Excessive trash near Frank Principe Park affects quality of life

Tractor trailers parked there every day, residents say

By Jessica Meditz


The trash-filled tractor trailers park along Borden Avenue morning, noon and night. (Photo: Lance Lovejoy)

Residents of Maspeth say their quality of life has been negatively impacted since at least the summer – due to the presence of excessive waste material trucks.

Locals say that tractor trailers filled with waste garbage park along the service road of the Long Island Expressway by Frank Principe Park.

The vehicles usually park on Borden Avenue in the morning and remain there all the way up into the evening hours, leaving the liquids to drip onto the street, smells to waft into the air and parking spaces to be taken away from local drivers.

Lance Lovejoy, a Maspeth resident who lives right up the block from the park, feels that the situation is a lost cause unless the signage along the road is changed to make it no standing for commercial parking.

According to the current signage, vehicles cannot park there from 11 p.m. until 6 a.m. There is also a three-hour commercial parking rule, prohibiting commercial vehicles from being parked at one location in a residential area for over three hours.

“The whole park is almost like a garbage dump over there. It stinks, and it was worse during the summer when it was hot, but it’s still going on,” Lovejoy continued.  “They’re waste material trucks, garbage and dripping liquids onto the floor. I guess the drivers, when they do come back, they sit in them for a while and they’re throwing all their garbage on the sidewalk.”

Liquids ooze out of the trucks. (Photo: Lance Lovejoy)

He added that some of the neighbors have even told him that they’ve seen truck drivers publicly urinate in the vicinity.

“Nobody is happy right now, over there,” he said.

Deputy Inspector Kevin Coleman, Commanding Officer of the 104th Precinct, has sent officers to the site to issue tickets to these vehicles.

However, Lovejoy feels badly that police resources are being used for this issue, and wishes it could be handled in a more direct way, as there are more pressing issues in the community that need to be addressed by police.

“Police could be doing other important things than worrying about a garbage truck,” he said.

Councilman Robert Holden is aware of the issue, and has taken steps to address it – including visiting the site last Friday with multiple agencies and civics. In addition, they visited the location at Cypress Avenue between Cypress Hills Street and Vermont Place in Liberty Park – which is facing a similar quality of life issue.

A task force was convened with the 104th Precinct, NYPD Transportation, The New York City Department of Sanitation (DSNY) and the Department of Transportation (DOT).

According to Daniel Kurzyna, Holden’s Chief of Staff, the police will increase enforcement of commercial vehicles parked at that stretch.

“Council Member Robert Holden believes that quality of life is paramount, which is why he convened a task force to tackle illegal parking of tractor-trailers and waste haulers in residential areas, particularly a park,” he said. “His constituents deserve a good quality of life, and he is committed to fighting on their behalf to ensure they have that.”

“Science in a Box” kits delivered to District 29

Sun Works kits given to students from three elementary schools

A P.S. 54. student receives her supplies (Photo: Emil Cohen/NYC Council Media Unit)

By Alicia Venter


600 STEM Hydroponic Kits, also known as “science in a box” kits, were distributed to three elementary schools in Southeast Queens on Friday, Jan. 13.

The schools that received the kits include PS 54, The Hillside School; PS 99, The Kew Gardens School; and PS 144, The Col. Jeromus Remsen School in Forest Hills.

The hydroponic kits were provided by NY Sun Works — a non-profit organization that builds innovative science labs in urban schools — in partnership with local council member Lynn Schulman.

The kits came equipped with a 10-lesson climate and science curriculum meant to enable students, with a teacher’s guidance, to grow, study and run investigations with plants.

They are designed to expose students to hydroponic farming technology on a miniature, hands-on level.

“Our kids only get one chance at a good education. That is why I am thrilled to partner with New York Sun Works to deliver 600 hydroponic STEM kits to local schools throughout Council District 29,” said Schulman in a press release. “These kits will be paired with a 10-lesson curriculum that teaches students the importance of sustainability and urban agriculture while enhancing their  observation and data collection skills. I look forward to seeing the final results from this unique and vital life lesson program.”

The schools also received the Discovering Sustainability Science curriculum, and teachers are provided the tools to tailor the curriculum to address the needs of the students.

The program will reach more than 1000 elementary-age students at the three schools, all located in the 29th Council District that Schulman represents.

“We are excited to engage young learners in plant biology by delivering hundreds of interactive and innovative STEM kits in Queens with Council Member Lynn Schulman,” said Manuela Zamora, NY Sun Works Executive Director in a press release. “We are fully committed to fostering the love for science to every New York City public school student and these kits are an incredible introduction to hydroponic farming that teach climate and the science of sustainability.”

NY Sun Works first introduced the ‘Science in a Box’ Hydroponic Kit program in September 2020. More than 5,000 kits were distributed last year, for both classroom and at-home learning.

In a 2021 study conducted by social science research organization Knology, the kits and curriculum “embody innovation, flexibility, hands-on learning, and critical thinking.

For more information on NY Sun Works, visit nysunworks.org/.

Museum of Broadway comes to Times Square

By Stephanie Meditz


“Rent” memorabilia included costumes for Angel Dumott Schunard, Roger Davis and Mimi Marquez.

After Broadway’s longest-ever hiatus for the COVID-19 pandemic, the Museum of Broadway permanently opened its curtains on Nov. 15 to remind NYC of the joy of live theater. 

Located in Times Square in the midst of the landmark theaters it features, the Museum of Broadway allows visitors to explore a visual, interactive timeline of Broadway that spans three floors. 

The Museum was founded by Julie Boardman and Diane Nicoletti, and it traces the origins of live theater in NYC, along with iconic productions’ historical contexts and influences on both later shows and society at large. 

The first room is a hall of Playbills that features all currently running Broadway shows, followed by a brief film tracing the history of Broadway. 

It features props from some of the earliest performances in the 18th and 19th centuries, followed by Florenz Ziegfeld Jr.’s infamous “Follies” that solidified the revue as the defining style of the early 20th century. 

Classic Broadway shows with recent revivals such as “Oklahoma!”and “West Side Story” also originated in the 20th century. 

“Oklahoma!”, a collaboration by the iconic duo of Queens composer Richard Rodgers and librettist Oscar Hammerstein II, opened on Broadway in the midst of World War II and became a household name because of the escape from reality it allowed audiences. 

Other landmark Rodgers & Hammerstein musicals include “The Sound of Music,” “Carousel,” “The King and I” and “Show Boat.” Like each show-specific room in the Museum, the “Oklahoma!” exhibit captures the show’s essence and Wild West aesthetic with rows of corn across the floor. 

The “West Side Story” room resembles an Upper West Side store in the ‘50s, complete with a “dance along” screen featuring Jerome Robbins’ choreography to the iconic tracks “America” and “Cool.” 

The room dedicated to Andrew Lloyd Webber’s “The Phantom of the Opera” features a costume worn by Michael Crawford, who originated the titular role. 

Broadway’s longest-running musical, “The Phantom of the Opera opened on Broadway in 1988 and will close on April 16 of this year.

The show boasts a whopping 13,907 Broadway performances, which the Museum commemorates with a crystal to represent each one. 

From a certain angle, the crystals form the shape of the Phantom’s signature mask. 

The Museum designates one crystal for each performance of “The Phantom of the Opera,” and the crystals form the shape of the Phantom’s mask.

Other iconic artifacts include the glittery red dress worn by Ozone Park native Bernadette Peters in the 2017 revival of “Hello, Dolly!” and the matching headpiece worn by Peters, Bette Midler and Donna Murphy. 

Among the artifacts in the museum is the iconic dress and headpiece worn by Ozone Park’s Bernadette Peters in the 2017 revival of “Hello, Dolly!”

In addition to the glitz and glamor of Broadway sets and costumes, the museum does not shy away from the tragedies in Broadway’s history. 

The AIDS epidemic in the ‘80s and early ‘90s had a drastic impact on copious Broadway actors, many of whom died from the disease. 

The museum honors the lives lost with their names on the walls in a room dedicated to Broadway Cares/Equity Fights AIDS (BCEFA), an organization dedicated to providing medical assistance to individuals affected by HIV/AIDS.

Courtesy of BCEFA, it displays the AIDS memorial quilt, a symbol of unity despite differences that bears renowned Broadway productions’ titles or identifying symbols, including “Company” and “Cats.”

The Museum provides ample unique photo ops, including a ‘70s-inspired swing as a nod to “Hair” and an Instagram filter inspired by Disney’s “The Lion King.”

In this same spirit of modernity, current or recently closed productions like “Hamilton” and “Dear Evan Hansen” receive recognition with memorabilia in the Museum. 

The polo shirt and cast worn by Sam Primack during the final performance of “Dear Evan Hansen” keep the show and its message alive, reminding visitors that they are not alone. 

With music by Cyndi Lauper, who grew up in Ozone Park and attended Richmond Hill High School, “Kinky Boots” brought love, acceptance and self-expression to Broadway for six years until its closure in 2019. 

The famous boots from “Kinky Boots.”

However, Lola’s glittery red thigh-high boots live on in the Museum. 

The Museum also displays boots worn by Lin-Manuel Miranda in the titular role of his hip-hop Broadway sensation “Hamilton,” as well as Eliza Schuyler’s trademark blue dress. 

Lin-Manuel Miranda’s “Hamilton” tells the story of America’s founding with a diverse cast to represent America’s population.

Although it opened in 2015, “Hamilton” still makes theater buffs long to be in the room where it happens at the Richard Rodgers Theatre because of its interpretation of America’s past through the lens of the present. 

At the 70th Tony Awards in 2016, the show won 11 out of its 16 nominations. 

Miranda won Best Original Score, and Best Lead Actor in a Musical went to Queens native Leslie Odom Jr. for his portrayal of Aaron Burr. 

In addition to onstage action, the museum dedicates an entire floor to the often overlooked superheroes of Broadway, namely stagehands, producers, general managers, agents, makeup artists, costume designers and many others. 

With its dim lighting and real equipment, this floor simulates the feeling of being backstage at a real show.

Designed by David Rockwell and presented by https://www.broadway.com,  it details the roles of the many people besides actors who bring a show to the stage. 

The Museum also reserves space for rotating special exhibits, which is currently occupied by curator David Leopold’s “The American Theatre as seen by Hirschfeld.”

Broadway veterans such as Anthony Rapp, the original Mark Cohen in “Rent,” and Andrea McArdle, who originated the titular role in “Annie,” have recently visited the Museum. 

Tickets are available from $39 at https://www.themuseumofbroadway.com/tickets#/

The Museum will donate a portion of each ticket sale to Broadway Cares/Equity Fights AIDS.

Preserving “modern baroque” with Dorothy Draper & Company

Going colorful & bold yet elegant for nearly 100 years

By Michael Perlman


The Greenbrier clock & lobby. Image provided courtesy of Dorothy Draper & Company, Inc

Enter the world of Dorothy Draper, a most significant 20th century American interior decorator, who achieved international acclaim.

Some of the diverse exclusive addresses that benefited from her prestigious touch were the Forest Hills Inn at 1 Station Square, Rego Park Apartments on Woodhaven Blvd. and 62nd Dr, The Greenbrier in West Virginia, The Carlyle at 35 E 76th St, Hampshire House at 150 Central Park South, Metropolitan Museum of Art’s former Dorotheum Café, The Carillon House in Washington D.C., the Drake Hotel in Chicago, Bermuda Terrace at Brooklyn’s Hotel St. George and Palácio Quitandinha in Rio.

In 1923, Draper professionalized the industry by launching America’s first interior design company, which established a new standard. With no formal training, she garnered headlines for being a woman who took the initiative to pursue an independent business venture.

Properties that Draper applied her unique style to were considered “Draperized” and included hundreds of hotels, residential buildings and homes, theaters, offices and social clubs.

Today, Dorothy Draper & Company, Inc, continues to achieve much success nationwide, with offices in New York and Palm Beach, while preserving the Draper legacy.

Draper was born Dorothy Tuckerman in 1889 in Tuxedo Park, New York in one of the first gated communities in the country.

Born into a wealthy family, they also owned a Manhattan townhouse and had a summer cottage in Newport, Rhode Island. For a period of time, she lived at The Carlyle, which she decorated.

Draper died in 1969.

Dorothy Draper. Image provided courtesy of Dorothy Draper & Company, Inc

She is accredited with designing fashionable automobile interiors and the 1954 Chrysler Motor Show in Detroit. She also had the honor of applying her revolutionary style to airliners including the new Convair 880 in 1960.

She was editor of Good Housekeeping Magazine’s Studio of Architecture and Home Furnishing, which focused on the consumer in a mass market.

She was an Italian-American marketing committee member in 1950 and taught the Italians how to please American consumers, and was also noted as a guest of the Spanish government and originated Espana Line fabrics in 1954.

Palm Beach Gardens resident Carleton Varney (1937 – 2022) was mentored by Draper, who later acquired her company and served as president for over 60 years.

Today, he is remembered as one of America’s best-known interior designers.

Carleton Varney in the The Greenbrier’s Victorian Writing Room. Image provided courtesy of Dorothy Draper & Company, Inc

His accolades include Architectural Digest naming him one of the “30 Deans of American Design” in 2005 and the Las Vegas International Market honored him with the Design Icon of 2015.

Varney’s design work benefited celebrities spanning fashion and entertainment industries, and his diverse talents took him worldwide.

He restored and decorated numerous hotels, such as The Waldorf Towers in Manhattan, Dromoland and Ashford Castles in Ireland, The Westbury Hotel in London, The Breakers in Palm Beach, The Greenbrier Hotel in West Virginia, The Stoneleigh in Texas and the Rock Resort Collection of Hotels including St. John’s Island in Virgin Gorda.

He worked for dignitaries and decorated the Governor’s Mansions in West Virginia and Hartford, Connecticut, as well as restored and redecorated the Vice President’s Residence in Washington D.C. during the George H.W. Bush administration.

Varney also authored books, including “The Draper Touch,” a biography of Draper, and novels titled “Kiss the Hibiscus Good Night” and “The Decorator.”

Much of the Forest Hills Inn’s interior associated with the Draper touch has since been destroyed.

In an October 1950 ad, this publication’s Leader-Observer announced the Windsor Room’s reopening (now Jade Eatery), calling it “one of America’s most beautiful rooms.” It read: “Make it a point to visit the Forest Hills Inn’s new main dining room. Once you see it, you’ll agree that it is truly one of America’s most beautiful rooms. Its unusual décor, created by Dorothy Draper, gives it a spaciousness and charm that make a perfect setting for the Inn’s wonderful cuisine.”

Fountain Room at Forest Hills Inn circa 1950 by Dorothy Draper

This space was used for lunch, tea, dinner or supper.

In 1952, columnist Agnes Murphy for the New York Post, referred to “sophisticated Dorothy Draper décor in a pleasant suburban setting.” An excerpt read, “The Fountain Room (now Jade’s party room), which faces the court at right angles to the Garden Room, is done in chartreuse and white. Its ceiling is swept up in the center into a Gothic arch and is decorated to give the effect of a pavilion. Attractive to look at and lending an added sense of space and airiness.”

The Tea Garden (then known as Patio-in-the-Garden), continues to feature a graceful pergola and a trickling central brick fountain, decked by flowers; a trademark of Draper’s style.

Murphy wrote, “The Garden Room, just redecorated in a mysterious leaf-patterned wallpaper and gleaming white paint, has advantages for winter entertaining.”

Draper’s versatility is also evident as an author of “Decorating is Fun! How to be Your Own Decorator” (1939) and “Entertaining is Fun! How to be a Popular Hostess” (1941).

Introductions by Carleton Varney can be found in both books.

Her voice comes alive through her syndicated column, “Ask Dorothy Draper,” launched in 1959. “Perhaps that room needs a bright dab of color to awaken it from its somnolent state. Just a couple of explosive colored pillows or a pot of hot pink cyclamen might do the trick. Something as simple as that can shake a room out of its doldrums,” she advised LI Star-Journal readers in February 1962.

Then in July 1963, she referenced the heading of an ad for summer dresses, “Wondrous are the ways of yellow and white” and asked her readers if they tried it for a room. She wrote, “You can have the walls a fresh-as-a-daisy white with yellow and white patterned slipcovers and curtains. Or you can have the walls yellow with the slipcovers white, with yellow accessories, and of course, lots of fresh flowers or green leaves.”

Dorothy Draper & Company, Inc’s interior designer Rudy Saunders, who is 29 and resides in Manhattan, feels it was phenomenal to be mentored by Varney, and now continues in his footsteps, as well as Draper’s.

This graduate of University of Cincinnati College of Design, Architecture and Planning, began working for the firm as an intern.

“I always loved design. Working here is a childhood dream come true. I am a history buff. Ms. Draper was a visionary who was ahead of her time. It’s fun going back and finding things that feel so futuristic or current, although they were done decades ago. She and Mr. Varney were so talented and we try to honor their legacy,” Saunders said.

He described her as a society name. “It’s interesting to see how she was brought into hotels and restaurants and different public spaces to add that glamor. It was definitely a marketing feature. To be able to say that Dorothy Draper reimagined this lobby certainly had that kind of star quality, which many hotel owners and businesses were looking for. What Mr. Varney said about her is that she really created a look, similar to how you can spot a Frank Lloyd Wright project.”

Saunders praised how some of Draper’s projects completed in the ‘30s and ‘40s withstood the test of time and maintained their wonderful nature. Draper referenced her style as “modern baroque.”

Saunders explained, “She would use the classic baroque elements and have a fresh take on it. She would over-scale plasterwork over doors and brackets on walls and use sconces and chandeliers that were really dramatic. She would use bright, fresh colors and have them all mixed together, such as a Christmas red with a green or pink and yellow.”

She was known for her use of fabrics, which also continues to be the firm’s signature trademarks.

Saunders cited colorful florals and mixing in stripes and checks into a space. “Mr. Varney was a wonderful cheerleader for her, keeping her relevant in the world. He kind of took her style, and then brought it to the next level with even bolder colors. In the Greenbrier, she painted the walls a bright sky blue, and Mr. Varney added stripes to it. He layered and added his sense of imagination and creativity.”

Today, Saunders and the design team resort to a vast archive while working on projects.

“There are so many different elements that they used over nearly 100 years of the firm. We are able to select things and be inspired, and keep their design ideas present and also adapt them for today’s world. If the carpet was a solid red, maybe we’ll do it with a slight pattern or a contrasting trim. Designers always try to think of what’s next,” he said.

Preserved examples of her work serve as an educational resource.

He explained, “The Hampshire House apartments on Central Park South is a private building, but you can peek into the window to see the lobby with its iconic plaster fireplace. The Carlyle on the Upper East Side has a lot of elements.”

He called The Greenbrier the best example to experience her work and Varney’s on a grand scale, and considers it nearly “a living museum of Draper.”

This has resulted in an annual tradition on-site during the first weekend in March, known as the “Dorothy Draper Decorating Weekend.”

Its immersive behind-the-scenes tours, lectures and receptions attract a geographically diverse audience, where some guests return annually.

Saunders referenced the unfortunate loss of the Metropolitan Museum of Art’s Dorotheum Café, but envisions Draper’s once whimsical and elegant touches.

Dorothy Draper’s Metropolitan Museum of Art Dorotheum cafe. Image provided courtesy of Dorothy Draper & Company, Inc

“It was known for its massive birdcage chandeliers and fountain. Now it’s the Greek and Roman Sculpture Garden. You can still see the columns and the mosaic flooring.”

He marvels over Varney’s accomplishment of 37 books, where some feature archival images.

“For spaces that aren’t intact, you can acquire a feel,” he said.

Although Saunders never met Draper, he feels as if he kind of knows her.

“I’ve read each of her books a couple of times and there’s wonderful tips and tricks, and much is relevant for decorating and entertaining today. You get that feeling of who she was. She wanted decorating to be fun and not a chore, so that’s what we in the office keep in mind and feel that connection to her,” he said.

As for Varney, he commended his wonderful spirit. “He was a lot of fun to be around, and because of that, he attracted a team who is fun, interesting and creative.”

In 1957, she was interviewed by Edward R. Murrow on CBS at her residence at The Carlyle, where she took America on a tour.

Saunders feels inspired by her sense of humor and elegance, not only evident in her gown and jewelry and décor, but how she spoke.

Saunders offered tips for young designers seeking a career in the industry and emphasized the importance of working under another designer, to learn the business by interacting with clients, vendors and contractors.

“Try to expose yourself to as much as possible. You should see museum exhibits, shows or TV shows. We can learn much from history’s architects, designers and artisans. You’ll never know where inspiration will strike you.”

Porcelli: The Other Side of Education (1/19)


Activating students’ futures

By Mike Porcelli

After decades of advocating for expanding student career opportunities, and training programs matched to their abilities and interests – both academic and vocational – I am pleased to see schools moving in that direction.

Last week, I received an invitation to an online DOE professional conference titled: “Activate Students’ Futures.”

That was the theme of my message last week, “Student success is the mission;” activating students’ futures is about preparing them for that success.

With that in mind, the mission of the Department of Education and Chancellor David Banks is to “ensure that all students graduate from high school with a strong plan, real skills and a head start towards a life aligned to their passion and purpose with a pathway to economic security.” Their vision is “for all students to be prepared with a rigorous academic foundation, real world work experience, important professional skills, a strong college and career plan and early college credits or industry credentials.”

We could not ask for any higher objectives from our schools. That’s exactly what I have been preaching for decades. Finally, the Department of Education is singing our song.

Hopefully, this end-of-the-month conference will counteract decades of misinformation about trade education and enlighten school leaders on the advantages of CTE programs for many students. Many more students then have had access to such career training, leading to every student obtaining maximum benefit from their education.

Schools providing such educational opportunities is only half of what’s necessary for student success. Students and parents must also seek out and enroll in those programs that will maximize their chances for success.

To achieve their goal of providing the right kind of training for students, the DOE has committed to building an ecosystem that supports career pathways for them. Toward that end, one year ago, Jade Grieve was appointed “Chief of Student Pathways.” Her mandate is to build an ecosystem that ensures all students have access to career pathways in high school, leading them to graduate with a “strong plan and a headstart on a pathway to the middle class.”

The Student Futures Conference is part of that effort to put every high school graduate on the road to success. This should be the goal of every education system – always.

I hope every member of the DOE attends this conference. I would even suggest attendance be mandatory, or at least, viewing a recording should be required.

For their part, to prepare for high school program selection, students and parents should view these DOE links: https://www.schools.nyc.gov/school-life/activate-your-futurehttps://cte.nyc/web/welcomehttps://cte.nyc/web/ 

For maximum future success for our city, let’s insist that all school personnel attend the conference, and encourage all students and their parents to visit the links above as soon as possible.

Here’s to the best academic and CTE programs for every student, leading to successful futures for all.

Academic & Trade Education are Two Sides of a Coin. This column explores the impact of CTE programs on students, society, and the economy.

Mike Porcelli: life-long mechanic, adjunct professor, and host of Autolab Radio, is committed to restoring trade education in schools before it’s too late. https://www.linkedin.com/in/mike-porcelli-master-mechanic-allasecerts/ 

Ask A Queens Pediatrician! Is It COVID-19, The Flu Or Just A Cold?

A cough.

A sneeze.

A stuffy nose.

A tickle in their throat.

Most years, your child experiencing any of these minor symptoms of illness wouldn’t be a huge cause for concern. You may have chalked them up to run-of-the-mill cold or flu, leading to an earlier bedtime, extra fluids, or medication.

Now, as a result of the COVID-19 pandemic, hearing a cough in the other room may stop you in your tracks — and rightfully so. Even though nearly 80% of Americans have received at least one dose of the COVID-19 vaccine, and children ages 6 months and older are eligible for the vaccine, COVID-19 is not over.

Kids who are not fully vaccinated and boosted against the virus still run the risk of catching — and spreading — the virus. And while most people who get COVID-19 are unvaccinated, no vaccine is 100% effective. This means that even those who are fully vaccinated can still become sick with COVID-19.

As we head into flu season, the prime time of year for the common cold, and ongoing COVID-19 concerns, it can be helpful to know the difference among these illnesses with the help of information we retrieved from a local Queens Pediatrician.

Cold, Flu, And COVID-19: Similar Symptoms — With Some Important Differences

Though colds, influenza, and COVID-19 are all caused by different viruses, they all infect the respiratory tract. This is the part of the body that goes through the nose, down the mouth and throat, and into the lungs. Because of this, these illnesses share many symptoms — but there are a few key differences among them.

The common cold tends to be fairly mild. Fevers and headaches are rare, chills are uncommon, and coughing usually remains mild to moderate.

On the other hand, the flu and COVID-19 can be a little more tricky to differentiate. Both range from no symptoms at all (called being asymptomatic) to severe symptoms. However, one primary difference between the two is that COVID-19 can lead to changes in or loss of taste or smell. That means if your child suddenly complains about not being able to taste their favorite meal, this — alongside other symptoms — might be a sign of COVID-19.


The Timing Of Symptoms Matters

While the symptoms themselves may overlap a bit, the timing of those symptoms may help you determine what illness your child has. This is called the incubation period — or how long it takes symptoms to appear after exposure.

Though incubation periods can vary, they are roughly:

  • 24 to 72 hours for a cold
  • 1 to 4 days for influenza
  • 2 to 14 days for COVID-19, with an average of 5 days

When possible, try to monitor who your child interacts with — and when. By identifying the most recent time your child may have been exposed, you may be able to use that information to help determine which illness your child is experiencing.

Contributed With Help From:

Healthy Kids Pediatrics Fresh Meadows 69-27 164th street Fresh Meadows, NY 11365 (718) 261-3222 https://www.healthykidsqueens.com/. A Queens Ledger Featured Pediatrician.

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