The School of Social Welfare at Stony Brook University, the Undergraduate Social Welfare Alliance (USWA) and the Protestant Campus Ministry will welcome Alex Seel, one of six participants in a challenging documentary, “Borderland,” on Saturday, Nov. 5, in the in the Health Sciences Tower (hospital side of campus), Level 3 Galleria and adjacent Lecture Hall 5 from 11 a.m. to 2 p.m. The final episode of the series will be screened and Seel will share his experiences and answer questions.
A scene from ‘Borderland’
In this four-part television series, six Americans from varying backgrounds are confronted with the realities of undocumented migrant labor. The participants split into three groups and go to Mexico and Central America in order to retrace the footsteps of three migrants who did not survive the journey north. They discover the circumstances which led the migrants to risk their lives; they make their way north by riding atop a cargo train know as “La Bestia” or “The Beast”; they learn about the impact of Mexico’s drug wars on immigrants; they traverse the desert in which some 2500 migrants died the previous year. The journey leaves them shaken and changed. Borderland does not provide answers to the problem of undocumented immigration, but it shows the humanity of everyone involved in the process.
Undocumented migrant labor is a compelling issue that all of us face, and the debate over immigration policies brings out deep passions, but it is divorced from our day to day experience. The show presents the full complexity of the issue, and the participants come away with something desperately needed in the debate—empathy. After viewing the documentary, you will not look at the issue of undocumented immigration the same way again. Free and open to all. For more information, email [email protected].
For Free parking:
From 25A to Nicolls Rd., Rt to West Campus on Shirley Kenny Drive,
Immediate left on Circle Rd. to the stop sign then there is an entrance to free parking. Walk through the underpass to Health Sciences tower. Go up the escalator 1 flight. Parking here on weekends is free.
(From 347, left on Shirley Kenny Drive)
For paid parking:
From 25 A, left on Health Sciences Drive and follow the signs to the main entrance of the hospital and hospital garage or use Valet parking if you wish. Enter hospital lobby and ask at the registration desk for the Health Science tower escalators.
Athi Varuttamaseni is like an exterminator, studying ways pests can gain entry into a house, understanding the damage they can cause and then coming up with prevention and mitigation strategies. Except that, in Varuttamaseni’s case, the house he’s defending is slightly more important to most neighborhoods: They are nuclear power plants.
The pests he’s seeking to keep out or, if they enter, to expel and limit the damage, are cyberattackers, who might overcome the defenses of a plant’s digital operating system and cause a range of problems.
Varuttamaseni, an assistant scientist in the Nuclear Science & Technology Department at Brookhaven National Laboratory, started his career at BNL by modeling the failure of software used in nuclear power plant protection systems. Last year, he shifted toward cybersecurity. “We’re looking at what can go wrong with nuclear power plants” if they experience an attack on the control and protection systems, he said.
Varuttamaseni is part of a team that received a grant from the Department of Energy to look at the next generation of nuclear power plants, which are controlled and managed mostly by digital systems. A few existing plants are also looking to replace some of their analog systems with digital. “We asked what can go wrong if a hacker somehow managed to breach the outer perimeter and get in to control the system, or even if that is possible at all,” he said. By looking at potential vulnerabilities in the next generation of power plants, engineers can find a problem or potential problem ahead of time and can “go back to the drawing board to put in additional protection systems that could save the industry significant cost in the long run,” Varuttamaseni said.
Robert Bari, a physicist at BNL and a collaborator on the cybersecurity work, said Varuttamaseni, who is the lead investigator on the Department of Energy project, played “a major role” in putting together a recent presentation Bari gave at UC Berkeley that outlined some of the threats, impacts and technical and institutional challenges. The presentation included a summary and the next steps those running or designing nuclear power plants can take. Bari said it was a “delight” to collaborate with Varuttamaseni.
A colleague, Louis Chu, had recruited Varuttamaseni to work at BNL in another program, and Bari said he “recognized his abilities” and “we started to collaborate.” Varuttamaseni and Bari are going through a systematic analysis using logic trees and other approaches to explore vulnerabilities. The BNL team, which is collaborating with scientists at Idaho National Laboratory, shared the information and analysis they conducted with the Department of Energy and with an industrial collaborator.
In his second year of the work, Varuttamaseni said he is looking at the system level and is pointing out potential weaknesses in the design. He then shares that analysis with designers, who can shore up any potential problems. In the typical analysis of threats to nuclear power plants, the primary concern is of the release of radioactive material that could harm people who work at the plants or live in the communities around the facility.
Varuttamaseni, however, is exploring other implications, including economic damage or a loss of confidence in the industry. That includes the headline risk attached to an incident in which an attacker controlled systems other than a safety function and that are not critical to the operation of a plant. In addition to exploring vulnerabilities, Varuttamaseni is studying a plant’s response. Most of the critical systems are air-gapped, which means that the computer has no physical or wireless connection. While this provides a layer of protection against cyberattacks, it isn’t flawless or impenetrable. An upgrade of the hardware or patching of a hardware system might create just the kind of opening that would enable a hacker to pounce.
The Nuclear Regulatory Commission and the industry are “aware of those scenarios,” Varuttamaseni said. “There are procedures in place and mitigation steps that are taken to prevent those kinds of attacks.” Ideally, however, the power plant would catch any would-be attacker early in the process. Varuttamaseni is working on three grants that are related to systems at nuclear power plants. In addition to cyberattacks, he is also analyzing software failures in the protection system and, finally, he’s also doing statistical testing of protection systems.
Varuttamaseni, who was born in Thailand, lives in Middle Island. He appreciates that Long Island is less crowded than New York City and describes himself as an indoor person. He enjoys the chance to read novels, particularly science fiction and mysteries. He also likes the moderate weather on Long Island compared to Bangkok, although threats from hurricanes are new to him. Next June, Varuttamaseni will present a paper on cybersecurity at the American Nuclear Society’s Nuclear Plant Instrumentation, Control & Human-Machine Interface Technology Conference in San Francisco.
Varuttamaseni is “always on the lookout for insights into possible attack pathways that an attacker could come up with,” he said. “The mitigating factor of my work is that we’re looking at a longer-term problem. There’s still time to [work with] many of these potential vulnerabilities.”
Volunteers at a previous Dickens Festival in Port Jefferson line up for the Giant Puppet Parade. Photo by Heidi Sutton
Volunteers from last year’s Dickens Festival in Port Jefferson. Photo by Bob Savage
Here ye! Here ye! Are you looking to volunteer? Do you need community service or acting experience? The Port Jefferson Dickens Festival committee is seeking adults, teens, children and parent chaperones for street character plays and performances including “Scrooge’s Dream” and “Oliver’s Adventures” to be held at the 21st annual Charles Dickens Festival on Dec. 3 and 4. Many key roles are available including Marley’s Ghost and Tiny Tim along with student improv groups, caroling groups and Newsies.
Choose your level of time commitment. Some positions only require availability during the festival. Rehearsals for the street performances are held on either Tuesdays or Thursdays from 6:30 to 8 p.m. at the Port Jefferson Village Center, 101A E. Broadway, Port Jefferson.
For adult street character plays and Dickens regulars contact Karen at [email protected]. For students interested in performing and community service contact Carolyn at 631-741-6698 or Jill at 631-418-6699.
A diet rich in fruits, vegetables, beans, nuts and oily fish may prevent breast cancer. Stock photo
By David Dunaief, M.D.
NFL players are wearing pink shoes and other sportswear this month, making a fashion statement to highlight Breast Cancer Awareness Month. This awareness is critical since annual invasive breast cancer incidence in the U.S. is 246,000 new cases, with approximately 40,000 patients dying from this disease each year (1). The good news is that from 1997 to 2008 there was a trend toward decreased incidence by 1.8 percent (2).
We can all agree that screening has merit. The commercials during NFL games tout that women in their 30s and early 40s have discovered breast cancer with a mammogram, usually after a lump was detected. Does this mean we should be screening earlier? Screening guidelines are based on the general population that is considered “healthy,” meaning no lumps were found, nor is there a personal or family history of breast cancer.
All guidelines hinge on the belief that mammograms are important, but at what age? Here is where divergence occurs; experts can’t agree on age and frequency. The U.S. Preventive Services Task Force recommends mammograms starting at 50 years old, after which time they should be done every other year (3). The American College of Obstetricians and Gynecologists recommends mammograms start at 40 years old and be done annually (4). Your decision should be based on a discussion with your physician.
The best way to treat breast cancer — and just as important as screening — is prevention, whether it is primary, preventing the disease from occurring, or secondary, preventing recurrence. We are always looking for ways to minimize risk. What are some potential ways of doing this? These may include lifestyle modifications, such as diet, exercise, obesity treatment and normalizing cholesterol levels. Additionally, although results are mixed, it seems that bisphosphonates do not reduce the risk of breast cancer nor its recurrence. Let’s look at the evidence.
Bisphosphonates
Bisphosphonates include Fosamax (alendronate), Zometa (zoledronic acid) and Boniva (ibandronate) used to treat osteoporosis. Do they have a role in breast cancer prevention? It depends on the population, and it depends on study quality.
In a meta-analysis involving two randomized controlled trials, results showed there was no benefit from the use of bisphosphonates in reducing breast cancer risk (5). The population used in this study involved postmenopausal women who had osteoporosis, but who did not have a personal history of breast cancer. In other words, the bisphosphonates were being used for primary prevention.
The study was prompted by previous studies that have shown antitumor effects with this class of drugs. This analysis involved over 14,000 women ranging in age from 55 to 89. The two trials were FIT and HORIZON-PFT, with durations of 3.8 and 2.8 years, respectively. The FIT study involved alendronate and the HORIZON-PFT study involved zoledronic acid, with these drugs compared to placebo. The researchers concluded that the data were not evident for the use of bisphosphonates in primary prevention of invasive breast cancer.
In a previous meta-analysis of two observational studies from the Women’s Health Initiative, results showed that bisphosphonates did indeed reduce the risk of invasive breast cancer in patients by as much as 32 percent (6). These results were statistically significant. However, there was an increase in risk of ductal carcinoma in situ (precancer cases) that was not explainable. These studies included over 150,000 patients with no breast cancer history. The patient type was similar to that used in the more current trial mentioned above. According to the authors, this suggested that bisphosphonates may have an antitumor effect. But not so fast!
The disparity in the above two bisphosphonate studies has to do with trial type. Randomized controlled trials are better designed than observational trials. Therefore, it is more likely that bisphosphonates do not work in reducing breast cancer risk in patients without a history of breast cancer or, in other words, in primary prevention.
In a third study, a meta-analysis (group of 36 post-hoc analyses — after trials were previously concluded) using bisphosphonates, results showed that zoledronic acid significantly reduced mortality risk, by as much as 17 percent, in those patients with early breast cancer (7). This benefit was seen in postmenopausal women but not in premenopausal women. The difference between this study and the previous study was the population. This was a trial for secondary prevention, where patients had a personal history of cancer.
However, in a RCT, the results showed that those with early breast cancer did not benefit overall from zoledronic acid in conjunction with standard treatments for this disease (8). The moral of the story: RCTs are needed to confirm results, and they don’t always coincide with other studies.
Exercise
We know exercise is important in diseases and breast cancer is no exception. In an observational trial, exercise reduced breast cancer risk in postmenopausal women significantly (9). These women exercised moderately; they walked four hours a week. The researchers stressed that it is never too late to exercise, since the effect was seen over four years. If they exercised previously, but not recently, for instance, five to nine years ago, no benefit was seen.
To make matters worse, only about one-third of women get the recommended level of exercise every week: 30 minutes for five days a week. Once diagnosed with breast cancer, women tend to exercise less, not more. The NFL, which does an admirable job of highlighting Breast Cancer Awareness Month, should go a step further and focus on the importance of exercise to prevent breast cancer or its recurrence, much as it has done to help motivate kids to exercise with it Play 60 campaign.
Soy intake
Contrary to popular belief, soy may be beneficial in reducing breast cancer risk. In a meta-analysis (a group of eight observational studies), those who consumed more soy saw a significant reduction in breast cancer compared to those who consumed less (10). There was a dose-response curve among three groups: high intake of >20 mg per day, moderate intake of 10 mg and low intake of <5 mg.
Those in the highest group had a 29 percent reduced risk, and those in the moderate group had a 12 percent reduced risk, when compared to those who consumed the least. Why have we not seen this in U.S. trials? The level of soy used in U.S. trials is a fraction of what is used in Asian trials. The benefit from soy is thought to come from isoflavones, plant-rich nutrients.
Western vs. Mediterranean diets
A Mediterranean diet may decrease the risk of breast cancer significantly.
In an observational study, results showed that, while the Western diet increases breast cancer risk by 46 percent, the Spanish Mediterranean diet has the inverse effect, decreasing risk by 44 percent (11). The effect of the Mediterranean diet was even more powerful in triple-negative tumors, which tend to be difficult to treat. The authors concluded that diets rich in fruits, vegetables, beans, nuts and oily fish were potentially beneficial.
Hooray for Breast Cancer Awareness Month stressing the importance of mammographies and breast self-exams. However, we need to give significantly more attention to prevention of breast cancer and its recurrence. Through potentially more soy intake, as well as a Mediterranean diet and modest exercise, we may be able to accelerate the trend toward a lower breast cancer incidence.
References: (1) breastcancer.org. (2) J Natl Cancer Inst. 2011;103:714-736. (3) Ann Intern Med. 2009;151:716-726. (4) Obstet Gynecol. 2011;118:372-382. (5) JAMA Inter Med online. 2014 Aug. 11. (6) J Clin Oncol. 2010;28:3582-3590. (7) 2013 SABCS: Abstract S4-07. (8) Lancet Oncol. 2014;15:997-1006. (9) Cancer Epidemiol Biomarkers Prev online. 2014 Aug. 11. (10) Br J Cancer. 2008;98:9-14. (11) Br J Cancer. 2014;111:1454-1462.
Dr. Dunaief is a speaker, author and local lifestyle medicine physician focusing on the integration of medicine, nutrition, fitness and stress management. For further information, visit www.medicalcompassmd.com or consult your personal physician.
Samantha Carroll and Jeremy Hudson sing ‘Follow Your Heart’ in a scene from ‘Urinetown.’ Photo courtesy of the SCPA
By Rebecca Anzel
“Urinetown: The Musical,” currently in production at the Smithtown Performing Arts Center through Nov. 6, has received rave reviews. The two lead characters, Hope Cladwell and Bobby Strong, are played by real-life couple Samantha Carroll and Jeremy Hudson. I sat down with the two actors on Saturday night before the show to ask them about their latest roles.
Samantha Carroll and Jeremy Hudson sing ‘Follow Your Heart’ in a scene from ‘Urinetown The Musical.’ Photo courtesy of SCPA
How did you two meet?
S: The first time we actually met was here at Smithtown Theater years ago when we both auditioned for Light in the Piazza, which was my first show. Jeremy didn’t make the cut but we read together on stage and I remembered it and I found him on Facebook—
J: She Facebook stalked me throughout college.
S: I just was like, “I read with this guy and he’s nice.” We became closer friends at the Engeman. We started doing children’s theater there together and he was in a production of White Christmas that I was a dresser.
J: Even before that though — Little Women.
S: Oh god yeah, and then we did Little Women together at CM. Our friendship and love, eventually, has come through working at all these different theaters. But we did actually meet at the Smithtown Center for the Performing Arts years ago. And here we are.
J: It was a long time ago. 2007.
What is it like being engaged to each other and starring opposite each other in a show?
S: I mean, it’s like any other day really. We met doing shows together so I guess it’s normal. It’s easier to learn the lines. I trust him on stage. Our families are even more excited than we are.
J: Yeah, it’s a fun opportunity that’s few and far between. It’s a chance to have both of our lives kind of converge at one point to be able to do a show like this together. We try and make the most of the time we have doing this show because —
S: We don’t know when it’ll come again to work together, so it’s very nice.
Photo courtesy of SCPA Samantha Carroll and Jeremy Hudson in a scene from ‘Urinetown The Musical.’ Photo courtesy of SCPA
What other theaters have you both worked in?
S: Together, we worked at CM Performing Arts Center in Oakdale and the John W. Engeman in Northport. This is definitely our biggest roles together. Playing opposite each other is really, it’s silly but we’re both serious enough that we don’t just burst out laughing.
J: We can keep it together for five minutes.
You said that you performed at this theater in a teen production. Have you done any other shows here?
S: I have. I’ve been here my whole theater life. I’ve done many of the Wonderettes shows — they’re doing another Wonderettes coming this May and June. Light in the Piazza was my first really big one. Most recently, I’ve been in Violet, which was a really big favorite, and we were both actually in First Date together a few months ago as well.
J: Last March. More than a few months at this point.
S: But yeah, I was in Little Mermaid. The list goes on and on. And Jeremy’s worked here before as well.
J: I haven’t done quite as much but I have done a few shows in the past. I did Assassins here, I did Dirty Rotten Scoundrels. Bloody Bloody Andrew Jackson was another one I did here.
How old were you each when you decided that you wanted to be an actor? What attracted you to the profession?
S: I think I was probably about 6 or 7 when I started to be interested in it. My mom took me to see Beauty and the Beast on Broadway and at that point I was like, “Oh, well I have to be Belle.” I mean, I’m still waiting. I think my first acting class was probably at 8 years old and then I started singing lessons in sixth grade, so once I got to high school, I realized that this is what I want to do for the rest of my life. Beauty and the Beast, those princesses and those villains, inspired me to be where I am.
J: And I was in high school, I guess. My brother — my older brother, 10 years my senior so much older brother — used to do theater and growing up I would always go with my parents to see him do shows pretty consistently, so it was always kind of a part of my life. And then I did one myself and I was like, “Hey this is fun.” My first show was Grease, and then Guys and Dolls. I just enjoyed doing it, and having been a part of it my entire life, I just kind of slid into it myself.
Samantha Carroll in a scene from ‘Urinetown The Musical,” Photo courtesy of SCPA
Do you ever get nervous on stage?
S: For sure. Nerves are good, though, because it means you care about it and it keeps you focused.
J: The thing is, I forget there are audiences there, so I just am doing it and because I’ve done it so many times now, I’m used to people watching me do whatever. The only time I get more nervous, so to speak, is if I start to really think about it. Sometimes I’ll be on stage doing a scene and, not to say I won’t be in the moment, but I’ll just think, “I’m standing on a stage and there are people staring at me.” And then at that point what I’m doing starts to sink in, and then maybe at that point.
S: We don’t stay up at night thinking how terrifying it is to be on stage, or we wouldn’t do it. I think we get just general butterflies, especially when your parents are in the audience. You just want to be good. We’re perfectionists, unfortunately, to a fault.
What is it like watching each other perform?
S: It’s so cool. I do some stuff in Millbrook Playhouse in Pennsylvania, and Jeremy has come out to to see me in everything. I always just wait to hear what he has to say, because those mean the most to me. His words and his critiques, he doesn’t have many.
J: Not to her face at least.
S: And seeing Jeremy is amazing too. I got to see him in 1776 last year.
J: You don’t get to see me do as much as I see you.
S: He sees me a little more because he works a big-boy job too.
J: One of the many reasons we’re going to get married is just because it’s nice to share similar interests in this because it is a very time-consuming, very all-encompassing profession job. Being an actor or actress takes a lot out of you, so to be on the same page and to have that point of reference or common ground, so to speak, between the two of us is good.
What is it like when you get a standing ovation?
S: It’s not expected, but it’s very nice when it happens.
J: It’s good that an audience is that invested because it takes a lot to sit through a show, even a show you like, and then feel the need to stand up and show your appreciation for it afterwards means a lot.
Jeremy Hudson and cast in a scene from ‘Urinetown The Musical.’ Photo courtesy of SCPA
Has anything strange ever happened out in the audience that you noticed while on stage?
J: All the time. People on their cell phones, people falling asleep.
S: Snoring!
J: People eating.
S: Choking. We’ve done so much children’s theater together, the kids are, you know, they just scream the whole time. We’ve seen it all.
J: Audiences feel like because they’re sitting in a dark theater that people don’t see them. But lo and behold, being on stage you see everyone and everything. I look out and scan the audience every once in awhile. If you’re doing something weird, I will see you, and we will be talking about you. Being an audience member requires just as much investment as being a performer on the stage. It’s why I don’t like sitting in the front row myself because I feel like I’m a part of the performance as well, because the actors can see you. They can see you throughout the show.
S: And they will look at you. It’s actually easy to see the front row, but a lot of other rows are harder to see. It depends on the cues, but you can always see the first row.
J: Always.
What is your dream role?
S: Currently — they change all the time — I would love to be Alice in Bright Star who was played by Carmen Cusack on Broadway. And I would die and go to heaven to be anything in Waitress.
J: I mean, who doesn’t want to be in Le Mis, but I would like to play Jean Valjean in Les Misérables again. I did it in a teen production ten years ago, so I would like to do that again in a real production. That would be fun.
Do you have theaters in mind that you want to work in?
J: Anything between 7th and 8th Avenues between 42nd and 49th Street would be great.
S: Any theater that’s going to be professional and lovely, we would love to work at.
What attracted you to “Urinetown the Musical”? What made you want to audition?
S: I actually did “Urinetown” at the same theater 10 years ago in the teen production and I played Hope — the same part. I found out they were doing it again and Ken [Washington], the director, had talked to me about if I would like to reprise my role but on the main stage. I said absolutely. It’s a strange show, but it’s very funny and I like to be Hope so I wanted to do it again.
J: I saw the actual show 10 years ago and I have always liked it and wanted to be a part of it. It’s always been on my short list of shows to do, so I’m glad I’ve gotten the opportunity to do it at this point.
What is it like working with the director?
S: I have worked with Ken since I was 16 years old and he has seen me grow up. He is still the fun, grumpy man I remember he was, but you know, I think Ken has such a passion for theater. It’s definitely rubbed off in a good way. We love Ken.
J: He cares a great deal and he has a wealth of knowledge as far as theater goes, so it’s definitely something that is good to tap in to from time to time.
What is it like working with the cast?
S: Well, this cast specifically is a lot of, as we like to say, Long Island notables, just people who have kind of been doing this for such a long time. We’re very luck, honestly. A lot of big personalities, but in a really great way.
J: It’s a very eclectic group of people. All bring individual strengths [to the stage].
What is your favorite scene and song in the show?
S: My favorite scene and song is definitely “Follow Your Heart.” I’ve always loved it. “Be still, Hear it beating, It’s leading you, Follow your heart” was actually my yearbook quote for high school. It’s funny, it’s heartfelt and I get to do it with the best partner in the world.
J: I enjoy the scene leading up to “Run Freedom Run!” and that song. It’s just fun because it’s a bunch of strange people and it’s just very funny. It’s 80 percent the same every night and 20 percent slightly different, which always keeps things interesting.
Michael Newman and Samantha Carroll in a scene from ‘Urinetown The Musical.’ Photo from SCPA
Why should people come see the show?
S: If you ask any theater person at all, they’ll say to you, “‘Urinetown’ is the best,” or, “I love ‘Urinetown’.” I’ve been in it three times. It’s just one that people who don’t usually come to see theater don’t always come to, but they really should because it’s very, very funny. Hilarity ensues.
J: It’s just such an original piece of theater. The show came out in the early 2000s but it’s still very timely in terms of the current climate with politics. It has a lot of good things to say. The music is very catchy, and it’s one of those shows where you hear the name and you’re like, “I don’t know — it sounds weird,” but then you actually go to sit down and you see it and within 15, 20 minutes you’re like, “Wow, I’m glad I didn’t miss the opportunity to see this!”
What is up next for both of you?
S: I am very shortly starting Mary Poppins at the John W. Engeman. I’m in the ensemble but I’m covering a few different tracks of a lot of the character roles. I’m going to be doing that the whole Christmas season. And Jeremy will get one soon, but he’s—
J: Currently in between things. I have to, what with work and whatnot, I have to be a little more selective in what—
S: So he can make the dollar bills. It’s honestly either just you’re doing three shows at a time, one after the other, or you don’t do something for six months.
J: As long as we can make a living, or any wage, really, performing, that is the ideal. I would love to do theater but that doesn’t necessarily mean that’s the only thing I would like to do.
S: But we’ll always do it, regardless of if we have babies or have full-time jobs, we’ll definitely always come back and do theater because that’s what we love.
Is there anything else that you want to say to our readers?
J: This is a wonderful show, here, and Smithtown Performing Arts Center. There is a theater in Smithtown, it’s on Main Street.
S: Please come see Urinetown and everything else because everything they do here is really wonderful.
J: They put a lot of time and effort and thought into shows here. This is specifically a show that desperately needs an audience to enjoy it for it to really reach it’s maximum potential, so come on down everyone.
‘CAUSE EVERYTHING IS RENT Broadway stars Anthony Rapp and Adam Pascal took time out from signing autographs to pose with staff members from the John W. Engeman Theater in Northport, from left, Phyllis Molloy, Alex Spitzli, Michael DeCristofaro, Richard T. Dolce, Jessie Eppelheimer, Jennifer Tully, Kate Keating and Alexandra Heidrich, after the duo’s sold-out show, ‘Anthony and Adam LIVE,’ on Oct. 17.
Remember the names of Columbus’ ships, anybody? Yes. Of course you do. Everyone in this overflowing audience knows the three names. Furthermore, you all know them in the same order. Good for you! Doesn’t matter where you went to school — from the Redwood forest, to the Gulf Stream waters, to the New York island, those names were taught to you and me — and in order!
Quite an achievement. Or, is it? Of what educational value are those three names? Virtually none, except maybe to a contestant on Jeopardy. But students are in real jeopardy if we continue to consume their limited school time with pointless facts, trivia, backward thinking, and low-level knowledge.
I dub it the “Nina Pinta and Santa Marianization” of our schools. Let’s sail back in time to Columbus. The big date — you know, it rhymes with “ocean blue. What was going on in the world during that era? Was there a printing press? Was there a global power? Were there wars going on? (Good guess. Seems there’s always a war going on somewhere.) Was his trip around the time of the Great Potato Famine or the Black Death? How long would the journey take and how was it estimated? What provisions did Columbus need to stock in order to survive the journey? How did the food not spoil? How much water could be used each day by each person and animal? How many men and animals should be boarded, realizing that each man and animal consumed food and water and made the living quarters tighter? What if winds were becalmed in the Horse Latitudes and the ships barely moved? Did they need weapons, and if so, why?
How many of us considered those questions in school? The teachers didn’t ask them, nor did they know the answers. Remember, teachers are a product of the schools themselves. They are primarily people who succeeded in school, liked it, and went on to do it — not change it. They are educational conservatives.
During the eight years I directed a class for teachers, I’d give them a test developed from fourth- and fifth-grade books. Not one teacher ever came close to passing. I’d tell them that they were either not very bright or that the material we’re teaching our kids is irrelevant to a functioning adult.
So, what if our educational system comes to its senses and realizes that constructive destruction of curriculum and teaching methods is necessary, and Common Core was not a common cure? What should we teach? Here’s a start:
Personal finances. Every school should create a bank where students have the option to invest by purchasing shares. The bank would issue loans to students and would require a student co-signer. Interest would be added to the loan reflecting the amount and length of loan. Credit rating would be developed. [Yes. I’ve done it and it works.]
What is fire, auto, and life insurance — and how do they work?
The art of being skeptical without being a skeptic. Time. What it is and how to manage it.
Relationships: What are they? How do they develop? And what is their value? Introductions: How to offer and receive.
Black boxes in airplanes and cars. What do they reveal? What are mortgages? Why do they exist?
Waste management. Where does garbage go? What are sewers and cesspools? [Water, water … not everywhere.]
Logic and reasoning with and without Venn diagrams. The art of questioning and the value of wrong answers.
The media. What it is, how it works, and the choices it makes. The illusions in movies and TV through editing, music, and more. PG-13: How and why things are rated. The goals and methods of advertising.
A school farm with irrigation. Students would have scheduled time working on the farm. A student and adult committee would handle the summer months. Kitchen duty with student assignments. Custodial duty with student chores.
The science of raising, preparing, and cooking food. The food we eat: Where does it come from? What is a hamburger bun?
Negotiating and compromising. Shipping and transportation. The evolution of things: the medicine bottle, the telephone, the sneaker, etc.
Dilemmas: how can Italy, the world’s biggest exporter of olive oil, also be the world’s biggest importer? Is there such a thing as too much?
Plumb lines, centers of gravity and sea level. Architecture, engineering, stacking blocks. Physics is everything. How technology affects our lives.
Language travels with us but never reaches a final destination.
Objects: magnifying glasses, prisms, levels, stethoscopes, magnets, ball bearings. The magic of perimeters. Zero-sum games.
The gift of failure, and the hardship of failure-deprived people. Thinking about what others are thinking by using game theory.
Your body: A user’s manual.
Bruce Stasiuk of Setauket continues to teach. He currently offers workshops as an instructor in the Osher Lifelong Learning Institute, located at Stony Brook University.
Brookhaven Town Councilwoman Jane Bonner speaks at the Organ Donor Enrollment Day kickoff event at Stony Brook University Hospital Oct. 6. Photo from Bonner’s office
By Rebecca Anzel
Registered organ donors are hard to come by in New York state compared to the rest of the United States, and for one elected official in Brookhaven, that’s not going to cut it.
Brookhaven Councilwoman Jane Bonner (C-Rocky Point) did not hesitate when her friend Tom D’Antonio said he needed a kidney. She decided right then, at the Huntington Lighthouse Music Festival in Huntington Harbor in September 2015, that she would share her spare.
She underwent comprehensive medical testing at the end of the next month to determine if she would be a viable donor — a blood test, chest X-ray, electrocardiogram, CT scan, MRI, psychological evaluation and cancer screening, to name a few.
“It’s the ultimate physical you’re ever going to have, and by the blood test alone several people were disqualified,” Bonner said. “For once in my life, it turned out that I was No. 1. And it worked out really, really well.”
Brookhaven Town Councilwoman Jane Bonner and her friend Tom D’Antonio after their surgeries to transplant her kidney into his body in April. Photo from Jane Bonner
The surgery was April 26, a Tuesday, at New York Presbyterian Hospital. Bonnor was home that Friday and missed only eight days of work. She said she just had her six-month checkup and she is in good health.
“Jane didn’t just save my life, she saved my family’s life,” D’Antonio said. “Donating an organ doesn’t just affect the person getting the organ — although certainly it affects them the most — it affects everyone’s life.”
Bonner said she takes every opportunity to share her story to bring awareness about the importance of being an organ donor.
“I want to be a living example to show that it can be done because it’s life changing for the recipient and only a little inconvenient for the donor,” she said.
There is a large need for organs in New York. More than 9,700 people are on the organ waiting list, and someone dies every 18 hours waiting for one, according to LiveOnNY, a federally designated organ procurement organization.
New York ranks last among the 50 states in percent of residents registered as organ donors, despite surveys showing 92 percent of New Yorkers support organ donation. Only 27 percent of New Yorkers are enrolled in the state registry, versus the average of 50 percent registered across the rest of the country.
Stony Brook Medicine and Stony Brook University hosted the Organ Donor Enrollment Day event Oct. 6, including Bonner, in a statewide effort to boost the number of registered organ donors.
“Our residents need to be reminded about the importance of organ donation,” Suffolk County Executive Steve Bellone (D) said in a statement. “Along with stressing how one organ and tissue donor can save multiple lives, understanding and debunking the social and religious myths about organ donation are also critical to turning the tides in New York as we currently rank last in registered organ donors in the nation.”
Dawn Francisquini, transplant senior specialist for the hospital, said volunteers enrolled 571 people.
“New York has a very large population, so it’s going to take a lot to get us up to where the other states are,” she said. “But we’re making progress.”
There are two ways to become an organ donor. One is to be a living donor, like Bonner. A potential donor does not have to know someone in need of an organ to donate a kidney, lobe of liver, lung or part of a lung, part of the pancreas or part of an intestine.
“I’ve been able to accomplish really amazing things, but this is a step above that. Satisfying is not even the word to describe it.”
— Jane Bonner
“Living donation is so important because not only are you giving an organ to someone, so you’ve saved that life, but you’ve also made room on the list,” Francisquini said. “So you’ve saved two lives by donating one organ.”
The most common way is by registering when filling out a driver’s license registration or renewal form to be considered as a candidate upon death. According to the U.S. Department of Health & Human Services, though, only about three in 1,000 deceased people are suitable for organ donations.
Doctors determine whether organs like kidneys, livers, bones, skin and intestines are medically viable for a waiting recipient and they typically go to patients in the same state as the donor.
Gov. Andrew Cuomo (D) signed legislation Aug. 18 allowing 16 and 17-year-olds to register as organ donors. If they die before turning 18, parents or guardians are able to reverse the decision.
“By authorizing 16 and 17-year-olds to make the selfless decision to become an organ donor, we take another significant step to grow the state’s Donate Life registry and create opportunities to save lives,” Cuomo said in a statement.
Francisquini said she thinks this new law will make a big difference. Previously, because those under-18 were not allowed to express their wishes when filling out a driver’s license form, many would not register as donors until years later when renewing their license.
Since her surgery, Bonner has shared her story in speeches, panel discussions and on social media using the hashtag #ShareTheSpare.
“I really feel like this is much better than anything I could accomplish in my professional career,” she said. “Through the support of the people that keep electing me, I’ve been able to accomplish really amazing things, but this is a step above that. Satisfying is not even the word to describe it.”
The pier at Harborfront Park in Port Jefferson needs repairs, according to a report by an engineering firm. Photo by Alex Petroski
After recent accounts of “shifting” and “swaying” of the pier in Harborfront Park, the Port Jefferson Village board of trustees commissioned a field assessment of the pier.
The Bohemia-based engineering firm P.W. Grosser Consulting Inc. conducted the assessment, made several recommendations — including instituting a maximum occupancy for the pier of 180 people — and noted several deficiencies that may need to be addressed.
The Village hosted its annual Port Jefferson Dragon Boat Race Festival Sept. 16 at Harborfront Park, which drew participants and spectators totaling in the hundreds. During the event, the pier was frequently packed with people, and according to the report, it could be felt swaying and shifting at various points throughout the day.
The assessment in part found “severe section loss” to pilings, or columns driven into the sediment that serve as a foundation for the platform, a missing washer and nut for one beam-to-piling connection, rusted connections between pieces of wood and a split in at least one cross-bracing. The report recommended that section loss to pilings and the missing washer and nut be addressed immediately, and called them “significant structural deficiencies.”
Village Mayor Margot Garant said in an email the issues will be addressed as a matter of “when” and not “if,” and the job will be put out for bid. Garant said the maximum occupancy recommendation would be increased when the improvements are completed. At a village board meeting Oct. 20, Garant estimated that, at any given point, there might have been as many as 200 people on the pier.
“We immediately asked everybody other than the boaters to get off the pier,” Garant said after accounts of swaying and shifting circulated Sept. 16. She added the assessment was ordered as an emergency. “It’s obviously showing some age and some wear and tear. … It’s something we’ll need to have addressed.”
Village Trustee Bruce D’Abramo was in favor of a proactive approach regarding the recommendations.
“They’ve called the village’s attention to a couple of issues [with the pier], I think that if we ignored it, it would not be good,” he said during the meeting on the Oct. 20.
The 337-feet long by 12-feet wide pier is made entirely of timber and was originally built in 1996. It was last modified in 2004, according to the report. The pier remains open for use, with the maximum occupancy restrictions in place.
This past weekend, I spent some delightful time with my grandson and was introduced to electronic music. He plays and composes this type of music, so I wanted to know more about it, and I was dazzled. In a corner of his bedroom, with relatively few, modest-sized electronic instruments, he can construct and deconstruct and reconstruct sounds as they graphically appear on a screen in front of him. He can reproduce the sound of any musical instrument, then combine that sound with any other, such as an industrial sound, and create a unique sound with the help of a synthesizer. There is often a strong beat associated with the musical line, but not always. Traditional musical instruments can be combined with unique sounds. And pauses can be built in for a vocalist.
I’ll try to explain how this was made possible. Advances in technology, from the development of tape recorders last century to the laptop computer of today played a part. According to some research I did on the Internet, the earliest electronic devices for performing music were developed at the end of the 19th century. Italian Futurists explored sounds not precisely considered musical. Then in the 1920s and ’30s, electronic instruments were introduced and used to play the first compositions.
The big breakthrough came with magnetic audiotape, sort of analogous to the development of film for movies. Audiotape enabled musicians to tape sounds and then modify them, by changing speed or splicing out mistakes and inserting better parts of takes. It was a boon to recording commercial music, be it classical or popular.
Germany was first on this scene, actually during World War II, and that work was brought to the United States at the end of the war. Musique concrète was created in Paris, France, in 1948, wherein fragments of natural and industrial sounds were recorded and edited together to produce music from electronic generators. Japan and the United States joined in this development in the 1950s and ’60s.
Computers were now available, and they could be made to compose music according to predetermined mathematical algorithms. In 1957, the RCA Mark II Sound Synthesizer became the first that could be programmed by its user, making possible the fusion of electronic and folk music, for example. Its user now had the ability to pinpoint and control elements of sound precisely.
By the 1970s, the synthesizer helped make electronic music a significant influence on popular music. Electronic drums and drum machines entered disco and new wave music. Toward the end of the last century, the Musical Instrument Digital Interface or MIDI enabled everything from experimental art music to popular electronic dance music. Pop electronic music became connected to mainstream culture.
In the last decade, many software-based virtual studio environments have emerged, allowing viable and cost-effective alternatives to typical hardware-based production studios, many of which have gone out of business. Microprocessor technology can help make high quality music using little more than a laptop.
When my grandson, who just turned 18, sits in his bedroom and composes full-orchestral music from bits and pieces of sounds he has recorded — aided by his drum machine and bass synthesizer, that he then plays over the Internet — we are seeing the democratization of music creation. He doesn’t even need those bits and pieces, although he sometimes likes to add them.
Synthesized music can be created entirely from electronically produced signals. My grandson is, in fact, marching along the same path as Paul Hindemith and the Beatles. Only today he has more technology to help him than they did.
Will all this eventually replace large orchestras? He says, “Yes.”
Prev
