Monday, February 12, 2007
Cars drove home the big prize last night, from the 34th Annual Annie Awards. The animation industry’s highest honor, ASIFA-Hollywood’s Annies recognise contributions to animation, writing, directing, storyboarding, voice acting, composing, and much more.
As mentioned, Pixar took home the big prize last night, after facing stiff competition from four other Happy Feet, Monster House, Open Season, and Over the Hedge.
But the biggest winner of the night didn’t get a “Best Animated Feature” nod at all. Flushed Away won five feature animation categories including Animated Effects (Scott Cegielski), Character Animation (Gabe Hordos), Production Design (Pierre-Olivier Vincent), Voice Acting (Sir Ian McKellan as Toad), Writing (Dick Clement, Ian La Frenais, Chris Lloyd, Joe Keenan, and Will Davies).
Over The Hedge won awards for Directing (Tim Johnson and Karey Kirkpatrick), Storyboarding (Gary Graham), and Character Design (Nicolas Marlet).
Of little surprise, Randy Newman won an Annie for Cars in the “Music in an Animated Feature Production” category. Newman has won many Oscars for his movie music, and has a nomination this year for the song “Our Town”. Newman didn’t attend the Annies, instead picking up a Grammy for “Best Song Written For Motion Picture, Television Or Other Visual Media”.
DisneyToon Studios’ Bambi II won “Best Home Entertainment Production”, while “Best Animated Short Subject” went to Blue Sky Studios’ No Time For Nuts, which is based on Ice Age.
“Best Animated Video Game” went to Flushed Away The Game, while a United Airlines ad named “Dragon” won a “Best Animated Television Commercial” Annie for DUCK Studios.
- 1 Foster an Annie fav on TV
- 2 Wikinews was there
- 3 Related news
- 4 Sources
Sunday, January 27, 2008
Viktor Schreckengost, the father of industrial design and creator of the Jazz Bowl, an iconic piece of Jazz Age art designed for Eleanor Roosevelt during his association with Cowan Pottery died yesterday. He was 101.
Schreckengost was born on June 26, 1906 in Sebring, Ohio, United States.
In 2000, the Cleveland Museum of Art curated the first ever retrospective of Schreckengost’s work. Stunning in scope, the exhibition included sculpture, pottery, dinnerware, drawings, and paintings.
Most people rely on their vehicles on a daily basis. As a result, they need to ensure those vehicles are working properly at all times. While regular maintenance can help ensure a vehicle continues operating as it should, there are some issues that simply cannot be prevented. Taking the time to seek Vehicle Repair in Omaha NE, when it is needed, and in a timely manner, will help keep a vehicle running properly with no serious issues or other problems. Some signs it is time to take a vehicle in for repairs are found here.
One of the most obvious signs that Vehicle Repair in Omaha NE, is needed is if the vehicle begins to make strange sounds all of the sudden. These sounds may be the result of a broken or malfunctioning belt, the need for some type of fluid, or a number of other issues. If the owner of the vehicle is unsure of the source or what to do to make the noise stop, seeking professional repair services is essential. Failure to seek repair for a strange sound right away will only allow the problem to become worse and may result in the need for more extensive and expensive repairs.
Another telltale sign of an issue with a vehicle is if the driver begins to notice any unusual smells. There are a number of smells that should be a cause for concern. For example, a sweet smell is usually the indication of a coolant issue, while a burning smell can be due to a belt or some type of electrical issue. Regardless of the smell, it is essential to have it inspected right away to help ensure the vehicle’s problem does not become worse.
Taking the time to find the right vehicle repair shop is essential to make sure the problem is fixed properly. Don’t rush into choosing the shop for the vehicle, since this can result in a number of serious issues. However, if a person asks around to various friends and family members, they can likely find the right repair shop for the work that needs to be done.
Saturday, April 17, 2010
Schriner previously ran for president in 2000, 2004, and 2008, but failed to gain much traction in the races. He announced his candidacy for the 2012 race immediately following the 2008 election. Schriner refers to himself as the “Average Joe” candidate, and advocates a pro-life and pro-environmentalist platform. He has been the subject of numerous newspaper articles, and has published public policy papers exploring solutions to American issues.
Wikinews reporter William Saturn? talks with Schriner and discusses his campaign.
Thursday, January 8, 2009
Global animal and health authorities’ emergency mission to the Philippines is investigating whether the strain of deadly Ebola Reston virus, recently discovered in dead pigs, poses a threat to human health. Unlike more-deadly strains of Ebola virus, Philippine health officials say this particular strain, known as the Reston ebolavirus, has never caused human illness or death, and it’s not immediately clear there is a public-health issue.
A 22-member team of experts from three United Nations agencies arrived in Manila on Tuesday for a joint risk assessment on the virus contamination of local swine, to help the government contain the outbreak. The mission will coordinate with the Philippine counterparts – the Departments of Agriculture and Health. According to chief veterinary officer, Davinio P. Catbagan, six of 28 swine samples tested positive for Ebola-Reston by the U.S. Department of Agriculture laboratory. The infected pigs came from two commercial and two backyard farms in three provinces north of Manila. Both Ebola and related Marburg hemorrhagic fever, are considered to infect humans via primates.
The Straits Times reported that as of December, about 6,000 pigs at Pandi, Bulacan and Talavera farms had tested positive for the Ebola-Reston virus. “Eating pork remained safe as long as it is handled and cooked properly (at a minimum of 70 degrees Celsius or 158 degrees Fahrenheit) and bought in outlets accredited by the government’s National Meat Inspection Service,” said a joint statement by the World Health Organisation (WHO), World Organisation for Animal Health (OIE) and Food and Agriculture Organisation (FAO). “Our teams are doing field and laboratory investigation to determine where the Ebola-Reston virus came from and how it was transmitted,” Caroline-Anne Coulombe, WHO risk communications officer, explained.
According to FAO team leader, Juan Lubroth, it was the first time that the Ebola-Reston virus strain had infected animals other than monkeys and the first recorded worldwide in swine. The U.N. mission is scheduled to perform 10 days scientific tests, on two hog farms in Manaoag, Pangasinan and Pandi, Bulacan, but it would take months to publish evaluation reports on the virus.
As early as May, a high incidence of swine sickness and death in three provinces caused Philippine authorities in August to send samples from the dead pigs to the NY Plum Island Animal Disease Center. The results found the presence of several diseases, including Ebola Reston virus and PRRS.
In late October laboratory tests confirmed that pigs in Nueva Ecija and Bulacan farms were infected with the Ebola-Reston virus and the highly virulent strain of Porcine Reproductive and Respiratory Syndrome Virus (PRRS). In early 2007 pigs on those farms died at a faster rate than usual amid the conducted lab tests. PRRSV, or Blue-Ear Pig Disease (zh? lán?r bìng ????), is a viral and economically important pandemic disease which causes reproductive failure in breeding stock and respiratory tract illness in young pigs. Initially referred to as ‘mystery swine disease’ or ‘mystery reproductive syndrome’, it was first reported in 1987 in North America and Central Europe. The disease costs the United States swine industry around $600 million annually.
In December, the Philippine health authorities conducted testing of about 10,000 swine in two northern Luzon quarantined farms. Reuters reported that “the Ebola-Reston virus in some pigs in two commercial farms and two backyard farms in the Philippines were discovered by accident in United States laboratory tests in September, when samples were sent to test another disease.”
Ebola virus is one of at least 18 known viruses capable of causing the viral hemorrhagic fever syndrome. It is the common term for a group of viruses belonging to genus Ebolavirus, family Filoviridae, and for the disease which they cause, Ebola hemorrhagic fever. The virus is named after the Ebola River where the first recognized outbreak of Ebola hemorrhagic fever occurred in 1976. The viruses are characterized by long filaments and have a similar shape to the Marburg virus, also in the family Filoviridae, and share similar disease symptoms. Since its discovery, Ebolavirus has been responsible for a number of deaths.
In the central Democratic Republic of Congo (DRC), the highly contagious Ebola virus was first detected in September, according to Medecins Sans Frontieres. “As of Tuesday January 7, a total of 42 patients have been reported with suspected Ebola haemorrhagic fever in the province of Western Kasai… 13 of these 42 patients suspected of having Ebola have died,” it said.
The Reston ebolavirus is suspected of being either another subtype of the Ebola or a new filovirus of Asian origin. It was first discovered in crab-eating macaques originating in the Philippines, from Hazleton Laboratories (now Covance) in 1989. This discovery attracted significant media attention and led to the publication of The Hot Zone. There was then, an outbreak of viral hemorrhagic fever among monkeys imported from the Philippines to Reston, Virginia. The Ebola-Reston strain was discovered among Philippine monkeys in the U.S. again in 1990 and 1996, and in Italy in 1992.
According to the World Health Organization, African strains kill 50 percent to 90 percent of those infected through lethal bleeding and organ failure. “Since the 1970s, scientists, veterinarians, microbiologists and physicians have been looking at thousands of species to see if they can find this elusive reservoir, and we have been pretty much empty-handed,” Juan Lubroth, head of infectious diseases in the animal health unit of the Food and Agriculture Organization in Rome, explained.
Despite its status as a Level-4 organism, the Reston ebolavirus is non-pathogenic to humans and is only mildly fatal to monkeys; the perception of its lethality was skewed due to the monkey’s coinfection with Simian hemorrhagic fever virus (SHFV). During the incident in which it was discovered, six animal handlers eventually became seroconverted, one of whom had cut himself while performing a necropsy on the liver of an infected monkey. When the handler failed to become ill, it was concluded that the virus had a very low pathogenicity to humans.
In January 1997, The Philippines Department of Environment and Natural Resources had ordered the immediate slaughter of some 600 monkeys in Ferlite, a breeding farm in Laguna, to prevent an outbreak of the deadly Ebola Reston strain virus.
The US Centers for Disease Control and Prevention had donated 8,000 test kits to diagnose the ebola reston strain. “I am more concerned in the international community because we have proven in our December sales that this ebola did not affect consumer confidence,” Albert R. T. Lim, president of the National Federation of Hog Farmers, Inc., warned. The Philippines Department of Agriculture (DA) has directed the Bureau of Animal Industry (BAI) and the National Meat Inspection Commission (NMIC) to conduct swine tests in South Cotabato using the US test kits for the Ebola Reston virus, before approval of the “Meat in a Box” shipment to Singapore. The initial export of the meat for December was deferred pending outcome of the ERV tests.
Meanwhile, in eight Barangays of Santa Maria, Davao del Sur, in Mindanao, at least 50 pigs died since December due to viral and bacterial infections. Dr. Nestor Barroga, provincial veterinarian, said that he could not however detect yet the type of the infecting virus. The village of Pong-pong had the largest number of casualties. Mercy Olalo, a hog raiser, said their pigs would suddenly become weak and eventually die. “The pigs developed red skins and they salivate excessively,” she said.
After a loved one passes, it can be a very emotional and difficult time for those they leave behind. Unfortunately, those who the deceased person was closest to are generally the ones who must begin planning the burial, cremation and funeral for their loved one. While many times a person may have left detailed instructions on how they want their remains to be handled, often they have not and this means the loved one will be responsible for making these types of decisions as well. This can be a lot for a person who is grieving to handle and often speaking to Funeral Directors in Middletown can be beneficial in helping them to get through this process.
In most cases, planning a burial or cremation will involve a number of choices and decisions to be made. Often just making these types of decisions during such an emotional time can be overwhelming for the survivors. By having a professional who not only understands the process but also what the survivors are going through, it can be much easier for everyone to handle.
Funeral Directors in Middletown will know what types of arrangements need to be made for the body and any services being planned. They can help by guiding the survivors charged with making the arrangements through the various steps in the process. From obtaining the body from the morgue or other facility to preparing it for a funeral or cremation, a funeral director will know what needs to be done and will handle it quickly and efficiently.
Once the decisions about burial or cremation have been made, a funeral director from a business, like John P. Condon Funeral Home, will be able to help the family in choosing the casket or urn for the remains. They can also make sure the family has a burial plot or other type of arrangements if necessary.
The funeral directors are generally also helpful in setting up a service at a chapel or other type of facility as well. Most funeral homes offer these types of facilities for use during the wake, funeral or memorial service. While the family can set these types of services up to reflect their personal needs, the funeral home will often be on hand to help in guiding them through the various options available and can often provide music, a speaker or other services as needed as well.
Thursday, December 1, 2011
Today saw Edinburgh’s Scottish National Portrait Gallery reopen following a two-and-a-half-year, £17.6m (US$27.4m) refurbishment. Conversion of office and storage areas sees 60% more space available for displays, and the world’s first purpose-built portrait space is redefining what a portrait gallery should contain; amongst the displays are photographs of the Scottish landscape—portraits of the country itself.
First opened in 1889, Sir Robert Rowand Anderson’s red sandstone building was gifted to the nation by John Ritchie Findlay, then-owner of The Scotsman newspaper and, a well-known philanthropist. The original cost of construction between 1885 and 1890 is estimated at over 70,000 pounds sterling. Up until 1954, the building also housed the Society of Antiquaries of Scotland who moved to the National Museum of Scotland buildings on Chambers Street. The society’s original meeting table now sits in the public part of the portrait gallery’s library, stared down on by an array of busts and phrenological artefacts.
Wikinewsie Brian McNeil, with other members of the press, received a guided tour of the gallery last Monday from Deputy Director Nicola Kalinsky. What Kalinsky described as an introduction to the gallery that previously took around 40 minutes, now takes in excess of an hour-and-a-half; with little in the way of questions asked, a more inquisitive tour group could readily take well over two hours to be guided round the seventeen exhibitions currently housed in the gallery.
A substantial amount of the 60% additional exhibition space is readily apparent on the ground floor. On your left as you enter the gallery is the newly-fitted giant glass elevator, and the “Hot Scots” photographic portrait gallery. This exhibit is intended to show well-known Scottish faces, and will change over time as people fall out of favour, and others take their place. A substantial number of the people now being highlighted are current, and recent, cast members from the BBC’s Doctor Who series.
The new elevator (left) is the most visible change to improve disabled access to the gallery. Prior to the renovation work, access was only ‘on request’ through staff using a wooden ramp to allow wheelchair access. The entire Queen Street front of the building is reworked with sloping access in addition to the original steps. Whilst a lift was previously available within the gallery, it was only large enough for two people; when used for a wheelchair, it was so cramped that any disabled person’s helper had to go up or down separately from them.
The gallery expects that the renovation work will see visitor numbers double from before the 2009 closure to around 300,000 each year. As with many of Edinburgh’s museums and galleries, access is free to the public.
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The expected significant increase in numbers has seen them working closely with the National Museum of Scotland, which was itself reopened earlier this year after extensive refurbishment work; improved access for wheelchair users also makes it far easier for mothers with baby buggies to access the gallery – prompting more thought on issues as seemingly small as nappy-changing – as Patricia Convery, the gallery’s Head of Press, told Wikinews, a great deal of thought went into the practicalities of increased visitor numbers, and what is needed to ensure as many visitors as possible have a good experience at the gallery.
Press access to the gallery on Monday was from around 11:30am, with refreshments and an opportunity to catch some of the staff in the Grand Hall before a brief welcoming introduction to the refurbished gallery given by John Leighton, director of the National Galleries of Scotland. Centre-stage in the Grand Hall is a statue of Robert Burns built with funds raised from around the British Empire and intended for his memorial situated on Edinburgh’s Calton Hill.
The ambulatories surrounding the Grand Hall give the space a cathedral-like feel, with numerous busts – predominantly of Scottish figures – looking in on the tiled floor. The east corner holds a plaque commemorating the gallery’s reopening, next to a far more ornate memorial to John Ritchie Findlay, who not only funded and commissioned the building’s construction, but masterminded all aspects of the then-new home for the national collection.
Split into two groups, members of the press toured with gallery Director James Holloway, and Nicola Kalinsky, Deputy Director. Wikinews’ McNeil joined Kalinsky’s group, first visiting The Contemporary Scotland Gallery. This ground-floor gallery currently houses two exhibits, first being the Hot Scots display of photographic portraits of well-known Scottish figures from film, television, and music. Centre-stage in this exhibit is the newly-acquired Albert Watson portrait of Sir Sean Connery. James McAvoy, Armando Iannucci, playwright John Byrne, and Dr Who actress Karen Gillan also feature in the 18-photograph display.
The second exhibit in the Contemporary gallery, flanked by the new educational facilities, is the Missing exhibit. This is a video installation by Graham Fagen, and deals with the issue of missing persons. The installation was first shown during the National Theatre of Scotland’s staging of Andrew O’Hagan’s play, The Missing. Amongst the images displayed in Fagen’s video exhibit are clips from the deprived Sighthill and Wester-Hailes areas of Edinburgh, including footage of empty play-areas and footbridges across larger roads that sub-divide the areas.
With the only other facilities on the ground floor being the education suite, reception/information desk, cafe and the gallery’s shop, Wikinews’ McNeil proceeded with the rest of Kalinsky’s tour group to the top floor of the gallery, all easily fitting into the large glass hydraulic elevator.
The top (2nd) floor of the building is now divided into ten galleries, with the larger spaces having had lowered, false ceilings removed, and adjustable ceiling blinds installed to allow a degree of control over the amount of natural light let in. The architects and building contractors responsible for the renovation work were required, for one side of the building, to recreate previously-removed skylights by duplicating those they refurbished on the other. Kalinsky, at one point, highlighted a constructed-from-scratch new sandstone door frame; indistinguishable from the building’s original fittings, she remarked that the building workers had taken “a real interest” in the vision for the gallery.
The tour group were first shown the Citizens of the World gallery, currently hosting an 18th century Enlightenment-themed display which focuses on the works of David Hume and Allan Ramsay. Alongside the most significant 18th century items from the National Portrait Gallery’s collection, are some of the 133 new loans for the opening displays. For previous visitors to the gallery, one other notable change is underfoot; previously carpeted, the original parquet floors of the museum have been polished and varnished, and there is little to indicate it is over 120 years since the flooring was originally laid.
Throughout many of the upper-floor displays, the gallery has placed more light-sensitive works in wall-mounted cabinets and pull-out drawers. Akin to rummaging through the drawers and cupboards of a strange house, a wealth of items – many previously never displayed – are now accessible by the public. Commenting on the larger, featured oils, Deputy Director Kalinsky stressed that centuries-old portraits displayed in the naturally-lit upper exhibitions had not been restored for the opening; focus groups touring the gallery during the renovation had queried this, and the visibly bright colours are actually the consequence of displaying the works in natural light, not costly and risky restoration of the paintings.
There are four other large galleries on the top floor. Reformation to Revolution is an exhibition covering the transition from an absolute Catholic monarchy through to the 1688 revolution. Items on-display include some of the Scottish National Portrait Gallery’s most famous items – including Mary Queen of Scots and The Execution of Charles I. The portrait-based depiction of this historical age is complemented with prints, medals, and miniatures from the period.
Imagining Power is a Jacobite-themed exhibition, one which looks at the sometime-romanticised Stuart dynasty. The Gallery owns the most extensive collection of such material in the world; the portraiture that includes Flora MacDonald and Prince Charles Edward Stuart is complemented by glassware from the period which is on-loan from the Drambuie Liqueur Company which Kalinsky remarked upon as the only way Scots from the period could celebrate the deposed monarchy – toasting The King over the Water in appropriately engraved glasses.
On the other side of the upper floor, the two main naturally-lit exhibitions are The Age of Improvement, and Playing for Scotland. The first of these looks at societal changes through the 18th and 19th centuries, including Nasmyth’s 1787 portrait of the young Robert Burns and – well-known to past visitors to the portrait gallery – Raeburn’s 1822 depiction of Sir Walter Scott. These are complemented with some of the National Gallery’s collection of landscapes and earliest scenes from Scottish industry.
Playing for Scotland takes a look at the development of modern sports in the 19th century; migration from countryside to cities dramatically increased participation in sporting activities, and standardised rules were laid down for many modern sports. This exhibition covers Scotland’s four national sports – curling, shinty, golf, and bowls – and includes some interesting photographic images, such as those of early strong-men, which show how more leisure time increased people’s involvement in sporting activities.
Next to the Reformation to Revolution gallery is A Survey of Scotland. Largely composed of works on-loan from the National Library of Scotland, this showcase of John Slezer’s work which led to the 1693 publication of Theatrum Scotiae also includes some of the important early landscape paintings in the national collection.
The work of Scotland’s first portrait painter, the Aberdeen-born George Jamesone, takes up the other of the smaller exhibits on the east side of the refurbished building. As the first-ever dedicated display of Jamesone’s work, his imaginary heroic portraits of Robert the Bruce and Sir William Wallace are included.
On the west side of the building, the two smaller galleries currently house the Close Encounters and Out of the Shadow exhibits. Close Encounters is an extensive collection of the Glasgow slums photographic work of Thomas Annan. Few people are visible in the black and white images of the slums, making what were squalid conditions appear more romantic than the actual conditions of living in them.
The Out of the Shadow exhibit takes a look at the role of women in 19th century Scotland, showing them moving forward and becoming more recognisable individuals. The exceptions to the rules of the time, known for their work as writers and artists, as-opposed to the perceived role of primary duties as wives and mothers, are showcased. Previously constrained to the domestic sphere and only featuring in portraits alongside men, those on-display are some of the people who laid the groundwork for the Suffrage movement.
The first floor of the newly-reopened building has four exhibits on one side, with the library and photographic gallery on the other. The wood-lined library was moved, in its entirety, from elsewhere in the building and is divided into two parts. In the main public part, the original table from the Society of Antiquaries sits centred and surrounded by glass-fronted cabinets of reference books. Visible, but closed to public access, is the research area. Apart from a slight smell of wood glue, there was little to indicate to the tour group that the entire room had been moved from elsewhere in the building.
The War at Sea exhibit, a collaboration with the Imperial War Museum, showcases the work of official war artist John Lavery. His paintings are on-display, complemented by photographs of the women who worked in British factories throughout the First World War. Just visible from the windows of this gallery is the Firth of Forth where much of the naval action in the war took place. Situated in the corner of the room is a remote-controlled ‘periscope’ which allows visitors a clearer view of the Forth as-seen from the roof of the building.
Sir Patrick Geddes, best-known for his work on urban planning, is cited as one of the key influencers of the Scottish Renaissance Movement which serves as a starting point for The Modern Scot exhibit. A new look at the visual aspects of the movement, and a renewal of Scottish Nationalist culture that began between the two World Wars, continuing into the late 20th century, sees works by William McCance, William Johnstone, and notable modernists on display.
Migration Stories is a mainly photographic exhibit, prominently featuring family portraits from the country’s 30,000-strong Pakistani community, and exploring migration into and out of Scotland. The gallery’s intent is to change the exhibit over time, taking a look at a range of aspects of Scottish identity and the influence on that from migration. In addition to the striking portraits of notable Scots-Pakistani family groups, Fragments of Love – by Pakistani-born filmmaker Sana Bilgrami – and Isabella T. McNair’s visual narration of a Scottish teacher in Lahore are currently on-display.
The adjacent Pioneers of Science exhibit has Ken Currie’s 2002 Three Oncologists as its most dramatic item. Focussing on Scotland’s reputation as a centre of scientific innovation, the model for James Clerk Maxwell’s statue in the city’s George Street sits alongside photographs from the Roslin Institute and a death mask of Dolly the sheep. Deputy Director Kalinsky, commented that Dolly had been an incredibly spoilt animal, often given sweets, and this was evident from her teeth when the death mask was taken.
Now open daily from 10am to 5pm, and with more of their collection visible than ever before, the Scottish National Portrait Gallery will change some of the smaller current exhibits after 12 to 18 months on display. The ground-floor information desk has available five mini-guides, or ‘trails’, which are thematic guides to specific display items. These are: The Secret Nature trail, The Catwalk Collection trail, The Situations Vacant trail, The Best Wee Nation & The World trail, and The Fur Coat an’ Nae Knickers Trail.
Saturday, March 21, 2009
But state Consumer Affairs Director David Szuchman, who oversees the board, asked them to abandon the ban in favor of reviewing and establishing safeguards for those who provide the service.
“Many commentators have noted that the procedure could be safely performed,” Szuchman wrote in a letter to state board President Ronald Jerome Brown, according to the Asbury Park Press. “I, therefore, believe that there are alternative means to address any public health issues identified by the board.
Salon owners from across the state expressed relief with Szuchman’s decision.
“It was an unnecessary issue,” spa owner Linda Orsuto told the Associated Press. “In New Jersey especially, where the government has been picking our pockets for so long, it was like, ‘Just stay out of our pants, will you?'”
Although millions of Americans get bikini waxes, which generally cost between $50 and $60 per session, the practice comes with risks. Skin care experts say the hot wax can irritate delicate skin in the bikini area, and result in infections, ingrown hairs and rashes.
Waxing on the face, neck, abdomen, legs and arms are permitted in New Jersey. Although state statutes have always banned bikini waxing, the laws are seldom enforced because the wording is unclear.
If the measure had passed, New Jersey might have become the only US state to ban the practice outright.
Although Szuchman’s letter was crafted more as a recommendation than an order, media reports said the ban would likely never be approved without his support because his office oversees the board.
Wednesday, December 5, 2007
Once you get a chance to talk to West Palm Beach, Florida native Whitney Cunningham, who placed seventh on the eighth cycle of the popular reality TV series America’s Next Top Model, you begin to understand what host Tyra Banks meant when she described her as the “full package.”
First of all, she is confident and headstrong, which is a must on these kinds of shows, almost as much as it is to take a beautiful modelesque picture. Second, she turns that confidence into drive. She has been receiving steady work as a model since leaving the show, and still believes that her goal of being the first woman to wear a size ten dress on the cover of Vogue is in reach. Third, and probably most important to television viewers, she obliterates the age-old model stereotype that to be pretty and photograph well, one must also be vapid and without a thought. A graduate of Dartmouth College, Cunningham also dreams of becoming a writer, and is working toward dual goals: a model who can express herself like no other model before her.
Cunningham recently sat down with Wikinews reporter Mike Halterman in an impassioned interview, taking hours to field questions from the reporter as well as from fans of America’s Next Top Model. Always in high spirits, Cunningham shows that she is a distinct personality who has carved her own niche in the Top Model history books. At the same time, she exhibits a joie de vivre that is oddly reminiscent of earlier Top Model fan favorite Toccara Jones, who showed America just how to be “big, black, beautiful and loving it.” However, Cunningham is quick to remind everyone that she isn’t big at all; she is simply a regular woman.
This is the first in a series of interviews with America’s Next Top Model contestants. Interviews will be published sporadically.
- 1 Whitney’s beginnings, and looking back
- 2 Impact Top Model has on society
- 3 Whitney’s views on production and editing
- 4 Whitney takes more fan questions
- 5 Where Whitney is today
- 6 Source