Why does a generally rational society drag a sleeping groundhog out of his hibernation burrow to learn how much more winter is to come? Don’t we have calendars? Don’t we have memories of what has happened in previous years? Don’t we have the Weather Channel?Let’s consider how all this happened.
Sound Beach Susie enjoying a carrot. Photo by Ernestine Franco
According to Charles Panati’s “Extraordinary Origins of Everyday Things,” the groundhog (also called a woodchuck or whistle pig) is not really interested in how long winter is. Looking for a mate or a good meal are the actual reasons that determine a groundhog’s behavior when it emerges in winter from months of hibernation.
Quite simply, if on awakening a groundhog wants some company or is famished, he will stay aboveground and search for a mate and a meal. If, on the other hand, these appetites are still dulled from his winter slumber, the groundhog will return to the burrow for a six-week doze. Weather has nothing to do with it.
Folklore about the animal’s shadow originated with 16th-century German farmers. However, the German legend did not rely on a groundhog. Rather, the farmers relied on a badger. (Happy Badger Day?) The switch from badger to groundhog did not result from mistaken identity. German immigrants who settled in Punxsutawney, Pennsylvania, in the 19th century found that the area had no badgers. It did, however, have hordes of groundhogs, which the immigrants conveniently fitted to their folklore.
Weather did play one key role in the legend. At Punxsutawney’s latitude, a groundhog emerges from its hibernating burrow in February, again looking for company or food. Had the immigrants settled a few states south, where it’s warmer, they would have found the groundhog waking and coming aboveground in January. In the upper Great Lakes region, the cold delays its appearance until March. Thus, it was the latitude where the German immigrants settled that set Groundhog Day as Feb. 2.
German folklore dictated that if the day was sunny and the groundhog (badger) was frightened back into hibernation by its shadow, then farmers should refrain from planting crops, since there would be another six weeks of winter weather. Scientific studies have squashed that lore. The groundhog’s accuracy in forecasting the onset of spring, observed over a 60-year period, is a disappointing 28 percent — although, in fairness to the groundhog, the estimate is no worse than that of a modern weather forecast.
So Groundhog Day has become part of American culture. The official groundhog that gets yanked out of its burrow is Punxsutawney Phil, named for the town where the German immigrants settled. Thousands of people and the national media cover poor Phil’s treatment. And let us not forget there is the film, “Goundhog Day,” which is enjoyed by many people year after year after year.
Many other states celebrate their own groundhog. In New York we have Staten Island Chuck, Dunkirk Dave, Malverne Mel and Holtsville Hal, whose sleep is interrupted at the Town of Brookhaven’s Wildlife and Ecology Center in Holtsville.
For me, I recently had my own groundhog, whom I called Sound Beach Susie (shown in the accompanyingphoto eating a carrot), take up residence in my backyard. But I did not bother her in February. I waited until late spring when she brought her five babies out in the open. I had very interesting encounters with them when she allowed me to feed them all for a few weeks. They particularly liked carrots, broccoli and romaine lettuce. They did not like celery, asparagus or zucchini.
So Happy Groundhog Day, no matter how or when you celebrate it!
In 2016 a 54.5-million-year-old set of some 25 bones were unearthed in Gujarat, India. They belonged to the closest ancestor of all primates that lived about 56 million years ago. One branch of that ancestor produced the lemurs, lorises and an extinct group of adapoids. A longer branch produced the tarsiers and an extinct group of omomyids. Even more recently from that tarsier branch came the New World monkeys, followed by the Old World monkeys and most recently the apes and humans. The Gujarat primate has bones that are like a mixture of the lemurlike and monkeylike lineages.
The primates arose from an earlier line of dermopterans, and they in turn came from a line of tree shrews. The dermopterans are represented by a nearly extinct line of flying mammals that superficially look like bats but that differ in their mode of flight. They have a flap of skin that serves as a gliding organ, and they can glide about 200 feet from tree to tree in a forest. They are not good climbers, lack opposable thumbs and are nocturnal. Their diet consists of fruits, leaves and sap.
One species lives in the Philippines.They are called by their popular name, colugos. Colugos are unusual in the trade-offs they have made in adapting to the rain forests in which they live. They gave up the marsupial pouch as they shifted to the placental pregnancies of mammals, but like marsupials, the colugo babies are born immature and are shielded by their mothers for about six months in the skin flaps that serve as both gliders and a pseudopouch.
We humans (Homo sapiens) can decide which of our ancestors to call human. The Neanderthals and Denisovans are our closest ancestors, and we acknowledge that they shaped tools, lived in communities and even bred with us, leaving behind as much as 3 percent of their genes in our genomes in many parts of the world.
The 54.5 million-year-old animal would have most closely resembled the gray mouse lemur.
Less human in appearance are Homoerectus and Homo habilis. All of these walked upright, unlike apes. Their skeletons are more humanlike than apelike. The very fact that they could reach reproductive age and survive tells us they knew how to shape the environments in which they lived or extract from them the protection, food and materials needed for their survival.
Humans are remarkable in their plasticity of opportunities. They can migrate to frigid arctic or antarctic climates or live in deserts, in high altitude or sea level, in four seasons or one.
As a geneticist I am aware that the contribution of any one of my Homo sapiens ancestor’s genes some 200,000 years ago had a low probability of remaining in contact with its neighboring genes, and in all likelihood those genes in me are from virtually all of the individuals alive then.
When we do genealogy, assuming four generations per century, it only takes 2,000 years for any one of those ancestors in our family history to have less than 1 percent of our genes. If we are lucky (like royalty) to have records of our ancestors going back to the Middle Ages, we would likely find ourselves related to everyone in an ancestral region (a person like me whose father was from Sweden would be related to virtually every Swede in the age of the Vikings a little over 1,000 years ago).
In many ways our past genetic heritage is like the history of my Montblanc fountain pen, which was given to me by my students at UCLA in 1968. In the 40 years I wrote with it, I sent it to be repaired dozens of times either because I dropped it or a part wore out. Each time my pen came back looking new. I still think of it as the 1968 gift, but I doubt if there is any part that is still of the original pen given to me then.
This makes it unlikely that there is a genetic basis for behavior traits in a family that can go through more than 10 generations. The processes of shuffling genes every time we make eggs or sperm breaks up whatever cluster of genes we wish to assign to a human behavior. This is good because the genes of conquerors were spread widely while they held power, but having one of Ivan the Terrible’s genes or Genghis Khan’s genes would not make us a predatory monster in our relations with others. We inherit genes, not essences. If there is a mark of Cain, it is not engraved in our genes.
Elof Axel Carlson is a distinguished teaching professor emeritus in the Department of Biochemistry and Cell Biology at Stony Brook University.
Holtsville Hal did not see his shadow this year, forecasts winter to come to an end soon
Brookhaven's famous groundhog, Holtsville Hal, predicted an early spring on Groundhogs Day. Photo by Sara-Megan Walsh.
The snowflakes stopped falling moments before Brookhaven’s famous groundhog offered this year’s prediction — it was a good omen of what is to come.
More than 100 residents cheered as the famed Brookhaven Town groundhog Holtsville Hal did not see his shadow, an indicator that spring would come early this year.
“I’m happy,” said Dan Losquadro (R), Brookhaven superintendent of highways. “We love winter
here on Long Island. We love the kids to be able to play in the snow, but we don’t want winter
to last any longer than it has to.”
Hal made his 22nd annual Groundhog Day prediction at Holtsville Wildlife and Ecology Center Animal Preserve at 7:25 a.m., as per tradition, according to the master of ceremonies Wayne Carrington.
Tradition says that if Hal — or, as he’s known in the Town of Brookhaven as a throwback to
the classic Bill Murray movie “Groundhog Day,” the Great Prognosticator of Prognosticators
— sees his shadow when he wakes from hibernation, the community is in for six more weeks of winter.
“So he exited the ground, not a creature was stirring and not a shadow was found,” read
Losquadro from a large scroll to the cheers of onlookers. “I cannot tell a lie, my prediction so
accurate does not come from the sky. I saw what I saw in a blink of an eye.”
Those who attended were treated to free hot cocoa to warm up and celebrate the good
news. Both Losquadro and Carrington asked residents to make donations to the ecology
center to help support care for its animals and programs.
Alyson Leonard, Antoine Jones and Marquez Stewart in a scene from 'The Cat in the Hat'
By Heidi Sutton
For generations, Theodor Seuss Geisel, better known as Dr. Seuss, has entertained and delighted children and adults alike with his whimsical tales and wild imagination. Out of the 60 children’s books published during his lifetime, one of Seuss’ most popular is “The Cat in the Hat.”
Written in 1957 as an early reader book, it has since been translated into more than 15 languages and was adapted into a feature-length film starring Michael Myers in 2003. And just last week, Warner Animation Group, in partnership with Dr. Seuss Enterprises announced that a fully animated version of the popular book is in the works, the first of many planned to keep the Dr. Seuss legacy alive.
In our neck of the woods, a theatrical adaptation of “The Cat in the Hat” by Katie Mitchell opened last weekend at the Engeman Theater in Northport. The adorable children’s musical will run through the first week of March. The script, which is guided with voice-overs by Steve Wangner in the wings, follows the book closely and provides for a fun afternoon of live theater.
It’s a rainy day and Sally (Danielle Aliotta) and her brother (Kevin Burns) are bored, with only their goldfish Fish (Danny Meglio) to keep them company. Their mother has gone out for a while, so they sit by the window and watch the rain fall. When the brother says “How I wish we had something to do,” the door suddenly swings open and in walks the Cat in the Hat (Antoine Jones), ready to entertain the children with some tricks he knows, and the fun begins.
Now everyone who shares their home with a cat knows that cats make messes, and this feline, although he’s wearing a hat, is no exception. In the first act he impressively balances on one leg while holding books, an umbrella, a fan, a rake, milk on a dish, a toy ship, a toy man, a cake and poor Fish before it all comes crashing down.
The cast of Dr. Seuss’ ‘The Cat in the Hat’. Photo by Jennifer Tully
In the second act, that mischievous kitty releases Thing 1 (Alyson Leonard) and Thing 2 (Marquez Stewart) from a box and things only get crazier from there. They fly kites in the house, breaking things along the way, much to the delight of the young audience. “It’s a beautiful mess,” exclaims the Cat in the Hat.
When the kids see Mother coming down the road, they know that they have to catch Thing 1 and Thing 2 and clean up before she gets home. An exciting chase scene, accompanied by the Benny Hill theme song, ensues. Will they succeed or will time run out?
Directed by Suzie Dunn, the seven adult actors do an excellent job portraying the story. The actors interact with the audience often, making them feel like they are a part of the show. At one point Meglio makes his way through the audience with a bubble machine. Later on, Aliotta invites children on stage to dance with her. Special mention should be made of Jones who clearly loves children and is funny and engaging. From the moment his character’s red-and-white-striped hat appears around the door, the audience knows they are in for a real treat. So run, don’t walk, to see the cat, The Cat in the Hat!
Running time is one hour and 10 minutes with one 15-minute intermission. Booster seats are available. Meet the cast in the lobby after the show for photos and autographs.
The John W. Engeman Theater, 250 Main St., Northport will present Dr. Seuss “The Cat in the Hat” through March 4. Up next in children’s theater is “The Wizard of Oz” from March 24 to April 29. All seats are $15. For more information, call 631-261-9700 or visit www.engemantheater.com.
Lineup celebrates countries and cultures around the world
By Sabrina Petroski
After a brief hiatus, Stony Brook University’s Staller Center for the Arts season returns with more fantastical and fun shows for audiences of all ages. This spring will hold many musical and dance performances by award-winning groups and individuals, as well as the screening of recently released films, screenings of the Metropolitan Opera in HD and many performances by SBU’s Department of Music.
Swing Shift Trio
Alan Inkles, director of the Staller Center, is thrilled to be heading into another season. Currently in his 35th year as director, he says this may be the venue’s most exciting and diverse year yet. “I love Audra McDonald, Big Sam’s Funky Nation is going to blow people away and they’re going to be dancing in the Recital Hall aisles, Catapult is just great, and Spherus is fantastic,” Inkles said during a interview in his office on Jan. 16. “All these shows are things that I’ve seen and I know what they’re going to do, but Parson Dance Company is giving me a program I’ve never seen yet and I am really excited for it.”
Inkles said the center produces 40 shows a year, along with film screenings, The Met Opera broadcast, plus the university performances, “and it’s always a really great experience.”
He continued, “A quote that I like to share with my faculty members is, ‘Nothing in life is accomplished without passion.’ I believe that if I can’t be passionate to my team about the upcoming shows, and I’ve been to every single one of them, then the audience can’t. I like watching the audience members’ reactions and seeing their faces; and if we don’t sell enough tickets to pack out the house, I’ll pay for the house. If I have a show that’s not selling well, I like to reach out to local schools or underrepresented families and donate tickets, and we do that every year.”
Catapult
The Staller Center is proud to have been the first theater to have the Live at The Met series and has paved the way for over 200 other theaters all over the country. Inkles says that he always tries to make his seasons diverse not only ethnically but also in the age group they attract. He says that the center likes to celebrate different countries and their cultures.
“We have a very diverse community here and a large international community, so I like the idea of bringing in different things that the students will enjoy,” said Inkles. “We want to do the magical thing of reaching out to people ages 9 through 90, and you can’t always do that with one show. One show may not be someone’s cup of tea, but we will be able to offer them something else that’s more in tune with their interests.”
This years’ annual Staller Center Gala, held on March 3 at 8 p.m., will be hosted by renown comedian, actor, philanthropist and television personality Jay Leno. Opening for the former NBC “Tonight Show” host, and returning to the center for a second time, will be the Doo Wop Project, featuring current and former stars of Broadway’s smash hits “Jersey Boys” and “Motown: The Musical.” Tickets to the Staller Center Gala are $75; gala tickets that include VIP seating, a postperformance reception and recognition in the playbill program are also available at www.stallercenter.com. The reception also includes an intimate performance from the Doo Wop Project and a chance to mingle with Inkles, and possibly Jay Leno himself.
Musical performances
Audra McDonals
On March 7 at 8 p.m., the ever popular chamber music concert Starry Nights will return to the Recital Center. The evening will feature artists-in-residence, professors of music and doctor of musical arts musicians including violinist Philip Setzer, Avery Career Grant winner Arnaud Sussman and cellist and professor of music Colin Carr. The ensemble also includes the top doctoral students in the music program at Stony Brook. Tickets are $38 per person.
The quartet-in-residence, Emerson String Quartet, returns to the Staller Center on March 20. Their exciting mix of music from the 17th, 19th and 20th centuries embraces the new and unusual while celebrating the classics. The nine-time Grammy Award-winning group, and Musical America’s “Ensemble of the Year,” will be performing Purcell’s two fantasies, Bolcom’s Piano Quintet No. 1 and Beethoven’s Quartet No. 13 in A minor, op. 132 (program subject to change). The show starts at 8 p.m. in the Recital Center and tickets are $48.
Big Sam’s Funky Nation, led by trombone powerhouse Big Sam Williams, comes to the Recital Hall on April 7 with their Noladelic PowerFunk style. Their performances are filled with blasts of brass, electric guitar and the charisma of Big Sam, the front man who sings, plays, dances and involves the audience in everything he does. The group of world-class musicians brings the jazz and soul of New Orleans everywhere they go, including mixes of funk, rock, hip-hop and jazz! Tickets are $38 and the show starts at 8 p.m. in the Recital Hall.
On April 21, the Staller Center welcomes Tony, Grammy and Emmy Award-winning singer and actress Audra McDonald to the Main Stage. This powerhouse soprano will be performing many of her Broadway and opera hits. Tickets are $54 and the show starts at 8 p.m.
Dance performances
Tao
The Tony Award-winning Broadway show “Fela! The Concert” comes to the Main Stage of the Staller Center on Feb. 3 at 8 p.m. Featuring members of the original Broadway cast, this lively and inspiring show includes a 10-piece Afrobeat band and singers and dancers performing songs that have been used to promote freedom and champion traditional African culture. Tickets are $42.
The Lezginka Ensemble, the State Dance Ensemble of Daghestan, Russia, will be performing on the Main Stage on Feb. 9. The ensemble includes over 30 dancers who will fill the stage with traditional folk songs and dances of the diverse mountain people of Daghestan. This unique performance includes intense acrobatics and incredible drum and saber work. The dance troupe is said to be “fiery, rhythmic and unforgettable!” Tickets are $40 and the show starts at 8 p.m. Update: This event has been canceled.
On Feb. 17 the Japanese drumming group Tao will be bringing their precision, stamina and innovative choreography to the Main Stage with their show Drum Heart. Their modern twist on a traditional art entices and amazes audiences worldwide. The group sold out their world premiere at the Edinburgh Festival Fringe Festival, and Stony Brook now has the chance to see their passion come to life. Back by popular demand, this is their fourth return engagement at the Staller Center. Tickets are $42 and the show starts at 8 p.m.
Dublin Irish Dance
Dublin Irish Dance brings the epic tale of Celtic culture to the stage on March 10 at 8 p.m. with their show Stepping Out. Telling the story of the Great Famine of the mid-1800s, the dancers bring an emotional celebration of the dance and music that came out of a tragic time in Ireland’s history. The audience will journey from past to present and will learn about the fate of Irish immigrants who came to America. Tickets for this Main Stage production are $46.
On April 14, Catapult will grace the Main Stage with their seemingly impossible dancing shadow silhouettes. The “America’s Got Talent” finalists perform behind a screen, transforming their bodies into figures in order to bring marvelous scenes to life. You’ll want to figure out how they do it, and you won’t guess what they’ll come up with next. Catapult also uses exciting music and vibrant colors to give their show the upper hand. Tickets are $40 and the show starts at 8 p.m.
The Parsons Dance Company will be performing on the Main Stage on May 5 at 8 p.m. With their trained precision and extreme athleticism, these eight dancers will be performing the choreography of David Parsons. The group has a modern style, mixing gesture and movement to make something beautiful. The Parsons Dance Company has toured the United States and Italy, as well as appeared on French Public Television in a live broadcast. Tickets are $42.
The Met: Live in HD
The Staller Center will be screening seven operas, bringing the Metropolitan Opera in HD direct from the Met to the Main Stage. The shows include Puccini’s “Tosca” on Jan. 28, Donizetti’s “L’Elisir d’Amore” on Feb. 10, Puccini’s “La Bohème” on Feb. 25, Rossini’s “Semiramide” on March 11, Mozart’s “Così fan tutte” on April 8, Verdi’s “Luisa Miller” on April 15 and Massenet’s “Cendrillon” on May 6. For more schedule information go to www.stallercenter.com. Tickets are $22 general admission, $20 for seniors 62 and over, and $15 for students.
For kids of all ages
Imago Theatre’s “LaBelle”
On Jan. 27 at 4 p.m. the Imago Theatre will be performing “La Belle — Lost in the World of Automation,” a Steampunk Fairy Tale based on “Beauty and the Beast” on the Main Stage. The show includes elaborate puppets, a large whirring ship, original music and shadow play, with a story line set on a steamboat in the 1920s. The Imago Theatre, which has toured globally for three decades, uses over 100 effects, puppets and automata to tell this tale that burrows through the hard shell of adulthood to the childlike wonder of innocence and imagination. Tickets are $20.
International Juggling champion Greg Kennedy and his acrobatic duo of aerial dancers will be performing their show Spherus on March 18 at 4 p.m. Touted as a circus with an extra dimension, Spherus is full of fascinating effects with principles of geometry and physics to create groundbreaking and colorful work set to music. Kennedy, a former member of Cirque du Soleil and a Gold Medal recipient from the International Juggling Association, brings curiosity to life with a circus for all ages. Tickets are $20.
Tickets for the shows may be ordered by calling 631-632-2787. Order tickets online by visiting www.stallercenter.com.
Films
Once again, the Staller Center will be screening award-winning movies on five Friday nights starting Feb. 23. Two films will be shown starting at 7 p.m. on the Main Stage.
On Feb. 23, the 2016 Slovak-Czech drama film “The Teacher” (in Slovak with subtitles) and the psychological drama “All I See Is You” about a blind woman who regains her sight and begins to discover the previously unseen and disturbing details about herself, her marriage and the lives of her and her husband, will be screened at 7 and 9 p.m., respectively.
On March 9, the 2017 drama “Wonderstruck” about a young boy in the Midwest is told simultaneously with a tale about a young girl in New York from 50 years ago as they both seek the same mysterious connection will screen at 7 p.m. “Three Billboards Outside Ebbing, Missouri,” a crime drama about a mother challenging the local authorities to solve her daughter’s murder when they fail to catch the culprit, will be shown at 9:15 p.m.
On March 16, the Golden Globe-winning “Lady Bird,” the coming-of-age story about a 17-year-old girl in Sacramento, California, will be screened at 7 p.m. and “Roman J. Israel, Esq.,” the story of a driven, idealistic defense attorney that finds himself in a tumultuous series of events that lead to a crisis and the necessity for extreme action, will both shown at 9 p.m.
On March 23, “After the Storm” (in Japanese with subtitles), a film about a man struggling to take back control of his existence and to find a lasting place in the life of his young son until a stormy summer night offers them a chance to truly bond again, will be shown at 7 p.m. The Golden Globe winner “The Shape of Water,” about a lonely janitor at a top-secret research facility in the 1960s who forms a unique relationship with an amphibious creature that is being held in captivity, will be shown at 9:15 p.m.
On April 6, “The Post,” a historical drama about the country’s first female publisher of a major newspaper and a hard-driving editor who join an unprecedented battle between journalist and government will play at 7 p.m. “Molly’s Game,” the Golden Globe-nominated drama about the true story of Molly Bloom, an Olympic-class skier who ran the world’s most exclusive high-stakes poker game and became an FBI target, will play at 9:15 p.m.
Tickets to the movie screenings are $10 for adults, $7 for students and $5 for Stony Brook University students. A movie pass good for all films in $30. To order, visit www.stallercenter.com/movies or call the box office at 631-632-ARTS (2787).
About the author: Farmingville resident Sabrina Petroski is a junior at SUNY New Paltz studying digital media production and journalism. She recently interned at TBR News Media during her winter break and hopes to come back during the summer to gain more experience as a journalist.
Rum is an alcoholic beverage distilled from the fermented juice of sugarcane, sugarcane syrup, sugarcane molasses or other sugarcane byproducts. It is bottled at not less than 80 proof (except for flavored rum). Some rums are bottled at a staggering 151 proof.
More than 70 countries produce rum, although it is produced mainly in Caribbean, Central and South American countries.
Although rum is generally used as a mixer in cocktails such as piña colada, daiquiri, rum and cola, mojito, Long Island ice tea and others, there are many well-aged rums suitable for sipping without the fruit juices. If you enjoy sipping rum, my recommendations will most certainly satisfy your cravings.
Owney’s Rum (New York City), started in 2012: Clear color with hints of grass, citrus, mint, black pepper and clove. Dry and strong tasting with an aftertaste of molasses.
Puerto Angel Rum (Mexico): Just a hint of color; bouquet of coffee, chocolate, cinnamon, butterscotch, nutmeg and vanilla. Some bitterness, but smooth with “no bite.”
Brugal Añejo Extra Rum (Dominican Republic): Amber colored with a bouquet and flavor of citrus, molasses, cinnamon, grass and lime. Very complex smoky taste, almost of a fine brandy.
Don Q Gran Añejo Rum (Puerto Rico): Amber color with overtones of lemons, grass, toasted oak, citrus, burnt sugar, banana and butterscotch. It is aged in used sherry barrels.
Ron Abuelo 12-Year-Old Rum (Panama): Amber colored with a complex nose of caramel, nuts, toasted oak and molasses. Fruity with flavors of orange, heather honey, dark cherries, molasses and toasted nuts. Superb, smooth rum.
Bacardi Reserva Limitata (Puerto Rico): Amber colored with hints of citrus, honey, tobacco, vanilla and maple syrup. Full flavored with a long, pleasing, almost sugary aftertaste.
Pyrat XO Reserve Rum (Antigua): Amber colored. The rum smells like an orange liqueur with hints of nutmeg. Full flavor of candied orange peel, lemon, lime and butterscotch. Quite refined; fantastic served over ice.
Appleton Reserve Blend Rum (Jamaica): Amber colored with a bouquet of molasses, burnt butter, nuts, clove, allspice, mace and oil of bergamot. Dry with a pleasing smoky, burnt-wood aftertaste. One of the finest Appleton rums I’ve tasted.
El Dorado 12-Year-Old Demerara Rum (Guyana): Amber colored with a bouquet of allspice, black pepper, caramel and toasted marshmallows. Flavors explode in the mouth with sugarcane, oranges, dates, prunes, orange peel and toasted nuts. Very well made and so delicious.
Diplomatico Reserva Exclusiva Rum (Venezuela): Dark amber colored with a refined bouquet of citrus, toasted vanilla, nuts, prunes, toffee and orange zest. Flavors of orange, toffee, maple syrup and honey. The rum is aged in used PX sherry barrels, which accounts for the fruitiness in the mouth. Superb!
Fun fact: The Andrews Sisters, a famous female singing group, recorded the song, “Rum & Coca-Cola” on Oct. 18, 1944, for Decca Records.
Bob Lipinski, a local author, has written 10 books, including “101: Everything You Need to Know About Gin, Vodka, Rum & Tequila” and “Italian Wine & Cheese Made Simple” (available on Amazon.com). He conducts training seminars on wine, spirits and food and is available for speaking engagements. He can be reached at www.boblipinski.com OR [email protected].
Members of the Long Island Accordion Alliance, from left, John Custie, Joe Campo, Phil Prete, Phil Franzese, Ray Oreggia, Franco Ruggiero, Dominic Karcic and Mike Zeppetella performing at Campagnola Restaurant, Commack, August 2010. Photo from Dominic Karcic
By Dominic Karcic
From my very early childhood I have been exposed to the accordion, accordion music and dancing to accordion music. In my Croatian and “quasi-northern Italian” culture and upbringing, the accordion was the musical instrument of choice — “the accordion was king.”
Accordion music was always part of every major social event that I ever attended; so it was no surprise when at the age of 10 I started taking lessons. Eventually my love for the accordion became the catalyst that helped direct me to a career performing music and also a lengthy career as a music educator in the Long Island public school system.
From left, Ray Oreggia, Phil Prete, Joe Campo, Charlie Fontana, Dominic Karcic, Bob LaBua, Greg Zukoff, Joe DeClemente, Frank Scardino at the LIAA’s 7th anniversary celebration. Photo by Dominic Karcic
As a longtime resident of Long Island and an active performing accordionist, I knew that there were many people who either played the accordion or used to play the accordion and that there was a vast group of people who just loved accordion music and its culture. I always felt that there was a void and lack of activities and events for the accordion locally.
Being a “dreamer,” I have always felt that a periodic accordion event if structured properly would succeed. I started to bring my dream to reality when in July of 2010 I began calling various accordionists that I knew. Everyone that I contacted agreed to participate and the rest is history.
On Aug. 3, 2010, the very first meeting of what became the Long Island Accordion Alliance, LIAA, took place at a Commack restaurant named Campagnola. This very first meeting included Joe Campo, John Custie, Charlie Fontana, Phil Franzese, Dominic Karcic, Emilio Magnotta, Ray Oreggia, Phil Prete, Franco Ruggiero and Mike Zeppetella. In January of 2011 we moved to our current home at La Villini Restaurant in East Northport.
The LIAA, made up of both professional and amateur accordionists, meets on the first Wednesday of the month with members performing solo, in small ensembles and as an orchestra. Every month we usually have a featured guest artist(s).
From left, Bob LaBua, Frank Scardino, Joe DeClemente, Santo Endrizzi, Phil Prete, Greg Zukoff, Dominic Karcic, Ray Oreggia, ( La Villini Restaurant, East Northport, NY – October 2017 )
We are so proud that periodically some of the finest accordionists perform at our monthly event. Some of these artists have been USA and even world competition champions. These include Beverly Roberts Curnow, Mario Tacca and Mary Tokarski. Some other artists that have performed for us include Manny Corallo, Angelo DiPippo, Don Gerundo, Emilio Magnotta, Paddy Noonan, Frank Toscano, the Scandinavian group Smorgas Bandet and internationally acclaimed vocalist Mary Mancini.
Patrons come in to have dinner and listen to our music. Those who play the accordion are invited and encouraged to participate in the open-mic portion of the evening.
Our aim is to promote a love for the accordion and accordion music, bring former accordionists back to the instrument, create an environment where aficionados can attend and “celebrate the accordion and its culture.” We strive to create an atmosphere where accordionists can perform, grow musically, meet regularly, network and, in our own way, further the aims and goals of the American Accordionists Association.
On Jan. 3 of this year we were honored by a visit from Dave Anthony Setteducati, the host of “Italian America Long Island,” a Cablevision program that airs every Wednesday on Channel 115. He videotaped our event and created a very interesting and informative program that contains personal interviews with LIAA members and guests, many segments of member accordionists performing individually and also segments of ensemble playing. This program is scheduled to be featured on his Cablevision program on Wednesday, March 28, 2018.
The current alliance nucleus consists of nine accordionists including Joe Campo of Wantagh, Joe DeClemente of Bellerose, Santo Endrizzi of New Hyde Park, Dominic Karcic of Commack, Bob LaBua of East Northport, Ray Oreggia of Syosset, Phil Prete of Bethpage, Frank Scardino of East Northport and Greg Zukoff of Bellmore.
In August 2018 we will be celebrating our eighth anniversary. We feel so proud that the formula we created works. We hope our success is an incentive to “other dreamers” out there to take the plunge and create their own local “accordion club.”
The LIAA usually meets on the first Wednesday of the month at 6 p.m. at La Villini Restaurant, 288 Larkfield Road, East Northport. Reservations are highly recommended. For more information, call 631- 261-6344.
Aneurysms are universally feared; they can be lethal and most times are asymptomatic (without symptoms). Yet aneurysms are one of the least well-covered medical disorders in the press. There are numerous types of aneurysms, most of which are named by their location of occurrence, including abdominal, thoracic and cerebral (brain). In this article, I will discuss abdominal aortic aneurysms, better known as a “triple-A,” or AAA. Preventing any type of aneurysm should be a priority.
What is an AAA? It is an increase in the diameter of the walls of the aorta in one area, in this case, the abdomen. The aorta is the “water main” for supplying blood to the rest of the body from the heart. Abnormal enlargement weakens the walls and increases the risk that it may rupture. If the aorta ruptures, it causes massive hemorrhaging, or bleeding, and creates a substantial likelihood of death.
The exact incidence of aneurysms is difficult to quantify, since some people may die due to its rupture without having an autopsy; however, estimates suggest that they occur in 4 to 9 percent of the population (1).
The cause of AAA is not known, but it is thought that inflammation and oxidative stress play an important role in weakening smooth muscle in the aorta (2). The consequence of this is an abnormally enlarged aorta.
People who are at highest risk for aneurysms are those over age 60 (3). Other risk factors include atherosclerosis, or hardened arteries; high blood pressure; race (Caucasian); gender (male); family history; smoking; and having a history of aneurysms in other arteries (4). Some of these risk factors are modifiable, such as atherosclerosis, high blood pressure and smoking.
Men are more than four times more likely to have an AAA (5). Though males are at a higher risk, women are at a higher risk of having an AAA rupture (6). So, gender is important for differentiating the incidence, but also the risk of severity.
Is it important to get screened?
The short answer is yes it is important, especially if you have risk factors. You should talk to your physician. Although some people do experience nondescript symptoms, such as pain in the abdomen, back or flank pain, the majority of cases are asymptomatic (4). A smaller AAA is less likely to rupture and can be monitored closely with noninvasive diagnostic tools, such as ultrasound and CT scan.
Sometimes cost is a question when it comes to screening, but a recent study showed unequivocally that screening ultimately reduces cost, because of the number of aneurysms that are identified and potentially prevented from rupturing (7).
What are the treatments?
There are no specific medications that prevent or treat abdominal aortic aneurysms. Medications for treating risk factors, such as high blood pressure, have no direct impact on an aneurysm’s size or progression. But the mainstay of treatment is surgery to prevent rupture. Two surgical techniques may be utilized. One approach is the endovascular repair (EVAR), which is minimally invasive, and the other is the more traditional open surgery (8). A comparison of these approaches in a small randomized controlled trial had similar outcomes: a mortality rate of 25 percent. This was considered a surprisingly good statistic.
The good news is that surgery has resulted in a 29 percent reduction in rupture of the AAA (9). When using the minimally invasive EVAR technique mentioned above, the specialist who performs the surgery may make a difference. A study’s results showed that surgeons had better outcomes, in terms of mortality rates and length of hospital stay, compared to interventional radiologists and cardiologists (10). This was a retrospective (looking in the past) study, which is not the strongest type of trial.
When to watch and wait and when to treat is a difficult question; surgery is not without its complications, and risk of death is higher than many other surgeries. AAA size is the most important factor. In women, AAAs over 5.0 cm may need immediate treatment, while in men, those over 5.5 cm may need immediate treatment (11). Smaller AAAs, however, are trickier.
The growth rate is important, so patients with this type of aneurysm should have an ultrasound or CT scan every six to 12 months. If you have an aneurysm, have a discussion with your physician about this.
Lifestyle changes
One of the most powerful tools against AAA is prevention; it avoids the difficult decision of how to best avoid rupture and the complications of surgery itself. Lifestyle changes are a must. They don’t typically have dangerous side effects, but rather potential side benefits. These lifestyle changes include smoking cessation, exercise and dietary changes.
Smoking cessation
Studies have shown that cigarette smoking and other forms of tobacco use appear to increase your risk of aortic aneurysms.
Smoking has the greatest impact because it directly impacts the occurrence and size of an AAA. It increases risk of medium-to-large size aneurysms by at least fivefold. One study found that smoking was responsible for 78 percent of aortic aneurysms larger than 4 cm (12). Remember, size does matter in terms of rupture risk. So for those who smoke, this is a wake-up call.
Impact of fruit
A simple lifestyle modification with significant impact is increasing your fruit intake. The results of two prospective (forward-looking) study populations, Cohort of Swedish Men and the Swedish Mammography Cohort Study, showed that consumption of greater than two servings of fruit a day decreased the risk of an AAA by 25 percent (13). If you do have an AAA, this same amount of fruit also decreased the risk of AAA rupture by 43 percent. This study involved over 80,000 men and women, ages 46 to 84, with a follow-up of 13 years.
The authors believe that fruit’s impact may have to do with its antioxidant properties; it may reduce the oxidative stress that can cause these types of aneurysms. Remember, the quandary has been when the benefit of surgery outweighs the risks, in terms of preventing rupture. This modest amount of fruit on a daily basis may help alleviate this quandary.
So what have we learned? Screening for AAA may be very important, especially as we age and if we have a family history. Surgery results to prevent rupture are similar, regardless of the type. However, keep in mind that surgery for AAA has a significant mortality risk. At the end of the day, lifestyle changes, including smoking cessation and increased fruit intake, are no-brainers.
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.
LEISURELY FOG Arthur Bell of Huntington Bay submitted this photo of the Huntington Lighthouse from Wincoma Beach. He writes, ‘[My family] loves hearing the Huntington Lighthouse horn on foggy days. On Jan. 12, we walked down to the beach to see what the fog looked like over the bay.’
Andrea Goss, Barry Debois and Stephen McIntyre in a scene from ‘Once’. Photo by Michael DeCristofaro
By Melissa Arnold
If you’ve ever fallen in love, had your heart broken or faced unfulfilled passion, you’ll relate to “Once.” And even if you haven’t, the cast at the John W. Engeman Theater will still grab your heart and squeeze. The show, which is part of the theater’s 11th season, is both unique and compelling. It’s easy to see why “Once” grossed 11 Tony nominations and eight wins in 2012, its first year on Broadway. The show is a stage adaptation of the 2007 film of the same name that starred Glen Hansard and Markéta Irglová. Both versions were written and directed by John Carney.
Barry DeBois and Andrea Gos in a scene from ‘Once’
Under the direction of the Engeman’s Trey Compton, “Once” begins with a nameless street performer referred to as Guy (Barry Debois) singing a heartbreaking ballad about an ex-girlfriend. A bold and honest young Czech woman (Andrea Goss as Girl) overhears the song and immediately pesters him for the juicy details that inspired it. It turns out that Guy has lost his love of music since his old flame left for New York City. Performing just hurts too much, and he’s ready to throw in the towel on his dreams.
But Girl won’t hear any of that, and she’s convinced that he’d win his love’s heart again if he sang her that song. Their conversation is the beginning of an intensely passionate and emotionally raw week as the two write, rehearse and record songs together.
What makes “Once” stand out is its presentation, which you’ll notice before the show even begins. Get there early and you’ll find the cast on stage in the middle of a rocking pub party, Dublin style. They hoot and holler while they sing, play Irish tunes and dance on tables. The best part is that the audience is invited to go up and join them. The set includes a working bar that offers a single variety of beer, red wine and white wine for $10.
A scene from ‘Once’
The musical performances in this show are also one of a kind, as there is no stage band providing accompaniment. Instead, each person in the 13-member cast also plays an instrument, and all of the songs are performed from memory, which is beyond impressive. To make it work, chairs are set in a semicircle around the perimeter of the stage. When a character exits a scene, he or she simply takes a seat, fading inconspicuously into the background.
They also function as their own stage crew, dancing and playing brief musical interludes as they carry props on and off the set. It’s a bit hard to describe in words, but the overall effect is visually compelling and speaks to the incredible talent of this cast.
Both Goss and Debois are no strangers to “Once” — she was part of its recent Broadway run, while he was the music captain of the 2016 U.S. national tour. They bring to the show an intense realism you can hear in every note they sing. Guy’s opening number, “Leave,” and Girl’s tearful performance of “The Hill,” will leave you awestruck.
The members of the ensemble, which include “Once” veterans Elisabeth Evans (Reza), John Thomas Hays (Billy), Stephen McIntyre (Bank Manager) and Bristol Pomeroy (Da) among others, are every bit as talented as Debois and Goss. They put out a powerful sound with rich harmonies and tons of energy. During their a cappella performance of “Gold,” you could hear a pin drop in the packed house. The standing ovation during the press night performance last Saturday night was well deserved.
The John W. Engeman Theater, 250 Main St., Northport, will present “Once” through March 4. Tickets range from $73 to $78 with free valet parking available. For more information, call 631-261-9700 or visit www.engemantheater.com.
So Groundhog Day has become part of American culture. The official groundhog that gets yanked out of its burrow is Punxsutawney Phil, named for the town where the German immigrants settled. Thousands of people and the national media cover poor Phil’s treatment. And let us not forget there is the film, “Goundhog Day,” which is enjoyed by many people year after year after year.
Written in 1957 as an early reader book, it has since been translated into more than 15 languages and was adapted into a feature-length film starring Michael Myers in 2003. And just last week, Warner Animation Group, in partnership with Dr. Seuss Enterprises announced that a fully animated version of the popular book is in the works, the first of many planned to keep the Dr. Seuss legacy alive.
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