In the United States today, one in two men and one in three women develop cancer. It's no exaggeration to say that we're in the midst of an epidemic. As of 2003, about 1.3 million people developed cancer each year, and 550,000 of them died of it.
In recent decades the number of Americans developing cancer has risen, while the ability to treat and cure most common cancers has remained pretty much the same.
National Cancer Institute and American Cancer Society: Criminal Indifference to Cancer Prevention and Conflicts of Interest, by Samuel S. Epstein, M.D., (Bloomington, Ind.: Xlibris, 2011, 189 pp., paper, $19.99) is a blistering polemic against those two venerable institutions. The ACS and NCI do good work, but they have a seamy side that Epstein exposes in the book.
Third-year MFA photography student Audim Culver said she can display her work in just about any of Bloomington's local coffee shops. However, when it comes to finding a gallery space, she must to seek options out of town.
"You can always get a show at a coffee shop," the 28-year-old IU student said. "There are those more grassroots places. But as far as finding a more legitimate gallery space, that's when things get more difficult."
It was the early ‘90s; a friend had encouraged me to come by Bear’s Back Room to hear Gillian Welch and Dave Rawlings from Nashville, Tenn. They were on the road, playing their first gig in Bloomington and had yet to make a record. I came late, halfway into the evening. Before I had time to find a seat, I was stopped in my tracks and spent the rest of the night standing in the doorway at the precipice of another time and place in what felt like the early days of country music.
They had it all, the writing and musicianship, and on stage they looked like a Dorothea Lange photograph sprung to life. Gillian, with hair tied back, was wafer thin, in vintage attire. Dave’s shock of dark hair was anchored by sideburns, and he was wearing a dress coat and wrestling a calliope of sounds out of his guitar.
Some years ago, at a tequila-infused gathering in Boston, an acquaintance recommended I read Don DeLillo's 1985 satire, White Noise. In the intervening years, a number of friends and colleagues have made the same suggestion. Given the novel's setting -- a bucolic but altogether dysfunctional liberal arts college in the American Midwest -- and its jaundiced view of media and technology, I was assured the book would have personal and professional resonance for me. It sure does.
Reading White Noise this summer has been nothing short of revelatory. DeLillo's critique of the dehumanizing effects of mass culture and post-industrial society is chilling, as it is prescient. It's also laugh-out-loud funny. Writing in those halcyon days before e-mail, personalized ringtones and salacious Twitter posts, DeLillo describes the unraveling of the nuclear family, if not the whole of American civilization, on the altar of conspicuous consumption.
Fear of the Animal Planet: The Hidden History of Animal Resistance is a book about the power struggle between humans and nonhuman animals in captivity. Only when humans succeed in dominating the animals totally – sometimes by killing them -- does this struggle end.
But according to Jason Hribal, author of the book, the animals fight back.
“[T]rough my research,” Hribal writes, “the resistance became ever more evident. Captive animals escaped their cages. They attacked their keepers. They refused to perform. They refused to reproduce. The resistance itself could be organized.”
Bloomington activist Paul Smith has discovered a heretofore unrecognized talent as a lyricist and has begun penning verse for the Bloomington-based songstresses the Raging Grannies. Here is the first. - sh
Tax cuts for the rich
Sung to the tune of "Battle Hymn of the Republic"
Obama's seen the glory of the tax cuts for the rich;
He got them through the congress without a single hitch;
Higher taxes for the poor will leave them clean without a stitch;
It's tax cuts for the rich!
Glory! Glory! Hallelujah! Tax cuts for the rich will screw ya!
Glory! Glory! Hallelujah! Wall Street is marching on.
The Brown County Hour started with a flash of inspiration in 2007. Planning, learning and acquiring new skills started a year later with around two dozen volunteers, which led to its premier July 24 on WFHB Community Radio.
The show features Brown County residents and adopts a flexible, hour-long variety-show format with a range of elements that includes arts, music, history, storytelling, theater and natural resources. After it airs each time, the Brown County Hour will be archived and available for download and podcast on it Web site and WFHB.
The Red Cross emblem on the outside implies it's a hospital. But the art hanging on the white walls make it apparent it is not. The Art Hospital, which opened in late 2005, will be gone by July 31, 2010. The local art gallery and studio, located at 102 E. Allen St., held its final show, "Carnivalesque," a celebration of carnival-, fairground- and circus-themed art, on Saturday, July 24.
The communally run gallery/studio has functioned completely on the effort of the members for almost five years. Lately seven members have contributed. However, the number of artists involved in Art Hospital has fluctuated over the years.
She was righteous. She was positive. She was young at heart. Until the end.
Battling Stage IV breast cancer didn't change Kim Fernandez's energetic personality. She brought spontaneity and laughter to the Bloomington Clay Studio (BCS), according to co-owner Shu-Mei Chan. BCS is a community-based studio founded in 2008 by Chan and her husband, Daniel Evans.
Losing her nearly six-year fight to breast cancer, Fernandez died on May 18, 2010, at age 47.
"She was fearless in a lot of ways," Evans says.
INDIANAPOLIS -- On Monday, June 21, just a few days shy of his 66th birthday, guitar legend Jeff Beck played a sold-out show at the Egyptian Room of the Murat Theater.
If the rare Indianapolis performance is any indication of how his world tour is going, it's safe to say that Jeff Beck is having the time of his life. And why not? He's on a roll.
In January, Beck won a Grammy Award for his instrumental version of the Beatle's classic "A Day in the Life." Since that time, he's toured with fellow Yardbirds alumnus Eric Clapton; released his first studio recording in seven years, Emotion & Commotion (Atco); and performed a tribute to Les Paul at New York City's intimate Iridium Room, on what would have been the guitar innovator's 95th birthday.
Beck opened Monday night's 90-minute set with a cover of the Billy Cobham's "Stratus." Propelled by Narada Michael Walden's explosive percussion, this number put the enthusiastic crowd on notice: "Fasten your seat belts; you're in for a wild ride."