
Area residents brought their trash and recyclables to the Salisbury-Sharon transfer station on Sunday, Feb. 20.
Photo by Patrick L. Sullivan
SALISBURY — It’s hard to imagine that it would ever get to this point. Up until recently, what we did with our waste in most of the Northwest Corner was quite simple: we bought a sticker at town hall, separated the trash from the recyclables, and took it all to the transfer station, where they would be taken care of.
Anything that might be reusable went into the Swap Shop, a dusty room full of what most people considered junk, but that others saw as an opportunity for reuse. The recyclables were turned over to a company that hauled them away to a facility that separated them, cleaned them and broke them down. If the towns were lucky, the recycling hauler would pay something for the privilege. The trash was sent to an incinerator in Hartford for a fee. End of story.
Before our towns started sending their garbage — known formally in Connecticut as municipal solid waste (MSW) — to incinerators, they deposited them in their own landfills. But by the 1990s, Connecticut had closed almost all of its dumps.
Most of the towns simply converted their landfills to transfer stations. Since 1975, Salisbury and Sharon operated a shared transfer station on land leased from The Hotchkiss School. That changed when the two towns leveraged their partnership to build a new $4.8-million transfer station on Route 44 near the New York state line.
The only landfill of any size remaining in the state is in Putnam, where a massive dump receives nearly 600,000 tons of ash per year from trash-to-energy plants such as the one that burns our waste in Hartford.
Now the situation has become much more complicated and likely much more expensive for our towns. Using two General Electric turbines that date back to the 1950s, the aforementioned trash-to-energy incinerator burns garbage and turns it into electricity — 45 megawatts, to be exact — enough to power 35,000 homes.
Located in the North Meadows section of Hartford and operated by the quasi-public Materials Innovation and Recycling Authority (MIRA), the facility we send our garbage to is on its last legs.
MIRA’s aging trash-to-energy plant, which handles an estimated 35% of the state’s waste, broke down in 2018 and was out of commission for several months, causing MIRA and its member towns, including Salisbury and Sharon, to scramble. Meanwhile, thousands of tons of garbage began to pile up inside and outside the aging facility.
“It was nerve-wracking,” MIRA President and CEO Thomas D. Kirk told the CT Mirror’s Tom Condon. “Thank God we didn’t have a fire.”
After a temporary fix in 2019, MIRA came up with a plan to replace the plant to the tune of $330 million. The administration of Gov. Ned Lamont practically laughed the proposal right out of the Capital City.
So MIRA’s board made the decision to shut down the trash-to-energy plant and use the property as a glorified transfer station from which to ship the garbage out of state for its remaining member towns.
MIRA’s problems, however, did not start with its busted incinerator. MIRA, formerly known as the Connecticut Resources Recovery Authority (CRRA), prompted ridicule, contempt and cries of injustice when, during the administration of then-Gov. John Rowland, it made an ill-fated $220 million loan to Enron, the energy-trading giant that later went belly-up in an accounting scandal.
When Enron defaulted, CRRA raised its tipping fees to cover its losses, resulting in a protracted and costly lawsuit from its then-70 member towns seeking compensation for the overcharging. The authority finally settled the suit for $21 million.
As one might expect, the antipathy between CRRA and its member towns extends well beyond an ill-advised and unsecured loan to a corrupt corporation. To wit, the authority took legal action in 2006 to try to stop the Salisbury-Sharon transfer station from sending its recyclables to a third party that paid the two towns for the raw materials.
Since it was accepting garbage from the two towns, CRRA insisted it was entitled to taking their paper recyclables as well. What was the price CRRA was willing to pay? Nothing. Town officials said the arrogance was staggering.
“They said they would take our junk mail and not charge us for it,” then-First Selectman Val Bernardoni quipped to this reporter. “They have 70 towns under contract; they’ll make a bundle.”
So it’s safe to say that there’s no reservoir of goodwill among MIRA’s member towns, including those in the Northwest Corner, which relies heavily on the authority. That’s probably why the Lamont administration wanted no part of approving MIRA’s pricey proposal to build a new incinerator. And reputation management might very well be the main reason the General Assembly allowed CRRA to change its name. If you Google MIRA, you won’t find much about its past problems as CRRA.
And so we find ourselves in quite a pickle. The costs of operating our transfer stations will rise — perhaps sharply. Thanks to COVID-related money from the federal government, states and municipalities can probably foot the bills in the short term.
But the day of financial reckoning will arrive soon enough. Last spring, MIRA put out requests for bids for contractors to haul away the waste from its facility. MIRA President and CEO Thomas Kirk told Condon its current disposal rate for garbage is $105.
If the 49 member towns don’t jump ship, Kirk forecasts a tipping fee of $114-$119 a ton in the first year of a five-year disposal contract, going to $139 in the fifth year. That rate could rise by $15 if more towns bail out on MIRA, or it could rise by even more if, as expected, MIRA must ship waste to landfills as far away as Alabama or Michigan. To give you a sense of perspective, as recently as 2019, the cost was $83 per ton.
With antiquated systems for collecting fees and perverse incentives for recycling still in place in our towns, the current trajectory is clearly unsustainable. What can we do? Stay tuned.
This is the first of a two-part series on Connecticut’s waste crisis and how it affects the Northwest Corner.
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.