Latest news with #Gluck
Yahoo
8 hours ago
- Health
- Yahoo
Jonathan Gluck Was Told His Cancer Was a Death Sentence. 22 Years Later, He Shares How Science Saved Him (Exclusive)
In 2003, writer and editor Jonathan Gluck was diagnosed with an incurable blood cancer He was 38 — and a new dad — and told he had less than three years to live Advancements in cancer treatments have kept him alive for more than two decades, he writes in his new memoir, An Exercise in Uncertainty: A Memoir of Illness and Hope In April, when Jonathan Gluck turned 60, friends urged him to mark the milestone with a blowout event. After all, 'no one was sure I'd reach 60,' he says. But the writer and former managing editor of Vogue magazine wasn't interested: 'I was like, 'I don't want to tempt the fates.' ' After being diagnosed with multiple myeloma, an incurable blood cancer that develops in the bone marrow and damages bones and the immune system, at the age of 38, Gluck knows he's already outlived his predicted expiry date by 20 years. But the truth is, he did want to celebrate, in his own quiet way. So, he, his wife, Didi, and their 17-year-old son flew from their New York City home to Ohio to visit their daughter at college — and they had a birthday dinner in the school cafeteria. On the menu: a 'throwback to the '70s' salad bar and chocolate chip pretzel cookies. 'I couldn't have been happier,' he says. 'It was about being together, the four of us.' Finding joy in the day-to-day has been one of the 'strange gifts' of Gluck's life with cancer. 'It comes naturally,' says the writer, whose new memoir An Exercise in Uncertainty: A Memoir of Illness and Hope chronicles how he learned to accept living with an incurable disease and examines the remarkable developments in cancer treatment that have kept him alive. 'When you receive a serious diagnosis, you're forced to think about death a lot more than most people, which is awful in a lot of ways,' he says. 'But there's a sense of urgency to everything for me that I think is useful to anyone. It inspired me to make the most of my time, whether that's with my kids, my career, my friends, or my marriage." In 2003, Gluck was a rising star in the New York publishing world, and he felt like he had it all. A veteran of Men's Health, He'd just been hired as deputy editor of New York magazine—and better still, he and his wife, fellow journalist Didi Gluck, had welcomed their first child, a daughter named Abigail Juliana. When A.J., as they called her, was seven months old, Gluck went to a doctor about a stabbing pain in his hip that had been bothering him for a year after falling on a patch of ice. Worst case, he figured, he'd need hip surgery. But his MRI results delivered a more shocking blow: cancer. After a battery of tests, he learned he was facing multiple myeloma, a blood cancer with recurring tumors that eat away at bone marrow, and which at the time carried a life expectancy of less than three years. Gluck was told he might not survive more than 18 months. 'The minute I heard the news, it was like, game over,' Gluck recalls. He started radiation, had his stem cells harvested — and was elated when he went into remission. But then he began a now-familiar wait for the next sign of trouble. 'Living with an incurable disease is like sleeping next to a hibernating bear,' Gluck writes. 'For the moment, I felt safe, but I knew it was only a matter of time before the bear woke up.' Distraction became a refuge: He threw himself into work, and over the years has discovered Zen-like healing in fly-fishing. 'Your mind tends to not go to all the scary, dark places,' says Gluck of the meditative rhythm of casting a line, which he's been known to practice on his NYC neighborhood street. With an infant at home, he also poured himself into parenting. 'My single greatest fear was, 'Am I going to miss out on being a dad?'' he says. 'Time with A.J. helped not only keep my mind off of bad things, but put my mind on good things.' Just before Gluck hit his three-year mark in remission, he and Didi decided to try for a second child. "My wife has been extremely optimistic throughout this whole process and that was one of the most optimistic moments in her," Gluck says, "She helped lead us through, because she didn't hesitate for a split second. She was like, 'It's going to be okay one way or the other. We're having a second kid.' " But in 2007, four months before their son Oscar was born, Gluck cracked a rib while turning around in his chair at work. Another tumor. Another cycle of radiation, just as he and Didi, now 54, were preparing for their son. Two years later, scans revealed more lesions. From that point forward, it was as if his doctors were playing 'whack-a-mole,' Gluck writes. The relentless strain of illness, caregiving, and the looming possibility of death, took a toll on Gluck's marriage, which by 2013 was nearing a breaking point, culminating in a screaming match on the streets of the East Village. ('We were the couple other people tried not to stare at,' he writes with painful honesty of the fight.) 'It was like we were preparing ourselves for when I was gone,' says Gluck. 'It's difficult to love somebody when you're afraid they might disappear tomorrow. And it's difficult to love somebody when you have tremendous guilt that you're not going to be here for her or our kids.' Therapy helped them find their way back: 'We started to rebuild. We forgave each other.' And they accepted the reality of their dynamic. As Didi once said to him, 'No marriage doesn't have a 'thing'... Cancer is our thing.' Gluck knows there's an odd 'right time/right place' aspect to his cancer. New targeted therapies were developed just as his disease progressed. Some have come with harsh side effects — notably, he writes, uncontrollable diarrhea that caused him to lose 25 pounds and at times saw him dashing from Vogue meetings to the restroom. Other treatments, like CAR T-cell therapy, which genetically modifies a patient's cells to fight cancer, have left his immune system vulnerable. 'I'm slowly getting better, but I'm still living like we all were in the pandemic. I wear a mask in any crowded indoor place. I avoid super crowded places best I can.' But they've bought him precious time. 'Sometimes I walk down the street and shake my head and think, 'How have I survived this?'' he says. "It's not a stretch to say I'm a medical miracle." Nearly two years after his "mind-blowingly futuristic" CAR-T therapy, which he says left him feeling "reborn," Gluck says 'cancer-wise, I'm doing great.' He marvels over the scientific breakthroughs that have saved him each time his cancer returned. At the same time, he's prone to knocking on wood and kissing his knuckles for good measure. 'I've become quite superstitious,' he admits. The disease and treatments have left their marks, however: numbness in his fingers and toes, gastrointestinal problems and bone pain in his hips, spine and neck. He takes six pills, a powder and two liquid medicines daily. And every two months for the rest of his life he needs to get an immunoglobulin infusion to keep his immune system functioning— a procedure that can take up to five hours. It's a small price to pay, he says: 'The moment I was diagnosed, I tried to make a deal with God — 'Just let me see A.J.'s high school graduation.' In my wildest imagination, I didn't think it would happen.' But, as he says, "What better motivation do any of us have than staying alive for our kids?" Last month, he saw A.J. earn her college degree. Next year, his son Oscar will graduate from high school. 'When you're told you might have as little as a year and a half to live and you wind up seeing all these wonderful milestones, you know you're pretty lucky.'Twenty years ago, when Gluck was diagnosed with multiple myeloma, the disease 'was a death sentence,' says Dr. Hearn Jay Cho, chief medical officer with the Multiple Myeloma Research Foundation who is also a clinical professor of medicine at the Icahn School of Medicine at Mt. Sinai and an attending physician with the Multiple Myeloma Service at the Mt. Sinai Tisch Cancer Institute. 'We'd tell people to get their affairs in order because it was bad.'Life expectancy was two to three years. Today, there are 36,000 new cases of myeloma in the U.S., annually, and median survival is about 10 years, with many patients dying of something other than the disease. 'We've made incredible progress,' says drugs Revlimid and Velcade, introduced in 2006-2007, were 'game changers,' he says. 'Before, only about a third of patients had any response to conventional chemotherapy.' With those drugs, 60% to 80% of patients responded, and 'about a third would go into complete remission.' Stem cell transplant therapy and targeted monoclonal antibody drugs like Daratumumab further improved outcomes. Then, in 2021, the FDA first approved CAR T-cell therapy for myeloma, shown to be effective for patients, like Gluck, who'd relapsed after standard therapies.'You can keep patients alive and with good quality of life for a long time,' says Cho, who points out that's due to vital investment in science. 'The job's not done, and we need to finish it. A lot of people are working hard to come up with a cure. Someone like Jon Gluck is alive and kicking today because of medical research.'Read the original article on People
Times
21-05-2025
- Entertainment
- Times
Sussex Modernism review — plotting the future of art from the South Downs
If you really wanted to skewer an artist in 1914, calling them 'provincial' was pretty effective. The newness-obsessed Vorticists used it as the ultimate insult, declaring London the centre — or vortex — of Britain's artistic universe. This new exhibition at Towner in Eastbourne, which places the first edition of the Vorticist publication BLAST at the start, and proceeds to thumb its nose at it, counters that view to look at artists, mostly between 1910 and 1980, working in or with a relation to Sussex (obvious contenders such as Lee Miller, Edward Burra and Gluck are joined by much lesser-known names, such as Mary Stormont or Damian Le Bas, who worked in a style he called 'gypsy dada') who could also broadly be described as
Irish Independent
10-05-2025
- Entertainment
- Irish Independent
Tickets on sale as Wexford Festival Opera invites audiences to journey to a world where music and myth merge
As general booking opens this week, Rosetta gives us an insight into her thoughts behind this year's programme which is around the theme of Myths and Legends, and some highlights audiences can look forward to. This year for Wexford Festival Opera 2025, we journey into a world where music and myth merge, where the legends of old are brought to life by the soaring power of the human voice. Lyric opera, a timeless art form, has long drawn inspiration from the myths and legends that shape our collective imagination. It is a vessel through which ancient stories are renewed, reinterpreted, and reborn. Myths and legends are the beating heart of human storytelling. They explain the unexplainable, personify our dreams, and confront our fears. They speak of gods and mortals, of love and betrayal, of triumph and tragedy. From the timeless epics of Greece and Rome to the heroic sagas of Northern Europe, these stories remind us who we are and who we aspire to be. And lyric opera, with its unique combination of music, drama, and visual spectacle, has always been the perfect stage for such tales. When words fall short of expressing the ineffable, music takes over. A sweeping aria becomes the voice of a hero's longing, a haunting motif captures the villain's sinister intentions, and the chorus becomes the pulse of a community's collective soul. Consider the Greek myths, immortalized in works like Gluck's Orfeo ed Euridice or Strauss's Ariadne auf Naxos. Here, we find tales of undying love and the human quest to defy fate itself. In the Northern sagas, such as Wagner's monumental Der Ring des Nibelungen, the gods walk among mortals, forging a world as fragile as it is magnificent—a mirror of our own struggles and desires. But lyric opera does more than retell old stories. It transforms them. Monteverdi's L'Orfeo gave us the birth of opera itself, and with it, a new way to feel the heartbreak of Orpheus's journey. Berlioz's Les Troyens immersed us in the grandeur and devastation of the Trojan War, not as distant myth, but as an immediate, human tragedy. Each note, each phrase, reinvents the myth, casting it anew for each generation. Why do we keep returning to these ancient stories? Because they remain relevant. They address universal themes: the power of love, the inevitability of loss, the clash between destiny and free will. They speak to us now as they did centuries ago. And in lyric opera, these themes become visceral, unforgettable. For this, the 74th Wexford Festival Opera, we are delighted to feature three main stage operas, all of which will be Irish premieres. Conducted by Marcus Bosch and directed by someone very well known to Wexford audiences Ben Barnes, Le Trouvere by Giuseppe Verdi is a rare chance to hear Verdi's French version of Il trovatore. The opera's intricate plot revolves around the rivalry for the love of the young Leonora between the troubadour Manrique and the Comte de Lune. George Petrou will conduct and direct Deidamia, George Frideric Handel's last Italian opera before he turned to oratorio, which is we feel, an unjustly neglected tragi-comic masterpiece. Francesco Cilluffo will return to Wexford again this time to conduct The Magic Fountain by Frederick Delius, which will be directed by Christopher Luscombe. A lyric drama in three acts, with a libretto by the composer, The Magic Fountain is set in a mythical, exotic location, it centres around the legend of a magical fountain that grants eternal youth. This production is supported by The Delius Trust. Alongside these we have so much more for audiences to explore including a performance by the Wexford Factory artists of Il Viaggio a Reims by Gioachino Rossini marking the 200th anniversary of the opera which Manuel Hartinger will conduct and which I will direct myself, and this year's Community Opera The Little Midsummer Night's Dream, a re-adaptation of A Midsummer Night's Dream by Benjamin Britten, conducted by Luca Capoferri and directed by Heather Hadrill with the collaboration of Elizabeth Drwal. All the community cast and the team are already working on this production with their usual enthusiasm and great commitment. This year's Pocket Operas will be La Tragedie de Carmen by George Bizet sung in French with English dialogue and The Dwarf (Der Zwerg) by Alexander Zemlinsky in a Wexford commissioned English translation and we are delighted to present a new WFO commission by Colm Tóibín and Andrew Synnott composer the Late night event Urban Legends. We are also delighted to welcome Artist-in-Residence for 2025 and 2026, composer and writer Ailís Ní Ríain. There is so much to experience, explore and enjoy in this year's Festival. As we immerse ourselves in the myths and legends brought to life through the magic of opera, let us remember: these are not just stories of the past. They are stories of the present, told in music that transcends time. They call on us to reflect, to dream, and to feel deeply. And above all, they remind us that we, too, are part of a greater story – one that spans generations, cultures, and the ages. So, let the curtain rise. Let the myths sing. And let the legends live on.
Scotsman
08-05-2025
- Entertainment
- Scotsman
House of Oz returns to Edinburgh Fringe championing bold Australian talent
Watch more of our videos on and on Freeview 262 or Freely 565 Visit Shots! now Australian excellence is once again set to take centre stage at the Edinburgh Festival Fringe, as House of Oz makes a triumphant return with a vibrant 2025 season showcasing eight dynamic, genre-defying productions. This award-winning philanthropic powerhouse is back to celebrate the ingenuity, humour and boldness of Australian performance, bringing both returning favourites and fresh new voices to the world's largest arts festival. Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... From awe-inspiring circus and sharp political satire to laugh-out-loud family theatre and darkly comic drama, the 2025 programme is a kaleidoscopic celebration of what makes Australian art unmissable. As Georgie Black, Founder and Creative Director, puts it: 'What links all of these amazing shows, apart from being Australian? They all have ground-breaking, genre-busting, ceiling-smashing spirit.' Advertisement Hide Ad Advertisement Hide Ad Among this year's highlights, Gravity & Other Myths return to Assembly Hall with Ten Thousand Hours—a high-octane, acrobatic masterclass from the creators of A Simple Space and Backbone. A visceral tribute to the thousands of hours of effort behind excellence, this pulse-racing show is set to sell out fast. Lady Macbeth Played Wing Defence In a major coup, long-time Fringe darlings Circa ascend to the Edinburgh International Festival with Orpheus and Eurydice, their breathtaking collaboration with Opera Australia and Opera Queensland. Fusing operatic passion with physical theatre and aerial choreography, this European premiere features the Scottish Chamber Orchestra and Scottish Opera Chorus in a visually stunning retelling of Gluck's classic opera. Comedy lovers and families are in for a treat as The Listies, masters of kidult chaos, return with Make Some Noise at Assembly George Square Studios. Hysterically funny and endlessly inventive, this riotous romp is suitable for humans aged 4 to 400. On the musical theatre front, Lady Macbeth Played Wing Defence brings feminist fire and electropop energy to the Fringe. Set in the cut-throat world of competitive school netball, this fierce and funny show explores ambition, loyalty and identity through a uniquely Australian lens—and has already been dubbed the "ultimate Fringe show". Advertisement Hide Ad Advertisement Hide Ad Back by popular demand, acclaimed choreographer Lewis Major brings TRIPTYCH Redux to Zoo Southside. Following a completely sold-out run in 2024, this emotionally stirring triple bill now features a newly choreographed opening, making it entirely Major's own. This is the last chance to catch it before he takes his work to the International Festival. FLICK Fresh talent is also in the spotlight. FLICK, from Mad Nun Productions, is a powerful one-woman tragicomedy about love, death and questionable choices in a palliative care ward. Written and performed by award-winning Madelaine Nunn, it was shortlisted for the 2022 Rodney Seaborn Playwrights Award and promises to be one of the most gripping new works at Summerhall. Fringe newcomers Crash Theatre Co., winners of the House of Oz Purse Prize, arrive following a stellar run at Adelaide Fringe with their electrifying new musical. They join a line-up that balances seasoned stars with exciting new voices. At Pleasance Courtyard, the innovative You're An Instrument invites families to experience sound in a whole new way. This interactive musical science show turns bodies into instruments and explores the history of music through playful experimentation—complete with relaxed performances every Monday to ensure inclusivity for all. Advertisement Hide Ad Advertisement Hide Ad Rounding out the season is Skinny at Underbelly, where award-winning cabaret artist Michelle Pearson delivers an empowering exploration of body image, diet culture, and self-worth. With soaring vocals, raw storytelling and documentary interviews, this heartfelt show is a celebration of beauty in all its forms. House of Oz But House of Oz is more than a presenter—it's a lifeline for Australian artists at the Fringe. Offering vital support in production, marketing, travel and accommodation, the organisation enables creatives from the other side of the globe to present their work with impact, receive international touring offers, and gain global recognition. With over 1,000 performances under its belt and a legacy of fostering cultural exchange, House of Oz continues to elevate Australia's artistic voice on the international stage. Georgie Black sums it up best: 'From the LOLs of The Listies to the sheer beauty of TRIPTYCH Redux, from the intensity of FLICK to the majesty of Orpheus and Eurydice, this year's programme is packed with unforgettable experiences. These artists are cultural pioneers—resilient, bold, and bursting with talent.' Advertisement Hide Ad Advertisement Hide Ad The House of Oz Edinburgh 2025 season includes You're An Instrument from The Sonicrats, The Listies Make Some Noise from The Listies, Lady Macbeth Played Wing Defence by Crash Theatre Company, FLICK from Mad Nun Productions, Ten Thousand Hours from Gravity & Other Myths, TRIPTYCH Redux by Lewis Major Projects, Orpheus and Eurydice by Circa (at the Edinburgh International Festival) and Skinny by Michelle Pearson. 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