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0 2135
From left, atmospheric scientists Andrew Vogelmann, Edward Luke, Fan Yang, and Pavlos Kollias explored the origins of secondary ice — and snow. Photo from BNL

By Daniel Dunaief

Clouds are as confounding, challenging and riveting to researchers as they are magnificent, inviting and mood setting for artists and film makers.

A team of researchers at Brookhaven National Laboratory and Stony Brook University recently solved one of the many mysteries hovering overhead.

Some specific types of clouds, called mixed-phase clouds, produce considerably more ice particles than expected. For those clouds, it is as if someone took an empty field, put down enough seeds for a thin covering of grass and returned months later to find a fully green field.

Ed Luke, Atmospheric Scientist in the Environmental Sciences Department at Brookhaven National Laboratory, Andy Vogelmann, Atmospheric Scientist and Technical Co-manager of the BNL Cloud Processes Group, Fan Yang, a scientist at BNL, and Pavlos Kollias, a professor at Stony Brook University and Atmospheric Scientist at BNL, recently published a study of those clouds in the journal Proceedings of the National Academy of Sciences.

“There are times when the research aircraft found far more ice particles in the clouds than can be explained by the number of ice nucleating particles,” Vogelmann wrote in an email. “Our paper examines two common mechanisms by which the concentrations of ice particles can substantially increase and, for the first time, provides observational evidence quantifying that one is more common” over a polar site.

With a collection of theoretical, modeling and data collecting fire power, the team amassed over six years worth of data from millimeter-wavelength Doppler radar at the Department of Energy’s Atmospheric Radiation Measurement facility in the town of Utqiagvik, which was previously called Barrow, in the state of Alaska.

The researchers developed software to sort through the particles in the clouds, grouping them by size and shape and matching them with the data from weather balloons that went up at the same time. They studied the number of secondary ice needles produced under various conditions.

The scientists took about 100 million data points and had to trim them down to find the right conditions. “We culled the data set by many dimensions to get the ones that are right to capture the process,” Luke explained.

The dataset required supercooled conditions, in which liquid droplets at sub-freezing temperatures came in contact with a solid particle, in this case ice, that initiated the freezing process.

Indeed, shattering ice particles become the nuclei for additional ice, becoming the equivalent of the venture capitalist’s hoped for investment that produces returns that build on themselves.

“When an ice particle hits one of those drizzle drops, it triggers freezing, which first forms a solid ice shell around the drop,” Yang explained in a press release. “Then, as the freezing moves inward, the pressure starts to build because water expands as it freezes. That pressure causes the drizzle drop to shatter, generating more ice particles.”

Luke described Yang as the “theory wizard on the ice processes and nucleation” and appreciated the opportunity to solve the mechanism involved in this challenging problem.

“It’s like doing detective work,” said Luke. The pictures were general in the beginning and became more detailed as the group focused and continued to test them.

Cloud processes are the biggest cause for differences in future predictions of climate models, Vogelmann explained. After clouds release their precipitation, they can dissipate. Without clouds, the sunlight reaches the surface, where it is absorbed, particularly in darker surfaces like the ocean. This absorption causes surface heating that can affect the local environment.

Energy obtained from microscopic or submicroscopic processes, such as the absorption of sunlight at the molecular level or the energy released or removed through the phase changes of water during condensation, evaporation or freezing, drive the climate.

“While something at microscales (or less) might not sound important, they ultimately power the heat engine that drives our climate,” said Vogelmann.

To gather and analyze data, the group had to modify some processes to measure particles of the size that were relevant to their hypothesis and, ultimately, to the process.

“We had to overcome a very serious limitation of radar,” Kollias said. They “started developing a new measurement strategy.”

When the cost of collecting large amounts of data came down, this study, which involved collecting 500 times more data points than previous, conventional measures, became feasible.

Luke “came up with a very bright, interesting technique of how to quantitatively figure out, not if these particles are there or how often, but how many,” Kollias said.

Luke found a way to separate noise from signal and come up with aggregated statistics.

Kollias said everyone in the group played a role at different times. He and Luke worked on measuring the microphysical properties of clouds and snow. Yang, who joined over two and a half years ago and was most recently a post doctoral research associate, provided a talented theoretical underpinning, while Vogelmann helped refine the study and methodology and helped write up the ideas.

Kollias said the process begins with a liquid at temperatures somewhere between 0 and 10 degrees below zero Celsius. As soon as that liquid touches ice, it explodes, making it a hundred times more efficient at removing liquid from the cloud.

Kollias described the work as a “breakthrough” because it provided real measurements, which they can use to test their hypotheses.

In the next few months, Kollias said the group would make sure the climate modeling community sees this work.

Luke was hoping the collaboration would lead to an equation that provided the volume of secondary ice particles based on specific parameters, like temperature and humidity.

From the data they collected, “you can almost see the equation,” Luke said. “We wanted to publish the equation. That’s on the to-do list. If we had such an equation, a modeler could plug that right in.”

Even though they don’t yet have an equation, Luke said that explicit descriptions of the dataset, in the form of probability density functions, are of value to the modeling community.

The group would like to see how broadly this phenomenon occurs throughout the world. According to Kollias, this work is the “first step” and the team is working on expanding the technique to at least three more sites.

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0 1986
Members from the Port Jefferson Community Garden Committee at the Beach Street location. Photo by Julianne Mosher

Just in time for spring, Port Jefferson’s community garden is planned and ready to get started.

On March 15, the Village Board of Trustees voted an overwhelming “yes” to the new pilot community garden program. 

The idea behind it, Trustee Rebecca Kassay — who “planted the seed” on the project — said it would be able to give residents an opportunity to grow local, organic food and enjoy outdoor recreation together, while creating learning opportunities for its villagers. The garden would be dedicated to maintaining parkland and be a staple to the community.

And she felt that this quaint area could benefit from its own garden.

“I’ve been around vegetable gardens since I was born,” she said. “My father kept — and still keeps — an impressive half-acre in St. James.”

After completing a degree in Environmental Studies, she moved to Harlem where she found a tense neighborhood being gentrified had one common ground — Jenny Benitez’s community garden in Riverside Park. 

“It was in my time volunteering there that I most clearly saw how this simple human tradition humbles, delights and invites unity between people from all ages and backgrounds,” she said.

Since November 2020, a group of 11 residents volunteered their time to become part of the Community Garden Committee, hoping to launch the garden on an abandoned, vacant plot of land on Beach Street. 

Village gardener Caran Markson said that a long time ago, the land was once a playground with broken-down equipment. Since it was removed, it has been bare, looking for a new purpose.

“The property has been empty for as long as I can remember,” she said. “It was very underutilized.”

For months, the group researched, planned and eventually implemented a design for the village’s first community garden. 

A rendering of the potential community garden located on Beach Street in the Village of Port Jefferson. Photo from Rebecca Kassay

According to Kassay, the garden will initially consist of 16 raised beds, with some being double-high beds for residents with different abilities. The garden will be accessible to all.

“Beach Street is a great little spot for Port Jefferson Village’s first community garden,” she said. “It is a flat piece of underutilized village parkland with plenty of sun for residents to grow some organic veggies.”

But the best part is, the Beach Street plantings are set to begin this summer, and if the pilot garden project is successful, the committee expects to expand at the Beach Street site in 2022, and in subsequent years, create a second garden site at the Highlands parkland uptown.

Kassay added the group is also looking to pilot Port Jefferson’s first composting program at Beach Street, after some research of area-appropriate methods, pending community response.

“This large effort is anticipated between 2023 and 2024,” she said.

Markson said the 16 beds will be planted with vegetables.

“Outside of the raised beds, we’re going to hopefully a whole bunch of berries, maybe grapes, and we can plant native flowers just to beautify this village,” she added. “It’s going to pull the community together.”

On March 15, Mayor Margot Garant and the village board contributed $4,000 of village beautification funds toward the project, specifically to irrigation and raised bed materials. 

Committee members have already begun collecting in-kind and monetary donations from community members to meet the project’s $8,600 2021 budget and will be circulating donation material mid-April.

“No contribution is too small,” she said. “You can find a committee member for more information and/or to give a donation at the weekly Village Farmer’s Market starting May 2.”

Once established, the garden committee will raise money throughout the year with suggested-donation programming and fundraisers.

Kassay said they are looking to break ground on the project May 1, with a ribbon cutting July 10.

“I’m really looking forward to giving fellow residents the ability to grow their own produce,” Kassay said. “Whether it’s a fun family project, a way to cut down on grocery bills, a way to meet new people, part of a journey to better health … I’ve been fortunate to have access to gardens throughout my life, and now I’m grateful for the opportunity to share this with my community.”

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0 1723
A prohibitionist drives a water wagon down Port Jefferson’s Myrtle Avenue. Temperance crusaders urged villagers to forego demon rum and drink nature’s bountiful gift, cold water. Photo from Kenneth C. Brady Digital Archive

By Kenneth Brady

The campaign for a bone-dry Port Jefferson began during the 19th century. At the forefront of the movement, the Sons of Temperance was established in the village in 1848 and composed of members who pledged to abstain from drinking alcoholic beverages.

After the Sons disbanded in 1877, the Independent Order of Good Templars, Women’s Christian Temperance Union (WCTU), Young Men’s League and Prohibition Club were organized in Port Jefferson and continued the crusade against John Barleycorn.

The reformers sponsored debates, opened a mission on the village’s East Broadway and reported violations of the Sunday liquor laws. They also marched in parades, ran a temperance column in the Port Jefferson Echo, endorsed dry political candidates and organized rallies at Protestant churches.

The local activists joined lobbyists from the powerful Anti-Saloon League in supporting legislation that reduced the number of taverns in New York State. Retired sea captain Carman Howell of Port Jefferson served on Brookhaven Town’s 1917 Saloon Eliminating Committee that dramatically cut the number of taprooms in the area from 83 to 39. 

In Port Jefferson, the committee members gave the prized liquor licenses to barkeeps William Thompson, Annie Russell, Arthur Decker, Catherine Barker, Thomas O’Rourke and Arthur Feltman, but not to Frederick Reep, Walter Davis and Martha Henschel.

Following the ratification of the 18th Amendment to the Constitution in 1919 and the passage of the Volstead Act later that year, Port Jefferson’s victorious drys turned their attention to enforcing the new laws against the manufacture, sale or transportation of intoxicating beverages.

Barker’s Hotel was located on the east side of Main Street in Port Jefferson. During Prohibition, its proprietor was arrested for violating the Volstead Act. Photo from Kenneth C. Brady Digital Archive

In 1920, villagers organized a local chapter of the Allied Citizens of America. Arthur Loper, president, and Julia Bonelli, vice president, both prominent residents of Port Jefferson, led the newly formed division that worked for a bone-dry Northern Brookhaven and cooperated with law enforcement agencies in achieving that goal. 

Thirty citizens, including respected villagers Ralph Dayton, Thaddeus Oettinger, George Darling and Roscoe Craft organized a Public Safety Committee, charged with investigating and correcting any of Port Jefferson’s moral or social ills.

Rev. John J. Macdonald, pastor of the Port Jefferson Presbyterian Church, was elected president of the Citizens’ League of Suffolk County, a vigilance committee comprised of ministers and laymen. They promised a relentless war against the bootleggers and rumrunners operating along the north shore of Long Island from Orient Point to Port Jefferson.

William Anderson, former superintendent of the Anti-Saloon League, addressed the congregation of the Port Jefferson Methodist Church. Well known throughout New York as the “bartender’s nightmare,” Anderson discussed “A Patriotic Protestant Protective Alliance Necessary for the Preservation of Prohibition.”

Dr. Oscar Haywood, a lecturer for the Ku Klux Klan, spoke at the Port Jefferson Baptist Church in 1924 and Athena Hall (Theatre Three) in 1925. Among its goals, the Suffolk County Klan called for strict enforcement of the 18th Amendment. 

Although facing considerable pressure to obey the dry laws, some villagers still flouted the Volstead Act. The proprietors of Barker’s Hotel (Main Street), the American House (East Broadway), and Bennett’s Restaurant (Main Street) were all arrested for serving hooch.

William Thompson, who ran the Ardencraig Bowling Alleys and Billiard Parlor (Arden Place), was twice convicted and fined for selling whiskey to shell-shocked veterans from the Vocational Training Institute at the Plant Hotel, now the site of Port Jefferson High School.

The authorities raided the Sundodgers, a private social club on upper Thompson Street, and dumped 16 cases of home-brew in the backyard. Federal agents also nabbed a man for distributing moonshine from his house on Liberty Avenue.

Customs inspectors boarded the Dragon when it docked in Port Jefferson, took the yacht’s cargo of gin and arrested the crew. Following a high-speed chase off Port Jefferson, a government patrol boat captured the Porpoise and seized its stash of contraband whiskey. The notorious Artemis was discovered in a Port Jefferson shipyard where she had been secretly towed for repairs. The rumrunner had been hit by gunfire in a furious battle with a Coast Guard cutter off Orient Point.

The majority of Port Jefferson’s residents soon tired of Prohibition and the problems that the dry crusade had engendered. Although the Prohibition Emergency Committee campaigned in the village to keep the Eighteenth Amendment intact, it was repealed by the states on Dec. 5, 1933. In each of the three election districts that then formed Port Jefferson, voters opposed to Prohibition prevailed. 

As wets celebrated their victory, dry’s met in the Port Jefferson Baptist Church and bemoaned their defeat. Bars and package stores quickly reopened in the village. The “noble experiment” had ended.  

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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0 2058
A photo of the Iwo Jima Memorial in Washington D.C. This month commemorates the anniversary of the battle, which ended in 1945. Photo from the Library of Congress

By Rich Acritelli 

By the end of February 1945, the United States made significant progress within its island-hopping campaign to operate closer toward the Japanese mainland. Since 1942, Gen. Douglas MacArthur pursued a movement across the Pacific Ocean that saw Americans land on islands like Guadalcanal and Tarawa, along with the recapture of the Philippines. This fighting was waged against an enemy that refused to surrender and was willing to take heavy losses.

For American military and political leaders, this period was an extremely bloody part of the war. In Europe, the United States began its slow advances into Germany after Hitler’s last-ditch attempt to split the Western Allies through the Battle of the Bulge. For MacArthur and Nimitz, the taking of Iwo Jima presented a harsh dilemma for the Japanese. If the American Navy and Marines took this island, it brought our forces 750 miles from the main Japanese home islands. Now, their soil, people, munitions plants and Emperor Hirohito would be directly assaulted during the latter part of this war.

The taking of Iwo Jima also denied the Japanese the use of airfields for attacks on American B-29 Superfortress bombers. At this time, these bombers did not have the support of American fighter planes to guard against the Japanese Mitsubishi Zero aircraft. A victory on this island, allowed the Army Air Forces a strip of land for its bombers and fighter planes to bring increased pressure against the entire Japanese war effort. 

As the American forces kept pushing forward, the Japanese resistance grew stiffer by kamikaze aircraft that targeted our major naval vessels. The sight of these enemy planes that targeted American ships was a horrifying reminder that the war was far from over.  

Bob Feller was called Ace of the Greatest Generation, and he was stationed on the USS Alabama battleship in the Pacific. This Hall of Fame pitcher and Cy Young Award winner was a called a hero when he returned to the Cleveland Indians in 1946. Recalling the determination of the Japanese, he firmly stated that he was not a hero, but ”a survivor” of combat against this nation. For Feller and the other veterans of World War II, they were constantly targeted by these enemy pilots that sunk some 47 Allied vessels.  

American war machine

Even as the Japanese government sent few reinforcements and supplies to their garrisons, they were left on these islands to fight to the death. The Japanese, unlike the Germans, realized that they were unable to stop the strength of the American war machine. But they understood that our citizens hated losses and the Japanese were determined to increase the blood toll. In battles like Iwo Jima, Japanese officers instructed the necessity of their soldiers to kill at least 10 Americans before they were overrun by our forces.

During the Iwo Jima planning stages, there was a lack of information from the American pilots who were unable to see any major signs of Japanese soldiers on this island. Instead, they observed a rugged terrain of rock and mountains that offered few luxuries for any of its inhabitants. But the Japanese deployed almost 22,000 soldiers to contest any American landing. They operated in the caves, a series of tunnels, and placed heavy guns in well-concealed positions. They gained valuable time in building these lines of defense by delaying the American conquest of the Philippines. 

Before the American military planners assaulted Iwo Jima, they ordered their “frogmen” — or the earliest SEALs — to attack the Japanese in the effort for them to reveal these gun emplacements. In anticipation of heavy resistance, the Marines requested that the Navy should fire at the suspected areas of Japanese fortifications and guns for 10 days. Instead, there were only three days of naval bombing, and this resulted in the later extreme losses for American land forces. A flotilla of about 450 ships laid off the coast of Iwo Jima, where 60,000 Marines and 10,000 Navy and Army personnel were used to capture this small island. On Feb. 19, when the Marines landed with their waves of men and materials, the Japanese barely resisted these early American actions.

Led by veteran Japanese leader Gen. Tadamichi Kuribayashi, it was his intention to allow the landings to reach the shores unopposed. The Americans were permitted to move inland where they would be heavily targeted by Japanese forces. Kuribayashi believed that if his forces created massive American losses, it was expected that our officers would lose their willingness to continue fighting on Iwo Jima. He utilized the steep terrain of the beaches, as the first wave of 8,000 men had to wade ashore through deep beaches. This sand was also difficult for the motorized American vehicles to operate on, as tanks, trucks and jeeps were targeted by Japanese guns.

Opening assault

On the first day of the assault, there were 2,400 casualties that surprised the American military leadership, as these losses were lower than those that were suffered at Tarawa and Saipan. The biggest mistake that the Japanese made on this day was to fire from their positions at Mount Suribachi.  Japanese firing at the tip of the island, proved to be fatal for the enemy, as it allowed the American Navy, fighter planes and ground forces to hit these enemy troops and their guns. On the fourth day of the fighting, photographer Joe Rosenthal captured perhaps the most historic military picture ever taken.  The “flag raising” depiction on the top of Mount Suribachi presented the commitment of the Marines to place the colors of this nation. As Americans were elated by this picture, the dangerous reality for the Marines was that this contest was far from over.  

Unlike other battles that showed the willingness of the Japanese to use banzai assaults against American positions, Kuribayashi discouraged these methods. If large groups of Japanese soldiers went into the open to attack the Marines, they would eventually be killed, and this would only weaken his forces.  While there was some fighting at night, the Japanese stayed close to their tunnels, guns and cover, and this prevented an early victory for the Marines. Our military leadership became increasingly worried about the resistance that the Japanese had showed on the northern part of Iwo Jima. The Japanese used larger mortars which increased losses and the Marines began to utilize napalm against the enemy.  There was a kamikaze assault of the Navy off the island, with the USS Bismarck Sea and the USS Saratoga being targeted by Japanese aircraft.  For both sides, the 36 days of warfare at Iwo Jima proved to be a battle that was bent on total carnage.

Even as American strength was far superior, the Japanese often waited for the sight of the Marines before they opened fire. Gen. Holland McTyeire “Howlin’ Mad” Smith came ashore several times to personally observe the fighting, and he believed that the Marines were in perhaps the worst battle that they had ever experienced. It was estimated that 14 out of 24 Marine infantry battalion commanders were killed or wounded leading their men on the front lines. Mostly through hand-to-hand combat, this was the only way to chip away at the Japanese defenses.  

Severe losses

By March 14, the Marines felt confident that Iwo Jima was taken into possession by American forces.  While the Japanese lost most of their positions, there were still moments that they infiltrated the rear parts of American lines to kill Marines. On both sides, the losses were severe, with the Japanese having more than 20,000 casualties. It was estimated that 30% of Americans were casualties, with most of the damage being done against the infantry.  The losses of this battle never discriminated, as noted combat figure John Basilone, a gunnery sergeant and Medal of Honor recipient, was killed during his earliest moments on Iwo Jima. Every type of Marine fought on this island from the most decorated, to a 16-year-old that experienced some of the hardest warfare. 

Some 76 years ago this month, over 6,000 Marines were killed during an immensely challenging time within the history of this branch of service.

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

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0 1967
Athena Hall, now Theatre Three, is shown in 1909 on the west side of Port Jefferson’s Main Street. The building has been remodeled extensively during its 133-year history and used for a variety of purposes. Photograph by Waters, photo from Kenneth C. Brady Digital Archive

By Kenneth Brady

In an 1873 column appearing in the weekly Long Island Leader, the newspaper’s publishers bemoaned that Port Jefferson lacked a suitable public hall for lectures, exhibitions, shows and parties.

Lamenting that the village did not have a meeting place to accommodate a sizeable audience, the Leader called upon an investor to build a “creditable” hall in Port Jefferson for assemblies and performances.While waiting for a public-spirited person to construct a large hall in the village, its residents got together at some of Port Jefferson’s smaller venues.

Typical of these settings, Lee’s Hall occupied the top floor of John S. Lee’s tin shop on what is now Port Jefferson’s East Broadway. Dances, suppers, cake walks and sociable’s were held in the building.

Bayles Hall, located in rooms above the second Bayles Chandlery on today’s East Broadway, was another popular gathering place. During one evening, the audience enjoyed a play based on Uncle Tom’s Cabin.

Though horribly cramped, Henry Hallock’s Hall on Main Street featured vocal groups, magicians and outside speakers.

Athena Hall, now Theatre Three, is shown in 1909 on the west side of Port Jefferson’s Main Street. The building has been remodeled extensively during its 133-year history and used for a variety of purposes. Photograph by Waters, photo from Kenneth C. Brady Digital Archive

Besides these three halls, other meeting places in Port Jefferson were important to the village’s cultural and social life. Tom Thumb performed at Smith’s Hotel, exhibits were displayed at the local schoolhouse and, in a unique use of the space, concerts were held in John R. Mather’s lumber shed.

Port Jefferson’s houses of worship also hosted a variety of events. Swiss bell ringers played at the Baptist Church, minstrels entertained at the Presbyterian Church and temperance lecturers held forth at the Methodist Church.

Villagers continued to get along without a large hall until 1888 when construction on a spacious meeting house finally began. Fifteen years had passed since the Leader claimed that the demand for a public hall was “growing rapidly” in Port Jefferson. What could explain the delay?

The financial Panic of 1873 and its aftermath brought tight money, sluggish sales and hard times to Port Jefferson, perhaps dampening any enthusiasm for the venture.

The cast of the H.M.S. Pinafore is pictured in 1897 on the stage at Port Jefferson’s Athena Hall. Photograph by Arthur S. Greene, photo from Kenneth C. Brady Digital Archive

As the economy improved, there was renewed interest in the project. L. Beecher Homan, publisher of the Port Jefferson Times, grocer D. Oliver Petty, who’s building also housed the Times, and insurance agent Albert T. Norton were among the investors who financed the hall’s construction. 

Their timing could not have been better. During the 1880s, Port Jefferson began transitioning from a shipbuilding center to a vacationland. With the influx of tourists, businessmen could turn a profit in entertaining visitors on top of the money to be made in satisfying the needs of villagers.

The New Hall, later named Athena Hall, was located on the west side of Main Street and opened on Thursday evening, Sept. 20, 1888, following a parade. The night’s playbill featured local talent.

The public entered the New Hall using a broad staircase leading up to a wide veranda. The frame building, which purportedly could seat 1,000 people, had two levels.

The upper floor included the main hall, a U-shaped balcony, the stage, a space for the orchestra, dressing and property rooms and a committee room. The lower floor contained a coal room and a hot air furnace, pantry, dining room and lower hall.

Remodeled extensively throughout its storied history, what was once Athena Hall has been used as a playhouse, graduation site, movie theater, community center, polling place, machine shop, steam laundry, roller skating rink, radio and television sales store, dance hall and cabaret.

Known today as Theatre Three, the 133-year-old building is a Port Jefferson treasure.

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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Sheet Pan Chicken and Roasted Veggies. Photo from Pixabay

By Barbara Beltrami

We who are both cooks and chief pot and bottle washers love one-pot meals. How nice to throw everything into a big pot and cook it all together. Then how wonderful to have only that one pot to wash. Well, what one pot is to the stove top, the sheet pan is to the oven. How nice to preheat the oven to a high temperature, then throw everything onto a sheet pan, and bake or roast the whole meal together in just a little time. Then how great it is to have just that one sheet pan to wash. (Invest in a nonstick one while you’re at it). No wonder this cooking method is all the rage and has been for a while now. As you will notice, all the following recipes are for straightforward, no nonsense easy prep dishes which should double their popularity with you.

Sheet Pan Chicken and Roasted Veggies

YIELD: Makes 4 servings

INGREDIENTS:

Nonstick cooking spray

One 3 1/2 – 4 pound chicken, cut up

2 large onions, peeled and coarsely chopped

4 medium potatoes, peeled and cut into1/8ths

4 carrots, peeled and diced into 1/2 diagonally

Salt and freshly ground pepper to taste

1 T chopped fresh oregano or 1 tsp. dried

Freshly squeezed juice of two lemons

1/3 cup extra virgin olive oil

DIRECTIONS:

Preheat oven to 425 F. Spray rimmed baking sheet with nonstick cooking spray. Wash chicken pieces in cold water and pat dry with paper towels; place, skin size up, at one end of baking sheet. Place onions next to chicken, then potatoes, then carrots at other end. Season everything with salt, pepper and oregano and press seasoning into chicken and veggies; drizzle lemon juice over everything, then olive oil. Place in preheated oven and roast for 30 to 45 minutes, turning chicken when skin is a nice brown and with a spatula, turning veggies to brown on all sides. Serve hot or warm with a Greek salad (if you don’t mind cleaning the salad bowl afterward!)

Sheet Pan Sausage and Peppers 

YIELD: Makes 4 to 6 servings

INGREDIENTS:

8 sweet Italian sausages

6 cubanelle peppers, cored, seeded and cut into 1” strips

1/4 cup extra virgin olive oil

1 to 2 tablespoons red wine vinegar

Salt and freshly ground pepper to taste

1/2 teaspoon crushed red pepper flakes

DIRECTIONS:

Preheat oven to 425 F. If they are linked, detach sausages from each other and space across one end of a rimmed baking sheet. In a large bowl, toss the pepper strips with the oil, vinegar, salt and pepper and crushed red pepper. Transfer to empty part of sheet pan. Bake 30 to 45 minutes, turning everything occasionally, until brown on all sides. Serve hot with garlic bread.

Sheet Pan Balsamic Swordfish with Brussels Sprouts and Fennel

YIELD: Makes 4 servings

INGREDIENTS:

2 pounds swordfish, cut into 4 pieces

1 bruised garlic clove

1/4 cup extra virgin olive oil

Freshly squeezed juice of half a lemon

1/4 cup Balsamic vinegar

1 teaspoon prepared mustard

1 tablespoon brown sugar

1/4 cup dry white wine

Salt and freshly ground pepper to taste

1 1/2 pounds trimmed Brussels sprouts, halved

2 fennel bulbs, trimmed, cut into 1/4” slices

Nonstick cooking spray

DIRECTIONS:

Preheat oven to 425 F. Press and rub garlic clove against sides of a small bowl to release some of its flavor, then remove and discard; in same bowl whisk together the oil, lemon juice, Balsamic vinegar, mustard, brown sugar, wine and salt and pepper. With pastry brush, coat swordfish on both sides with 1/4 of mixture; let sit 10 minutes. in a large bowl toss remaining mixture with the Brussels sprouts and fennel; let sit 10 minutes. 

Spray a rimmed sheet pan with nonstick cooking spray. Arrange swordfish pieces on 1/3 of the pan, then veggies on other 2/3; use any left over marinade from veggies to baste fish. Turning once, bake swordfish until it flakes in center when tested with a fork, about 10 to 15 minutes; if done remove and set aside to keep warm. Continue baking veggies, turning once, until al dente, about another 10 to 15 minutes. Serve with sweet potatoes baked in their skins.

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0 1700
Stem cell growth, required for kernel development, is controlled in corn by a set of genes called CLEs. But how these genes change the corn is complicated. Using CRISPR genome editing, CSHL researchers found they could change kernel yield and ear size by fine-tuning the activity of one of the CLE genes, ZmCLE7. In the image: an unmodified corn cob with normal ZmCLE7 gene activity (1) is packed with regular rows of kernels. Shutting off ZmCLE7 (2) shortened the cob, disrupted row patterns, and lowered kernel yield. However, decreasing the same gene’s activity (3) led to an increase in kernel yield, while increasing the gene’s activity (4) decreased the kernel yield. Jackson Lab/CSHL 2021

By Daniel Dunaief

The current signal works, but not as well as it might. No signal makes everything worse. Something in the middle, with a weak signal, is just right.

By using the gene-editing tool CRISPR, Cold Spring Harbor Laboratory Professor Dave Jackson has fine-tuned a developmental signal for maize, or corn, producing ears that have 15 to 26 percent more kernels. 

Dave Jackson. Photo from CSHL

Working with postdoctoral fellow Lei Liu in his lab, and Madelaine Bartlett, who is an Associate Professor at the University of Massachusetts Amherst, Jackson and his collaborators published their work earlier this week in the prestigious journal Nature Plants.

Jackson calls the ideal weakening of the CLE7 gene in the maize genome the “Goldilocks spot.” He also created a null allele (a nonfunctional variant of a gene caused by a genetic mutation) of a newly identified, partially redundant compensating CLE gene.

Indeed, the CLE7 gene is involved in a process that slows the growth of stem cells, which, in development, are cells that can become any type of cell. Jackson also mutated another CLE gene, CLE1E5.

Several members of the plant community praised the work, suggesting that it could lead to important advances with corn and other crops and might provide the kind of agricultural and technological tools that, down the road, reduce food shortages, particularly in developing nations.

“This paper provides the first example of using CRISPR to alter promoters in cereal crops,” Cristobal Uauy, Professor and Group Leader at the John Innes Centre in the United Kingdom, explained in an email. “The research is really fascinating and will be very impactful.”

While using CRISPR (whose co-creators won the Nobel Prize in Chemistry in October) has worked with tomatoes, the fact that it is possible and successful in cereal “means that it opens a new approach for the crops that provide over 60% of the world’s calories,” Uauy continued.

Uauy said he is following a similar approach in wheat, although for different target genes.

Recognizing the need to provide a subtle tweaking of the genes involved in the growth of corn that enabled this result, Uauy explained that the variation in these crops does not come from an on/off switch or a black and white trait, but rather from a gradient.

In Jackson’s research, turning off the CLE7 gene reduced the size of the cob and the overall amount of corn. Similarly, increasing the activity of that gene also reduced the yield. By lowering the gene’s activity, Jackson and his colleagues generated more kernels that were less rounded, narrower and deeper.

Uauy said that the plant genetics community will likely be intrigued by the methods, the biology uncovered and the possibility to use this approach to improve yield in cereals.

“I expect many researchers and breeders will be excited to read this paper,” he wrote.

In potentially extending this approach to other desirable characteristics, Uauy cautioned that multiple genes control traits such as drought, flood or disease resistance, which would mean that changes in the promoter of a few genes would likely improve these other traits.

“This approach will definitely have a huge role to play going forward, but it is important to state that some traits will still remain difficult to improve,” Uauy explained.

Jackson believes gene editing has considerable agricultural potential.

“The prospect of using CRISPR to improve agriculture will be a revolution,” Jackson said.

Other scientists recognized the benefits of fine-tuning gene expression.

“The most used type/ thought of mutation is deletion and therefore applied for gene knockout,” Kate Creasey Krainer, president and founder of Grow More Foundation, explained in an email. “Gene modulation is not what you expect.”

While Jackson said he was pleased with the results this time, he plans to continue to refine this technique, looking for smaller regions in the promoters of this gene as well as in other genes.

“The approach we used so far is a little like a hammer,” Jackson said. “We hope to go in with more of a scalpel to mutate specific regions of the promoters.”

Creasey Krainer, whose foundation hopes to develop capacity-building scientific resources in developing countries, believes this approach could save decades in creating viable crops to enhance food yield.

She wrote that this is “amazing and could be the green revolution for orphan staple crops.”

In the United States, the Food and Drug Administration is currently debating whether to classify food as a genetically modified organism, or GMO, if a food producer used CRISPR to alter one or more of its ingredients, rather than using genes from other species to enhance a particular trait.

To be sure, the corn Jackson used as a part of his research isn’t the same line as the elite breeding stock that the major agricultural businesses use to produce food and feedstock. In fact, the varieties they used were a part of breeding programs 20 or more years ago. It’s unclear what effect, if any, such gene editing changes might have on those crops, which companies have maximized for yield.

Nonetheless, as a proof of concept, the research Jackson’s team conducted will open the door to additional scientific efforts and, down the road, to agricultural opportunities.

“There will undoubtedly be equivalent regions which can be engineered in a whole set of crops,” Uauy wrote. “We are pursuing other genes using this methodology and are very excited by the prospect it holds to improve crop yields across diverse environments.”

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Above, the remnants of an Anglo-Saxon ship burial from the 6th century are unearthed in a scene from the film.

Reviewed by Jeffrey Sanzel

Perhaps it is odd to explain a film as methodically heartfelt, but that best describes The Dig. Based on the 2007 novel by John Preston and the true story of the 1939 excavation of Sutton Hoo (outside of Woodbridge, in Suffolk, England), the film explores the personalities involved with the undertaking and the quest for the truth. It also addresses both the purist of and the validity of credit.

With a lifelong interest in archeology, widow Edith Pretty (Carey Mulligan) hires local Basil Brown (Ralph Fiennes) to excavate the burial mounds on her estate. Brown, self-taught and self-effacing, first rejects the position because of the amount of money offered — the same small fee that the Ipswich Museum had paid him. It is less about small sums and more about the value that he sees in the work. She immediately relents, raising the salary by 12% to two pounds a week.

Carey Mulligan in a scene from The Dig.

What follows is a painstaking project that leads to an extraordinary discovery. Given Brown’s lack of formal education — he left school at twelve — his initial claims that the mounds are Anglo-Saxon and not Viking are easily dismissed. His uncovering proof of his supposition results in outside interest, first from the Ipswich Museum and then the British Museum. Throughout, Brown is praised for his work and then pushed aside. 

His true champion is Pretty, dealing with a heart-related illness and caring for her son, Robert (Archie Barnes). The young boy is fascinated by the dig but caught up in the skies above. He is obsessed with both the Royal Air Force (RAF) fighter pilots training nearby and a world of fantasy in the stars. 

Like the work they have undertaken, the film is focused but with a rich and rewarding purpose. Brown digs with shovel and pick and spade; he covers the area in tarps when it rains. He jots in his notebook. Pretty reads of archaeology in her library. Robert plays. It is a film of landscapes, sunrises and sunsets, and slow and purposeful work done with great care as the British nation prepares for war.

Soldiers gather on the roads as the planes become more frequent. The looming war drives an immediacy to finish, but the process and progress cannot be rushed. It is all measured, but it is grounded in the breathing of the world. 

One of the most interesting moments comes when a small shift in the soil buries Brown. His two helpers and the manor staff, along with Pretty, claw in the mud and dirt to get him out. It is a perfect synthesis of tension and cooperation as they resurrect him from a burial site.

A scene from ‘The Dig’

Once it is clear that the unearthed treasures are significant, the battle is over control of the site. Pretty is reluctant to turn it over and brings in her cousin, the untrained Rory Lomax (Johnny Flynn). Lomax’s introduction provides a sliver of romance to the story, as he becomes involved with Peggy Piggott (Lily James), the wife of archaeologist Stuart Piggott (Ben Chaplin). The Piggotts, both respected in their field, are caught in a repressed and possibly sexless marriage. It is a diversion from the main plot that only finds its strength when Lomax is called-up for service

The journey relies on a strong cast and Mike Eley’s lush cinematography. Stefan Gregory’s beautifully melancholy score elegantly punctuates the highs and lows. It soars appropriately but, for the most part, remains as a subtle heartbeat in the background of the action.

Mulligan is luminous is Mrs. Pretty. Both gentle and tightly wound, she bears her pain with great dignity, all for love for her son. Another actor would most likely fall into a maudlin caricature; Mulligan is real, sad, but not without humor. It is a delicate, thoughtful performance, an extraordinary contrast with her bolder, edgier, and dynamically impressive work in the recent Promising Young Woman. 

Fiennes is equally gentle, his simplicity masking a more enigmatic individual. At fifty-eight, there is no trace of his breakout performance as Amon Göth, the Nazi monster of Schindler’s List. His Brown is all softness, bringing deep honesty to a man frayed around the edges but whose center is strong. Mulligan and Fiennes don’t so much spark as join as a single flame. 

Johnny Flynn and Lily James in a scene from the film.

Lily James turns in a small, subtle performance. Unlike her vivacious Lady Rose of Downton Abbey or her energetic Cinderella, this is a delicate, introspective performance. She wears her pain and hope hidden behind large spectacles. 

Monica Dolan is strong as Brown’s supportive and shrewd wife. At first, she comes across as vague and disconnected, but she has a true understanding of who her husband is and, even more importantly, his potential. Flynn’s Lomax is likable but a bit of a cipher. As the British Museum’s Charles Phillips, Ken Stott skirts the blustery; he brings a touch of humanity and wonderment to the final breakthroughs. 

The Dig is not Howard Carter and the discovery of King Tut’s tomb. (And those looking for Brendan Fraser in The Mummy should seek elsewhere.) It is not grand discoveries that make headlines. Director Simon Stone and screenwriter Moira Buffini have worked seamlessly to tell an intimate story that shows how a small discovery can make a big difference, both to the individuals and the world. In the end, The Dig’s moral is not about who finds the answers but that the answers are found.   

Rated PG-13, The Dig is currently streaming on Netflix.

All photos courtesy of Netflix

 

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'Fair Exchange, No Robbery', 1865, by William Sidney Mount

By Tara Ebrahimian

William Sidney Mount was an artist whose Long Island heritage was integral to his identity and his art. Most famous for his portrayals of local and natural life, Mount’s initial interest in historical paintings and his commissions for death portraiture led him to create the work that would become his legacy. What Mount witnessed and experienced determined how he rendered the realm he could control: his art.

He was born in Setauket on November 26, 1807. His parents, Julia Ann Hawkins and Thomas Shephard Mount, had a farm and also ran a store and tavern on the edge of the village green. Interested in artistic endeavors from a young age, with his family’s support, he set out to pursue that goal.

Following his father’s death in 1814, his mother returned to his grandfather’s farm in Stony Brook and Mount lived for a time with his maternal aunt and uncle, Letty and Micah Hawkins, in New York City. Micah was a playwright, composer, and musician, who encouraged Mount’s interest in music. In 1815, Mount returned to Long Island, living in his grandfather’s home until returning to Manhattan where he apprenticed to his brother Henry as a sign maker. It was during this period that Mount really began to develop his interest in painting.

‘Returning from the Orchard’, 1862, by William Sidney Mount

With Henry’s encouragement, Mount attended the American Academy of the Fine Arts exhibition at City Hall Park in 1825. This event introduced Mount to a genre of art he had not yet enjoyed: history painting. Rather than pursue a formal art education or seek tutelage from a master, Mount continued to work for his brother while teaching himself. Henry was now business partners with a painter named William Inslee, who owned a collection of prints by British artist William Hogarth, who specialized in history painting. Moved by his art as well as that of another British artist, Benjamin West, Mount copied Hogarth’s prints in order to practice his craft.

History painting is characterized by its content instead of its artistic method. This form generally depicts an instance in a narrative story rather than a specific, fixed subject such as a portrait. Until the 19th century, history painting was considered the most prestigious type of Western painting. Then, as artists pushed back against the rigid parameters of academic art standards, it became a medium mainly regarded in that milieu. This genre encompassed works that portrayed religious scenes, and Mount’s most popular history painting is of this nature.

Upon the recommendation of family friend Martin E. Thompson, Mount enrolled in the National Academy of Design, which Thompson had cofounded. At the institution Mount was able to explore his appreciation for the Grand Manner, an idealized aestheticism that drew from classicism and the art of the high Renaissance. Initially it specifically referred to history painting, but came to include portraiture. The term Grand Manner was also used by British artists and critics to describe art that incorporated visual metaphors to represent noble characteristics.

In this manner, Mount created historical paintings that were very well received. He selected scenes from classical texts that focused on topics like near-death experiences, death, and resurrection. Mount’s first notable oil painting, Christ Raising the Daughter of Jairus (1828) caused a stir when it was exhibited at the National Academy of Design; the council was stunned that a young artist with little formal instruction could produce such a work. Mount, who was one of the school’s first students, was elected an associate member in 1831.

‘Bargaining for a Horse’, 1835 by William Sidney Mount

He returned to Setauket the next year, but continued to send work to be exhibited in New York City. Mount’s history paintings were admired and respected, but they were not, apparently, particularly profitable. Perhaps impacted by the shifting opinions about historical paintings, Mount suffered a setback all too familiar to artists: his work did not sell well enough for him to make a living. So, he shifted his focus to portraiture. His first portrait subjects were easily persuaded: he painted himself and close relatives.

Portraits provided a somewhat steadier income. Among his early patrons were the Weeks, Mils, Wells, and Strong families. Mount continued to improve his technique and was happy to be back on Long Island. “I found that portraits improved my colouring, and for pleasurable practice in that department I retired into the country to paint the mugs of Long Island Yeomanry.” Mount was less enamored with the other aspect of his business: death portraiture.

Mourning portraits were paintings of the recently deceased. Frequently the subjects were shown as though they were alive, and symbolic details, like bodies of water and flowers, were used to indicate that they were not. Arguably a bit morbid, their existence was emotional: they were usually commissioned by the departed’s loved ones. It could be among the only renderings/images that existed of the recently dead.

Mount worked on commission and he did not enjoy the work, which was fraught and could be gruesome. He could be summoned to someone’s wake or deathbed to make sketches or take notes for the upcoming portrait. Once he was called to the scene of an accident to paint the likeness of a man who had been run over by a wagon. The final product did not reflect the cause and nature of the subject’s death.

The art Mount created enveloped aspects of genres he had explored earlier in his career. These experiences helped him establish the style for which he would become best known. He combined the narrative elements of the history paintings with the human interest element of the death portraiture. Without this background, he may not have been inspired to create the art that became his job and his joy.

Genre paintings, art that illustrates scenes of everyday life, became the most renowned selections of his oeuvre. Unlike his previous work, this type of art is distinguished from history paintings and portraits in that the subjects have no distinctive identities. His first foray into this type of painting, The Rustic Dance, was immediately successful and encouraged him to further explore the medium. As Mount noted in his journal, “Ideas can be found in everything if the poet, sculptor and painter can pick them out.” He captured snippets of everyday life and frequently imbued them with subtle or more overt themes of social commentary.

‘Bar-Room Scene’, 1835, by William Sidney Mount

Motivated by the natural environment and his neighbors, Mount addressed moral issues, including economic standing and disparities as well as the implied status of Black people in the area. For example, in Bar-Room Scene (1835), Mount portrays patrons in a tavern. In the foreground a presumably inebriated man in tattered clothing is encouraged to dance by three  seated men who are clearly of a higher economic class. A boy, who is standing, gazes upon him in apparent wonderment.

In the back corner, there is a young Black man standing. He is also entertained by the dancer’s antics, but he is alone, separate from the group of other men. As a free Black man, he is allowed to visit the tavern, but he remains apart from the other visitors. Through this isolation, Mount indicates that the man is not fully able to participate in the community. The topics represented in this painting were recurring in his art.

Mount’s return to the Three Villages marked a shift in the nature of his work. His exploration of slavery, racial dynamics, and rustic vignettes offer indelible insight into 19th century life on Long Island. His creative expression was a culmination of previous artistic enterprises, driven by both his own passion and financial necessity. Mount continued to paint, integrating other interests, such as music, into his art. He never married or had children and died of pneumonia on November 18,1868, at his brother Robert’s house in Setauket.

Author Tara Ebrahimian is the Education Coordinator at the Three Village Historical Society in Setauket. This article originally appeared on the historical society’s website and is reprinted with permission.

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The Monti and Saladino families, above, continue the work of The Don Monti Memorial Research Foundation. Photo from Jim Kennedy

Even amid the COVID-19 pandemic, The Don Monti Memorial Research Foundation continues to raise money to support cancer care and research on Long Island.

Caroline Monti Saladino speaks at last year’s Cancer Survivors Day. Photo from Mel Saladino

The foundation, named for Don Monti, who died at 16 in 1972 from acute myeloblastic leukemia, has changed some of the events this year, but not the mission.

Instead of the annual ball at the Woodbury-based Crest Hollow Country Club, which the Montis own, the foundation started its Capital Giving Campaign and hopes to raise $1 million this year. All of the proceeds support the mission, since the foundation’s senior staff, including Caroline Monti Saladino, president, work for free.

“Today with COVID, nothing has changed with the journey,” she said.

The foundation has mailed out a capital campaign brochure that includes letters from Michael Dowling, president and CEO of Northwell Health; Richard Barakat, director of Northwell Health Cancer Institute; and Bruce Stillman, president of Cold Spring Harbor Laboratory.

“Your investment in cancer clinical care, research, wellness and survivorship enhances our ability to provide comprehensive, multidisciplinary care for our patients and enables us to provide support services for their families and loved ones,” Barakat wrote in his letter.

Monti Saladino, who has helped cancer patients for close to five decades, said the needs of cancer patients haven’t changed.

The Monti foundation has become a multigenerational family cause, which Tita and Joseph started months after their son died. The foundation has raised more than $47 million to support research, education and patient care in oncology and hematology. It has donated money to Northwell Health, Huntington Hospital, Long Island Jewish and Cold Spring Harbor Laboratory for everything from patient care and treatment to genetic counseling to basic research.

The foundation recently donated $50,000 to Huntington Hospital to help fund its developing cancer center.

Numerous members of the Monti and Saladino families have dedicated time and effort to improving the lives of people with cancer and to offering support to the families of patients. Monti Saladino said her children are involved, as are some of her 12 grandchildren, who have continued the family tradition by raising money to support the foundation.

The foundation has an office at CSHL, where Stillman said he often sees “family members working there, helping to raise support — it’s an amazing dedication.”

In addition to the visible connection through laboratories at CSHL, the foundation has supported four Don Monti cancer centers in Nassau and Suffolk, at North Shore University Hospital, also Huntington, Glen Cove and Plainview hospitals.

The members of the Monti and Saladino families have also played instrumental roles by visiting patients, hosting Don Monti Cancer Survivors Day events and forging new relationships with recipients of their support.

When Northwell and CSHL were looking for a link between the basic research at the Lab where new ideas and methods are developed, and the clinic where medical teams worked to provide personalized care, the Monti foundation helped facilitate a partnership.

“We were very familiar with what was going on” at Northwell partly “through the Monti foundation,” Stillman said. “They were helpful. It was good that people on both sides knew each other.”

Cold Spring Harbor Lab Connection

CSHL has received between $300,000 to $500,000 each year for over a decade from the foundation, which supports innovative research and supplements the funds the scientists receive from government agencies like the National Cancer Institute.

Receiving national grants is difficult and competitive, which increases the value of philanthropic funding that is the “driver of innovation and one of the reasons the United States is so prominent in research,” Stillman said.

He appreciates how the foundation offers a direct connection between the scientists working to cure a disease and the patients and their families who are, and have been, battling cancer.

Principal investigators, postdoctoral researchers and graduate students attend Cancer Survivors Day, during which they see people who might benefit from their research efforts.

“When you see patients, it does change the way you think about how you do the research,” Stillman said.

The funds from the foundation have supported numerous research initiatives at CSHL, including the work of Nicholas Tonks and Christopher Vakoc.

Working with chemists, Tonks developed molecules that inhibit enzymes called protein tyrosine phosphatases, which could be used to treat breast cancer.

Vakoc, meanwhile, has found subtypes of cancer that require critical proteins to grow. He is working on a program to identify how to target what Stillman described as the “Achilles heel” of some cancers.

“Our reputation through the years as a patient-oriented organization and a research-oriented organization has really sustained us. A lot of the people we have healed through our organization are very generous.”

— Caroline Monti Saladino

Northwell Health Connection

The Monti foundation works closely with Dr. Ruthee-Lu Bayer, who is the chief of stem cell transplantation at Northwell Health.

“She and her team are amazing,” Monti Saladino said.

She recalled that Bayer was doing clerical work she didn’t have time to do in the midst of her life-saving and life-extending efforts.

The foundation’s president suggested that the hospital should hire an administrator so Bayer’s team could see more patients. Monti Saladino spoke to the hospital administrator and said she would contribute $100,000 a year for five years, if the hospital contributed the remaining cost. The hospital agreed, providing some relief for Bayer’s efforts.

Monti Saladino said contributors appreciate the history of the Monti foundation and its ongoing focus.

“Our reputation through the years as a patient-oriented organization and a research-oriented organization has really sustained us,” she said. “A lot of the people we have healed through our organization are very generous.”

Stuart Hayim, who is a dealer of Ferraris and Maseratis on Long Island, recovered from lymphoma in 1979 while receiving medical treatment and personalized attention from Tita Monti, at the Don Monti Division of Oncology at North Shore University Hospital in Manhasset. Since then, he has won boat races and raised money each year for the foundation.

Monti Saladino said the foundation helps patients wherever and however it can.

When her young brother Don was diagnosed with leukemia in 1972, oncology and chemotherapy were “primitive,” she said. In terms of patient care, the medical experience “didn’t make people very comfortable.”

The Foundation’s Goal

Through the money the Don Monti foundation raised, the goal was to make the challenging experience of dealing with treating cancer more bearable for people and the families who go through it, she said.

The foundation built the first bone-marrow transplant unit in the 1990s, added a patient lounge and funded Cancer Survivors Day.

Monti Saladino said she “lives and breathes” her brother every day. Don died in June 1972, and her parents, Tita and Joseph Monti, had their first fundraiser that December.

Tita Monti, who died in 2006, said she didn’t want what happened to Don to happen to other people.

“We need to make a purpose out of his short 16 years of life, from the joy he gave us,” Monti Saladino recalled her mother saying.

Her brother’s story is a credit to his determination and to his mother’s perseverance, Monti Saladino said. Doctors had given him six weeks to live. His mother combined beetroot powder with natural and other healthy treatments that extended his life by 16 months.

Stillman said the legacy of the Monti family is evident throughout Long Island.

“It’s quite impressive, all of the number of people they’ve touched,” he said. “They’ve improved the treatment environment, the cancer environment, the clinicians and researchers.”

Monti Saladino said she and the family are far from perfect.

“We’ve got our issues,” she said. “They don’t affect this. This is a real focus that never changes.”

For more information, visit www.donmontifoundation.org.

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