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Photo from Barbara Anne Kirshner

By Barbara Anne Kirshner

LIPSTICK — the outward expression of our inward feelings. If we are happy, we choose cheery colors, if we are down we might gravitate toward the more subdued. Lip color also strategically complements our outfits. For the power suit, we go for bold tones; for comfy weekends, we seek naturals. We celebrate the seasons with rich russet and brown shades for autumn, reds for merry winter holidays, pastels for blossoming springtime and bright playful oranges for carefree summer. 

Lipstick has been our crowning accessory for centuries starting with Sumerian men and women who created it from natural substances like fruits, henna, clay rust and insects. Mesopotamian women ground precious jewels to add color and shimmer to lips. Egyptians like Cleopatra created striking shades of purple and black from carmine dye derived from grounded cochineal insects. 

Through the centuries, lip color has been a barometer for our culture and personal expression. 

In the 19th century, only actors and actresses wore it for stage, though not in public. Sarah Bernhardt, the famous actress, was one of the first to wear lip color in public. 

By 1920, lip products gained a place in everyday lives of women. James Bruce Mason Jr. created the first swivel tube in 1923 which is still used today. When women gained the right to vote, lipstick was their symbol  of feminism.

Lip color gained popularity in the 1930’s heading into the 1940’s when, during World War II, red lips were considered a boost to the morale. Besame’s American Beauty was one of the most popular shades of red.

The 1950’s saw women copying their favorite Hollywood stars like Elizabeth Taylor, Marilyn Monroe and Audrey Hepburn who were glamorously adorned in bold reds. 60% of all teenage girls at the time wore lipstick. Even Queen Elizabeth II got into the craze by creating her own shade to match her coronation robe which was customized by Clarin’s and named after her Scottish country home, The Balmoral.

The 60’s and 70’s saw a variety of lip shades inspired from pop culture. Corals were prominent with Maybelline’s Orange Danger topping the market. Flavored lip products such as Bonnie Bell’s ‘Lip Smackers’ gained popularity especially with the teen market.

Shimmers and glosses were the ‘in’ thing for the 80’s. Bold reds were back as an expression of power dressing. Hot pinks became the rage for the dance crowds and Goth lips for the alternative sub-culture.

In the 90’s environmental consciousness demanded chemical free, more natural formulas for lip products. The big craze of the 90’s was outlining with dark lip pencils and filling in with lighter lipstick. Mac and Urban Decay were born.

Shine and lip glosses were back in the 2000’s. Now, there are endless varieties of lip colors and formulas to match any whim. We can go from that natural look with nudes to outrageous choices like green, yellow and blue.

Lip products evolved into a global multi-billion dollar industry which had been expected to reach 13.11 billion dollars in 2020. This healthy market was on its way to breaking records when COVID hit and we found ourselves shielded behind masks that covered those colorful lips. At first, we continued to paint, but quickly realized not only didn’t anyone see our efforts, but we stained our masks in the process. We were reduced to a simple swipe of clear gloss to moisturize, but no need for anything else.

The lip product market as well as the entire beauty industry drastically fell in 2020 as a result of the pandemic making last year historically one of the worst. McKinsey & Company, a global management consulting firm, predicts makeup sales will continue being soft for the foreseeable future since for a time at least, when consumers return to the workplace, masks will be a required part of the uniform which will further slow lipstick’s recovery.

Anxious for COVID to evaporate as suddenly as it moved in ravaging life as we knew it, we thirst for normalcy. We want to rip off those masks that sequester us from the world so we may once more display our signature look enhanced by every color of the rainbow and then some. We long to return to our creativity applying shines, glosses, sheers, shimmers, creams, frosts, satins, metallics, mattes and pencils. We long for that vibrant or dramatic look that only our old friend lipstick can provide.

BUT until that fateful day we are resigned to — NO LIPSTICK REQUIRED!!

References:

— Gerstell, Emily, Marchessou, Sophie, Schmidt, Jennifer, Spagnuolo, Emma. “How Covid-19 is changing the world of beauty.” McKinsey & Company. May 2020.

— Sengupta, Avipsha. “A Complete History of Lipstick.” Stylecraze.com. October 9, 2020.

— “100 Years of Lipstick: Looking Through Trends Over the Decades.” Beauty Connoisseur.com. October 3, 2019.

Miller Place resident Barbara Anne Kirshner is a freelance journalist, playwright and author of “Madison Weatherbee —The Different Dachshund.”

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METRO photo

Part of what makes celebrating St. Patrick’s Day so enjoyable is the scores of traditions surrounding the holiday. The month of March ushers in parades, festive foods, lively music, and as much green attire as a person can handle.

As ubiquitous as it is each March, green attire has not always been symbolic of St. Patrick’s Day or Ireland. In fact, earlier depictions of St. Patrick had him royally clothed in a rich shade of blue. Some ancient Irish flags even sported the color blue. According to National Geographic, the color green became associated with St. Patrick’s Day in the 18th century, when the shamrock became a national symbol of Ireland. The color of the shamrock and Ireland’s natural landscape forever linked green to St. Patrick’s Day celebrations and the Emerald Isle.

There are reasons for donning green clothing on St. Patrick’s Day. If a person isn’t in green, he or she just may get pinched. According to Irish folklore, leprechauns wore green, and if anyone else wore the color that individual would be invisible to leprechauns. Leprechauns are ornery sorts who like to pinch anyone they can see. Therefore, by wearing green clothing, a person is sure to avoid a painful tweak. It’s not only the leprechauns who might do the pinching. Celebrants are inclined to pinch people who don’t wear green as a reminder that leprechauns might sneak up on them at any time.

Beyond shamrocks and leprechauns, other people are inclined to wear green on St. Patrick’s Day as a symbol of good luck and to honor their Irish ancestry. According to Brian Witt, the cultural exhibits coordinator for Milwaukee Irish fest, Irish Americans would wear green as a reminder that they are nationalists first and foremost. The Irish flag colors are green, white and orange. The green symbolizes Irish nationalism, the orange represents the “Orangemen” of Northern Ireland, which is an Irish Protestant political society, and the white symbolizes peace. 

Green is an integral color during St. Patrick’s Day celebrations and it is tied to many different traditions.

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The Long Island Museum has partnered with Preservation Long Island for a moderated conversation to coincide with the release of the LIM’s publication Long Road to Freedom: Surviving Slavery on Long Island written by LIM Curator, Jonathan Olly. The event will be held via Zoom on Wednesday, March 10 from 5:30 to 6:30 p.m.
The evening will feature:
  • A live panel discussion moderated by Darren St. George, Director, Education & Public Programs, Preservation Long Island featuring Jonathan Olly, Curator of The Long Island Museum, Mark Chambers, Visiting Assistant Professor of Africana Studies at SUNY Stony Brook, and Lynda Day, Professor of Africana Studies, Brooklyn College-CUNY.
  • The new publication and discussion on the ways historians, museums, and professors are working to make Long Island’s past more accessible.
  • Current approaches to teaching Black history, as well as how conversations around Northern (and specifically Long Island) slavery has changed over the last few decades will be examined.
Registration is FREE, but limited and will be taken on a first come, first served basis.
To reserve your place, please email: [email protected]
You will receive an email within 48 hours to confirm your spot and a Zoom link before the event.

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The Schooner Restaurant was once a familiar sight on West Broadway in Port Jefferson. Formerly the yacht Ilikamo, the vessel was brought to the village in 1946, placed on land and converted into a distinctive eatery. The restaurant was razed in April 1968. Photo from Kenneth C. Brady Digital Archive

By Kenneth Brady

The Schooner, once advertised as Long Island’s most novel restaurant, was a waterfront landmark in Port Jefferson from 1946 through 1968.

Located on the south side of West Broadway (Route 25A), the eatery was the brainchild of brothers Charles and Elmer Mapp who had found the schooner yacht Ilikamo languishing in a Riverhead, New York, boatyard.

Taken with the Ilikamo’s graceful lines, the Mapps purchased the 44-ton ship, which they had towed to the west side of Port Jefferson Harbor and brought ashore for remodeling.

Transformed into a distinctive restaurant, the Ilikamo was then moved to a site on West Broadway and placed on a concrete foundation.

Sitting on land, her days on the seas over, the Ilikamo had reached her final destination, but surprisingly the ship’s last voyage was not her first to Port Jefferson.

Built in 1899 at Rice Brothers in East Boothbay, Maine, the Ilikamo was formerly the yawl Regina. In 1901, the 61-foot Regina was converted into a schooner yacht at Port Jefferson’s Bayles Shipyard, just one of the pleasure craft’s many ties with the village.

Later renamed Sita and ultimately Ilikamo, the luxurious schooner yacht regularly visited Port Jefferson during the early twentieth century, often returning to Bayles Shipyard where she was hauled out for repairs and laid up for the winter.

Over the years, sailing under her different names, the ship cruised along the east coast of North America, never straying too far from Long Island’s waters.

By summer 1940, the Ilikamo was under the command of William J. Marshall of Greenport, anchored in Southold Bay and being used as a training ship for Sea Scouts, the maritime branch of the Boy Scouts.

Marshall enlisted in the Royal Canadian Naval Volunteer Reserve (RCNVR) before America’s entry into World War II and died of natural causes in 1944 while serving as a lieutenant. He was the Ilikamo’s last documented owner before the Mapps brought the ship to Port Jefferson.

Sensitive to the yacht’s rich and varied history, the Mapps were careful to preserve many of the craft’s original features while preparing the ship for its new life as a landlocked restaurant. With the yacht’s character intact, the Schooner opened on Oct. 26, 1946.

The entrance to the dining room, as well as a service counter for takeout, were located on the port side of the restaurant. The menu featured standard fare with the emphasis on short-order selections with nautical names, such as “Sea-Pups (small meatballs).”

Adding to its curb appeal, the sides of the Schooner were painted in gleaming white. Two masts towered over the restaurant; their “sails” outlined at night by strings of electric lights that could be seen by ships passing in Long Island Sound.

In 1949, the Mapps sold the Schooner to Rose Ceperano of Poquott, who over time made several changes at the eatery. Among the improvements, she expanded the menu, enlarged the kitchen, added a covered patio for outdoor dining and constructed small outbuildings on the grounds. Ceperano also closed the restaurant during the winter months, reopening in the spring.

Although she initially ran the Schooner as a family business, Ceperano subsequently leased the establishment. Called “Tom’s Schooner,” the eatery broadened its menu to include Italian cuisine.

Wer-Kay Realty Corporation purchased the Schooner from Ceperano in January 1968. After the eatery was razed that April, the New Schooner Restaurant was built on the cleared land. The site is now home to SāGhar Indian Fusion Restaurant.

Kenneth Brady has served as the Port Jefferson Village Historian and president of the Port Jefferson Conservancy, as well as on the boards of the Suffolk County Historical Society, Greater Port Jefferson Arts Council and Port Jefferson Historical Society. He is a longtime resident of Port Jefferson.

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From left, Darren and Sal St. George discuss 'The Top 5 People Who Make Us Laugh' during a recent virtual conversation through Sachem Public Library.

By Tara Mae

For fans of classic movies, old Hollywood trivia, and celebrity icons, the show must go on. So when COVID-19 redefined the boundaries of normal life, St. George Productions reimagined the entertainment it provided to its audiences. After years of creating live educational theatrical events, it moved its endeavors online and began hosting digital lectures and virtual museum tours. 

On Mondays at 10 a.m., St. George Productions, through Zoom, offers virtual journeys into the past. “We celebrate entertainment’s leaders, legends, and icons through lectures and virtual road trips,” said Darren St. George in a recent interview. He and his father, Sal, manage the business and oversee all its operations. 

A virtual visit to the John Wayne Museum in Iowa

Focusing on the lives of notable historical figures, mainly of stage and screen, the talks feature Sal’s personal insights from his years in the business. They also draw on his experience as a pop culture historian and adjunct professor at Long Island University and other schools. 

Sal and Darren are motivated by their desire to teach the public about entertainment history and its impact on the culture. “Even if there was no pandemic, keeping the memories alive of these great entertainers is essential,” Sal said. 

The virtual tours are of museums dedicated to celebrities and cultural icons, such as actor Clark Gable and Frank Capra’s 1947 classic holiday film, It’s a Wonderful Life. “We did the Clark Gable Museum, which then let other museums know. The It’s A Wonderful Life Museum let the Jimmy Stewart Museum and Donna Reed Museum know,” Sal said. 

This word-of-mouth method of promotion has proven effective, with museums now reaching out to St. George Productions to arrange virtual visits, according to Darren. Usually conducted by executive directors of the museums, the private tours are free to the public. The company does not make a profit from them. 

“We are doing this to help support the museums themselves; we come from the museum world. We love this subject matter. Dad and I are going to be talking about this regardless; if you give us an opportunity we want to learn more,” Darren said. 

Before the pandemic, the company developed and produced educational theatrical works for organizations closer to home like The Ward Melville Heritage Organization and the Smithtown Historical Society. Creating informative entertainment is both a profession and a passion for the team.  

“I have always been self-employed in the entertainment business in one form or another. Everything I do is a stepping stone to the next program. We are reaching a lot of people, and who would have thought that we could do this, working off a computer, out of a house,” Sal said. 

A virtual visit to the Clark Gable Museum in Ohio

The business started over thirty years ago, when Sal was developing content for Walt Disney World. “I was approached by the head of historic services for Suffolk County — it had just restored Deepwells [Farm]. Rather than be a small fish in a big pond at Disney, I chose to be here and support the museum world,” he added. 

Darren, whose mother, Mary, also works for the company, joined the family business at a young age. He has worked both on the stage and behind the scenes, as the roles required. In recent months, his job has evolved to providing technical support for online content. 

“Working with my dad is a dream come true. Working with family has always been what I strove for. It has been challenging due to COVID, but every week we’re guaranteed to sit down and have a great time. It just so happens that people are watching,” Darren said.  

This camaraderie transcends family ties and extends to viewers who tune in from around the country, allowing people to bond through common interests and retreat into the comfort of fond memories.

“Our guests motivate us so much. Times are hard, and this has turned into something for all of us to look forward to; an encouraging moment to come together and enjoy celebrities and movies we have all appreciated for so many years. It is incredible — we would have never been able to do this without Zoom, etc. Besides, how often do you get to travel to Wyoming, Kentucky, Ohio, Indiana, Georgia, Idaho without leaving your living room?” he said.  

The next lecture will be “Influential Women of Comedy: Part II” on March 8 at 10 a.m. All programming is free, with a suggested donation. For more information about the lectures and museum tours, visit www.stgeorgelivinghistory.com. 

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Long Road to Freedom: Surviving Slavery on Long Island available online

The Long Island Museum (LIM) has announced the release of its latest online publication: Long Road to Freedom: Surviving Slavery on Long Island. 

Based on the 2019 exhibition of the same name, the publication, written by LIM’s curator Jonathan M. Olly, Ph.D, focuses on the experiences of people of color from the 17th to 19th centuries. 

The five-chapter publication explores the topics of how slavery operated, how African Americans resisted bondage, navigated the era of emancipation, and built communities in the decades after slavery, from Brooklyn to the Hamptons. 

Cover image

“It’s important to remember,” says Olly, “that people of color have been a part of every Long Island community since the beginning. They worked in all industries, raised families, built communities, and contributed to our shared history and culture in ways that are remembered and celebrated, and also being rediscovered through historical research and archaeology.”

“Some of today’s challenges, such as de facto housing segregation, are rooted in the complex relationships between Black and white Long Islanders in the 18th and 19th centuries. To learn how we got to this point is essential to recognizing biases, fighting discrimination, and meeting our responsibilities to present and future generations. The Long Island Museum’s exhibition, and now this publication, are small steps in that direction,” he said. 

More than fifty organizations, companies, governmental offices and private individuals contributed objects and digital images to the exhibition that ran from February 15 to May 27, 2019 in the Art Museum. The unprecedented collection of material in one place for only a limited time prompted the desire for a publication that would provide a permanent record of the exhibition. 

The publication of Long Road to Freedom: Surviving Slavery on Long Island was made possible through generous funding from LIM’s premier exhibition sponsor, MargolinBesunder, LLP as well support from Baird Private Management Group, Bank of America, New York Community Bank Foundation, New York State Council on the Arts, the Peter & Barbara Ferentinos Family Endowment, the Mary & Phillip Hulitar Textile Collection, the Long Island Museum Director’s Advisory Circle and public funding provided by Suffolk County.

Panel Discussion

Join the Long Island Museum via Zoom on Wednesday, March 10 at 5:30 p.m. as they host a moderated panel discussion to coincide with the release of the Museum’s new publication Long Road to Freedom: Surviving Slavery on Long Island!

The live conversation, moderated by Darren St. George, Director, Education & Public Programs, Preservation Long Island, will feature an esteemed panel including Jonathan Olly, Curator Long Island Museum, Professor Mark Chambers, and Lynda Day Professor of Africana Studies, Brooklyn College- CUNY The program will highlight the Museum’s new publication and discuss ways that historians, museums and professors are working to make Long Island’s past more accessible. Current approaches to teaching Black history, as well as how conversations around Northern (and specifically Long Island) slavery has changed over the last few decades will also be examined.

Registration is FREE, but limited and will be taken on a first come, first served basis. Please email [email protected] to reserve your spot today! You will receive an email within 48 hours to confirm your spot and a Zoom link a day before the event.

To view the publication or download a free printable copy visit the LIM’s website at www.longislandmuseum.org.

ABOUT THE LONG ISLAND MUSEUM:
Located at 1200 Route 25A in Stony Brook, the Long Island Museum is a Smithsonian Affiliate dedicated to enhancing the lives of adults and children with an understanding of Long Island‘s rich history and diverse cultures. The LIM will reopen for the spring season with new exhibitions on Friday, March 19, 2021 and modified museum hours, Friday through Sunday from noon to 5 p.m. For more information visit: longislandmuseum.org.

 

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Photo from the Middle Country Library

Amongst the Middle Country Public Library’s many historical artifacts are a few that explain just how far the area has come from its pastoral routes. The pictures and story below comes courtesy of a collaborative effort among the librarian staff.

For over 40 years, Aggie’s Bar and Grill (also known as Aggie’s Steakhouse), located on Middle Country Road in Selden, was the “local watering hole” for area residents. 

Aggie’s opened its doors in 1927 and was owned and operated by Agnes O’Hagan, who moved to the United States at age three from Calabria, Italy. Events at Aggie’s and their contributions to community life were a mainstay in Selden during these years. Celebrations like wedding showers, birthday parties, costume balls, amateur nights, card nights and St. Patrick’s Day parties were held there. The staff even formed a shuffleboard team, which participated in local competitions with neighboring teams in the area.  

Saturday nights would find considerable crowds enjoying 45 cent spaghetti and meat sauce, square dancing and other specialty dances with music provided by Aggie’s Brown Jug Mountaineers. An advertisement for a Gala New Year’s Eve Party was placed in the Patchogue Advance of Dec. 25, 1936 to publicize the event, which featured noisemakers, hats and souvenirs, music and entertainment, and a seven-course turkey dinner. Tickets cost $1.00 for this specially licensed nightlong event, which concluded at 8 a.m.  

In the summer of 1939, Aggie’s showed appreciation to their summer patrons by announcing “a surprise” for them on a Saturday night from 10 p.m. until midnight. 

The festivities included dancing to the music of Leonardi and his Club orchestra, and listening to the pride of Harlem, “Singing Sam” and Aggie’s customary entertainer, Eddy Kane. Earlier that summer, Aggie’s advertised their official Ham and Cabbage Summer Opening for the night of July 22 in the July 19, 1939 edition of The Mid-Island Mail. Performers included Don Ritchie and his Rhythm Masters as well as Eddy Kane and Virginia Servidio. 

These are just a few examples of the central role that Aggie’s Steakhouse played in Selden’s social world, bonding its residents in family, friendship and community for more than four decades. 

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Joseph Bennett
Joseph Bennett
Joseph Bennett
Joseph Bennett
Joseph Bennett
Joseph Bennett

Town of Huntington Supervisor Chad A. Lupinacci announced on February 22 that the Town discovered over the weekend the name of a Tuskegee Airman from Halesite, Joseph B. Bennett, that will now be added to the Town’s World War II Memorial.

“On this final week of Black History Month in 2021, we are thrilled to be able to add this most deserving Word War II pilot, Joseph B. Bennett, to the Town of Huntington World War II Memorial in just the nick of time, thanks to the Newsday article on local Tuskegee Airmen and the great work of our Veterans Affairs Coordinator Carol Rocco,” said Supervisor Chad A. Lupinacci.

Town of Huntington Veterans Affairs Coordinator Carol Rocco was reading the Sunday Edition of Newsday this weekend and happened upon the article, Famed Tuskegee Airmen included LIers who paid a price abroad and at home, where she discovered one of the five Long Island airmen featured in the article was “2nd Lt. Joseph B. Bennett” of Halesite.

On Monday, February 22, Rocco returned to Huntington Town Hall and checked her database to find that Joseph B. Bennett was not in the list of names on the Town of Huntington World War II Memorial located in Veterans Plaza on the front lawn of Town Hall.

The World War II Memorial on Veterans Plaza honors the memory, service and sacrifice of Huntington’s World War II veterans; there are 6,000 names on the memorial, which have been added in four phases on 15 plaques. After significant community outreach over the past few years, the Town has been working on a final plaque of names of World War II veterans who ever lived in the Town to be added to the memorial.

The unveiling ceremony for the final plaque was expected to take place in June 2020 but the Town was forced to postpone the event due to COVID-19 gathering limitations and concerns; the delay and a final proofreading of the plaque allowed for the late Joseph B. Bennett’s name to be added on February 22, 2021, the final name of 364 new names to be added to the memorial on the last plaque.

Rocco researched Bennett’s name and found an obituary, which revealed he passed away at the age of 93 on January 13, 2021; she contacted the James Hunt Funeral Home in New Jersey who put her in touch with Bennett’s daughter, who gave approval to add his name to the World War II Memorial.

Joseph B. Bennett grew up in Halesite and entered the Civilian Pilot Training Program at Tuskegee Institute, Tuskegee, Alabama. As a WWII Pilot, he earned several medals and retired with the rank of Captain. As a civilian, Mr. Bennett continued his flying career flying private chartered planes for presidential families and other socialites until becoming an aviation consultant.

Photos of Tuskegee Airman Joseph B. Bennett provided by James Hunt Funeral Home

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President Joe Biden. Stock photo

By Rich Acritelli

President Joe Biden (D), Jan. 20: “This is America’s day. This is democracy’s day. A day of history and hope. Of renewal and resolve.  Through a crucible for the ages America has been tested anew and America has risen to the challenge.  Today, we celebrate the triumph not of a candidate, but of a cause, the cause of democracy. The will of the people has been heard and the will of the people has been heeded.” 

These were the words of the newly inaugurated 46th president of the United States that addressed citizens on his first day as the leader of this nation. Unlike previous years, the historic landscape of Washington, D.C., did not have the large crowds to pay tribute to the incoming and outgoing presidents due to the COVID-19 pandemic. This was a different ceremony in every imaginable way, that saw Biden surrounded by former presidents Barak Obama (D), George W. Bush (R) and Bill Clinton (D), along with military, government and Supreme Court figures.  

For the first time since 1869 when Andrew Johnson (National Union) refused to be present for the transfer of power to Ulysses S. Grant (R), there was no presence of the immediate past president, Donald Trump (R), who was on his way home to Florida. 

Biden mostly spoke to the people across America that saw him on the television, the Internet and on the radio. By looking at the numerous problems of this nation, the new president has continually stated that he expects to work across party lines to better unify our people. Although he has an enormous task in front of him, this is not an unusual situation, as other previous presidents dealt with similar situations during their terms.

John Adams and Thomas Jefferson

In 1801, Thomas Jefferson (D-R) was inaugurated after one of the most controversial elections in our history.  Through the support of Alexander Hamilton, who pushed Congress to accept Jefferson over Aaron Burr, outgoing President John Adams (Federalist) was forced out of office. Even as Jefferson was the president and Burr the vice president, Adams refused to stay for the inauguration, and he went home to Massachusetts. 

Jefferson spoke about the divisions in the country and claimed that we were “all Democratic-Republicans and all Federalists,” within the United States. This Founding Father entered the White House without a glaring endorsement from the voters and he presented the willingness to become a consensus builder amongst the different political parties. Jefferson expressed his concerns that our government had grown too strong under President George Washington (no affiliated party) and Adams, at the expense of the people. He wanted limitations on the size of the government and believed that the people should hold more power.  

James Madison and James Monroe

Directly after the War of 1812, and the term of President James Madison (D-R), the last of the Virginia dynasty to run the United States was James Monroe (D-R). This figure who was later known for an “era of good feelings,” spoke of the necessity of admitting new states to the union, the need to have a “wise partition of power” between the states and federal government and regulation of trade with foreign countries. Monroe was at the helm of leadership at a vastly different point that saw our people at a crossroads.  

He was the last resemblance of the Revolutionary War generation of leadership that pushed Monroe to balance the direction of his government through old and new ideas. While Monroe was a popular figure, he had to handle the negative tensions that were felt by the northern and southern states over the War of 1812. 

During this conflict, politicians from New England openly spoke out against the support of sending their soldiers to aid the southern and western states that were fighting the British. There was also talk by politicians from this region that if the government continued this war that secession was a possibility.  Monroe also had to contend with the growth of slavery within the new states and territories, and the tensions that expansion created for this government.

James Buchanan and Abraham Lincoln

In 1857, James Buchanan (D) ascended to the presidency as an experienced leader who served in the Pennsylvania State Assembly, in Congress, as a secretary of state and a minister to Russia. On paper, it looked as if Buchanan had enough credentials to steer the United States through the treacherous waters of the late 1850s. A strong politician before he entered the White House, Buchanan nevertheless is considered one of the worst presidents in American history.  

When he replaced the outgoing Franklin Pierce (D), Buchanan complained that the nation was consumed through constant debates over the slavery issue. This pro-states-rights president accepted the merits of the Kansas-Nebraska Act that promoted the use of popular sovereignty to decide the fate of slavery in the Upper Midwest. Buchanan’s timid demur did not quell the violence between pro-slavery and abolitionist forces which threatened the peace and stability of the union. 

Buchanan believed that the judicial branch was responsible in determining the future of slavery in America. He did not want to utilize authority of the executive branch to rule on this explosive problem.  The Dred Scott case played into the central ideas of Buchanan that the government was bound to follow the Supreme Court’s decisions. He supported the ruling against Scott that promoted the notion that a slave had no rights, was property and could be moved north of the Missouri Compromise without being set free. 

Abraham Lincoln (R) closely monitored the lack of actions by Buchanan and he publicly spoke out against the political use of compromises. When he debated Stephen Douglas for the Illinois Congressional Senate seat, he was recognized on the national level over his refusal to endorse the expansion of slavery, while the South saw him as a direct threat toward the future of slavery and would never accept his future rule.

 During the transitional period when Buchanan met with Lincoln, he expressed to the new leader, “If you are as happy to become president of the United States as I am to stop being president and go home, you are very happy.” With Buchanan in attendance, Lincoln recognized the start of secession and he told the South that he would not end slavery. Although Lincoln spoke out against the prospects of war, he stated that he would protect the citizens, their property and the laws of this nation. The inauguration of 1861 marked conflicting viewpoints of strength within the presidency. In one sense there was the weakest figure ever to lead in Buchanan, while his predecessor Lincoln, next to Washington, was one of the strongest presidents to ever guide the United States — especially through the horrors of the Civil War.

Dwight D. Eisenhower and John F. Kennedy

Nearly 100 years after Lincoln took his oath of office, the United States watched as a new generation of citizens became the leaders of this nation. President Dwight D. Eisenhower (R) was an incredibly trusted general during World War II and through his two presidential terms from 1952-1960. When our people looked at Eisenhower, they observed a grandfatherly figure. On the other hand, our citizens saw the popular John F. Kennedy (D) as a fellow war veteran who was still young, and had a family which resided in the White House.  

While this was not a negative period, Kennedy marked a far different approach toward the goals of this country.  With the Cold War expanding in Cuba and Vietnam, Kennedy expressed the strength of the United States to continually “pay any price” and to “oppose any foe.” He was also in the middle of the civil rights movement that had leaders like Martin Luther King Jr. who demanded the government creates the same freedoms for all American people. King expected Kennedy to finally establish an America that was prepared to fully end the terrible strains of segregation in the early 1960s.

Jimmy Carter and Ronald Reagan

When Ronald Reagan (R) defeated Jimmy Carter (D) in November of 1980, this country was in an apparent downward spiral. This was the third and final chance that Reagan had to win the presidency, and up until the victory of Biden, Reagan was the oldest leader in our history.  Americans had a “question of confidence” over the Vietnam War, the resignation of Richard M. Nixon (R), the frustrations of the oil crisis and our citizens watched in disbelief as radical Iranian students overran our embassy in Tehran and held Americans for 444 days. Reagan spoke about the necessity of whipping inflation and getting more people back to work to compete with the economic powers of Germany and Japan. 

The former California governor addressed the untrue notion that there were no more “heroes” left in the United States. He reassured this country that our “heroes” worked in the factories, farms and were the entrepreneurs that sought new opportunities and wealth.

As Carter listened, Reagan said the growth of the government and its immense spending and debt was a problem for our people. Both older and younger Americans responded to the words of this immensely popular politician who was known as the Great Communicator. 

While the Carter administration should have earned additional credit over the release of the hostages, the moment that Reagan was sworn in, our detained people were immediately freed and placed on a plane that flew to West Germany. Right away, Reagan made it known that America would not tolerate widespread disrespect toward our interests and people. The emergence of Reagan presented the willingness of our citizens to regain the same prosperity and respect that had transformed the United States into a superpower.

It is not difficult to understand that Biden, as he enters the Oval Office, has a challenging presidency ahead of him. Since the start of our republic, our presidents have had to deal with major problems that have tested the will and resolve of this proud nation.

Rocky Point students Chloe Fish, Sean Hamilton, Carolyn Settepani and Madelyn Zarzycki contributed to this article. 

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The cover of the book depicts split images of a 13th century window at Notre Dame de Paris, and the Compacy Moon Solenoid of the Large Hedron Collider, 2004

Reviewed by Elizabeth Kahn Kaplan

St. James resident Philip Palmedo’s latest book, Deep Affinities: Art and Science, skillfully develops the premise that close observation and representation of the natural world, driven by “careful curiosity,” was the starting point of both art and science in the far distant past, and that their deep relationship — affinity — continues to the present.  

Ironstone hand ax, 600,000 BP

A fascinating early chapter includes a reference to a work of sculpture dating from at least 50,000 BP (Before the Present), before Homo sapiens came to Europe. “A small stone that resembled a bird was collected by a Neanderthal and then modified to be more realistic. A hole was drilled for the eye, and the shape of the beak and tail was smoothed.”  Palmedo offers evidence that this object and other stone carvings, as well as cave drawings created by our earliest ancestors, indicate that the origins of science and the starting point of art began with careful curiosity leading to observation of the natural world — the same influences that inspire the work of scientists and artists today. 

As far back as 600,000 BP an aesthetic sensibility and a scientific instinct appeared in an ironstone hand ax found in South Africa; the early human who shaped it was concerned with form as well as function — with symmetry and balance, fundamental to both art and science. 

Palmedo expands upon symmetry and balance as essential qualities in nature and in art. He calls attention to nature’s fractals — similar patterns that recur at progressively smaller scales. An example in nature is the branch of a fern with same-shaped pairs of leaves becoming progressively smaller as they progress up the stem. An example in art is a Japanese woodblock print known as The Great Wave, in which the artist, Katsushika Hokosai, incorporated the concept of fractals, painting smaller yet otherwise identical waves with identical yet smaller and smaller boats upon them. “Fractal patterns are broadly appealing” in their balance and symmetry. 

The mathematically defined geometric shapes of Pablo Picasso’s Les Demoiselles d’Avignon (1907) abound in nature as well as art. A cutaway of a nautilus shell reveals a logarithmic spiral; Robert Smithson’s Spiral Jetty (1970) in Utah echoes the Whirlpool Galaxy in outer space. 

‘The Great Wave’ by Katsushika Hokosai, 1830-32

The commonality of the circle in science and its aesthetic significance is spotlighted in the book’s cover art: a split image of the 13th century circular window in the north transept of Notre Dame de Paris is juxtaposed with a split image of the 21st century circular particle detector at the Large Hadron Collider (LHC) at the European Organization for Nuclear Research (CERN), near Geneva — the largest, most costly machine in the world, the most powerful particle accelerator, consisting of a 27-kilometre ring of superconducting magnets with a number of accelerating structures to boost the energy of the particles along the way. 

Pairing images of the stained-glass window and this powerful machine is a brilliant visible support of Palmedo’s theme. Scientist and mathematician Albert Einstein was developing his breakthrough theory of the relativity of space and time during the same decades that Picasso and Georges Braque were developing their major breakthrough in art — Cubism — while Marcel Duchamp was illustrating movement through space in his Nude Descending A Staircase (1912). 

Einstein said, “The greatest scientists are artists as well:” one might well say that “The greatest artists are scientists as well,” and cite only two of many:  Leonardo da Vinci’s studies of anatomy, or Johannes Vermeer’s experiments with the camera obscura. 

The cover of the book depicts split images of a 13th century window at Notre Dame de Paris, and the Compacy Moon Solenoid of the Large Hedron Collider, 2004

In recent decades, two New York art museums spotlighted works of art linked directly to science. In 2004, The Museum of Modern Art displayed the world’s largest jet-engine fan blade, manufactured by General Electric, “rising from a narrow black base, twisting and expanding into a fan shape while undulating slightly into a lean S-curve. In its clear abstraction it could have been inspired by Constantin Brancusi, connecting mathematics, efficiency, and art.” 

Then, in 2019, The Metropolitan Museum of Art’s exhibit, “Making Marvels: Science and Splendor at the Courts of Europe,” spotlighted, among many other magnificent objects, a rotating mechanical celestial globe of partially gilded silver perched atop a silver horse, created by Gerhard Emmoser for the Holy Roman Emperor Rudolf II in 1579. Writes Palmedo, “The intersection of art, technology, outpouring of creativity and learning, gave rise to exquisite objects that were at once beautiful works of art and technological wonders.” 

Palmedo’s undergraduate studies of Art History and Physics and a Ph.D. in Nuclear Engineering, followed by a lifetime of professional and personal activism in both fields, support this current work — a logical progression following the author’s beautifully written and illustrated earlier books. 

The Experience of Modern Sculpture: A Guide to Enjoying Works of the Past 100 Years (2015) followed four books about the lives and work of noted contemporary American sculptors — Richard McDermott Miller (1998); Bill Barrett (2003); Joel Perlman (2006) and Lin Emery (2012.) In Deep Affinities: Art and Science, Palmedo has expanded his range, from the contemporary art scene back to the distant past.  

Like Palmedo’s previous books, Deep Affinities is printed on thick glossy stock enriched by more than 100 color illustrations. Palmedo leaps into his subject, proves his thesis with definitive clarity, and expands our thinking about artists and scientists as equal partners in their achievements. It is also, with its carefully chosen and extensive bibliography, a worthy addition to the bookshelves of both. 

The book is available at Amazon.com and from the publisher, Abbeville Press.  

 

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