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Theresa Ruth Howard Dancer/Writer/Teacher Theresa Ruth Howard began her professional dance career with the Philadelphia Civic Ballet Company at the age of twelve. Later she joined the Dance Theatre of Harlem where she had the opportunity to travel extensively throughout the United States, Europe and Africa. She has worked with choreographer Donald Byrd as a soloist in his staging of New York City Opera's Carmina Burana, his critically acclaimed Harlem Nutcracker, as well as the controversial domestic violence work The Beast. She was invited to be a guest artist with Complexions: A Concept in their 10th anniversary season. In 2004 she became a founding member of Armitage Gone! Dance. As a writer Ms. Howard has contributed to Russell Simmons’ One World magazine (art), and The Source (social politics), as well as Pointe and Dance Magazine. While teaching in Italy for the International Dance Association she was asked to become a contributor for the premiere Italian dance magazine Expressions. Her engaging, no nonsense writing style caught the eye of both the readers of Dance Magazine and its Editor in Chief who not only made her a contributing editor and has collaborated with Ms. Howard in See and Say Web-reviews. Her articles about body image prompted her to develop a workshop for young adult (dancers and non-dancers) My Body My Image that addresses their perceptions both positive and negative about their bodies and endeavoring to bring them closer to a place of Acceptance and Appreciation. She recently launched a blog by the same name to reach a broader audience (mybodymyimage.com) As a teacher Ms. Howard has been an Artist in Residence at Hollins University in and New Haven University in addition to teaching at Sarah Lawrence College, Marymount, Shenandoah, and Radford Universities, and the historical American Dance Festival. As a result of her work at ADF Ms. Howard was invited to Sochi, Russia to adjudicate the arts competition Expectations of Europe and teach master classes, and in Burundi, Africa where she coached and taught the Burundi Dance Company. Currently she on faculty at The Ailey School but also extensively throughout Italy and Canada. Ms. Howard's belief in the development, and nurturing of children lead her to work with at risk youth. At the Jacob Riis Settlement House in Queensbridge New York, she founded S.I.S.T.A (Socially Intelligent Sisters Taking Action) a mentoring program for teen-age girls where she worked to empower them to become the creators of their destinies. In addition she developed a dance program, which lead to an exchange with the Dance Theatre of Harlem. Through her teaching and travels Ms. Howard began to observe a universal disenchantment and disconnection in teenagers that disturbed her, thus she set out to address it. Combining her philosophies of life and teaching, with the skills she garnered through outreach programs with diverse communities, she developed the personal development workshop Principles of Engagement: Connecting Youth to the Infinite Possibilities Within which gives teens a set of workable tools to increase their levels of success at tasks, and goals not only in dance, and all aspect of their lives. Theresa Ruth Howard is certainly diverse and multifaceted as an artist, and is moved to both write and create work; however she sees every student she encounters as a work in progress, and the potential to change the world one person at a time. The only was to make this world a better place it to be better people in it!

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See the Smallest Waist in History 13 inches–Crazy

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Before their marriage Ethel was a plain, unsophisticated twenty-three year old girl who wore the shapeless 1920s dresses that William despised. […] One epochal day, when William put his arm around Ethel’s waist she asked “darling, can you feel any difference?”. He could: a pair of corsets that tied Ethel into 24 inches, more or less her natural waist line. The process of Ethel’s waist modification began. Initially Ethel was satisfied with wearing a corset only during the day, but William convinced her to keep it on while sleeping.

 

 

 

 

 

 

 

 

 

After years of corsets, Ethel finally achieved a Guinness Book of World Records-worthy 13-inch waist, as well as a signature look involving a variety of facial piercings. We have an exclusive pic below, as well as more on Vogue Italia‘s website.

 

Vogue Italia  used Ethel as inspiration for their their September issue, featuring Stella Tenant.

 

“Her waist has been photoshopp­ed into another dimension,” commented nermz345. “did you all check out her waist???” asked candyazzbb. “I have bracelets larger than that corset girdle thing,” noted mamysmom1.

I have one question though, the editor of Vogue Italia Franca Sozzani, made a huge impact when she put full figured models on the cover back in June and she has a initiative about anti- anorexia and healthier body images for models and women, my question is: does this cover (even though it references a person) give a negative body image to women? What do you think?

 

Read more on Huffington Post

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Venus Williams Diagnosed with Incurable Disease


This morning the tennis Star revealed that the mystery of her lack of energy, stamina and difficulty breathing was not due to asthma as previously diagnosed but rather a disease called Sjogren’s Syndrome.

I have long been a fan of Venus Williams, both as an athlete and a woman, her class, grace, humility and authenticity have always made her a stand out, and in this situation the same is true. Even while facing the reality that she will have to learn to live with this condition that directly effects not only her life but could threaten her tennis career she has the capability to have a positive outlook, and perspective about it.

She is the embodiment of the 3 principles of this blog, Acceptance, Appreciation and Respect for one’s body. To think that she as a highly functioning physical professional can voice appreciation for the diagnosis – even with that being an incurable condition, because that means that now she can start to deal with it, is incredible. We all could learn something from the way that Venus is handling this news. My prayers are with her and her family, and I hope that she finds a balance soon so she can get back on the court serving aces and winning Grand Slams soon!!!


 

I think I’ve had issues with Sjogren’s for a while. It just wasn’t diagnosed,” Williams said. “The good news for me is now I know what’s happening.”
Sjogren’s is usually triggered by an infection. The symptoms vary, but usually include dryness in the mouth and eyes, joint and muscle inflammation, and fatigue.
“I had trouble with stamina,” Williams said, adding that her doctor diagnosed her with exercise-induced asthma four years ago. But it wasn’t until this summer, when she developed more definite symptoms, that an accurate diagnosis was made.
“I had swelling and numbness and fatigue, which was really debilitating. I just didn’t have any energy,” Williams said. “And it’s not that you don’t have energy; you just feel beat up.”
Deciding to drop out of the U.S. Open wasn’t easy, Williams said.
“… I just felt like, ‘Okay, I could walk out on the court. I’m a tough woman, I’m a tough athlete, I’ve played through a lot of things.’ But what kind of match it would be?” she said. “It was a tough decision, but at the same time I’ve had to come to accept what I’m going through.”
Williams said she’s glad to finally have an explanation for her mysterious, debilitating symptoms.
“It’s a huge relief because as an athlete everything is physical for me — everything is being fit and being in shape,” she said. “I think the best thing that could have happened for me this summer was to feel worse so I could feel better.”

While Sjogren’s has no cure, there are treatments that make symptoms more manageable: Artificial tears and saliva stimulants can ease dryness; anti-inflammatory drugs can reduce joint and muscle inflammation; and certain drugs can help quell the overactive immune response.
“Sjogren’s is something you live with your whole life,” Williams said. “The good news for me is now I know what’s happening after spending years not knowing… I feel like I can get better and move on.”
Williams said she “absolutely” plans to return to tennis.

[From ABCNews.com]

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Giuliana Rancic talks about Rimes being too THIN – Who’s the Pot- Who’s the Kettle?

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There are times when the irony of a thing just stupefies you! The fact that Giuliana Rancic would dare to talk about someone looking better “curvier” is just plain madness. This from a woman who was nervous about gaining weight in order to aid her chances at getting pregnant, who’s husband on vacation had to make a deal with her that she would eat everything, this from a woman (forgive me but I am a bit peeved- and it’s no secret that she annoys me) who looks skeletal, has the audacity to say that someone (who actually looks to be heavier than her) looks better with curves. But I can see something like that coming out of her mouth as she is one of the members of E’s Fashion Police where all they do is sit and rag on people, what they wear and how they look with little to no authority- if one can even have the authority to do that. Madness! What’s even crazier is that these grown women go back and forth about the topic like it’s a “real” thing, like someone talked about their Mama or baby or something. Either grow up and act your ages or I’ll have to give you a snack of cookies and whole milk! (that’s enough to scare them in to keeping quiet for a while)

hosted by TooFab

When talking about her new restaurant, Rancic recently told The Huffington Post she’d love to feed Rimes there, saying “She lost a lot of weight from all the stress in her life. She seems a little thin right now and I think she looks great when she’s a bit curvier.”

She seems a little thin right now and I think she looks great when she’s a bit curvier.”

0830_rimes_launch
Last night, LeAnn heard about Rancic’s weight talk and went straight to her favorite place to respond: Twitter.

“@GiulianaRancic hey, we should go to dinner sometime,” she wrote. “You get criticized all the time for how small you are. You can see just HOW much I eat and maybe put a stop to this crazy “shrinking” once and for all … Then we should workout together! Good luck with your restaurant!!!!”

After one of LeAnn’s followers said Rimes was being rude, she responded “How is that rude?! It’s the truth … I just don’t appreciate her comments, so I really would love for her to hang with me, see who I am. I am a person you know.”

Rancic has yet to respond … but it’s interesting that Giuliana, who can’t weigh too much more than Rimes, would single out the country singer in the first place.

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Wate-On: “True Beauty Includes a Full Figure”

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Today when the female ideal body form is that of less then nothing – meaning a size 0, that there was a time when women were encouraged to put weight on. We are well aware that era to era, sometimes decade to decade the popular image morphs. Think about the curvy nipped waist and pointed breasted silhouettes of the 50’s to the stick figure bra-less hippie of the sixties. The “ideal” female body type is subject to change as quickly as her hemline season to season. I was forwarded this article about a product for weight gain- that’s right weight GAIN from our own Taylor Owen Ramsey. Check out the marketing strategy…
by Lisa Wade, 

A couple of years ago we posted a series of weight gain ads from the 1940s, ’50s, and ’60s.  Yes, weight gain ads.  Say it a few times, see how it rolls unfamiliarly around your tongue.  If you consume popular culture, it’s rare to come across anyone suggesting that there’s such a thing as women who are too skinny. Quite the opposite. Yet, during the middle decades of the 1900s, being too skinny was a problem that women worried about.  And Wate-On was there to help them achieve the “glamorous curves” of “popular” girls.

Jeremiah gave us a great excuse to re-post this already-posted material.  He sent in an ad for Wate-On featuring Raquel Welch:

There are interesting conversations to be had here.  Is pressure to be full-figured any different than pressure to be thin? It’s just another kind of pressure to conform to a particular kind of body.  Is the mid-century ideal different than the contemporary ideal of “curvy” women? In other words, are these women any less thin, or any less hourglass-figured, than the supposedly curvy icons of today: Beyonce, JLo, etc?  Are there any products for women who think they are too skinny today?  Can we make an interesting comparison between the capitalist and the medical solution to “too skinny”?  Other thoughts?

*Check it if you want to be popular!!–you can’t afford to be Skinny!”

I

They didn’t miss the African American Market. Thick Chicks!

There are more ads here

*       *       *       *       *      *      *

What I find so interesting is how susceptible woman are to being told how to look, and then heeding it. I can sort of understand the pressure to comply in other eras when a woman’s survival, and stability hinged on marrying and being taken care of, but today? Women have won the right to vote, held up the economy in war times, burned bras in the name of equality, they have become power players in business, media, science, technology and government, some while being wives and mothers. I think that the female gender has proven that it is more than capable, it is almost overqualified, and yet tell a woman that she is ugly, fat, or too thin and it is a instantaneous  reduction of her being. It’s fascinating really. And we like to think that women do it for the approval of  men, which for a large part is true, but not entirely. We also do it to be accepted and validated by other women as well. I recall in 1988 when Oprah Winfrey (who now has risen to have her OWN bloody network HELLO!) was told by Editor in Chief of American Vogue Anna Wintour that she would have to lose weight to be on the cover of the magazine. Winfrey was promoting her heart project the film Beloved, AND SHE DID! it still kinda pisses me off to this day, the fact that Anna Wintour made that “suggestion” and that Oprah didn’t just to a Tyra and tell her to kiss her Fat Ass! but here is an example of two independent, juggernaut women reducing others, and themselves to pounds and measurements. The question is when do we start to dictate for ourselves what WE want to look like? When do we say “screw you, I look fabulous” whether we are curvy, stickly, small breasted, dark, light, lumpy, bumpy , rumpy. When do we begin to own our bodies and our images? People can try to tell and sell you anything, only you have the power to believe or buy it. Ladies, this one is on us! we have to do our work….

Just saying….

 

via Hollywood Scoop

 

 Image by wenn.com

 

What happens when the queen of fashion meets the queen of television? In the case of Anna Wintour and Oprah, the discussion was about weight loss.

During an interview with 60 Minutes, Anna Wintour, who was the inspiration for the Miranda Priestly character in The Devil Wears Prada, talks candidly about being a “bitch,” a “perfectionist” and talks about the time she asked Oprah to lose weight before appearing in Vogue magazine.

“It was a very gentle suggestion,” Anna said when asked about the weight loss stories.

“I went to Chicago to visit Oprah, and I suggested that it might be an idea that she lose a little bit of weight before she appeared in the magazine,” said Wintour.

When asked how Oprah reacted to the “gentle suggestion,” Anna said, “She was a trooper. She totally welcomed the idea. She went on a very stringent diet. It was one of our most successful covers ever.”

 

Dance Studio, Donnish Delights

A Little Death- When “Dance Identified” what happens when it’s time to Retire?

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By Courtnay Veazey

It’s been seven years since I’ve consistently taken ballet classes, yet I still identify myself as a dancer, a bunhead, a ballerina, a terpsichorean, a lover of movement. However, this identification has lost its influence as other aspects of my post-performing identity have matured and blossomed. Identifying yourself as a dancer has its pros and cons. Pros include an intimate connection with your body, an automatic link to a tight-knit community, a spirit of intense dedication, and the joys of performing. Cons usually occur during times of transition, such as injury, realizing that you will not become a professional dancer, or retirement. All of those transitions deal with a loss, and as with any other loss in your life, you will grieve and feel heartbroken. To illustrate these powerful emotions of loss and grief felt by transitioning dancers, Kevin McKenzie, the artistic director for the American Ballet Theatre, said, “The retiring dancer and heartbroken lover are never more alike than when their relationships end” (Jeffri, 2005, p. 341).

 

I felt lost, confused, and grieved my senior year of high school when I realized that I would no longer be spending at least 15 hours a week in the ballet studio – my haven. I cried throughout my entire warm-up class before my final performance with the Ballet Memphis Junior Company. I knew that part of my identity was dying, but I chose to recognize that this loss would leave room for growth and new opportunities in my life. Ironically, the work ethic and dedication I learned from ballet would help me overcome the loss of ballet as my predominant self-identifier.

 

One of the most difficult times of transition a professional dancer will face is retirement – especially since it usually occurs at a young age. Most dancers end their careers before the age of 40. According to Pickman (1987), dancers “face retirement from dance with little knowledge or formal preparation for other careers” (p. 200). Along with lack of preparation regarding their transition, retiring dancers experience strong emotions, such as anger, frustration, depression, fear, and grief (Doerr, 1995; Jeffri, 2005; Pickman, 1987; van Staden, Myburgh, & Poggenpoel, 2009). An international survey conducted in 2000 by Columbia University’s Research Center for Arts and Culture confirmed “the common notion that the end of a career in dance is ‘one of life’s little deaths’ that dancers often say they must mourn the loss of before they can continue in another career” (Jeffri, 2005, p. 346). This same survey also confirmed that dancers feel more satisfied in their post-retirement careers if they fully prepare themselves for retirement compared to those dancers who do not prepare themselves (Jeffri, 2005).

 

South African researchers conducted semi-structured interviews with professional ballet dancers and discovered that retiring dancers usually do not view retirement as a growth opportunity (van Staden et al., 2009). They become intimately connected with the grief aspect of this transition and the fear that normally comes with a change and forget about the growth aspect and the talents and skills they have to offer. Also, upon retirement, dancers experience exclusion and self-doubt as a result of finding “themselves in competition with other ‘normal’ people, who are usually in the middle of their careers or even picking up the results of an already established career” (Roncaglia, 2006, p. 184; Drahota & Eitzen, 1995).

 

Feelings of being unprepared and feelings of anger, frustration, depression, fear, grief, loneliness, and self-doubt can be overcome by processing those emotions with a mentor and/or a counselor. Thankfully, the dance community recognizes this need for support and encouragement, and a wonderful organization exists specifically for dancers facing career transitions. This organization is Career Transition for Dancers. http://www.careertransition.org/Programs/

 

Dancers experience intense emotions when processing retirement because they tend to sacrifice personal development (Roncaglia, 2006), which leads to weakened self-identities (van Staden et al., 2009). In other words, dancers forfeit time with friends, family, and educational institutions (i.e. high school and/or college) to solely focus on dance, which in reality is only a small part of their identities. Yes, dance is an important aspect of their lives, but due to intense training, rehearsing, touring, and performance schedules, dancers sometimes forget to develop other aspects of their identities. This intense focus on only one aspect of their lives leads to much more intense loss when retirement occurs.

 

So, pre-professional and professional dancers, take time to focus on the other parts of who you are. Take a night class at a local or online university. Become involved with different volunteer efforts. Develop hobbies, such as photography, reading, writing, etc. Most importantly, while you’re taking time to focus on these other aspects of your identity, realize that everything you engage in is purposeful and ultimately preparing you in some way for a life off the stage. Some of you younger dancers may be participating in intense training and therefore do not have time to engage in other activities. That’s okay. Just be sure to make an effort to recognize your interests outside the dance realm. The mere knowledge that you have an interest in other things is just as important because those interests could become a secondary career choice in the future. Also, by being able to recognize your other interests now, then you will not be left offstage asking “Well, what else do I like? What do I do now?”

 

Here are a few activities that you can do pre-retirement to help you prepare for and successfully manage the emotional turmoil that can stem from this transition – whether that transition is next year or ten years from now.

 

1. Know what stage you’re experiencing. Drahota & Eitzen (1998) modified Ebaugh’s (1988) role exit theory to make it applicable for professional athletes. I believe their modification is also applicable to professional dancers.

Pre-Stage 1 – Original Doubts: You realize before becoming a professional dancer that this career (or role) would be temporary due to injury, the aging process, and intense competition. Therefore, you plan for another career before becoming a professional dancer. (If you experience this stage, then you typically experience a smoother transition post-retirement and enter directly into Stage 2.)

Stage 1 – First Doubts: You begin to doubt your commitment to being a professional dancer by realizing this role will not last forever. This questioning can occur as a result of burnout, injury, layoff, illness, or company restructuring.

Stage 2 – Seeking Alternatives: You begin looking for and consider alternatives to your current role as a professional dancer.

Stage 3 – The Turning Point: You make a voluntary or involuntary decision to exit your role as a professional dancer. Involuntary decisions occur because of layoffs, career-ending injuries, or illnesses. Also, during this stage, you announce your decision to leave your role and assemble the emotional and social support you need to act on that decision.

Stage 4 – Creating the Ex-Role: You learn how to be you without the role of dancer prominently attached and begin learning how to incorporate your past identity into your present and future identity. This stage is an intense process and takes time. (I’m still learning how to incorporate my identity as a ballerina into my present life.)

Consider the following questions regarding your current stage: How does it feel to be in that stage? What questions do have about the other stages? What do you see yourself doing to successfully move into the next stage? What’s preventing you from doing those things? What emotions do you feel when you think about moving to the next stage?

 

2. Explore your self-identity through a freewriting activity. For ten minutes, write whatever comes into your mind about your self-identity. Don’t stop to critique what you write. Just keep writing as much as you can get down. If you get stuck, keep writing – write ‘I’m stuck,’ or ‘I don’t know what else to write.’ Most importantly, keep your pen moving. After ten minutes, read through what you said. What did you learn about yourself? What are you missing? How will you fulfill those missing components? What are your strengths? How can you use those strengths in areas outside of dance?

 

3. Create a collage that reflects how you presently feel about retirement and how retirement makes you view yourself. After creating the collage and recognizing some of the emotions present in it, say out loud to yourself, “I will not allow retirement to make me feel _____.” Fill in the blank with anything (i.e. lonely, ugly, unimportant, sad).

 

4. Complete the following statement: “If I hadn’t become a dancer, I would have _____.” Explore that variety of interests that you use to fill in that blank via a part-time job, volunteering, or an educational outlet.

 

5. Research the multitude of resources at Career Transition for Dancers – http://www.careertransition.org/OnlineResources/TransitionLinks/ – based upon the area in which you’re lacking information, such as career counseling, resume writing, dance education resources, college guides, performing arts unions, etc.

 

6. Share what you learn with someone – either a fellow dancer or a trusted friend. You are not alone in this process.

 

References

 

Doerr, D. C. (1995). Coping with the emotions of job transition: A model for presentation to

clients. Journal of Career Development, 22(2), 101-107. doi:10.1007/BF02247460

 

Drahota, J. A. T., & Eitzen, D. S. (1998). The role exit of professional athletes. Sociology of

Sport Journal, 15(3), 263-278. Retrieved from SocINDEX with Full Text database.

 

Ebaugh, H. R. F. (1988). Becoming an ex: The process of role exit. Chicago: University of

Chicago Press.

 

Jeffri, J. (2005). After the ball is over. International Journal of Cultural Policy, 11(3), 341-355.

doi:10.1080/10286630500411499

 

Pickman, A. J. (1987). Career transitions for dancers: A counselor’s perspective. Journal of

Counseling & Development, 66(4), 200-201. Retrieved from SocINDEX with Full Text database.

 

Roncaglia, I. (2006). Retirement as a career transition in ballet dancers. International Journal

            for Educational and Vocational Guidance, 6, 181-193. doi:10.1007/s10775-006-9106-0

 

van Staden, A., Myburgh, C. P. H., & Poggenpoel, M. (2009). A psycho-educational model to

enhance the self-development and mental health of classical dancers. Journal of Dance Medicine & Science, 13(1), 20-28. Retrieved from International Bibliography of Theatre & Dance with Full Text database.

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Katy Perry Pretty in Pink at the VMA’s

Clearly Katy is more comfortable with her body these days, judging from her body revealing ensemble at the VMA’s.

 

It’s hard to believe that  young woman who rocks the 1940’s pin up look, had issues with her body as a teen. But then again, the teen yeas are the teen years and in an interview with Rolling Stone Perry talks about developing the cleavage that has become her trademark:

• It took Perry a while to learn to embrace her body. “I started praying for [breasts] when I was, like, 11,” she says. “And God answered that prayer above and beyond, by, like, 100 times, until I was like, ‘Please, stop, God. I can’t see my feet anymore. Please stop!’ I was a lot more rectangular then. I didn’t understand my body. Someone in sixth grade called me ‘Over-the-shoulder boulder holder.’ I didn’t know I could use them. So, what I did was, I started taping them down. How long did I tape them down for? Probably until I was about 19. And, no, I don’t have any psychological pain because of it.”

Clearly, she puts those bad boys front and center of whatever she’s doing. It’s just goes to show you, that often the way we feel about ourselves is a mercurical, changing thing. The way we feel today is not necessarily the way we will feel tomorrow, sometimes it is a phase, like your teens, sometimes you realize that there are more important things to be concerned about, and sometimes, you just stop caring about it. Just as your body changes through time, so do you thoughts about it!! a good lesson.

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Demi Lovato Fires Back at Haters!

 

Demi Lovato presented at the VMA’s and apparently there were a number of Tweeters that had something to say about her weight. Well for those of you who don’t recall, Lovato is just making her reentry into the spotlight after seeking treatment for her eating disorder. So it seems to me a bit insensitive for people to get all hot fingered and tweet about how fat she looked. Truth be told she looked happy, yes she is fuller, but far from “fat”.

Here’s the real question I would like to ask, what if she did show up “fat” I mean rolly polly? What then? Would these tweeters, who obviously are either fans or people who follow her enough to know who she is, and that she was thinner before so I would assume that they might know that she was treated for having an eating disorder, would they hurl such incendiary comments at her and risk what that might do to her recovery? Sadly yes, they probably, would because a “break-down” is great fodder for gossip. I love that Demi stood up for herself and did not break down she tweeted:

“I’ve gained weight.Get over it.That’s what happens when you get out of treatment for AN EATING DISORDER.”

She then erased the tweet and replaced it with :

“Guess what, I’m healthy and happy, and if you’re hating on my weight you obviously aren’t. 🙂 #UNBROKEN”

 

Personally I like the first one. We all need to get past this high school mean girl, jump on the underdog mentality that has become ubiquitous with the internet social media networks. The old adage of “If you don’t have anything nice to say, then don’t say anything at all” should be heeded by all these days. Good for you Demi- stay healthy and happy and keep right on moving, people busy texting and tweeting can’t look up long enough to move forward!!! Good on ya!

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Well I guess Jessica Alba won’t have to Starve herself to regain her Shape

Just prior to giving birth to her second daughter, Jessica Alba talked about her desire to regain her pre-baby body. She mentioned that she has always suffered from body image issues and even battled eating disorders. But having given birth to her daughter Haven apparently her second pregnancy didn’t reek as much havoc on her money making figure as she thought it would. Now in People Magazine she is quoted as saying:

My grandmother was amazing — would go home in the clothes that she wore before she got pregnant with all five of her kids . . . It’s definitely good genetics.”

She also credits being active during her pregnancy for her keeping her in shape both during and after. Congratulations on your new bundle of joy, and remember your health and the baby’s is what is most important. Enjoy her!

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Jenny Craig Strike Back!! Carrie Fisher losed 50 Pounds in 9 Months!!


You have to admit that Jenny Craig does work.Carrie Fisher is the latest spokesperson that the program has transformed. What I like about the program is the fact that they focus on a lifestyle change not just dieting. Fisher equates it to a 12 step program. It seems that even after being spokesman for the program most celebs manage to keep the weight off by learning new tools, and incorporating exercise and portion control into their daily lives, this is a good thing!

Fisher told Today Show’s Ann Curry:

“I want to get back in the metal bikini and just walk around the house like an idiot, you know? Answer the doorbell. ‘What? What is it? Oh, this old thing? I’m just wearing my homestyle metal bikini!’ I’ll just come out with a line of metal bikinis for women over 40.”

check out what Carrie has to say on the Today Show.