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The cast of 'The Three Little Pigs.' Photo by Peter Lanscombe, Theatre Three Productions, Inc.

By Heidi Sutton

The well-known story of “The Three Little Pigs” is a timeless children’s fable that has been around for hundreds of years. With his stomach growling, a big, bad wolf comes upon three pigs who have each built homes from different materials — straw, wood and brick. After the wolf easily blows down the first two houses, the pigs run to the third pig’s brick house. When the wolf fails to blow down the brick house, he decides to go down the chimney and ultimately meets a bitter end.

With book and lyrics by Jeffrey Sanzel and music by the late Brent Erlanson, Theatre Three’s version, which opened last weekend, gives us a kinder, gentler version of the fable, throws in two homeless mice and gives the wolf the talent to rap. Spoken entirely in song and verse, which is a quite delightful experience, this show is fresh, funny and downright adorable, making it the perfect choice for younger audiences, especially first-time theatergoers.

From left, Jessica Contino, Andrew Gasparini and Emily Gates in a scene from ‘The Three Little Pigs’. Photo by Peter Lanscombe, Theatre Three Productions, Inc.

Sanzel skillfully directs an energetic adult cast of six, all who seem to be having the time of their lives. The musical numbers, accompanied on piano by Steve McCoy, are the heart of the show with special mention to “You’ve Got Me, I’ve Got You,” and “You Build a House, You Find a Dream.”

The story centers on three little pigs who have decided to become independent of each other and, with suitcases in hand, go off to build their own homes. Little Pig, played wonderfully by Jessica Contino, decides to build her house with straw. “There’s no law I can’t build with straw,” she quips.

“Sticks are the way I say,” says the grouchy Middle Pig (Andrew Gasparini) who thinks he’s better than everyone else. “Pay attention and you will see, there’s no one in existence who compares with me,” seems to be his favorite saying. Gasparini takes this juicy role and runs with it.

Emily Gates is perfectly cast as the Older Pig who builds a brick house. Mature and wise and kind, her character’s ability to open her heart to friend, stranger or foe is a welcome sight in today’s world.

Melanie Acampora and Steven Uihlein make a great team as Sister and Brother Mouse (Sigh!) who are down on their luck and seek help from the pigs. Being turned away because they are different is difficult to watch.

From left, Jessica Contino, Andrew Gasparini, Emily Gates and Dylan Robert Poulos. Photo by Peter Lanscombe, Theatre Three Productions, Inc.

But it is Dylan Robert Poulos as Mr. Wolf who huffs, yeah, and puffs, yeah, and steals the show. “I’m a wolf with a cause, but with dangerous claws,” he growls as he chases the pigs throughout the theater. Poulos’ performance in “Mr. Wolf [W]raps It Up” is an instant favorite with the audience as he raps with the other cast members and performs amazing backflips across the stage.

As seen in every children’s production at Theatre Three, the show uses this opportunity to teach moral lessons — in this case, embracing diversity and going beyond tolerance. “We’re all the same, the only difference is race and name,” says the wiser Older Pig. The act of sharing is also emphasized.

The costumes, designed by Teresa Matteson, are perfect, from pink pig ears to little pig tails. Even the pig’s suitcases match their specific houses! Did I mention this show is adorable? The set, designed by Randall Parsons, alternates between the three pig houses but still allows for plenty of imagination, which is a very good thing.

Meet the cast in the lobby after the show for photo ops.

Theatre Three, located at 412 Main St., Port Jefferson will present “The Three Little Pigs” through Feb. 25. The season will continue with “Raggedy Ann & Andy” from March 4 to 25, “The Adventures of Peter Rabbit” from April 12 to May 6 and “The Princess and the Pea” from May 27 to June 10. Sensory-friendly performances are available during each production. All seats are $10. For more information, call 631-928-9100 or visit www.theatrethree.com.

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From left, Alan Inkles, Lee Wilkof, Director, ‘No Pay, No Nudity’; Ryan Lacen and Anthony Baldino, co-directors of ‘The Dust Storm’; and actor Ralph Macchio at last year’s Stony Brook Film Festival. Photo courtesy of Staller Center for the Arts

By Rita J. Egan

When Alan Inkles, director of the Staller Center for the Arts, moved from Brooklyn to Port Jefferson Station at the age of 11, the stage was being set for him to one day play an integral part in creating an impressive cultural and arts community right here on Long Island.

After graduating from Comsewogue High School, he headed out to Los Angeles to play soccer and study acting. After discovering he wasn’t cut out for college sports, he seized the opportunity to concentrate on the craft of acting and honed his talents working on commercials and pilots. Fortunately, for Long Islanders, he soon returned to New York and enrolled at Stony Brook University, earning his bachelor’s and master’s degrees in theater arts.

The founder of the Stony Brook Film Festival, his loyalty to the university has paid off for local residents who can attend high-quality shows just minutes away from their own homes. His success is a combination of meeting the needs of performers, being open to the opinions of audience members and appreciating his hard-working team, generous sponsors and the university’s supportive administration.

Recently, while nursing the flu and screening movies for the upcoming annual film festival, the director, who has brought the likes of Ray Charles, Harry Belafonte, Patti LuPone and more to the center, took time to answer a few questions about his stellar career.

Alan Inkles with Broadway star Kelli O’Hara who performed at the Staller Center on Dec. 10 of last year. Photo courtesy of the Staller Center

How long have you been the director of the Staller Center, and how did you get the job there?

I injured my knee while performing in 1983, and I had just graduated from Stony Brook and had worked as a student for the Fine Arts Center [the original name of Staller Center] during my years. And, as I couldn’t perform with my injury for a while, I asked the director of the center, Terry Netter, if he could use a theater manager — which I had done as a student. He hired me and at least seven titles later and an International Theatre Festival that I created — what really kept me interested in the early years — and  beginning to do all the programming in 1992, I took over as director upon Terry’s retirement in 1995. So, I guess officially I’ve been the director for 21 years.

You have a long history with Stony Brook University. What do you love about it?

What don’t I love about Stony Brook University? I did my undergraduate and graduate studies here. Two of my three kids and my son-in-law graduated from here, and I’ve been here as an employee and student for almost 37 years. I’ve enjoyed working for three presidents and almost a dozen provosts — permanent and acting ones, have made numerous friends with faculty, staff over the years, and have the greatest staff anyone could dream of having — some of which have been with me for my entire time as director. I love the energy of the students, the challenges that a public university continues to throw my way and the amazing ambiance of a continually growing and improving university. Stony Brook is about its amazing people, and I’ve been fortunate to be a member of this great collegial community for so long.

You’ve been credited with making the center what it is today. How did you go about that?

I guess longevity allows that to work. My predecessor Terry Netter opened the Staller Center back in 1976, 1977. It was a different time. You know back in those days the center was really more for the university, supporting the music department, the theater department, which we still do, and they did a couple of ballets and orchestras.

Early on when I started getting the itch, Terry asked to me to start programming. It was growing pains because I wanted to do more jazz and pop and children’s programs, because that’s what I saw we needed to do, because it was a different era. The arts centers of the 1960s and ’70s doing orchestras and ballets were great, and we continued to do them, but we needed to diversify. We needed to get broader. So, he really gave me a lot of leeway to go out and try to find these programs, and I liked the challenge.

What does it take to coordinate all the events the Staller Center presents during a year?

A great team. I can go to a conference, and I come back, and yesterday while being home laying in a bed (recovering from the flu), call my team up and say we’re booking Peter Cincotti. And, within 24 hours, we got a press release, the website, an email, the machine ready on social media, my production team going through the rider knowing exactly what we need so that I was able to approve it because there’s certain needs we have to get for the show. All this happens in 24 hours. I’m not so sure Live Nation could even pull it off in 24 hours!

So it starts with a great team, the confidence that I have the support of my provost (we have a new one this year, Michael Bernstein, who is really great) and a president who basically said to me, the third one I have worked for, “You raise the money, you bring in the audience, you got carte blanche.”

In addition to the performances at the center, you also coordinate the Stony Brook Film Festival. What does preparing for that entail?

Fortunately, over the years my contract administrator, my associate, Kent Marks, has taken on a good chunk of that. He’s great, and my staff have also helped pre-screen a lot of the movies. In the early days, I admit I watched everything. In the first 15, 16 years of the festival I was watching all 400 to 600 films coming in and picking 40. In the last five years we have had over 3,000 films coming in each year.

What have been your favorite personal accomplishments since being director of the center?

That’s an interesting question as I don’t think I’ve really given much thought to personal accomplishments. I’ve really always tried to focus on bringing quality programs in the arts to our faculty, staff, students and community over the years and always have tried to secure excellence and try to both entertain and enlighten our audiences and occasionally challenge them. Personally, I felt a great accomplishment in pulling off a 10-year run of a major International Theatre Festival early on in my career, and when I think back to my first trip to Sundance in 1999, and thinking about how little I knew about film festivals, I certainly am very proud of the fact that we have created a significant and lasting annual festival that grows every year in importance, quality and attendance. I’ve watched dozens of branded festivals in recent years dissolve as we gain strength.

I would also be remiss if I didn’t beam about the Outreach & Education program my staff and I have built. With just an idea over a decade ago to significantly reach out to communities and young people on Long Island, we now provide hundreds of programs at Staller and in our communities and serve several thousands of individuals who may not have had the opportunity to partake in the arts with workshops, school/library performances and complimentary Staller tickets. This is, of course, important for the future of the arts, and I am very proud of this growing and important part of our operation.

What are your plans for the Staller Center’s future?

I spent a great deal of time last weekend at the annual arts center/producer/ talent booking conference discussing with agents and artists and colleagues that we need to be creative, daring and also listen to our audience going forward. This digital era provides so much entertainment for people where they never need to leave their homes or their phones. We have to find ways through unique, different and exciting programs in the arts — theater, music, art and film — to take people away from their own arts centers —their 70-inch screen TVs.

It means continuing to be relevant so that corporate and private individuals will support us so we can bring these exciting programs to our campus and community, continue to keep the prices reasonable and make them available to all. I can promise you, I will continue to search far and wide for these live programs and films and continue to ask before I book something, “Is this something my audience needs to see?” That line has replaced the line that used to be, “What do they want to see?” And, when I stop asking that question and feel I can’t lift that proverbial rock any higher to find that program, I’ll know it’s time to pass on the baton. Fortunately, I don’t see that time coming too soon, and I’m also so grateful that my staff seems to want to keep me around a bit longer as well!

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By Cathy DeAngelo

What with the baby boomer generation aging, more people than ever are reconsidering many factors in their lifestyle … and one of the most important is deciding where to live. We all age and deciding whether and/or where to move when it’s time to downsize is a process that requires thought and planning.

Finding the right retirement community or next step is about asking the right questions. That process starts with a careful consideration of your individual needs and desires. While this exercise can present its challenges, it can also be exciting to imagine a new phase of life that isn’t dictated by a work schedule and an alarm clock.

The best time to begin planning and discuss with your spouse and/or family members is while you’re still working. It takes time to figure out where you’ll want to be. There are many options out there. The more you learn about what’s available and what each has to offer, the easier your decision will be. You don’t want to be pressed to make a choice when you unexpectedly have a need.

For starters, the following are 10 questions to consider:

What kind of retirement lifestyle do I envision?

What is my budget?

What is my current health status?

What do I want to continue to do/what do I not want to do?

What will I not be able to do?

What kinds of activities interest me?

Where do I want to be -— near family, in my familiar community?

City, country, suburbs?

What kind of people do I want to be with?

What amenities would I like?

How much space do I need?

It’s important to be realistic with your answers. For example, if you have health issues now, it’s highly likely that you’re going to have more in 10 years. You have to be honest about the barriers to things you want to do now, and how will you manage those challenges later in life. Look around the house and ask what do I want … and what can I do without?

If you’re considering buying a retirement home, look beyond the real estate to the services that come with it or are nearby, as these services will be important down the road. For example, a 55-plus community that suits your lifestyle at age 60 or 65 may not have the services to support you after age 75 or 80. You’ll want to have access to a range of activities and an easy way to get to them, convenient shopping and health services, as well as have other support systems in place.

Popular options include lifecare retirement communities like Jefferson’s Ferry that enable residents to age in place, with independent living, assisted living and skilled nursing facilities available at one site; assisted living facilities that offer rooms and apartments; independent living senior living communities; condominiums and shared space with family members, to name a few.

Most of us need people to thrive. And not just those to assist us with things we’re no longer able to do, but to engage our interests and be our friends and companions. Having more time to do the things you like and enjoy the company of old and new friends and family is a wonderful gift. The best retirement plan takes into consideration each individual’s specific needs and preferences. Considering these factors ahead of time will make the decision that much less overwhelming. Take the step … and create that plan!

Cathy DeAngelo is the director of sales and marketing at Jefferson’s Ferry Lifecare Retirement Community in South Setauket.

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Monarch butterfly caterpillar

By Ellen Barcel

Often when I’ve gone out to pick some parsley, I’ve found some parsley caterpillars on the stems. The question always becomes: When finding a caterpillar, to remove or not to remove it from the plant? As a kid, I liked playing with the little brown fuzzy ones. As a kid, I also remember my father removing tomato hornworms. So, the question is: Which, to gardeners are beneficial and which should we remove?

The two caterpillars that look the closest to me are the monarch butterfly caterpillar and the parsley caterpillar. Both feed on local plants and both turn into beautiful butterflies, a definite plus in my garden. The monarch obviously becomes the beautiful black and orange butterfly. Plant lots of butterfly weed (Asclepias tuberosa) for its food, a native plant with beautiful orange flowers. Cultivars include white, purple and bicolor flowers in addition to the native orange.

The parsley caterpillar turns into the beautiful blue and black eastern swallowtail. Since I grow a large pot of parsley each year, I’m more than willing to share a bit with this caterpillar. But, it can be a nuisance to professional parsley farmers.

Wooly bear caterpillar

The black and brown wooly bear caterpillars (Pyrrharctia isabella) are funny. Picked up they roll up it a ball. It emerges from of its egg in the fall, freezes over winter and turns into a light brown and black-spotted tiger moth in spring. It feeds on a whole variety of foliage. According to old lore, it’s a predictor of a harsh winter if the brown strip (not all have a pronounced strip) is wide, mild if it is narrow. I’ve read that there are even wooly bear festivals with weather prognostication (move over Holtsville Hal), crafts and races.

Tomato hornworms are green with small black and white spots. Their heads are larger and they are attracted to tomatoes — a plant that they can devastate. They also like related plants like peppers, potatoes and eggplants, which are members of the nightshade family, Solanaceae.

Tomato hornworm caterpillar

The tomato hornworm moth emerges in late spring, just in time for the nice tender shoots of its host plants. Handpicking is the easiest way to get rid of them for the home gardener. When my father removed one, it was covered in white eggs — wasp eggs. He didn’t realize that the wasps would become a natural control to this pest (as it was its dinner) and quickly removed the hornworm with its eggs. For those into companion plantings, it is said that dill, basil or marigolds can be planted among your tomatoes to control these hornworms.

Outside of the gypsy moth caterpillars (a real pest), you mainly see caterpillars alone or in groups of just a few. Make sure you identify each one before removing it from your plants.

Ellen Barcel is a freelance writer and master gardener. To reach Cornell Cooperative Extension and its Master Gardener program, call 631-727-7850.

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By Barbara Beltrami

Of all the crustaceans and mollusks that go under the heading of seafood or shellfish, it seems that shrimp is the most popular. Shrimp cocktail, an American first-course staple served in a stemmed dish with a tangy sauce, has been around for as long as I can remember. Now it’s more popular as a trayed hors d’oeuvre.But there are myriad other preparations for this most versatile crustacean.

Years ago, when I was a young cook and wanted to impress my dinner guests, I used to make Shrimp Newburg. Swimming in its creamy sherry sauce in a large (probably fake) scallop shell or ramekin, it was a really impressive starter or entrée. Italian cooks smother shrimp with tomatoes, garlic, olive oil and a generous sprinkling of hot pepper to create fiery Shrimp Fra Diavolo. And for a quick, simple no-nonsense palate pleaser, grilled breaded shrimp served with a generous squeeze of fresh lemon juice becomes a real go-to dish for an hors d’oeuvre, appetizer or main dish.

Shrimp Fra Diavolo

Shrimp Fra Diavolo

 

YIELD: 2 to 4 servings

INGREDIENTS: One pound large shrimp, peeled and deveined

1 teaspoon sea salt or to taste

1 teaspoon dried red pepper flakes

3 tablespoons extra virgin olive oil

1 medium onion, diced

2 cups diced tomatoes, canned or fresh

One cup dry white wine

3 garlic cloves, minced

¼ cup fresh chopped flat leaf parsley

DIRECTIONS: In a medium bowl, toss the shrimp with the salt, dried red pepper flakes and oil. Transfer shrimp, oil and seasonings to a medium skillet; cook until pink, turn and cook one more minute. Remove with slotted spoon or fork and set aside to keep warm. To the same skillet, and remaining oil, add onion, tomatoes, wine, garlic and parsley. Cook, stirring frequently, until liquid is evaporated and sauce has thickened. Return shrimp to skillet, mix with sauce and cook over medium-low heat, just until heated through. Serve over a bed of linguine, spaghetti or fettuccine.

Shrimp Newburg

Shrimp Newburg

YIELD: 4 servings

INGREDIENTS:

One pound small shrimp, cleaned and deveined

4 tablespoons unsalted butter

4 tablespoons all-purpose flour

1½ teaspoons cayenne pepper

Salt and freshly ground black pepper, to taste

2 cups half-and-half

½ cup sherry wine

DIRECTIONS: In a medium skillet, sauté shrimp in two tablespoons of the butter; set aside to keep warm. In the same skillet melt remaining butter and combine with the flour, cayenne, salt and pepper. Gradually stir in the half-and-half; continue stirring until sauce is smooth and slightly thickened; add sherry and stir 30 seconds more. Add shrimp, stirring frequently, until they are heated through. Do not overcook. Serve with rice or angel hair pasta.

Grilled Breaded Shrimp

Grilled breaded shrimp

YIELD: 4 servings of two skewers or 8 servings of one skewer.

INGREDIENTS:

8 twelve-inch wooden skewers, soaked in hot water for one hour

1 tablespoon extra virgin olive oil

2 tablespoons unseasoned bread crumbs

2 tablespoons chopped fresh flat leaf parsley

One clove garlic, minced

½ teaspoon sea salt

Freshly ground black pepper

40 large shrimp, peeled and deveined

Lemon or lime wedges

DIRECTIONS: Preheat broiler or grill. Combine oil, bread crumbs parsley, garlic, salt and pepper. Toss shrimp with mixture to coat. Place on soaked skewers, five shrimp to a skewer, and refrigerate for 30 minutes. Grill 3 to 4 minutes, until golden brown, rotating skewers after one or two minutes. Serve with lemon or lime wedges, salad and crispy potatoes.

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'Old Town Bar' by Stephen Gardner

By Ellen Barcel

The Smithtown Township Arts Council’s Mill Pond House Gallery has a new exhibit opening on Jan. 21, The Fine Art of Illustration, which runs through Feb. 19. Twenty professional illustrators will have approximately four dozen illustrations on display.

Noted Allison Cruz, executive director of STAC, “The exhibit features original artwork of fine artists who specialize in illustration. They created art in particular subjects for clients who published their artwork in books, catalogs, advertising media, gaming media, postal stamps and the list goes on and on.”

‘Jackalope’ by Dan Burr

There are many reasons for using illustrations rather than reproducing photos. One is to illustrate a theme or topic for which there are no photos, such as historical events. Another is for a situation that doesn’t exist yet, a future event or for fantasy. Illustrations can quickly and easily display an idea, sometimes much more effectively than a more complex photo. Illustrations can also include graphics such as maps, charts or logos (a real plus in advertising).

The idea for the exhibit came from Cruz. “I try to organize artist gallery opportunities that are unique to this area and try to offer gallery visitors a well-rounded snapshot of contemporary art today. I have always admired illustration art,” she said. “There will be a diversity of styles, approaches and techniques … both traditional and digital.” Traditional media in which these artists work include oils, watercolors, charcoals, textiles, pen and ink and printmaking.

‘Mighty Mole and Super Soil’ by Chad Wallace

Cruz added, “Personally I feel illustrators sometimes get the short end of the stick in the art world. The art world does not like the commercialism of the illustration world. For me, a strong work of art is a strong work of art … no matter the purpose it was created for … it takes the same good skills and elements … lighting, form, composition, color etc. to create a fine piece of art for yourself if you are an artist as it does to create it for someone else … How dull our lives would be without these designs to help bring the written word to life!”

Artist and exhibit contributor Joel Iskowitz said many works of the great masters were commissioned, such as “the Sistine Chapel and many of Rembrandt’s works. This is a great title for the show, ‘The Fine Art of Illustration,’ because I see no difference between the two,” he said. “It’s a false boundary. Both entities are the same when performed at the highest level … All artwork that serves a purpose, that conveys the story, that has content beyond the confines of the craft of art itself is artwork that will speak to people and last throughout time.”

The artists in the exhibit have a wide variety of clients. Stephen Gardner has painted the covers for books, baseball cards and even movie posters. Iskowitz has done the artwork for over 2,000 stamps for some 60 separate nations, as well as illustrating children’s books. Anita Rundles, a 2013 graduate of the Fashion Institute of Technology, focuses on fashion and documentary drawing.

‘Old Town Bar’ by Stephen Gardner

Gardner, who was born in the UK, came to NYC because, “I primarily paint book covers and New York is where the work was, more work, better paid, and all of my favorite illustrators were Americans, Bernard Fuchs, Bob Peak and David Grove, to name but a few.” In NYC he became a baseball fan (the Yankees), “I would listen to the radio commentary and go to the day games that were so cheap back then. When I got the chance to do baseball paintings I kept at it, and certainly doing so many cards for Topps was a real joy. The movie poster was a real fun assignment,” as well.

Gardner added, “The paintings in the show are all part of a personal body of work I’m creating for a possible book. The project started as course work whilst I was studying for my MFA at FIT. An Illustrated Guide to New York’s Historic Bars, is the theme.”

Said Rundles, “I would say it’s difficult to break into the illustration world in general. It can be done for sure. … I’ve done some work here and there, for Dior and Versace doing events, but most of my drawings I’ve done on my own time for myself …”

‘Re-Animator with HP’ by Jeff A. Menges

Rundles has also done several large-scale murals as well as public art. “The two biggest projects I’ve done were both for the interiors of tech offices in the Chelsea neighborhood of Manhattan … I recently did a small nonpermanent chalk mural on the 7th Avenue wall of my alma mater FIT, which is very public and still up at the moment, although eventually they will pressure wash the wall and it’ll be gone.” Rundles added, “One of the pieces included in the show is the artwork from one of the pages of a 56-page Jane Austen coloring book that I did for Abrams books last year. It was one of the best projects I’ve worked on so far in my illustration career and a great learning experience.”

Robert Felker did work for CNN. “I worked at CNN.com for eight years (2000-2008) and it was at times quite exciting. September 11, 2001 would most certainly be the most memorable! The highlight of my career there was the work I did as lead designer for our 2008 Presidential Election site. We won some Webby awards for our Primaries coverage and some of the data visualization stuff we were doing then was pretty new and exciting. It was chaotic and stressful at times, and even though in many ways it was an amazing opportunity.” Felker moved on to work for Scripps Networks Interactive, headquartered in Knoxville, Tennessee (“Where I was born”) and where he continues to work. In addition to working in oils, his favorite medium, he is also a collage artist.

‘The Tin Man’ by Anthony Freda

Iskowitz noted, “artwork done for reproduction in publishing is very democratic at heart. Philatelic and numismatic artwork is especially so because epic stories are told on these tiny ambassadors that move freely amongst civilizations not bounded by time, borders or false categorical judgments.” One of the most meaningful stamps he designed was for the United Kingdom “honoring Kofi Annan, the first sub-Saharan, a Ghanan, to rise to the level of secretary general of the United Nations. It became the stamp for the month and year in the UK. The stamp designs that were the most fun were a series of stamps which portrayed a fantasized visit to New York City by Popeye the Sailor Man. I got to depict Popeye, Olive Oyl, Bluto, etc.”

The juror for the exhibit was William Low, an award-winning painter, illustrator, author and educator, who has a reputation for using light, color and perspective and creating images those viewers find an immediate emotional connection with, who most recently designed the 2016 Forever Holiday Stamps for the U.S. Post Office.

Some of these original works in the show will be for sale. In addition, some of the artists will have prints of their work. This is a chance to see not only the work of local artists but the tremendous diversity there is in art for illustration.

The Mills Pond House is located at 660 Route 25A, St. James. The gallery is open Wednesday through Friday from 10 a.m. through 4 p.m. and Saturday and Sunday from noon to 4 p.m. (closed holidays). A meet-the-artists reception, to which the public is invited, will be held on Saturday, Jan. 21 from 2 to 4 p.m. For further information, go to www.stacarts.org or call 631-862-6575.

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The Charles and Helen Reichert Planetarium

Through Feb. 28, the Suffolk County Vanderbilt Museum’s Charles and Helen Reichert Planetarium, 180 Little Neck Road, Centerport, will present a new laser show, Laser Zeppelin, on Friday and Saturday nights at 10 p.m. Enjoy the memorable music of Led Zepplin combined with unique laser-generated imagery for an immersive visual experience, all in the comfort of custom theater seating.

The playlist will include “The Song Remains the Same,” “Over the Hills and Far Away,” “Good Times, Bad Times,” “Immigrant Song,” “No Quarter,” “Black Dog,” “Kashmir,” “Stairway to Heaven” and many more. Planetarium show tickets are $9 for adults, $8 for students with ID and seniors 62 and older and $7 for children under 12. Suitable for all ages, the show runs 52 minutes. For more information call 631-854-5579 or visit www.vanderbiltmuseum.org.

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In the UK and Europe, the term Swiss cheese has no meaning.

By Bob Lipinski

“What is a harp but an oversized cheese slicer with cultural pretensions?”

— Denis Norden, English comedy writer

“Swiss cheese” as we know it doesn’t really exist. It is a generic term often used in North America for any type of cheese, regardless of where it comes from, as long as it has a pale-yellow body and is literally full of holes or “eyes,” with a rubbery texture. And this holds true for both imported and “domestic” Swiss cheeses.

Most of the time the cheese is actually Emmentaler from Switzerland or Jarlsberg from Norway. In the UK and Europe, the term Swiss cheese has no meaning and asking for a “pound of Swiss cheese” would be the equivalent of saying, “I’d like a pound of Italian cheese” in Italy, whereby Italians would ask, “Which Italian cheese?”

Switzerland produces more than 450 varieties of cheese (mostly from cow’s milk) and they are not all called “Swiss Cheese.” Emmentaler, a cow’s milk cheese comes from the Emme Valley (near Bern), Switzerland, where it has been made since the fifteenth century. It has a pale-yellow exterior with large shiny holes and a natural edible rind; light yellow interior and is wheel-shaped. It is firm to very firm; with an almost elastic, smooth, plastic texture and slightly oily. Emmentaler is mild to full-flavored, with a sweet, fruity, nutty flavor. A younger and milder version is known as Baby Swiss. Genuine Swiss Emmentaler has the word “Switzerland” stamped all over the rind.

By the way, the holes in the cheese are produced by carbonic acid gas bubbles during fermentation or bacterial activity, which generates propionic acid and causes gas to expand within the curd also creates the holes. The bubbles are unable to escape, which is responsible for the “hole” formation ranging from pinhead size to dime or quarter size. They are sometimes made mechanically for appearance sake. Before serving the cheese, allow it to sit for 30 minutes to one hour at room temperature, which will soften the texture, release the aromas and maximize the flavor.

Now my wine recommendations:

2015 Torre Santa La Rocca “Bombino Nero” Rosé (Italy): Salmon color with an intense fruity bouquet of cherry, strawberry and melon. Dry and quite flavorful; citrus, orange and raspberries abound. Great for Sunday brunch.

2012 Château Prieurs de la Commanderie (Pomerol, Bordeaux): (80 percent merlot/ 20 percent cabernet franc). Bouquet and flavor of black cherry, plums and cedar. Medium-bodied, quite smooth and very easy to drink now or in a few years. I think of lamb chops rubbed with rosemary.

2014 Komodo Dragon “Red Blend” Columbia Valley, Washington: Quite dark with a full bouquet and flavor of black currants, black cherries, chocolate and licorice. Hints of nutmeg, cinnamon, coffee and vanilla. Pair this with a porterhouse steak.

Bob Lipinski, a local author, has written 10 books, including “101: Everything You Need to Know About Whiskey” 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].

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For an audio version of this article, see above.

Whether you love him or hate him, take a moment to reflect

By Michael Tessler

Michael Tessler

This piece is not an evaluation of the president’s legislative accomplishments or failures. or even his politics — but rather a reflection of the very personal impact the 44th president had on one 15-year-old boy from Port Jefferson.

It was 2008 and I was just coming of age. Then I saw him on television, delivering his iconic “Yes We Can” speech. In that moment Barack Obama instilled in me a genuine sense of hope, a firm belief that in the course of human history it is possible to make a lasting difference. His words transformed my perception of our Constitution. No longer was it a thing of antiquity, but rather something tangible, something alive, and worthy of any sacrifice to protect.

My sense of purpose and my role in our democracy cemented itself in those early days of 2008. At 15 I found myself going to school in a blazer adorned with Obama/Biden ’08 and button sporting an Afro worthy of the Jackson 5. My teachers were endlessly amused at the sight. Some of my skeptical peers would ask me: “If you’re not old enough to vote, why do you care?”

On Tuesday, Nov. 4, 2008, at 15 (and a half) I hurried back from Drama Club rehearsal with my best friend Jonathan to watch the poll results come in. This was the first election I had ever volunteered for. My family huddled around our television, my

anxieties and nerves were relentless, and then they called it — “Barack Obama has been elected the 44th president of the United States of America.” Despite having not yet lived through a full decade, tears streamed from my eyes. My country, our country, the greatest country on Earth, had just elected its first African-American president.

In that moment I saw the unending potential of America that our founders envisioned so long ago in Philadelphia. During his inaugural address, his tone changed. Like every commander-in-chief he was inheriting the weight of the most powerful office in the world. So he called upon me, as he did all Americans, to not become complacent in the future of our union — and so my work began.

Though I didn’t know it at the time, I had established what would later become known as the International Youth Congress — an organization whose aim it was to answer that question: “If you’re not old enough to vote, why do you care?”

No generation chooses to inherit the world, we just do. Despite not having a vote, our voices were no less diminished. For six years our organization grew: helping passing legislation, providing education and resources for young people around the world and eventually building a network of youth leaders from six different continents and over 20 separate countries. We were making that great hypothetical “change” possible. From as far as Rwanda, to Pakistan and Spain we gathered together to chart a common vision for the future based on our shared sense of humanity.

In these past eight years we’ve all grown up and have taken it upon ourselves to serve our communities, nation and world — whether working for the United Nations, Foundation of Economic Education, United States Senate, European Youth Parliament, International Labour Organization, the White House or this very publication. That spark would have never been lit had it not been for a certain presidential candidate with a funny name and big ears.

No legislative accomplishment or disagreement will ever measure up to the enormous inspiration Barack Hussein Obama delivered not just to me but to millions of young people around the world. His time in office has come to its constitutional conclusion, but for those whom he has inspired … we’re just getting started.

Though as I grow older my politics have changed and evolved, and we don’t always see eye to eye, I will always be grateful for that timeless creed bestowed upon a generation raised in a weary era of uncertainty — Yes We Can. Thank you Mr. President, wishing you and your family nothing but happiness in the many years ahead.

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Simple lifestyle changes can make a big difference. Stock photo

By David Dunaief

Dr. David Dunaief

It seems like almost everyone is diagnosed with gastroesophageal reflux disease (GERD), or at least it did in the last few weeks in my practice. I exaggerate, of course, but the pharmaceutical companies do an excellent job of making it appear that way with advertising. Wherever you look there is an advertisement for the treatment of heartburn or indigestion, both of which are related to reflux disease.

GERD, also known as reflux, affects as much as 40 percent of the U.S. population (1). Reflux disease typically results in symptoms of heartburn and regurgitation brought on by stomach contents going backward up the esophagus. For some reason, the lower esophageal sphincter, the valve between the stomach and esophagus, inappropriately relaxes. No one is quite sure why it happens with some people and not others. Of course, a portion of reflux is physiologic (normal functioning), especially after a meal (2).

GERD risk factors are diverse. They range from lifestyle — obesity, smoking cigarettes and diet — to medications, like calcium channel blockers and antihistamines. Other medical conditions, like hiatal hernia and pregnancy, also contribute (3). Diet issues include triggers like spicy foods, peppermint, fried foods and chocolate.

Smoking and salt’s role

One study showed that both smoking and salt consumption added to the risk of GERD significantly (4). Risk increased 70 percent in people who smoked. Surprisingly, people who used table salt regularly saw the same increased risk as seen with smokers. Treatments vary, from lifestyle modifications and medications to surgery for severe, noticeable esophagitis. The goal is to relieve symptoms and prevent complications, such as Barrett’s esophagus, which could lead to esophageal adenocarcinoma. Fortunately, Barrett’s esophagus is not common and adenocarcinoma is even rarer.

Medications

The most common and effective medications for the treatment of GERD are H2 receptor blockers (e.g., Zantac and Tagamet), which partially block acid production, and proton pump inhibitors (e.g., Nexium and Prevacid), which almost completely block acid production (5). Both classes of medicines have two levels: over-the-counter and prescription strength. Here, I will focus on PPIs, for which more than 113 million prescriptions are written every year in the U.S. (6).

PPIs include Nexium (esomeprazole), Prilosec (omeprazole), Protonix (pantoprazole) and Prevacid (lansoprazole). They have demonstrated efficacy for short-term use in the treatment of Helicobacter pylori-induced (bacteria overgrowth in the gut) peptic ulcers, GERD symptoms and complication prevention, and gastric ulcer prophylaxis associated with NSAID use (aspirin, ibuprofen, etc.) as well as upper gastrointestinal bleeds.

However, they are often used long-term as maintenance therapy for GERD. PPIs used to be considered to have mild side-effects. Unfortunately, evidence is showing that this may not be true. Most of the data in the package inserts is based on short-term studies lasting weeks, not years. The landmark study supporting long-term use approval was only one year, not 10 years. Maintenance therapy usually continues over many years.

Side effects that have occurred after years of use are increased risk of bone fractures and calcium malabsorption; Clostridium difficile, a bacterial infection in the intestines; potential B12 deficiencies; and weight gain (7).

Fracture risks

There has been a debate about whether PPIs contribute to fracture risk. The Nurses’ Health Study, a prospective (forward-looking) study involving approximately 80,000 postmenopausal women, showed a 40 percent overall increased risk of hip fracture in long-term users (more than two years’ duration) compared to nonusers (8). Risk was especially high in women who also smoked or had a history of smoking, with a 50 percent increased risk. Those who never smoked did not experience significant increased fracture risk. The reason for the increased risk may be due partially to malabsorption of calcium, since stomach acid is needed to effectively metabolize calcium.

In the Women’s Health Initiative, a prospective study that followed 130,000 postmenopausal women between the ages of 50 and 79, hip fracture risk did not increase among PPI users, but the risks for wrist, forearm and spine were significantly increased (9). The study duration was approximately eight years.

Bacterial infection

The FDA warned that patients who use PPIs may be at increased risk of a bacterial infection called C. difficile. This is a serious infection that occurs in the intestines and requires treatment with antibiotics. Unfortunately, it only responds to a few antibiotics and that number is dwindling. In the FDA’s meta-analysis, 23 of 28 studies showed increased risk of infection. Patients need to contact their physicians if they develop diarrhea when taking PPIs and the diarrhea doesn’t improve (10).

B12 deficiencies

Suppressing hydrochloric acid produced in the stomach may result in malabsorption issues if turned off for long periods of time. In a study where PPIs were associated with B12 malabsorption, it usually took at least three years duration to cause this effect. B12 was not absorbed properly from food, but the PPIs did not affect B12 levels from supplementation (11). Therefore, if you are taking a PPI chronically, it is worth getting your B12 and methylmalonic acid (a metabolite of B12) levels checked and discussing possible supplementation with your physician if you have a deficiency.

My recommendations would be to use PPIs short-term, except with careful monitoring by your physician. If you choose medications for GERD management, H2 blockers might be a better choice, since they only partially block acid. Lifestyle modifications may also be appropriate in some of the disorders, with or without PPIs. Consult your physician before stopping PPIs since there may be rebound hyperacidity (high acid produced) if they are stopped abruptly.

Lifestyle modifications

A number of modifications can improve GERD, such as raising the head of the bed about six inches, not eating prior to bedtime and obesity treatment, to name a few (12). In the same study already mentioned with smoking and salt, fiber and exercise both had the opposite effect, reducing the risk of GERD (5). This was a prospective (forward-looking) trial. The analysis by Journal Watch suggests that the fiber effect may be due to its ability to reduce nitric oxide production, a relaxant for the lower esophageal sphincter (13).

Obesity

In one study, obesity exacerbated GERD. What was interesting about the study is that researchers used manometry, which measures pressure, to show that obesity increases the pressure on the lower esophageal sphincter significantly (14). Intragastric (within the stomach) pressures were higher in both overweight and obese patients on inspiration and on expiration, compared to those with normal body mass index. This is yet another reason to lose weight.

Eating prior to bed — myth or reality?

Though it may be simple, it is one of the most powerful modifications we can make to avoid GERD. There was a study that showed a 700 percent increased risk of GERD for those who ate within three hours of bedtime, compared to those who ate four hours or more prior to bedtime. Of note, this is 10 times the increased risk of the smoking effect (15). Therefore, it is best to not eat right before bed and to avoid “midnight snacks.” Although there are a number of ways to treat GERD, the most comprehensive have to do with modifiable risk factors. Drugs have their place in the arsenal of choices, but lifestyle changes are the first and most effective approach in many instances.

References:

(1) Gut 2005;54(5):710. (2) Gastroenterol Clin North Am. 1996;25(1):75. (3) emedicinehealth.com. (4) Gut 2004 Dec.; 53:1730-1735. (5) Gastroenterology. 2008;135(4):1392. (6) JW Gen Med. Jun. 8, 2011. (7) World J Gastroenterol. 2009;15(38):4794–4798. (8) BMJ 2012;344:e372. (9) Arch Intern Med. 2010;170(9):765-771. (10) www.FDA.gov/safety/medwatch/safetyinformation. (11) Linus Pauling Institute; lpi.oregonstate.edu. (12) Arch Intern Med. 2006;166:965-971. (13) JWatch Gastro. Feb. 16, 2005. (14) Gastroenterology 2006 Mar.; 130:639-49. (15) Am J Gastroenterol. 2005 Dec.;100(12):2633-2636.

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.

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