As you know, I’ve managed to back off Diabetes 2 since January, 2006, when my blood glucose was 11.2. By January, 2007, I was at 6.7 (6 is the goal -- under 7 is okay to the more generous experts). July, 2007, was 6.2. November, 2007, was 6.1 and this doctor said the goal was 6.5. (I'd lost fifty pounds.) As folks with experience know, the problem with Diabetes 2 is that no two doctors agree, neither about goals nor about causes, and they will give you all sorts of advice that doesn’t fit and doesn’t work. And get mad if you say so. Yet this is a condition that requires the person (as opposed to the patient, since most of the time I’m pretty IMpatient!) to feel as though they are in control -- NOT helpless.
The April issue of Vogue is quite interesting. First of all, the cover was controversial since it “embodied” (nearly literally) a story pairing athletes with models. A HUGE LeBron James is roaring and dribbling while Giselle Bundchen (nearly as tall but maybe a fourth the circumference) in a fab green gown is swept along under his arm. The objection was that LeBron looks like King Kong and encourages the racist/sexist notion of a gorilla attacking a white victim. But Giselle doesn’t look like a victim to me. What do critics want? Clarence Thomas looking respectful? The contrasting interior photo was Daria Werbowy towering over the little squirt Shaun White who happens to be an Olympic Gold Medal snowboarder. They both have lots of hair.
Is Vogue trying to make a point about physical identity or what? Are you kidding? I typed Vogue-April-controversy and got 152,000 hits! I just watched “The Devil Wore Prada” and I can ASSURE you that the Wintour/Streep character knew EXACTLY what she was doing. Then Jeffrey Steingarten says, “Frankly, my dear, it’s your genes.” But, honey, when it comes to diabetes 2, it might not be that at all.
In fact, the theory I believe is this one from : http://fanaticcook.blogspot.com/2008/01/environmental-pollutants-may-up-risk.html (Tuesday, January 29, 2008)
“Environmental Pollutants May Up Risk For Diabetes
“The buzz at work this week is that pesticides could increase the risk for diabetes, and insulin resistance - big time. This week's Lancet came out with a commentary highlighting the work of Dr. Duk-Hee Lee, et al. Dr. Lee's group found the odds of having diabetes were 38 times higher! for people with high blood levels of toxic persistent organic pollutants (POPs, such as dioxin and PCBs) than for people with low levels. And the association was dose dependant - the higher your levels, the higher your risk.
“And this - He found no link with obesity. If you were overweight or obese but had low levels of POPS, you had a lower risk of diabetes than if you were lean but had high levels.”
The trouble is that it takes hundreds of dollars to have the tests for “toxic persistent organic pollutants.” Medicare won’t pay, I think. So I jumped into another controversial camp: “fat is okay, but dump all white sugar, white flour, corn syrup, and processing.” Part of the reason I went this way is that John Kyle, who was the dietician for the Browning Public Schools in the 1970’s, used to say they were like lead in paint -- poison with the invidious effect of making you crave more. He was pretty persuasive. Not that he persuaded many Indians.
I did keep my Oregon hazelnut bread but I vary it with muffins I make from the All-Bran package and augment with chopped walnuts and some kind of fruit. NO sugar but a bit of Splenda. Other than that, my breakfast is either the hazelnut toasted (ONE slice) with cream cheese or avocado or sugarless jam; or old-fashioned oatmeal with a handful of unsweetened raspberries, or cottage cheese or ricotta sprinkled with lemon or orange zest. Maybe two poached eggs on toast.
Lunch is a melange (I’d say a “mess” but it sounds better in French!) starting with a can of beans (NOT the kind with sugar -- check the label) often black beans, then corn niblets, chopped green pepper, olives, green beans, peas, any other veggies lying around loose or in cans, maybe chopped tomatoes, carrots cooked or not, chopped mild green chilies, and then a can of something like guacamole or enchilada sauce. Sometimes I throw in cheese buttons (cut off string cheese) or half-inch lunch meat squares. NO pasta, NO bread cubes, NO potato. But seriously, folks, experiment. Find the combos you like, eat ‘em and see if your glucose meter reads under 140 two hours later -- if it does, GREAT! If not, bzzzzt. NOT. I can get away with corn beef hash, one of my all-time winter favs IF I only eat a half can and mix it with a fried-up chop of green peppers and onions. Is this eating like a gorilla in the jungle? YES. Except they don’t do much cooking.
For supper I keep remembering a great meal I had at Papa Hayden’s in Portland, a very elegant place. It was fresh tender lettuce with a beautifully broiled thick steak cut into strips and piled on top. Never woulda thought of it, but it was wonderful. Supper is my big “lettuce” (by which I just mean leafy mostly) and protein meal. Maybe eggs or shrimp or just tuna fish. My thinking is that the roughage keeps my stomach full and the protein is there for repairs while-you-sleep. (Gorillas make a new bed every night, too. One of the Harvard Indian’s rules is to always sleep in a clean bed. But the cats and I like a bed that smells like us. We have no intention of remaking the bed every day.)
By now maybe you’ve noticed an artifact: I once had a book about a “one bowl diet,” which suggested that you could eat whatever you could get into that bowl, but no more. (They didn’t say what SIZE bowl! Presumably, about the same size as your stomach.) For one person, who tends to wander around while eating, one bowl is good. Sometimes I cut up a strip or two of bacon, fry it to make liquid fat, then fry chunks of meat in it, then dump in a whole package of fresh spinach. (You need a big pot to start with, but it ends up fitting in the bowl.) I like a bit of honey-mustard dressing.
String and strip cheese are great snacks and I eat peanuts -- a few TOO MANY peanuts. My latest idea is that I will snack on peanuts roasted (no salt) in the shells and save the shells for garden mulch, a two-fer. This means I eat far fewer nuts. But they don’t make my blood glucose go up much anyway. That’s the key. It’s fun to think up strategy. This is not a trivial pursuit. As Vogue knows.
Showing posts with label magazines. Show all posts
Showing posts with label magazines. Show all posts
Friday, April 18, 2008
Tuesday, January 01, 2008
WESTERN ART MAGAZINES
Beside me is a foot-high stack of ‘zines that I’m supposed to sort and file as archives. But I’m running out of room and now there are two new magazines to consider. I’ve already got a backlog of Art of the West and Southwest Art as well as Wildlife Art. These have been engines of the Industrial Cowboy Art Cartel for years now, though they’re a little different from each other.
Art of the West is bi-monthly and comes from Minnetonka, MINN, where the co-Publishers, Allan J. Duerr and Thomas F. Teirney, and the editor, Vicki Stavig, have their offices. But Bill Frazier, who is a Big Timber attorney specializing in art issues, is a contributing writer. He writes a back page noting scams and issues that have less to do with aesthetic questions than consumer affairs. Interestingly, the consumer in question is often the artist! Fraser was recently the head of the Montana Arts Council which also works for the benefit of artists.
One of the major aspects of the Industrial Cowboy Art Cartel is the print market, which Bill Frazier recommends against, saying that artists occasionally become convinced -- often through the persuasions of an optimistic brother-in-law trying to help out -- that getting prints made of the more popular paintings will be a major economic breakthrough. But without contacts, a marketing plan, and other machinery of the industry, the artist merely ends up with boxes of prints in the garage, gradually wrinkling in the damp. My own bias is a little different: I see the reproduction market as the source of much of the industrializing, the coarsening if you like, of mass producing (the whole point of industrialization) and moral weakening of art. Think Thomas Kinkade. But then I’m an idealist and a romantic who thinks art should be “pure,” approaching religion. The print industry people, who have made Terpning a wealthy and rather callous man, try to keep that sort of fancy talk while all the time cranking out “limited editions” that are anything but -- merely “print runs.”
Art of the West was started iin 1987. They do self-publishing, book-binding, and other related technologies, including print-making so it is rather surprising that Frazier takes a dour point of view.
Southwest Art is more broad-based in terms of genre and also in terms of geography: partly in San Francisco, partly in Florida, partly in Colorado, and with an editor, Susan Freilicher, of unspecified location. This mag is owned by Cruz Bay Publishing Co. which is owned by Active Interest Media. Inc. (“Log home dwelling vegetarian karate adepts,” according to Yahoo. 13.80 M in revenue in 2006 with 99 employees. Doesn’t say whether the head guy, Efrem Zimbalist III -- “Skip” if you know him personally -- is counted in that number. The official contact is in California.)
SWA is much more open to abstract art and Native American art (which are sometimes the same thing), but if you follow these 'zines you will see the same ads for the same galleries and auctions over and over. The editorial copy will support those ads so that you will see the same paintings and sculptures over and over, read the same names of the same artists again and again, until they’re far more familiar than the content of the art history course you took in college. Yet the content rarely says a lot that’s enlightening. NEVER anything that is critical. Everyone is the greatest.
American Art Review is out of Kansas and casts a much wider net in terms of subject matter, though it’s all representational. The articles themselves are written by professional academically trained curators and directors, which is quite different from the two ‘zines above. They tend to be formal and historical as well as analytical. They are attached to specific institutions, generally exploring one exhibit.
Wildlife Art is published by “Pothole Publications” based in California. You can buy a business profile for thirty bucks. (I won’t.) It overlaps a good bit with the “cowboy” subject matter but it is a distinct genre and I’ll come back to it in a later post. It’s a dollar less, a little more naive, a little thinner in size.
So now back to the newer ‘zines. Western Art Collector is a frank guide to the Industrial Cowboy Art Cartel. Same familiar ads, same subject matter, but now more than ever like a race horse guide. What auctions are coming, what artists are promising, and -- most important -- constant attention to the prices: the estimated worth, the auction total, the rate of increase over the years of an artist’s career. Lots of “society” photos of customers and dealers partying in their fancy dress, champagne glasses in hand as they celebrate snatching a “masterpiece” from the jaws of some other white-haired matron who offered them five figure checks to give it up because it is her “heart’s desire.”
This ‘zine comes from Scottsdale, AZ, where they say the streets are lined with Industrial Cowboy Art Galleries, and it is under the umbrella of International Art Publishing, or if you prefer, Libri dell'editore. (Spaghetti Western Art, perhaps?) It’s seven bucks and monthly. You can get it online ten days ahead of the poor schmucks who have to wait for the mail or ride their horse a hundred miles to a newsstand. There’s an interesting emphasis on tourism: what to see when you travel to participate in the auction events, which have settled into seminars, quick draws, banquets and awards. Friendship circles charter a plane to fly out West.
But if you OWN your own jet, the high end mag you want is Western Art & Architecture, from Cowboy to Contemporary which is an eight dollar mag (ten in Canada -- they’re aren’t keeping up with the exchange rate) and has a lot of overlap with the Bozeman-based Big Sky Journal. (Though it’s an inch taller and a quarter-inch wider -- more white in the layouts.) BSJ is seasonal and WA&A also appears to be quarterly. Same editor and publisher. Ads are an intermix of the Big Sky Journal architecture and real estate with the usual galleries as the other Industrial Cowboy Art Cartel ads. But this publication is trying to step away from the Industrial Mass-Produced style into something more sophisticated. The writers are from the House & Garden-type high-end shelter mags. (H&G has just folded.) More Taos here, elegant art-centered hotels, timber-and-boulder houses mixed with glass-and-steel houses. An interesting close relationship with the Thomas Nygard Galleries in Bozeman.
What will happen next? I’m fascinated.
Art of the West is bi-monthly and comes from Minnetonka, MINN, where the co-Publishers, Allan J. Duerr and Thomas F. Teirney, and the editor, Vicki Stavig, have their offices. But Bill Frazier, who is a Big Timber attorney specializing in art issues, is a contributing writer. He writes a back page noting scams and issues that have less to do with aesthetic questions than consumer affairs. Interestingly, the consumer in question is often the artist! Fraser was recently the head of the Montana Arts Council which also works for the benefit of artists.
One of the major aspects of the Industrial Cowboy Art Cartel is the print market, which Bill Frazier recommends against, saying that artists occasionally become convinced -- often through the persuasions of an optimistic brother-in-law trying to help out -- that getting prints made of the more popular paintings will be a major economic breakthrough. But without contacts, a marketing plan, and other machinery of the industry, the artist merely ends up with boxes of prints in the garage, gradually wrinkling in the damp. My own bias is a little different: I see the reproduction market as the source of much of the industrializing, the coarsening if you like, of mass producing (the whole point of industrialization) and moral weakening of art. Think Thomas Kinkade. But then I’m an idealist and a romantic who thinks art should be “pure,” approaching religion. The print industry people, who have made Terpning a wealthy and rather callous man, try to keep that sort of fancy talk while all the time cranking out “limited editions” that are anything but -- merely “print runs.”
Art of the West was started iin 1987. They do self-publishing, book-binding, and other related technologies, including print-making so it is rather surprising that Frazier takes a dour point of view.
Southwest Art is more broad-based in terms of genre and also in terms of geography: partly in San Francisco, partly in Florida, partly in Colorado, and with an editor, Susan Freilicher, of unspecified location. This mag is owned by Cruz Bay Publishing Co. which is owned by Active Interest Media. Inc. (“Log home dwelling vegetarian karate adepts,” according to Yahoo. 13.80 M in revenue in 2006 with 99 employees. Doesn’t say whether the head guy, Efrem Zimbalist III -- “Skip” if you know him personally -- is counted in that number. The official contact is in California.)
SWA is much more open to abstract art and Native American art (which are sometimes the same thing), but if you follow these 'zines you will see the same ads for the same galleries and auctions over and over. The editorial copy will support those ads so that you will see the same paintings and sculptures over and over, read the same names of the same artists again and again, until they’re far more familiar than the content of the art history course you took in college. Yet the content rarely says a lot that’s enlightening. NEVER anything that is critical. Everyone is the greatest.
American Art Review is out of Kansas and casts a much wider net in terms of subject matter, though it’s all representational. The articles themselves are written by professional academically trained curators and directors, which is quite different from the two ‘zines above. They tend to be formal and historical as well as analytical. They are attached to specific institutions, generally exploring one exhibit.
Wildlife Art is published by “Pothole Publications” based in California. You can buy a business profile for thirty bucks. (I won’t.) It overlaps a good bit with the “cowboy” subject matter but it is a distinct genre and I’ll come back to it in a later post. It’s a dollar less, a little more naive, a little thinner in size.
So now back to the newer ‘zines. Western Art Collector is a frank guide to the Industrial Cowboy Art Cartel. Same familiar ads, same subject matter, but now more than ever like a race horse guide. What auctions are coming, what artists are promising, and -- most important -- constant attention to the prices: the estimated worth, the auction total, the rate of increase over the years of an artist’s career. Lots of “society” photos of customers and dealers partying in their fancy dress, champagne glasses in hand as they celebrate snatching a “masterpiece” from the jaws of some other white-haired matron who offered them five figure checks to give it up because it is her “heart’s desire.”
This ‘zine comes from Scottsdale, AZ, where they say the streets are lined with Industrial Cowboy Art Galleries, and it is under the umbrella of International Art Publishing, or if you prefer, Libri dell'editore. (Spaghetti Western Art, perhaps?) It’s seven bucks and monthly. You can get it online ten days ahead of the poor schmucks who have to wait for the mail or ride their horse a hundred miles to a newsstand. There’s an interesting emphasis on tourism: what to see when you travel to participate in the auction events, which have settled into seminars, quick draws, banquets and awards. Friendship circles charter a plane to fly out West.
But if you OWN your own jet, the high end mag you want is Western Art & Architecture, from Cowboy to Contemporary which is an eight dollar mag (ten in Canada -- they’re aren’t keeping up with the exchange rate) and has a lot of overlap with the Bozeman-based Big Sky Journal. (Though it’s an inch taller and a quarter-inch wider -- more white in the layouts.) BSJ is seasonal and WA&A also appears to be quarterly. Same editor and publisher. Ads are an intermix of the Big Sky Journal architecture and real estate with the usual galleries as the other Industrial Cowboy Art Cartel ads. But this publication is trying to step away from the Industrial Mass-Produced style into something more sophisticated. The writers are from the House & Garden-type high-end shelter mags. (H&G has just folded.) More Taos here, elegant art-centered hotels, timber-and-boulder houses mixed with glass-and-steel houses. An interesting close relationship with the Thomas Nygard Galleries in Bozeman.
What will happen next? I’m fascinated.
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