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How To Start A Purse Party Business Your Guide To Success}

By 5Mu3Ji

How To Start a Purse Party Business – Your Guide to Success


Meghann Jones

Starting a purse party consulting business is a really fun, creative and exciting way to make an income working from home. Unlike many other home party businesses (like Tupperware for example) which have fixed catalogs of merchanidse that you are forced to select from, purse parties are a much more flexible business model since the purse party consultant has the luxury of deciding the sorts of purses, handbags and accessories that she wishes to sell at the party depending on her own personal tastes and the preferences of the guests who will be attending.

In this article, we’ll introduce you briefly to some of the keys to getting a successful purse party business off the ground.

Fully understand Your Clientle

The purses offered through a designer purse party business can be designer bags, look-alike designer purses, or brand name and fashion purses and handbags. Exactly what handbags you promote at your purse party business will be determined by who is attending. Knowing your guests and their preferences before hand will ensure that you have the right types of merchandise available at your party.

Finding Reputable Distributors

A key factor in creating a flourishing home designer purse party business is selecting solid suppliers. To ensure a broad enough range of merchandise, you’ll want to ensure that your supplier(s) has the following bases covered:

* Designer handbags

* Reproduction designer purses and handbags

* Brand name purses

* Trendy purses and handbags

The right merchandise suppliers are key to your home purse party business. Customers pre-pay for their purchases so you should choose vendors who supply on time.


One of the things that is particularly great about starting a purse party business is that your initial investment can be very low and you can build your inventory as your business gets bigger. Having even a small supply of hands-on sample purses with you at your first purse party will get your guests engaged and excited about your merchandise and allow you to make sales.

Guest Invitations

To get started, you’ll host the first purse party yourself. Invite acquaintances, coworkers, others who live nearby and family. If you know a number of people, you can also host more than one party as small, more intimate purse parties often work the best.

How to Plan Your Purse Party

To ensure that your first purse party is a success, you’ll want to make a short list of things to do. This checklist will grow as your business starts to thrive and you discover what works out best for you. At a minimum, your first to do list should cover off the following items:

* Mailing out invitations together with a short explanation of what a purse party involves and a price range for the merchandise.

* Food – Plan simple finger foods together with some beverages like red and white wine to liven up the party.

* Games and Prizes – Games will contribute to the party atmosphere of the event while having a door or raffle prize will keep people interested in your merchandise and boost your overall sales!

Product Presentation

A professional and tasteful display of the purses you have to offer will always make a good initial impression as guests come in. You should get to the event at a minimum thirty minutes ahead of invitees to set up your display which should include sales leaflets, catalogs and other promotional items. Locate the display table on one side of the room with enough room for people to gather around and look at the purses. Bring a table cloth and perhaps a plant or two for a more appealing presentation. Be sure to include a business card holder together with your business cards so guests can easily pass your reputation to others.

Growing a Lucrative Enterprise

The foregoing guidelines will ensure that your first couple of purse parties are a great success and will ultimately lead to requests for your services and referrals from others in attendance. Coupled with other unique and innovative marketing strategies that you can easily implement, you should experience great opportunities to grow and expand your business quickly.

Meghann Jones is a purse party consultant and small business adviser. Visit her at http://pursepartymania.com to get more helpful advice and information on

how to start a purse party business


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How To Start a Purse Party Business – Your Guide to Success



Chili finger may have been raw

Chili finger may have been raw

By 5Mu3Ji

Sunday, March 27, 2005

Investigators are no longer certain if the finger found in a bowl of Wendy’s chili at a San Jose, California outlet last week was cooked or raw.

“We’re still going to have to sit down with our crime lab experts and see if there’s a test that can determine that,” said Sheriff’s Office Captain Bob Dixon.

Dr. Martin Fenstersheib, Santa Clara County’s health officer, told the San Francisco Chronicle, “The possibilities are still all out there on where and when it came into the chili.”

Investigators are working with the U.S. Food and Drug Administration to track down the suppliers of the ingredients used to make the chili, which included beef, beans, celery, onions, and green peppers.

Denny Lynch, a Wendy’s spokesman, admitted that the Wendy’s location at 1405 Monterey Highway had no security cameras, so they were unable to determine from video if an employee had been involved with the incident.

Anna Ayala, the 39-year-old woman who found the finger, has returned to Las Vegas.

“I don’t want to talk about it,” she said. Ayala refused to say whether or not she had plans to sue Wendy’s over the incident. “At this time, I don’t know. At this time, I want to be left alone,” said Ayala.

Dr. Fenstersheib said that even if the finger was still raw when Ayala bit into it, the risk was low that she would have become infected with anything. However, he advised that Ayala should undergo a series of precautionary follow-up tests.



California company recalls fresh spinach over salmonella contamination

California company recalls fresh spinach over salmonella contamination

By 5Mu3Ji

Saturday, September 1, 2007

After testing positive for salmonella, a California produce company has recalled fresh bagged spinach from the United States and Canada. Food officials state there have been no immediate reports of illness linked to the tainted spinach that was distributed by Metz Fresh LLC.

In Canada, the product only reached the distribution level and thus was not shipped to retail outlets, said the Canadian Food Inspection Agency. Food officials state the recalled spinach was distributed throughout the 48 states and sold in both retail and food service packages. The recall covers covers 8,118 cases of spinach, however, more than 90 per cent of that was on hold and would not be released, said Metz Fresh.

Only a single sample from one of three packing lines tested positive for salmonella, but the company choose to recall all the spinach produced that day as precaution.

The recall includes the following: 10 and 16 ounce bags, as well as 4 pound cartons and cartons that contain four 2.5 pound bags, with the following tracking codes: 12208114, 12208214 and 12208314. Anyone with questions about the recall, and whether or not their spinach may be recalled can contact Metz Fresh LLC by calling (831) 386-1018.



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U.K. National Portrait Gallery threatens U.S. citizen with legal action over Wikimedia images

U.K. National Portrait Gallery threatens U.S. citizen with legal action over Wikimedia images

By 5Mu3Ji

Tuesday, July 14, 2009

This article mentions the Wikimedia Foundation, one of its projects, or people related to it. Wikinews is a project of the Wikimedia Foundation.

The English National Portrait Gallery (NPG) in London has threatened on Friday to sue a U.S. citizen, Derrick Coetzee. The legal letter followed claims that he had breached the Gallery’s copyright in several thousand photographs of works of art uploaded to the Wikimedia Commons, a free online media repository.

In a letter from their solicitors sent to Coetzee via electronic mail, the NPG asserted that it holds copyright in the photographs under U.K. law, and demanded that Coetzee provide various undertakings and remove all of the images from the site (referred to in the letter as “the Wikipedia website”).

Wikimedia Commons is a repository of free-to-use media, run by a community of volunteers from around the world, and is a sister project to Wikinews and the encyclopedia Wikipedia. Coetzee, who contributes to the Commons using the account “Dcoetzee”, had uploaded images that are free for public use under United States law, where he and the website are based. However copyright is claimed to exist in the country where the gallery is situated.

The complaint by the NPG is that under UK law, its copyright in the photographs of its portraits is being violated. While the gallery has complained to the Wikimedia Foundation for a number of years, this is the first direct threat of legal action made against an actual uploader of images. In addition to the allegation that Coetzee had violated the NPG’s copyright, they also allege that Coetzee had, by uploading thousands of images in bulk, infringed the NPG’s database right, breached a contract with the NPG; and circumvented a copyright protection mechanism on the NPG’s web site.

The copyright protection mechanism referred to is Zoomify, a product of Zoomify, Inc. of Santa Cruz, California. NPG’s solicitors stated in their letter that “Our client used the Zoomify technology to protect our client’s copyright in the high resolution images.”. Zoomify Inc. states in the Zoomify support documentation that its product is intended to make copying of images “more difficult” by breaking the image into smaller pieces and disabling the option within many web browsers to click and save images, but that they “provide Zoomify as a viewing solution and not an image security system”.

In particular, Zoomify’s website comments that while “many customers — famous museums for example” use Zoomify, in their experience a “general consensus” seems to exist that most museums are concerned with making the images in their galleries accessible to the public, rather than preventing the public from accessing them or making copies; they observe that a desire to prevent high resolution images being distributed would also imply prohibiting the sale of any posters or production of high quality printed material that could be scanned and placed online.

Other actions in the past have come directly from the NPG, rather than via solicitors. For example, several edits have been made directly to the English-language Wikipedia from the IP address, one of sixteen such IP addresses assigned to computers at the NPG by its ISP, Easynet.

In the period from August 2005 to July 2006 an individual within the NPG using that IP address acted to remove the use of several Wikimedia Commons pictures from articles in Wikipedia, including removing an image of the Chandos portrait, which the NPG has had in its possession since 1856, from Wikipedia’s biographical article on William Shakespeare.

Other actions included adding notices to the pages for images, and to the text of several articles using those images, such as the following edit to Wikipedia’s article on Catherine of Braganza and to its page for the Wikipedia Commons image of Branwell Brontë‘s portrait of his sisters:

“This image is copyright material and must not be reproduced in any way without permission of the copyright holder. Under current UK copyright law, there is copyright in skilfully executed photographs of ex-copyright works, such as this painting of Catherine de Braganza.
The original painting belongs to the National Portrait Gallery, London. For copies, and permission to reproduce the image, please contact the Gallery at picturelibrary@npg.org.uk or via our website at www.npg.org.uk”

Other, later, edits, made on the day that NPG’s solicitors contacted Coetzee and drawn to the NPG’s attention by Wikinews, are currently the subject of an internal investigation within the NPG.

Coetzee published the contents of the letter on Saturday July 11, the letter itself being dated the previous day. It had been sent electronically to an email address associated with his Wikimedia Commons user account. The NPG’s solicitors had mailed the letter from an account in the name “Amisquitta”. This account was blocked shortly after by a user with access to the user blocking tool, citing a long standing Wikipedia policy that the making of legal threats and creation of a hostile environment is generally inconsistent with editing access and is an inappropriate means of resolving user disputes.

The policy, initially created on Commons’ sister website in June 2004, is also intended to protect all parties involved in a legal dispute, by ensuring that their legal communications go through proper channels, and not through a wiki that is open to editing by other members of the public. It was originally formulated primarily to address legal action for libel. In October 2004 it was noted that there was “no consensus” whether legal threats related to copyright infringement would be covered but by the end of 2006 the policy had reached a consensus that such threats (as opposed to polite complaints) were not compatible with editing access while a legal matter was unresolved. Commons’ own website states that “[accounts] used primarily to create a hostile environment for another user may be blocked”.

In a further response, Gregory Maxwell, a volunteer administrator on Wikimedia Commons, made a formal request to the editorial community that Coetzee’s access to administrator tools on Commons should be revoked due to the prevailing circumstances. Maxwell noted that Coetzee “[did] not have the technically ability to permanently delete images”, but stated that Coetzee’s potential legal situation created a conflict of interest.

Sixteen minutes after Maxwell’s request, Coetzee’s “administrator” privileges were removed by a user in response to the request. Coetzee retains “administrator” privileges on the English-language Wikipedia, since none of the images exist on Wikipedia’s own website and therefore no conflict of interest exists on that site.

Legally, the central issue upon which the case depends is that copyright laws vary between countries. Under United States case law, where both the website and Coetzee are located, a photograph of a non-copyrighted two-dimensional picture (such as a very old portrait) is not capable of being copyrighted, and it may be freely distributed and used by anyone. Under UK law that point has not yet been decided, and the Gallery’s solicitors state that such photographs could potentially be subject to copyright in that country.

One major legal point upon which a case would hinge, should the NPG proceed to court, is a question of originality. The U.K.’s Copyright, Designs and Patents Act 1988 defines in ¶ 1(a) that copyright is a right that subsists in “original literary, dramatic, musical or artistic works” (emphasis added). The legal concept of originality here involves the simple origination of a work from an author, and does not include the notions of novelty or innovation that is often associated with the non-legal meaning of the word.

Whether an exact photographic reproduction of a work is an original work will be a point at issue. The NPG asserts that an exact photographic reproduction of a copyrighted work in another medium constitutes an original work, and this would be the basis for its action against Coetzee. This view has some support in U.K. case law. The decision of Walter v Lane held that exact transcriptions of speeches by journalists, in shorthand on reporter’s notepads, were original works, and thus copyrightable in themselves. The opinion by Hugh Laddie, Justice Laddie, in his book The Modern Law of Copyright, points out that photographs lie on a continuum, and that photographs can be simple copies, derivative works, or original works:

“[…] it is submitted that a person who makes a photograph merely by placing a drawing or painting on the glass of a photocopying machine and pressing the button gets no copyright at all; but he might get a copyright if he employed skill and labour in assembling the thing to be photocopied, as where he made a montage.”

Various aspects of this continuum have already been explored in the courts. Justice Neuberger, in the decision at Antiquesportfolio.com v Rodney Fitch & Co. held that a photograph of a three-dimensional object would be copyrightable if some exercise of judgement of the photographer in matters of angle, lighting, film speed, and focus were involved. That exercise would create an original work. Justice Oliver similarly held, in Interlego v Tyco Industries, that “[i]t takes great skill, judgement and labour to produce a good copy by painting or to produce an enlarged photograph from a positive print, but no-one would reasonably contend that the copy, painting, or enlargement was an ‘original’ artistic work in which the copier is entitled to claim copyright. Skill, labour or judgement merely in the process of copying cannot confer originality.”.

In 2000 the Museums Copyright Group, a copyright lobbying group, commissioned a report and legal opinion on the implications of the Bridgeman case for the UK, which stated:

“Revenue raised from reproduction fees and licensing is vital to museums to support their primary educational and curatorial objectives. Museums also rely on copyright in photographs of works of art to protect their collections from inaccurate reproduction and captioning… as a matter of principle, a photograph of an artistic work can qualify for copyright protection in English law”. The report concluded by advocating that “museums must continue to lobby” to protect their interests, to prevent inferior quality images of their collections being distributed, and “not least to protect a vital source of income”.

Several people and organizations in the U.K. have been awaiting a test case that directly addresses the issue of copyrightability of exact photographic reproductions of works in other media. The commonly cited legal case Bridgeman Art Library v. Corel Corp. found that there is no originality where the aim and the result is a faithful and exact reproduction of the original work. The case was heard twice in New York, once applying UK law and once applying US law. It cited the prior UK case of Interlego v Tyco Industries (1988) in which Lord Oliver stated that “Skill, labour or judgement merely in the process of copying cannot confer originality.”

“What is important about a drawing is what is visually significant and the re-drawing of an existing drawing […] does not make it an original artistic work, however much labour and skill may have gone into the process of reproduction […]”

The Interlego judgement had itself drawn upon another UK case two years earlier, Coca-Cola Go’s Applications, in which the House of Lords drew attention to the “undesirability” of plaintiffs seeking to expand intellectual property law beyond the purpose of its creation in order to create an “undeserving monopoly”. It commented on this, that “To accord an independent artistic copyright to every such reproduction would be to enable the period of artistic copyright in what is, essentially, the same work to be extended indefinitely… “

The Bridgeman case concluded that whether under UK or US law, such reproductions of copyright-expired material were not capable of being copyrighted.

The unsuccessful plaintiff, Bridgeman Art Library, stated in 2006 in written evidence to the House of Commons Committee on Culture, Media and Sport that it was “looking for a similar test case in the U.K. or Europe to fight which would strengthen our position”.

The National Portrait Gallery is a non-departmental public body based in London England and sponsored by the Department for Culture, Media and Sport. Founded in 1856, it houses a collection of portraits of historically important and famous British people. The gallery contains more than 11,000 portraits and 7,000 light-sensitive works in its Primary Collection, 320,000 in the Reference Collection, over 200,000 pictures and negatives in the Photographs Collection and a library of around 35,000 books and manuscripts. (More on the National Portrait Gallery here)

The gallery’s solicitors are Farrer & Co LLP, of London. Farrer’s clients have notably included the British Royal Family, in a case related to extracts from letters sent by Diana, Princess of Wales which were published in a book by ex-butler Paul Burrell. (In that case, the claim was deemed unlikely to succeed, as the extracts were not likely to be in breach of copyright law.)

Farrer & Co have close ties with industry interest groups related to copyright law. Peter Wienand, Head of Intellectual Property at Farrer & Co., is a member of the Executive body of the Museums Copyright Group, which is chaired by Tom Morgan, Head of Rights and Reproductions at the National Portrait Gallery. The Museums Copyright Group acts as a lobbying organization for “the interests and activities of museums and galleries in the area of [intellectual property rights]”, which reacted strongly against the Bridgeman Art Library v. Corel Corp. case.

Wikimedia Commons is a repository of images, media, and other material free for use by anyone in the world. It is operated by a community of 21,000 active volunteers, with specialist rights such as deletion and blocking restricted to around 270 experienced users in the community (known as “administrators”) who are trusted by the community to use them to enact the wishes and policies of the community. Commons is hosted by the Wikimedia Foundation, a charitable body whose mission is to make available free knowledge and historic and other material which is legally distributable under US law. (More on Commons here)

The legal threat also sparked discussions of moral issues and issues of public policy in several Internet discussion fora, including Slashdot, over the weekend. One major public policy issue relates to how the public domain should be preserved.

Some of the public policy debate over the weekend has echoed earlier opinions presented by Kenneth Hamma, the executive director for Digital Policy at the J. Paul Getty Trust. Writing in D-Lib Magazine in November 2005, Hamma observed:

“Art museums and many other collecting institutions in this country hold a trove of public-domain works of art. These are works whose age precludes continued protection under copyright law. The works are the result of and evidence for human creativity over thousands of years, an activity museums celebrate by their very existence. For reasons that seem too frequently unexamined, many museums erect barriers that contribute to keeping quality images of public domain works out of the hands of the general public, of educators, and of the general milieu of creativity. In restricting access, art museums effectively take a stand against the creativity they otherwise celebrate. This conflict arises as a result of the widely accepted practice of asserting rights in the images that the museums make of the public domain works of art in their collections.”

He also stated:

“This resistance to free and unfettered access may well result from a seemingly well-grounded concern: many museums assume that an important part of their core business is the acquisition and management of rights in art works to maximum return on investment. That might be true in the case of the recording industry, but it should not be true for nonprofit institutions holding public domain art works; it is not even their secondary business. Indeed, restricting access seems all the more inappropriate when measured against a museum’s mission — a responsibility to provide public access. Their charitable, financial, and tax-exempt status demands such. The assertion of rights in public domain works of art — images that at their best closely replicate the values of the original work — differs in almost every way from the rights managed by the recording industry. Because museums and other similar collecting institutions are part of the private nonprofit sector, the obligation to treat assets as held in public trust should replace the for-profit goal. To do otherwise, undermines the very nature of what such institutions were created to do.”

Hamma observed in 2005 that “[w]hile examples of museums chasing down digital image miscreants are rare to non-existent, the expectation that museums might do so has had a stultifying effect on the development of digital image libraries for teaching and research.”

The NPG, which has been taking action with respect to these images since at least 2005, is a public body. It was established by Act of Parliament, the current Act being the Museums and Galleries Act 1992. In that Act, the NPG Board of Trustees is charged with maintaining “a collection of portraits of the most eminent persons in British history, of other works of art relevant to portraiture and of documents relating to those portraits and other works of art”. It also has the tasks of “secur[ing] that the portraits are exhibited to the public” and “generally promot[ing] the public’s enjoyment and understanding of portraiture of British persons and British history through portraiture both by means of the Board’s collection and by such other means as they consider appropriate”.

Several commentators have questioned how the NPG’s statutory goals align with its threat of legal action. Mike Masnick, founder of Techdirt, asked “The people who run the Gallery should be ashamed of themselves. They ought to go back and read their own mission statement[. …] How, exactly, does suing someone for getting those portraits more attention achieve that goal?” (external link Masnick’s). L. Sutherland of Bigmouthmedia asked “As the paintings of the NPG technically belong to the nation, does that mean that they should also belong to anyone that has access to a computer?”

Other public policy debates that have been sparked have included the applicability of U.K. courts, and U.K. law, to the actions of a U.S. citizen, residing in the U.S., uploading files to servers hosted in the U.S.. Two major schools of thought have emerged. Both see the issue as encroachment of one legal system upon another. But they differ as to which system is encroaching. One view is that the free culture movement is attempting to impose the values and laws of the U.S. legal system, including its case law such as Bridgeman Art Library v. Corel Corp., upon the rest of the world. Another view is that a U.K. institution is attempting to control, through legal action, the actions of a U.S. citizen on U.S. soil.

David Gerard, former Press Officer for Wikimedia UK, the U.K. chapter of the Wikimedia Foundation, which has been involved with the “Wikipedia Loves Art” contest to create free content photographs of exhibits at the Victoria and Albert Museum, stated on Slashdot that “The NPG actually acknowledges in their letter that the poster’s actions were entirely legal in America, and that they’re making a threat just because they think they can. The Wikimedia community and the WMF are absolutely on the side of these public domain images remaining in the public domain. The NPG will be getting radioactive publicity from this. Imagine the NPG being known to American tourists as somewhere that sues Americans just because it thinks it can.”

Benjamin Crowell, a physics teacher at Fullerton College in California, stated that he had received a letter from the Copyright Officer at the NPG in 2004, with respect to the picture of the portrait of Isaac Newton used in his physics textbooks, that he publishes in the U.S. under a free content copyright licence, to which he had replied with a pointer to Bridgeman Art Library v. Corel Corp..

The Wikimedia Foundation takes a similar stance. Erik Möller, the Deputy Director of the US-based Wikimedia Foundation wrote in 2008 that “we’ve consistently held that faithful reproductions of two-dimensional public domain works which are nothing more than reproductions should be considered public domain for licensing purposes”.

Contacted over the weekend, the NPG issued a statement to Wikinews:

“The National Portrait Gallery is very strongly committed to giving access to its Collection. In the past five years the Gallery has spent around £1 million digitising its Collection to make it widely available for study and enjoyment. We have so far made available on our website more than 60,000 digital images, which have attracted millions of users, and we believe this extensive programme is of great public benefit.
“The Gallery supports Wikipedia in its aim of making knowledge widely available and we would be happy for the site to use our low-resolution images, sufficient for most forms of public access, subject to safeguards. However, in March 2009 over 3000 high-resolution files were appropriated from the National Portrait Gallery website and published on Wikipedia without permission.
“The Gallery is very concerned that potential loss of licensing income from the high-resolution files threatens its ability to reinvest in its digitisation programme and so make further images available. It is one of the Gallery’s primary purposes to make as much of the Collection available as possible for the public to view.
“Digitisation involves huge costs including research, cataloguing, conservation and highly-skilled photography. Images then need to be made available on the Gallery website as part of a structured and authoritative database. To date, Wikipedia has not responded to our requests to discuss the issue and so the National Portrait Gallery has been obliged to issue a lawyer’s letter. The Gallery remains willing to enter into a dialogue with Wikipedia.

In fact, Matthew Bailey, the Gallery’s (then) Assistant Picture Library Manager, had already once been in a similar dialogue. Ryan Kaldari, an amateur photographer from Nashville, Tennessee, who also volunteers at the Wikimedia Commons, states that he was in correspondence with Bailey in October 2006. In that correspondence, according to Kaldari, he and Bailey failed to conclude any arrangement.

Jay Walsh, the Head of Communications for the Wikimedia Foundation, which hosts the Commons, called the gallery’s actions “unfortunate” in the Foundation’s statement, issued on Tuesday July 14:

“The mission of the Wikimedia Foundation is to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. To that end, we have very productive working relationships with a number of galleries, archives, museums and libraries around the world, who join with us to make their educational materials available to the public.
“The Wikimedia Foundation does not control user behavior, nor have we reviewed every action taken by that user. Nonetheless, it is our general understanding that the user in question has behaved in accordance with our mission, with the general goal of making public domain materials available via our Wikimedia Commons project, and in accordance with applicable law.”

The Foundation added in its statement that as far as it was aware, the NPG had not attempted “constructive dialogue”, and that the volunteer community was presently discussing the matter independently.

In part, the lack of past agreement may have been because of a misunderstanding by the National Portrait Gallery of Commons and Wikipedia’s free content mandate; and of the differences between Wikipedia, the Wikimedia Foundation, the Wikimedia Commons, and the individual volunteer workers who participate on the various projects supported by the Foundation.

Like Coetzee, Ryan Kaldari is a volunteer worker who does not represent Wikipedia or the Wikimedia Commons. (Such representation is impossible. Both Wikipedia and the Commons are endeavours supported by the Wikimedia Foundation, and not organizations in themselves.) Nor, again like Coetzee, does he represent the Wikimedia Foundation.

Kaldari states that he explained the free content mandate to Bailey. Bailey had, according to copies of his messages provided by Kaldari, offered content to Wikipedia (naming as an example the photograph of John Opie‘s 1797 portrait of Mary Wollstonecraft, whose copyright term has since expired) but on condition that it not be free content, but would be subject to restrictions on its distribution that would have made it impossible to use by any of the many organizations that make use of Wikipedia articles and the Commons repository, in the way that their site-wide “usable by anyone” licences ensures.

The proposed restrictions would have also made it impossible to host the images on Wikimedia Commons. The image of the National Portrait Gallery in this article, above, is one such free content image; it was provided and uploaded to the Wikimedia Commons under the terms of the GNU Free Documentation Licence, and is thus able to be used and republished not only on Wikipedia but also on Wikinews, on other Wikimedia Foundation projects, as well as by anyone in the world, subject to the terms of the GFDL, a license that guarantees attribution is provided to the creators of the image.

As Commons has grown, many other organizations have come to different arrangements with volunteers who work at the Wikimedia Commons and at Wikipedia. For example, in February 2009, fifteen international museums including the Brooklyn Museum and the Victoria and Albert Museum established a month-long competition where users were invited to visit in small teams and take high quality photographs of their non-copyright paintings and other exhibits, for upload to Wikimedia Commons and similar websites (with restrictions as to equipment, required in order to conserve the exhibits), as part of the “Wikipedia Loves Art” contest.

Approached for comment by Wikinews, Jim Killock, the executive director of the Open Rights Group, said “It’s pretty clear that these images themselves should be in the public domain. There is a clear public interest in making sure paintings and other works are usable by anyone once their term of copyright expires. This is what US courts have recognised, whatever the situation in UK law.”

The Digital Britain report, issued by the U.K.’s Department for Culture, Media, and Sport in June 2009, stated that “Public cultural institutions like Tate, the Royal Opera House, the RSC, the Film Council and many other museums, libraries, archives and galleries around the country now reach a wider public online.” Culture minster Ben Bradshaw was also approached by Wikinews for comment on the public policy issues surrounding the on-line availability of works in the public domain held in galleries, re-raised by the NPG’s threat of legal action, but had not responded by publication time.



California releases search warrant for Wells Fargo bank on identity theft

California releases search warrant for Wells Fargo bank on identity theft

By 5Mu3Ji

Saturday, October 22, 2016

The California Department of Justice on Wednesday released the warrant and affidavit of a criminal investigation of the Wells Fargo bank. The State of California served the warrant on October 5 to search the San Francisco headquarters of Wells Fargo for felonious activities related to identity theft.

The warrant said property to be seized at the bank’s San Francisco headquarters was related to the unauthorized creation of accounts by Wells Fargo employees including the names of individuals for the accounts; account information and fees; the names of employees and their managers who created accounts without the consent of the Wells Fargo customers in question; and all communications including emails referencing the unauthorised accounts.

California Attorney General Kamala Harris’s criminal probe is part of an increasing list of officials nationwide questioning the business practices of Wells Fargo such as California State Treasurer John Chiang who announced a one-year suspension of State investment with the bank on September 28; Illinois State Treasurer Mike Frerichs followed suit with a year-long ban on October 3; and Democratic United States Senators Bob Menendez of New Jersey, Jeff Merkley of Oregon, and Elizabeth Warren of Massachusetts, who wrote to the U.S. Security Exchanges Commission (SEC) suggesting investigation on September 29.



Ontario Votes 2007: Interview with Green candidate Doug Anderson, Whitby-Oshawa

Ontario Votes 2007: Interview with Green candidate Doug Anderson, Whitby-Oshawa

By 5Mu3Ji

Monday, September 24, 2007

Doug Anderson is running for the Green Party of Ontario in the Ontario provincial election, in the Whitby-Oshawa riding. Wikinews’ Nick Moreau interviewed him regarding his values, his experience, and his campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.



Choosing The Best Makeup School To Become A Professional Makeup Artist}

By 5Mu3Ji

Choosing the Best Makeup School to Become a Professional Makeup Artist


Stephen Daniels

If you are an artist at heart and consider the human face and body an excellent canvass, you should know there is a growing need for highly skilled professional makeup artists. Although the film industry is a major employer, digital media, commercial photographers and high definition television also provide increasing opportunities. If you prefer to find work in your own home town, be assured there is well-paying work in the bridal industry, local fashion shows, advertising, public relations print work, TV news, local cable stations, PBS, covers and editorials for your local city magazine and newspapers and catalogs, as well as working with photographers. However, your success in this field begins with finding the right makeup school for you.

Decades ago the only makeup artist training available was an apprenticeship with someone already working in the industry. Today enrollment at a good makeup artist training school is essential for your career development. But before you sign on the dotted line, do your research:

• Check out the Better Business Bureau ratings, as well as their records of complaints and resolutions.

• What is the employment record for graduates? Are students taught how to market themselves after graduation? Are real models provided so students don’t waste time and money working only on each other?

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• As you peruse the school’s web site, do you see testimonials from former students and can you get all the information you need? Are there images of work done by students and instructors? You may want to contact some of them for feedback.

• What type of experience do the instructors have? Is the academy’s owner knowledgeable about the industry and actually active in the instruction of the majority of classes?

• Is there training in your area of interest? For instance, if you’d like a career doing fashion, advertising, TV commercials and print, then a school that teaches special FX is not the best place for you.

• Is the curriculum current? Technology has changed significantly in the last few years with the advent of digital and high definition (HD) mediums, making airbrushing absolutely essential. It is impossible to really compete in the industry today without proficiency at airbrushing.

• Check on the size of the classes. Small classes allow for more individual attention. Is there an ‘open door policy’ whereby prior students can retake any part of the program again at no additional cost, if more help in a particular area is needed?

• In order to apply for jobs, prospective clients want to see a professional portfolio. It’s important to check if actors and models are provided to work on, and if so how many? Photos of your friends will hardly impress prospective clients. If a photographer is provided ask to see their published work. Even the best makeup artist in the world will find it impossible to compete in the industry without an extensive, professional portfolio.

A good way to judge any product purchase is to “try before you buy.” So, go ahead and apply that principle to your decision making. Ask if you can observe a class before you enroll.

Of course, you will want to know the cost and duration of the training. Some schools offer accelerated short term courses while others’ programs are much longer. Their prices reflect this difference, although longer classes do not necessarily equate to better instruction. Needless to say, more advanced specialty areas, such as building prosthetics for the cinema, will entail longer study and more tuition.

At one time, those who sought employment in the film industry were well advised to get their educations and reside in and around Hollywood. As a result, some of the best makeup academies can still be found in the Los Angeles area. But now that this industry is global, employment opportunities are as well. Regardless of where you ultimately will seek employment, the reputation of your school and instructors will be important.

Choosing the right school is the first and perhaps the most important business decision in your professional makeup artist career. Do your homework to give yourself the best advantage for future success and a rewarding future.

When looking for a growing industry and one of the top-rated

makeup artist schools

in the country, author Stephen Daniels recommends Award Makeup School. Their small classes, competitive prices, great models and savvy instructors ensure that every student gets hands-on experience and a portfolio to begin their career.

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Alice Cooper says reality show ‘The Osbournes’ ruined Ozzy Osbourne’s career

Alice Cooper says reality show ‘The Osbournes’ ruined Ozzy Osbourne’s career

By 5Mu3Ji

Friday, November 2, 2007

Solo American hard shock rock artist Alice Cooper has commented that The Osbournes, a reality TV show starring heavy metal vocalist Ozzy Osbourne, ruined the career of the Black Sabbath frontman.

Cooper said he felt that by allowing daily life in his house to be broadcast to the world, he destroyed the mystery that had previously surrounded him.

“Most fans thought he lived in a big, dark castle with skeletons in the cellar.” said Cooper.

“When that show aired they knew he was just some guy who potters around his Beverly Hills mansion.

“It was meant to be some kind of comedy but the audience was laughing at Ozzy, not with him. And as a close friend, that made me very sad.”

Meanwhile, both artists have related news this week. Finnish solo symphonic power metal soprano Tarja Turunen, most famous as the former Nightwish frontwoman, has released a 30-second preview of her cover version of Alice Cooper’s top ten hit Poison, which will feature on her upcoming album My Winter Storm.

Cooper himself has stated that during an upcoming tour he will replicate a mock hanging for the first time after a near-fatal accident performing the same stunt in 1988, only this time he will also be wearing a straightjacket.

Meanwhile, Ozzy has blamed illegal music downloads for poor sales of his latest album Black Rain, saying that the low sales have forced him into a 90-gig world tour that he has admitted he can barely cope with.



Wikinews Shorts: January 20, 2012

Wikinews Shorts: January 20, 2012

By 5Mu3Ji

A compilation of brief news reports for Friday, January 20, 2012.


  • 1 Dissident Republicans bomb Londonderry
  • 2 Kodak files for bancruptcy
  • 3 Republican contender Newt Gingrich refutes open marriage accusations
  • 4 Dolce & Gabbana make apology over Hong Kong photography ban
  • 5 Magnitude 6.1 earthquake strikes New Zealand, no damage reported

If you believe any of these stories deserves more in-depth coverage, feel free to write a full article on the issues raised.

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