Sheffield.
Le Petit Ranch, a nonprofit offering animal-assisted therapy and learning programs, opened in April at 147 Bears Den Road in Sheffield. Founded by Marjorie Borreda, the center provides programs for children, families and seniors using miniature horses, rescued greyhounds, guinea pigs and chickens.
Borreda, who moved to Sheffield with her husband, Mitch Moulton, and their two children to be closer to his family, has transformed her longtime love of animals into her career. She completed certifications in animal-assisted therapy and coaching in 2023, along with coursework in psychiatry, psychology, literacy and veterinary skills.
Le Petit Ranch operates out of two small structures next to the family’s home: a one-room schoolhouse for animal-assisted learning sessions and a compact stable for the three miniature horses, Mini Mac, Rocket and Miso. Other partner animals include two rescued Spanish greyhounds, Yayi and Ronya; four guinea pigs and a flock of chickens.
Borreda offers programs at the Scoville Library in Salisbury, at Salisbury Central School and surrounding towns to support those who benefit from non-traditional learning environments.
“Animal-assisted education partners with animals to support learning in math, reading, writing, language and physical education,” she said. One activity, equimotricité, has children lead miniature horses through obstacle courses to build autonomy, confidence and motor skills.

She also brings her greyhounds into schools for a “min vet clinic,” a workshop that turns lessons on dog biology and measuring skills into hands-on, movement-based learning. A separate dog-bite prevention workshop teaches children how to read canine body language and respond calmly.
Parents and teachers report strong results. More than 90% of parents observed greater empathy, reduced anxiety, increased self-confidence and improved communication and cooperation in their children, and every parent said animal-assisted education made school more enjoyable — with many calling it “the highlight of their week.”

Le Petit Ranch also serves seniors, including nursing home residents experiencing depression, social withdrawal or reduced physical activity. Weekly small-group sessions with animals can stimulate cognitive function and improve motor skills, balance and mobility.
Families can visit Le Petit Ranch for animal- assisted afterschool sessions, Frech immersion or family walks. She also offers programs for schools, libraries, community centers, churches, senior centers and nursing homes.
For more information, email info@lepetitranch.com, visit lepetitranch.com, follow @le.petit.ranch on Instagram or call 413-200-8081.