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Credit: PC Fay Fox
Dvořák: "Song to the Moon" from Rusalka
Janáček: Káťa Kabanová Act 1, "Ach, byla jsem zcela jinsí!"
Royal Opera House, cond. Ed Gardner
R. Strauss: Vier letzte Lieder, 3. Beim Schlafengehen
Internationally renowned American lyric soprano Amanda Majeski is rapidly garnering critical acclaim for a voice of "silvery beauty" Musical America, with the Financial Times remarking that "Majeski's well-rounded soprano ... is so warm and glorious, the singing so outstanding, that she leaves no emotions unstirred."
Having established herself as a celebrated interpreter of Mozart, Strauss, Wagner and Handel, Majeski added a new dimension to her career with her breakthrough performance as the title role in Janáček Káťa Kabanová at Royal Opera, Covent Garden in 2019, which won Best New Opera Production at that year's Olivier Awards.
Amanda Majeski's 2020/21 season features an array of exciting debuts and collaborations. The season begins with Beethoven Missa Solemnis and Symphony No.9 with the Gewandhausorchester Leipzig, conducted by Music Director Andris Nelsons, followed by an appearance with the Chicago Symphony Orchestra for Wagner Wesendonk Lieder. Additional invitations included Brahms Ein deutsches Requiem with Boston's acclaimed Handel & Haydn Society, conducted by Harry Bicket; her Boston Symphony Orchestra debut as the soprano soloist in Beethoven Symphony No.9, conducted by Music Director Andris Nelsons; the 3rd Norn and Gutrune in Wagner Götterdämmerung with the Netherlands Radio Philharmonic, conducted by Jaap Van Zweden; a continued exploration of Janáček's operas, making her role debut as Jenůfa at Welsh National Opera; a return to her hugely acclaimed portrayal of Káťa Kabanová in a company debut with the Canadian Opera Company; and return to the Metropolitan Opera as Donna Elvira in Mozart Don Giovanni.
Majeski's 2019/20 season commenced with her debut with the Nürnberger Symphoniker bringing her Straussian expertise to his Vier letzte Lieder conducted by Kahchun Wong. She then returned to Lyric Opera of Chicago, the company that launched her international career, for her house role debut as Donna Elvira in Don Giovanni, followed by Hugo Wolf Italienisches Liederbuch at the 92nd Street Y, alongside bass-baritone Philippe Sly and pianist Julius Drake. Her season was planned to continue with a debut with Teatro dell'Opera di Roma, as the title role in Janáček Káťa Kabanová, and to close with her reprisal as Marta in Weinberg's The Passenger at Teatro Real Madrid for its Spanish premiere – a role she debuted at Lyric Opera of Chicago for which the Chicago Tribune hailed her as "radiant" and "immensely touching" adding that "she has done nothing finer."
Highlights from her previous season include rave reviews for her Royal Opera House Káťa Kabanová, "If there is a more compelling solo performance on the operatic stage this year than Amanda Majeski's in the title role of Janacek's opera, I will need a new stock of superlatives. I unhesitatingly say that you are unlikely to encounter a Katya more profoundly acted than by the American soprano, nor more strikingly sung." The Times. Her 2018/19 season also included her concert debuts with the Sydney Symphony, Colorado Symphony, Music of the Baroque, and her debut at Staatsoper Stuttgart as the title role in Iphigénie en Tauride was praised as "Amanda Majeski in the title role has a voluminous, clean-sounding and beautiful soprano. She is the ideal person for this role" Kultura Extra, as well as a return to Santa Fe Opera as Fiordiligi in Così fan tutte in a new production under conductor Harry Bicket and director R. B. Schlather.
Majeski made her Metropolitan Opera debut on the opening night of the 2014/15 season as Countess Almaviva in a new production of Le nozze di Figaro conducted by James Levine, which was broadcast in HD internationally and on PBS across the United States. Since then, she has returned for revivals of Le nozze di Figaro and Don Giovanni, both conducted by Fabio Luisi, and a new production of Così fan tutte conducted by David Robertson which was a featured HD broadcast in the 2017/18 season. An alumna of the Ryan Opera Center, she made her mainstage Lyric debut with only a few hours' notice as Countess Almaviva conducted by Andrew Davis. Named "Best Breakout Star" by Chicago Magazine, she has since continued her relationship with Lyric audiences as Vitellia in La clemenza di Tito, Eva in Die Meistersinger von Nürnberg, the Marschallin in Der Rosenkavalier and as Marta in The Passenger, hailed as a "shattering, star-making performance" by the Chicago Classical Review.
She made her critically-acclaimed role debut as the Marschallin in Claus Guth's new production of Der Rosenkavalier at Oper Frankfurt, where she has also been seen as the Goose-Girl in Humperdinck Königskinder, Vreli in Delius A Village Romeo and Juliet, and the title role in Dvořák Rusalka. Majeski made her European debut at the Semperoper Dresden where her performances included new productions of Alcina and La clemenza di Tito, as well as revivals of Le nozze di Figaro and Capriccio. Her significant international debuts include the Glyndebourne Festival as Countess Almaviva and Eva, Opernhaus Zürich as Marguerite in a new production of Faust, as well as the Paris Opera and Teatro Real as Vitellia in La clemenza di Tito. She made her debuts at the National Centre for the Performing Arts in Beijing as Eva in Kasper Holten's new production of Die Meistersinger von Nürnberg and her debut at Teatro Colón as Cleopatra in Handel Giulio Cesare. Her US career also includes performances with Opera Philadelphia as Donna Elvira in Don Giovanni, Pittsburgh Opera as Blanche de la Force in Poulenc Dialogues des Carmélites, and her Washington National Opera debut as the Countess in Le nozze di Figaro. Majeski's long-standing relationship with the Santa Fe Opera includes her debut in Vivaldi Griselda as Ottone in a production by Peter Sellars, subsequently appearing as Countess Madeleine in Capriccio and her first performances of the Composer in Richard Strauss Ariadne auf Naxos to rave reviews.
On the concert stage, Majeski made her debut with the Hong Kong Philharmonic as Gutrune in Wagner Götterdämmerung conducted by Jaap van Zweden which will be released commercially on Naxos Records as the final installment of their Ring cycle. She has appeared with the Los Angeles Philharmonic at the Hollywood Bowl in Beethoven Symphony No.9 conducted by Gustavo Dudamel and sang her first performances of Strauss Vier letzte Lieder at Philadelphia's Verizon Hall with the Curtis Orchestra conducted by Karina Canellakis. She debuted with Sinfonieorchester Aachen singing Berg Sieben frühe Lieder and Mozart Requiem, has been heard in concert singing Agathe's arias from Der Freischütz with conductor Erik Nielsen and the Civic Orchestra of Chicago and the soprano solo in Mahler Symphony No.4 with the Quad City Symphony. She also sang Gounod Marguerite in concert with Washington Concert Opera under Antony Walker, Bach Magnificat under Sir Gilbert Levine in Chicago, Mahler Symphony No.4 with the Richmond Symphony Orchestra at the Kennedy Center and the title role in Stanisław Moniuszko Halka at the Bard Music Festival. She made her New York City recital debut at Carnegie's Weill Recital Hall under the auspices of the Marilyn Horne Foundation and returned for her solo recital debut at Carnegie Hall in 2014.
Majeski holds degrees from the Curtis Institute of Music and Northwestern University. She was a member of San Francisco Opera's Merola Program, the Gerdine Young Artist Program at Opera Theatre of St. Louis, and the Steans Institute at Ravinia. Awards include the George London Foundation Award, first prize of the Palm Beach Opera Vocal Competition, and a Sara Tucker Study Grant from the Richard Tucker Foundation.
2020/21 season / 1,221 words. Not to be altered without permission.
"If there is a more compelling solo performance on the operatic stage this year than Amanda Majeski's in the title role of Janacek's opera, I will need a new stock of superlatives."
Majeski has an ample, pungent instrument with the ability to soar above the staff in long, arching lines and fine down to a thread of pianissimo with seeming effortlessness.
"Majeski, in one of the finest house debuts of recent years, sings with remarkable commitment and radiance of tone, probing Kát'a's tortured psyche and crises of conscience with unflinching veracity."
Intermusica represents Amanda Majeski	in Europe and Asia
Isla Mundell-Perkins
imundell-perkins@intermusica.co.uk
Julia Maynard
Deputy Chief Executive / Head of Vocal & Opera
jmaynard@intermusica.co.uk


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(1034) Моцартия () — небольшой астероид главного пояса, принадлежащий к астероидам светлого спектрального класса S. Он был открыт 7 сентября 1924 года советским астрономом Владимиром Альбицким в Симеизской обсерватории и назван в честь великого австрийского композитора — Вольфганга Амадея Моцарта.

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 Список астероидов (1001—1100)
 Классификации малых планет

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Астероиды диаметром от 2 до 40 км
Астероиды, названные в честь людей
1034

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App State Receives Energy Savings Award (2016-12-28 12:05:22)
Appalachian State University has received a Utility Savings Initiative Achievement award from the N.C. Utility Savings Initiative and the N.C. Division of Environmental Assistance and Customer Service.
Appalachian received the award because it has reduced energy use by at least 30 percent since state laws establishing energy goals for public facilities went into effect. Energy reduction requirements were enacted in 2002 for universities.
"This just shows the great efficiencies that can be achieved when you're committed to a goal," said Ted Bush, director of the Division of Environmental Assistance and Customer Service.
"By reducing the amount of energy used, our universities and community colleges are also helping the environment by emitting far less air pollution and reducing their operational costs, which benefits taxpayers."
Dr. Lee F. Ball Jr., Appalachian's sustainability director, echoed Bush's sentiments.
"The Utility Savings Initiative perfectly aligns with the university's mission, strategic plan and our ongoing goals to reduce the institution's carbon footprint associated with campus energy use," he said. "The initiative also complements our focus on using the campus as a living laboratory where students directly benefit through the active engagement of campus energy upgrades."
The award that Appalachian has received reflects many conservation measures undertaken at the university since 2007, said Paul Forte, vice chancellor for business affairs at Appalachian.
"We are just completing our third Energy Savings Performance Contract on campus," he said. "The cost of all three of our performance contracts together is about $21.5 million, all of which has been paid for by the energy and water savings generated from the projects themselves. We have also received some $600,000 in federal and state grants since 2007 to pay for energy-savings projects."
Forte also mentioned the prominent use of LED lighting on campus. Over 95 percent of Appalachian's outdoor lighting has been converted to LED, and 16 campus buildings are lit fully with LED, another two dozen partially so. LED lights use just 10 percent of the energy of incandescent lights and less than half the energy of compact fluorescent bulbs, InsideClimate News reported in 2015.
Finally, Appalachian has a 100-kilowatt, community scale wind turbine on campus, and thanks to the Renewable Energy Initiative (REI) led and funded by students, many other renewable energy projects have been installed on campus.
All told, Forte said, Appalachian has accumulated over $29 million in avoided energy and water costs since 2007.
The initiative works with all 14 state agencies and 21 state universities and affiliates that report their progress toward the energy and water use reduction goals. To help public facilities achieve the 30 percent goal, staff members with the initiative provide assistance in the form of strategic energy management planning, energy performance contracting, on-site energy audits, energy management training and a host of other areas, said Len Hoey, who leads the Utility Savings Initiative.
In addition to Appalachian, the following public universities and community colleges reduced energy use by 30 percent: Fayetteville State University, UNC Charlotte, UNC General Administration, UNC Wilmington, Western Carolina University, Central Piedmont Community College, Davidson Community College, Pitt Community College, Wake Technical Community College, Beaufort County Community College and Montgomery Community College.
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The new Minister of Foreign Affairs, Dr. Ibrahim al-Jaafari has met the new French Ambassador to Iraq, Mr. Francois Bartley, and received a copy of his credentials.
During the meeting, they discussed relations between Iraq and France and ways to enhance prospects of joint cooperation.
They also discussed the ongoing preparations for the visit of the French President to Iraq next Friday, as well as efforts to hold a conference in Paris next week to support Iraq in its war against terrorism.


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Tome On The Range
Grime Scene Investigation: Dan Hancox On Inner City Pressure
Robert Barry , June 16th, 2018 08:54
tQ meets Dan Hancox, author of Inner City Pressure: The Story of Grime, in a Peckham Rye pub to talk about grime's phenomenal resurgence and the increasingly bleak state of London
"Ok, so, say, Slimzee lived here, five minutes from Roman Road. Rhythm Division on Roman Road was there. Wiley's flat where he grew up was there…" On a pub table in Peckham, Dan Hancox is mapping out for me the hyper-local interconnectedness of the early grime scene, prodding his fingers down on the bare planks to mark out points of historical interest within an imaginary cartography of East London.
"The Three Flats," he continues, "was a mile down the road, which is where Dizzee and Tinchy grew up and where Rinse was for a year and a half during the critical grime period. Here's the canal by Vicky Park where they used to do night fishing when they were teenagers. Here's Limehouse basketball court where Roll Deep would hang out and some of their videos were shot…"
In an era of proliferating cloud-based micro-genres blooming without geographical centre on Bandcamp and Soundcloud before withering in the blink of a tweet, grime's 'neighbourhood nationalism' (to borrow the phrase Hancox adopts from sociologist Les Back), its loyal, almost parochial 'endzism' – not to mention its dogged persistence – are amongst its most salient features. From Wiley's 'Bow E3' to The Square's affectionate tribute to hanging out at 'Lewisham McDeez', London has been catalogued and traversed by grime lyrics as thoroughly as by the A-Z. In Hancox's hands, the story of grime is not just a thrilling narrative of fall and rise with a heroic collective protagonist. It is also a prism through which to tell the history of modern London; its streets and its tower blocks, its politics and its policing, its diversity and its bigotry.
The particular style of dark and distorted 140 bpm garage with double-time spitting and sparse futuristic arrangements may be the most exciting and innovative genre of British music to emerge hitherto in the twenty-first century. But if so, it remains, as Hancox aptly demonstrates, very much a product of the social institutions and media networks of the twentieth century. Social clubs. School music rooms. Council housing. FM radio. Swapped cassette tapes. White labels and dub plates. Camcorders and DVDs. Almost all of these things are now either obsolete or under threat. But grime persists, seemingly stronger than ever, yet inescapably marked by the conditions of its emergence and the loss of those conditions today.
Inner City Pressure, then, is inevitably a story about disappearance.
Quoted in the book, Tim Smith, the music teacher that allowed a young Dylan Mills (the soon to be Dizzee Rascal) sit at the back of his classroom after he'd been expelled from every other, tells a story about Mills quickly building up a "complex rhythmic pattern" and then slowly, over the course of a week or more, "refining and editing" it, creating holes in the beats, space in the tracks, "sometimes just dropping out to nothing". Grime grew up in an East End being eaten from within, with public land turning private, former social spaces vanishing – first around Canary Wharf in the Isle of Dogs, its new glass and steel structures emerging visibly from Mills's home in the Three Flats blocks of Bow, later in Stratford, on what had been the home of Deja Vu FM, one of the key pirate stations to support grime in the early days, and later became the Olympic site. Grime grew up in these gaps. It danced, as Steve Goodman (aka Kode9) would suggest "to the gaps".
Sitting on the edge of Peckham Rye, opposite a branch of Voodoo Rays, the pizza by the slice chain that has come to South London via Dalston then Shoreditch Boxpark, this question of the disapearing city is particularly pressing. Peckham still a few of what Hancox calls "low-key, tongue-in-cheek, unshowy" venues, "but I don't know," he sighs, "if Dalston is a guide, whether they will still be here in ten years time." Many of the clubs which once gave succour to the emerging grime scene in London – Plastic People in Shoreditch, home of FWD>>, Palace Pavilion in Hackney, Imperial Garden in Camberwell – have long closed down. And the declining state of London's club life, especially exacerbated for the MCs and DJs of the grime scene by the highly prejudicial wording of the notorious Form 696, left its scars on the sound and form of the music.
Hancox quotes his own interview with Lethal Bizzle from 2012: "This used to be club music and it hasn't been for so long. We haven't been allowed to party in clubs because of basic institutional racism." For a long time, in the late 00s, grime was bifurcated between big stars like Dizzee and Wiley making Ibiza-friendly dance pop, remote from the original grime sound, and an increasingly underground scene of what Hancox calls "iPod-headphones-in-your-flat-listening-on-your-own music, not a music for collective enjoyment and celebration."
Today, even after the scrapping of Form 696, grime is scarcely a club music at all. "They now do concerts," Hancox tells me, "like, I'm going to come out and do an hour to an hour-and-a-half-long set of my songs with a clear demarcation between each one."
Hancox himself grew up a few miles west of here in Balham, a neighbourhood which, he is the first to admit, "doesn't really have a rich grime history, particularly" (although Neutrino from So Solid Crew was in the year below him at school). He grew up listening to "really schmindie indie but also 70s punk, grunge, American hip hop, and stuff like trip hop." By the time, he heard Dizzee's 'I Luv U' and Boy in da Corner upon returning to London from university, he was into the post-rock of anti-folk, Clouddead, and Digital Hardcore. Somewhere between the low production values of the former and the "furious energy" of the latter, something chimed. "But the thing that really hooked me in," he tells me, was a mixtape made by close friend Alex Sushon (now better known as Bok Bok from Night Slugs), featuring "all of his favourite more obscure grime tunes that he'd downloaded off Limewire."
Since then, from conducting interviews with MCs outside clubs at 2 am for Sushon's Lower End Spasm blog in the early 00s to later articles for The Guardian and The Fader and finally this book itself, Hancox has been as dogged in his faith to the genre as have the MCs themselves. Some of the interviews cited in the book go back to the very beginning of that period.
Inner City Pressure could have had a very different narrative arc. Hancox first pitched the book to Verso back in 2012, in the aftermath of the London riots. "At that point," he says, "I felt like there was a long durée narrative, of pirate radio origins onto the flash of mainstream interest and excitement in 2003/4/5, and then going back underground and also spawning this kind of pop side product with Tinchy Stryder and Roll Deep going to number one." The original book, he says, would have closed in "a bleak place."
In the end Verso persuaded Hancox to pursue a different project that he had already been thinking of: a story about a village in Spain called Marinaleda that had become a "communist utopia". That book became The Village Against the World. Since then, the story of grime has been granted a surprising additional chapter: Skepta entering the charts and winning first MOBOs for 'That's Not Me' then the Mercury Prize for Konnichiwa, Boy Better Know taking over and selling out the O2, Stormzy at the Brits and the tremendous success of Gang Signs & Prayer. In the last five years, grime seems to have come back – and on its own terms, actually sounding like grime.
Putting the book off, back in 2012, Hancox now recognises as "a real blessing, because there was this phenomenal resurgence and suddenly you have this redemption story in which all the protagonists return to the source. I mean, it's really almost like a cheesy Hollywood film. They had the key to greatness within them the whole time! They just had to go on a journey into the wilderness, making shitty electro Ibiza dance music, to then realise that the only thing that was going to make them happy was to put on their tracksuits and make 140 bpm grime using the exact same old keyboard that they'd used in Jammer's basement in 2003." It's an extraordinary story. And, though Hancox leaves the book with London in a pretty bleak place itself, there's something about the ultimate success of the crew behind Boy Better Know – JME, Skepta, Wiley, Jammer et al – this vindication of their lasting faith, that can't help but leave you feeling uplifted at the end of the book.
After I left Hancox in the pub in Peckham, dashing off for a train to meet a friend who I had made myself late for, so caught up in Hancox's enthusiasm for talking about the book and the music that inspired it, I kept thinking about this "phenomenal resurgence", grime's unlikely return against all the odds and all the doubters – and also about Marinaleda, the "communist utopia" in Spain that Hancox wrote about back in 2012.
In their book, Inventing the Future: Postcapitalism and a World Without Work, Nick Srnicek and Alex Williams had criticised the social democratic project in Marinaleda as a species of "folk politics", doomed to remain local, particularist, and ultimately regressive. "The limits of such an approach for transforming capitalism are quickly revealed," they write, "housing materials are provided by the regional government, agrictultural subsidies come from the European Union, jobs are sustained by the rejection of labour-saving devices, income still comes from selling goods on wider capitalist markets, and businesses remain subjected to capitalist competition and the global financial crisis."
But while Marinaleda had remained small and relatively insular and grime was blowing up worldwide, could Hancox, I wondered (and eventually wrote in an email), still see a connection between the two?
A few days later, he emailed me back.
"I do, and it's something that's really come into focus now that I've finished writing. Ostensibly, communist Spanish farm labourers living in a tiny village miles from anywhere, and teenage MCs and DJs growing up in council estates in Tower Hamlets and Newham don't have a great deal in common – the soundtrack is certainly different (though flamenco gives voice to similar kinds of pain, and is similarly a deeply emotive folk art with little interest in refinement or sophisticated equipment).
"But more importantly, these are both hemmed-in, marginalised communities living in poverty, while surrounded by obscene wealth – for the poor farm labourers of Marinaleda it's the Duque del Infantado, the aristocrat who owns all the land around the village, and for the grime scene it's the bankers in Canary Wharf, and the middle-class professionals New Labour are inducing to come back and gentrify the inner city.
"And in both cases, the communities I write about flatly refused to accept the position they were in, and through incredible defiance and persistence, over many years, overcame insanely unfair odds, and won stunning victories.
"The difference in their types of victory I suppose is, as you say, the grime scene was able to bring its radical approach to a wider audience, and achieve a kind of national (pop cultural) hegemony, whereas Marinaleda's utopia is contained largely within the confines of the village (although they did provide some inspiration for the indignados movement, and Podemos).
"After The Village Against the World came out, leftists and activists would ask me, what's the one thing we can learn from Marinaleda's remarkable story, that we can use in our own struggles and campaigns? It's a really easy question to answer: sheer, bloody-minded perseverance; never, ever giving up, and keeping that solidarity strong in good times and bad.
"And I think you can apply that to the grime scene too."
Inner City Pressure: The Story of Grime by Dan Hancox is out now published by William Collins
The Poet Laureate Is Up For Renewal: Could Grime Be The Answer? »
A History Of Grime In Three Objects: Music, Memories And Everyday Life »
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Q: Trying to compare two dataframes, and writing a logical result to a new dataframe in R I have an R dataframe that contains 18 columns, I would like to write a function that compares column 1 to column 2, and if both columns contain the same value, a logical result of T or F is written to a new column (this part is not too hard for me), however I would like to repeat this process over for the next columns and write T/F to a new column.
values col 1 = values col 2, write T/F to new column, values col 3 = values col 4, write T/F to a new column (or write results to a new dataframe)
I have been trying to do this with the purrr package, and use the pmap/map function, but I know I am making a mistake and missing some important part.

A: This function should work if I understand your problem correctly.
df <-
  data.frame(a = c(18, 6, 2 ,0),
             b = c(0, 6, 2, 18),
             c =  c(1, 5, 6, 8),
             d = c(3, 5, 9, 2))

compare_columns <-
  function(x){
    n_columns <- ncol(x)
    odd_columns <- 2*1:(n_columns/2) - 1
    even_columns <- 2*1:(n_columns/2)
    comparisons_list <-
      lapply(seq_len(n_columns/2),
             function(y){
               df[, odd_columns[y]] == df[, even_columns[y]]
             })
    comparisons_df <-
      as.data.frame(comparisons_list,
                    col.names = paste0("column", odd_columns, "_column", even_columns))
    return(cbind(x, comparisons_df))
  }

compare_columns(df)

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Home/Lifestyle/Kayleigh Mcenany No Makeup Looks on CNN
Kayleigh Mcenany No Makeup Looks on CNN
Let's read about Kayleigh Mcenany No Makeup. Kayleigh McEnany is a conservative political commentator who has appeared on a number of networks, including CNN and Fox News. She's also known for her work as an advocate for President Donald Trump and his policies. But what you might not know about this political commentator is that she's married to another man named Wayne McEnany—and their relationship is something of an enigma!
Let's read about Kayleigh Mcenany No Makeup.
Why did trump choose kayleigh mcenany?
Trump chose McEnany partly because she is a good communicator. She's not a politician, so she doesn't have to worry about the niceties of politics or how to speak in public. She can go straight to the point—and that's exactly what Trump wanted from his spokeswoman.
McEnany's presence on television has also been an asset for Trump; she brings out the best in him when he speaks on air, making him seem like a likable person who isn't afraid to speak his mind (because he does). Let's read about Kayleigh Mcenany No Makeup.
Is kayleigh mcenany married?
Kayleigh McEnany is married to Alex McEnany, a former NFL player who played for the New Orleans Saints from 2001-2003. They have two children: a daughter and a son. Let's read about Kayleigh Mcenany No Makeup.
The McEnanys live in New Jersey. Leigh is a self-described "huge Giants fan" and has been since she was a child. She grew up watching football with her father, who also played on the high school level.
How old is kayleigh mcenany?
Kayleigh McEnany is 31 years old and was born on February 13, 1989 in Manhattan, New York. She currently lives in Washington D.C., but she grew up in New Jersey. Let's read about Kayleigh Mcenany No Makeup.
As far as politics go, Kayleigh McEnany has been a Republican since she was young—she campaigned for George W. Bush during his presidential campaign in 2000 and 2004, then worked for Mitt Romney's presidential campaign team after he lost reelection bid. She also worked on Ted Cruz's 2016 bid for president before joining Donald Trump's transition team after the election last November; however, she resigned from her position following his inauguration this past January (and now works at CNN).
What is the ethnicity of kayleigh mcenany?
Kayleigh McEnany is a white, caucasian woman. She has red hair and blue eyes.
She is an anglo-saxon and anglo-american. Let's read about Kayleigh Mcenany No Makeup.
She is also a cisgendered woman. She has an average height of 5'5″ and weighs around 130 pounds. McEnany was born in New York City in 1986, but spent most of her childhood in Florida.
Is kayleigh mcenany a republican?
Kayleigh McEnany is a conservative Republican commentator. She has appeared on Fox News as well as CNN, NBC, and MSNBC. Let's read about Kayleigh Mcenany No Makeup.
She was born in Philadelphia and attended college at the University of Delaware where she earned her bachelor's degree in political science. After graduating from college she moved back home to Washington DC where she worked as an assistant press secretary for former Senator Rick Santorum (R-Pa.). Let's read about Kayleigh Mcenany No Makeup.
In 2006 Ms McEnany began working full time at the Republican National Committee while also serving as a commentator on television shows such as FNC's The O'Reilly Factor and Hardball with Chris Matthews; MSNBC's Morning Joe with Mika Brzezinski; Fox News Channel's The O'Reilly Factor; NBC News Special Report With Tom Brokaw To Combat Terrorism In America In The Wake Of 9/11 Attacks On World Trade Center Buildings 1 And 2 In New York City Which Killed Thousands Of People Including Thousands From Our Own Countrymen Within Minutes Of Their Demise!!! Let's read about Kayleigh Mcenany No Makeup.
If you want to know the truth, ask the right questions.
You don't have to be a rocket scientist or a mind reader to figure out what's going on in the world. But, if you want to know the truth, ask the right questions.
Do your research: The internet is full of information and it's easy to get lost in all of it. Make sure that whatever information you find is accurate by doing some research yourself, especially if it comes from an authority like Kayleigh Mcenany herself!
Be logical: Logic plays an important role in any conversation about politics or current events so make sure yours is sound before speaking up about anything related to her appearance lately…and don't forget about common sense too!
Kayleigh McEnany is a CNN commentator and political analyst. She is known for her commentary on current events and is often seen as an opinionated voice in the media. After graduating from Duke University with a degree in communications, she began her career at CNN as a producer working on specials such as "The Road to 9/11" which focused on the terrorist attacks of September 11th 2001. She also worked for HLN as a reporter covering stories like hurricanes Katrina and Sandy and the BP Oil Spill before becoming an anchor at CNN where she continues today.
Steven Mark McFadden is an Author and Speaker
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NDLON Publishes Blue Ribbon Immigration Recommendations for President
By: Latino Rebels
What follows is an executive summary published today by the National Day Laborer Organizing Network (NDLON) containing the findings of a Blue Ribbon Commission that NDLON helped to form. As it states on its site, "former and currently undocumented immigrant leaders formed a Blue Ribbon Commission to perform an independent review and present its recommendations to the President, helping fill the noticeable lack of representation from those seeking legal status and citizenship in recently-convened White House meetings. They request a meeting with the President to discuss their findings and hear directly from those who are impacted by potential upcoming policy changes."
This is the executive summary:
#Not1More Blue Ribbon Commission Summary
The full report will be shared later today. You can access it here.
Here are the commissions's members:
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Hyundai Elantra N-Line: jazzing up the commuter car
The cheapo economy car, the budget-friendly grocery-getter and the everyday affordable runabout – all but gone, gone, gone like the White Pages.
The cockpit. That big grab handle to the left of the passenger tunnel takes up space.
Nissan no longer sells the $9,995 Micra, and along with its departure went the slow-motion-racing Micra Cup series. The Versa is toast, too.
Toyota used to sell a thrifty little tin can called the Yaris, sedan and hatchback. Nope. Not now.
No more Hyundai Accent. No Ford Fiesta. No Kia Rio…
What's left for entry-level car shoppers? The Chevrolet Spark, billed at $10,398 to start, but good luck finding one at that price. There is also the little Mitsubishi Mirage, $13,858, base. These two will get zapped soon enough, too.
All this is to say that if you now want a spanking new starter car, it's a compact, like the Nissan Sentra. Not surprisingly, the Micra Cup racing series has morphed into the Sentra Cup.
Which brings me to the latest trend in commuter cars: fancy AND racy commuters loaded with premium features and dolled up to look something like a German car.
Mediocre seat comfort. Ho-hum upholstery.
Last year at about this time, I took to the road in a $23,000 Nissan Sentra SR CVT. After a week, I dropped off the keys thinking that this tidy little rig with its 2.0-litre four-banger (149 hp/145 lb-ft torque and 7.2 litres/100 km combined) and many power/safety/convenience features was a reasonable heir to the prone-to-rust Datsun 510 of the 1970s – which at the time was hailed as the poor man's BMW 2002.
This year, I've spent a few days in Hyundai's version of this sort of racy runabout – the 2021 Hyundai Elantra N-Line DCT, which at $27,995 before extras takes that Sentra SR formula and pushes it a little further.
Instead of the less-than-sporty continuously variable transmission in the Sentra, the Elantra N-Line has a nifty seven-speed dual clutch gearbox with paddle shifters and it's teamed with 201-horsepower turbocharged I4 (1.6-litres), complete with modern direct injection and twin chrome exhaust. Not so very long ago, dual-clutch arrangements were available only with expensive German sporting machines. Now they are for Hyundai buyers at the "low" end of the market.
Sure, it's a front-driver, which of course limits sportiness, what with all the mass on the front wheels, which also manage the steering and accelerating and most of the braking. The pure 50:50 balance you want in a totally tossable machine is not there, of course.
But what's here isn't bad at all. There's enough substance to engage an enthusiastic driver. And combined fuel economy (7.6 litres/100 km) is decent. The disc brakes are strong, as close to fade-free as possible, and they even have electronic brake force distribution or EBD – which uses ABS and stability control to find the ideal brake force apportionment. Again, EBD was once only the province of expensive cars.
The engineering is first-rate. I mean, direct-injection four; EBD; dual-clutch gearbox…
Now when all is said and done, you'll spend close to $30,000 plus tax for this ride. You will get a comprehensive roster of gear, from six airbags to a host of electronic safety interventions, from LED exterior lights to power sunroof, BOSE stereo, wireless connectivity, and climate control. Loaded.
The cockpit, I'll mention, is snug up front because the centre console with its wireless charging station is huge. It feels tighter still thanks to the big plastic hand grip on the passenger side – one molded into the console and intended to give the shotgun rider something to hold onto with the left hand.
Seat comfort is absolutely mediocre, too: thin padding, flat bases, minimal side bolstering and ho-hum cloth upholstery. The 8.0-in display screen is small in a world of larger screens that are now commonplace. The infotainment software is easy to manage, however.
Look, three-quarters of all new vehicle buyers are getting some sort of SUV or truck. Car companies are killing everything at the lowest end of the market due to lack of interest and profitability. Their latest act of seems a little bit of desperation is to jazz up whatever is left of their compact offerings. Like the Elantra here.
The software here is very user-friendly, but that screen is undersized.
Would I buy one? No, and for many reasons, none of which has to do with quality or reliability. I'm not the target customer, but I do appreciate the effort put into the Elantra N-Line.
First on the Grid, Road Tests Hyundai Elantra N-Line: jazzing up the commuter car
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