Decades after ban, PCBs still haunt the Housatonic

A guide took a client fly-fishing on the Housatonic River last year. PCB pollution remains a major problem on the river.
Photo by Patrick L. Sullivan


NORTH CANAAN — Lynn Fowler does not mince words when it comes to describing the decades-long efforts to reclaim the Housatonic River system from years of neglect and PCB contamination originating from the General Electric Company (GE) facility in Pittsfield, Mass.
“Unfortunately, the Housatonic has been marinating in PCBs since the early 1930s. It’s a very sad story, and don’t expect that there is going to be a happy ending,” she said during a recent interview.
As one of two North Canaan representatives on the Housatonic River Commission (HRC), Fowler has been giving monthly updates to HRC for the past 22 years on the struggle to remove the long-lasting polychlorinated biphenyls, or PCBs, from the river’s sediments, floodplain soils and groundwater.
The Housatonic was polluted when PCBs were released into the river from 1932 until 1977 by GE. The PCBs migrated downstream through Connecticut and into the Long Island Sound. The man-made toxins, which are resistant to biodegradation, are present in large quantities in river sediment and floodplain soil to the tune of between 100,000 to nearly 600,000 pounds of PCBs, according to the federal Environmental Protection Agency (EPA).
Most of the contamination is found between the confluence of the East and West branches in Pittsfield and Woods Pond Dam in Lenox, Mass., and farther into Rising Pond in Great Barrington. Currently, more than 50% of the PCBs that enter Woods Pond go over the dam and continue downstream, into Connecticut, a distance of approximately 140 miles, according to the EPA.
Although PCBs were banned in the United States in 1979 under the Toxic Substances Control Act, the carcinogens won’t be gone anytime soon — if at all. And neither, it appears, will litigation seeking a more stringent remedy.
EPA’s final permit issued March 1
If there is a positive chapter in the PCB saga, said Fowler, it’s that GE is being held accountable to the states of Massachusetts and Connecticut, the EPA and other environmental groups and affected landowners under an extensive remediation plan.
Fowler’s comments were in response to the March 1 announcement that the EPA has issued its final permit decision obligating GE to perform a cleanup of the Rest of River portion in Massachusetts and Connecticut.
“The communities along the Housatonic deserve access to a river free of threats posed by PCBs and issuing the final permit today is a big step towards that cleanup goal,” said EPA Regional Administrator David W. Cash in making the announcement.
“It’s really not a clean-up, it’s a remediation,” noted Fowler of the EPA/GE agreement. “You can’t clean up toxins like PCBs or mercury. They remain forever,” causing permanent harm throughout the local ecosystem. The PCBs have impacted aquatic organisms and their habitats, as well as fish and wildlife that consume contaminated organisms, she said.
‘One chance in history to get this right’
Not so fast, say two environmental watchdog groups that are calling for more stringent cleanup and for the treatment of PCB-contaminated soils and sediments and are gearing up for a second appeal to the EPA/GE permit, this time in federal court.
“Right from the beginning we knew, 15 or 20 years ago, that the culmination for fighting for the river would end up in Federal court,” said Timothy Gray, executive director of the Housatonic River Initiative (HRI), a nonprofit coalition of Massachusetts and Connecticut environmentalists, sportsmen and owners of contaminated properties. “And here we are.”
On Dec. 16, 2020, EPA issued a Revised Final Permit, outlining the cleanup plan for the Rest of River in Massachusetts and Connecticut, but the remediation was delayed when HRI and the Housatonic Environmental Action League (HEAL), petitioned EPA’s Environmental Appeals Board for review of the Revised Final Permit.
The environmental groups had hoped to block the EPA’s plan to dispose of toxic material at a proposed 20-acre landfill in Lee, Mass., arguing that the EPA should instead be looking at new technologies for the cleanup that would break down PCBs, rather than removing and dumping them.
The environmentalists lost their appeal, and on Feb. 8, the board issued a 122-page ruling in the EPA’s favor and giving a green light for the Rest of River cleanup plan to proceed. In the decision the judges determined that the groups failed to prove that the EPA “clearly erred” in its remediation proposal. Gray said in an interview on March 23, that a new legal appeal by HRI and HEAL is imminent.
“Our town is just really in a bad place right now,” said Gray. “The dump is 1,000 feet from the banks of the river, and 1,000 feet up in the air on top of a hill. That’s where they are going to build it. We have one chance in history to get this right, and we are not getting it right.”
The environmental groups also argued that Connecticut should be included in the final agreement.
Legal challenges continue
And so the legal wrangling continues. “We are gearing up for federal court, where we have a better chance of winning. One of the things we are challenging in Connecticut is the notion of Monitored Natural Recovery. It means do nothing, and sample every 15 years,” Gray said. “We are asking the court for a re-review of everything. In Connecticut, the Housatonic Environmental Action League is pushing the right buttons for Connecticut, whereas the state is not.”
“Does that mean dredging up the entire river in Connecticut? Absolutely not, but there are problem areas we should be addressing if we really want clean waters again,” said the environmentalist. He pointed to areas around Bull’s Bridge in Kent and Lake Lillinonah as locations that can benefit from PCB remediation.
“Connecticut residents,” noted Fowler, “should be reminded that there is no clean-up phase planned for Connecticut at all. Ever.”
Some see ‘positive impact’ from EPA ruling
James Fowler, spokesman for the Connecticut Department of Energy and Environmental Protection, (and no relation to HRI’s Lynn Fowler) said the remediation efforts specified in the EPA’s Rest of River plan “should have a positive effect on PCB levels downstream in Connecticut. These efforts should reduce risk for people and for wildlife.” But until all PCB sources are eliminated, he noted, “there will continue to be varying levels of contamination in Connecticut.”
Currently, there are 125 fish consumption warning signs, in two languages, posted along the Connecticut stretch of the Housatonic. According to Lynn Fowler, the state is currently renegotiating with GE to make the company responsible for maintaining the signage in Connecticut.
William Tingley, chairman of the Housatonic River Commission, said he sees the final EPA ruling as a step in the right direction. He said the issue of PCB contamination has been “a permanent fixture” on HRC’s agenda for decades and expressed optimism that the Rest of River plan will have a positive impact in Connecticut in the future.
“We are very interested in terms of how it affects our own water quality and meeting the standards we’d like to attain. The good news is that, overall, there have been some positives out of this in terms of eliminating, or at the very least lessening, the source point of pollution in Pittsfield. The restoration that was done up there is good stuff.”
What progress has been made?
In 2000, a settlement was reached requiring GE to pay more than $15 million in damages, split evenly between the states of Connecticut and Massachusetts. Those funds were earmarked toward financing restoration projects in both states.
According to the EPA, cleanup of PCBs and other hazardous substances in Pittsfield and the Housatonic has progressed under an October 2000 Consent Decree entered into by EPA, Massachusetts, Connecticut, the City of Pittsfield, GE and the Pittsfield Economic Development Authority.
Cleanup was required for 20 contaminated areas outside the Housatonic River, five groundwater management areas, and three river segments: the Upper ½-Mile Reach, the 1.5 Mile Reach, and Rest of River. The remediation of the 20 non-river cleanup areas and the first two miles of the Housatonic are complete, according to the EPA, and GE is conducting all required post-removal site control activities including inspection, monitoring and maintenance activities at these sites.
The EPA cleanup plan for Rest of River is estimated to take 13 years of active remediation. Remediation is expected to begin about two years after all appeals are resolved.
Gray said he is optimistic that the impending legal challenge, which they must file within 90 days from the EPA’s March 1 ruling, will yield results. “The wonderful thing is that we have been blessed by having the best environmental group in the Berkshires working for us pro bono. It doesn’t mean we are going to win, but it gives us a chance.”
Lynn Fowler noted that the EPA and GE are “moving ahead, in spite of the fact that there could be future legal cases against them. They have plenty to do to set the stage” for the EPA-approved Rest of River remediation, she said, including an infrastructure plan that could take up to two or three years and more than a decade to implement.
In the end, there’s no disputing that the Housatonic, which is currently seeking federal Wild and Scenic status, is a “massive, beautiful river” known near and far for its exceptional recreational value and scenic beauty, she said. “It’s just that it’s still a sad story.”
Patrick L. Sullivan
The Berkshire Resilience Brass Band brought lively brass and jazz-inspired music to the lawn at the David M. Hunt Library on Friday evening, July 24.
FALLS VILLAGE — The Berkshire Resilience Brass Band brought lively brass and jazz-inspired music to the lawn at the David M. Hunt Library on Friday evening, July 24, drawing about 30 people at the start of the outdoor concert and more as the evening progressed.
Led by trumpeter Shamu Sadeh, the band’s lineup shifts from performance to performance. Friday’s group included Charlie Kiel on trombonium, Sam Earnshaw on percussion, Eric Loffswold on baritone saxophone, Dathalinn O’Dea on alto saxophone, David Rogers on tenor saxophone, and Peter Peirce on trombone.
Audience members became part of the performance as well. During one number, the horn players switched to percussion, while a basket of rattles and other handheld instruments was available for audience members to play along. Sadeh and O’Dea encouraged several young children to shake along with the music.
The audience continued to grow throughout the evening, including a family who stopped after hearing the music while driving by.
Although the band’s performances sound spontaneous, they begin with a shared musical framework.
“We start with a tune or arrangement,” Rogers said. “Then we do or don’t follow it.”
Rogers estimated that any given performance is at least half improvisation.
It’s not left entirely to chance. O’Dea said the group rehearses once a week, on Sundays.
D.H. Callahan
Bernie Williams and his Band of Friends at Millbrook Winery in 2025.
Throughout the history of Major League Baseball, precious few greats have been considered five-tool players. New York Yankee Bernie Williams was one of them.
To be considered a five tool player, one must show exceptional proficiency in five categories: hitting for average, hitting for power, running bases, fielding and arm strength. But there’s another tool Williams possesses that didn’t make it to the back of his baseball card: his mastery of jazz guitar.
On Aug. 1 at Millbrook Winery, that elusive sixth tool will take center stage as Williams and his Band of Friends return to the Vineyard for a night of jazz, wine and possibly a baseball reference or two.
Williams is best known for his legendary career with the Yankees. During his 15 years with the Bronx Bombers, he won four World Series championships, four Gold Glove awards and one Silver Slugger award in 1998, the same year he won the American League batting title, making him the first player in history to win a Gold Glove, a batting title and a World Series in the same year. Oh yeah, he was also an MLB All-Star every year between 1997 through 2001.
But while his work on the field is well known to New Yorkers and the broader baseball world, he almost took the musical route through life.
Williams first picked up a guitar when he was just 8 years old and was immediately taken by the magic of music. He was so passionate about it that he attended a performing arts high school in his hometown of San Juan, Puerto Rico. By the time he made it to the big leagues, he was known as the guy with the guitar in the locker room.
That reputation soon reached the Yankees’ fan base, with commentators telling stories of Williams and his outfield teammate Paul O’Neill’s jam sessions. O’Neill set up a drum kit in a paint room at the old Yankee Stadium, and the two would play together through rain delays, sometimes getting visits from New York City’s musical greats while they waited to play ball. MSG Network, which aired Yankees games at the time, even ran a promotional ad featuring the two World Series champions jamming together on a blues riff in their batting practice uniforms.
But unlike O’Neill, whose drumming is a hobby at best, Williams is a serious musician. During an appearance with Paul Simon at a charity event, Simon surprised Williams and his band by playing “Mrs. Robinson,” a song they didn’t know and hadn’t practiced. But just a few lines in, Williams was taking solos and riffing on Simon’s choruses with expert musicianship.
While Williams’ music is the main draw for the event on Saturday, the relationship between the All-Star and the winery goes beyond the performance. The collaboration started in 2021, when Williams visited the vineyards and instantly connected with then-general manager Ian Bearup, bonding over baseball, music and wine. They quickly decided to team up and create a custom variety they call Bernie’s Blend. This year’s bottle, featuring art from Williams’ daughter, Beatriz, is a blend of Cabernet Sauvignon, Merlot and Cabernet Franc and will be released at the performance on Saturday night.
While the VIP ticket levels are all sold out, as of press time, bring-your-own-lawn chair spots are still available. The wine will be available at the vineyard and online throughout the year at millbrookwine.com.
Elena Spellman
Deanna Hearn opened Lucky Orphans in 2003.
If horses could speak, Hearn believes they would offer just one piece of advice: “They’d tell us to slow down.”
From feeding retired racehorses before sunrise to guiding veterans, grieving parents and troubled teenagers through equine-assisted therapy sessions, Deanna Hearn rarely has a quiet day. As founder of Lucky Orphans Horse Rescue in Dover Plains, she oversees the care of more than 40 sanctuary horses while leading a nonprofit whose mission extends far beyond animal rescue.
What began as a childhood love of horses has evolved into a place where healing runs in both directions — for horses and for people. By the time you leave Lucky Orphans, it becomes clear that this place isn’t really about horses. The horses are simply how it begins. For Hearn, every rescued horse represents something much larger: hope, resilience, healing and second chances. The organization’s mission, she says, is simple: “People helping horses heal people.”
Growing up in the Bronx, Hearn was captivated whenever she saw horses. Her grandfather, a Korean War veteran, had cared for military horses during the war. After returning home, he struggled with addiction, and the invisible wounds of military service. Through every difficult chapter of his life, however, one thing consistently brought him peace.
“Horses bring peace,” he told his granddaughter.
When Hearn was 11, after years apart, Hearn and her grandfather began spending weekends riding together. Less than a year later, he was diagnosed with pancreatic cancer. Before he died, he asked family members to help buy Hearn’s first horse — a stubborn paint horse that bit, kicked and frequently threw her off. She wanted to sell him. Her father refused.
“Every life has value,” he told her.
Looking back, Hearn says that lesson became the foundation of everything she would later build.
What began as a boarding stable in 2003 took a different direction after the Dutchess County SPCA asked Hearn to care for horses seized in cruelty cases. She soon realized that although Dutchess County had one of New York’s largest horse populations, there was no dedicated nonprofit equipped to care for neglected and abused horses. Lucky Orphans officially became a nonprofit in 2008.

Today, Hearn is quick to point out that Lucky Orphans is not simply a rescue.
“We’re a sanctuary,” she said.
Many of the more than 40 horses living there arrive with broken bones, chronic illnesses, heart conditions, missing eyes or other injuries that make them unsuitable for riding or adoption. Rather than rehabilitating and rehoming them, Lucky Orphans makes a lifetime commitment to every horse.
In 2013, Hearn became certified in equine-assisted psychotherapy, combining her lifelong relationship with horses and the lessons she learned from her grandfather to create programs for veterans, trauma survivors, children and families facing emotional challenges. The transformations she witnesses continue to surprise her. She recalls one woman who arrived convinced she would not fit in with a group of strangers. During the session, a horse quietly chose to follow her without a rope or commands. For the first time in years, the woman said she felt truly seen.
Another memory has stayed with Hearn ever since. A teenager in a juvenile probation program, wearing an ankle monitor and struggling with anger, entered a round pen with a horse. As his frustration grew, the horse moved farther away. When he finally calmed himself, the horse walked directly toward him and rested its head against his chest.
“I told him, ‘If you can control your energy, you can control the world around you,’” Hearn said.
Stories like these sustain her through the difficult realities of running a nonprofit. Operating the sanctuary costs roughly $52,000 each month, and Hearn lives on the property, where the work never truly ends. Veterinary bills, staffing, fundraising and the daily care of dozens of horses are constant concerns. Then someone returns years later and tells her that the horses changed their child’s life.
“That’s why I keep going,” she said.
Looking ahead, Hearn hopes more people discover what makes Lucky Orphans unique. The organization is expanding its community programming with educational visits, yoga sessions, horse encounters, volunteer opportunities and family events designed to reconnect people with horses and with one another.
Her vision is simple: to create a place where people slow down, reconnect and remember something modern life often makes us forget. If horses could speak, Hearn believes they would offer just one piece of advice.
“They’d tell us to slow down,” she said.
After spending an afternoon at Lucky Orphans, it’s hard to disagree.
For more information or to plan a visit, go to luckyorphans.org

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Jennifer Almquist
A brass quintet at the Yale Music Shed at Weekend in Norfolk 2025.
Norfolk bursts with activity in midsummer with Weekend in Norfolk (WIN). An all-volunteer committee transforms the town with free public events for all ages. WIN 2026 begins Thursday, July 30, and runs through Sunday, Aug. 2.
Norfolk sculptor Jon Riedeman, the new head of Norfolk Artists and Friends (NAF), organized the group’s 19th annual art exhibition, featuring paintings, sculpture, photography and jewelry by area artists in the Art Barn on the grounds of the Norfolk Chamber Music Festival. Riedeman expanded the show this year by inviting artists from New Marlborough, Massachusetts, to participate. The exhibit opens with a reception Thursday, July 30, from 5 to 7 p.m.
Music fills the air throughout the weekend. On Thursday night, take in the Emerging Artists Series concert from 7:30 to 8:30 p.m. at the Music Shed, featuring the next generation of professional chamber musicians presented by the Norfolk Chamber Music Festival. Then enjoy Friday Night on the Green, a welcoming party with live performances and free food.
The Bistro at Infinity Music Hall is extending its hours from noon to 9 p.m. throughout Weekend, with live music during the day. Don’t miss the Yale Brass Quintet performing in front of the historic 1833 Opera House. In addition, Norbrook Brewery will host a tap takeover featuring its celebrated local brews.
The Sidewalk Sunday Street Fair fills Station Place and Robertson Plaza with local artists, authors and craftspeople selling directly to visitors. Open Studios invites the public into working galleries and private studios for live demonstrations and artist meet-and-greets. Food trucks will also be available at the street fair.
Guided and self-guided tours showcase Norfolk’s historic estates and Victorian homes, while Tiffany stained-glass tours let visitors view Louis Comfort Tiffany windows in local chapels. The Village Green hosts public weddings and vow renewals as part of the festival.
Choose from five garden tours offered Sunday, Aug. 2, from 11 a.m. to 4 p.m.
Outdoors, guided nature walks explore Barbour Woods, with birding treks for wildlife lovers. Great Mountain Forest opens its 90-year-old weather station to the public, and workshops cover fly-fishing and pollinator gardening.
Food traditions include a Blueberry Betty social and an old-fashioned ice cream social. On Friday, Saturday and Sunday, the IceBox Cafe is offering 50 cents off its signature freshly brewed iced chai. On Saturday, the cafe will serve buttermilk pancakes all day, complete with Great Mountain Forest syrup.
Kids’ programming features movie screenings, yoga on the grass and art workshops.
Visitors can begin their adventure at The Hub, 2 Station Place, where volunteer “WINbassadors” will hand out maps and schedules. Full event details and ticket information are available at weekendinnorfolk.org.
Jack Sheedy
Jen Gleason stood on the stage of The Gary-The Olivia Theater and gestured toward the upstage wall—which wasn’t there. Like the so-called fourth wall separating audience from actors, all walls in this theater are invisible.
“That’s just God’s creation,” Gleason said, pointing to woods and rocks and grass and sky where you might expect a brick wall. “You cannot copy that. That’s the best backdrop you could possibly have.”
Gleason is directing “Babette’s Feast,” the first play to be performed publicly in the covered, open-air theater on the grounds of the Abbey of Regina Laudis in Bethlehem, Connecticut since “Godspell” in 2019. While the curtains closed during the Covid-19 pandemic, theater staff took advantage of the closure to make necessary repairs funded by donations.
Paul Murray, who co-produced “Babette’s Feast” with Sarah Robards, said, “We put up wings on either side, which are more or less permanent, and they allow the openness. From the audience, you see the woods side to side.”
The theater was built not long after famed Hollywood actress Dolores Hart joined the cloistered community of Benedictine nuns in 1963. According to the abbey’s website, “veteran actors James and Dawn Douglas formed a company of actors called the Act Association, which began to offer productions at the Abbey’s summer fair, and continued to do so for decades.”
Patricia Neal and James Douglas drew large crowds in 1999 when they performed A.R. Gurney’s “Love Letters.” Popular musicals have also been produced there, including “Guys and Dolls,” “Fiddler on the Roof” and “West Side Story.”
The idea to mount “Babette’s Feast” came from cast member Maurita Gregor, a lay intern at the abbey who previously performed the title role in her home state of Michigan. The play is based on a story by Isak Dinesen and is set in a Norwegian fishing village in the mid-19th century. Martine (portrayed by Cathy Annulli) and Philippa (Gregor) are sisters who lead a small Christian community. One night, a mysterious woman, fleeing political turmoil in France, knocks on their door and asks for asylum. Her letter of introduction states, “Babette can cook.” Babette will be portrayed by Olivia Wadsworth.
The play was conceived and developed by Abigail Killeen and written by Rose Courtney. It was first produced in Portland, Maine, in 2018. The highlight is a lavish feast Babette serves to the community to celebrate the memory of the sect’s original minister. but this production differs in structure from the 1987 Danish film in that no actual food is seen during the feast, Gleason said. Like the theater’s missing walls, the feast itself is invisible.
“There’s no cups. There’s no plates,” Gleason said. “We really don’t have props.”
The minimalist set aligns with the intentions of the play’s creators, who wanted to show the austerity of the religious sect to which Martine and Philippa belong.
Besides the three principals, “there are six players that are playing up to three different roles. So they’re having to shift their characters too, along with telling the story,” Gleason said.
Murray began working at the abbey in the 1970s and then moved to Idaho and taught theater for several years. Since returning in 2008, he has worked on sets for summer musicals at The Gary-The Olivia Theater. In 2025, he wrote and co-produced an original play, “The Princess and the Goblin,” based on a novel by George MacDonald. It was performed in front of a private audience, with Gleason in the lead. It was the first play to be shown at the abbey in six years.
“The point of having a theater at the abbey is to show a slice of life as it is, with an eye toward showing how it relates to the reality beyond the immediate place and time and characters within God’s creation,” Murray said.
“It’s to have a part of creation that refers to the broader creation,” he said.
Gleason spent several years in New York City with La MaMa Experimental Theatre Club, The American Theatre Wing and ASCAP. She also worked in Los Angeles, evaluating and developing scripts for a film production company, according to a press release.
Gregor said she applied for an internship at the abbey after reading Mother Dolores Hart’s 2013 memoir, “The Ear of the Heart: An Actress’ Journey from Hollywood to Holy Vows.” She said she always loved acting and was attracted as well to the “balanced lifestyle” the cloistered community offers. One of her duties at the abbey is making cheese, a hands-on process that requires patience and a gentle touch.
“I never knew you could learn so much from cheese,” she said.
“Babette’s Feast” will be shown Friday evenings, July 31 and Aug. 7; Saturday evenings, Aug. 1 and 8; and Sunday afternoons, Aug. 2 and 9. Evening performances begin at 7:30 p.m., and matinees begin at 2 p.m. There is no admission charge, but donations are welcome, and reservations are required. The Gary-The Olivia Theater at the Abbey of Regina Laudis is at 249 Flanders Rd., Bethlehem. To reserve seats, call 959-988-6068 or email garyoliviatheater@gmail.com. It is an open-air theater, so dress for the weather.
Richard Feiner And Annette Stover
Multimedia pioneer Laurie Anderson makes Tanglewood debut with a weekend of performances.
Musician, composer, performing artist and multimedia pioneer Laurie Anderson is one of the most influential and controversial figures in American contemporary and avant-garde arts. Her ambitious multimedia projects, encompassing music, film, visual projections, dance, and the spoken and written word, have enjoyed great public visibility, and Anderson has been recognized with many honors, including a Grammy Lifetime Achievement Award, as well as the Gold Medal for Music from the American Academy of Arts and Letters and this year’s Kyoto Prize for Arts and Philosophy in the field of music.
Anderson will make her Tanglewood debut in a series of special events and performances Aug. 13-16, along with longtime collaborators and special guests, giving audiences an opportunity to experience her groundbreaking and challenging work, which has been received with both acclaim and confusion for its wit, innovation and interdisciplinary scope.
A concert on Thursday, Aug. 13 at 8 p.m., part of Tanglewood’s recital series that spotlights chamber music and solo performances curated specifically for the acoustics and atmosphere of Ozawa Hall, features Anderson, guests and members of the BSO in a selection of Anderson’s compositions for string orchestra led by conductor Dennis Russell Davies, principal conductor of the MDR Leipzig Radio Symphony Orchestra and artistic director and chief conductor of the Filharmonie Brno.
A program highlight is “Amelia,”a piece inspired by the pioneering pilot Amelia Earhart, who disappeared over the Pacific Ocean in 1937 while attempting to fly around the world. The piece draws upon text from Earhart’s pilot’s log from her final international trip. In its blending of historical fact with atmospheric electronic music, minimal instrumentation and evocative soundscapes, the piece can be seen as emblematic of Anderson’s focus on transforming a historical event into a meditation on universal human experiences.
On Saturday, Aug. 15, at 2 p.m. in Studio E in Tanglewood’s Linde Center, the renowned opera and theater director and educator Peter Sellars will speak with Anderson as part of the Tanglewood Learning Institute’s Spotlight Series. Sellars is active at Tanglewood as a director and curator of contemporary works, and will guide Anderson in an exploration of her groundbreaking career and creative process. Their discussion will shine a light on their long history of artistic collaboration and their common interest in expanding the boundaries of music, language, technology and storytelling.
On Sunday, Aug. 16, from noon to 6 p.m., Studio E will present the Lou Reed Drone, a drone-based sonic installation curated by Anderson using guitars from her late husband Lou Reed’s collection. The event features performances by Reed’s former guitar tech Stewart Hurwood and a roster of guest artists rotating throughout the afternoon.
Finally, on Sunday, Aug. 16 at 7:30 p.m. in Ozawa Hall, Anderson will present “The Republic of Love,” an evening of music and storytelling reflecting on America’s past and present, featuring the genre-defying jazz ensemble Sexmob in its Tanglewood debut, along with special guests Mazz Swift and vocalist Christina Courtin.
As the title suggests, the piece plays on the classical idea of a republic — a political community governed by shared principles — to imagine what such a community would look like if its organizing principle were love rather than power. According to Anderson, the work isn’t sentimental. Instead, it examines love as a political and ethical force that shapes how people relate to one another and to institutions.
Collectively, these events will celebrate Anderson’s continued explorations of the power of words and language, visual imagery, and cutting-edge technology to challenge perceptions and to help audiences make sense of some of the most compelling questions of our day.
For information and tickets, go to tanglewood.org or call (888) 266-1200.

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