A bill to designate the facility of the United States Postal Service located at 950 Missouri Avenue in East St. Louis, Illinois, as the "Katherine Dunham Post Office Building".

Mr. President, in 2004, 45.8 million Americans were without health insurance. That is 15.7 percent of our population, an increase of over 800,000 people in just one year. Yet this number doesn't even reflect the true extent of the problem, as at least another 16 million adults and children are underinsured. This means that even though they have insurance, they are not able to access quality health care when they need it because of high deductibles, soaring co-payments, and unreasonable health benefit restrictions.

As I have said many times before, it is unacceptable that a world superpower such as ours has so many people that are uninsured. Lacking or having inadequate health insurance has been shown over and over to be associated with poorer health and quality of life. The uninsured are over 40 percent more likely to be diagnosed with late stage breast and prostate cancers and more than twice as likely to be diagnosed with late stage melanoma. They are hospitalized more often for avoidable conditions such as pneumonia and uncontrolled diabetes.

The Institute of Medicine estimates that 18,000 people die every year because they lack health coverage. Thousands more suffer unnecessary pain and disability because they can't get the health care they need when they need it. We cannot allow so many of our fellow citizens to just fall through the cracks of a deficient health care system. We can and must do better.

I have introduced several bills to this Congress to provide greater access to health insurance coverage in this country. These bills include the MediKids Health Insurance Act to improve coverage for kids, the TAA Health Coverage Improvement Act to offer insurance options to trade displaced workers, and the Small Employers Health Benefits Plan Act to offer more affordable health care to small business owners and their employees. Today, I join Senators Kerry, Kennedy, and Sarbanes in introducing yet another key piece of legislation to reduce the number of uninsured Americans--the Medicare Early Access Act of 2006.

The Medicare Early Access Act of 2006, which has also been introduced in the House of Representatives by Congressman Pete Stark, provides a new coverage option for our Nation's near elderly. This legislation would allow people aged 55 through 64, who are not otherwise eligible for coverage under a group health plan or Federal health insurance program, to buy into Medicare. It also provides a 75 percent tax credit for Medicare early access premiums to make coverage more affordable for the broadest range of near elderly individuals.

Insurance coverage for the near-elderly, the 29 million people between the ages of 55 and 64, is particularly critical. The near elderly are the fastest growing group of uninsured Americans--almost one in seven are uninsured. And, we know the risk of serious illness for adults increases with age, requiring more frequent contact with the health care system and the related financial obligations. Over 50 percent of near-elderly Americans have at least one serious health problem, including diabetes, cancer, chronic lung disease, heart problems, or stroke. Without adequate access to health care, these individuals typically delay care until more serious complications develop that could require high-cost hospital care or even lead to premature death.

With job layoffs, early retirement, and the dwindling number of employers offering health insurance, the near-elderly now face greater hurdles to maintaining adequate health care coverage. In March of this year, a major American automotive company offered 113,000 of its employees up to $140,000 to leave the company with no claims to future benefits. It is predicted that more large employers will follow suit in the near future, while other companies continue to seek bankruptcy court approval to set aside long-standing benefit programs. The greatest impact of these types of buyouts and benefit restrictions will be on the near-elderly age group, who do not yet have the safety net of Medicare.

Some of my colleagues might argue that Medicare buy-in legislation is unnecessary because the near elderly can get coverage in the individual market. I would say to my colleagues that the near elderly have an extremely difficult time buying insurance in the individual market. Because this group tends to have pre-existing chronic illnesses, private insurers often deny them coverage or offer them coverage at unaffordable rates. So the individual market actually fails to be an option for most near elderly individuals and they bear the risk of forgoing coverage altogether.

Lack of insurance and gaps in coverage affect us all, not just the uninsured person in need of care. When an uninsured person goes to a hospital, clinic, or emergency room and cannot pay for the cost of his or her care, the unpaid balances are passed on to those who have insurance or other means to pay. Insurance rates go up as do our taxes to support public programs. Whether through higher insurance premiums or taxes supporting our public insurance programs, we all pay, one way or another, for not doing more to address the problem of the uninsured. Failure to achieve a solution now to this burgeoning problem will surely cost us more if we wait, both in human life and in dollars.

The Medicare Early Access Act of 2006 may not be the total solution to solving America's crisis of the uninsured, but it is an earnest attempt to address the problem of the health care access for one of the most vulnerable segments of our population-the near elderly. These individuals often have the greatest need and the least choice when it comes to affordable health insurance coverage. By offering the near- elderly access to comprehensive health benefits through Medicare, we can hopefully reduce the long-term costs to our health care system. I urge my colleagues to join us in taking this important step toward making health insurance and personal dignity a reality for all Americans.

Mr. President, post offices are often designated in honor of individuals who have made valuable contributions to their Nation. Today, I am pleased to honor Ms. Katherine Dunham, the world-renowned dancer, choreographer, teacher, and social activist, by cosponsoring legislation that designates the U.S. Post Office at 950 Missouri Avenue in East St. Louis, IL, as the ``Katherine Dunham Post Office Building.''

Born in Chicago and raised in Joliet, IL, Ms. Dunham began dancing while in high school. She became one of the first African Americans to attend the University of Chicago and later earned her bachelor's and master's degrees in anthropology. In 1938, Dunham was hired as dance director for Chicago's Federal Theatre Project, where her fiery style would mark her work for several decades.

In the spring of 1938, Ms. Dunham formed her own company, the Dunham Dance Company, and began to explore the connection of Caribbean dance to its African roots. In 1940, the company traveled to New York and performed a program titled ``Tropics and Le Jazz Hot.'' New York Times critic John Martin said: ``Her performance may very well become a historic occasion.'' Dunham's company undertook a national tour and performed on Broadway and in Hollywood. In 1945, Dunham opened the Katherine Dunham School of Arts and Research in New York. That same year, the company toured Europe with a program called ``Caribbean Rhapsody,'' which was already a success in the United States. It was the first time Europe had seen Black dance as an art form and also the first time that special elements of American modern dance appeared outside America. In 1963, Dunham secured her place in artistic history by becoming the first black choreographer at the Metropolitan Opera, where she helped stage the new production of ``Aida.''

Dunham shut down her dance company in 1965 to become adviser to the cultural ministry of Senegal. She attended the first World Festival of Negro Arts in Senegal as an official representative from the United States.

In 1967, Dunham opened the Performing Arts Training Center, an African-American cultural center for local youngsters, in East St. Louis, IL. She later expanded the program to include senior citizens.

Except for a brief appearance in 1965, Dunham did not perform regularly after 1962 as she focused on her choreography. One of her major works was choreographing and directing Scott Joplin's opera ``Treemonisha'' in 1972.

In February 1992, at the age of 82, Dunham again became the subject of international attention when she began a 47-day fast at her East St. Louis home. Because of her age, her involvement with Haiti, and the respect accorded her as an activist and artist, Dunham became the center of a movement that coalesced to protest the United States' deportations of Haitian boat-refugees fleeing to the United States after the military overthrow of Haiti's democratically-elected President Jean-Bertrand Aristide. She agreed to end her fast only after Aristide visited her and personally requested her to stop.

Ms. Dunham is the recipient of many coveted awards, including the Alvin Ailey American Dance Theater Dance Pioneer Award, the National Medal of Arts, Kennedy Center Honors, the French Legion of Honor, the Southern Cross of Brazil, the Grand Cross of Haiti, the NAACP Lifetime Achievement Award, the Lincoln Academy Laureate, the Urban League's Lifetime Achievement Award, and numerous honorary degrees. She was also one of 75 women whose lives were celebrated in the book, ``I Have a Dream''.

I ask my colleagues to join me in honoring Ms. Dunham's humanitarian, artistic, and intellectual contributions to the world of dance. She revolutionized American dance and used her fame to bring public attention to social injustices at home and abroad. It is appropriate to express our appreciation to Katherine Dunham for her service to the East St. Louis community and to the world by naming an East St. Louis post office in her honor.

Mr. President, post offices are often designated in honor of individuals who have made valuable contributions to their Nation. Today, I am pleased to honor Ms. Katherine Dunham, the world-renowned dancer, choreographer, teacher, and social activist, by cosponsoring legislation that designates the U.S. Post Office at 950 Missouri Avenue in East St. Louis, IL, as the ``Katherine Dunham Post Office Building.''

Born in Chicago and raised in Joliet, IL, Ms. Dunham began dancing while in high school. She became one of the first African Americans to attend the University of Chicago and later earned her bachelor's and master's degrees in anthropology. In 1938, Dunham was hired as dance director for Chicago's Federal Theatre Project, where her fiery style would mark her work for several decades.

In the spring of 1938, Ms. Dunham formed her own company, the Dunham Dance Company, and began to explore the connection of Caribbean dance to its African roots. In 1940, the company traveled to New York and performed a program titled ``Tropics and Le Jazz Hot.'' New York Times critic John Martin said: ``Her performance may very well become a historic occasion.'' Dunham's company undertook a national tour and performed on Broadway and in Hollywood. In 1945, Dunham opened the Katherine Dunham School of Arts and Research in New York. That same year, the company toured Europe with a program called ``Caribbean Rhapsody,'' which was already a success in the United States. It was the first time Europe had seen Black dance as an art form and also the first time that special elements of American modern dance appeared outside America. In 1963, Dunham secured her place in artistic history by becoming the first black choreographer at the Metropolitan Opera, where she helped stage the new production of ``Aida.''

Dunham shut down her dance company in 1965 to become adviser to the cultural ministry of Senegal. She attended the first World Festival of Negro Arts in Senegal as an official representative from the United States.

In 1967, Dunham opened the Performing Arts Training Center, an African-American cultural center for local youngsters, in East St. Louis, IL. She later expanded the program to include senior citizens.

Except for a brief appearance in 1965, Dunham did not perform regularly after 1962 as she focused on her choreography. One of her major works was choreographing and directing Scott Joplin's opera ``Treemonisha'' in 1972.

In February 1992, at the age of 82, Dunham again became the subject of international attention when she began a 47-day fast at her East St. Louis home. Because of her age, her involvement with Haiti, and the respect accorded her as an activist and artist, Dunham became the center of a movement that coalesced to protest the United States' deportations of Haitian boat-refugees fleeing to the United States after the military overthrow of Haiti's democratically-elected President Jean-Bertrand Aristide. She agreed to end her fast only after Aristide visited her and personally requested her to stop.

Ms. Dunham is the recipient of many coveted awards, including the Alvin Ailey American Dance Theater Dance Pioneer Award, the National Medal of Arts, Kennedy Center Honors, the French Legion of Honor, the Southern Cross of Brazil, the Grand Cross of Haiti, the NAACP Lifetime Achievement Award, the Lincoln Academy Laureate, the Urban League's Lifetime Achievement Award, and numerous honorary degrees. She was also one of 75 women whose lives were celebrated in the book, ``I Have a Dream''.

I ask my colleagues to join me in honoring Ms. Dunham's humanitarian, artistic, and intellectual contributions to the world of dance. She revolutionized American dance and used her fame to bring public attention to social injustices at home and abroad. It is appropriate to express our appreciation to Katherine Dunham for her service to the East St. Louis community and to the world by naming an East St. Louis post office in her honor.

Mr. President, today, I am introducing legislation, along with Senator Durbin, to honor the lifetime achievements and legacy of one of Illinois' most treasured figures, Katherine Dunham, who passed away on May 21, 2006. Our bill would name the post office on Missouri Avenue in East St. Louis, the ``Katherine Dunham Post Office Building.''

Katherine Dunham was born in Glen Ellyn, IL, on June 22, 1909, to Albert Millard Dunham and Fanny June Taylor. Her father was a descendant of slaves from Madagascar and West Africa, and her mother was French Canadian. Her diverse background would foreshadow her lifelong commitment to exploring and teaching the history of culture around the world.

Katherine Dunham's trailblazing life began at an early age when she entered the University of Chicago as one of the first African Americans to attend the school. She eventually earned bachelor, master's and doctoral degrees in anthropology, and participated in the Rosenwald Fellowship. Under this program she completed work on Caribbean and Brazilian dance anthropology, the first time significant work was done in the field. In 1931, Dunham opened her first dance school, which would become one of the most successful dance programs in American and European theater, and eventually led to her lead role in musicals, operas, and cabarets throughout the world.

Dunham first appeared in London in June 1948 with her company in ``Caribbean Rhapsody'' as part of the first tour to bring black dance as an art form, and American modern dance to the European public. After her return to the U.S., Dunham continued to dance, choreograph and direct on Broadway with her production, ``Katharine Dunham and Her Company and Bamboche.''

When ``Aida'' premiered in 1963, Dunham became the first African American to choreograph for the Metropolitan Opera, further establishing her stature in the dance community. Beginning in 1940, Dunham also appeared in several films, including, ``Carnival of Rhythm'', ``Cabin in the Sky'', ``Star Spangled Rhythm'', ``Stormy Weather'', and ``Casbah''. Dunham also produced the choreography for ``Pardon My Sarong''.

What's more, Katherine Dunham's legacy doesn't stop on the dance stage. She used her notoriety to focus the public's attention to social injustices around the world. At the age of 82, Ms. Dunham undertook a 47-day hunger strike in 1993, which helped shift public awareness to the international relationship between America and Haiti, ultimately assisting in the return of Haiti's first democratically elected President.

In 1967, Dunham moved to East St. Louis, where she helped open a performing arts training center and established a dance anthropology program at the innercity branch of southern Illinois University that was eventually named the Katherine Dunham Centers for the Arts and Humanities.

Katherine Dunham was a woman far ahead of her time and her contributions earned her the recognition and admiration of her peers. Among her many honors are the Presidential Medal of Arts, Kennedy Center Honors, French Legion of Honor, Southern Cross of Brazil, Grand Cross of Haiti, NAACP Lifetime Achievement Award, Lincoln Academy Laureate, and the Urban League's Lifetime Achievement Award. Dunham was one of 75 women whose lives were celebrated in the book, ``I Have A Dream''.

At one of the major highlights of her career, Dunham received the Albert Schweitzer Music Award ``for a life's work dedicated to music and devoted to humanity,'' in front of a packed house at New York's Carnegie Hall.

I ask my colleagues to join me in celebrating the life and legacy of Katherine Dunham and her efforts to bring the cultures of the world to the community of East St. Louis, by naming the post office on Missouri Avenue in East St. Louis, the ``Katherine Dunham Post Office Building.''

Mr. President, today, I am introducing legislation, along with Senator Durbin, to honor the lifetime achievements and legacy of one of Illinois' most treasured figures, Katherine Dunham, who passed away on May 21, 2006. Our bill would name the post office on Missouri Avenue in East St. Louis, the ``Katherine Dunham Post Office Building.''

Katherine Dunham was born in Glen Ellyn, IL, on June 22, 1909, to Albert Millard Dunham and Fanny June Taylor. Her father was a descendant of slaves from Madagascar and West Africa, and her mother was French Canadian. Her diverse background would foreshadow her lifelong commitment to exploring and teaching the history of culture around the world.

Katherine Dunham's trailblazing life began at an early age when she entered the University of Chicago as one of the first African Americans to attend the school. She eventually earned bachelor, master's and doctoral degrees in anthropology, and participated in the Rosenwald Fellowship. Under this program she completed work on Caribbean and Brazilian dance anthropology, the first time significant work was done in the field. In 1931, Dunham opened her first dance school, which would become one of the most successful dance programs in American and European theater, and eventually led to her lead role in musicals, operas, and cabarets throughout the world.

Dunham first appeared in London in June 1948 with her company in ``Caribbean Rhapsody'' as part of the first tour to bring black dance as an art form, and American modern dance to the European public. After her return to the U.S., Dunham continued to dance, choreograph and direct on Broadway with her production, ``Katharine Dunham and Her Company and Bamboche.''

When ``Aida'' premiered in 1963, Dunham became the first African American to choreograph for the Metropolitan Opera, further establishing her stature in the dance community. Beginning in 1940, Dunham also appeared in several films, including, ``Carnival of Rhythm'', ``Cabin in the Sky'', ``Star Spangled Rhythm'', ``Stormy Weather'', and ``Casbah''. Dunham also produced the choreography for ``Pardon My Sarong''.

What's more, Katherine Dunham's legacy doesn't stop on the dance stage. She used her notoriety to focus the public's attention to social injustices around the world. At the age of 82, Ms. Dunham undertook a 47-day hunger strike in 1993, which helped shift public awareness to the international relationship between America and Haiti, ultimately assisting in the return of Haiti's first democratically elected President.

In 1967, Dunham moved to East St. Louis, where she helped open a performing arts training center and established a dance anthropology program at the innercity branch of southern Illinois University that was eventually named the Katherine Dunham Centers for the Arts and Humanities.

Katherine Dunham was a woman far ahead of her time and her contributions earned her the recognition and admiration of her peers. Among her many honors are the Presidential Medal of Arts, Kennedy Center Honors, French Legion of Honor, Southern Cross of Brazil, Grand Cross of Haiti, NAACP Lifetime Achievement Award, Lincoln Academy Laureate, and the Urban League's Lifetime Achievement Award. Dunham was one of 75 women whose lives were celebrated in the book, ``I Have A Dream''.

At one of the major highlights of her career, Dunham received the Albert Schweitzer Music Award ``for a life's work dedicated to music and devoted to humanity,'' in front of a packed house at New York's Carnegie Hall.

I ask my colleagues to join me in celebrating the life and legacy of Katherine Dunham and her efforts to bring the cultures of the world to the community of East St. Louis, by naming the post office on Missouri Avenue in East St. Louis, the ``Katherine Dunham Post Office Building.''