text:
On Super Bowl Sunday, you will see talent flying around the field on both sides of the ball.
Not only does the game feature two of the best young quarterbacks in the game, but the top three finishers for Defensive Player of the Year are also playing for a championship.
For both the Packers and Steelers, certain players must step up on Sunday and have big games in order to win.
Not all of the players are big names. If certain role players can step up, it will give his team a great chance at a Super Bowl.
Here are ten players that need to have big games for their respective teams on Sunday.

subset: commoncrawl


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Free to Be Fabulous
I'm so excited I can't sit still! Free to Be Fabulous: 100 Ways to Look and Feel Younger at 40, 50, and Beyond debuts on May 5, just in time for Mother's Day. You'll find ideas to improve your beauty, your body, your behavior, and your beliefs. Some are easy; others will take time. And… [Continue Reading]
Thank you, Elizabeth Van Liere (better known as Betty), for the opportunity to go on this blog tour. I had no idea what a blog tour was and how it worked, so thanks for a chance to see it firsthand. Betty is a delightful "almost elderly" lady (she's 90) whom I met at the Colorado… [Continue Reading]
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text:
Muslim movement accepts once-taboo causes
LOS ANGELES -- Omar Akersim prays regularly and observes the dawn-to-dusk Ramadan fast. He is also openly gay.
Akersim, 26, is part of a small but growing number of American Muslims challenging the long-standing interpretations of Islam that defined their parents' world. They believe that one can be gay and Muslim; that the sexes can pray shoulder-to-shoulder; that females can preach and that Muslim women can marry outside the faith -- and they point to Quran passages to back them up.
The shift comes as young American Muslims work to reshape the faith they grew up with so it fits better with their complex, dual identity, with one foot in the world of their parents' immigrant beliefs and one foot in the ever-shifting cultural landscape of America.
The result has been a growing internal dialogue about what it means to be Muslim, as well as a scholarly effort to re-examine the Quran for new interpretations that challenge rules that had seemed set in stone for generations.
"Islam in America is being forced to kind of change and to re-evaluate its positions on things like homosexuality because of how we're moving forward culturally as a nation. It's striving to make itself seen and known in the cultural fabric and to do that, it does have to evolve," said Akersim, who leads a Los Angeles-based support group for gay Muslims. "Ten or 15 years ago, this would have been impossible."
The shift doesn't end with breaking obvious taboos, either. Young American Muslims are making forays into fashion, music (Islamic punk rock, anyone?) and stirring things up with unorthodox takes on staples of American pop culture. A recent controversial YouTube video, for example, shows Muslim hipsters -- or "Mipsterz" -- skateboarding in head scarves and skinny jeans as Jay-Z's "Somewhere in America" blasts in the background.
Nearly 40 percent of the estimated 2.75 million Muslims in the U.S. are American-born and the number is growing, with the Muslim population skewing younger than the U.S. population at large, according to a 2011 Pew Research Center survey.
Advocates for a more tolerant Islam say the constraints on interfaith marriage and homosexuality aren't in the Quran, but are based on conservative interpretations of Islamic law that have no place in the U.S. Historically, in many Muslim countries, there are instances of unsegregated prayers and interfaith marriage.
"I think it's fair to say the traditional Islam that we experienced excluded a lot of Muslims that were on the margins. I always felt not very welcomed by the type of Islam my parents practiced," said Tanzila Ahmed, 35, who published an anthology of love stories by Muslim American women in 2012 called "Love Inshallah."
Many second-generation American Muslims still practice their faith in traditional ways, but others are starting to see the Islam of their parents as more of a cultural identity, said Dr. Yvonne Haddad, a Georgetown University professor who has written extensively about Islam's integration into U.S. society.
As a result, there's a new emphasis on meeting for prayer and socializing in neutral spaces, such as community centers, instead of mosques, and on universal inclusion.
"Some of them still want a mosque, they still want to belong and to pray, and others are shifting and they are very comfortable being nonreligious," Haddad said.


text: Sven-Olof Nystr|m wrote: > Since I disagree on point 1, I don't see much reason to discuss your > other points. Try looking at it again, and think that you're buffering something somewhere other than memory. Say you have ten disk files, and add() writes the message to one of the disk files and pop() pulls the message from one of the disk files, and Contents is tracking which files have messages. Or say that add() puts the text on the bottom line of the screen, and you get a {get,Who} message when the user clicks on the "OK, I've seen it" at the top of the screen, like processing fast-food orders or something. Or say that add() queues some processing up on a collection of processors (say, mpeg-compressing some video with hardware acceleration) and pop() gets the results, making room for another job to run on that hardware. All that would be the same code, with the same constraints needing to be solved. That Erlang has dynamically-sized message buffers doesn't mean that a bounded buffer example is nonsensical. It just means you use it for something other than what Ada et al use it for. -- Darren New / San Diego, CA, USA (PST) Helpful housekeeping hints: Check your feather pillows for holes before putting them in the washing machine.


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Skip to comments.White supremacist to be executed for 1998 killing
Posted on 09/21/2011 10:28:07 AM PDT by Niuhuru
A white supremacist who was sentenced to death for the murder of a black man in an horrific killing that echoed the atrocities of the lynching era is to be executed today.
Lawrence Russell Brewer, 44, is scheduled to be put to death by lethal injection at 6pm for his part in the 1998 killing of James Byrd, Jr in East Texas.
Brewer was one of three men convicted of killing Byrd after they offered him a lift along a remote country road.
(Excerpt) Read more at dailymail.co.uk ...
Victim was decapitated after vehicle slammed into ditch
Accomplice on death row with case under appeal
Mike Farrell will be there protesting his execution,right?
Fry his ass.
Not sure how relevant the "hate crime" nonsense is; dead is dead.
13 years. Geez.
Isn't this the story that tried to portray Bush as a racist or something? Byrd's daughter made some ad?
I do remember, though, that the crime was horrific.
I don't have a problem with a killer getting his just deserts. Any Killer.
They should have chained this human filth to a truck, and let him experience what Mr Byrd experienced.
This should have happened twelve or thirteen years ago. Wonder how much it cost to finally get justice...
Calling it a Hate crime?....It was murder...no "label" is needed from the P.C. crowd....I assume if two blacks who dragged and killed a white guy would be executed also?
Tell me about it; there is a lot of hypocrisy and quite frankly I for one think that the idiot deserves to die, yet it owuld be refreshing if there wasn't such a drastic contrast in the reactions to each different execution.
Let's see the liberals try to protest this one.
And GWB took a lot of flak for not supporting "hate crime" legislation after this. But what would that have accomplished that would be any more severe than the death penalty?
Holder would say they're were just giving him a ride.
LaHood would say it proves we need more mass transit.
Willie would say he should have taken the train.
I don't give two sh*ts about enacting "hate crime" legislation. Murder is murder, and Brewer is guilty of the grisly murder of an innocent man.
Turn that POS to room temp.
People who do this sort of thing should be executed as close to the time of the event as possible. Thirteen years?
How about thirteen months after the time the person is charged.
Capital crimes should be expedited, appeals, and sentences carried out in short order.
Bump anything else from the docket, and get justice under way immediately.
Holder would say theyre were just giving him a ride.
LaHood would say it proves we need more mass transit.
Willie would say he should have taken the train.
Gore would say it was caused by global warming.
Obama would blame Bush.
My thoughts exactly. I don't see the usual crowd out to defend this turd. I guess they agree with a little execution now and again.
"But what would that have accomplished that would be any more severe than the death penalty"
You tell me; laws are never the answer and I personally think that, that scum is going to end up where he deserves. Laws don't always end up creating closure the way the death penalty does. Laws can be changed, death can't.
He should be dragged to death down a three-mile stretch of country road.
Killers should, at the very least, be made to feel what their victims felt.
I think that it should be expedited only if there is concrete proof, like this instance or in the instance of Ted Bundy. Other than that, I think that four to five years while analysts go over the evidence and ensure that guilt is irrefutable. It's too easy to end up killing an innocent.
13 years, eating taxpayer funded food and sleeping in a taxpayer funded bed.
It should not take this long; it should have been thirteen months to get ready to meet his Maker and then inject the little fart.
For this horrific crime, the perpep gets to leave this life in a nice sterile, comfortable room with a nice humanitarian type injection.
He and his bastard friends should, at the very least, be hung by their necks until dead - by a very inept hangman.
I must disagree with you. ROOM TEMPERATURE is much, much to comfortable for this scum. I'd sort of think a much, much warmer place would be quite deserving.
Query...is Amnesty, the ACLU and the anti-death penalty crowd preparing for the protest marches and displays over this execution? Yah right.
Could anyone even imagine Attorney General John Ashcroft saying this case "disparages my people"?
The U.S.A. better wake up to the fact we have let evil racist haters be put IN CHARGE of running this country.
See my tagline.
Idiot Court. No excuse and now this scum gets to live.
Sorry, posted to the wrong thread.
I mixed up executions. My mistake.
Accompanied by Al Sharpton.
Lethal injection is too nice of a way to kill such a monster. He should have to go the way his victim went.
Don't you hate it when that happens?
It will cut down on the thread hyjack.
A length of chain and a Ford 150 would be a lot more appropriate than a needle but one takes what one can get.
Where are the anti-death penalty protestors? They are all a bunch of hypocrites.
Some of them are still there.
Dick Gregory is going on a hunger strike for part of one day in his protest.
About freaking time. A tragedy that true justice took this long.
On that note ... seen any big anti-war rallies in the last 2.5 years?
Only Dick Gregory knows Byrd's murder was fulfillment of Biblical prophecy and Byrd died for our sins.
I am fairly convinced one the protesters there is sincere.
Ross Byrd, son of James Byrd Jr., has been protesting the execution.
dammed sub humans
So, like, what about the Wichita Horror? Or the Knoxville Horror (Channon Christian and Christopher Newsom)?
I'll have to check the Daily Mail to see what kind of coverage it gave to those Politically Correct murders.
I know our media kept those pretty quiet...
Good riddance dirt bag!!
If the best possible evidence is circumstantial, I agree. It's not my goal to do in someone who doesn't deserve it. Folks caught in the act, fry 'em, and the sooner the better.
What deterrence does a thirty-five year appeals process provide? What consideration did the victim get? Zero!
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


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Connors State's Terrance Carroll has signed a basketball national letter of intent with NCAA Division II West Alabama University of Livingston, Ala., announced Cowboys head coach Bill Muse.
The 6-2, Memphis, Tenn., native averaged 7.0 points an outing his sophomore season at Connors and 15.2 his freshman year at Pima Community College in Tucson, Ariz.
Carroll, who will play for Allen Sharpe at West Alabama said, "Connors state is one of the most respected junior colleges in the country. Terrance is a proven shooter and will be relied upon to add a scoring threat to our back court."
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Charlotte is an enigmatic figure in Goethe's novel The Sorrows of Young Werther, the inspiration for Massenet's opera Werther. Goethe tells his story almost entirely from Werther's point of view, with only occasional hints about what Charlotte – the woman Werther unhappily loves – might think and feel. Massenet follows Goethe's lead for the first two acts of his opera, but at the start of Act III he radically departs from his source material: in the extended solo scene the 'Air des lettres', he gives us an insight into Charlotte's soul.
Charlotte has married her longterm fiancé Albert. After her marriage she ordered the lovelorn Werther to leave their district until Christmas. He obeyed, but has written to her regularly. Act III opens on Christmas Eve. Werther has been absent for three months, Albert is away and Charlotte re-reads Werther's letters to herself. Even before her first words, the orchestral introduction – with its opening dark-hued, dissonant chords, rapid shifts between tenderness and turmoil and closing funereal motif in the low strings – reveals her unhappiness.
The 'Air des lettres' opens in arioso: a free style between song and recitative that mirrors Charlotte's anxiety. The light orchestral accompaniment – with some of Charlotte's lines unaccompanied – creates a sense of intimate confession. Charlotte meditates on her growing longing for Werther, and softly admits that she can't stop thinking about him. The music conveys her agitation through rapid changes of tempo and dynamics as she describes how she constantly re-reads Werther's letters and cannot bring herself to destroy them.
As Charlotte reads from one of these letters, her mood settles into melancholy. The slow tempo, long descending phrases (perhaps illustrating the icy winter wind outside) and Charlotte's repetitions of the word 'seul!' (alone) vividly evoke the loneliness Werther expresses in his letter. It's too much for Charlotte to bear, and she breaks off to ask how she could have condemned him to such isolation. In need of comfort, she turns to a second letter. Immediately, the mood of the music changes as a bright major key, delicate orchestral textures and little flourishes in strings and woodwind illustrate Werther's happy memories of Charlotte's younger siblings. Charlotte's vocal line rises and becomes increasingly lyrical as she playfully reassures the absent Werther that her family hasn't forgotten him. But her memory of Werther's most recent letter destroys her tranquillity, and brutally wrenches the music into a minor key and a stormy atmosphere.
In this third and final letter, Werther has informed Charlotte that if he does not return at Christmas he will have killed himself. Massenet evokes Charlotte's terror by a variety of means: a motif in the brass associated earlier in the opera with Werther's suicidal thoughts; a wide-ranging, declamatory vocal line; sudden surges in dynamics; agitated tremolo strings; and snarling brass interjections. There is a brief lull as Charlotte reads compassionately of how Werther imagines her weeping over his letters, but her anxiety soon overpowers her, and she cries out in anguish Werther's prophetic words: 'Ô Charlotte, tu frémiras!' (you will tremble). Repeating the phrase twice – the second time in a low-pitched monotone – she collapses in emotional exhaustion.
The 'Air des Lettres' is the first point in the opera that Charlotte abandons her persona of the tranquil and dutiful daughter, sister and wife to admit her conflicting and passionate feelings. Her emotional honesty and her remorse instinctively awaken our sympathies. For the remainder of the opera we will feel as much compassion for Charlotte as for her unhappy lover, as she struggles between desire and her sense of duty, and at last, in Act IV, confesses her secret love to Werther.
Werther runs 19 June–13 July 2016. Tickets are still available.
The production will be broadcast live to cinemas around the world on 27 June 2016. Find your nearest cinema and sign up to our mailing list.
The production is generously sponsored by BB Energy and is given with generous philanthropic support from Mrs Susan A. Olde OBE, The Taylor Family Foundation, Susan and John Singer, Spindrift Al Swaidi and the Maestro's Circle.]]>
Richard Wagner's Tannhäuser contains few arias, but the small number it has are all remarkable for their beauty. Best known perhaps is Wolfram's Act III aria 'O du, mein holder Abendstern', his hymn to the Evening Star. This beautiful aria is unusual within Wagner's style. It is more Italianate than is usual for Wagner, arguably modelled on the preghiera (prayer) aria popular in bel canto and Verdi. It it one of Wagner's very few arias for baritone, rather than his more usual writing for the lower bass-baritone (the Dutchman, Wotan, Hans Sachs) or bass (Daland, Hagen, Gurnemanz). Finally, it's a rare example of a Wagnerian male character behaving altruistically.
Wolfram's altruism is the linchpin of his character. He loves Elisabeth, but accepts her fidelity to Tannhäuser, and devotes all his efforts to bringing the couple together. When in Act III Elisabeth decides to die in order to save Tannhäuser's soul, he accepts her decision, rather than urging her to forget her absent beloved. Even when Elisabeth refuses to let him accompany her on her final journey home, Wolfram makes no protest, and instead remains alone as she leaves to delicate, ecclesiastical-sounding chords in the woodwind. Harp arpeggios herald the start of Wolfram's Hymn.
Wolfram initially sings in arioso (between speech and song), reflecting on the darkness of the evening to melancholy, low-pitched music, accompanied by slow funereal chords in the brass. The aching dissonances as he describes the soul yearning to escape the world convey his sorrow at Elisabeth's approaching death. But as Wolfram catches sight of the Evening Star, he takes comfort in its light, marked by ethereal high tremolo strings, delicate musical textures and the quickening, higher vocal line. To rippling harp arpeggios, he prays for Elisabeth's safe journey from earth to Heaven.
This main section of the aria highlights both Wolfram's tenderness and his restraint. On the one hand, the often chromatic melodic lines and the delicate ornamentation of the word 'Engel' (angel) reflect Wolfram's love for Elisabeth and pain at losing her. On the other, the aria's formal structure, with its steady harp and string accompaniment (reminiscent of various Italian bel canto arias), regular eight-bar phrases, measured pace and muted dynamics show how Wolfram keeps his emotions firmly under control – he is, after all, the same man whose song in praise of chaste love in the Act II Song Contest so riled the passionate Tannhäuser.
Only in the final phrases of the aria, as the string accompaniment changes from arpeggios to more agitated tremolos, and the funereal horns return, do we feel that Wolfram's sorrow may overcome him. However, he masters himself in the final bars, and closes his aria in an exquisite pianissimo (very soft) final phrase. The orchestra quietly echoes the aria's opening melody – until the arrival of the tormented Tannhäuser shatters the meditative atmosphere.
Wagner's principal male characters – with a few exceptions – tend to be combative types, at odds with society. Wolfram, like Hans Sachs, is unusual in his acceptance of his fate, and his determination to help others, even if he himself suffers in the process. Never is his stoicism more movingly displayed than in 'O du, mein holder Abendstern', both an expression of his devotion to Elisabeth, and an example of how a musician can express such devotion, and perhaps find some solace, through their art.
Tannhäuser runs 26 April–16 May 2016. Tickets are still available.
The production is given with generous philanthropic support from Dr and Mrs Michael West, Simon and Virginia Robertson, Maggie Copus, Peter and Fiona Espenhahn, Malcolm Herring, the Tannhäuser Production Syndicate and the Wagner Circle.]]>
'Ô petite étoile' (O little star) is probably the most famous number from Chabrier's gloriously silly opera L'Étoile. It's not hard to see why: music of a lilting pull accompanies a beautiful, pleasingly symmetrical melody, and it all wraps up nicely in under four minutes. And yet – as is almost always the case with this unfairly neglected composer – there's a lot of subtle, intelligent and surprising work that goes on beneath the song's lovely surface.
'Ô petite étoile' is the big lyric number for L'Étoile's hero, the love-struck young pedlar Lazuli (sung by a woman, in keeping with operatic tradition of the 'trouser role' for the role of an ardent adolescent). It is Lazuli's second song in the opera, after the rambunctious, ridiculous Rondeau du colporteur (Pedlar's rondo), in which Lazuli pronounces his name three different ways within the first four bars. 'Ô petite étoile' strikes a different note, as Lazuli slowly sings himself to sleep, wrapped in delicious daydreams.
The song's instrumental introduction immediately establishes a dreamy mood, achieved by Chabrier through a mixture of conventional and more unusual means. An elegant, rising violin motif sounds simultaneously with a complementary but strikingly independent horn melody. Four bars later there is a complete change of orchestral sound as the woodwind take over, matched by a surprising harmonic move – but Chabrier marshals his forces so intelligently that the following four bars sound like the natural answer to what has gone before.
Chabrier continues to marry the conventional and the surprising as Lazuli starts singing. The instrumentation of strings and horn provides continuity with the introduction, though Lazuli's chromatic melody, decorated with delicate grace notes, is quite different. Even more unusual – although something of a Chabrier trademark – is the use of irregular phrases, as Lazuli continually and unpredictably sings beyond the four-bar framework. The effect is surprisingly subtle, but creates an unmistakably languorous sense that characterizes Lazuli's idle wishful longing.
After this first irregular nine-bar section, Lazuli repeats his opening melody, this time accompanied by an oboe in place of the horn – another reference to the structure of the introduction, and also a more intense, yearning sound that prepares the ensuing development. As Lazuli urges his 'petite étoile' to tell him his future, the stress shifts to the second beat in the bar, in disorienting counterpoint to the regular pulsing of the violins. Chabrier is extremely specific with his tempo markings here, ensuring his music conveys Lazuli's urgent dream to fulfil his future.
After an exact reprise of the introduction there is a sorrowful middle section, written in the relative minor and orchestrated with instruments often associated with lament: sighing clarinets, and later a yearning cello melody. The text setting repeatedly emphasizes 'Tu peux' (you can) as through rapid harmonic movement Lazuli presses the star to grant him power and pleasure, to make him a prince or a king.
The song ends with a reprise of Lazuli's opening melody, played a little more slowly than at the opening. Lazuli is now accompanied by shimmering flutes and violins, and as he comes to the end of his song a pianissimo offbeat pulse in the upper strings suggests his gentle dip into unconsciousness. There is a last reprise of the opening instrumental melody, which ends unusually on the third note of the scale – almost as if Lazuli has fallen asleep before the music has had time to come to a proper end. It's a delicate and subtle final touch, and one that is unmistakably Chabrier.
L'Étoile runs 1–24 February 2016. Tickets are still available.
Violetta's Act I aria 'Ah fors'è lui' is her first solo number in La traviata. So far, we have only seen her as she chooses to present herself: alluring host to her party guests, coquettish courtesan to her young admirer Alfredo. It is only after the guests have left that we see a more thoughtful and vulnerable Violetta, as she considers her response to Alfredo's ardent declaration of love. Verdi employs traditional 19th-century Italian operatic structure in the aria: opening recitative; slow first section; transitional recitative and closing fast section (cabaletta). A master of the form, he uses this structure to offer a profound insight into his heroine's conflicted emotions.
In the brooding opening recitative, Violetta meditates in falling phrases on how strange it feels at last to be loved. String tremolos illustrate her agitation as she ponders how she should respond. Her vocal line blossoms into an expansive, coloratura-adorned phrase as she rejoices in finally experiencing true love; and then, more pensively, she asks herself how she can possibly resist Alfredo and the affection he offers. Delicate woodwind arpeggios lead into the aria, as she meditates further.
'Ah, fors'è lui' opens in F minor, capturing Violetta's melancholy as she recalls her past loneliness. The simple, lyrical vocal style shows that she is far from being the frivolous courtesan she at first appeared. As Violetta recalls Alfredo's concern about the illness that has until recently kept her confined, the pace quickens, and a long crescendo leads us into F major. Accompanied by delicate clarinet arpeggios, sustained horn chords and pizzicato (pinched or plucked) strings, she raptly repeats, in words and melody, Alfredo's avowal of love. The section ends in an ecstatic melisma, and we are left in no doubt that Violetta is falling in love.
However, Violetta's profession as a courtesan has not encouraged her to trust men, and this new emotion frightens her. Exclaiming 'follia!' (madness), she abandons her contemplative mood. In the ensuing recitative, tremolo strings and dramatic shifts in pitch register her fear of yielding to Alfredo. She determines to continue her hedonistic lifestyle, repeating with ever more flamboyant coloratura the word 'gioir' (to enjoy), and launches impetuously into the aria's cabaletta, 'Sempre libera' (forever free).
This is one of Verdi's most dazzling showpieces for soprano: a frenetic A flat major waltz, whose orchestration of high woodwind and rapidly pulsing strings harks back to the act's earlier party music. Violetta's vocal style, all coloratura, trills and flamboyant high notes, contrasts sharply with her earlier lyric tenderness. The music's manic quality not only depicts Violetta's frivolous and hedonistic world, but also suggests her encroaching illness: Verdi poignantly evokes the consumptive's swings between exhaustion and exuberant hyperactivity.
Verdi ends the cabaletta's first verse with an astonishing theatrical device. Suddenly, we hear Alfredo offstage repeating his earlier declaration of love – whether serenading Violetta from the street, or just as a voice from within Violetta's mind, is left for us to decide. His ardent song briefly silences Violetta; but she remains determined to banish romantic thoughts. She follows Alfredo's final phrase with ever more vehement coloratura statements of 'gioir!', and a second verse of her aria – it is identical to the first, but after that brief interlude of tenderness seems even more manic.
Alfredo and his music will not be banished for good, though, and at the aria's close we hear him again, rapid fragments of his music pitted against Violetta's ever more agitated coloratura. Violetta wins out in the aria's closing bars; but as we shall see, it is Alfredo and his love that will triumph eventually – with consequences both ecstatic and tragic.
Il trovatore runs 1 December 2016-8 February 2017.
Tickets go on sale to Friends of Covent Garden on 21 September 2016. General booking opens on 18 October 2016.
The production is generously supported by Coutts.
'Vesti la giubba' is the most famous number in Leoncavallo's short opera Pagliacci (or Clowns). The first three words are familiar in English translation as 'On with the motley', referring to the stage make-up and costume the singer is putting on as he sings. In the original Italian the next line refers to powdering the face, to create the whitened look of the clown Pagliaccio from a commedia dell'arte comedy. The number is about performers and performing – which is also one of the themes of the whole opera.
Canio is an older man who leads a travelling troupe of players. His young wife Nedda is one of the actors, and she is in love with someone in the village the troupe is visiting. Canio finds out that his wife is cheating on him, but can't discover with whom. At the end of the first act he is left alone to get ready to take to the stage. As a man, he is heartbroken. As a character in the play, he must laugh and play the fool. It is all the harder as his character in the play is a man whose wife is cheating on him. Yet 'the show must go on'.
The fame of the number was boosted by a recording by the great Italian tenor Enrico Caruso. He recorded it first, with piano, in 1902 (creating the first million-selling record in the process), but it was the version with orchestra from 1907 that proved especially influential – right at the time when the new invention of recording on disc was taking off commercially. Conveniently, the aria is just the right length to fit on one side of an early 78 r.p.m. record. Other characteristics of the musical style help too: the orchestration is mainly low and undulating, rising and falling in waves with the emotions of the singer, rather than aggressive, sudden and cutting through them. This all means that the focus is clearly on the voice.
In the recitative before the main tune, Canio tells us that he doesn't know who he is anymore. A man? Or a clown? Then the melancholy aria melody begins. Canio becomes increasingly preoccupied with his situation. He exclaims the famous line 'Ridi, Pagliaccio' to an ear-catching five-note theme with the same rhythm as 'Vesti la giubba'. With irony, he is telling himself that as the clown he must laugh for the crowd. The instruction in the score is for the singer to sound 'tormented'.
This short number is full directions to the performer, such as 'violently' and 'with great expression'. In the introduction Canio breaks down with cries notated in words, but given no pitched notes. And the final two lines of the aria are marked to be sung with great passion as he ends 'sobbing'. This overt display of emotion in performance style is characteristic of this type of verismo Italian opera. The intention is to portray raw emotions, strongly drawn as part of a depiction of harsh reality.
'Vesti la giubba' contrasts the public face of the character and the private face of the performer. In the second act, Canio acts in the troupe's play, but increasingly loses grip on what is real. Pagliaccio and his cheating wife Columbina aren't an act on stage – it is him and his wife Nedda. He forgets he is performing and bursts out of character declaring 'No! Pagliaccio non son' – No! I am not Pagliaccio. The audience for the play applaud what they think is brilliant acting. They can't tell real from fake. They even watch Pagliaccio acting out the murder of Columbina – when it really is Canio killing Nedda right in front of them. In 'Vesti la giubba', Canio gives in to the demands of the imaginary world of the theatre. But at the end of the second act, real life tragically wins out.
Cavalleria rusticana/Pagliacci ran from 3 December 2015–1 January 2016.
The production was be broadcast live to cinemas around the world on 10 December 2015. Find your nearest cinema and sign up to our mailing list.
The production was a co-production with Opera Australia, La Monnaie, Brussels, and The Göteborg Opera and is given with generous philanthropic support from The Royal Opera House Endowment Fund.]]>
Carmen is an opera of action. Even Escamillo's Toreador Song and Carmen's Habanera are performances for the crowd, rather than moments of introspection. However, there are a few episodes where the action pauses and Bizet provides intimate insights into his characters' psyches, above all in Don José's Act II Flower Song, 'La fleur que tu m'as jétée' (The flower that you threw to me).
Don José sings this aria as his relationship with Carmen reaches its first crisis. At the end of Act I José let Carmen escape arrest and was imprisoned as a result. Released, he has joined Carmen at Lillas Pastia's tavern, where Carmen dances for him. The call to barracks interrupts them, and Don José says that he must leave. Carmen becomes angry, taunts him and claims that he doesn't love her. Don José pleads in vain, until he too becomes angry. Commanding Carmen to listen, he shows her the flower that she threw at him in Act I.
The aria's introduction evokes foreboding, with string tremolos and a solo cor anglais quietly intoning the opera's 'fate motif', first heard in the overture. The mood changes as José begins to sing, and the music, agitated while the lovers quarrelled, temporarily settles. Don José addresses Carmen in a simple, lyrical melody, with light, syncopated string and woodwind accompaniment. The music's gentleness is reminiscent of his Act I duet with Micaëla – and suggests the huge difference in personality between José and the feisty Carmen.
José tells Carmen how he used to inhale the flower's scent and the orchestral textures grow richer, with rippling harp chords and shimmering strings. José sings with increasing intensity and the music reaches its first, rapt climax as he describes how he saw Carmen in visions. But this contemplative mood does not last: the music shifts to a minor key as to sighing figures in the flutes José recalls how he hated Carmen for disgracing him. Anger evolves into sorrow, and he asks, in a dark-hued dignified phrase, why fate put Carmen in his way. This mood, too, is fleeting – a rising woodwind scale leads the music back to the major, as José accuses himself of blaspheming against love.
The aria now hurries towards its emotional climax. Dramatic crescendos, high string tremolos, the voice climbing in pitch and a quickening tempo all convey Don José's passion as he recalls his one desire, lingering tenderly on the climactic phrase 'De te revoir, Carmen' (To see you again). Along with passion and tenderness, Bizet creates a strong sense of José's masochism: in the sobbing descending phrases as José describes how Carmen has taken possession of his being, and in the penultimate phrase, where he soars to a pianissimo top B flat as he declares himself Carmen's slave. The aria ends with the melting beauty of José's ecstatic unaccompanied avowal 'Carmen, je t'aime!' (I love you), followed by a gentle orchestral variant of his opening melody.
In José's Flower Song, Bizet both provides a moving portrayal of a young man very much in love, and shows us the unhealthy and abject nature of that love. It is no wonder, after witnessing such extreme passion and masochism, that Carmen decides to exploit José to the limit – or that, when finally rejected, he will turn on her with a fury equal to the devotion expressed in this aria.
Carmen runs 19 October–30 November 2015. Tickets are still available.
The production is staged with generous philanthropic support from the Royal Opera House Endowment Fund.]]>
Mozart believed that although opera buffa was intrinsically comic it should feature serious characters and themes. Countess Almaviva is perhaps the most serious and complex character in Le nozze di Figaro (The Marriage of Figaro). She has a sense of humour and joins in Figaro and Susanna's schemes with enthusiasm, but also gives voice to some of the opera's most profound emotions – particularly in 'Dove sono'.
The Countess sings this aria in Act III, by which point Mozart's 'crazy day' is threatening to collapse into chaos. The Countess, Figaro and Susanna's schemes to shame the Count and reunite him with his wife have so far only resulted in the Count accusing his wife of infidelity and becoming suspicious of Figaro. Moreover, Figaro and Susanna are distracted by Marcellina's threats to force Figaro to marry her. Alone, and unaware that this particular problem has been resolved, the Countess waits anxiously for news from Susanna.
The aria is preceded by extended accompanied recitative, which depicts the Countess's fluctuating emotions. The opening phrases are melancholy, but the tempo soon quickens as the Countess frets about the audacity of Susanna's plot, and her husband's tendency to fly into jealous rages. She expresses first sorrow then agitation (highlighted by shifting orchestral harmonies), but righteous anger is the dominant emotion for the recitative – despite a moment of sorrow as she recalls her husband's past tenderness. In the closing phrase, high-pitched and accompanied by martial rhythms in the strings, she denounces her husband for forcing her to conspire with her servants.
By contrast, the aria (in serene C major) opens in a contemplative mood. The Countess sings in long, tender phrases as she recollects her past happiness. A solo oboe – an instrument often associated with nostalgia – and bassoons intertwine sensually with her voice. As the Countess reflects on how her contentment has turned to sorrow, minor harmonies enter briefly, and her vocal line becomes more dramatic and low-lying. However, the bright major harmonies and lyricism of the opening soon return in a shortened reprise of the aria's opening section. This is sung very quietly, as if the Countess is lost in a reverie; until her mood abruptly shifts again, and she breaks off mid-phrase to launch into the aria's second, faster section.
Here, the full orchestral textures, little woodwind flourishes, rapid tempo and expanding vocal tessitura illustrate the Countess's growing sense of purpose. Although her memories of how her husband has hurt her briefly lead her to melancholy, she refuses to lose hope. Her vocal line becomes wider-ranging to reflect her growing courage, and she soars to repeated top As (the highest note in the aria) as she vows to soften her husband's heart – though the repetitions of 'l'ingrato cor' (ungrateful heart) imply that she knows it will take determination. The energetic orchestral conclusion maintains her mood of new-found optimism. The Countess has taken control of her destiny, and from now on will lead the plot to shame the Count.
Le nozze di Figaro is a great opera not only because of its wittiness and fast-paced plot, but also because of those passages in which Mozart allows us to pause and explore the characters' emotional states in all their complexity. 'Dove sono' is one of the finest of these episodes. Mozart's vivid depiction of the Countess's progression from anxiety and anger to nostalgia to purposeful hope make this aria one of the most moving, not only in Figaro, but in his entire collection of works.
Le nozze di Figaro runs 15 September–14 October 2015. Tickets are still available.
The production is staged with generous support from Paul Cartledge and Judith Portrait.]]>
William Tell shoots an apple off his son's head. It's about the only scene from the (fictional) Swiss hero's history that's widely known and, as you'd expect, is crucial both in Schiller's play Wilhelm Tell and the opera it inspired. Rossini places the scene at his opera's heart, and marks it with an aria for his protagonist of profound beauty and aching intensity.
'Sois immobile' arrives in Act III. The Austrian governor Gesler has forced the Swiss people to celebrate a century of Austrian occupation, and demands that they bow to symbols of his power. Tell refuses: 'I bow before God alone'. Incensed, Gesler has Tell's young son Jemmy seized and orders Tell to demonstrate his famed archery skills by shooting an apple off the boy's head. Tell, aghast, kneels before Gesler immediately – but the tyrant is resolute. Trembling, Tell begs one last embrace with Jemmy, which Gesler grants. With his arms around his son, Tell sings his sole aria in the opera, 'Sois immobile' (Stay as still as you can).
Tell has a remarkably powerful presence in the opera, made yet more remarkable by the fact Rossini rarely shines the spotlight on his hero. We learn of Tell's decency, dignity and strength not through arias but through his actions, whether in ensembles or by his interjections in the opera's many massive choral scenes. 'Sois immobile' is a solitary glimpse into Tell's mind at a time of great anguish; the one time that he stops, overwhelmed.
The aria is scored with striking simplicity, dominated by a cello line that soars mournfully out of the silence. Though played by half the cello section, the line has a soloistic fluidity. It recalls more than anything the Baroque obbligato, in which a solo instrument performs in dialogue with the singer, offering a wordless commentary on and insight into their words.
Rossini's fellow composer Berlioz singled out the instrumentation of 'Sois immobile' for particular praise in his Treatise upon modern instrumentation and orchestration, writing 'the plaintive design of the cellos… is of touching and admirable effect. It undoubtedly renders the idea of the piece complex; but it does so without constraining the aria. On the contrary, it enhances its affecting and sublime expression.' Of the many composers this unusual scoring has inspired, perhaps the most notable is Verdi, who echoes 'Sois immobile' in Rigoletto's aria 'Cortigiani, vil razza dannata' – another aria in which a despairing father mourns for his child.
Rossini's soloistic cello line mingles sighing sadness with an anguished urgency, as gasping rests lead into long lines of legato semiquavers. The cellos play alone in the beseeching introduction, seemingly lost, the way forward unclear. By the time the accompanying instruments start, with brief pizzicato notes in the other strings and anguished suspensions in the woodwind, the cello line has fallen into a repetitive pattern – but one still tortured by yearning, twisting between minor and major in constant and uneasy movement.
Tell sings in simple, impassioned declamation. He tells Jemmy to bend his knee, to call upon God, to raise his eyes to heaven. Rossini matches the music absolutely to the rhythms of the text. The effect is that the aria seems almost like a lone long single line, a solemn prayer of growing intensity that reaches its apex with Tell's plea: 'Jemmy, think of your mother! She's waiting for us both!'
For many, 'Sois immobile' is the greatest passage in Rossini's greatest work. Wagner visited Rossini in Paris in 1860, and talk fell to Wagner's development of declamatory recitative. Wagner cited the 'free, independent and unfettered' melody of 'Sois immobile', as an example of what he sought to achieve. Rossini rejoined 'So I made music of the future without knowing it!'. Wagner is said to have replied 'No – it is music for all time.'
Guillaume Tell runs 29 June–17 July 2015. Tickets are still available.
The production will be broadcast live to cinemas around the world on 5 July 2015. Find your nearest cinema.
The production is given with generous philanthropic support from Hélène and Jean Peters and David Hancock.]]>
It's a situation that many opera fans will have experienced – after an explosive series of enthralling musical acrobatics and taut drama, you find the action lulls. In some cases, these lulls do little to give us insight into the characters, and at times they simply don't match up musically to what came before. At their worst, the longueurs can leave you irreversibly switched off to an entire composer's oeuvre.
The question is – what to do about these potentially troublesome sections? Is it acceptable to make cuts and edits to the work of history's great composers?
Cuts can and do happen, with varying degrees of obviousness. Perhaps most dramatically, Peter Konwitschny's English National Opera production of La traviata makes substantial cuts, bringing the running time down to less than two hours – approximately 25 minutes less than Richard Eyre's (uncut) Royal Opera production. Not quite as drastic, Kasper Holten's Royal Opera production of Don Giovanni makes edits to the finale, following in the footsteps of a number of famous directors and conductors – including Gustav Mahler – who've dabbled with the demise of Mozart's famous anti-hero.
Then of course there are edits that are invisible to all but the most scrutinous score-studier – tiny tweaks to single lines of recitative or snippets of arias. 'An audience must have the confidence to admit that there are structural inadequacies in the great works', Artistic Director of the Southbank Centre, Jude Kelly recently told the Guardian. Away from the lyric stage edits are commonplace, with iconic works by William Shakespeare regularly subject to cuts.
All this, of course, is before we even begin to explore those composers who routinely rewrote and edited new versions of their own works.
Alternatively, should we remain strictly hands-off when it comes to the classics? After all, there's no accounting for taste – one person's 'boring' is another person's favourite bit, or for someone else it's a chance for respite from the sensory overload of an opera – after all, many of opera's most thrilling moments come from contrast. Indeed, we may need to learn to experience them more passively rather than expecting immediate gratification. Having the music wash over you – for many – is intrinsic to the opera-going experience.
We asked our Twitter following what they think of operatic edits:
@TheRoyalOpera @RoyalOperaHouse Intelligent, sensitive editing can save any production.
— Wendy Perron (@wperrondancemag) January 12, 2015
@TheRoyalOpera @RoyalOperaHouse Would you edit La Pietà or La Gioconda? Master works and great artists must be respected in their forms!!!
— Julio Sierra (@mjulio48) January 12, 2015
@TheRoyalOpera Of course they can be edited! But if it's badly done, it turns painful fast.
— Ilana Walder-Biesanz (@ilana_wb) January 12, 2015
@TheRoyalOpera Does that include stage directions that composers may have embedded in their scores? A can of worms if so. #OperaEdits
— Mark Valencia (@MarkValencia) January 12, 2015
@TheRoyalOpera @RoyalOperaHouse opera editing should be a NONO! Imagine editing a symphony, piano/violin/cello concerto! So why an opera??
— Simone Camilleri (@MaltaMSimone) January 12, 2015
@RoyalOperaHouse decision needed on "edition" of Don Carlo/s Boris Godunov or Khovanschina as there are no definitive final scores.
— John Johnston (@JohnVecchio) January 12, 2015
@TheRoyalOpera I think its perfectly acceptable to edit operas, after all, the composer only wrote half of what he intended... #OperaEdits
— Hanako Dickinson (@HanakoDickinson) January 13, 2015
What do you think of operatic edits?
If the drama demands it, should passages of works be cut; or should we leave works as completed by the composer?
Italian opera of the fin de siècle is characterized by dramatic, fast-paced action. But there are also more lyrical sections, which provide us with an invaluable glimpse into the principal characters' emotional lives. It is unlikely that we would care so much about Mimì and Rodolfo in La bohème if Puccini had not written Rodolfo's passionate aria 'Che gelida manina' and Mimì's tender response 'Mi chiamano Mimì' in Act I. Likewise, the charisma of Cilea's actress-heroine Adriana Lecouvreur owes much to her radiant first-act aria 'Io son l'umile ancella'. Giordano too opens up his main character through song, in the process rendering his hero Andrea Chénier irresistible – to us as well as to heroine Maddalena di Coigny – through the noble aspirations and yearning for love that he explores in the Act I 'Improvviso'.
Chénier sings the 'Improvviso' (literally, an improvisation) in response to a flippant comment from Maddalena. He feels out of place at the Contessa di Coigny's snobbish party, and when the Contessa and Maddalena ask him to recite a poem he refuses, telling them that the Muse cannot be commanded. Maddalena laughs mockingly at the Muse's absence from the party. Chénier is roused to anger, and declares that she has wounded his soul. To sustained string and woodwind chords, he solemnly declares that Maddalena will now hear a poem about the meaning of love.
Accompanied by woodwind, solo strings and shimmering harp, Chénier gently recalls the beauty of a day in the countryside. The free-flowing style of the vocal line reminds the listener that Chénier is improvising – almost like a stream of consciousness. Chénier bursts into full-throated lyricism (accompanied by translucent harp arpeggios and shadowed by solo clarinet) as he remembers how the earth seemed to caress him that day. The music reaches an ecstatic climax, with rich orchestral textures, as Chénier proclaims: 'I love you who kiss me, divinely beautiful, my homeland!'
There is a moment of calm as to ecclesiastical woodwind chords Chénier describes how he went to church to pray. But suddenly the mood darkens. Chénier recalls the priest who adorned the altars but shunned the poor man begging for bread at the door. His vocal style abruptly changes: rapid fierce phrases, with dramatic pauses, are accompanied by string tremolos. The mood grows still darker: the brass enter the aria for the first time, with stabbing figures, and the agitated string tremolos continue as Chénier remembers his encounter with a workman who cursed both God and man for causing his poverty. All lyricism has vanished: Chénier's voice rises to an anguished near-shout as he recalls the tears of the man's children.
The mood shifts again, to melancholy. Accompanied by dark-toned woodwind chords and a throbbing string figure, Chénier asks sadly why the aristocracy ignore such misery. He appeals to Maddalena. The rhapsodic mood and warm major harmonies of the aria's opening return as he tells Maddalena how her sympathetic eyes moved him when they first met. But melancholy minor harmonies return in the strings as he remembers the sting of Maddalena's laughter. He gently chides her for mocking him, and warns her not to disparage love. The phrase that Chénier sang to declare his love for his country – which will return poignantly later in the opera – returns to close the aria as he effusively describes love as 'the life and soul of the world'.
In just under seven minutes, Giordano tells us all about his hero: he is idealistic, impulsive and full of yearning for love. We long to know what will happen to him, and to his budding romance with Maddalena. It is a wonderful introduction to the charismatic poet who dominates Giordano's operatic masterpiece.
The production is a co-production with the National Centre for the Performing Arts, Beijing, and San Francisco Opera, and is given with generous philanthropic support from Mrs Aline Foriel-Destezet, Mrs Susan A. Olde OBE, Simon and Virginia Robertson, Spindrift Al Swaidi, Mercedes T. Bass and Mrs Trevor Swete.]]>


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Christian historical stories of women during the eighteenth century
In 18th-century Canada, two women fashion a friendship that social unrest threatens to destroy. Song of Acadia book 1. A Christy Award-winner.
Book 2 in the Song of Acadia series. In this sequel to The Meeting Place, the shoreline of America means hope for some and tragedy for others.
The start of the American Revolution puts both Nicole and Anne in danger. A bestselling and award-winning historical series!


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Obama to Visit Israel on Passover Eve to Push Peace
President Barack Obama is planning to visit Israel, the PA and Jordan this spring, probably in March, the White House said yesterday, hinting at a new American effort to restart Israel-Palestinian peace efforts.
Israel's Channel 10 News cited a source in Washington that said the president will visit Jerusalem on March 20th—the week just before Pesach.
Could be a plot to avoid running into protesting settlers, who would be too busy cleaning…
Obama's trip, his first to Israel since taking office, appears to show that he intends to concentrate on Middle East politics:
"The start of the president's second term and the formation of a new Israeli government offer the opportunity to reaffirm the deep and enduring bonds between the United States and Israel," Jay Carney, the White House spokesman, said Tuesday, "and to discuss the way forward on a broad range of issues of mutual concern, including, of course, Iran and Syria."
Obama's new secretary of state, John Kerry, also plans to visit Israel in March.
Prime Minister Netanyahu's office said a visit by the president would be "an important opportunity to underscore the friendship and strong partnership between Israel and the United States."
Dennis Ross, a former Middle East adviser to Mr. Obama, told the NY Times the trip reflects "a desire to connect with the Israeli public at a time when he can go and not have high expectations about having to produce something."
Ross added that the president "can create a new beginning with the same prime minister but with a new Israeli government."
The Times pointed out that Obama visited Israel in 2008 as a candidate, but not during his first term, a fact that was criticized by a pro-Romney commercial saying Obama "traveled all over the Middle East but he hasn't found time to visit our ally and friend, Israel."
Incidentally, four sitting presidents have visited Israel: Richard M. Nixon and Jimmy Carter one time each, George W. Bush twice, and Bill Clinton four times (by the fourth time there were rumors he was checking the possibility of running for the Knesset on the Labor list).Yori Yanover
About the Author: Yori Yanover has been a working journalist since age 17, before he enlisted and worked for Ba'Machane Nachal. Since then he has worked for Israel Shelanu, the US supplement of Yedioth, JCN18.com, USAJewish.com, Lubavitch News Service, Arutz 7 (as DJ on the high seas), and the Grand Street News. He has published Dancing and Crying, a colorful and intimate portrait of the last two years in the life of the late Lubavitch Rebbe, (in Hebrew), and two fun books in English: The Cabalist's Daughter: A Novel of Practical Messianic Redemption, and How Would God REALLY Vote.
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The best prospect in the Phillies' organization is a Philadelphia native, according to the top 10 rankings released Monday by Baseball America.
Lefthander Jesse Biddle, the 27th overall player taken in the 2010 draft, moved to the top of the rankings for the first time in his three-year professional career.
"My agent texted me and I kind of checked it out," Biddle said. "It's a cool honor and it means a lot . . . but I think everybody would agree that there are a lot of players who aren't on that list who are very, very talented and will still make an impact at all levels of the game."


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One of the best investments you can make for your home is energy efficiency. As you consider solar energy for your home, include simple energy efficiency measures that reduce your home energy consumption.


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Relationship Building: How To Effectively Communicate With Your Family
relationships • me • relationships • lifestyle
Relationships—Last weekend our family decided to take a small road trip to the mountains in the northern part of our state. We went looking for the changing leaves, picturesque views, pumpkins, and fresh apples. We did find those things, but we found something else too, which was quite disturbing.
As we stopped at each location, we were extremely surprised to hear how hateful families were speaking to one another; from child to parent and parent to child. Knowing that usually in public, people are on their best behavior, it was troubling to think how much worse these discussions could have been in a private setting. These displays were generally not arguments, but one-sided yelling in a hateful tone.
I hope these families were just having an off day. I know our family has had them. The sad thing is we usually speak kinder to people we do not know than the people we love the most. One thing my mom would always say when she thought my tone was out of line was, "I wish I had a tape recorder." The funny thing is, I sometimes responded with, "I wish you did too." Sometimes, I don't think we realize how we sound to others. It is so important to pay careful attention to not only what we say to our children, but how we say it.
Children are imitators of what they see and hear. If you are wondering where your child learned to speak in a way that is unbecoming, chances are he learned it from you. If not directly from you, from the TV shows or movies you allow him to watch, or the friends you allow him to spend his time with. He or she is not only influenced by those people, but by your adult friends and the parents of your child's friends.
If you haven't already, become conscious of your tone of voice and how you speak to others; especially those in your household. There are three important questions my Dad taught me to ask myself before saying anything and the last one is very important for this topic. The questions are: "Is it true?", "Does it really need to be said?", and "Can it be said in love?"
If you can't answer yes to one of these questions, then you should probably keep your opinions to yourself. Let's make sure when speaking to our children that everything is said in love. If you find your children speaking in a hateful tone, ask them to repeat their statement in a kinder way until you are satisfied with how it sounds. Chances are if your children are imitating what they see and hear, they may not realize how they sound. Give them the benefit of the doubt and let them try their statement again. You can also ask them to hold you accountable for how you speak to others. I promise this has worked in our family. From today forward, let us always speak in love.
How do you effectively communicate with your family? What steps do you take to watch your tone when speaking with your children?
Alicia Ivey has a great relationship with her parents and strives to have that same relationship with her daughter. Recognizing the way we speak to each other is one of the first steps in forming that special bond within your family. Alicia enjoys singing, speaking and freelance writing. She shares her words of wisdom by writing for My Baby Clothes dot com, where you can find all of the latest styles in baby clothes, tutus and baby hats.
Latest posts by Lori (see all)
- Father's Day: Growing Up Dad - May 31, 2016
- Moms: How to Build Strong Relationships with Your Kids - May 2, 2016
- Mother's Day: How to Make New Mother's Day Traditions - April 13, 2016
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2 responses to "Relationship Building: How To Effectively Communicate With Your Family"
This is such a great post! My kids are always amazed how moms holler at their kids and how the kids talk back to their moms – it is one thing to do this at the grocery store right around dinner time (whoever shops when they're hungry and takes hungry kids into the grocery store is pretty much asking for it…) but it is an entirely different thing when we are visiting places that are supposed to be family friendly – the zoo, a kids museum, a national park etc.
One thing we have tried to be conscious of is making jokes at each other's expense. There are a lot of families that put each other down while "just joking". It's not really funny and often its just hurtful. My kids are amazing about this. They really are supportive of each other and when there is someone who visits who tries to engage in this kind of humor my kids never "politely laugh along" they just don't react and often times end the conversation – not in a way that makes the person doing it feel bad – they have been making these kind of jokes their whole lives and probably don't even realize how hurtful it can be – but the kids just move on to something else and it totally stops that line of joking in its tracks.
Anyway, thank you for sharing your experience with us today because it is something that we have to remind ourselves about over and over. From today forward, let us always speak with love. (That is going on my bulletin board right now)
Thank you Marie! What a great thing to pass on to my 7 yr old…to know when and how to change the subject. Thank you for sharing your wisdom!


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Playing with my vibrator till I cum. It's fun watching my vagina twitch.
- Runtime:
- 1:19
- Views:
- 67639
- Date:
- 8 years ago
- Rating:
- (24 votes) 87%
Playing with my vibrator till I cum. It's fun watching my vagina twitch.
If only I could have my tongue in your asshole while you play
contractions mmmmmm yummmy
aww what a cute orgasm! Your pussy really makes my mouth water. Though I found it funny in a good way how your contractions came really fast one after another like bambambambambam. Its normally a bit slower just a tad bit but hey I'm sure it felt hella good XD
Keep up the great work! I really hope to see more from you. ^-^
can you do another video like this showing your butthole twitching?
easily the hottest video on xtube


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What a difference a hair color makes!
Nicole Kidman recently went back to her former red hue (a tad brighter than before), literally dropping a decade when she got rid of her pale blond hair.
]]>It's incredible how much younger and prettier she looks with a more natural hair color. And think of the money she's saving on root upkeep.
Not to mention saving money on deep conditioning to help her processed hair.
What do you think? Do you like Nicole better blond or red?
Follow Zap2it's Dish Rag on Twitter, and Facebook for the latest celeb news and buzz.
More Nicole Kidman dish


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Sustainability Companies serving Qatar
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Teklynx International
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McHewel Investment Group
based in Toronto, ONTARIO (CANADA)
McHewel Investment Group is a private equity investment company that combines an ambitious, entrepreneurial spirit with years of experience and a thorough knowledge of investing in the region. Since its establishment in 1992, McHewel Investment Group has been active in developing new projects. McHewel Investment Group invests in unquoted companies with a strong investment ...
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International Association for Impact Assessment (IAIA)
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Sustainable | Water | Management | Group
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based in Hamburg, GERMANY
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based in Waukesha, WISCONSIN (USA)
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Linux device driver
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These Aren't Your Grandma's Houseplants! Indoor Plant Projects for Modern Day Decor
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The Best of Garden Therapy: 25 Wildly Popular Garden & Craft Projects
Welcome to the 2015 wrap up post where I'll share the Best of Garden Therapy from this year. I have a few personal notes to share, as well as look back on the year including 25 Wildly Popular Garden & Craft Projects that were published. Another year is about to close and I couldn't be more grateful. 2015 was the year that …Read More
Creative Wood Slice Projects
Slices of branches or tree trunks are all the rage! It's no wonder why there are so many uses for these rustic yet beautiful cross-sections of wood. I can't think of a better way to bring the outdoors in. I create a guide over on my eBay blog with tips to make something creative with wood slices for your home or …Read More
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100 Handmade Christmas Projects!
One hundred projects. Handmade DIYs. All for the holidays? Yep! Go grab yourself an eggnog latte and prepare to be inspired! Twenty-five of some of my very favourite bloggers are each showcasing four of their very best projects for Christmas. First we will start with my fav four: A Very Merry Holly Wreath Painted Acorn Ornaments (made with …Read More


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CLUB DOG MEMBER SINCE: January 5, 2008
Oh no! They're getting rid of DC and CC! No!! I'm going to miss you all! If you want to keep in touch, Big Sis's email is email@example.com or you can find her on Facebook at facebook.com/jeanne.owens.547 or facebook.com/jeanne.owens.author
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I was bought from a breeder. Mom's boss at the time had bought a poodle from the breeder lady a year or so before, and when there was a new litter, mom just had to get one. Turns out the two of us (my sister Ginger and I) are the spitting image of each other, although I am a little bigger. I'm in a book! http://www.chatterpup.com Portion of proceeds go to pet charities. Big Sis's book, Kismet and Tell, is on Amazon and Barnes and Noble websites!! Check it out at jeanneowens.weebly.com I crossed the Rainbow Bridge 2/21/14 Find us on Facebook @ facebook.com/jeanne.owens.547
.In an effort to improve our website for our visitors, we will be changing some of our service providers. We do not expect to experience any technical difficulties. However, if you are unable to access our website, please be assured it will be temporary as we transition to the new service.
I sure hope you had a fantastic weekend. We had a very good weekend here, went to a dog show in Maumee, OH just on the southern end of Toledo. It was supposed to rain all weekend but it didn't and the weather was beautiful! Nice and cool with a breeze blowing the whole weekend. Mom and I both loved it! I went along of course to give the pups pointers on how to show properly and this time Gwen listened and actually walked around the ring! She looks lots better when she walks and dad doesn't have to carry her! BOL Blade took reserve winners dog both Sat. and Sun. (the dog that kept beating him finally finished his championship so mom says, good he's out of our way now we can win some points! She's so silly!) Lance and AJ did really good too considering they were up against that dog that kept beating Blade, they came in second to him out of a class of 5 so they were better this weekend too! It was a good weekend all around.
Mom even managed to find a scrapbooking store up in Maumee and she went and found all kinds of cool things. Dad even found some kind of tool store and got some really cool things so everyone was having fun this weekend! Looks like we are supposed to have a beautiful week weatherwise and a gorgeous weekend, I sure hope it stays that way!
Have a really great evening!
Your little buddy
Come visit me, Merlin
Happy Sunday. Hope you had a great weekend.
Yesterday was a busy day for us. I went to the groomer for the last time as they will be moving. Mom stayed and watched as she will be grooming me now. Mom learned all kinds of little tips. Hopefully mom will do a good job & I won't have to go into hiding afterwards. Mom got all of my grooming supplies ordered and is still in sticker shock over the amount of money they cost. The craziest part is how much the shears cost. Some of those shears cost $400. Needless to say, mom didn't get the $400 dollar shears but the ones she got were still plenty expensive as she had to get a straight pair, curved pair & thinning pair. She skipped getting a grooming table as all of the affordable ones weren't sturdy enough to hold a dog my size. So she is going to use the coffee table that is stored under the bed in the spare bedroom. It is big & sturdy enough to hold me. And the best part is that it is free. Mom says I am quickly running her into the poor house.
I've been taking my liquid medication but let me tell you I sure don't like it. Mom says I remind her of a little kid because I make an awful face & make gagging noises. I had to take it while I was at the groomer's yesterday and she couldn't stop laughing at me. She said I was too funny. So far I haven't had any reaction to the reduced dose and hopefully I will continue to do well.
BBS. Regis
Come visit me, MisFits~Money Abbie & Pooh ~ 136806, Regis ~ 116698
Aww she's cute. No wonder you like to play with her. Boy is it hot here today. Mostly the humidity from the rain we got earlt this morning. We are not use to the heat it has been cold & rainy here for a long time.
Not much happening around here lately since it's either been rainy or cold. We are going to try & go fishing this week end. Keeping our fingures crossed that it stays nice. Last time we wanted to go the wind blew so hard the lake had whitecaps on it. Mom will not go out when it's like that.
Come visit me, Brandi -, Dani, Rusty & Ruger, Sammy-
Wow! Bush Gardens! Thats a really cool place momma wants to go someday. I am spending alot of time with Papa this summer. Is it hot there? Pawing a vote
Lola Belle
Come visit me, Honey Dew
Hi! Cinnamon! I only sign in about once a week now - just to busy - trying to get all the yardwork done. That is not really true because we have had days of rain so not much is getting done but we will have a fine crop of weeds.
My Mom and Dad are going away for 3 or 4 weeks in July so I will have to stay off the computer while they are away - my pawrents just don't trust me to be on the computer unsupervised. They will have someone stay here at the house to look after me and the fish and the house.
Hope that all is well with you and your loved ones.
Come visit me, Keshia
Hi Cinnamon,
Happy Belated Birthday to your Big Sis!!!
I (Max) just got back from the vet's office. I have a double ear infection. It is very inflamed. I'm now taking a prednisone taper along with ear medication. Mommy is concerned that she will have some trouble putting the drops into my ears because even the vet had lots of trouble cleaning out my ears. I was yelping in pain and it took two techs and the vet along with Mommy giving me tons of treats to allow the vet to clean my ears. She wasn't even able to do a thorough cleaning but she said that once the prednisone reduces the inflammation it might be easier to do. Mommy will be trying to give the drops tomorrow morning. For now she is doing the prednisone hoping that it helps somewhat with the pain.
I'm 50 lbs already! I'm almost the same weight as Snickers (55 lbs).
Happy Memorial Day weekend!
Here is a vote for you.
Love, Snickers & Max
Come visit me, ., Snickers & Max *Remembering Angel Goldie*
Sorry that we've not been on as much as usual! Losing Miss Lady was a very big blow. If we haven't already we want to thank everyone for everything:the votes,the cards,the beautiful angel,the flower seeds,Lady's ADOTD and each & every time you prayed or thought of us! We love you!
Also we want you to meet Bro & Sissy whose now going to be called Sassy & Dodger..because the grand kids like that name better & no one knows better than a child what to name a Dog or Kittie!After Memorial day we'll put their picture back up! DC everyone have a wonderful day! We love you!
Come visit me, Alabama Gang, Guardian Angels/This month honoring Little Buddy!
I'm having a pretty good week. It's been sunny and warm. Mom and I have been doing a lot of cuddling on the couch in the evenings. I can't wait for the week-end. I'll get three days with Mom. yippee!! It's suppose to be a hot one, so I'm thinking any walks will have to be really early. Have a good evening. Leaving you a vote. Kisses, Shotgun
Come visit me, ♥Angel Shotgun♥ Please vote Angel Scooby #176110 July DOTM!, ♥Angel Squint♥ sending love to my friends
A Happy Belated Birthday to your Lil Sis:) Hope she had a wonderful day! XOXO! An amusement park you say? Those scare mom, she has a such a fear of heights! She says she likes her feet on the ground.. hehe:)
Yesterdays weather was perfect! Nice & warm! It seemed like it was summer for me! Mommy did such an uh-oh on sunday.. every morning mom will go out & get Freedom from his hutch & bring him inside. Since the weather was so warm, she put him on the porch. Mommy left the door open for him to come in & out of. Too bad mommy was going to the mall, and forgot he was on the porch. When mommy got home, she searched all around the house and couldnt find him. Mom got Felix & started searching the neighborhood. We were so lucky mom spotted him under our neighbors grill. He was laying down.. must've been to hot for him. Mom couldn't stop holding him! She was so happy.
Todays weather is very crummy.. its raining! Me & Felix were a couple of wet dogs after we played! Hehe..
Sending lots of love & prayers <3
Greyhound Kisses, Jazz
Come visit me, Buster *Forever in our hearts* 10-12-91 ~ 4-7-10, Felix, Jazz, Tobey *Our Special Angel* 8/3/97 ~ 12/22/09
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