by Alex PietrowskiStaff Writer Waking Times

The world spent over $100 billion a year on cancer drugs in 2015, a year in which the world’s highest paid CEO made his killing from cancer patients. Much of this is spent on chemotherapy, which is well-known to weaken patients, sacrifice their immune systems and make them susceptible to co-infections, diseases and other complications.

In addition to these side-effects, it has now been discovered that while chemotherapy does kill cancer cells, it can also trigger cancer cells to disperse throughout the body triggering more aggressive tumors to develop in the lungs and other vital bodily systems.

A new research study conducted by Dr. George Karagiannis of the Albert Einstein College of Medicine of Yeshiva University in New York explains how this works. Entitled, Neoadjuvant chemotherapy induces breast cancer metastasis through a TMEM-mediated mechanism, Dr. Karagiannis’ study focused on breast cancer patients, looking at the unintended consequences of chemo.

Many are given chemotherapy before surgery, but the new research suggests that, although it shrinks tumours in the short term, it could trigger the spread of cancer cells around the body.

It is thought the toxic medication switches on a repair mechanism in the body which ultimately allows tumours to grow back stronger. It also increases the number of ‘doorways’ on blood vessels which allow cancer to spread throughout the body. [Source]

In short, chemotherapy is now shown to in some cases increase the likelihood that cancer will spread throughout the patient’s body. The cancer cells are reacting to chemotherapy by dispersing throughout the body to look for new hosts.

By studying the process of intravasation or entry of cells into the vasculature, Karagiannis et al. discovered that, in addition to killing tumor cells, chemotherapy treatment can also increase intravasation. Groups of cells collectively known as tumor microenvironment of metastasis (TMEM) can serve as gateways for tumor cells entering the vasculature, and the authors discovered that several types of chemotherapy can increase the amounts of TMEM complexes and circulating tumor cells in the bloodstream. [Source]

Karagiannis discovered that mice exposed to chemotherapy saw an increase the number of cancer cells circulating throughout the body and lungs. This research finally offers a scientific explanation of why so many patients see their cancer spread into other parts of their bodies once chemo/radiation treatment begins.

Having isolated this effect in breast cancer cases only, the research opens the door to examine the possibility of this happening in patients with other types of cancer who choose chemotherapy.

In this study we only investigated chemotherapy-induced cancer cell dissemination in breast cancer. We are currently working on other types of cancer to see if similar effects are elicited. ~Dr. George Karagiannis

Final Thoughts

There are many approaches to treating cancer, and shockingly many of the natural approaches which require few if any drugs are actually illegal in our society. Furthermore, regarding breast cancer, mammograms are known to be dangerous, the number of false positive cancer test results is shockingly high, and in many cases women are being treated for cancer when they don’t even have it.

The preferred mainstream cancer treatment has become a means of capitalizing on human suffering, and while it has long been suspected that chemo can do more harm than good, we now have research indicating that this is indeed the case. Dr. Karagiannis’ study adds a very significant piece of the puzzle of why the contemporary model of cancer care should be abandoned in favor of natural treatments.

About the Author

Alex Pietrowski is an artist and writer concerned with preserving good health and the basic freedom to enjoy a healthy lifestyle. He is a staff writer for and Offgrid Outpost, a provider of storable food and emergency kits. Alex is an avid student of Yoga and life.

This article (Chemotherapy May Spread Cancer and Trigger More Aggressive Tumors, Says New Research) was originally created and published by Waking Times and is published here under a Creative Commons license with attribution to Alex Pietrowski and It may be re-posted freely with proper attribution, author bio, and this copyright statement.


In ‘A Ghost Story,’ the Afterlife Is Hell

The superb Sundance drama argues that only after we die will we realize how much we wasted our lives

by Tim Grierson

At the start of his 2010 comedy special Hilarious, Louis C.K. greeted the crowd with a discomfiting thought. “Most people are dead,” he announced. “Did you know that? It’s true: Out of all the people that ever were, almost all of them are dead. There are way more dead people. And you’re all gonna die, and then you’re gonna be dead for way longer than you were alive. That’s mostly what you’re ever gonna be: You’re just dead people that didn’t die yet.”

It’s a perspective most of us don’t want to face — our short lifespans are less than a speck in the history of an infinite, unfeeling universe — and it’s not something we go to the movies to be reminded of. But in this Friday’s terrific indie drama A Ghost Story, the enormity of death — not just its occurrence but also the amount of time we won’t exist — is the central focus. That may sound like grim subject matter, but trust me, it’s nothing compared with the quiet hell the movie’s main character experiences. Not only is he dead — he’s only just now realizing how great his married life was, if only he’d ever stopped to notice.

A Sundance smash, A Ghost Story stars Casey Affleck as an unnamed regular guy living in Texas. (The end credits identify him only as C.) He and his wife (played by Rooney Mara) — she’s listed in the credits as M — don’t seem that different from a lot of couples. He’s a little distant; she’s a little quiet and restless. But they appear to love each other. Then he dies in a car crash. While he’s in the morgue, however, he suddenly sits up, dressed in a sheet with two eyeholes — like he’s a kid dressing up as a ghost for Halloween. It doesn’t take long for him to figure out that he’s dead and that he can’t speak or interact with the living, who have no idea he’s there.

Writer-director David Lowery (who made 2013’s Ain’t Them Bodies Saints with Affleck and Mara, as well as the Disney remake of Pete’s Dragon) has said he was inspired by the dark realization that nothing lasts. “Over the past two years I’ve thought a lot about the idea that, one day, it will all be meaningless and evaporate,” he told IndieWire earlier this year. “I’ve had a lot of trouble dealing with that.”

That anxiety was folded into a fight Lowery had with his wife about whether to move to L.A. or remain in Texas. For his part, Lowery wanted to stay put: “It was literally like I didn’t want to leave this one particular house. I was so bummed out. Our bed was gone. We were sleeping on the floor. But still I was like, ‘I love this place. I don’t want to leave. What if we just stayed?’ I recognize that as a flaw in myself, that I could be so attached to something so technically ephemeral.”

In A Ghost Story, Lowery articulates these concerns — wanting to stay, but knowing that everything eventually changes. In fact, Affleck’s character in the film gets Lowery’s wish: He stays in the house. But it becomes a nightmare scenario as he’s powerless to comfort his widowed wife, or later, stop her from trying to get on with her life and meet someone new.

Throughout the film’s first half, Lowery seems to be working in the same vein as movies like Ghost or Wings of Desire, in which ghosts or angels come to the bittersweet realization that observing human behavior from afar isn’t nearly as satisfying as being human yourself. But in A Ghost Story’s second half, the film sidesteps Ghost’s cheesy love-conquers-all message. In its place, C encounters more existential terror: He will never be able to make contact with M — even though she swears she senses his presence — and when she finally decides to move out, he has to stay in the house and hang out with whoever moves in next. And then the people after that. And then the people after that. Forever.

Anxieties like Lowery’s are common: At their core, they speak to our need to exert control over elements we’re unable to influence. Death comes for us all, and time keeps marching on, whether we like it or not. Affleck’s character discovers all of this in the worst way imaginable. It’s common for a movie’s main character to be its most active and resourceful, but not in A Ghost Story. C loses everything at the beginning and spends the remainder of the film watching impotently as the universe methodically moves forward without him, rendering him a mere spectator. Sadder still, it’s only in the retracing of his life that C discovers how much his wife loved him — and how little he appreciated her while he had the chance.

Sometimes, people fear death because they assume they won’t exist, but A Ghost Story offers another, more terrifying possibility: Maybe after we die, we’re cursed to agonize over our mistakes for all of eternity.