Latest Trends In Hip Hop Lrg Ladies Jeans &Amp; Dresses

By Harley John

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Focus on comfort and style

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Latest in Luxirie

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About the Author: Latest Trends in Hip Hop

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Volcano erupts in southern Chile
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Volcano erupts in southern Chile

Saturday, April 25, 2015

The Calbuco volcano in Southern Chile erupted twice on Wednesday. It was the first major eruption of the volcano in over fifty years.

The Chilean National Geology and Mining Service said the second eruption was more powerful than the first. By reports, the first eruption caused some regional panic. Emergency officials had very little time to alert local residents because of its abruptness.

The Chilean interior ministry said over 4,000 people were evacuated. The volcanic ash rose upward over six miles and has caused flight cancellations. According to Chilean health ministry sanitary planning division head Bernardo Martorell, the ash could cause water pollution and eye and skin infections. As of yesterday, Associated Press said no-one was reported injured as a result of the eruption. But on Thursday a ministry official said they fear another eruption may occur.

This was not the only volcanic eruption in the region in recent years. Another volcano in Southern Chile erupted in back in 2011. Due to that violent eruption, hundreds of flights were cancelled and over 3,000 people evacuated.

The 6,500 foot volcano is reportedly among the three most hazardous in Chile.

National Museum of Scotland reopens after three-year redevelopment
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National Museum of Scotland reopens after three-year redevelopment

Friday, July 29, 2011

Today sees the reopening of the National Museum of Scotland following a three-year renovation costing £47.4 million (US$ 77.3 million). Edinburgh’s Chambers Street was closed to traffic for the morning, with the 10am reopening by eleven-year-old Bryony Hare, who took her first steps in the museum, and won a competition organised by the local Evening News paper to be a VIP guest at the event. Prior to the opening, Wikinews toured the renovated museum, viewing the new galleries, and some of the 8,000 objects inside.

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Dressed in Victorian attire, Scottish broadcaster Grant Stott acted as master of ceremonies over festivities starting shortly after 9am. The packed street cheered an animatronic Tyrannosaurus Rex created by Millenium FX; onlookers were entertained with a twenty-minute performance by the Mugenkyo Taiko Drummers on the steps of the museum; then, following Bryony Hare knocking three times on the original doors to ask that the museum be opened, the ceremony was heralded with a specially composed fanfare – played on a replica of the museum’s 2,000-year-old carnyx Celtic war-horn. During the fanfare, two abseilers unfurled white pennons down either side of the original entrance.

The completion of the opening to the public was marked with Chinese firecrackers, and fireworks, being set off on the museum roof. As the public crowded into the museum, the Mugenkyo Taiko Drummers resumed their performance; a street theatre group mingled with the large crowd, and the animatronic Tyrannosaurus Rex entertained the thinning crowd of onlookers in the centre of the street.

On Wednesday, the museum welcomed the world’s press for an in depth preview of the new visitor experience. Wikinews was represented by Brian McNeil, who is also Wikimedia UK’s interim liaison with Museum Galleries Scotland.

The new pavement-level Entrance Hall saw journalists mingle with curators. The director, Gordon Rintoul, introduced presentations by Gareth Hoskins and Ralph Applebaum, respective heads of the Architects and Building Design Team; and, the designers responsible for the rejuvenation of the museum.

Describing himself as a “local lad”, Hoskins reminisced about his grandfather regularly bringing him to the museum, and pushing all the buttons on the numerous interactive exhibits throughout the museum. Describing the nearly 150-year-old museum as having become “a little tired”, and a place “only visited on a rainy day”, he commented that many international visitors to Edinburgh did not realise that the building was a public space; explaining the focus was to improve access to the museum – hence the opening of street-level access – and, to “transform the complex”, focus on “opening up the building”, and “creating a number of new spaces […] that would improve facilities and really make this an experience for 21st century museum visitors”.

Hoskins explained that a “rabbit warren” of storage spaces were cleared out to provide street-level access to the museum; the floor in this “crypt-like” space being lowered by 1.5 metres to achieve this goal. Then Hoskins handed over to Applebaum, who expressed his delight to be present at the reopening.

Applebaum commented that one of his first encounters with the museum was seeing “struggling young mothers with two kids in strollers making their way up the steps”, expressing his pleasure at this being made a thing of the past. Applebaum explained that the Victorian age saw the opening of museums for public access, with the National Museum’s earlier incarnation being the “College Museum” – a “first window into this museum’s collection”.

Have you any photos of the museum, or its exhibits?

The museum itself is physically connected to the University of Edinburgh’s old college via a bridge which allowed students to move between the two buildings.

Applebaum explained that the museum will, now redeveloped, be used as a social space, with gatherings held in the Grand Gallery, “turning the museum into a social convening space mixed with knowledge”. Continuing, he praised the collections, saying they are “cultural assets [… Scotland is] turning those into real cultural capital”, and the museum is, and museums in general are, providing a sense of “social pride”.

McNeil joined the yellow group on a guided tour round the museum with one of the staff. Climbing the stairs at the rear of the Entrance Hall, the foot of the Window on the World exhibit, the group gained a first chance to see the restored Grand Gallery. This space is flooded with light from the glass ceiling three floors above, supported by 40 cast-iron columns. As may disappoint some visitors, the fish ponds have been removed; these were not an original feature, but originally installed in the 1960s – supposedly to humidify the museum; and failing in this regard. But, several curators joked that they attracted attention as “the only thing that moved” in the museum.

The museum’s original architect was Captain Francis Fowke, also responsible for the design of London’s Royal Albert Hall; his design for the then-Industrial Museum apparently inspired by Joseph Paxton’s Crystal Palace.

The group moved from the Grand Gallery into the Discoveries Gallery to the south side of the museum. The old red staircase is gone, and the Millennium Clock stands to the right of a newly-installed escalator, giving easier access to the upper galleries than the original staircases at each end of the Grand Gallery. Two glass elevators have also been installed, flanking the opening into the Discoveries Gallery and, providing disabled access from top-to-bottom of the museum.

The National Museum of Scotland’s origins can be traced back to 1780 when the 11th Earl of Buchan, David Stuart Erskine, formed the Society of Antiquaries of Scotland; the Society being tasked with the collection and preservation of archaeological artefacts for Scotland. In 1858, control of this was passed to the government of the day and the National Museum of Antiquities of Scotland came into being. Items in the collection at that time were housed at various locations around the city.

On Wednesday, October 28, 1861, during a royal visit to Edinburgh by Queen Victoria, Prince-Consort Albert laid the foundation-stone for what was then intended to be the Industrial Museum. Nearly five years later, it was the second son of Victoria and Albert, Prince Alfred, the then-Duke of Edinburgh, who opened the building which was then known as the Scottish Museum of Science and Art. A full-page feature, published in the following Monday’s issue of The Scotsman covered the history leading up to the opening of the museum, those who had championed its establishment, the building of the collection which it was to house, and Edinburgh University’s donation of their Natural History collection to augment the exhibits put on public display.

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Selection of views of the Grand Gallery Image: Brian McNeil.

Selection of views of the Grand Gallery Image: Brian McNeil.

Selection of views of the Grand Gallery Image: Brian McNeil.

Closed for a little over three years, today’s reopening of the museum is seen as the “centrepiece” of National Museums Scotland’s fifteen-year plan to dramatically improve accessibility and better present their collections. Sir Andrew Grossard, chair of the Board of Trustees, said: “The reopening of the National Museum of Scotland, on time and within budget is a tremendous achievement […] Our collections tell great stories about the world, how Scots saw that world, and the disproportionate impact they had upon it. The intellectual and collecting impact of the Scottish diaspora has been profound. It is an inspiring story which has captured the imagination of our many supporters who have helped us achieve our aspirations and to whom we are profoundly grateful.

The extensive work, carried out with a view to expand publicly accessible space and display more of the museums collections, carried a £47.4 million pricetag. This was jointly funded with £16 million from the Scottish Government, and £17.8 million from the Heritage Lottery Fund. Further funds towards the work came from private sources and totalled £13.6 million. Subsequent development, as part of the longer-term £70 million “Masterplan”, is expected to be completed by 2020 and see an additional eleven galleries opened.

The funding by the Scottish Government can be seen as a ‘canny‘ investment; a report commissioned by National Museums Scotland, and produced by consultancy firm Biggar Economics, suggest the work carried out could be worth £58.1 million per year, compared with an estimated value to the economy of £48.8 prior to the 2008 closure. Visitor figures are expected to rise by over 20%; use of function facilities are predicted to increase, alongside other increases in local hospitality-sector spending.

Proudly commenting on the Scottish Government’s involvement Fiona Hyslop, Cabinet Secretary for Culture and External Affairs, described the reopening as, “one of the nation’s cultural highlights of 2011” and says the rejuvenated museum is, “[a] must-see attraction for local and international visitors alike“. Continuing to extol the museum’s virtues, Hyslop states that it “promotes the best of Scotland and our contributions to the world.

So-far, the work carried out is estimated to have increased the public space within the museum complex by 50%. Street-level storage rooms, never before seen by the public, have been transformed into new exhibit space, and pavement-level access to the buildings provided which include a new set of visitor facilities. Architectural firm Gareth Hoskins have retained the original Grand Gallery – now the first floor of the museum – described as a “birdcage” structure and originally inspired by The Crystal Palace built in Hyde Park, London for the 1851 Great Exhibition.

The centrepiece in the Grand Gallery is the “Window on the World” exhibit, which stands around 20 metres tall and is currently one of the largest installations in any UK museum. This showcases numerous items from the museum’s collections, rising through four storeys in the centre of the museum. Alexander Hayward, the museums Keeper of Science and Technology, challenged attending journalists to imagine installing “teapots at thirty feet”.

The redeveloped museum includes the opening of sixteen brand new galleries. Housed within, are over 8,000 objects, only 20% of which have been previously seen.

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The Window on the World rises through the four floors of the museum and contains over 800 objects. This includes a gyrocopter from the 1930s, the world’s largest scrimshaw – made from the jaws of a sperm whale which the University of Edinburgh requested for their collection, a number of Buddha figures, spearheads, antique tools, an old gramophone and record, a selection of old local signage, and a girder from the doomed Tay Bridge.

The arrangement of galleries around the Grand Gallery’s “birdcage” structure is organised into themes across multiple floors. The World Cultures Galleries allow visitors to explore the culture of the entire planet; Living Lands explains the ways in which our natural environment influences the way we live our lives, and the beliefs that grow out of the places we live – from the Arctic cold of North America to Australia’s deserts.

The adjacent Patterns of Life gallery shows objects ranging from the everyday, to the unusual from all over the world. The functions different objects serve at different periods in peoples’ lives are explored, and complement the contents of the Living Lands gallery.

Performance & Lives houses musical instruments from around the world, alongside masks and costumes; both rooted in long-established traditions and rituals, this displayed alongside contemporary items showing the interpretation of tradition by contemporary artists and instrument-creators.

The museum proudly bills the Facing the Sea gallery as the only one in the UK which is specifically based on the cultures of the South Pacific. It explores the rich diversity of the communities in the region, how the sea shapes the islanders’ lives – describing how their lives are shaped as much by the sea as the land.

Both the Facing the Sea and Performance & Lives galleries are on the second floor, next to the new exhibition shop and foyer which leads to one of the new exhibition galleries, expected to house the visiting Amazing Mummies exhibit in February, coming from Leiden in the Netherlands.

The Inspired by Nature, Artistic Legacies, and Traditions in Sculpture galleries take up most of the east side of the upper floor of the museum. The latter of these shows the sculptors from diverse cultures have, through history, explored the possibilities in expressing oneself using metal, wood, or stone. The Inspired by Nature gallery shows how many artists, including contemporary ones, draw their influence from the world around us – often commenting on our own human impact on that natural world.

Contrastingly, the Artistic Legacies gallery compares more traditional art and the work of modern artists. The displayed exhibits attempt to show how people, in creating specific art objects, attempt to illustrate the human spirit, the cultures they are familiar with, and the imaginative input of the objects’ creators.

The easternmost side of the museum, adjacent to Edinburgh University’s Old College, will bring back memories for many regular visitors to the museum; but, with an extensive array of new items. The museum’s dedicated taxidermy staff have produced a wide variety of fresh examples from the natural world.

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At ground level, the Animal World and Wildlife Panorama’s most imposing exhibit is probably the lifesize reproduction of a Tyrannosaurus Rex skeleton. This rubs shoulders with other examples from around the world, including one of a pair of elephants. The on-display elephant could not be removed whilst renovation work was underway, and lurked in a corner of the gallery as work went on around it.

Above, in the Animal Senses gallery, are examples of how we experience the world through our senses, and contrasting examples of wildly differing senses, or extremes of such, present in the natural world. This gallery also has giant screens, suspended in the free space, which show footage ranging from the most tranquil and peaceful life in the sea to the tooth-and-claw bloody savagery of nature.

The Survival gallery gives visitors a look into the ever-ongoing nature of evolution; the causes of some species dying out while others thrive, and the ability of any species to adapt as a method of avoiding extinction.

Earth in Space puts our place in the universe in perspective. Housing Europe’s oldest surviving Astrolabe, dating from the eleventh century, this gallery gives an opportunity to see the technology invented to allow us to look into the big questions about what lies beyond Earth, and probe the origins of the universe and life.

In contrast, the Restless Earth gallery shows examples of the rocks and minerals formed through geological processes here on earth. The continual processes of the planet are explored alongside their impact on human life. An impressive collection of geological specimens are complemented with educational multimedia presentations.

Beyond working on new galleries, and the main redevelopment, the transformation team have revamped galleries that will be familiar to regular past visitors to the museum.

Formerly known as the Ivy Wu Gallery of East Asian Art, the Looking East gallery showcases National Museums Scotland’s extensive collection of Korean, Chinese, and Japanese material. The gallery’s creation was originally sponsored by Sir Gordon Wu, and named after his wife Ivy. It contains items from the last dynasty, the Manchu, and examples of traditional ceramic work. Japan is represented through artefacts from ordinary people’s lives, expositions on the role of the Samurai, and early trade with the West. Korean objects also show the country’s ceramic work, clothing, and traditional accessories used, and worn, by the indigenous people.

The Ancient Egypt gallery has always been a favourite of visitors to the museum. A great many of the exhibits in this space were returned to Scotland from late 19th century excavations; and, are arranged to take visitors through the rituals, and objects associated with, life, death, and the afterlife, as viewed from an Egyptian perspective.

The Art and Industry and European Styles galleries, respectively, show how designs are arrived at and turned into manufactured objects, and the evolution of European style – financed and sponsored by a wide range of artists and patrons. A large number of the objects on display, often purchased or commissioned, by Scots, are now on display for the first time ever.

Shaping our World encourages visitors to take a fresh look at technological objects developed over the last 200 years, many of which are so integrated into our lives that they are taken for granted. Radio, transportation, and modern medicines are covered, with a retrospective on the people who developed many of the items we rely on daily.

What was known as the Museum of Scotland, a modern addition to the classical Victorian-era museum, is now known as the Scottish Galleries following the renovation of the main building.

This dedicated newer wing to the now-integrated National Museum of Scotland covers the history of Scotland from a time before there were people living in the country. The geological timescale is covered in the Beginnings gallery, showing continents arranging themselves into what people today see as familiar outlines on modern-day maps.

Just next door, the history of the earliest occupants of Scotland are on display; hunters and gatherers from around 4,000 B.C give way to farmers in the Early People exhibits.

The Kingdom of the Scots follows Scotland becoming a recognisable nation, and a kingdom ruled over by the Stewart dynasty. Moving closer to modern-times, the Scotland Transformed gallery looks at the country’s history post-union in 1707.

Industry and Empire showcases Scotland’s significant place in the world as a source of heavy engineering work in the form of rail engineering and shipbuilding – key components in the building of the British Empire. Naturally, whisky was another globally-recognised export introduced to the world during empire-building.

Lastly, Scotland: A Changing Nation collects less-tangible items, including personal accounts, from the country’s journey through the 20th century; the social history of Scots, and progress towards being a multicultural nation, is explored through heavy use of multimedia exhibits.

MySpace to display AMBER Alerts
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MySpace to display AMBER Alerts

Wednesday, January 24, 2007

This article features in a News Brief from Audio Wikinews:

Internet social gathering website MySpace will start sending online alerts to Internet users in certain regions of the United States in order to help find missing children.

MySpace established a partnership with the National Center for Missing & Exploited Children in order to enable AMBER Alert. This is a program that provides an early warning broadcast bulletin in cases of earnest child abduction.

A week ago, families of five teenagers who were sexually abused by adult users from MySpace sued the website, stating that it showed negligence concerning its users’ protection.

In 2006, the company hired a former prosecutor from the United States Justice Department in order to improve its online safety program. The representatives from MySpace stated that the AMBER alerts will appear in a little text box, which will be situated at the top of a profile. The website’s users will be able to get additional information regarding the case, which will include photos and information about suspects.

In a phone interview, the CEO of MySpace, Hemanshu Nigam, stated that the company has been working with partners and law enforcement in order to find all the possible ways to protect children and keep sex offenders away from the website. He also mentioned that MySpace will provide technology that will benefit the whole industry.

MySpace is a fast-growing website, with about 150 million profiles. Half of all U.S. teenagers access such websites like MySpace with one goal – to make friends. This survey was made by Pew.

As part of its safety program, the website now asks all its users to have a valid e-mail address. This will allow tracking down possible predators. New subscribers will get a verification e-mail with a link which the user must click to verify his or her identity.

MySpace made a deal with Sentinel Tech Holding Corp. to create a new technology, called Sentinel Safe. The technology will allow MySpace to search proposed state and federal databases of sex offenders’ e-mail addresses, enabling the company to delete the profiles of sex offenders who register with a “blacklisted” e-mail address.

MySpace is also developing new software called Zephyr to show parents what information can be publicly seen about their child on the child’s profile. However, the adults using this software will not be able to read the e-mails sent to their child or edit their child’s profile.

Canada’s Scarborough East (Ward 43) city council candidates speak
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Canada’s Scarborough East (Ward 43) city council candidates speak
This exclusive interview features first-hand journalism by a Wikinews reporter. See the collaboration page for more details.

Saturday, November 4, 2006

On November 13, Torontonians will be heading to the polls to vote for their ward’s councillor and for mayor. Among Toronto’s ridings is Scarborough East (Ward 43). One candidates responded to Wikinews’ requests for an interview. This ward’s candidates include Paul Ainslie, Amarjeet Chhabra, Mujeeb Khan, Glenn Kitchen, John Laforet, Abdul Patel, Jim Robb, and Kumar Sethi.

For more information on the election, read Toronto municipal election, 2006.

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Saudi Arabia fears Hajj swine flu outbreak as four pilgrims die
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Saudi Arabia fears Hajj swine flu outbreak as four pilgrims die

Sunday, November 22, 2009

As the annual Muslim Hajj pilgrimage to Mecca gets underway, Saudi Arabian authorities have expressed concern swine flu could impact pilgrims. Four, with underlying health issues, have already died.

Two men and a woman in their seventies and a seventeen-year-old girl have died, according to the Health Ministry. The men from India and Sudan, the older woman from Morocco, and the teen from Nigeria. None were vaccinated against the virus.

One died in Mecca, the others in Medina. All had conditions including cancer and respiratory ailments. The World Health Organisation puts the current swine flu death toll at 6,750. Four more people are in Saudi hospitals in critical condition and a further twelve are recovering in hospital.

Each year around three million make the pilgrimage. And, Saudi authorities are concerned about the possible spread of the virus. At least one pilgrimage to Mecca is deemed mandatory for every Muslim capable of doing so. Fifteen thousand extra medical staff are deployed, ports and airports screen incomers with thermal cameras, and hundreds of extra hospital beds have been set aside. Visa requirements specify only those vaccinated against the flu strain can apply.

In September, Egypt forbade hundreds of Muslims from leaving Cairo for the Hajj after an Egyptian woman returning from a more minor pilgrimage last July became the first swine flu fatality in both Africa and the Middle East. For Ramadan, pilgrimage to Saudi Arabia was banned by Iran for the same reason.

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Spelbound declared winner of Britain’s Got Talent 2010
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Spelbound declared winner of Britain’s Got Talent 2010

Monday, June 7, 2010

An acrobatic group known by the name of Spelbound has been declared as the winner of Britain’s Got Talent 2010, a televised variety talent show competition broadcast on ITV in the United Kingdom. As the winning act of the show, Spelbound have won £100,000 (US$144,580, €120,313, A$175,079) and a place at The Royal Variety Performance, an annual gala evening that is attended by senior members of the British Royal Family.

In no particular order, the top three acts were revealed to be two dancers known by their stage name of Twist and Pulse, gymnastic group Spelbound and Kieran Gaffney, whose act involves playing on the drum kit. After Kieran Gaffney was revealed to be in third place, Anthony McPartlin, who hosts Britain’s Got Talent with Declan Donnelly, said to Kieran: “Well done Kieran. Kieran, you’re a star, you came back, you got all the way to the final. I know you’ve loved this. You’ve loved this, haven’t you?” In response to this, Kieran Gaffney stated: “Thank you very much. Thank you, everyone for supporting me. Thank you.”

Shortly afterwards, on the episode that was broadcast live on ITV1 on Saturday, Anthony announced: “After tens of thousands of auditons, five semi-finals and an amazing final, this…this is it. One of you is about to walk away with £100,000 and a place at this year’s Royal Variety Performance. The winner of Britain’s Got Talent 2010 is…Spelbound!” Glen Murphy from Twist and Pulse commented about finishing in second place, stating: “Yeah, it’s amazing. I can’t even believe it. I can’t believe it at all.”

Alex Uttley, a 24-year-old member of Spelbound, commented on the gymnastic group’s victory, commenting: “Oh, my god. This is unbelieveable. We just want to say thank you to everyone out there. It just shows that all our hard work has paid off.” One of the coaches of Spelbound, named Neil Griffiths, stated about Spelbound: “Oh, they’ve worked so hard over the last few weeks. Um, since the semi-final, we…we really had to pull out the stops to try and up the game. They’ve not known they’ve worked in the gym from six in the morning till twelve…twelve o’clock of the night. I couldn’t have asked for more. Um, it’s a team of coaches. I don’t take all the credit myself. There’s, uh, two people up there that know who they are who’ve been fantastic.”

Spelbound consists of 24-year-old Alex Uttley, Nicholas Illingworth, aged 24, Adam Buckingham, aged 21, 20-year-old Adam McAssey, 19-year-old Douglas Fordyce, 18-year-old Edward Upcott, 18-year-old Leighanne Cowler, 17-year-old Katie Axten, 17-year-old Lauren Kemp, 15-year-old Jonathan Stranks, Abigail Ralph, aged 15, 13-year-old Hollianne Wood and Amy Mackenzie, aged 12. Bookmakers had previously predicted that Spelbound would be the most likely act to become the winner of the series.

The running order for the final started with Twist and Pulse. The second act to perform was Liam McNally, a 14-year-old singer. The running order subsequently continued with 40-year-old impressionist Paul Burling, singer Christopher Stone, aged 28, Tina & Chandi, a woman and dog dancing act, Connected, a five-piece singing group, Kieran Gaffney, aged 12, 22-year-old Tobias Mead, a dancer, 80-year-old singer Janey Cutler and Spelbound in that particular order.

Earlier on in the final, Britain’s Got Talent judge Amanda Holden has stated to Spelbound: “We are hosting the 2012 Olympics and I think ‘what a brilliant opening act’.” Fellow judge Piers Morgan also commented that “[t]he purpose of this show is to identify hidden great British talent. You are that act.” After Spelbound won in the final, another judge, named Simon Cowell, stated that “the right boys and girls won on the night” and that he could “only say on live TV that that was one of the most astonishing things I have ever seen. Seriously.”

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Athletes prepare for 2012 Summer Paralympics at the Paralympic Fitness Centre
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Athletes prepare for 2012 Summer Paralympics at the Paralympic Fitness Centre

Monday, August 27, 2012

London, England — As Paralympians ready for the Games which are set to open later this week, they have access to a world class fitness center inside the Paralympic Village which is designed to maximise their pre-Game preparations.

According to volunteers staffing the center, instead of being a single large room, as in Beijing, the building has numerous rooms. It, along with the adjacent Village Services Centre, is designed to be converted into a school after the games conclude. Rooms have been structured as a gym, an auditorium, and science laboratories.

Gym equipment is supplied by Technogym, an Italian firm that has supplied gym equipment for the Olympics since 2000. Equipment has been provided not just for for the Fitness Centre, but for gyms at all the Olympic venues. The newest equipment is oriented toward maximum flexibility, allowing athletes to exercise the particular muscles that they most require for their sport.

In addition to the equipment, the Fitness Centre also provides instructors trained in the use of the equipment, the likes of which athletes from many countries have never seen before. There are also a number of instructors available to provide motivational training.

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Cosmetic Dentistry Advancement}

Submitted by: Jonaha Knaacik

Fifty years ago, cosmetic dentistry was something only the privileged could afford. A perfect smile was something that you only saw in movies and magazines, but in today’s world, the smile of your dreams is attainable. Modern cosmetic dentistry is not only accessible, but affordable. Dental implants, teeth whitening and bleaching, and veneers are available to improve the appearance and health of your teeth.

Technology has improved so much that cosmetic dentistry is now common in society. The procedures can be done quickly and for less money. Soon, things like metal braces and metal crowns will be a thing of the past because of new material and better dental technology. Cosmetic dentists can now straighten teeth without the hardware and dental implants are virtually indistinguishable from natural teeth.

In the far distant past, dentists used harmful chemicals for teeth whitening and even carved dental implants out of wood. There are teeth whitening products available now that can strengthen your teeth as well as whiten. Dental implants have also come a long way. Some implants are virtually indistinguishable from your natural teeth.

YouTube Preview Image

In the past, dental implant procedures were long and painful. Today, it only takes two visits, during which a local anesthetic makes the process pain-free. Dental implant treatments require your cosmetic dentist to drill a small hole into your bone to place a titanium screw. This is what the permanent implant will be attached to.

The alignment of teeth is a big portion of cosmetic dentistry. Metal braces are slowly becoming less popular among patients. People have found the plastic, removable, clear retainers to be a better option to straighten their teeth. This eliminates the sores that often accompany metal braces and the need for teeth whitening to get rid of the marks that are left from the posts once they are removed.

Convenience is something cosmetic dentistry aims for. Many of us had to go through the stage where we wouldn’t smile because we didn’t want our braces to forever go down in history. Clear alignment retainers let you avoid this. Another advantage is being able to take them out while you eat and when you brush and floss your teeth. This makes proper dental hygiene easier for kids to keep up.

Dentures used to be the only option for those with missing teeth in cosmetic dentistry. These are uncomfortable and often cause dental problems such as bone loss. Dental implants have nearly replaced the need for dentures. Cosmetic dentists can now permanently replace the teeth, making them easier to clean. Teeth whitening options are becoming more and more numerous as well.

More and more cosmetic dentistry advancement is taking place in today’s methods of dental implants, teeth whitening, and cosmetic dental surgery all the time. Soon the perfect smile will be available to everyone. Another addition to the dental world is 3-D images of your teeth displayed on state of the art dental software.

Products for teeth whitening in cosmetic dentistry are becoming more available to those looking to whiten at home. A white smile is now perceived as a healthy smile, so there is no doubt that at-home teeth whitening products will become more and more popular. In just a few short minutes, you can have a noticeably brighter smile. Of course, it is a good idea to check with your dentist before doing any over the counter teeth whitening jobs to see if it is safe for your teeth.

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About the Author: Jonah and his family for 7 generaions have been in the news business reporting on national and local sories

utahsmilecare.com/cosmetic_services.htmutahsmilecare.com/cosmetic_services.htm

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Cleo and Dolly merger leaves senior Australian Cleo editor Sharri Markson out of work
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Cleo and Dolly merger leaves senior Australian Cleo editor Sharri Markson out of work

Friday, November 8, 2013

Senior Editor for Australia’s Cleo magazine Sharri Markson confirmed on Wednesday that she will not be competing for the role of editor between the sudden merger of Dolly and Cleo titles. The news came only days after German-based Bauer Media announced the merger of two of their most popular Australian magazines, with an expected loss of half the production staff by early next year.

The production team was informed of the merge in a staff meeting on Monday. Chief executive Matt Stanton and publisher Sebastian Kadas explained the merger process, which will see the separate mastheads continue under the one production team and half the size of the normal magazine printing dimensions.

Both current editors Sharri Markson and Tiffany Dunk, along with the entire production team, were required to re-apply for their positions and compete against one another to secure a position. However, according to The Australian, after only three days of consideration, Markson informed staff that she is not prepared to accept the role given it would mean producing two magazines with half the staff.

Former editors of both Dolly and Cleo are turning to Twitter to show support for the staff in danger of unemployment. Mia Freedman posted; “Sad for all the girls who dream of working in magazines. The dream is sadly very much over. No joy today. Thinking of Dolly & Cleo staff”, and Lisa Wilkinson posting “Very sad to hear news that Dolly & Cleo magazines are merging, with expected losses of half the staff. End of an era. And a personal one …” Wilkinson told The Sydney Morning Heald. “I just hope the magazine publishers in this country have been mentoring that new talent otherwise it simply will not work”.

Bauer Media have released a statement addressing the situation, claiming to be “continually reviewing every aspect of its business, looking at new opportunities for growth and investment, whilst ensuring all divisions are working as efficiently and effectively as possible”. Bauer’s CEO who addressed the staff on Monday continued, saying “it makes sense to bring the staff creating these young women’s lifestyle titles together. The single publishing unit enables us to tap the synergies and expertise between the mastheads to further enhance the reach and relevance of these two much-loved Australian magazine brands.”

The production staff along with popular media personalities are publicly questioning the efficiency of the merge, as both titles have distinctly different audiences; with Dolly aiming at teenager readers and Cleo at women in their 20s and 30s. This combined with the ever increasing stress of publishing will only maximise the pressure on the new production team. Ita Buttrose highlighted the concern, telling Crikey, “I know everybody is cost-cutting at the moment, but this seems a bit extreme. You’d have to be a very experienced, very talented editor to put out both titles. I ran the women’s division at ACP Magazines, but all the titles had their own clearly defined editors. For one person to edit two magazines?—?that may be something they do in Germany, but it’s new for me … I’d like to see their business plan.”

The move comes closely after Bauer discontinued women’s magazine titles Madison and Grazia in Australia earlier this year due to continuing financial pressures.

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