One Quick and Easy DIY Tip to Keep Your Home Cool and Comfortable this Summer!
One Quick and Easy DIY Tip to Keep Your Home Cool and Comfortable this Summer!
For those looking to get in shape this spring, the ninth annual May Mile offers exercise as well as a chance to give back to the community. This fun-filled event will take place on Saturday, May 10, at Peconic Landing in Greenport and will benefit the Greenport Fire Department. This intergenerational event has become the East End’s premier Older Americans Month celebration and Peconic Landing welcome runners of all ages and abilities. (more…)
BY ELIZABETH MELICHAR
Youth from both Shelter Island and Gardiner’s Bay Country Clubs participated in the annual Junior Golf Open tournament on Wednesday, August 15 at the Shelter Island Country Club. The restaurant, Fresh, sponsored the barbecue luncheon with an awards ceremony following the event. Scott Lechmanski, resident professional at SICC, organized and ran the event.
James Murphy captured high honors in the 13-to-15-year-old class with a 43. Jason Minikel and Daniel Shea applied pressure throughout the game, only two and three strokes behind, respectively. Jason won the most improved award, shaving 15 strokes off last year’s tournament scores. James picked up the Longest Drive award while Nate Dombrowski claimed the Closest to the Pin trophy on the fifth hole just 6 feet from the hole.
Former champion Nathaniel Winters held off fierce competitor Nick Young by two strokes to capture first-place honors in the 11-to-12-year-old group, with Matthew Feinstein close on their heels. Longest Drive was awarded to Nick while Will Celiberti captured Closest to the Pin. Although Nick improved his game by seven strokes over last year, it was Nathaniel Winters who took honors for Most Improved, dropping 10 strokes off last year’s score. Maybe it’s that lucky blue and white striped shirt. Watch out for these guys next year.
The 7-to-10-year-old group was filled with excitement as Brian Feinstein edged out Liam Adipietro to capture another title. Our former champion also captured Longest Drive honors and shaved seven strokes off last year’s game. Jack Ryan improved an awesome 12 strokes but, in the end, Liam took home the medal, improving a whopping 15 strokes. Kudos boys!
Corbin Coles was champion of the 7-to-8 year-old boys group. Tournament newcomer Henry Moderelli claimed Longest Drive and Closest to the Pin honors.
There was no lack of excitement in the girls’ 10-to-12 class as Bianca Evangelista captured the title in her first tournament, edging out Nathaniel’s sister, Kayla Winters. Bianca was awarded Longest Drive honors. The 7-to-9-year-old group had Marnie Colby written all over it as she took home first place, Longest Drive and Closest to the Pin honors. Kayla achieved bragging rights of her own, shaving 17 strokes off last year’s game. Congratulations girls!
Generous donations by the following sponsors ensured each youth a great prize: Bliss’ Department Store, Bob’s Fish Market, The Dory, O’s Place, Sweet Tomato’s, Fresh, Jack’s Marine, Shelter Island Country Club, the Fire Department and the Tuck Shop.
Very special thanks to the 10K Community Fund for its continued generosity and support of this event, without which it could not have taken place. 10K Board members Cliff Clark and Mary Ellen Adipietro were on hand to congratulate each competitor with a commemorative Amanda Clark T-shirt. Scott Lechmanski presented Cliff with a framed photo of the event signed by each competitor.
The community wasn’t short on support for this event as SICC Vice President Ron Lucas, Bill Seeberg, Peg Brennan, Wayne Bourne and Tom Young volunteered to chaperone the competitors through the course.
Mark your calendars for next year’s Junior Golf Program and Tournament. This is an annual event and a part of Shelter Island you won’t want to miss.
Shelter Island’s own Bob Markell will be the guest speaker at 7 p.m. tonight at the Center firehouse as Movies at the Library closes out this season’s screenings with Director Sidney Lumet’s feature film debut, “Twelve Angry Men.” Mr. Markell was the art director on the picture and a major contributor to its status as a classic of courtroom drama. He will talk about the experience of working on the film and answer questions after the screening.
“Twelve Angry Men” got glowing reviews but was a box office disappointment when it was released in 1957. Nonetheless it has aged well and remains remarkably relevant today. Like many of Lumet’s pictures, it addressed a controversial subject — the Constitutional promise that all defendants are entitled to a fair trial and the presumption of innocence. It was a pet project for Henry Fonda, who stars, and for whom it was his only foray into film production. The rest of the cast is equally impressive: Lee J. Cobb, Jack Warden, Jack Klugman, Ed Begley and E.G. Marshall, among others. The script, by Reginald Rose, is model of tight, character-driven dialogue.
But it is the stark simplicity of the production that gives the picture its dramatic impact. Virtually the entire picture takes place in a single room, where the jury must consider the fate of a young Puerto Rican man accused of knifing his father to death. The judge’s bored charge to the jury — one of the few scenes shot outside the jury room — all but declares aloud that the verdict is a foregone conclusion.
Yet during the hours that follow, as the jury room becomes ever hotter and more claustrophobic, the principle of reasonable doubt is tested. And that is where Bob Markell’s work with Lumet is most apparent. There is little physical action. Instead, there’s the stark realism of personalities fueled by emotion and prejudice trying to come to terms with each other and their duties as jurors.
Nothing distracts the eye from the conflict among the jurors. At a time when movies prided themselves on lush production values, Markell had the task of making this production look lean, mean and relentless. He succeeded brilliantly.
Then, to make the room seem smaller, hotter, more confining as the debate heats up and tempers flare, Lumet gradually changed to lenses of longer focal lengths — so that the walls of the jury room seem physically to close in. Toward the end of the picture, even the ceiling is in frame—as if it were bearing down on the jurors.
Most movies depend on action, scenery, color and costumes as much as character and plot. Not so “Twelve Angry Men.” Here we have a stripped down production that lays bare the souls of its characters and it is that very stripped down quality that gives the film such lasting power. The American Film Institute lists it as one of its Top Ten Courtroom Dramas.
It is in black and white and runs only 95 minutes.
Join us tonight at the Center firehouse for this classic movie and the reception and Q & A with Bob Markell to follow.
— JANET ROACH
By Deborah Grayson
Although my father died in a hospice program in Los Angeles eight years ago, it was not that experience that drew me to hospice’s compassionate end-of-life alternative to dying in a clinical setting. It was my training to be a registered dietician.
In that role, 15 years ago, I spent almost a year’s worth of rotations in various hospital departments. And even though I was at well-respected hospitals during this time, I witnessed the unfortunate results of choices that doctors, sometimes along with caregivers and families, unthinkingly make as a patient nears the end of life.
What I learned is that while hospitals are miraculous places to be if you’re going to get better, they’re often not set up to care for people who, unfortunately, are nearing the end of life. In their diligent effort to prolong life, hospitals at times seem to ignore the obvious and certain approach of death.
I saw a cancer patient, clearly near death, taken off to a chemotherapy treatment, during which he died. I was there when his wife arrived for her regular visit and was told what had transpired. Stunned, she was told to wait in his room until his body was returned. I waited with her.
I was listening when a doctor phoned distant family members to get their permission for an invasive procedure for their aunt, an elderly woman, curled on a gurney in a fetal position, demented, frightened and skeletally thin. He assured them that the treatment was necessary to keep her alive. Not having recently seen their aunt and so not understanding how ill she was, they agreed. The procedure was done and she died a few days later. I can still hear her feeble protests as she was wheeled away.
So I went to work for a hospice because it is everything the above isn’t.
Hospice is where the whole patient and the patient’s family are cared for with physical comfort and palliative care, and with emotional support and understanding of the goals.
Rather than a single doctor making medical decisions, a hospice-trained team of doctors, social workers, nurses, spiritual care counselors and even nutritionists (that’s where I come in) discuss each patient’s individual needs, offering choices as to how those needs can best be met with compassion and dignity as the end of life nears.
Rather than being robed in a generic, ill-fitting hospital gown with tubes entering and exiting their bodies, often leaving bruises and non-healing wounds and making patients so uncomfortable and inaccessible that family members can be afraid to get too near, the patient is at home, generally tube-free, dressed in their own clothing in a familiar bed — where study after study shows people want to be at the end of life, with loved ones as close as possible.
And, rather than hopeless, short-term life-prolonging treatments that often make the patient feel worse, timely hospice care can offer the dying a calm space and place to hold those all-important healing conversations with loved ones, along with the time to put affairs in order and make final wishes known. Patient, family and friends can have the priceless gift of peaceful closure.
I call my hospice co-workers “hospital refugees.”
All of us started our careers in hospitals. All of us saw what can happen there and we knew there must be something better, a more loving and natural way to leave life. All of us found that at hospice.
My co-workers are near-miraculous people—smart, dedicated, caring, yet realistic.
Not one of them does their job on “auto-pilot.” That’s because we know that each patient is special, each has a unique and important story, and each story gets to be told with the best ending we can manage.