October is National Breast Cancer Awareness Month. While we all know that black women are 40% more more likely to die from the disease, black men are also in danger because they’re 52% more more likely to develop breast cancer in comparison with white men. This risk is higher for every kind of breast cancer and in all age groups.

One of the most famous fathers in America experienced this firsthand. While Mathew Knowles is a global leader in sales and marketing, brand development, entrepreneurship and leadership, he is chargeable for developing, recording and distributing some of the most notable careers in culture, including Beyoncé, Destiny’s Child, Earth, Wind & Fire, Solange and many others, even have helpful health lessons to share with the world, mainly about prevention and the importance of early detection.

Knowles is actually a survivor because he is a male breast cancer survivor who lives with a BRCA2 gene mutation. The diagnosis took him completely by surprise – almost as much as the decision to undergo a mastectomy, a procedure he believed was reserved for ladies battling breast cancer. Now five years into remission, he has decided to make it his passion to share his story and encourage others, especially black men, to discover their very own risk for breast and other cancers and the way to reduce it.

Mathew has partnered with AstraZeneca on the BeBRCAware camp to extend the effectiveness of his advocacy efforts. The goal of this campaign is to teach people about the importance of genetic testing, understanding family history and risk for breast, prostate and other cancers, and how the presence of an inherited BRCA mutation may also help inform health care. We spoke with Knowles about his experience battling breast cancer and why he is so captivated with educating others about genetic testing for recovery.

BEING: Can you share your experience with breast cancer with our readers? What alerted you that something was flawed?

Matthew Knowles: Five years, two months ago I used to be wearing a white T-shirt. Imagine you will have a white sheet of paper and a red pen and you set five dots on it. So after I modified my shirt, I saw these five dots on my shirt. The first day I didn’t think anything about it, but on the second day I saw red dots in the same place. So I asked my wife if she had any latest shirts. She said, “You know, there have been red blood stains on your side of the bed for the last few days.” The next day I saw discharge and immediately called the doctor. While talking to him, I suggested getting a mammogram. He said he’s never had a male patient ask for a mammogram, but we’ve one and I used to be actually diagnosed with male breast cancer.

When I underwent surgery, it turned out that the disease went further than breast cancer. I received a genetic test that showed I had a BRCA2 gene mutation. Which means, Dominique, that 1/2 of the genetic mutations are related to an increased risk of breast cancer in men and women, ovarian cancer (not cervical cancer), prostate cancer, pancreatic cancer and melanoma.

How have you ever modified your lifestyle given this news?

I used to be diagnosed with 2, so there was no treatment plan, just awareness, which is why we do what we do today: bring awareness. I even have partnered with AstraZeneca to teach as many individuals as possible about genetic testing. I also modified my lifestyle. For me, that meant losing a few pounds. I used to be chubby. With changes to my weight loss program and consistent exercise, I lost 30 kilos. Now I walk two miles in 45 minutes!

How has your status helped you educate people about the importance of proactively taking care of your health?

You know, quite interesting. I used to be sharing this with my wife last night. My dad was a volunteer firefighter in a small town in Alabama and my mom was a volunteer at a hospital. Watching my parents give back to the community filled me with enthusiasm and joy to present back and share my knowledge. I’m grateful that I even have a platform where I can share and that I can discuss breast cancer in men and women and the importance of early detection, the importance of, for my part, early genetic testing and early mammography.

In the nearly five years since the emergence of the Covid-19 virus, you would be forgiven for forgetting the number of latest variants we’ve seen. Some have had a greater impact than others, but documented by virologists hundreds.

The latest variant that is making headlines it’s called XEC. This omicron subvariant has been reported mainly in the northern hemisphere, but is now occurring detected in Australia too.

So what do we know about XEC?

Is Covid still relevant?

People are less more likely to test for Covid-19 and fewer more likely to report it. Enthusiasm for track the virus generally decreasing.

However, Australia continues to gather data and report Covid data. Although the number of cases is more likely to be much higher than documented (approx This 12 months already 275,000), we can still tell when we see significant waves in comparison with periods of lower activity.

Australia has recorded its latest peak in Covid-19 cases of the 12 months June 2024. Since then, the number of cases has been declining.

But SARS-CoV-2, the virus that causes Covid, is actually still around.

What variants are currently in circulation?

Main Covid variants currently circulating around the world are BA.2.86, JN.1, KP.2, KP.3 and XEC. They are all descendants of Omicron.

This is the first time the XEC variant has been detected in Italy in May 2024, the World Health Organization (WHO) described it as a variant “under monitoring”in September.

From the moment of detection XEC has spread to over 27 countries in Europe, North America and Asia. As of mid-September, the highest number of cases were found in countries equivalent to the United States, Germany, France, the United Kingdom and Denmark.

XEC is currently catching up 20% of cases in Germany, 12% in the UK AND in the USA about 6%..

Although XEC stays a minority variant worldwide, it appears to have a growth advantage over other circulating variants. We don’t know why yet, but reports suggest it might be possible spread more easily than other variants.

For this reason, it is predicted that XEC may turn into the dominant variant worldwide in the coming months.

How about Australia?

Latest Australian Respiratory Surveillance Report it has been noted that an increasing proportion of sequenced XECs has been observed recently.

In Australia, 329 SARS-CoV-2 sequences collected from August 26 to September 22 were uploaded to the website AusTrakkaAustralia’s National Genomics Surveillance Platform for Covid-19.

The most sequences (301 of 329, or 91.5%) are JN.1 sublines, including KP.2 (17 of 301) and KP.3 (236 of 301). The remaining 8.5% (28 of 329) were recombinants consisting of a number of omicron sublineages, including XEC.

Estimates based on data from GISAID, the international repository of viral sequences, suggest that XEC is catching up about 5% of cases in Australia or 16 of 314 samples were sequenced.

Queensland reported the highest rates over the last 30 days (8% or eight of 96 sequences), followed by South Australia (5% or five of 93), Victoria (5% or one of 20) and New South Wales (3% or two out of 71). WA recorded zero sequences out of 34. No data was available for other states and territories.

What do we know about XEC? What is a recombinant?

The XEC variant is believed to be the recombinant descendant of two previously identified omicron subvariants, KS.1.1 and KP.3.3. Recombinant variants arise when two different variants infect a number at the same time, allowing the viruses to swap genetic information. This results in the emergence of a brand new variant having features of each “parent” lines.

KS.1.1 belongs to a bunch commonly often called “FLiRT” variantswhile KP.3.3 is one of the “FLuQE” variants. Both of these groups of variants have contributed to the emergence of recent ones increase in the number of Covid infections throughout the world.

WHO naming conventions for brand new COVID variants, letter combos are sometimes used to designate latest variants, particularly those who arise from recombination events between existing lineages. “X” normally means: recombinant variant (equivalent to XBB), while the letters following it discover specific lineages.

So far, we know little about the features of XEC and the way it differs from other variants. However, there is no evidence to suggest that symptoms might be more severe than with earlier versions of the virus.

We only know what mutations this variant has. In the S gene encoding the spike protein, we find the T22N mutation (inherited from KS.1.1), in addition to Q493E (from KP.3.3) and others mutations
known to omicron pedigree.

Will vaccines still work well against XEC?

Latest monitoring data doesn’t show a big increase in the number of hospitalizations because of Covid-19. This suggests that current vaccines still provide effective protection against the severe effects of circulating variants.

As the virus continues to mutate, vaccine firms will proceed to accomplish that proceed to update your vaccines. Both Pfizer and Moderna have updated vaccines targeting the JN.1 variant, which is the parent strain of the FLiRT variants and due to this fact should protect against XEC.

However, Australia is I’m still waiting to seek out out which vaccines could also be made available to the public and when.

In the meantime, omicron-based vaccines equivalent to the current XBB.1.5 spikevax (Moderna) or COMIRNATY (Pfizer) vaccines are still more likely to provide good protection against XEC.

It’s hard to predict how XEC will behave in Australia once summer arrives. We will need more research to higher understand this variant because it spreads. However, provided that XEC was first detected in Europe during the northern hemisphere summer months, this suggests that XEC could also be well-suited to spread in warmer weather.

How much does Alvin Ailey owe? This burning query is at the heart of the Whitney Museum of Art’s latest exhibition, Curated by the museum’s senior curator Adrienne Edwards and presented in collaboration with the Alvin Ailey Dance Company, the exhibition delves into the boundless creativity of Ailey’s legendary life. Edwards says the film was nearly seven years in the making, and she decided not only to deal with the luminary’s holy steps, but in addition to take an in depth take a look at the man’s life. Ailey once remarked, “I desired to paint. I made watercolors. I desired to sculpt. I wrote poetry. I wanted to jot down an excellent American novel. Edwards uses this idea as a narrative framework to present a cultural custodian of unprecedented generosity.

The artworks are arranged thematically but follow a loose chronology, reimagining the stunted standards of the South’s manipulated history before transcending practices of black spirituality, migration, liberation, and love. From intimate letters, digital recordings, poems and archival footage, the series offers the most formative insight into Ailey’s inner life yet. Supported by over 80 stellar artists from throughout history – Jean Michel-Basquiat, Kara Walker, Elizabeth Catlett, Mickalene Thomas, Lynette Yiadom-Boakye and more – the exhibition uses Ailey’s spirit as a threshold to trace the evolution of Blackness through art world performances. What struck Edwards most was Ailey’s keen sense of visuality.

“If you look at the posters for the show, the way he writes about the dance, his choice of costumes and lighting, you can see that he was constantly thinking about his intended image creation, and that’s why I think he drew so much on the visual arts, as well as the way he literature also influences the narrative aspects of creating dance,” Edwards noted.

The space, incredibly opulent and draped in the most delicious shade of red, evokes the majesty of stage curtains, setting the stage for a belated celebration of Ailey’s legacy. One of the most intriguing and subtle themes of the series was Ailey’s mastery of style. Throughout his profession, he understood that costumes not only enhanced the visual aspect of dance, but in addition captured the audience’s imagination.

In “Revelations,” flashing in fragments on a multi-screen video installation drawn from archival footage, he used colours daring enough to withstand the weariness of life, with fluid silhouettes that mirrored the choreographer’s fluid movements. Taking a better take a look at performance materials and scripts, it’s striking how closely he connected his art with cinema. The bejeweled bodices and dazzling headpieces of “For Bird – With Love” compete with a gold-plated painting by Mickalene Thomas that’s as much a piece of art as the dances themselves. “I love the sketches and photos of the dancers performing at Studio 54 during the opening night,” Edwards says, highlighting the kind of precious history many of us had no idea Ailey was an element of.

It’s not possible to not be amazed by the elegance embodied in the costumes – an elegance that feels each modern and everlasting. We glimpse Cicely Tyson, a portrait of pastoral simplicity, dressed elegantly in creamy white, with gloves and a hat. In the glimpses of “Cry,” Judith Jamison’s heavenly white shirt, easy and sophisticated, stands as each a monument and a testament to the richness of the saying “less is more.” These designs follow the ballet core trend that continues to realize popularity, symbolizing how far Ailey’s work extends beyond the stage.

Why did it take so long for Alvin Ailey to develop into synonymous with American history around the world? Why is not his legacy treated as fastidiously as others? The exhibition corrects and corrects all historical omissions. “The archive is a mourning work. We have lost a queer elder, we have lost many of those who came before us, especially in the context of art. But it’s not about the story; it’s about the future,” Edwards emphasizes. “It’s a leftover that we can track, pick up and move to the next location.”

At the premiere, surrounded by intensely moisturized colours and thick perfumes, the atmosphere was stuffed with, as Ailey put it, “movements full of images.” A crowd full of every kind of beauties, wearing countless outfits appropriate to the stage of life: ballet shoes, hair tied in a decent, smooth bun, dresses so sumptuous and clinging, colourful coats washed in the same shade of memory of blood, all images whose origins reach back to the ends of the vast Ailey’s intelligence and infinite imagination.

it isn’t just an exhibition; it is a celebration of heritage. It also encourages us to reflect on our memories and shared stories. Edwards ensures that visitors not only take a look at Ailey’s work, but develop into immersed in it, imbued with the energy of every dance, every dream and every discipline.

An expression of life itself, a testament to the resilience, joy and indomitable will of the human spirit. The exhibition not only pays tribute to Ailey, but challenges us to reconsider the very structure of American cultural history and American consciousness.

Main image: Installation view of Edges of Ailey (Whitney Museum of American Art, New York, September 25, 2024 – February 9, 2025). Left to right: Lynette Yiadom-Boakye, Fly Trap, 2024; Purvis Young, Love Dance, 1991. Photo: Jason Lowrie/BFA.com. © BFA 2024