text:
Apr 18, 2014|
Tommy talks to Dan Roemer, the Associate Director of the Annenberg Public Policy Center at the University of Pennsylvania
Related Audio:
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Automatically Generated Transcript (may not be 100% accurate)
And Romer joins us right now associate director of the Annenberg bowl and those are the people that found out. That -- when we say associate director of the Annenberg public policy center at the university of count Pennsylvania. Found out that smoking and shows that in the sixties like mad men etc. can actually. You really have more of an effect and guests and Dan on adults and kids because more adults watches these shows I don't know first of welcoming the morning. Track record and tell me tell me what this study is how it was based in what it found. So we went and looked at popular TV shows drama. We're running from 1955. Until you know today practically 2010. As we can get copies of and things like in the fifties dragnet and gunsmoke. Perry Mason and the fugitive in the sixties. You know -- -- recent years and. You know -- had a -- for a second began to sink in in a movie. I'd JFK the judge was actually smoking during the trial while he was on the bench do you remember that. I don't remember yeah that that shocked me because that stood out to -- I don't think that a judge would ever really do that maybe well. Well in those days it was perfectly except you know you could smoke anywhere people who smoke in movie theaters. And today he wouldn't you know even think you're doing. And and so what we just looked at how often main characters were smoking in the ocean froze them in that at the peak it was about five. Instances per hour. The -- main characters smoking. And then it started to go down and hit later in the sixties you know and pressures started building -- telling people you know this is gonna. You -- your health surgeon general's report. Came out in the mid sixties they stopped advertising on television in the seventies. So it you know became less and less popular and the and the TV shows reflected that so if you look at the amount of smoking on TV in the drama suggest. Almost parallel what was going on and in terms of did daily consumption and the and the American population. We just vote to Stanton glance I'm sure you know who he is out pure and he was talking about. Cigarettes and documented. Alert confidential documents from the thirties it. Talked about in essence of product placement in -- film and if people know what that is that's. Basically I guess where they're use an unnamed grand potter product you'll see him drink and a can of Coke. Creating Kentucky fried chicken and I guess it's legal for some companies to pay. Producers to put that in a movie. Well -- signal supposedly no longer. Allowed that was settlement. In the late. Nine I guess it was I'd like 2000 late 1990s that. Basically the cigarette companies agreed to not do that anymore nobody -- for other products that's illegal is not -- Yeah openness and things sure I -- you'll -- you know. Becoming consciously apple computers. In -- -- over the place. So when he comes to use cigarettes. I mean interrupt you but it was when they did they signed an agreement win. Late ninety's. Called the Master Settlement Agreement and that they agreed to no longer do that. And there's been further restrictions on the amount advertise and they can do on billboards and promotions and -- to sponsor sports events giveaway T shirts and stuff like. All of which where you know just being down all the time. Prior to that and and more recently. So you know they're really left to put -- -- you know advertising in stores and they still do that. Convenience stores you know legally and when they sell cigarettes you see a lot of advertising. For those. For their product but -- -- from that it's it's harder and harder -- them as they sell advertise in magazines as well. But to get their restricted their magazines supposedly. They'll teach young people. How well that's enforced is another question that. That's basically where what they're left with. Young children before and I never you know pass up an opportunity and the use a joke twice but. It's seems like in the head man and shows like that. They did they have so many people's smoking and it's almost like if they had pants in the house they'd be carried out pack of Marlboro win so bad. I'm down I mean it's crazy so did does cigarette or do the cigarette companies. When it's a period piece like -- like a case that we can you really have a lot of cigarettes on on TV with shows and current time. Do they may be used the opportunity when it's a period he certain period movie. I don't know if if there's some panic over deal between tobacco companies or. That did the producers is trying new correctly nearer the time but. Has there ever been any. Investigation resurgent now this happens door of the cigarette companies are involved. Well they're in other legally barred from doing it and so. You know if that were discovered that they were engaging in the kind of negotiations. It would be you know. -- took a big deal to them have to acknowledge that. So as far as we know they're not doing that but you know. They've done things in the past that we were not aware of either so. Was the agreement for specific brands or did everybody sign off on it which would. In essence make it for all cigarettes. If it was well it was all the major tobacco companies signed off on it. There may be some manufacturers. That did not sign on to that agreement but I think subsequent to that with the FDA taking over. Regulation of the marketing of cigarettes it's now pretty much illegal to do. And so as far as I know that not doing that but. And I think for sure now. You -- mad men you know that's a period piece and I haven't watched it recently today actually show the brand. No I don't know that's why I was asked in May be a way of circumventing the agreement if you don't. If you don't name a specific brand or don't feature one and all of a sudden you're really still push in smoking as. Collectively it would be good for the industry allowed the insulating each. Individual company from violating the agreement. Right right side I know -- bomb went when it comes to the behavior that's triggered an and that's where we get to the study I think it's pretty interesting that. Even grown up people fifty year olds that have either. Smoked for a long time and you would think it would be in control someone of their behavior and and the cues that trigger that behavior. Where people have given up smoking somehow this makes him a smoke some more. That's what -- I mean it's it's quite remarkable that we could detect that -- you know annual rates of smoking. You know the border. Smoking that was on the shows you know very popular shows. With audiences watching from the year the year if the smoking rate went up in the -- They smoked more. So yeah and don't addiction like nicotine addiction is is very powerful. As you know it's very hard to quit and so you're trying to quit and you see people smoking. It's going to you know reignite that church and that's a problem for smoke. Has there been any research done and we're running out of time you know being comeback on Dan. But out about how you go from any on went through it where you take that first puff of the cigarette and and it's a foreign substance and you -- your head off but some people like myself loaded down. And other people -- do whatever it takes a learn how to smoke and I just wonder in what. As there have been any resurgent shows there was one thing more than the other that -- people. -- to learn how to smoke. Yeah well some people you know can tolerate smoking a lot more than others and social some people it's just been awful experience but not that first time -- and yet -- first time often and it's just so -- that some people. That they just don't go on other people you know for various reasons like -- -- your prior caller you know that they they want to learn how to do it because that'll make him look cool. And they'll they'll keep trying until they feel comfortable I mean I smoked at one time. -- -- he started first time meets -- apart did you. And -- -- hey did you cost wasn't unpleasant. It was relatively output -- but you stuck with it why. Well I was with a bunch of friends. -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- So much pressure thank you so much -- agrees to weekend play today thanks.


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subset: commoncrawl


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Discussion of general fitness, medicine, health, fashion, hair and beauty.
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Ecological demands on socioeconomic development of Mongolia under climate aridization
Systematic Study of Arid Territories
- First Online:
- Cite this article as:
- Regdel, D., Dugarzhav, C. & Gunin, P.D. Arid Ecosyst (2012) 2: 1. doi:10.1134/S2079096112010076
- 7 Citations
- 65 Downloads
The questions of social and economic development of Mongolia in contemporary conditions of globalization and adverse climatic changes are discussed. It is shown that wildlife and raw material resources of Mongolia are extremely vulnerable to human impacts. Despite the significant biological diversity and richness of renewable and nonrenewable resources, urgent upgrading of the system of exploitation of natural resources within a strict legislative framework and with the obligatory account of age-old traditions of sustainable environmental management is required.
natural resources social and economic development biodiversity protected areas regulatory supportCopyright information
© Pleiades Publishing, Ltd. 2012


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By DINA ARÉVALO Port Isabel-South Padre Press firstname.lastname@example.com Update, 5 p.m.: The City of South Padre Island has just released a statement saying two women are now in custody in connection with the hit-and-run accident which injured five people early this morning. Acting on a tip from a member of the community, police located a dark …
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Spring Break's busiest week begins By DINA ARÉVALO Port Isabel-South Padre Press firstname.lastname@example.com Spring Break is set to go into full swing with the start of Texas Week this Saturday, March 11.As coeds from universities across the state descend upon the Laguna Madre region for a week of revelry and fun, officials report that safety preparations …
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Laguna Vista CARES pets rally set
By MARTHA McCLAIN Special to the PRESS The Town of Laguna Vista is expanding its Laguna Vista Cares slogan to include a proactive approach to animal care and control. "We want to raise awareness on the importance of being responsible pet owners," City Manager Rolando Vela said. A campaign during the month of March has been …
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City's financial condition is strong
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Hotel, pier projects seek dune permits
By KEVIN RICH Special to the PRESS The South Padre Island Shoreline Task Force considered five beach and dune permit applications during its Monday, March 6 meeting. First up for consideration was a beach and dune permit application for the future Courtyard by Marriott, to be built at 6700 Padre Blvd. The plan calls for the …
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Street improvements planned in Laguna Vista
By MARTHA McCLAIN Special to the PRESS Plans are in the works for street improvements in Laguna Vista. While Orange Lane will see the first upgrades, Town officials are also targeting five other roadways here. "The Town has now initiated the process to go out for sealed bids for street improvements to Orange Lane," according to …
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County accepting justice of the peace applications
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Lady Tarpons Third at Falcon Relays
By LARRY GAGE Special to the PRESS The Port Isabel High Lady Tarpons track and field team came home with four gold medals and placed third at the Falcon Relays in Los Fresnos last Saturday. Natalie Garza, Ava Gomez, and Sabrina Garza won individual gold for P.I., and the 4 x 400-meter relay team of …
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Silva Hurdles for Gold at Los Fresnos
By LARRY GAGE Special to the PRESS Omar Silva took the gold medal in both hurdles races at last week's Falcon Relays in Los Fresnos. Silva was competing in an actual meet for the first time this season and was clearly healthy and ready to go. He timed in at 16.52 seconds in the 110-meter …
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Environmental swing voters? Nah.
Defeated Senate candidate doesn't think the environment means much to New Mexicans.
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Iraq Vets Against the War march with other anti-war groups to the convention.
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A Wyoming native's passioned indictment of the oil and gas industry.
Read More ...A view of Obama from the West
Stadium political-fest gets a couple of New Mexicans fired up
Read More ...Stegner at the DNC?
Mark Udall on the big stage.
Read More ...Rocking the Native vote
American Indians comprise a significant proportion of eligible voters in the Western swing states. Can they help swing them for Obama?
Read More ...A seat at the policy table
American Indians work with the Obama campaign to raise the visibility of native issues.
Read More ...Johnny Five and the bomb squad
HCN exclusive: Boulder County's Bomb Squad -- robot and all -- checks out a "suspicious package."
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Led by vets against the war, a huge protest finally gets noticed at the DNC.
Read More ...I fish, I hunt, I vote ... Democrat?
Sportsmen say their vote is up for grabs.
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Kathryn Holmes
ISBN: 9780062317278 | Format: PaperBack | Release Date: 14/06/2016
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Blending elements of Laurie Halse Anderson s Speak and Gary Paulsen s Hatchet, this gripping story from Kathryn Holmes was deemed a page turner by author Richard Peck and an intense story of survival by ALA Booklist in its starred review.
Sophomore Hallie Calhoun has just endured the most excruciating six months of her life. Once the rumors about her and the preacher s son, Luke, made their way around school, her friends abandoned her, and as a result, Hallie has completely withdrawn.
Now on a hiking trip in the Smoky Mountains with the same people who have relentlessly taunted her, Hallie is pushed to her limit. Then Hallie, outgoing newcomer Rachel, and Jonah Hallie s former friend get separated from the rest of the group. As days go by without rescue, their struggle for survival turns deadly. Stranded in the wilderness, the three have no choice but to trust one another in order to stay alive and for Hallie, that means opening up about what really happened that night with Luke.
From the catty atmosphere of high school to the unpredictable terrain of the mountains, this novel is a poignant, raw journey about finding yourself after having been lost for so long. "
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Sushi Lover! #1
Hi everyone… my name is Karen… and I'm a Sushi Lover. Oh YES I AM!
Last Saturday I had homemade Sushi, and boy was it good. Aya my housemate, did like a goodbye gathering + pre-birthday celebration, I will tell you more details when I do my month of July resume in Prague. I like Sushi I really do, and since I've been here in Prague, I only ate twice! First time, somewhere in April if I'm not mistaken, with Plamina, Sushi Buffet, it was great, but then it came the bill, almost 20€ for a Sushi Buffet (for each of us) GEEZAUS! And the 2nd time at Aya's gathering. I even made one roll yeahi :D lol
I want to buy all of this... some people call it cheating buuutttt, I just called making our lifes easier :p.
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How to do a Uramaki
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While 4,400 aircraft mechanics wage a seemingly endless strike to keep their jobs from being outsourced – Mechanic Roy Koch and his daughter Melissa (Director of The Red Tail in collaboration with Dawn Mikkelson) follow the trail of outsourcing to China. The Koch's journey is a search for dignity amidst the helplessness experienced by global workers; a quest to reclaim their power. While in China, the Koch family not only meets Roy's replacement and top management, but they also become enmeshed in the bigger picture. The Red Tail offers fascinating insight and access into the inner workings of the global airline industry, providing a new perspective on globalization and the lives that hang in the balance.


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[email protected]
Hi,guys I have two T8-V2 boxes on Android kit kat and I have heard when kodi 17 comes out it will not run on kit kat, can you update these boxes to lollipop.
Thanks Gaz.
EntertainmentBox have a detailed help page should you need any assistance with your TV box. You could also try the how to do anything on your TV box page. Or you could check out the most asked TV box questions and answers page. If you need to find a page on our site please read the home page, we have redesigned it to be more user friendly. EntertainmentBox only sell the best TV box / boxes and high end gadgets. Have you seen our projectors that are powered by Android? Now you can use apps like Kodi without a TV how cool is that? All with 1 a one year warranty and a 30 day return policy.
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Each Android TV box has its own specific set of software, called the firmware. Like any piece of technology, it's important to keep it updated. Android TV boxes usually come with the latest firmware versions that are available. The trouble is, that firmware can become out of date as fast as you can say "Google Update."
Firmware is what is needed in most electronic devices today. But what is it exactly and what makes it so crucial for products to run smoothly?
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Updated on 14/10/2015
Hi,guys I have two T8-V2 boxes on Android kit kat and I have heard when kodi 17 comes out it will not run on kit kat, can you update these boxes to lollipop.
Thanks Gaz.
At this time there is no lollipop firmware available for the T8-V2, i believe this is still being looked in to.
The following is a quote from a reply to someone else who asked about this.
"We are still working on getting a stable version of lollipop for the T8 V2, thanks for your kind words."
I have a T8 V2 box No s/n052014120000837 and have not updated for a long time, can you please tell me the updates I need and how to get and install them.
thanks Benny
Hello Benny, as things have changed a little bit please click here to see whats new with Kodi and you will get a better idea of how to use this software.
Thank you.
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Early Childhood Development
PURPOSE: The one-year certificate in Early Childhood Development is designed to prepare students with skills related to the care, supervision, education, and development of young children from birth to age eight. There is also the ability to become qualified to work with children up to the age of twelve in programs that serve before- and after-school and recreational programs.
OCCUPATIONAL OBJECTIVES: Employment opportunities include preparation or upgrading skills for positions as child care center directors, assistant directors, before- and after-school teachers or assistant teachers, aides, playroom attendants, home-based providers or day care workers, camp directors, and before- and after-school teachers in the following types of facilities: child day care centers, nursery schools, family day care homes, Head Start programs, recreational before- and after-school programs, hospital-based child care programs, pre-school at-risk programs, and pre-kindergarten church-sponsored programs.
ADMISSION REQUIREMENTS: General college curricular admission
PROGRAM NOTES: In addition to the general college curricular admission requirements, all entering students will be required to take placement tests in math and English to aid placement in the appropriate courses. Students who do not meet required placement levels must enroll in developmental studies courses. It is recommended that students arrange for a personal interview and advising appointment with the program head.
An observation and participation in an approved early childhood/primary setting are required in the second semester of the Early Childhood curriculum. This is a practicum experience internship in a licensed or approved child care setting. It is a planned learning experience for the purpose of pulling together the theories and practice learned in the classroom. A Criminal Record Clearance/Sex Offender Registry Check is required for placement and volunteering. Students should see the program head for a list of convictions that will prevent employment. Students will be expected to complete a tuberculosis test before practicum placement.
Students must attain a grade of "C" or higher in all courses with CHD, PSY, and EDU course prefixes.
Students must have a valid first aid and CPR certificate in order to be eligible for graduation. Valid cards must be filed with the program head or central admissions office prior to expiration and graduation.
COMPUTER COMPETENCY REQUIREMENT: Students in this program will meet the college's computer competency requirement by successfully completing ITE 115. Students can also meet this requirement by passing the college's computer competency exam, administered in the testing centers on each campus, in which case they will receive college credit for ITE 115. Students not passing the computer competency exam may retake the exam only once.
GAINFUL EMPLOYMENT DISCLOSURE INFORMATION: Please see http://www.reynolds.edu/curriculum/gainful-employment/ge_info_632.aspx to access gainful employment disclosure information for this program.
College Composition I |
3 |
0 |
3 |
Introduction to Early Childhood Education |
3 |
0 |
3 |
Teaching Art, Music, and Movement to Children |
2 |
2 |
3 |
Guiding the Behavior of Children |
3 |
0 |
3 |
Introduction to Computer Applications and Concepts |
3 |
0 |
3 |
College Success Skills |
1 |
0 |
1 |
15 |
2 |
16 |
Early Childhood Programs, School, and Social Change |
3 |
0 |
3 |
Math, Science, and Social Studies for Children |
2 |
2 |
3 |
Models of Early Childhood Programs |
3 |
0 |
3 |
Health, Safety, and Nutrition Education |
3 |
0 |
3 |
Child Psychology |
3 |
0 |
3 |
Observation and Participation in Early Childhood/Primary Settings |
1 |
6 |
3 |
15 |
8 |
18 |
Total Minimum Credits for Certificate in Early Childhood Development | 34 |
CHD 118 Language Arts for Young Children 3 cr.
Emphasizes the early development of children's language and literacy skills. Presents techniques and methods for supporting all aspects of early literacy. Surveys children's literature, and examines elements of promoting oral literacy, print awareness, phonological awareness, alphabetic principle, quality storytelling and story reading. Addresses strategies for intervention and support for exceptional children and English Language Learners.Lecture 2 hours.Laboratory 2 hours.Total 4 hours per week.
CHD 119 Introduction to Reading Methods 3 cr.
Focuses on promoting language and literacy skills as the foundation for emergent reading. Emphasizes phonetic awareness and alphabetic principles, print awareness and concepts, comprehension and early reading and writing. Addresses strategies for intervention and support for exceptional children and English Language Learners.Lecture 2 hours.Laboratory 2 hours.Total 4 hours per week.
CHD 120 Introduction to Early Childhood Education 3 cr.
Introduces early childhood development through activities and experiences in early childhood, pre-kindergarten, kindergarten, and primary programs. Investigates classroom organization and procedures, and use of classroom time and materials, approaches to education for young children, professionalism, and curricular procedures.Lecture 3 hours per week.
CHD 121 Childhood Educational Development I 3 cr.
Focuses attention on the observable characteristics of children from birth through adolescence. Concentrates on cognitive, physical, social, and emotional changes that occur. Emphasizes the relationship between development and child's interactions with parents, siblings, peers, and teachers.Lecture 3 hours per week.
CHD 145 Teaching Art, Music, and Movement to Children 3 cr.
Focuses on children's exploration, play, and creative expression in the areas of art, music, and movement. Emphasis will be on developing strategies for using various open-ended media representing a range of approaches in creative thinking. Addresses strategies for intervention and support for exceptional children and English Language Learners.Lecture 2 hours.Laboratory 2 hours.Total 4 hours per week.
CHD 146 Math, Science, and Social Studies for Children 3 cr.
Provides experiences in content, methods, and materials for the development of math, science, and social studies skills in children. Emphasis will be on developing strategies for using various resources to facilitate children's construction of knowledge. Addresses strategies for intervention and support for children with special needs and English Language Learners.Lecture 2 hours.Laboratory 2 hours.Total 4 hours per week.
CHD 165 Observation and Participation in Early Childhood/Primary Settings 3 cr.
Focuses on observation as the primary method for gathering information about children in early childhood settings. Emphasizes development of skills in the implementation of a range of observation techniques. May be taken again for credit.Seminar 1 hour.Field placement 4 hours.Total 5 hours per week.
CHD 166 Infant and Toddler Programs 3 cr.
Examines child growth and development from birth to 36 months. Focuses on development in the physical, cognitive, social, emotional, and language domains. Emphasizes the importance of the environment and relationships for healthy brain development during the child's first three years of life. Investigates regulatory standards for infant/toddler caregiving.Lecture 3 hours per week.
CHD 205 Guiding the Behavior of Children 3 cr.
Explores the role of the early childhood educator in supporting emotional and social development of children, and in fostering a sense of community. Presents practical strategies for encouraging prosocial behavior, conflict resolution and problem solving. Emphasizes basic skills and techniques in child guidance.Lecture 3 hours per week.
CHD 210 Introduction to Exceptional Children 3 cr.
Reviews the history of and legal requirements for providing intervention and educational services for children with special needs. Studies the characteristics of children with a diverse array of needs and developmental abilities. Explores concepts of early intervention, inclusion, guiding behavior and adapting environments to meet children's needs.Lecture 3 hours per week.
CHD 215 Models of Early Childhood Education Programs 3 cr.
Studies and discusses the various models and theories of early childhood education programs, including current trends and issues. Presents state licensing and staff requirements.Lecture 3 hours per week.
CHD 216 Early Childhood Programs, School, and Social Change 3 cr.
Explores methods of developing positive, effective relations with families to enhance their developmental goals for children. Considers culture and other diverse needs, perspectives, and abilities of families and educators. Emphasizes advocacy and public policy awareness as an important role of early childhood educators. Describes risk factors and identifies community resources.Lecture 3 hours per week.
CHD 220 Introduction to School-Age Child Care 3 cr.
Examines the purposes of school-age child care in today's society, the role of adults within school-age child care, and the state of the profession of school-age child care.Lecture 3 hours per week.
CHD 225 Curriculum Development for School-Age Child Care 3 cr.
Explores the creative activities, techniques, interactions, and program development that promote positive social and emotional growth in school-age children. Emphasizes positive development through everyday programming and experiences.Lecture 3 hours per week.
CHD 230 Behavior Management for School-Age Child Care 3 cr.
Discusses the development of social skills that school-age children need for self-management, including self-discipline, self-esteem, and coping with stress and anger. Explores ways to effectively guide and discipline school-age children, focusing on how adults can facilitate positive pro-social and self-management skills.Lecture 3 hours per week.
CHD 235 Health and Recreation for School-Age Child Care 3 cr.
Examines the physical growth of school-age children and the role of health and recreation in school-age child development. Explores the use of medication, misuse of drugs, health issues of children, and the availability of community resources.Lecture 3 hours per week.
CHD 265 Advanced Observation and Participation in Early Childhood/Primary Settings 3 cr.
Focuses on implementation of activity planning and observation of children through participation in early childhood settings. Emphasizes responsive teaching practices and assessment of children's development. Reviews legal and ethical implications of working with children. Students must have completed the majority of program specific courses before enrolling and must be eligible to work with young children according to Department of Social Services requirements.Seminar 1 hour.Field placement 4 hours.Total 5 hours per week.
CHD 270 Administration of Child Care Programs 3 cr.
Examines the skills needed for establishing and managing early childhood programs. Emphasizes professionalism and interpersonal skills, program planning, staff selection and development, creating policies, budgeting, and developing forms for recordkeeping.Lecture 3 hours per week.
CHD 298 Seminar and Project in Childhood Development: Portfolio Development 1 cr.
Requires the completion of a project or research report related to the student's occupational objectives and a study of approaches to the selection and pursuit of career opportunities in the field. Serves, in conjunction with CHD 265, as the capstone course for the Early Childhood Development Associate of Applied Science degree. Focuses on the development of a portfolio to demonstrate professional competence in the field of early care and education. The resulting portfolio will be reviewed by early childhood faculty and other designated early childhood professionals.Laboratory 2 hours per week
Name | Program | Phone | |
Mary Larue | Early Childhood Development C | firstname.lastname@example.com | 523-5539 |
Sheryl Smith White | Early Childhood Development C | firstname.lastname@example.com | 523-5539 |
Common Job Titles1: Before and After School Daycare Worker; Child Care Provider; Child Care Teacher; Child Care Worker; Child Caregiver; Childcare Worker; Infant Teacher; Infant and Toddler Teacher; Nanny; Nanny/Household Manager; Teacher Assistant; Toddler Teacher
Labor Market Statistics (Richmond, MSA)
Projected number of jobs by 2026: 5,351
Current Wage Range (Entry - Experienced): $16,400 - $21,200
Common Job Titles1: Administrator; Child Care Director; Childcare Director; Director; Early Head Start Director; Education Coordinator; Education Director; Executive Director; Preschool Director; Site Coordinator
Labor Market Statistics (Richmond, MSA)
Projected number of jobs by 2026: 328
Current Wage Range (Entry - Experienced): $41,500 - $72,500
Common Job Titles1: Early Childhood Teacher; Group Teacher; Head Start Teacher; Headstart Teacher; Lead Teacher; Pre-Kindergarten Teacher (Pre-K Teacher); Preschool Teacher; Teacher; Teacher Assistant; Toddler Teacher
Labor Market Statistics (Richmond, MSA)
Projected number of jobs by 2026: 2,297
Current Wage Range (Entry - Experienced): $20,700 - $48,700
Common Job Titles1: Educational Technician; Instructional Aide; Instructional Assistant; Paraeducator; Paraprofessional; Special Education Paraprofessional; Special Education Teaching Assistant; Teacher Aide; Teacher Assistant; Teaching Assistant
Labor Market Statistics (Richmond, MSA)
Projected number of jobs by 2026: 5,986
Current Wage Range (Entry - Experienced): $18,300 - $27,600
Bright Outlook occupations are expected to have rapid growth over the next 10-years (employment increase of 14% or more over the period of 2016-2026), are expected to have a high demand (projected to have 500 or more job openings in the Richmond, MSA over the period of 2016-2026), or are new and emerging occupations in high growth industries.
1 This program may prepare you for one or more of the listed jobs; however, graduates may not be qualified for all of the jobs listed in this section.
Reynolds Community College makes every attempt to provide students with the best, most accuarate information possible. The data was sourced from external agencies (O*NET and JobsEQ) on February 08, 2017.


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The X-ray structure of myosin head (S1) reveals the presence of a long alpha-helical structure that supports both the essential and the regulatory light chains. It has been proposed that small structural changes in the catalytic domain of S1 are amplified by swinging the long alpha-helix (the "lever arm") to produce approximately 11 nm steps. To probe the… (More)
Cytoskeleton based molecular motors support most of the cellular movements and by consequence they are associated with a variety of human disorders. The wide functional diversity of these molecular motors is now explained by the presence of three different families: the myosin, kinesin and dynein families. Although they are functionally distinct, these… (More)
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Gambia car rental offers you the option to compare all major and independent car rental suppliers and to book your car rental in real-time online. We offer rental cars in all major cities of Gambia and you can save up to 40%.
Gambia Car Rental shows a price comparison of all the leading car rental providers including CarTrawler to find you the very best deal on your car rental.
Use our Gambia car rental quote system and in 2 minutes you will have a comparison of all providers in Gambia. Then choose your preferred car rental agency and car hire rate. We offer a great range of vehicles at every destination from cheap economy cars through to luxury convertibles. Start now and simply complete the form for an instant online quote.
The Gambia, commonly referred to as Gambia, and officially known as the Republic of the Gambia is a West African country, and the smallest on mainland Africa. It is surrounded by Senegal, but for a small coastline in the west, opening to the Atlantic Ocean.
The country lies a mere six hours from all major European destinations. There will be no jet lag to talk of, and it is the ideal destination for you if you are searching for sun, clean sand along with a unique cultural experience.
There is a wide range of travel options to suit the tastes of every type of tourist. You can travel by either bus, car rental, by rail or even by air. If you want to hop from one city to another and you have the cash, there are plenty of domestic flights in Gabon. Buses provide an affordable form of transport, but they might not be the best option for a tourist who wants to tour native Gambia. This is because they usually stick to the major roads.
Taxis provide another reliable transport means for any tourist who wants to go to specific destinations. The only shortcoming with these is that they can be expensive.
Car rental remains the best travel option. Considering that there are many car rental companies in Gambia that provide tourists with cheap car hire services, it would be best to rent a car. Car rental gives you the freedom of setting your own touring hours.
There are many hotels in Gambia to suit the tastes of every type of tourist. If you want luxury accommodation, there is a wide range of hotels to choose from. You will also get cheap hotels that can suit your budget perfectly well. Some top hotels include;
If you are an English speaker, you will be at home in Gambia. The official language of the country is English. However, there are approximately ten other languages spoken in the country, including Creole. Most of the natives are multi-lingual. The currency used in the country is known as Dalasi.
If you love wildlife, there's plenty of it. Senegambia's birds for instance remain Gambia's main attractions. There are mammals you can see in forest reserves like the Abuko nature reserve. The reserve is home to the red colobus monkeys, patas and vervet. In case you have never seen a chimpanzee, rent a car and head for the River Gambia National Park.
The Gambia River is home for hippos, dolphins and crocodiles. The Gambia consists of six national reserves and parks; hence you are going to be occupied all of your time. Other things to see are;
[EST] Mon - Fri: 03:00 - 16:00 Sat - Sun : 03:00 - 11:00
[GMT] Mon - Fri: 08:00 - 23:00 Sat - Sun : 08:00 - 16:00


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Jockey Patrick Valenzuela's suspension for the remainder of 2004 was upheld Friday by the Del Mar Thoroughbred Club Board of Stewards, which recommended that the California Horse Racing Board deny any future license applications from the rider.The ruling by stewards Ingrid Fermin, Tom Ward and George Slender, came five days after they heard seven hours of testimony over three days in a hearing at Del Mar last week requested by the jockey over a July 2 suspension. The original suspension was handed down at Hollywood Park when Valenzuela was unable to provide hair for follicle testing as directed by his conditional license to ride. The CHRB had required the additional testing when it allowed Valenzuela to return from an earlier suspension in May.Valenzuela testified he had not read the amended requirements of his license.
"Rather than make every effort to comply with the hair follicle testing process, (Valenzuela) found another way to evade testing and thereby violated (the license agreement)," stewards said in an official statement released by the CHRB.
Jim Ahern, the deputy attorney general representing the CHRB, called seven witnesses during the hearing – including an expert in hair testing and Valenzuela himself – in an effort to prove the initial suspension was within the rights of the stewards based on the restrictions of the jockey's conditional license.
"It is what we were arguing for and the reason we put on the extensive case we did," Ahern said. "What's missed here is that the stewards upheld their ruling (from July 2) and in a very real sense the burden of proof was on (Valenzuela).
"This case can't be looked at in isolation because of Mr. Valenzuela's extensive disciplinary history. It's now up to the CHRB to adopt or not adopt (the latest stewards ruling) and then it's up to Mr. Valenzuela and his lawyers whether they want to take it to superior court."
Valenzuela filed a lawsuit on July 16 in anticipation of an adverse decision from the stewards, Ahern said. The jockey could appeal the CHRB's administrative ruling, which is expected to come within the next few days. If denied, it could lead to request for a temporary restraining order allowing him to ride pending an appeal. If he loses that appeal, which could be heard by either an administrative law judge or the state racing commissioners, he could then again go to superior court. There was no indication what action, if any, Valenzuela would take as of late Friday afternoon. His attorney, Neil Papiano, did not return a phone message. Papiano argued during the hearing that Valenzuela should not be deprived of his livelihood when he has not tested positive for drug use. He also contended that the CHRB had failed to provide the requirements for hair follicle testing so that the jockey could fully comply.
"The issue of safety on the racetrack includes jockeys, exercise riders, pony riders, outriders and, of course, the horses," the stewards' official statement said. "These obligations cannot be compromised. (Valenzuela) has been a talented jockey for many years, but it is evident that he has failed to learn that he must be held accountable for the consequences of his behavior."
Valenzuela's Suspension Upheld by Stewards
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What's happening: in my head and at the library
- Monday
- Staff meeting, summer reading finalized, clearing off my desk. I am really glad this is the last week for the 3-D printer. The whining sound it makes is driving me insane! But people are crazy about it, so that's a positive, and it's not right next to my desk, fortunately.
- Tuesday
- Battle of the Books
- Toddlers 'n' Books (2 sessions) (Pattie)
- Elkhorn Youth Center
- I arrived early to let in the volunteers - every year the district Battle of the Books is held at our library and it is an occasion! I am happy that we have the eggs here this year so the kids can see them incubating. Makes it more exciting. It's nice that they all pitch in to clean up and reset things afterwards, especially since we have classes every Tuesday afternoon now. Then I went out later in the afternoon and took pipe cleaners to the youth center for crafting, along with some new books. Lots of kids made themselves squiggly sort of crowns. Whatever floats their boat....I left extra pipe cleaners and my mixed beads for them to keep playing with. Then I went back to the library to prep for tomorrow.
- Wednesday
- 4K Outreach: Pete the Cat (2 sessions)
- This is the third four year old kindergarten which visits me once a year. I tweaked the program a little this year and I think they all enjoyed it. I had more summer reading stuff to do and staff things and then I left early! To go pick up last minute items at Walmart for tomorrow. Oh well.
- Thursday
- Books 'n' Babies (Pattie)
- 4K Outreach: Pete the Cat
- Messy Art Club: Painting things
- Busy. My feet hurt.
- Friday
- The library was closed for staff development. We had a staff meeting, brief training on dementia, discussed the strategic plan, and then visited the library system that is joining us this summer, Kenosha. Very cool new children's area!
Projects in Progress and Completed
- I have finished the 600s! On to the 700s.
- Summer reading materials all sent to the printer for an estimate.
What the kids are reading: A selection
- Spirit animals (this section is getting really crowded)
- sandstorms (I don't have anything)
- fact books
- horse books - need to get those new titles in soon


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This spicy cheesey soup is a copycat recipe of a Kneader's Bakery dish. I had this soup a few weeks ago at a lunchtime celebration for my mother-in-law's birthday. The soup really caught my eye and my tastebuds. I fell in love on first bite and knew I could easily re-create the soup at home for later enjoyment. This recipe uses roasted poblano peppers. I have included instructions for roasting the poblanos below in a cooking lesson, however, you can substitute a 7 oz. can of diced green chiles if you don't feel like roasting and peeling your own. Either way you choose to go you'll end up with a delicious
White Cheddar Poblano Soup
Cook Time
Time to Make It
Author: Rachel Farnsworth
Yield: serves about 4
- 1 tablespoon olive oil
- 1 white or yellow onion, diced
- 2 garlic cloves, crushed
- 1 teaspoon ground cumin
- 2 cups chicken broth
- ½ cup heavy cream or half and half
- ½ teaspoon salt
- 2 poblano peppers, roasted, peeled, and diced*
- 1½ cups shredded white cheddar cheese
- 2 teaspoons cornstarch
- In a large saucepan, heat the olive oil over medium-high heat.
- Saute onions in oil for about 5 minutes, stirring occasionally.
- Add in garlic and cumin and let toast for 1 minute.
- Pour in chicken broth and season with salt. Add in diced poblanos. Heat to a simmer.
- Pour in heavy cream or half and half. Use a stick blender to puree, or transfer to a blender to puree and return pureed soup to saucepan.
- Toss shredded cheese with cornstarch. Over medium heat stir cheese into the pureed soup until melted. Heat until cheese is completely melted and soup thickens slightly.
How to roast whole peppers:
There are several methods for roasting peppers. I'm going to go over three of those methods.
Heat an outdoor grill to a high heat. Make sure the grilling rack is well oiled. Toss peppers onto the grill and let roast until the skins are cracked and blackening, turning occasionally so that all sides get roasted.
Gas Stove
Toss the peppers directly onto the grates of your gas stove so they get in direct heat from the open flame. You don't want the flame to actually touch the peppers (they do catch on fire) so adjust the heat accordingly. Use tongs to turn occasionally so all sides are roasted and slightly blackened and the skin begins to peel away.
You can place your peppers on a baking sheet directly beneath the broiler in your oven. Roast under the broiler, turning occasionally, until peppers begin to blacken and the peel begins to crack.
Once you've roasted your peppers using one of these three methods, place them immediately into a plastic bag. The heat from the peppers will create steam within the bag. The trapped steam will loose the skins from the peppers and make them easy to peel off. After about 1 hour of sitting, they should be cooled and the skins should slip off easily. You can then proceed with your recipe that uses roasted peppers.


text: Halp, Apple Genius! There's a Hamster in My iMac and it's Chewing All the Bits!Kat Hannaford9/22/10 4:40amFiled to: AppleImac g3 hamsterImac g3hamsterAnimalsPetsDIYMod39EditPromoteShare to KinjaToggle Conversation toolsGo to permalink Of the few iMac hamster cages we've seen before, this one just takes the seed-biscuit. Gutted and then added with a Rotastak-like tube, its hamster-tenant turns the cogs and occasionally eats some bits. Watch the video here: [Gizmodo Japan] Reply39 repliesLeave a reply


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The house lights dim, the atmosphere subsides into an expectant hush. A crackle of applause, a flowering of sound from the orchestra and the red velvet curtain swishes aside. That moment never loses its magic: you're transported from the crimson shadows straight to Seville or Valhalla, St Petersburg or Paris. Opera at its finest brings together more arts than any other medium: music, live performance, design, drama, sometimes dancing and even film. And once the opera bug has bitten you, nothing can compete with a night at the Royal Opera House, Covent Garden.
This year, the Royal Opera is celebrating its diamond jubilee with an exhibition recalling key moments in its past 60 years. Dame Joan Sutherland is to open it on 22 January, at the theatre where the soprano so often thrilled her fans. With items on show that include Sutherland's gown from Lucrezia Borgia in 1980, costumes designed by Cecil Beaton for Turandot in 1963, and Aubrey Beardsley's black-and-white outfits and headdresses, realised for La Traviata in 1967, the exhibition promises to celebrate all that's finest in this national opera company's colourful history. It's a saga of huge personalities, glorious artistic highs and mind-boggling political lows that even now - with the house in better shape than it's been for a decade or three - makes it the most controversial arts organisation in Britain.
A theatre has stood on this prime central London site since 1728; the current opera house, with its distinctive pillared white façade, went up amid the old Covent Garden market in 1858. During the Second World War, the venue turned into a dance hall, but in 1945 music publisher Boosey & Hawkes acquired the lease and set out to ensure that it would be transformed into a national lyric theatre for opera and ballet. The house became the home first of the Sadler's Wells Ballet and then of the newly formed Covent Garden Opera Company. It received, meanwhile, the new British Arts Council's largest grant.
An era of history-forging performances quickly ensued under the music directorship of Karl Rankl and, from 1955, Rafael Kubelik. Dame Eva Turner gave her farewell performance as Turandot in 1947, the year that also saw the first schools' matinée and the house's first staging of Benjamin Britten's Peter Grimes. Two years later came the company's first Ring cycle, plus a dazzling production of Strauss's Salome directed by Peter Brook and designed by Salvador Dali. The 1950s brought the Covent Garden debuts of Maria Callas as Norma (1953) and Joan Sutherland as Donizetti's Lucia di Lammermoor (1959). There were farewells too: Kirsten Flagstad gave her last Covent Garden performance in Tristan und Isolde in 1951, summoned back for 21 curtain calls, and Kathleen Ferrier sang Gluck's Orfeo ed Euridice shortly before her premature death in 1953.
London's cultural life in the 1960s amounted to a veritable golden age. Seats were affordable, and the artistry was the finest in existence. At the ballet, audiences could flock to watch Margot Fonteyn and Moira Shearer; great actors such as Laurence Olivier, John Gielgud and Peggy Ashcroft dominated the theatre world; in concert halls, music-lovers thrilled to the tones of young luminaries such as Daniel Barenboim, Jacqueline du Pré and Itzhak Perlman. Opera was no exception in this embarrassment of riches, and at the ROH it was a time of big stars in every department.
With productions directed by Visconti and Franco Zeffirelli, designs by the likes of Beaton and Beardsley, singers including Sutherland and the young Luciano Pavarotti, and Georg Solti as music director from 1961 to 1970, Covent Garden was flying high. Maria Callas sang her historic Tosca with Tito Gobbi as Scarpia. Wagner's Ring cycle in 1964 was directed by the veteran bass Hans Hotter, conducted by Solti and introduced the soprano Gwyneth Jones as a Brünnhilde who would dominate the role for years.
In 1965 Solti dared to bring in Schoenberg's opera Moses und Aron for its British premiere, directed by Peter Hall. "You'll find it difficult at first, but for me, now, it is just like Mozart," the Hungarian maestro told a press conference. And at the end of the decade, the Covent Garden Opera Company landed its royal charter and found itself transformed into the Royal Opera.
As time went by, and the music director's reins were handed over first to Colin Davis, then in 1986 to Bernard Haitink, the Royal Opera continued to mix standard repertoire and stars such as Placido Domingo, José Carreras and Kiri Te Kanawa with occasional if sizeable risks. Over time, the house commissioned and premiered four operas by Michael Tippett, as well as Britten's Billy Budd and Gloriana. The premiere in 1985 of Karlheinz Stockhausen's Donnerstag aus Licht was a breath of fresh air in what had otherwise become an artistically arid and unfortunate period.
A tradition of high-profile premieres and commissions persisted, though - among the most notable being Birtwistle's Gawain in 1991, in which the French baritone Francois Le Roux made history by appearing on stage completely nude. Among more recent premieres, Nicholas Maw's Sophie's Choice in 2002 received a cautiously warm reception. Lorin Maazel's 1984, staged in 2005, was so widely loathed that a collective sigh of relief went up that its production had in fact been paid for by the composer himself. But Thomas Adès's The Tempest, which is being revived this March, has proved that rare phenomenon in contemporary opera: a sellout and a knockout.
No surprise, though, that the most popular works in the repertoire are still Puccini: Tosca, notching up 422 performances in 60 years, and La Bohème in second place with 415. The challenge of keeping the most well-trodden operas fresh and new has inevitably had its ups and downs: the rise of the director as the dominant force in opera produced more than a few clashes over the years. Wagner's operas habitually attract the worst examples of this, and Bernard Haitink is said to have loathed one Ring cycle production so much that he almost refused to conduct it. Still, equally difficult moments occurred in Verdi: for instance, La Forza del Destino in 1962 directed by Sam Wanamaker, involving the projection of Goya illustrations above the stage, induced vociferous booing.
Apart from a handful of onstage clangers, the Royal Opera House's lows have been entirely political. The trouble underlying its trials and tribulations is the British system of arts funding: the UK's subsidised arts continually exist in a stressful climate of mend-and-make-do, hamstrung by a succession of well-intentioned but often impractical and unrealistic ideologies. And so to the biggest low in all the Royal Opera's 60 years: the financial and managerial meltdown that surrounded the years in which the house closed for refurbishment in 1996.
It was the culmination of a long period of deterioration during the cutbacks and starvation funding of the 1980s, in which the ROH had sunk into a physically dangerous state. The rebuilding in the late 1990s came not a moment too soon; though planned as early as 1984, it became possible only through money from National Lottery funds awarded 11 years later.
As if the place's physical condition wasn't bad enough, the full extent of the ROH's vituperative backstage atmosphere became public in 1995 when Jeremy Isaacs, the then chief executive, made a critical error of judgement: he allowed a fly-on-the-wall documentary crew access.
The House revealed on national TV the innards of the ROH at its thorny worst and plunged the struggling institution's morale, and the public's perception of it, to new depths. Isaacs resigned in 1996, a year early, frustrated at the lack of adequate subsidy; two subsequent chief executives arrived and departed in rapid succession. In 1997, Verdi's Macbeth, the final production before the refurbishment closure, was cancelled, losing the house £200,000. A loan organised by a wealthy board member, Vivienne Duffield, helped to avert insolvency, before a government select committee report declared: "We would prefer to see the house run by a philistine with the requisite financial acumen than by the succession of opera and ballet lovers who have brought a great and valuable institution to its knees." The entire board duly resigned.
Yet, after a spate of more resignations, new appointments and new resignations, there has risen a Royal Opera House with a new look, a new attitude and state-of-the-art technical capabilities, since the house reopened in 1999. Admittedly, the theatre itself was a missed opportunity. Instead of taking the chance to create a new, improved auditorium, the old Victorian theatre was reconstructed to identical design, with acoustical improvements.
But today, the place is breaking even and for every pound of government subsidy, it raises two. Outreach and accessibility sit cheek by jowl with the main stage performances, and its activities in fostering new talent and educational work make it clear that the ROH is supporting a living, changing art. Ticket prices at the ROH are still no joke, yet the theatre is constantly filled to capacity, with audiences listening here to the starry likes of Angela Gheorghiu, Juan Diego Florez and the magical young tenor Jonas Kaufmann.
How long this can continue is another matter. The 2012 Olympic Games is slated to siphon off government funds from the arts, and London's arts organisations in particular are bracing themselves for likely new austerity measures.
The ROH still relies heavily on subsidy: last year, its grant accounted for £24.9m out of a total income of £80.2m. And so the Royal Opera's diamond jubilee may be a fitting occasion to draw attention to the spiritually nourishing power of music and drama; to welcome efforts to carry it to as wide a public as possible; and to enjoy the fruits of all that hard-won artistry while it's still possible to do so.
- More about:
- Bombing
- London Underground
- Russell Square
- The Brain


text:
Dialogues of the Carmelites
Dialogues des Carmélites | |
Opera by Francis Poulenc | |
Elin Rombo as Sister Blanche in a 2011 production at the Royal Swedish Opera
Translation | Dialogues of the Carmelites |
Librettist | Poulenc |
Language | French |
Based on | Dialogues des Carmélites by Georges Bernanos |
Premiere | 26 January 1957 La Scala, Milan (in Italian) |
Dialogues des Carmélites (Dialogues of the Carmelites) is a French opera in three acts, divided into twelve scenes with linking orchestral interludes, with music and libretto by Francis Poulenc, completed in 1956. The composer's second opera, Poulenc wrote the libretto after the work of the same name by Georges Bernanos. The opera tells a fictionalised version of the story of the Martyrs of Compiègne, Carmelite nuns who, in 1794 during the closing days of the Reign of Terror during the French Revolution, were guillotined in Paris for refusing to renounce their vocation.
The world première of the opera occurred (in an Italian translation) on 26 January 1957 at La Scala in Milan. The première of the original French-language version took place in Paris on 21 June 1957. The United States première, in English translation, followed in San Francisco in September 1957.[1]
Bernanos had been hired in 1947 to write the dialogue for a film screenplay, through Raymond-Léopold Bruckberger and the scenario writer Philippe Agostini, based on the novella Die Letzte am Schafott (literal translation, The Last on the Scaffold or Song at the Scaffold, the published title of the English translation) by Gertrud von Le Fort. The novella is based on the story of the Martyrs of Compiègne at the monastery of Carmelite nuns in Compiègne, northern France, in the wake of the French Revolution, specifically in 1794 at the time of state seizure of the monastery's assets. It traces a fictional path from 1789 up to these events, when nuns of the Carmelite Order were guillotined.[2]
The screenplay was judged unsatisfactory for a film. Bernanos died on 5 July 1948. Subsequently, his literary executor, Albert Béguin, found this manuscript. To assist Bernanos' surviving family, Béguin sought to have the work published, and requested permission from von Le Fort for publication. In January 1949, she agreed, and gifted her portion of the royalties due to her, as creator of the original story, over to Bernanos' widow and children. However, von Le Fort requested that the Bernanos work be titled differently from her own novella.[3] Béguin chose Dialogues des Carmélites as the title for the Bernanos work, which was published in 1949. A German translation of the work, Die begnadete Angst (The Blessed Fear), was published in 1951, and Zurich and Munich saw productions of Die begnadete Angst that year.[4] The French stage premiere was by Jacques Hébertot in May 1952 at the Théâtre Hébertot.
The genesis of the opera was in 1953. Margarita Wallmann took her husband, president of Ricordi, which was Poulenc's publishing firm, to see the Bernanos play in Vienna. She had asked Poulenc to write an oratorio for her; through the commission from Ricordi, he developed the work as the opera.[2] Wallman was the eventual producer of the La Scala première of Poulenc's opera, and she later supervised the 1983 revival at Covent Garden. About the same time, M. Valcarenghi had approached Poulenc with a commission for a ballet for La Scala in Milan.
Separately, Poulenc had seen the Bernanos play, but the suggestion from Ricordi finalised the impetus to adapt the subject as an opera. Poulenc began to adapt the Bernanos text in the spring and summer of 1953, and to compose the music in August 1953. In October 1953, Poulenc learned of a literary rights dispute between Béguin and the American writer Emmet Lavery, who had previously secured all rights to theatrical adaptations of von Le Fort's novel from her in April–May 1949. This was independent of the discussion, concluded in January 1949, between Béguin and von Le Fort. The two-year literary rights dispute between Béguin and Lavery reached arbitration by a jury from La Societé des Auteurs in Paris. On 20 July 1954, this jury ruled unanimously for Lavery, and ordered the Bernanos heirs to pay Lavery 100,000 FF for past contract infringements. In addition, the ruling required the Bernanos heirs to pay Lavery, with respect to all future productions of Dialogues des Carmélites, 15% of the royalties from English-language productions, and 10% from productions in all other languages.[3]
Poulenc had curtailed work on his opera in March 1954, in light of his understanding of the Béguin-Lavery dispute. Following the July 1954 decision, separate negotiations occurred between Béguin and Lavery, via his agent Marie Schebeko, on rights and royalties to allow Poulenc to write his opera. The formal agreement was dated 30 March 1955, and acknowledged Bernanos, Lavery, von Le Fort, Bruckberger, and Agostini. The terms stipulated that the Poulenc opera was adapted from Bernanos 'with the authorization of Monsieur Emmet Lavery', with Lavery listed in the credits after Bernanos and before von Le Fort, without any contribution of material by Lavery to the libretto.[3][5] Poulenc then resumed work on the opera, and completed it October 1955.[6]
At this time, Poulenc had recommitted himself to spirituality and Roman Catholicism, although he was openly gay and the church officially opposed homosexuality. Opera critic Alan Rich believes that Poulenc's concerns for the travails of post-World War II France, as it tried to reconcile issues related to the Holocaust, German occupation and the Resistance, was a subtext within the opera.[7] Wallmann worked closely with Poulenc during the composition process and in evolving the structure, as well as later when she re-staged the production in other theatres.[2] The libretto is unusually deep in its psychological study of the contrasting characters of Mother Marie de l'Incarnation and Blanche de la Force. Rodney Milnes describes Bernanos' text as "concise and clear" and that like "all good librettos it suggests far more than it states".[2]
Poulenc set his libretto largely in recitative. His own religious feelings are particularly evident in the a cappella setting of Ave Maria in Act II, Scene II, and the Ave verum corpus in Act II, Scene IV. During the final tableau of the opera, which takes place in the Place de la Nation, the distinct sound of the guillotine's descending blade is heard repeatedly over the orchestra and the singing of the nuns, who are taken one by one, until only Soeur Constance and Blanche de la Force remain.
Poulenc acknowledged his debt to Mussorgsky, Monteverdi, Verdi, and Debussy in his dedication of the opera, with the casual remark:
Music critic Anthony Tommasini has commented on the opera:[8]
- "Poulenc's subtle and intricate tonal language is by turns hymnal and haunting. Though scored for a large orchestra, the instruments are often used in smaller groups selected for particular effects and colorings. The most distinctive element of the score, though, is its wonderfully natural vocal writing, which captures the rhythms and lyrical flow of the libretto in eloquent music that hardly calls attention to itself yet lingers with you."
Opera historian Charles Osborne wrote:[6]
- "The inexorable dramatic movement of the work is impressive and, in the final scene in which the nuns walk in procession to the guillotine chanting the Salve regina, extremely moving. Poulenc also found an easy and effective style with which to carry forward without monotony the scenes of convent life."
Philip Hensher has commented on the unique place of this opera in its depiction of convent life:
- "...unlike every other opera about nuns, it finds space for a serious discussion about religion and the workings of divine grace that is never saccharine or merely consolatory: how hard it is to be good, how unsure the rewards of virtue."[9]
Performance history[edit]
Poulenc expressed a general wish that the opera be performed in the vernacular of the local audience.[10][11][12] Thus the opera was first performed in an Italian translation at La Scala on 26 January 1957, with Romanian soprano Virginia Zeani in the role of Blanche. The original French version premiered on 21 June that year by the Paris Théâtre National de l'Opéra (the current Opéra National de Paris), where Poulenc had chosen the Paris cast, which included Denise Duval (Blanche de la Force), Régine Crespin (Madame Lidoine), Rita Gorr (Mother Marie), and Liliane Berton (Sister Constance).[6] The United States premiere took place three months later, on 20 September, in English, at San Francisco Opera; this featured the opera stage debut of Leontyne Price (as Madame Lidoine). The opera was first presented in New York City on 3 March 1966, in a staging by New York City Opera.[13]
The opera is among a comparatively small number of post-Puccini works that has never lost its place in the international repertory.[2]
Role | Voice type | World première (sung in Italian) World première cast 26 January 1957 (Milan) (conductor: Nino Sanzogno) |
Première of original French version French première cast 21 June 1957 (Paris) (conductor: Pierre Dervaux) |
Marquis de la Force | baritone | Scipio Colombo | Xavier Depraz |
Chevalier de la Force, his son | tenor | Nicola Filacuridi | Jean Giraudeau |
Blanche de la Force/Sister Blanche of the Agony of Christ, his daughter | soprano | Virginia Zeani | Denise Duval |
Thierry, a footman | baritone | Armando Manelli | Michel Forel |
Madame de Croissy, the prioress of the monastery | contralto | Gianna Pederzini | Denise Scharley |
Sister Constance of St. Denis, a young novice | soprano | Eugenia Ratti | Liliane Berton |
Mother Marie of the Incarnation, sub-prioress | mezzo-soprano | Gigliola Frazzoni | Rita Gorr |
M. Javelinot, a doctor | baritone | Carlo Gasperini | Max Conti |
Madame Lidoine/Mother Marie of St. Augustine, the new prioress | soprano | Leyla Gencer | Régine Crespin |
Mother Jeanne of the Holy Child Jesus, the oldest nun | contralto | Vittoria Palombini | Janine Fourrier |
Sister Mathilde | mezzo-soprano | Fiorenza Cossotto | Gisèle Desmoutiers |
Chaplain of the monastery | tenor | Alvino Manelli | Michel Forel |
First commissioner | tenor | Antonio Pirino | Raphaël Romagnoni |
Second commissioner | baritone | Arturo La Porta | Charles Paul |
Officer | baritone | Michele Cazzato | Jacques Mars |
Jailer | baritone | ||
Carmelites, officers, prisoners, townspeople |
- Place: Paris and Compiègne, 1789–94
- Time: during the French Revolution
Act 1[edit]
Against the setting of the French Revolution, when crowds stop carriages in the street and aristocrats are attacked, the pathologically timid Blanche de la Force decides to retreat from the world and enter a Carmelite monastery. The Mother Superior informs her that the Carmelite Order is not a refuge; it is the duty of the nuns to guard the Order, not the other way around. In the convent, the jolly Sister Constance tells Blanche (to her consternation) that she has had a dream that the two of them will die young together. The prioress, who is dying, commits Blanche to the care of Mother Marie. The Mother Superior passes away in great agony, shouting in her delirium that despite her long years of service to God, He has abandoned her. Blanche and Mother Marie, who witness her death, are shaken.
Act 2[edit]
Sister Constance remarks to Blanche that the prioress' death seemed unworthy of her, and speculates that she had been given the wrong death, as one might be given the wrong coat in a cloakroom. She said that perhaps someone else will find death surprisingly easy. Perhaps we die not for ourselves alone, but for each other.
Blanche's brother, the Chevalier de la Force, arrives to announce that their father thinks Blanche should withdraw from the monastery, since she is not safe there (being both an aristocrat and the member of a religious community, at a time of anti-aristocrat and anti-clericalism in the rising revolutionary tides). Blanche refuses, saying that she has found happiness in the Carmelite Order. Later she admits to Mother Marie that it is fear (or the fear of fear itself, as the Chevalier expresses it) that keeps her from leaving.
The chaplain announces that he has been forbidden to preach (presumably for being a non-juror under the Civil Constitution of the Clergy). The nuns remark on how fear rules the country, and no one has the courage to stand up for the priests. Sister Constance asks, "Are there no men left to come to the aid of the country?" "When priests are lacking, martyrs are superabundant," replies the new Mother Superior. Mother Marie says that the Carmelites can save France by giving their lives, but the Mother Superior corrects her: it is not permitted to choose to become a martyr; God decides who will be martyred.
A police officer arrives and announces to the community that the Legislative Assembly has nationalized the monastery and its property, and the nuns must give up their religious habits. When Mother Marie acquiesces, the officer taunts her for being eager to dress like everyone else. She replies that the nuns will continue to serve, no matter how they are dressed. "The people have no need of servants," proclaims the officer haughtily. "No, but they have a great need for martyrs," responds Mother Marie. "In times like these, death is nothing," he says. "Life is nothing," she answers, "when it is so debased."
Act 3[edit]
In the absence of a new prioress, Mother Marie proposes that the nuns take a vow of martyrdom. However, all must agree, or Mother Marie will not insist. A secret vote is held; there is one dissenting voice. Sister Constance declares that she was the dissenter, and that she has changed her mind, so the vow can proceed. Blanche runs away from the monastery, and Mother Marie goes to look for her, finding her in her father's library. Her father has been guillotined, and Blanche has been forced to serve her former servants.
The nuns are all arrested and condemned to death, but Mother Marie is away at the time of the arrest. Upon receiving the news, the chaplain tells Mother Marie, when they meet again, that since God has chosen to spare her, she cannot voluntarily become a martyr by joining the others in prison.
At the place of execution, the nuns (one by one) slowly mount the scaffold, singing the "Salve Regina" ("Hail, Holy Queen"). At the last minute, Blanche appears, to Constance's joy, and joins the condemned community. Having seen all the other nuns executed, as she mounts the scaffold, Blanche sings the final stanza of the "Veni Creator Spiritus," "Deo Patri sit gloria...", the Catholic hymn traditionally used when taking vows in a religious community and offering one's life to God.
- Denise Duval, Régine Crespin, Denise Scharley, Liliane Berton, Rita Gorr, Xavier Depraz, Paul Finel, Michel Forel, Louis Rialland, Janine Fourrier, Gisele Desmoutiers, et al.; Orchestra and Chorus of the Théâtre National de l'Opéra[disambiguation needed] de Paris; Pierre Dervaux, conductor (HMV/EMI/Warner Classics)
- Catherine Dubosc, Michel Senechal, François le Roux, Rita Gorr, José van Dam, Rachel Yakar, Martine Dupuy, et al.; Orchestra and Chorus of the Opéra de Lyon; Kent Nagano, conductor (Virgin Classics)
- Catrin Wyn-Davies, Ashley Holland, Peter Wedd, Gary Coward, Felicity Palmer, Josephine Barstow, Orla Boylan, Sarah Tynan, Jane Powell, Anne Marie Gibbons, Ryland Davies, William Berger, James Edwards, Roland Wood, Toby Stafford-Allen, David Stephenson; Orchestra and Chorus of English National Opera; Paul Daniel, conductor (Chandos, titled The Carmelites, sung in English)
- Sally Matthews, Deborah Polaski, Heidi Brunner, Michelle Breedt, Hendricke van Kerckhove, Yann Beuron, Magdalena Anna Hoffmann, Christa Ratzenböck, Jürgen Sacher, et al.; Vienna Radio Symphony Orchestra and Arnold Schoenberg Choir; Bertrand de Billy, conductor (Oehms Classics)
- Isobel Buchanan, Heather Begg, Joan Sutherland, Lone Koppel, Anne-Marie McDonald, Richard Greager, Paul Ferris, Geoffrey Chard, et al.; Chorus and Orchestra of Opera Australia; Richard Bonynge, conductor; Elijah Moshinsky, director (Kultur, 1984, sung in English)
- Anne-Sophie Schmidt, Patricia Petibon, Nadine Denize, Laurence Dale, et al.; Chorus of the Opera National du Rhin and the Orchestre Philharmonique de Strasbourg; Jan Latham-Koenig, conductor; Marthe Keller, director (Arthaus, 1998)
- Dagmar Schellenberger, Anja Silja, Barbara Dever, Laura Aikin, Gwynne Geyer, Gordon Gietz, Christopher Robertson, Mario Bolognesi, et al., Chorus and Orchestra of La Scala, Milan; Riccardo Muti, conductor; Robert Carsen, director (TDK, 2007)
- Alexia Voulgaridou, Kathryn Harries, Anne Schwanewilms, Gabriele Schnaut, Jana Büchner, Nikolai Schlkoff, Wolfgang Schöne, et al.; Hamburg Philharmonic and Chorus of the Hamburg State Opera; Simone Young, conductor; Nikolaus Lehnhoff, director (Arthaus, 2010)
- Susan Gritton, Sylvie Brunet, Soile Isokoski, Susanne Resmark, Hélène Guilmette, Bernard Richter, Alain Vernhes, et al., Bavarians State Orchestra and Chorus; Kent Nagano, conductor; Dmitri Tcherniakov, director (Bel Air Classiques, 2011)
- Véronique Gens, Sophie Koch, Sandrine Piau, Patricia Petibon, Rosalind Plowright, Topi Lentipuu, et al.; Philharmonia Orchestra and Chorus of the Théâtre des Champs-Élysées; Jérémie Rhorer, conductor; Olivier Py, director (Erato, 2014)
- Notes
- ^ Taubman, Howard (1957-09-23). "Opera: Poulenc Work; 'Carmelites' Has U.S. Premiere on Coast". The New York Times. Retrieved 2016-07-21.
- ^ a b c d e Milnes R. Dialogues des Carmelites. 3 [Radio 3 magazine], April 1983, p21-23.
- ^ a b c Gendre, Claude, 'The Literary Destiny of the Sixteen Carmelite Martyrs of Compiègne and the Role of Emmet Lavery'. Renascence, 48.1, pp 37-60 (Fall 1995).
- ^ Gendre, Claude, 'Dialogues des Carmélites: the historical background, literary destiny and genesis of the opera', from Francis Poulenc: Music, Art and Literature (Sidney Buckland and Myriam Chimènes, editors). Ashgate (Aldershot, UK), ISBN 1859284078, p 287 (1999).
- ^ Several reviews have incorrectly identified Lavery as the author of the libretto. Please see the Talk page for examples.
- ^ a b c d Osborne, Charles (2004). The Opera Lover's Companion. Yale University Press.
- ^ "New York Magazine". 10 (8). Feb 21, 1977.
- ^ a b Tommasini, Anthony (2004). The New York Times Essential Library: Opera: A Critic's Guide to the 100 Most Important Works and the Best Recordings. Times Books.
- ^ Hensher, Philip (2001-03-02). "Blue nuns". The Guardian. Retrieved 2016-07-21.
- ^ Wills, Garry (1977-03-03). "Martyrdom at the Met". New York Review of Books. Retrieved 2016-07-21.
- ^ John von Rhein (2007-02-19). "Ravishing `Dialogues des Carmelites' pierces the heart". Chicago Tribune. Retrieved 2016-06-26.
- ^ Holland, Bernard (2004-10-14). "In the Grim Fate of 16 Nuns, Exploring the End Awaiting Us All". New York Times. Retrieved 2016-07-21.
- ^ Schonberg, Harold C. (4 March 1966). "Music: 'Dialogues of the Carmelites'; Poulenc Work Is Given at Last by City Opera". The New York Times.
- Sources
- Hell, Henri, Les Dialogues des Carmélites, liner notes to the recording on EMI compact disc no. 7493312.
- Poulenc, Francis, The Dialogues of the Carmelites - Libretto, original text and English Translation. Ricordi and Belwin Mills Publishing Corp., Melville, NY. 1957, 1959.


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Computer Training for the Re-Entry Professional Learn the basics of Windows and Microsoft Word. Textbook information available at AACC Bookstore. CEUs issued. Digital badge issued. $161 includes $32 fee. Prerequisite: CTC 305 Starting Over for the Re-Entry Professional or equivalent knowledge.
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Almost half of the world's population eat rice – that's a lot of people! But have you ever thought about where the rice you buy in the supermarkets is actually grown? You probably already know that risotto rice grains are cultivated in Italy, whilst popular, aromatic Basmati rice grows in India and Pakistan, but what about others such as wild rice, red rice … and even long grain rice?
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Titel: Elaborations on Emptiness: Uses of the Heart...
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Inhaltsangabe: The Heart Sutra is perhaps the most famous Buddhist text, traditionally regarded as a potent expression of emptiness and of the Buddha's perfect wisdom. This brief, seemingly simple work was the subject of more commentaries in Asia than any other sutra. In Elaborations on Emptiness, Donald Lopez explores for the first time the elaborate philosophical and ritual uses of the Heart Sutra in India, Tibet, and the West. Included here are full translations of the eight extant Indian commentaries. Interspersed with the translations are six essays that examine the unusual roles the Heart Sutra has played: it has been used as a mantra, an exorcism text, a tantric meditation guide, and as the material for comparative philosophy. Taken together, the translations and essays that form Elaborations on Emptiness demonstrate why commentary is as central to modern scholarship on Buddhism as it was for ancient Buddhists. Lopez reveals unexpected points of instability and contradiction in the Heart Sutra, which, in the end, turns out to be the most malleable of texts, where the logic of commentary serves as a tool of both tradition and transgression.
" Elaborations on Emptiness is a superb achievement: It is by far the best and most complete treatment of the Heart S?tra in any Western language." --Jay Garfield, Journal of Buddhist Ethics
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Despite submitting more than 2,000 commuter complaints against errant cab and autorickshaw drivers, transport authorities have failed to initiate any action, alleged organisers of the Mumbai chapter of India Against Corruption (IAC).
The IAC has created a software to record commuters grievances sent via text messages. The complaints are forwarded to the transport commission office for action.
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