Surveillance cameras, empty Town Board seat, Rail Trail etiquette
Letters to the editor —Thursday, March 5
Letters to the editor —Thursday, March 5
Based on comments by my neighbors in Pine Plains, including those who spoke at the February 19 Town Board meeting, I am not alone in my frustration over Supervisor Walsh’s refusal to answer questions about his interactions with Flock Safety. It seems to me that it is incumbent upon our Town Supervisor to explain his actions in a way that is understandable, and to address questions that his statement provoked.
Among those questions are: By what authority did he agree even to a limited trial of four cameras in our town? What made him tell Flock on February 5 that the camera installations were “going to get done” just days before he instructed them to halt all activity? In his statement at the meeting, Mr. Walsh said that he was referring to the County doing this deal. On what basis did he think that the County would agree to “get[ting it] done”? With whom in County government had he conferred about the cameras? And why did he refer to the population as being a “blue area, right now, unfortunately.”? What prompted him, a few days after the conversation about the deal “get[ting] done” to instruct Flock to cease all activity? Did Supervisor Walsh consult with Town Attorney Warren Replansky before authorizing Flock to install the four test cameras? Did he consult with the other Town Board members? Did he consult with Mr. Replansky or other Board members before he told Flock that it would “get done”? Will he agree to refrain, as Pine Plains resident Matthew Lebaron proposed, from signing or authorizing any such future agreements without “communications made to the public about these agreements, all [of which to] be given to us with good warning over multiple communication streams”?
Pine Plains resident Keary Hanan asked a more fundamental question: “[H]ow does this town board plan on restoring the trust of this community after this egregious breach of honesty and trust with its constituents?”
Michael Cooper, a Pine Plains Volunteer Fire Department colleague of Mr. Walsh, said that Mr. Walsh’s “words are being misrepresented, and I would encourage anyone who has problems with what he has to say to examine what he has in fact done.” Excellent point, but how on earth can we examine what Supervisor Walsh has done when he refuses to explain it in a way that makes sense or to answer questions?
Pine Plains residents deserve to be treated with more respect from the Town Supervisor than to passively receive a statement that raises more questions than it answers.
Amy Rothstein
Pine Plains
In January 2024, Amenia’s Town Board needed to decide what to do about a seat made vacant by the election of one of its members to the job of Supervisor. In the past, the Board would vote for a citizen to take the seat until the next election. Many in the community thought it made sense to vote for Vicki Doyle. She had lost the election by just 10 votes and was a long serving, effective Councilwoman. She was the runner up and therefore the logical choice in terms of the voters’ preference. That selection was blocked by two members of the Board. Eventually, Nicole Ahearn was voted on to fill the seat. Very sadly, in February 2025, Paul Winters - who had joined the Board in 2024 - died of a heart attack. The fifth seat on the Board was again vacant. The members decided not to fill the position to avoid the contentious debate about how to fill the seat a year earlier. Now, Amenia again has a vacant seat. Rosanna Hamm was elected supervisor in November which leaves her seat as a Councilperson available.
In the 2/26/26 edition of the News it was reported “Board divided on filling vacant seat”. We are back where we were in 2024, except this time it’s Charlie Miller who lost by one vote. It makes absolutely no sense to me why the Board cannot come together and ask him to take the open seat until the Nov 2026 election winner is seated in Jan 2027. His service to the town is outstanding. He was instrumental in finally getting the construction of the highway garage started. Ask Megan Chamberlin. He also helped to untangle and fund the water district after years of mismanagement. He’s secured new revenue: $368,000+ in grants, $190,000+ in investment returns, $1.6 million for workforce housing, 2 NYS grants: $600,000 for the new Highway Garage Salt Shed and $2,731,995 for Water District Capital Improvements. He accomplished all this largely as a volunteer. I need to return to Vicki’s not being asked to take the vacant seat when she lost by just ten votes. That made no sense then and not selecting Charlie makes no sense now. There are certainly Amenia voters who were angered by Charlie’s placing a signed, stamped front sheet on an already approved budget proposal instead of having the town clerk do that herself. It is my understanding that he wasn’t trying to sneak something by the Board. The document had been approved. He recognized and apologized for what was in my mind a clerical mistake. The bigger mistake would be not to be mindful of his vote count and ALL that he’s done and will do for the community we all love.
Jim Wright
Warden, St Thomas
Interim Executive Director,
Food of Life Pantry
Amenia
In light of the recent events regarding the Flock surveillance company, our community needs to have a discussion about how much spying Dutchess County should be carrying out on its residents in the first place. The Advanced Real-Time Crime Intelligence Center, operated by a special office within the Sheriff’s Office, collects data from live cameras, license plate readers, officer body cams, and other surveillance tools distributed across the county. Politicians claim that they only use warrantless mass surveillance for legitimate law enforcement purposes, but if we’ve learned anything from the state of our country right now, we should have learned not to simply trust the things politicians say. We should also know by now that politicians have very little respect for our civil liberties, especially our right to privacy.
The real cause for concern is not that there are license plate readers on public streets, but that we have no idea how much data is being collected on us and who is able to access it. The Sheriff’s Office is coy about what makes up the intelligence center, but we do know that Flock is responsible for over 400 license plate readers and cameras just in Dutchess County according to the company’s own transparency portal. Outside of our county, Flock operates a network of tens of thousands of cameras across the country and has contracts not only with local governments, but state agencies and private security firms as well. Flock claims that they don’t have contracts with ICE and the federal government, but reporting from Jason Koebler and Joseph Fox at 404 Media concluded that data had been unwittingly accessed by third-party agencies with the stated reason as “ICE,” “Immigration,” or “ERO” (Enforcement and Removal Operations). This evidence heavily implies that the federal government uses connections with compliant local law enforcement agencies to gain side-door access to data generated by any Flock-connected organization.
The surveillance unit built by the county to spy on its citizens with the help of a vendor of questionable ethics was certainly not free and it makes the taxpayer wonder if they are getting a raw deal. Surely this multi-million dollar panopticon has yielded some results, though, right? No - Flock’s own website admits that the nearest major crime solved by their software is in New York City (citation 2) and since installation about a year and a half ago, Dutchess County police departments have only solved 3 hit-and-runs with the data (citation 1). Is it worth it to live under constant, expensive surveillance just to solve one more hit-and-run every six months?
404 Media Link: www.404media.co/ice-taps-into-nationwide-ai-enable...
Transparency Portal (citation 1): transparency.flocksafety.com/dutchess-county-ny-so
This does include a state police hit-and run and a missing persons case from Florida, but it isn’t made clear why those are credited to the Dutchess County Sheriff.
Dutchess County Referral Portal (citation 2): refer.flocksafety.com/community/dutchess-county-community-connect
Robert Holmes
Beacon
July 23, 2025, was a beautiful summer morning. I loaded my bicycle and headed for Harlem Valley Rail Trail. I was on one of the narrower wooden bridges when I heard someone say “On your left.”
I had never had a cyclist pass me from behind on the bridges before. I pulled my bike closer to the side of the bridge. I was out for a leisurely ride, but the gentleman that came up behind me was all business.
There were vines growing over the side of the bridge so I rode back toward the center of the bridge after he passed. Another cyclist, who did not announce himself, came up on me quickly. I pulled back to the right, and when I did my handlebar caught the fence.
I fell down.
The cyclists came back as I lay on the bridge, with the bike wrapped around my legs. They got the bike off me. I grabbed the fence and pulled myself up. My helmet still sat on my head. In shock, I stumbled around the bridge. My right arm was bleeding and my left leg was badly bruised. My neck hurt – like a really bad stiff neck. I called my husband and told him where to meet me.
Unable to walk, I rode my bike the last mile as the two cyclists followed me. My husband took me directly to the hospital. A CT scan showed I had broken my neck at C2, called the “Hangman’s Fracture.” I was transported to Hartford Hospital. The break appeared stable so I was put in a neck brace, told I was very lucky not to be dead or paralyzed, and that I needed to follow up with an orthopedic surgeon.
That began the longest six and a half months of my life. The neck brace was a 24/7 fixture. If I didn’t heal I’d need surgery to put rods and screws in my neck. The whole experience was traumatic and grueling.
By the grace of God, my 66 year old neck decided to heal eventually. My body will never be as it was before, and I lost over six months of life. I tell this story because my life was forever altered in a second by the behavior of others.
Many people use and enjoy the Rail Trail. If you see an elderly person on a leisurely ride, or a family with children, please take a moment to respect their right to do so without being placed in life-changing danger. I know that the cyclists who passed me did not want to harm me, but a moment’s impatience and disregard for me nearly cost me my life. I hope Dutchess County Parks will at least put signs up at the bridge approaches asking cyclists NOT to pass from behind. Sometimes we just need a little reminder to be considerate of others. Is it really so much to ask?
Rachel Lamb
Lakeville
D.H. Callahan
Contemporary chamber musicians, HUB, performing at The Clark.
Northwestern Massachusetts may sometimes feel remote, but last weekend it felt like the center of the contemporary art world.
Within 15 miles of each other, MASS MoCA in North Adams and the Clark Art Institute in Williamstown showcased not only their renowned historic collections, but an impressive range of living artists pushing boundaries in technology, identity and sound.
MASS MoCA is known for its 20th-century holdings spread throughout a sprawling complex of industrial brick buildings. Installations by Sol LeWitt and James Turrell have permanent homes there. Just down the road in Williamstown, the Clark features masterworks by Winslow Homer, Frederic Remington, John Singer Sargent and Claude Monet.
But what visitors might not immediately associate with those established names is how deeply both institutions invest in art happening right now.
On Saturday afternoon, a panel of young artists discussed their relationships with art, identity and technology as part of MASS MoCA’s “Technologies of Relation” exhibition, which opened that evening. The artists represented a broad range of cultural backgrounds, drawing on ancestry while exploring the future of art and technology.
The work itself ran the gamut: wax relief paintings, stained glass, interactive video and sculptural installations. One immersive piece automated the traditional Armenian practice of reading fortunes from coffee grounds. Particularly striking were Roopa Vasudevan’s hand-drawn QR codes and Taeyoon Choi’s large-scale weavings of binary code.
Opening the same night was Zora J. Murff’s “RACE/HUSTLE.” Through photographs, paintings and installations, Murff explores the wide-ranging and sometimes violent implications of being Black in America today. Each piece — whether confronting the rise of white supremacy or examining stereotypes imposed on Black communities — carries razor-sharp visual commentary designed to unsettle.

On Sunday, the Clark continued the contemporary thread. A small exhibition of work by Raffaella della Olga, titled “Typescript,” features intricate patterns created using a typewriter on varied paper surfaces. The effect seems almost impossible until viewers watch a video of della Olga loading her typewriter with 140-grit sandpaper and typing in a hypnotic rhythm. Though the typewriter is considered obsolete technology, she continues to find new applications for it, completing some of the works in recent months.
Next door in the Clark auditorium, HUB New Music performed works written specifically for its unusual instrumentation: violin, cello, clarinet and flute. While that combination may not stand out to casual listeners, relatively little classical repertoire exists for it. The ensemble regularly commissions composers to expand the possibilities.
The results were striking. From the opening notes of Francisco del Pino’s “Passacaglia,” the quartet’s command and layered repetition pulled unexpected emotion from the audience.
After three pieces came the world premiere of Daniel Wohl’s “Mirage,” a roughly 25-minute work accompanied by digital blips, static and electronic textures evoking radio transmissions and UFO lore. Hearing four virtuoso musicians extract entirely new sounds from traditional instruments echoed the weekend’s larger theme: old tools made new again.
Like della Olga’s typewriter, Vasudevan’s QR codes or Murff’s charged imagery, the performances demonstrated that contemporary art often grows from familiar materials — reimagined.
The old masters will always draw visitors to these institutions. But when living artists command equal attention, this quiet corner of the Berkshires feels less like the middle of nowhere and more like a creative epicenter.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his artist wife in West Cornwall, Connecticut.
Aly Morrissey
Francesca Donner, founder and editor of The Persistent. Subscribe at thepersistent.com.
Francesca Donner pours a cup of tea in the cozy library of Troutbeck’s Manor House in Amenia, likely a habit she picked up during her formative years in the United Kingdom. Flanked by old books and a roaring fire, Donner feels at home in the quiet room, where she spends much of her time working as founder, editor and CEO of The Persistent, a journalism platform created to amplify women’s voices.
Although her parents are American and she spent her earliest years in New York City and Litchfield County — even attending Washington Montessori School as a preschooler — Donner moved to England at around five years old and completed most of her education there. Her accent still bears the imprint of what she describes as a traditional English schooling.
Today, she and her family call Sharon, Connecticut, home. While she still travels frequently to Manhattan, she embraces the contrast between city and countryside.
“For me, it’s all about the contrast,” she said, adding that she is friendly and curious about people here in a way that doesn’t feel natural in the city. “I want to know who you are, what you do, and why you’re here. You end up meeting these really interesting people.”
As a longtime editor in newsrooms like The Wall Street Journal, The New York Times and Forbes, Donner said she began to notice something unsettling about how stories were framed, and whose voices were missing.
“It’s just the way news is done,” she said. “It’s the DNA of what we deem newsworthy and important in mainstream media.”
The problem, she explained, isn’t that women aren’t covered at all. It’s that when women are covered, it’s often in a stereotyped way. Women are frequently framed through familiar narratives – the gender pay gap, unpaid labor, caregiving – important issues that persist, she said, but are often treated as repetitive or secondary. Meanwhile, the stories deemed front-page worthy tend to revolve around power, economics, war and politics — and men.
“If we don’t make a deliberate effort to cover women, women won’t be covered,” Donner said.
The issue isn’t unique to any outlet, she stressed. “It’s just the way news is done.”
But that DNA — who gets quoted and whose experiences are centered — has consequences.
And for Donner, that realization demanded a response.
Enter The Persistent.
Founded in 2024, The Persistent was built around what Donner calls a simple but deliberate premise.
“Women don’t get covered in the same way men get covered,” she said.
The goal isn’t to exclude men or create a siloed “women’s section.” Instead, Donner said, it’s about correcting an imbalance by putting women at the center of the story.
Describing the approach as a reframe, this means expanding who is quoted as an expert. It means spotlighting women in business, politics, culture and global affairs. It also means examining major news stories through a lens that mainstream outlets often overlook.
“What we can add,” she said of The Persistent, “is perspective.”
Now approaching its second year — a milestone that will be celebrated next month — the publication operates with an all-women team of writers, editors and illustrators based across the world. The team meets regularly over Google Meet.
“They’re awesome,” Donner said of the editorial meetings. Some of her staff are mothers, some are not. All bring lived experiences to the table. Donner has intentionally created a newsroom culture that balances rigor with support.
“If your writing doesn’t measure up, I’m going to tell you,” she said plainly. “But it’s not a battle. It’s a partnership.”
Beyond publishing stories that matter, Donner wants contributors to be seen.
“I don’t just want people to read the story and forget who wrote it,” she said. “We can do a lot better if we amplify each other.”
As a woman, Donner rejects the idea that success is finite. She wants everyone to have a slice of the pie.
“Just make the pie bigger,” she said. “Bring more seats to the table. Make it richer.”
Donner credits her “mum” for articulating what would become her professional identity.
“You are what you can’t help doing,” her mother used to say.
Today, without hesitation, Donner said she can’t help being an editor.“My identity as an editor is very strong,” she said. Editing, she explained, is less about correcting typos and more about building and shaping ideas.
“Sometimes I imagine this physical movement of cracking something open,” she gestured.
That instinct traces back to childhood. She recalls sitting in a classroom around age 10, listening to a classmate read a short story aloud. For Donner, that moment crystallized something fundamental.
“Someone else’s words made me just sit up straight in my chair and think, wow, that is so good.”
Today, whether she’s in a historic manor house in Amenia or on a Google Meet with her team across the globe, that instinct remains the same: crack the story open, elevate the unheard voice and reframe the narrative.

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Natalia Zukerman
On March 7, Berkshire Opera Festival will bring “Winterreise” to Studio E at Tanglewood’s Linde Center for Music and Learning, with baritone Jarrett Porter and BOF Artistic Director and pianist Brian Garman performing Franz Schubert’s haunting 24-song setting of poems by Wilhelm Müller.
A rejected lover. A frozen landscape. A mind unraveling in real time. Nearly 200 years after its premiere, “Winterreise” remains unnervingly current in its psychological portrait of isolation, heartbreak and existential drift.
Porter, praised by Opera News for his “imposing baritone” and “manifest honesty,” has built his career on major European opera stages, including Oper Frankfurt. But recital work, he says, is closest to his heart.
“I love to recital. If I were to pick my career, I would be doing some opera and mostly recital,” he said. “I think there can be difficulty with grabbing an audience in a recital, but this is one of the greatest pieces to do so because it is so psychological, so powerful, so universally moving.”
Unlike opera, there are no sets in a recital, no costumes or lighting cues to lean on. “The singer with no sets or costumes is left to create a kind of one-man show,” Porter said. His solution is internal. “The way that I process learning something like this and having the responsibility to hold an audience without set or costumes or lights or props is to stage it in my mind. Each song has an identity.”
Schubert’s writing, Porter insists, needs no adornment. “Schubert does an amazing job at setting the scene, and for me, you don’t need anything else. I feel like anything added to it would be almost subtracting. I’d rather just see the singer and the pianist the way that Schubert intended it to be.”
At the center of “Winterreise” is the wanderer, an unnamed figure moving through snow and memory after a failed love affair. For Porter, the character is both specific and universal. “There’s so much ambiguity in the piece,” he said. “We don’t know all of the answers in the first song. We don’t really know who this person is. There are tidbits of information dropped throughout each song. And I think the tendency is to put a narrative on that and to try to connect the dots rather than embracing what it is. The ambiguity is actually where the beauty is.”
That ambiguity extends to the cycle’s ending and the encounter with the eerie hurdy-gurdy player in “Der Leiermann.” Does the protagonist die? “I think one could make that argument,” Porter said. But he resists a neat conclusion. “Death is right in front of him. Death is actually the most peaceful answer to his problem and it’s not given to him. There’s something more, a deeper level.”
Rather than a literal death scene, Porter sees a reckoning. “For me, he’s not granted the easy way out. He has to sort of come to terms with being nothing and having no real skill as a songster or a poet or a wanderer.” The winter landscape, he suggests, mirrors the psyche: “The winter is sort of the mirror of his heart.”
In shaping the emotional arc across all 24 songs, Porter leans into uncertainty rather than resolution. “What I relate to in this piece is that in life, you don’t know what’s going to happen. And you don’t know the next day. Even in tragedy—especially in tragedy—there’s so much question.”
Porter performed Gounod’s “Faust” at BOF in 2024 with Garman conducting but this will be the first time the two will be collaborating with Garman at his instrument. “I love making music with Brian,” said Porter. “I’m a huge fan of his musicianship. I think we’re sort of bitten by the same bug that Schubert is, and so I was super honored that he asked me to do this with him.”
For tickets, visit berkshireoperafestival.org
Sally Haver
Christine Gevert, artistic director, brings together international and local musicians for a season of rare works.
Crescendo, the Lakeville-based nonprofit specializing in early and rarely performed classical music, will close its 22nd season with a slate of spring concerts featuring international performers, local musicians and works by pioneering composers from the Baroque era to the 20th century.
Christine Gevert, the organization’s artistic director, has gathered international vocal and instrumental talent, blending it with local voices to provide Berkshire audiences with rare musical treats.
“The biggest event of this part of our season is our April 25 and 26 concerts, with the US premiere of ‘A Jewish Cantata’ and the iconic ‘Misa a Buenos Aires,’” said Gevert. “The composer, an internationally renowned musician, will come and share the podium with me.”
Among the other season highlights are concerts showcasing the works of two trailblazing female musical innovators, Francesca Caccini, the early Baroque composer, poet and singer; and Wanda Landowska, the 20th-century virtuoso who single-handedly brought the harpsichord back from obscurity. Also not to be missed is the May 30 concert, Bach’s Motets in Concert, featuring all six of Johann Sebastian Bach’s surviving motets, sung by four eight-part double choruses and accompanied by period instruments, widely considered the pinnacle of Baroque choral music.
For a schedule of concerts and tickets, visit crescendomusic.org
Aly Morrissey
Ash Baldwin, senior administrative assistant at the North East Community Center, launched the weekly Craft Collective in July 2025.
MILLERTON — A new low-key crafting group at the North East Community Center (NECC) is giving locals a reason to finally finish those half-started projects, providing a space for craft lovers to work in community and exchange tips and tricks.
The weekly “Craft Collective,” – launched in July 2025 by staff member Ash Baldwin – invites community members to bring their own crafts and work alongside others in a casual, social setting. The free program is part of NECC’s broader effort to offer accessible, community-building programming.
“I’m the type of person who struggles to stay focused on projects,” said Ash Baldwin, NECC’s senior administrative assistant, who came up with the idea last summer. “I realized I work better when I’m with other people and when I have a dedicated time and space.”
The idea took shape after Baldwin found herself racing to finish a crocheted baby blanket for her sister’s baby shower.
Participants have already brought a range of projects to the group, from sewing and mending to creative repurposing – including one crafter who transformed an old shower curtain into kitchen valence curtains.
“The goal is really community and connection,” Baldwin said. “People can meet other crafters, swap tips, give feedback on projects – maybe even make a friend.”

Crafting, Baldwin said, offers a kind of mental reset. “It’s peaceful,” she said. “It quiets my mind and lets me focus on one thing at a time.”
Like many crafters, Baldwin admits to having yarn and unfinished projects scattered around her home, and says she tends to make gifts for others more than items for herself.
Though Baldwin has been crocheting since 2022, creativity has always been part of her life. Her mother sews, her grandmother crocheted, and she grew up surrounded by creative projects. Baldwin joked that her grandmother once “fully kidnapped” her American Girl doll to make custom clothes for it. She also describes herself as a longtime “band kid,” saying creative arts were woven into her childhood.
When she’s not organizing the Craft Collective, Baldwin works behind the scenes at NECC, handling administrative and fiscal operations, including service tracking for programs such as the food pantry.
The Craft Collective is held every Tuesday at 6 p.m. at 51 S Center St., Millerton. There is no cost to participate. For questions or to donate crafting supplies, contact Ash Baldwin at ash@neccmillerton.org or (518) 789-4259 ext. 132.

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