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Featuring Zanze Corazon Dress
Featuring no. 7 Changing Season Couture Headpiece
1. .:JUMO:. Riyadh Silver Heels
2. SLink Female Feet High
-- Elegant 1 Hands
3. Danielle Christmas Earrings
4. AV Paws Ring
5. October's 4Seasons Papavar Skin Tone Angelina Face
6. Gaeline Felicia
7. EMO-tions Renee
8. KMADD/Moda Mesh Eyes
9. Corpus Poses
10. MS Poses
It has been awesome to feature this beauty for a week. I had fun sharing with you 7 images from her photo shoot. Check us tomorrow to see the next featured model!
ReadyPay, Uganda solar energy mobile app
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It may not be a major photo or anything, but the fact my photo got into Playboy is a big deal to me. Maybe one day all this work will pay off
✰ This photo was featured on The Epic Global Showcase here: flavoredtape.com/post/158219880604
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✰ Featuring Lisa Ryan Artist on Artfinder ✰
-Explore @lisaryanstudio here and on instagram for more!
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One of the stars of Disney Pixar's new animated feature - 'Cars 2' is Mater - like Tow-mater, but without the 'tah'.
To quote Disney/Pixar: "In the now-popular tourist destination of Radiator Springs, the rusty old tow truck Mater has a number of roles, including proprietor of Tow Mater Towing and Salvage, grand storyteller and the heart and soul of the town.
But Mater's favorite title is best friend to Lightning McQueen. Mater values each and every dent he's earned on his escapades with Lightning over the years, and anxiously awaits further fun with his friend when Lightning returns with his latest Piston Cup.
Cheerful, honest and loyal to a fault, Mater rushes to his best friend's defense, which ultimately lands the off-duty Lightning in an international racing exhibition: the World Grand Prix. When Lightning invites Mater to come along as a member of his pit crew, Mater leaves Carburetor County for the first time ever.
Not long after their arrival in Tokyo, Mater learnes that the world outside of Radiator Springs is decidedly different and its new fangled ways may take some getting used to. But when he's mistaken for an American secret agent, he falls into an intriguing adventure of his own.
Caught between supporting his best friend on a globe-trotting racing competition and his new role in international espionage, Mater ends up in an explosive chase through the streets of Tokyo and Europe longside a team of British spies and international bad guys."
Mater the tow truck, has been built as part of Flickr LUGNuts 44th Build Challenge - 'Cars Too!' - celebrating the Disney / Pixar 'Cars 2' characters, and other face related vehicles.
Mater has been based on the 1955 Chevrolet pickup - and adapted from the luxury form Cameo previously modelled in Lego.
youtu.be/N18m1uoA8Ts?t=3s Full Feature
Starring Marguerite Chapman, Cameron Mitchell, Arthur Franz, Virginia Huston, John Litel and Morris Ankrum. Directed by Lesley Selander.
This fun gem hailed from the beginning of the 1950s science fiction craze and found a group of scientists (and one token newspaper reporter) taking a rocket for the first inter-planetary trip to Mars. Of course once they're there, they discover an underground society populated by attractive Martian women led by a Queen Alita (Marguerite Chapman). It was a popular theme that would be repeated in such films as Queen of Outer Space (set on Venus) and Fire Maidens of Outer Space (set on Jupiter).
This little movie is actually a gem of a B-movie. Monogram was a B studio, but they put a lot into Flight to Mars (FTM). For one thing, it's in color. They put more than usual into the sets. It's still a B-movie, but it's a B+. The plot is derived from Alexsei Tolstoy's novel Aelita but drew from the book more than from the 1924 movie, which was also (loosely) based on the book. It's more of an adventure than political commentary. Most of the action takes place on Mars. The pacing fairly brisk, for a B movie. Despite using several B-movie cliches, the overall effect works pretty well.
Synopsis
Several scientists (including the requisite one woman) and a reporter take off on an exploratory mission to Mars. The ship is damaged by meteors (which just always seems to happen) such that they have to crash land on Mars. They survive, but the ship is too damaged to return. The crew must go EVA in just flight jackets. They find building structures and encounter the Martians (in space suits) who have cities underground. While industrialized and supposedly technologically advanced, the Martians have never figured out space travel, so aren't much help. Their ruler, Ikron, offers to help the earth men build a new ship based on the design of the one they came in. In reality, he plans to imprison the earthlings and take their rocket when their done. He then plans to copy the earth rocket, creating a fleet, by which he can invade and colonize the earth. "Ours is a dying world" he tells the council. Ikron's plot is discovered as the earthlings are aided by the lovely martian babe: Alita. She helps the crew narrowly escape the guards and commandeer the duplicated ship so they can return to earth. Alita and her father (the "good" councilman) return with the earthlings so that they might get help to overthrow the tyrant Ikron. The End..
Lots of reasons. First off, this is a fresh sort of space adventure unencumbered with Cold War gloom which was already pervading films. The rocket itself is a cool example of 50s thinking. The smoky flames coming out of the model-on-a-string scenes are pure B-film stuff.
The prevailing notion that alien clothes simply had to have a big lightening bolt icon emblazoned on the chest, is fun to see too. Then there are the huge shoulder pads! Where did that come from? Mars, apparently. It's also kind of amusing that alien workers (especially if employed by the bad guy) tended to wear leather with studs, as if re-used from some sword and sandal flicks. Why are advanced technology workers wearing leather vests with studs? There's some quirky social mythology at work there.
And, speaking of costumes, it's fascinating that 1950s directors (and audiences) were so decided that alien women would be pretty, young, tall, leggy and dressed in micro-skirts and very high heels. Space, it seemed, was imagined to be like Las Vegas.
Another fun thing was that there were no space suits for the earthlings! They just went out in leather bomber jackets, caps and oxygen masks. The martians, however, greet them wearing the michelin-man space suits!! (These were left over from Destination Moon.) THAT is an interesting scene. The earthlings are in caps and leather jackets while the aliens are in space suits...on their own planet!
Actually FTM has none of the usual Cold War themes. This is, of course, because it was based on a pre-war book, and a Russian one at that. Still, the writers avoided grafting in any Cold War themes, so FTM comes across as more adventure than moralizing.
If you had seen the 1924 film, Aelita: Queen of Mars you would probably not think of FTM as a remake. They seem like very different stories, except for there being earthlings which land on Mars and find martians. The key female martian in FTM is named Alita. That's about your only clue. In FTM, she's a good guy -- dressed in the appropriate white silky short dress, while the other ("bad") woman gets a dark red short dress with spiky shoulder pads. If you saw the 1924 film, Aelita, you'd see a hint at the rebellion subplot repeated. Viewers are told there are those who oppose Ikron and that he'll be overthrown once Alita and a "good" councilman get to earth with our earthling crew.
If you watch FTM, notice the colors. It's shot in CineColor. This two-strip process had more a limited color rendering range than Technicolor's three-strip, but was much cheaper. It was something like 20% more expensive than black and white, and required less lighting, so it wasn't out of the realm for a small studio like Monogram. Since CineColor captured colors using a blue and a red filter, it was good at blues, browns, reds, and flesh tones. CineColor didn't do green or yellow very well. As a result, FTM has a decidedly blue-gray and red-brown coloring. The colors seemed very 50s.
For actor-watchers, the venerable Morris Ankrum plays the part of sinister martian ruler: Ikron. Ankrum often plays the role of Army General in these B-films, so it's kinda fun to see him out of uniform and in the role of villain. It looked like he had fun doing it.
Bottom line? FTM is a fun B film. For as early as it came in the Golden Decade of sci-fi, it's a fine space adventure. The sets and costumes are very much a product of the times. FTM is worth the search to find it.
Surgery by a Woman to Look like Her Husband’s Ex Wife
Zhao Gang, 35, from Chongqing city, China, had lost his first wife in a deadly car accident few years ago. Later, he wanted his second wife to go for a plastic surgery just to get her look like his lost wife. Zhao has explained...
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
So stoked and honored to have a feature on my art and photography in the upcoming issue of MMM Magazine! This 5th installment of MMM also has a B-cover I drew of Snoop Dogg on the back, so I'm extra excited about it. I'll be contributing to them more moving forward, with both my photography and illustration work. You can pre-order this issue now, or catch it at Barnes & Noble or a newsstand near you starting May 14th. My dog Chuck Mantooth approves! (hopefully you do to) :)
About two months ago, a band by the name of Third Grade Haters asked to use one of my photos for their album cover.
I did not want to say anything until they had it finished and on their Myspace website - I did not want to jynx myself :)
Their album titled Pompous and Proud comes out in November.
Third Grade Haters just got done touring in Europe - they are from Knoxville, Tennessee.
They are really cool guys and I suggest that you all take a listen and pitch in a buy their cd... because they make jammin' music... and because I am on the cover :P
super excited to be featured amongst such talented artists in a lovely 11 page piece in computers arts magazine this month. the article: Illustration - Today and Tomorrow - looks at "how leading artists are climbing to new heights"
this is the front double opening page of story - you can see my piece, "there's no place like home", in the bottom right hand corner.
the text reads as follows:
"jo 'miss led' henly is another illustrator whose work is making people take notice. she's not only dabbling in the uk art scene - she's used it to launch her career. after falling into teaching art, she realised she was inspiring others to do what she was frightened of doing herself. subsequent work invovled online and offline exhibitions closer in concept than illustration work. everything was self-initiated. this gave her the confidence to keep pushing boundaries, thereby increasing the creativity and experimentation in her work. inspired by poster pop, pre-raphaelite portraits, graffiti and art nouveau, her free flowing, almost classic illustration style came about on its own. she is now regularly taking on editioral work as well as further opportunities in the art space.
when secretwars wars took their live drawing competition to the designersblock festival in london last september, henly emerged the winner. she says, "being the only female ever to enter was enough for me, but after three exhausting hours over a 20x8-foot wall space, four rounds and four stories , i was victorious!"
The Daily Detergent feature of the super-wide BMW 740i. For the full feature, check out Daily Detergent at the link below.
www.dailydetergent.com/2012/01/welcoming-west-coast-wesle...
featured on gaileguevara.blogspot.com/
AMAZED & INSPIRED BY THE
Architecture & Interior Design of
MILLIGRAM ARCHITECTURAL STUDIO, JAPAN
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1TD0pRH
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》Featuring The Amazing: @hahnfineart ┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄
For venerated Gutai painter Kazuo Shiraga, body = brush! He created explosive & expressive ‘foot paintings’ by hanging from a rope & spreading paint with his feet in a dynamic dance 👣
✰Follow @hahnfineart on Instagram for more awesomeness like this!
Featuring 170 pages of articles, fashion tips, recipes, needlework hints and home work workshop and decorating pointers.
Featuring Flowery Papua New Guinea Coffee, Sony NEX 7, Minolta Bellow, Minolta Rokkor MD 135mm f/3.5
Marijuana is on the ballot in 6 states this election. We have an opportunity to use social media to influence the election as well as future policy with the new reality series in development with $RFMK's Spokesperson Cheryl. If you would like to see the REAL people behind the scenes of this movement to be a part of the series instead of using actors, then please support us in our vision. Please share everywhere. Some supportive comments would be great also. Let's make sure we have a lot of positive support out there in the mainstream and take this viral :) My company's products "The CANNACIG" by stock symbol $RFMK is featured! Marijuana is safer than alcohol!!!! Spread the word! :) Please share, like, comment, G+, tweet etc :)
Thanks all! Cheryl Shuman
Please support "Marijuana Moms" Women Who Prefer Cannabis Over Alcohol (It takes courage to be on the front lines of the drug war :)
CBS TV COMPLETE INTERVIEW RAW FOOTAGE ON THIS LINK:
www.youtube.com/watch?v=CSV612T4_CA
Behind the Scenes Footage:
Cheryl Shuman Sit Down Complete Interview:
www.youtube.com/watch?v=6NJ4X5uqsmM
Cannabis Tasting with Pot Moms:
Photos: www.youtube.com/watch?v=8LLXY-oXSDA
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Signing with William Morris Endeavor:
Video: www.youtube.com/watch?v=V287Vug8vFM
Press Release: finance.yahoo.com/news/rapid-fire-marketings-cheryl-shuma...
Rebuilding MCM - Medical Cannabis Management: finance.yahoo.com/news/rapid-fire-marketing-announces-che...
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Tom Cruise, Steven Tyler, Julia Roberts, Madonna, Arnold Schwarzenegger, Mike Myers, Elijah Wood, Lindsay Lohan, Fergie, Will.i.am and Michael Jackson are just a few of the names you'll find scrolling through the client files during the 25 year career of Cheryl Shuman. Known as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings decades of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML producing the largest cannabis convention on earth known as KUSHCon. As the face of KUSH Magazine, Cheryl Shuman was a founding member of the NCIA, National Cannabis Industry Association. Shuman transformed her non-profit career into a thriving profitable media enterprise.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
Cheryl Shuman serves as media spokesperson for the hot new vaporizer CANNACig Rapid Fire Marketing (pink sheets: RFMK) and conducts their marketing, public relations, product placement, and consulting services.
Medical Cannabis Management is a wholly owned subsidiary of RFMK. Cheryl Shuman Inc., is a business development company and acquisition vehicle, made news with an historic funding facility dedicated to the cannabis industry with plans to go public by 2014. Cheryl Shuman currently has a hot new reality TV series in development and is represented by the prestigious William Morris Endeavor Agency in Beverly Hills, California.
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Mike Anthony and Greg Graham driving around camp on Mike's first day as President of Hume Ministries.
He's hitting the ground running with a board meeting today, a Fishermen's Retreat this weekend, and a whole summer of youth camps and family vacations to prepare for in the weeks ahead.
The transition of leadership has been smooth thanks to Bob Phillips and Mike Anthony's dedicated efforts to pass the baton quickly and efficiently.