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Leontyne Price
American soprano
Leontyne Price in 1994
Mary Violet Leontyne Price (born February 10, 1927) is an American soprano. Born and raised in Laurel, Mississippi, [1] she rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer at the Metropolitan Opera, and one of the most popular American classical singers of her generation. [2] [3] [4]
Late opera career
Post-operatic career
Reviewing her televised farewell opera performance at the Met in 1985, as Aida, one critic described Price's voice as "vibrant," "soaring" and "a Price beyond pearls." [5] Time magazine called her voice "Rich, supple and shining, it was in its prime capable of effortless soaring from a smoky mezzo to the pure soprano gold of a perfectly spun high C." [4]
A lirico spinto (Italian for "pushed lyric") soprano, she was considered especially well suited to roles in operas by Giuseppe Verdi, Giacomo Puccini, and Wolfgang Amadeus Mozart.
After her retirement from opera, she continued to appear in recitals and orchestral concerts until 1997.
Among her many honors and awards are the Presidential Medal of Freedom (1964), the Spingarn Medal (1965), [6] the Kennedy Center Honors (1980), the National Medal of Arts (1985), numerous honorary degrees, and 19 Grammy Awards for operatic and song recitals and full operas, and a Lifetime Achievement Award, more than any other classical singer. In October 2008, she was among the first recipients of the Opera Honors by the National Endowment for the Arts. In 2019, Leontyne Price was awarded an honorary doctorate degree from Boston Conservatory at Berklee. [7]
Leontyne Price was born in Laurel, Mississippi. [8] Her father James worked in a lumber mill and her mother Katie was a midwife who sang in the church choir. They had waited 13 years for a child, and Leontyne became the focus of intense pride and love. Given a toy piano at the age of three, she began piano lessons with a local teacher, Mrs. H.V. McInnis. When she was in kindergarten, her parents traded in the family phonograph as the down payment on an upright piano. At 14, she was taken on a school trip to hear Marian Anderson sing in Jackson, an experience she later said was inspirational. In her 2011 autobiography, My Life, as I See It, Dionne Warwick notes that Price is her maternal cousin. [9]
Price in 1951
In her teen years, Leontyne accompanied the "second choir" at St. Paul's Methodist Church, sang and played piano for the chorus at Laurel's all-black Oak Park Vocational High School, a prize-winning ensemble led by her piano teacher, Mrs. McInnis. She earned extra money by singing for funerals and civic functions.
Meanwhile, at age eight, she had begun visiting the home of Alexander and Elizabeth Chisholm, a wealthy white family for whom Leontyne's aunt worked as a laundress. Leontyne became a favorite playmate of their older daughters, and Mrs. Chisholm encouraged Leontyne's piano-playing and singing, and sometimes hired her to entertain guests. After the outbreak of World War II, Leontyne worked part-time in the Chisholms' household as a maid and baby-sitter for their youngest daughter. When not working, she was allowed to play the piano and to listen to music on the radio and record player. Her first public solo concert was a short program at the Columbus, Miss., Air Field in 1943, age 16, in which she sang and played the piano.
Aiming for a teaching career, Price enrolled in the music education program at the all-black Wilberforce College in Wilberforce, Ohio. [8] In her freshman year, Price joined Delta Sigma Theta, a sorority that later helped arrange and support several of her first recitals in big cities. Her success in the glee club led to solos in the chapel, participation in master classes, and third place in a six-state vocal competition. In her junior year, the School of Music and Education split from Wilberforce and was reorganized as Central State University, from which she would graduate in 1948. Central State's President Charles Wesley brought Leontyne to sing at alumni and political functions, and encouraged her to consider advanced studies in voice. In 1948, the famous bass Paul Robeson gave a benefit concert for her conservatory training in Dayton, Ohio. (She also sang on the program.)
The Chisholms now stepped in as her professional champions. In the summers of 1948 and 1949, she and Leontyne gave several recitals in Laurel, Greenville and Meridian. Mrs. Chisholm also agreed to defray some of Leontyne's expenses when, in fall 1948, Price enrolled at the Juilliard School in New York City. She auditioned and won a scholarship and was admitted to the studio of Florence Page Kimball, who remained her principal voice teacher. [10] [8]
In fall 1950, Leontyne entered Juilliard's Opera Workshop and sang small roles in workshop performances of The Magic Flute and Gianni Schicchi. That summer, she enrolled in the opera program at the Berkshire Music Center at Tanglewood and sang her first leading role, Ariadne in Strauss' Ariadne auf Naxos (second cast). In early 1952, she sang Mistress Ford in the Juilliard production of Verdi's Falstaff . [8] Her success led to her first professional engagements. Virgil Thomson, who heard a performance of the Falstaff,cast her in a revival of his all-black opera, Four Saints in Three Acts . After two weeks on Broadway, the production went to Paris. Meanwhile, Leontyne had auditioned for and been chosen as one of several Besses in a new production of George Gershwin's Porgy and Bess , directed by Robert Breen.
At the end of the Paris run of Saints, Leontyne flew to Dallas and, after a night's rest, sang the first performance of the new Porgyat the State Fair of Texas on June 9, 1952, receiving rave reviews. The production toured to Chicago, Pittsburgh, and Washington, D.C., before going to Europe (Vienna, Berlin, London and Paris) under the auspices of the U.S. State Department.
Price from Porgy and Bess 1953
On the eve of the European tour, Price and the noted concert singer, bass-baritone William Warfield, who was the Porgy, were married at the Abyssinian Baptist Church in Harlem, with many in the cast in attendance. Although many black newspapers criticized the idea of exporting the opera as representing a false and demeaning picture of black life, the production was an important success in the "cultural cold war" between East and West. It showed the high level of training of a new generation of black singers, the joyous energy of Gershwin's genius, and a critical ability to revive a masterpiece whike recognizing its outdated stereotypes. Crowds crossed from East to West Berlin to see the show. It was the third major production of "Porgy" and by general consent the first that was fully successful.
When Porgy and Bess returned to the States in 1953, Warfield, who had a busy recital and concert schedule, was dropped from the cast, while Leontyne continued to sing Bess on Broadway and the second US tour. Warfield said his separation from the company put a strain on their marriage. The couple were legally separated in 1967, and divorced in 1973. They had no children. [11]
Leontyne and Warfield both hoped to make careers in opera, but that meant counting on the continued erosion of racial barriers. The New York City Center Opera had admitted black singers to its roster in tge mid-1940s, starting with Camilla Williams and Todd Duncan. A new, postwar generation of black singers hoped to go further, and in 1949 the new general manager of the Met, Rudolf Bing, said publicly he would cast Negroes "for the right part."
Porgy was for Leontyne Price, as it had been for others, a training ground and stepping stone. Her voice and personality had expanded from the dimensions needed for French melodies to fill the operatic stage. The Met itself seemed to recognize this by inviting her to sing "Summertime" at a "Met Jamboree" fund-raiser on April 6, 1953 at the Ritz Theater on Broadway. Price thus became the first African American to sing with and for the Met, if not at the Met. That distinction went to Marian Anderson, whom Bing had chosen to sing Ulrica in Verdi's Un ballo in maschera on January 7, 1955. Price and Warfield were in the audience.
Still, opportunities were limited, and competition was intense. Leontyne gained her first soli exposure outside 'Porgy by appearing in joint concert and recital programs with Warfield, and then began building a recital career, aiming to follow in the footsteps of Anderson, tenor Roland Hayes, soprano Dorothy Maynor, Warfield, and other black concert singers. In 1953, she sang a recital at the Library of Congress, with composer Samuel Barber at the piano. The program included the world premiere of Barber's Hermit Songs, Henri Sauguet's La Voyante, and songs by Poulenc. In November 1954, now out of Porgy, Price made her recital debut at New York's Town Hall, and began singing on the Columbia Artists roster.
The door to opera opened to her through television, specifically the NBC Opera Theater, under music director Peter Herman Adler. In January 1955, [8] she sang the title role in Puccini's Tosca, becoming the first African American in a leading role in televised opera. Price sang leading roles in three later NBC broadcasts-- Pamina in The Magic Flute (1956), Madame Lidoine in Poulenc's Dialogues of the Carmelites (1957), and Donna Anna in Don Giovanni (1960). The Tosca had been broadcast without controversy (Price's groundbreaking appearance had not been widely advertised), but her later broadcasts were boycotted by a number of NBC affiliates because of her race.
In March 1955, she auditioned at Carnegie Hall for the rising Austrian conductor Herbert von Karajan, who was touring with the Berlin Philharmonic. Impressed with her singing of "Pace, pace, mio Dio" from Verdi's La forza del destino , Karajan reportedly leapt to the stage to accompany her himself. Calling her "an artist of the future," he asked to be allowed to direct her future European career.
Over the next three seasons, Price continued to give recitals in the U.S. and Canada with David Garvey as her accompanist. In 1956, she toured India and then, the next year, spent a month giving concerts snd recitals in Australia, both tours under the auspices of the U.S. State Department. On May 3, 1957, she sang a concert performance of Aida at the May Festival in Ann Arbor, Michigan. It was her first public performance of what became her signature role.
You may hear Leontyne Price performing Wolfgang Amadeus Mozart's Requiem Mass in D minor K. 626 with Herbert von Karajan conduicting the Vienna Philharmonic Orchestra and Fritz Wunderlich, Eberhhard Wachter, Hilde Rossel-Majdan, Walter Berry in 1960 Here on archive.org
Her grand opera stage debut occurred in San Francisco on September 20, 1957, as Madame Lidoine in the U.S. premiere of the Dialogues of the Carmelites. A few weeks later, Price sang her first staged Aida, stepping in for Italian soprano Antonietta Stella, who suffered an appendicitis. Her first European opera performance came the following spring, as Aida, at the Vienna Staatsoper under Karajan, who had become director of the Stastsoper. This was followed in short order by debuts at London's Royal Opera House (replacing Anita Cerquetti), and at the Arena di Verona, both as Aida.
The next season, she sang again in San Francisco, giving her first performances of Verdi's Il trovatore (with the great Swedish tenor Jussi Bjoerling), then returned to Vienna to sing Aida and her first onstage Pamina. Returning to Europe that spring, she sang Aida again in Vienna and at Covent Garden. In London, she also gave a televised recital of American songs with Gerald Moore and a concert of operatic scenes by Richard Strauss for BBC Radio. In Vienna, she made her first full opera recording for RCA, singing Donna Elvira in Don Giovanni under Erich Leinsdorf.
In the summer, she made her debut at the Salzburg Festival in Beethoven's Missa Solemnis , conducted by Karajan. After recording Il Trovatore for RCA in Rome, she returned to Verona to sing Il Trovatore with tenor Franco Corelli. Rudolf Bing was present at one of the performances. Afterwards, he went backstage and invited Price and Corelli to make their Met debuts in 1960-61.
That fall, Price made her Chicago Lyric Opera debut as Liu in Turandot followed by performances of Massenet's Thais. (The Liu was well received, the Thais was considered stiff and mannered.) On May 21, 1960, Price sang at the Teatro alla Scala in Milan, again as Aida, becoming the first African American to sing a prima role in Italy's greatest opera house. (The African American soprano Mattiwilda Dobbs had sung there two years earlier, but as Elvira in Rossini's L'Italiana in Algeri , a seconda soprano role.) This was followed by Price's return to Vienna for a Verdi Requiem under Carlo Maria Giulini, and a performance of Aida. Then she went to Rome to record her first opera solo album for RCA, a selection of Verdi and Puccini arias that became known as "the blue album." In Salzburg, she sang her first Donna Anna in Don Giovanni, under Karajan. A few weeks later, she returned to Vienna for her first Cio Cio San in Madama Butterfly without stage rehearsal. Both new roles were triumphs. However, the physical and nervous strain of the previous months contributed to an attack of appendicitis, which hospitalized her briefly in Vienna.
The Met had been slow to offer Price a major contract, i.e. with multiple roles and a prospect of a long-term association. In 1958, Bing had invited her to sing a pair of Aidas, but she turned him down on the advice of Peter Herman Adler and others who argued that she should wait until she had more repertoire under her belt. Adler said furthermore that she should also not arrive in the racially stereotypical role of the enslaved Ethiopian. In his autobiography, William Warfield quotes Adler as saying, "Leontyne is to be a great artist. When she makes her debut at the Met, she must do it as a lady, not a slave." As the debut approached, Bing revised her Met contract to include five leading roles. He also offered her the opening night of the 1961-62 season, a rare honor for any singer, even rarer for one who had not yet sung with the company.
On January 27, 1961, Price and Corelli made a triumphant joint debut in Il Trovatore. Their success (particularly hers) was recognized by a historic final ovation that lasted at least 35 minutes, one of the longest in Met history. [8] (Price said friends had timed it at 42 minutes, and that was the figure she used in her publicity.) In his review, New York Times critic Harold C. Schonberg wrote that Price's "voice, warm and luscious, has enough volume to fill the house with ease, and she has a good technique to back up the voice itself. She even took the trills as written, and nothing in the part as Verdi wrote it gave her the least bit of trouble. She moves well and is a competent actress. But no soprano makes a career of acting. Voice is what counts, and voice is what Miss Price has."
Reviewers were less enthusiastic about Corelli, who was so disappointed he told Bing the next day he would never sing with Price again. The outburst was forgotten, and Price and Corelli sang together often over the next dozen years, at the Met, in Vienna, and in Salzburg.
That first Met season, Price also sang Aïda, Cio-Cio-San in Madama Butterfly , Donna Anna in Don Giovanni, and Liu in Turandot . In recognition of this extraordinary season, Time magazine put her on its cover in March. That fall, she was named "Musician of the Year" by American music critics and appeared on the cover of "Musical America."
In September 1961, Price opened the Met season as Minnie in La fanciulla del West . It almost didn't occur. A musicians' strike threatened to abort the season, but President Kennedy sent Secretary of Labor Arthur Goldberg to mediate a settlement. (The importance of allowing a great young American singer to fulfill her destiny was noted in Goldberg's ruling.) Leontyne received highly favorable reviews for the opening performance, but during the second night she had her first serious vocal crisis. In the middle of the second act, her voice grew hoarse and then slowly vanished. She shouted her lines to the end of the scene while tenor Richard Tucker murmured encouragement and tried to pass her a cough drop. The standby soprano Dorothy Kirsten was called and sang the third act. The newspapers reported that Price was suffering a virus infection.
After several weeks off, she returned to repeat Fanciulla and then, after a Butterfly in December, she decided to take a month-long respite in Rome that ended up lasting several months. The official word was that she had never fully recovered from the earlier virus. Price herself later said she was suffering from nervous exhaustion.
In April, she returned to the Met to give her first staged performances of Tosca, and then joined the spring tour in Tosca, Butterfly, and two performances of Fanciulla. The first of the latter was a landmark, the first performance by an African American in a leading role with the Met in the South (Dallas). Two years later, she sang Donna Anna in Atlanta, marking the first appearance by an African American as a leading lady on the Met tour in the Deep South.
Four other African Americans had preceded Price in leading roles at the Met: Marian Anderson (1955), baritone Robert McFerrin (1955), soprano Gloria Davy (1956), and soprano Mattiwilda Dobbs (1958). However, Leontyne Price was the first to build a star career on both sides of the Atlantic, the first to open a Met season, the first to tour in the South, and the first to earn the Met's top fee. In 1964, she earned $2,750 per performance, on a par with Joan Sutherland, Maria Callas and Renata Tebaldi, according to the Met archives. Only Birgit Nilsson, who was unique in singing both Italian and Wagnerian roles, earned more, at $3,000 a performance.
Price also continued to be hugely popular in Salzburg and Vienna. She sang a famous production of Il trovatore in Salzburg in 1962 and 1963, and gave equally triumphant performances of Tosca in Vienna in 1963 and 1964, all under Karajan. She remained the maestro's favorite soprano until they parted ways over a planned new production of Carmen in Salzburg. She had recorded the role with him for RCA in 1963, but she found the role uncomfortable histrionically--acting was not her strong point--and worried about how the low-lying vocal line might distort her vocal technique. she and Karajan didn't work together in opera again until 1977. Still, Karajan found her an irreplaceable soprano soloist in the Verdi Requiem, a favorite work that he conducted often in the mid-1960s, in Milan, Moscow, Montreal and New York.
After her Met debut season, Price added seven roles to her Met repertoire over the following five seasons. They were (in chronological order):,Elvira in Verdi's Ernani , Pamina in Mozart's The Magic Flute, Fiordiligi in Mozart's Così fan tutte , Tatyana in Tchaikovsky's Eugene Onegin , Cleopatra in Barber's Antony and Cleopatra , Amelia in Un ballo in maschera , and Leonora in La forza del destino . Critics found her voice and temperament well suited to the heroines of Verdi's "middle period" operas, noble ladies who sang high, glowing lines that reflected a dignified suffering and prayerful supplication.
After her Met debut, the most important milestone in her career came on September 16, 1966, when she sang Cleopatra in Antony and Cleopatra by American composer Samuel Barber, a new opera commissioned for the opening of the new Metropolitan Opera House at Lincoln Center. The composer had written the role especially for Price, often visiting her house in Greenwich Village to try out new pages of the score as he developed it.
While Price's singing on the opening night was highly praised, especially the soaring notes in the climactic death scene, which she sang from a high throne placed above Antony's tomb, the opera as a whole was considered a failure by many critics. Thy blamed director Franco Zeffirelli for burying the fine score under heavy costumes, giant scenery, innumerable supernumeraries, and two camels. Bing acknowledged he had made a mistake in scheduling nine new productions in the house's first season, three in the first week. Furthermore, the new high-tech stage equipment and lighting had not been fully mastered. An expensive stage turntable (on which Zeffirelli intended to move armies) broke down, and, at the dress rehearsal, Price found herself trapped inside a pyramid while making a costume change. The chaotic final preparations, with excerpts of Price's beautiful singing, was chronicled by film director Robert Drew in a Bell Telephone Hour TV documentary that aired that fall, titled "The New Met: Countdown to Curtain." Price later said the experience was traumatic and soured her feelings toward the Met. She began to appear there less often.
Antony and Cleopatra has never been revived at the Met. However, with the help of Gian Carlo Menotti, Barber reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise. Barber also prepared a concert suite of Cleopatra's arias, which Price premiered it in Washington, DC, in 1968 and recorded it for RCA.
In the late 1960s, Leontyne Price cut back her operatic performances in favor of recitals and concerts. She said she was tired, stressed by the racial and political tensions in the country, frustrated with the number (and quality) of new productions. She was now in her 40s. Perhaps she also felt the need to rework her vocal technique as she reached middle age. Her concerts (generally programs of arias with orchestra) and recitals were highly successful, and, for the next two decades, she was a mainstay in the major orchestral and concert series in the big American cities and universities.
She returned the Met and the San Francisco Opera, her favorite house, for short runs of three to five performances, sometimes a year or more apart, and undertook only three new roles after 1970: Giorgetta in Puccini's Il tabarro (San Francisco only); Puccini's Manon Lescaut (San Francisco and New York); and Ariadne in Richard Strauss' Ariadne auf Naxos (San Francisco and New York).
In October 1973, she returned to the Met to sing Madama Butterfly for the first time in a decade. The first of these performances ended with a half-hour ovation and was hailed as a "triumph" by the New York Times. In 1976, she appeared in a long-promised new Met production of Aida, with James McCracken as Radames and Marilyn Horne as Amneris, directed by John Dexter. The following season, she renewed her partnership with Karajan in a performance of Brahms' Requiem, with the Berlin Philharmonic at Carnegie Hall.
She appeared more rarely in Europe. In the early 1970s, she sang in Hamburg and returned to London's Covent Garden. She also sang her first European recitals, in Hamburg, Vienna, Paris, and the Salzburg Festival. At the latter she became a favorite, appearing in recitals in 1975, 1977, 1978, 1980, 1981, and 1984.
In the U.S., she had become an iconic figure and was frequently asked to sing on state occasions. In January 1973, she sang "Precious Lord, Take My Hand" and "Onward, Christian Soldiers" at the state funeral of President Lyndon B. Johnson. (She had sung at his inauguration in 1965.) President Jimmy Carter invited her to sing at the White House for the visit of Pope John Paul II and at the state dinner after the signing of the Camp David Peace Accords. In 1978, Carter invited her to sing a nationally televised recital from the East Room of the White House. In 1982, she sang "The Battle Hymn of the Republic" to a Joint Session of Congress on the 100th anniversary of the birth of President Franklin Roosevelt. She also sang for Presidents Reagan and George H. W. Bush.
In 1977 she made nostslgic returns to Vienna and Salzburg for performances of Il trovatore, in the famous production from 1962, once again under Karajan. The Vienna performances were the first for both artists at the Staatsoper since Karajan had resigned as its director in 1964.
That same year, Leontyne Price sang her last new role, and her first Strauss heroine: Ariadne in Ariadne auf Naxos, in San Francisco. It was considered a great success. When she sang the role at the Met in 1979, she was suffering from a viral infection and canceled all but the first and last of eight scheduled performances. Reviewing the first performance, the New York Times critic John Rockwell was not complimentary. [12]
Price, 1981
In fall 1981, she had a late triumph in San Francisco when she stepped in for an ailing Margaret Price as Aida, a role she had not sung since 1976. The tenor role of Radames was sung by Luciano Pavarotti, in his first assumption, and excitement ran high. Columnist Herbert Caen of the San Francisco Chronicle reported that Leontyne had insisted on being paid $1 more than the other "LP." That would have made her, for the moment, the highest-paid opera singer in the world. The opera house denied the arrangement.
In 1982, Price returned to the Met in her original debut role of Leonora in Il Trovatore, a role she hadn't sung in the house since 1969. She also sang a televised concert of duets and arias with Marilyn Horne and conductor James Levine, later released on record by RCA. In 1983, she hosted two televised performances of "In Performance from the White House," with President and Mrs. Reagan, and that fall sang the Ballo duet with Pavarotti in the 100th snniversary concert of the Metropolitan Opera.
Although she had considered her 1982 Met appearances her (unannounced) final opera performances, James Levine persuaded her to return for several Forzas in 1984 and a series of "Aidas" in 1984-1985. Performances of both operas were broadcast in the "Live from the Met" series on PBS. Shortly before the final "Aida", on January 3, 1985, the New York Times reported it was to be her farewell performance in opera. (She had planned to announce the decision in a biographical film and presentation at intermission, but canceled the film after the news got out.) Time Magazine described the performance" as "vocally stunning... [and] proved she can still capture her peak form." [4] Donal Henahan of the New York Times wrote that the "57-year-old soprano took an act or two to warm to her work, but what she delivered in the Nile Scene turned out to be well worth the wait." The performance ended with 25 minutes of applause. In 2007, PBS viewers voted her singing of the Act III aria, "O patria mia", as the No. 1 "Great Moment" in 30 years of "Live from the Met" telecasts. [13] [5]
In the 24 years since her Met debut, Price had sung 201 performances, in 16 roles, in the house and on tour. (She was absent for three seasons—1970-71, 1977-78, and 1980-81; and sang only in galas in 1972-73, 1979-80, and 1982-83.)
For the next dozen years, she continued to perform concerts and recitals in the U.S. Her recital programs, arranged by her longtime accompanist David Garvey, usually combined Handel arias or arie antiche, Lieder by Schumann and Leo Marx, an operatic aria or two, followed by French melodies, a group of American art songs by Barber, Ned Rorem, and Lee Hoiby, and spirituals. She liked to end her encores with "This Little Light of Mine", which she said was her mother's favorite spiritual.
Over time, Price's voice became darker and heavier, but the upper register held up extraordinarily well and her conviction and sheer delight in singing always spilled over the footlights. On November 19, 1997, she sang a recital at the University of North Carolina at Chapel Hill that was her unannounced last.
In her later years, Price gave master classes at Juilliard and other schools. In 1997, at the suggestion of RCA Victor, she wrote a children's book version of Aida , which became the basis for the hit Broadway musical by Elton John and Tim Rice in 2000.
Price avoided the term African American, preferring to call herself an American, even a "chauvinistic American".[ citation needed ] She summed up her philosophy thus: "If you are going to think black, think positive about it. Don't think down on it, or think it is something in your way. And this way, when you really do want to stretch out, and express how beautiful black is, everybody will hear you." [14]
On September 30, 2001, [8] at the age of 74, Price was asked to come out of retirement to sing in a memorial concert at Carnegie Hall for the victims of the September 11 attacks. With James Levine at the piano, she sang a favorite spiritual, "This Little Light of Mine", followed by an unaccompanied "God Bless America", ending it with a bright, easy B-flat below high C. [15]
In 2017, age 90, she appeared in Susan Froemke's "The Opera House," a documentary about the opening of the new Metropolitan Opera House in Lincoln Center in 1966. [16] .
Most of Leontyne Price's many commercial recordings were made by RCA Victor Red Seal and include three complete recordings of Il trovatore, two of La forza del destino, two of Aida, two of Verdi's Requiem, two of Tosca, and one each of Ernani, Un ballo in maschera, Carmen, Madama Butterfly, Cosí fan tutte, Don Giovanni (as Donna Elvira), Il tabarro and (her final complete opera recording) Ariadne auf Naxos. She also recorded a disc of highlights from Porgy and Bess, with William Warfield as Porgy, conducted by Skitch Henderson. Price sings the music for all three female leads.
Price's five "Prima Donna" albums, recorded from 1965 and 1978, are an exceptional survey of arias for soprano, many of them from roles she never performed on stage. (These are available on CD boxed set from RCA-BMG.) She also recorded two albums of Richard Strauss arias, an album of French and German art songs, a Schumann song album, two albums of Spirituals, and a single crossover disc, "Right as the Rain," with André Previn, and an album of patriotic songs, "God Bless America." Her recordings of Barber's Hermit Songs , scenes from Antony and Cleopatra, and "Knoxville: Summer of 1915", were brought together on "Leontyne Price Sings Barber". Her most popular and enduring aria collection has been the self-titled Leontyne Price, often referred to as the "Blue Album" for its light blue cover. It has been reissued on CD and SACD.
Equally popular is the album of Christmas music recorded in 1961 with von Karajan and the Vienna Philharmonic, on of the most popular Christmas records and continuouously in print. (It is also von Karajan's only collaborative album will a vocal soloist.) In 1996, RCA-BMG brought out a limited-edition 11-CD boxed collection of Price's recordings, with an accompanying book, titled The Essential Leontyne Price. For EMI-Angel, she recorded an album of Schubert and Strauss lieder and, for London, a collection of Versi arias with the Israel Philhatmonic conducted by Zubin Mehta.
In addition, archival recordings of important live performances have been released on CD. Deutsche Grammophon has issued her Salzburg performances of "Missa Solemnis" (1959) and Il trovatore (1962), both conducted by Karajan. In 2002, RCA released a long-shelved tape of her 1965 Carnegie Hall recital debut in its "Rediscoveries" series. In 2005, Bridge Records brought out the complete 1953 Library of Congress recital with Samuel Barber. It contains performances of Hermit Songs (world premiere), Henri Sauguet's La Voyante,and songs by Poulenc. In 2008, a broadcast tape of a 1952 Berlin performance of Porgy and Bess was discovered in the German radio archives and released on CD, a unique souvenir of the Breen-Davis production with Warfield and Price.
In 2011, Sony Classics brought out discs of Met broadcasts of Il trovatore (1961) and Tosca (1962), both with Corelli. The following year it followed with an Ernani (1962) with Carlo Bergonzi. In 2017, a 1967 Aida (with Bergonzi and Bumbry) was included in a Sony boxed set of performances from the Met's first season in the new opera house.
Two major roles in Leontyne Price's repertoire went unrecorded in the studio: Liu in Puccini'sTurandot and Donna Anna in MozartDon Giovanni. RCA had plans to record a complete Don Giovanni in 1974 with Price as Donna Anna, Montserrat Caballe as Donna Elvira, and Sherrill Milnes as the Don. Thr project fell through. However, her earlySalzburg performances of the opera, and a 1963 Vienna performance (with Fritz Wunderlich), all under Karajan, are available on CD and can be found on YouTube.
In the 1970s, RCA cut back on recording full operas and recital repertoire, with the result that much of Price's recital repertoire went unrecorded, most notably songs by Rachmaninoff, Barber, Hoiby, Rorem, Poulenc, and Strauss. However, some of that hole has been filled by the radio broadcast tapes of her Salzburg recitals, now posted on YouTube. A radio broadcast from 1956 of John La Montaine's cycle of songs for soprano soloist snd orchestra, Songs of the Rose of Sharon, with the National Symphony, has been found and posted on YouTube. A 1952 Juilliard performance of Falstaff and a student recital from 1951 have been posted on Juilliard's archival webpage, and reposted on YouTube. (The latter includes a performance of Ravel's Scheherezade, with piano accompaniment by David Stimer; it is Price's only recording of the work.) Performances in the NBC Opera Theatre series from the 1950s and early 60s have never been released (unlike similar archival performances from the BBC and the CBC). Nevertheless, audio excerpts from Price's Tosca, 'Magic Flute," and Don Giovanni, can be found on YouTube.
A Salute to American Music (Richard Tucker Music Foundation Gala XVI, 1991)
The Metropolitan Opera Centennial Gala , Deutsche Grammophon DVD, 00440-073-4538, 2009
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In The Grand Tradition, a 1974 history of operatic recording, the British critic J.B. Steane writes that "one might conclude from recordings that [Price] is the best interpreter of Verdi of the century." The Russian soprano Galina Vishnevskaya remembered a 1963 Price performance of Tosca at the Vienna State Opera "left me with the strongest impression I have ever gotten from opera." In his 1983 autobiography, Plácido Domingo writes, "The power and sensuousness of Leontyne's voice were phenomenal—the most beautiful Verdi soprano I have ever heard."
From left to right, NEA Chairman Dana Gioia honors the first class of National Endowment for the Arts Opera Honorees in 2008: Price, Carlisle Floyd, Richard Gaddes.
The sopranos Renée Fleming, Kiri Te Kanawa, Jessye Norman, Leona Mitchell, Barbara Bonney, Sondra Radvanovsky, the mezzo-sopranos Janet Baker and Denyce Graves, bass-baritone José van Dam, and the countertenor David Daniels, spoke of Price as an inspiration.
Jazz musicians were impressed too. Miles Davis, in Miles: The Autobiography, writes: "Man, I love her as an artist. I love the way she sings Tosca. I wore out her recording of that, wore out two sets. Now, I might not do Tosca, but I loved the way Leontyne did it. I used to wonder how she would have sounded if she had sung jazz. She should be an inspiration for every musician, black or white. I know she is to me." [17]
She has also had her critics. In his book The American Opera Singer, Peter G. Davis writes that Price had "a fabulous vocal gift that went largely unfulfilled," criticizing her reluctance to try new roles, her Tosca for its lack of a "working chest register", and her late Aidas for a "swooping" vocal line. Others criticized her lack of flexibility in coloratura, and her occasional mannerisms, including scooping or swooping up to high notes, gospel-style. Karajan took her to task for these during rehearsals for the 1977 Il trovatore, as Price herself related in an interview in Diva, by Helena Matheopoulos. In later recordings and appearances, she sang with a cleaner line.
Her acting, too, drew different responses over a long career. As Bess, she was praised for her dramatic fire and sensuality, and tapes of the early NBC Opera appearances show her an appealing presence on camera. In her early years at the Met, she was often praised for her stage presence as well as her vocal skill.
In March 2007, on BBC Music Magazine 's list of the "20 All-time Best Sopranos" based on a poll of 21 British music critics and BBC presenters, Leontyne Price was ranked fourth, after, in order, Maria Callas, Joan Sutherland, and Victoria de los Ángeles. [18]
Johan Jonatan "Jussi" Björling was a Swedish tenor. One of the leading operatic singers of the 20th century, Björling appeared for many years at the Metropolitan Opera in New York and less frequently at the major European opera houses, including the Royal Opera House in London and La Scala in Milan.
Mirella Freni is an Italian soprano whose repertoire includes Verdi, Puccini, Mozart and Tchaikovsky. Freni was married for many years to the Bulgarian bass Nicolai Ghiaurov, with whom she performed and recorded.
Spinto is a vocal term used to characterize a soprano or tenor voice of a weight between lyric and dramatic that is capable of handling large musical climaxes in opera at moderate intervals.
Angela M. Brown is an African-American dramatic soprano particularly admired for her portrayal of Verdi heroines.
Leopoldine Rysanek was an Austrian dramatic soprano.
Nell Rankin was an American operatic mezzo-soprano. Though a successful opera singer internationally, she spent most of her career at the Metropolitan Opera, where she worked from 1951 to 1976. She was particularly admired for her portrayals of Amneris in Verdi's Aida and the title role in Bizet's Carmen. Opera News said, "Her full, generous tone and bold phrasing, especially in the Italian repertory, were unique among American mezzos of her generation.
Martina Arroyo is an American operatic soprano who had a major international opera career from the 1960s through the 1980s. She was part of the first generation of black opera singers of Puerto Rican descent to achieve wide success, and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world.
Dame Gwyneth Jones, is a Welsh operatic dramatic soprano, widely regarded as the greatest Wagnerian soprano that Britain has ever produced.
Michèle Crider is an American lirico spinto operatic soprano. She has appeared in many of the great opera house in the world including the Royal Opera House, Covent Garden, the Metropolitan Opera in New York, San Francisco Opera, Los Angeles Opera, and the state operas of Vienna, Munich, Berlin and Hamburg. She has sung alongside the great conductors such as Riccardo Muti, Daniel Barenboim, Zubin Mehta, James Levine, Nello Santi, Christoph von Dohnányi, Semyon Bychkov, Seiji Ozawa, Riccardo Chailly and Colin Davis.
Ettore Bastianini was an Italian opera singer who was particularly associated with the operas of the bel canto tradition.
Herva Nelli was an Italian-American operatic soprano.
Aprile Millo is an American operatic soprano of Italian and Irish ancestry who is particularly admired for her interpretations of the works of Giuseppe Verdi. Possessing a spinto voice of power, warmth and temperament, Millo became one of the most celebrated opera singers of the late twentieth century. Although she has performed at many of the world's leading opera houses and with many orchestras and ensembles internationally, Millo has spent much of her career appearing in productions at the Metropolitan Opera.
Sharon Sweet is an American dramatic soprano. Sharon Sweet has appeared in leading roles in several major venues in Europe and the United States and has made notable contributions to several recordings, in particular Lohengrin, Der Freischütz, Don Giovanni, and Il Trovatore. In 1999, she accepted a full-time teaching position at Westminster Choir College of Rider University. In a column in Opera News, Sweet stated that she made the move out of frustration with the current operatic scene which emphasized physical appearance over voice. She cited her struggles with Hashimoto's syndrome, a thyroid condition.
Gloria Davy was a Swiss soprano of American birth who had an active international career in operas and concerts from the 1950s through the 1980s. A talented spinto soprano, she was widely acclaimed for her portrayal of the title role in Giuseppe Verdi's Aida; a role she performed in many of the world's top opera houses. She was notably the first black artist to perform the role of Aida at the Metropolitan Opera in New York City in 1958. While she performed a broad repertoire, she was particularly admired for her interpretations of 20th-century music, including the works of Richard Strauss, Benjamin Britten and Paul Hindemith.
Gilda Cruz-Romo is a Mexican operatic soprano, particularly associated with dramatic roles of the Italian repertory, notably Aida and Tosca.
Margherita Roberti is an American operatic soprano who had an active international career that spanned from 1948 to 1988. Although she performed throughout the world, Roberti achieved her greatest success and popularity in Italy. A dramatic soprano, Roberti drew particular acclaim for her portrayals of Verdi heroines. Among her signature roles are Amelia in Un ballo in maschera, Elisabetta in Don Carlos, Elena in I vespri siciliani, Odabella in Attila, and the title role in Luisa Miller. In 1970 she was awarded Order of knight by the Italian government president Giuseppe Sargat (Commendatore della repubbilca italiana)
Natalia Leonidovna Troitskaya was a Russian operatic soprano who had a major international career during the 1980s and early 1990s. She particularly excelled in the operas of Giacomo Puccini and Giuseppe Verdi. Among her signature roles were Tatyana in Pyotr Ilyich Tchaikovsky's Eugene Onegin and the title heroines in Verdi's Aida, Puccini's Manon Lescaut, and Puccini's Tosca. She was a frequent partner of Plácido Domingo during the 1980s and also sang opposite other great artists like Montserrat Caballé, Dmitri Hvorostovsky, and Luciano Pavarotti.
Marina Krilovici is an opera soprano of Romanian birth.
Felicia Weathers is an African-American opera and concert singer. She is a soprano.
He Hui, known in the West and on record covers as Hui He, is an operatic lirico-spinto soprano.
↑ Randye Jones, "Biographies: Leontyne Price (b. 1927)", Afrocentric Voices in "Classical" Music.
↑ "Price, Mary Violet Leontyne". Encyclopedia of African-American Culture and History. Encyclopedia.com. Retrieved February 21, 2011.
↑ Garland, Phyl (June 1985). "Leontyne Price: Getting Out At the Top. A prima donna assoluta says goodbye to the opera, will continue as concert singer". Ebony Magazine . Retrieved February 21, 2011.
1 2 3 Walsh, Michael; Newman, Nancy (January 14, 1985). "Music: What Price Glory, Leontyne!". Time Magazine . Retrieved February 21, 2011.
1 2 Henahan, Donal (January 4, 1985). "Opera: Leontyne Price's Final Stage Performance". The New York Times . Retrieved February 2, 2011.
↑ "Spingarn Medal winners: 1915 to today" Archived 2010-07-07 at the Wayback Machine , NAACP. Retrieved September 18, 2012.
↑ Boston Conservatory at Berklee to Honor Sutton Foster, Leontyne Price
1 2 3 4 5 6 7 Driscoll, F. Paul. "Leontyne Price". Opera News . Retrieved 1 October 2019.
↑ Dionne Warwick; David Freeman Wooley (November 22, 2011). My Life, as I See It: An Autobiography. Simon and Schuster. p. 93. ISBN 978-1-4391-7135-6.
↑ Delta Sigma Theta celebrates centennial
↑ "Time Magazine, Milestones, May 21, 1973". Time. May 21, 1973. Retrieved December 5, 2013.
↑ Rockwell, John (February 19, 1979). "Opera: Met's 'Ariadne' Finally Comes to Stage". The New York Times. Retrieved December 5, 2013.
↑ Great Performances – Great Moments at the Met: Viewer's Choice Archived 2012-06-30 at the Wayback Machine . KQED. Transcript. Aired Saturday, December 26, 2009. Retrieved February 21, 2011.
↑ Story, "And So I Sing," p. 114.
↑ Anson, Philip (30 September 2001). "Carnegie Hall: A Concert of Remembrance". La Scena Musicale . Retrieved 1 October 2019.
↑ [https://www.nytimes.com/2017/12/22/arts/music/leontyne-price-met-opera.html
↑ Miles Davis, Quincy Troupe, Miles: The Autobiography, Simon & Schuster, 1990. Pages displayed by permission of Simon & Schuster. 2005. Retrieved March 15, 2011.
↑ BBC Music Magazine press release, March 13, 2007.
Sir Rudolf Bing, 5,000 Nights at the Opera: The Memoirs of Sir Rudolf Bing (Doubleday, 1972).
Peter G. Davis, The American Opera Singer: The Lives and Adventures of America's Great Singers in Opera and Concert from 1825 to the Present (Anchor, 1999).
Plácido Domingo, My First Forty Years (Alfred A. Knopf, 1983).
Peter G. Davis, The American Opera Singer (Doubleday, 1997).
Barbara B. Heyman, Samuel Barber, The Composer and His Music (Oxford University Press, 1992).
Helena Matheopolous, Diva: Sopranos and Mezzo-sopranos Discuss Their Art (Northeastern University Press, 1992).
LaBlanc, Michael L. LaBlanc, (1992). Contemporary Black biography. profiles from the international Black community . Detroit, Mich.: Gale Research Inc. ISBN 9781414435299. CS1 maint: extra punctuation (link)
Luciano Pavarotti with William Wright, Pavarotti, My Own Story (Doubleday, 1981), ISBN 978-0-385-15340-9
Lyon, Hugh Lee (2006). Leontyne Price: Highlights of a Prima Donna. New York: Authors Choice Press.
Stephen Rubin, The New Met (MacMillan, 1974).
Winthrop Sargeant, Divas (Coward, McCann, Geohegan, 1973).
J. B. Steane, The Grand Tradition: Seventy Years of Singing on Record (Timber Press, 1993).
Rosalyn M. Story, "And So I Sing:"African American Divas of Opera and Concert" (Amistad, 1990).
Robert Vaughan, Herbert von Karajan (W.W. Norton & Company, 1986).
Galina Vishneyskaya, Galina, A Russian Story (Harvest/HBJ Book, 1985).
Ward Plowden, Martha (2002). Famous Firsts of Black Women (2nd ed.). Gretna, La.: Pelican Pub. Co. ISBN 1565541979.
William Warfield, with Alton Miller, William Warfield: My Music and My Life (Sagamore Publishing, 1991).
Blier, Stephen (October 1996). "Time After Time" . Opera News. 61 (4).
Jackson, Robert (July 1985). "Collard Greens and Caviar". Opera News. 48 (1).
Myers, Eric (March 2006). "Reunion: Justino Diaz" . Opera News. 70 (9).
Perkins, David (5 October 1986). "The Garbo of Opera". News and Observer. Raleigh, North Carolina.
"Leontyne Price, Ill, To Rest for Month" . The New York Times. 23 December 1961.
"The Nation: Where Atlanta's 'Big Mules' Relax" . Time. 10 January 1977. on 1964 Don Giovanni controversy
Wikimedia Commons has media related to Leontyne Price .
Leontyne Price on IMDb
Leontyne Price at the Internet Broadway Database
Metropolitan Opera Archives Database
Leontyne Price "Voice of the Century" Extensive fan site
Leontyne Price Biography on Afrocentric Voices
Awards for Leontyne Price
Primetime Emmy Award for Outstanding Individual Performance in a Variety or Music Program
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Today we bring all you Dark Universe readers a little treat, because the first trailer and poster for Screen Gems' Slender Man has officially arrived. If you enjoy creepy imagery, then you might just dig what you see. Head on down to check out both!
Slender Man is directed by Sylvain White (Stomp the Yard and The Losers) from a script by David Birke and Mike Scannell.
The film stars Joey King (Wish Upon) Annalise Basso (Oculus), Talitha Bateman (Annabelle: Creation), Julia Goldani-Telles, Jaz Sinclair and Alex Fitzalan.
Bradley Fischer, James Vanderbilt and William Sherak will produce the feature under their Mythology Entertainment banner, which originally held the rights to Slender Man across all platforms, including motion picture.
Slender Man stalks theaters on May 18, 2018.


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California Intercontinental University
California Intercontinental University is a private for-profit university based in Diamond Bar, California. It was incorporated in 2003 as the California University of Technology and started its operation in West Covina. Dr. Michael Zullo, Dr. Richard Allen, and Larry Golda were the founding members under the leadership of Dr. Shaan Senthil Kumar.
The participation of Dr. Kumar in the university's establishment directly links the university to EdNET which was an Education Network composed of more than 150 education, training, and certification centers worldwide that was founded in 1996. Dr. Kumar converted some of the EdNET centers into QSoft training centers in 2001 to provide specialized Microsoft.NET training solutions including e-commerce, networking, internet security, and web application programming. QSoft was renamed iUniversity and eventually became the California University of Technology which functioned as a Distance Education and Learning university. It adopted its present name in 2009 but retained its trade name "CalUniversity."
Academic programs of California Intercontinental University are accredited by the Accrediting Commission of the Distance Education and Training Council (DETC). Programs of CalUniversity include the following.
MBA – International Management and Marketing
MBA – Healthcare Management and Leadership
MBA – Information Systems and Knowledge Management
MBA – Project Quality and Management
MBA – Organizational Development and Human Resource Management
MBA – Banking and Finance
Doctorate in Entrepreneurship and Business Management
Doctorate in Global Business and Leadership
Doctorate in Healthcare Management and Leadership
Doctorate in Information Systems and Enterprise Resource Management
Tuition Bachelor Tuition per Credit – $245.00
Master Tuition per Credit – $295.00
Doctorate Tuition per Credit – $345.00
Dual Degree Tuition per Credit – $295.00
Members of the US Air Force, Army, Coast Guard, Marine Corps, and the Navy can pursue educational goals at California Intercontinental University while serving the country.
Eligible military students include Active-Duty Army personnel, Army reserves in AD status, Active-Duty Coast Guard, selective reserve Coast Guard, Coast Guard civilian employees, active-duty and reserve Air Force personnel, active-duty Marine Corps and active-duty and naval reserves in AD status. CalUniversity also offers affordable interest-free payment plans to qualified students. Students can avail of traditional financial aid options by meeting specific requirements specifically for federal financial aid such as grants, loans, work-study, and scholarships.
California Intercontinental University is not a member of any athletic conference.
Website: https://www.caluniversity.edu/
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text:
Here's a full TV schedule of all six NFL playoff games that will be played this weekend
Jan. 7, 2021 at 9:28 am Updated Jan. 7, 2021 at 9:39 am
Quarterback Alex Smith helps the Washington Football Team on Sunday to secure a spot in the playoffs. The team will face the Tampa Bay Buccaneers and quarterback Tom Brady on Saturday. (Washington Post photo by Jonathan Newton).
Fred Bowen
If you like professional football, you will love this weekend.
The National Football League (NFL) playoffs begin with tripleheaders – that's three games —on Saturday and Sunday. So you can watch NFL games from 10 a.m. to after dinner time on both days.
Of course, I don't think anyone — especially kids — should watch that much television. Kids should go outside and ride their bikes or throw a football instead of sitting all day.
But if you are going to watch, here is a guide to the weekend games – ranging from the best matchups to the worst – so you can pick one or two to watch.
All game starts are listed in Pacific Time.
Indianapolis at Buffalo (10:05 a.m. Saturday on CBS)
The Buffalo Bills, who have won their last six games, may be the hottest team in the NFL. Quarterback Josh Allen had a breakout season, throwing for 4,544 yards and 37 touchdowns. But the Colts defense can be tough, especially against an offense that wants to run the ball. This game should be close.
Los Angeles at Seattle (1:40 p.m. Saturday on Fox)
The Los Angeles Rams have the best defense in the NFL, led by star defensive lineman Aaron Donald. The Los Angeles defense will have to be good, because Rams quarterback Jared Goff injured the thumb of his right (throwing) hand. The Rams defense will also have to be good, because the Seahawks and quarterback Russell Wilson can put points on the board.
Tampa Bay at Washington (5:15 p.m. Saturday on NBC)
The Washington Football Team (WFT) had a surprising season to win the (very weak) National Football Conference East division with a record of 7-9 (seven wins, nine losses). I just don't think the WFT will come close to Tom Brady and the Tampa Bay Buccaneers.
Baltimore at Tennessee (10:05 a.m. Sunday on ABC/ESPN)
This game features two of the most exciting players in the NFL. Ravens quarterback Lamar Jackson can beat any team with his passing and running. Titans running back Derrick Henry doesn't throw, but the man can run. Henry became only the eighth player in NFL history to gain more than 2,000 yards running in one season.
Chicago at New Orleans (1:40 p.m. Sunday on CBS)
It would be a huge upset if the Chicago Bears could knock off the New Orleans Saints.
Cleveland at Pittsburgh (5:15 p.m. Sunday on NBC)
The Cleveland Browns made the playoffs for the first time since 2002 by beating the Pittsburgh Steelers, 24-22, in the last game of the season. But the Steelers were resting some of their top players, including veteran quarterback Ben Roethlisberger. Pittsburgh should be at full strength for this matchup of American Football Conference North rivals.
There will be a lot of great NFL games this weekend. Just don't watch them all.
Bowen writes the sports opinion column for KidsPost. He is the author of 25 sports books for kids. His latest is "Gridiron: Stories From 100 Years of the National Football League."
This story was originally published at washingtonpost.com. Read it here.
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Jason Aldean's Alabama Concert Rescheduled Due to Hurricane Ida
Sterling Whitaker Published: August 28, 2021
Jason Aldean has been forced to postpone a concert that was originally slated to take place in Alabama on Saturday night (Aug. 28) due to Hurricane Ida, which threatens a storm surge, heavy rain and the possibility of tornadoes.
Aldean and his band were set to perform at the Wharf Amphitheatre in Orange Beach, Ala., on Saturday as part of his ongoing Back in the Saddle Tour, which features Dee Jay Silver, Lainey Wilson and Hardy as his special guests. His team turned to social media on Friday (Aug. 27) to announce that the show was being postponed.
"Due to the impending Tropical Storm, Jason's concert originally scheduled for Saturday at @TheWharfOBA will be rescheduled to 10/31/21," reads a message on Aldean's social media accounts. "All tickets will be honored for the new date. For refund info or questions fans can reach out to your point of purchase. Please stay safe!"
Ida began as a tropical storm, but according to AL.com, it strengthened to a hurricane on Friday as it touched down in Cuba twice before heading into the Gulf of Mexico. Winds of 75-80 MPH were recorded,
"Ida is expected to be an extremely dangerous major hurricane when it reaches the coast of Louisiana," forecasters with the National Hurricane Center stated on Friday evening (quote via AL.com). "Hurricane-force winds are expected Sunday in portions of the Hurricane Warning area along the Louisiana coast, including metropolitan New Orleans, with potentially catastrophic wind damage possible where the core of Ida moves onshore. Actions to protect life and property should be rushed to completion in the warning area."
Alabama was not in the direct path of hurricane-strength winds on Friday, but some predictive models have shown that Ida's wind field could expand to threaten parts of the state, and they are currently under tropical storm watch and storm surge watch.
According to Yahoo.com, the water at Romar Beach has been closed to the public as the storms head toward Orange Beach, and the city is making sandbags available to the public in an attempt to forestall flooding.
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Source: Jason Aldean's Alabama Concert Rescheduled Due to Hurricane Ida
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Do you get stressed often? Are you a parent or a student who has come here searching for the solution to a stress-free life with no homework? Well, before you get solution to this much awaited problem, let's share a light moment. Do you love back spelling words? Try back spelling 'stressed' then. Isn't it a shocking affair that a word like 'stressed', when back spelt becomes 'desserts'?
The most common stress prevailing in households everywhere around the world is 'Homework solving.' It is the reason which creates havoc every evening in our homes. No matter how hard you try, there is absolutely no relief from this. It is not easy for everyone to finish the homework without any pressure or stress. After having a hectic day at school for 7-8 hours, most students lose the energy essential for doing homework and assignments.
Ask any random student or adult near your locality about what they would like to tell Stress if it is personified. You will get the answer as-''Dear Stress, let's break-up.'' It is true that we cannot stop ourselves from being anxious, but there are ways through which we can tackle it effectively.
Recently my nephew started having problems with his homework. The situation got such worse, that his parents had to consult a psychiatrist for help. Considering the need of having a stress-free life for the students nowadays, I decided to write a post on this.
Before we find the solution for doing a stress-free homework, it is important that we look at the problems which students face while solving their assignments.
The education structure of today is drastically different from that which existed around 10 years ago. And with this change, it is even more difficult nowadays. Since teachers are often unable to finish the planned syllabus, they assign too much homework to the students.
It becomes difficult for most of the students to solve homework. And with too many assignments lined up to do within a short period of time, they get overburdened. This creates pressure in their minds which results in stress and depression.
Students often find it to difficult to understand what they are being taught in the class. Most of the homework assigned, is based on the concepts covered in class. Thus when they start solving the homework, they are unable to understand what they are supposed to do in the assignment. This lack of understanding results in stress.
At times, it happens that even though the student knows how to solve his homework, he is unable to handle the pressure due to shortage of time. Teachers assign homework with immediate submission deadlines and thus it becomes difficult for these students to divide time effectively.
It is necessary for the parents to keep a track of how their children are performing in studies. But that does not justify the fact that they will start interfering unnecessarily in their homework. Just because the child is weak in studies, it does not mean that parents have to keep on putting additional pressure on them.
Many students suffer from lack of motivation as they have to solve their homework all alone. They feel monotonous and boring while doing these assignments. This results to depression and stress.
Studies form to be the most important aspect in a child's life. It is not that that the other co-curricular activities are not important. But studies cannot be compromised at any cost. Thus it is very important that students prioritize homework-solving, once they return from school. This will ensure that the child does not get a stressful night.
Students need to understand their priorities in life from a young age. Since homework is at their top priority, they need to ensure that once they start doing it, no other multi-tasking is done. By avoiding multi-tasking they can have proper focus on their work. And once they start focusing, solving homework is just a matter of few hours. This prevents additional stress in their life.
Environment plays a key role in the way we handle things. If the environment where a student is doing his homework is not proper or uncomfortable, it will take him more time to do the homework which will lead to stress.
Ensure that you have a comfortable place to study while solving the homework which is free from any kind of noise or distraction like mobile phones, television, computers, etc.
Time-management is one of the major homework challenges faced by students while doing homework. Thus to ensure that you have adequate time to solve your homework, you need to prepare a schedule where you can divide your time effectively as per your priorities.
When my nephew consulted the psychiatrist, he said that it is anxiety which leads to stress. Whenever the student sees that the submission deadline is approaching nearby, he starts getting anxious whether he will be able to finish his work on time. It is this anxiousness which results to stress.
If you are still anxious about your daily assignments, refer to-5 Steps to end the daily battle of homework solving.
Some students are often unable to solve their homework as they get stuck due to certain problems. And in case of an assignment which has an immediate submission, students start getting stressed as they have no sources of help. However, if they maintain a good relationship with their teachers, they can easily approach them for homework help.
In this digital age, anything and everything is possible if you are connected to the internet. Whenever you get stuck in a sum or start facing difficulties in understanding a concept, directly refer to any online professional educational website.
The best and smartest way to handle any pressure or stress in life is to remain relaxed and calm. Have confidence in yourself and relax no matter how overburdened you are. After taking a deep breath, start working on your homework.


Vlookup is a very frequently and importantly used function of MS excel. For those who are here to know how to remove error in excel Vlookup that are "#N/A" or "#REF" there is an apt program to remove error in excel Vlookup. As the Vlookup function is called when you need to look for any specific data in the first column of data table, you can get #N/A error if the look up value is not found in that column and encounter "#REF" error when the provided column number is greater that that is in table array.
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Forrest doing bits in Champions League qualifying as per.
LloydsGamble, Keano88, binlardas67 and 4 others like this.
I doubt any players ever made more money for us than James Forrest btw. In the last ten years, when we've got to the CL, he's been a large part of every campaign.
Random Review, Swervedancer and Keano88 like this.
Forrest the new chairman of the do bits society.
Fontaine, adequate citizen Zenon, Swervedancer and 2 others like this.
What a beautiful touch for that pass to Eddy and he gave it the finish it deserved.
As Forrest did for Stokes.
He's also been a very important player defensively.
Hopefully see those stats rise sharply over the next 5 weeks.
I know a few of us on here use the FlashScores app. I've noticed they've added a few more features when you click on a player in the lineup tab.
rhydo1888 and rkid like this.
JordanCeltic21 and rkid like this.
TheHappyLoss and shaunbhoy67 like this.
rhydo1888, TheHappyLoss and \o/ like this.
Lewis Kerr and \o/ like this.
When he's genuinely off form too. If he could just get back to first season form, he could be up there with Forrest.
How ridiculously good is the latter BTW? Is it too early to call those stats "Larssonesque"?


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PC Mag News Feed
Valve: We're 'Absolutely Not' Making Left 4 Dead 3
10:03 pm PST, January 20, 2020
Rumors swirled about a new 'Left 4 Dead' game, but Valve released a statement denying any active development. Valve did consider a next-generation installment several years ago, however.
Huawei Picks TomTom To Replace Google Maps
TomTom, which designs GPS-related technology, will serve as the location services provider on Huawei's yet-to-be-released operating system. Huawei continues exploring alternatives that lessen its reliance on American companies.
Instagram Realizes We Don't Love IGTV
Long-form videos will continue to exist on the platform, but Instagram has pulled the dedicated IGTV icon at the top of its app's user interface.
Galaxy S20: Leaked Specs Highlight Top-Tier Hardware
Specifications for the Galaxy S20, Galaxy S20+, and Galaxy S20 Ultra were leaked online, and now we're learning what Samsung will offer across its flagship trio.
iOS 13.3.1 Beta Offers U1 Ultra Wideband Chip Toggle
iPhone owners discovered that disabling location services still left on the U1 Ultra Wideband chip, and now Apple appears to be offering a toggle for the technology in the most recent iOS 13.3.1 beta.
Startup Shows Off Smart Contact Lens Prototype With Tiny Display
The California-based Mojo Vision has been showing journalists prototypes of actual smart contact lenses, which have tiny microLED displays embedded inside.
The FBI seizes the internet domain to WeLeakInfo.com, a site that was cataloging billions of records, such as email addresses and passwords, from more than 10,300 data breaches at various companies and service providers.
The Chrome team is currently working to add official Steam compatibility to Chrome OS, which could pave the way for gaming-focused Chromebooks with dedicated GPUs.
Xbox Console Streaming Preview for Android Goes Global
Xbox Insiders in 42 countries can stream Xbox games to their Android smartphone or tablet.
Wake Up, Xbox Fans: Halo Infinite's Backward Compatibility Is a Good Thing
The beloved science-fiction shooter is headed to Microsoft's current and next-generation consoles. Despite the online fan bickering, this is a smart move.
New streaming goodness abounds and might make you laugh, but there are plenty of classics to stream this weekend as well.
Amazon Echo Show 5 Smart Display on Sale for $70, a $20 Discount
At less than a year old, the Echo Show 5 already has more than 20,000 5-star customer reviews. Normally $89.99, it's available now for just $69.99, or 22 percent off.
Hands On With Leica's Black-and-White M10 Monochrom
Three years after the launch of the M10, Leica is bringing a black-and-white Monochrom version to market, with an all-new 40MP imager and the classic M rangefinder design.
UK's Canceled 'Porn Ban' Faces Legal Challenge
Four age verification companies are claiming damages worth an estimated $4 million for the tech they developed to support the scheme.
Huawei P40 Pro Render Shows Ceramic Back and 5 Cameras
The P40 Pro is expected to be officially revealed in March, but there's also thought to be a cheaper folding Mate Xs phone heading to China.
Cooler Master Blames Parents for Thermal Paste Tube Redesign
It no longer looks like a syringe, so parents can stop being suspicious their kid is doing drugs.
NBC's Peacock Arrives in July as Free, Ad-Based Streaming Service
Peacock will first launch on April 15 for Comcast subscribers, but it'll then go nationwide in the US on July 15 as a free, ad-supported service. To unlock access to more content, you'll need to pay $5 a month. At $10, you can get rid of the ads.
Microsoft to Go 'Carbon Negative' by 2030 to Combat Climate Change
Microsoft originally sought to become a 'carbon neutral' company, meaning it could generate carbon emissions as long as it offset them through other means, but "in short, neutral is not enough to address the world's needs," says Microsoft President Brad Smith.
Bad Flaw in Windows 10 Also Affects Chrome Browser
Security researchers are demonstrating how you can use the Windows 10 flaw, CVE-2020-0601, to spoof the trusted digital certificates for official website domains on Google's Chrome browser. These same certificates can warn you about hacking attempts.
What Is 8K? Should You Buy a New TV or Wait?
4K is the resolution standard for televisions now, but we're starting to see 8K TVs trickle out. How much better is 8K, and is it worth waiting for?


I would love to hear from you, whether it is just to say "Hello!!!", to ask questions about any of my courses or to let me know about something that you have put into action from my resources that have worked (I love those emails the best!). I promise to reply to each and every email I receive – I AM my business, there is no automation or templates at the end of this contact form – you get me. The real, genuine, me.


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In re Edgemere Houses, Borough of Queens, City of New York, 13 A.D.2d 780, 214 N.Y.S.2d 907 (N.Y.A.D. 2 Dept., May 01, 1961)
Homepage > In re Edgemere Houses, Borough of Queens, City of New York, 13 A.D.2d 780, 214 N.Y.S.2d 907 (N.Y.A.D. 2 Dept., May 01, 1961)
Supreme Court, Appellate Division, Second Department, New York.
In the Matter of the Application of The City of New York, etc., relative to
acquiring title, where not heretofore acquired, to certain real property within
the area bounded generally by Almeda Avenue, Conch Place, Beach 51st Street,
Beach Channel Drive, Beach 58th Street and Elizabeth Avenue, duly selected as a
site for a public housing project to be known as EDGEMERE HOUSES, in the
BOROUGH OF QUEENS, CITY OF NEW YORK.
The City of New York, Appellant-Respondent; Jacob Schneider, Samuel S.
Schneider, Abraham Fox, Milton Fox, Lester Fox and Selma Pollack, d/b/a Ajay
Realty Company (D.P. 21); Jacob Schneider, Abraham Fox, Milton Fox and Samuel
Schneider (D.P. 36); Edgemere Aviation Corporation (D.P. 70), Claimants-
Respondents; Vernam Estates, Inc. (D.P. 70), Claimant-Respondent-Appellant.
May 1, 1961.
Condemnation proceeding. From a decree of the Supreme Court, Kings County, J.
Vincent Keogh, J., the condemnor and the property owners appealed. The Supreme
Court, Appellate Division, held that conjunctive use value was not a proper
element of damage in fixing land award for condemned property.
Decree affirmed, as modified, in part and remitted in part and motion to
dismiss condemnor's appeal denied.
West Headnotes
Eminent Domain 134
148k134 Most Cited Cases
Conjunctive use value was not a proper element of damage in fixing land award
for condemned property.
*908 Charles H. Tenney, Corp. Counsel, New York City, for appellant-
respondent City of New York; Robert D. Joyce, New York City, of counsel.
Karelsen & Karelsen, New York City, respondent-appellant Vernam Estates; Frank
E. Karelsen, III, New York City, of counsel.
Ira I. Gluckstein, New York City, claimant-respondent Edgemere Aviation Corp.;
Joshua S. Sparrow, Brooklyn, of counsel.
Dreyer & Traub, Brooklyn, for remaining claimants-respondents; Samuel
Kirschenbaum, Brooklyn, of counsel.
Before NOLAN, P. J., and UGHETTA, KLEINFELD, CHRIST and BRENNAN, JJ.
MEMORANDUM BY THE COURT.
In this condemnation proceeding the parties cross-appeal as follows from the
final decree of the Supreme Court, Kings County, made November 16, 1959, after a
nonjury trial:
(1) The condemnor, City of New York, appeals from so much of the decree as
makes fee or land awards for Damage Parcels Nos. 21, 36 and 70, and a fixture or
improvement award for Damage Parcel No. 70.
(2) Claimant, Vernam Estates, Inc., appeals from so much of the decree as
makes a fee or land award for Damage Parcel No. 70.
On the City's appeal: Decree modified on the law and the facts by striking
out the fee or land award of $68,000 for Damage Parcel No. 36; and proceeding
remitted to Special Term for a re-evaluation as to such parcel, the re-
evaluation to be made without regard to the so-called 'conjunctive use factor.'
As so modified, decree insofar as appealed from affirmed, without costs.
Appeal by claimant as to Damage Parcel No. 70, dismissed, such appeal having
been withdrawn by it upon the oral argument in this court.
Motion by claimant, Edgemere Aviation Corporation (renewed by permission of
this court granted by order dated March 28, 1960) to dismiss the City's appeal
from the portion of the final decree which makes a fixture or improvement award
of $6,750 for Damage Parcel No. 70, denied.
With respect to the land award for Damage Parcel No. 36, we cannot tell on
this record what allowance was made therein based upon the factor of conjunctive
use value. In our view, that factor was not a proper element of damage here,
and should not have been considered. Accordingly, the proceeding is remitted to
Special Term for the purpose of making a proper re-evaluation as to Damage
Parcel No. 36.
214 N.Y.S.2d 907, 13 A.D.2d 780
In the Matter of the Application of The City of New York, etc., relative toacquiring title, where not heretofore acquired, to certain real property withinthe area bounded generally by Almeda Avenue, Conch Place, Beach 51st Street,Beach Channel Drive, Beach 58th Street and Elizabeth Avenue, duly selected as asite for a public housing project to be known as EDGEMERE HOUSES, in theBOROUGH OF QUEENS, CITY OF NEW YORK.The City of New York, Appellant-Respondent; Jacob Schneider, Samuel S.Schneider, Abraham Fox, Milton Fox, Lester Fox and Selma Pollack, d/b/a AjayRealty Company (D.P. 21); Jacob Schneider, Abraham Fox, Milton Fox and SamuelSchneider (D.P. 36); Edgemere Aviation Corporation (D.P. 70), Claimants-Respondents; Vernam Estates, Inc. (D.P. 70), Claimant-Respondent-Appellant.
Condemnation proceeding. From a decree of the Supreme Court, Kings County, J. Vincent Keogh, J., the condemnor and the property owners appealed. The Supreme Court, Appellate Division, held that conjunctive use value was not a proper element of damage in fixing land award for condemned property.
Decree affirmed, as modified, in part and remitted in part and motion to dismiss condemnor's appeal denied.
Eminent Domain 134148k134 Most Cited Cases
Conjunctive use value was not a proper element of damage in fixing land award for condemned property. *908 Charles H. Tenney, Corp. Counsel, New York City, for appellant- respondent City of New York; Robert D. Joyce, New York City, of counsel.
Karelsen & Karelsen, New York City, respondent-appellant Vernam Estates; Frank E. Karelsen, III, New York City, of counsel.
Ira I. Gluckstein, New York City, claimant-respondent Edgemere Aviation Corp.; Joshua S. Sparrow, Brooklyn, of counsel.
Dreyer & Traub, Brooklyn, for remaining claimants-respondents; Samuel Kirschenbaum, Brooklyn, of counsel.
In this condemnation proceeding the parties cross-appeal as follows from the final decree of the Supreme Court, Kings County, made November 16, 1959, after a nonjury trial:
(1) The condemnor, City of New York, appeals from so much of the decree as makes fee or land awards for Damage Parcels Nos. 21, 36 and 70, and a fixture or improvement award for Damage Parcel No. 70.
(2) Claimant, Vernam Estates, Inc., appeals from so much of the decree as makes a fee or land award for Damage Parcel No. 70.
On the City's appeal: Decree modified on the law and the facts by striking out the fee or land award of $68,000 for Damage Parcel No. 36; and proceeding remitted to Special Term for a re-evaluation as to such parcel, the re- evaluation to be made without regard to the so-called 'conjunctive use factor.' As so modified, decree insofar as appealed from affirmed, without costs.
Appeal by claimant as to Damage Parcel No. 70, dismissed, such appeal having been withdrawn by it upon the oral argument in this court.
Motion by claimant, Edgemere Aviation Corporation (renewed by permission of this court granted by order dated March 28, 1960) to dismiss the City's appeal from the portion of the final decree which makes a fixture or improvement award of $6,750 for Damage Parcel No. 70, denied.
With respect to the land award for Damage Parcel No. 36, we cannot tell on this record what allowance was made therein based upon the factor of conjunctive use value. In our view, that factor was not a proper element of damage here, and should not have been considered. Accordingly, the proceeding is remitted to Special Term for the purpose of making a proper re-evaluation as to Damage Parcel No. 36.


Adreama's 6 ft. long USB-C cable is perfect for lost, damaged or as a spare. USB-C incorporates reversible plugs, fast data transfer rates and fast charging attributes based on USB3.1 standards.
Adreama's USB-C cable is perfect for lost, damaged or as a spare. USB-C incorporates reversible plugs, so no more fumbling around to connect your USB-C device in the correct orientation. Also, USB-C delivers fast data transfer rates up to 10 Gbps and powerful, fast 100 W charging attributes based on USB3.1 standards.
Compatible for newer USB C devices such as the Apple New Macbook 12 Inch (2015+), Macbook (2016), OnePlus Two, Google Nexus 5X, Nexus 6P, Pixel C, New Nokia N1 tablet, Lumia 950, Lumia 950XL, ChromeBook Google Pixel, Asus Zen AiO, Lenovo Zuk Z1, HP Pavilion X2, ASUS ZenPad S 8.0, LG G5, HTC 10 and other devices with USB C connector ports.
Note: also compatible with Thunderbolt port that uses the USB-C connector. 6FT Type C to C .


After worship on Sept. 18 it's our monthly potluck brunch! Bring something* to share as we gather for a fun meal. Assignments are according to the first letter of your last name.
* Bring your dish ready to serve or plan to do your own prep when you arrive (oven use available).


In a mixing bowl, stir the oats and cinnamon. Pour the milk or water over the oats, and mix. Then whisk in egg. On a lightly oiled pan, drop two servings (I used an ice cream scooper to divide the mix). Cook until the edges are a little brown , and bubbles start to form, then flip! Once cooked, enjoy with maple syrup and you choice of berries!


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What is Senegence?
I haven't really spoken much about what the company I work for actually is, but I really wanted to have a post on hear sharing the story of the company. Disclaimer: I didn't want to get anything wrong so this is pretty much copied and pasted straight from here.
SeneGence is a multi-faceted, international corporation that is committed to making a positive contribution to women everywhere. It is a privately owned, network marketing company that is in the business of developing and selling personal care products through an independent sales network.
In April 1999, SeneGence started with LipSense® Long-Lasting Liquid Lip Color as its premier product. Initially, only six lip colours, a moisturizing lip gloss and a lip colour remover were offered. SeneGence now has a complete line of long-lasting cosmetic colours and anti-ageing skincare products as well as accessories and boutique items.
Through the efforts of Founder, CEO and Chairwoman, Joni Rogers-Kante and the organisation of its Independent Distributors, SeneGence has amassed hundreds of millions of dollars in sales and has become a recognised brand name as well as an international leader of long-lasting, anti-ageing colour cosmetics and skincare products. The company continues to utilise its unique ingredients and technologies for further development of new and exciting products that really work for its Distributors to sell.
Expansion into the international market began with the opening of SeneGence Canada in November 2001 and SeneGence Australia in February 2003 and into Indonesia and the UK in 2011. Since, SeneGence can also be found in Switzerland, Poland, and other regions around the globe. The company prides itself on being on the cutting edge of anti-ageing and long-lasting colour technology with its original, patented and proprietary product formulations.
SeneGence was built on a platform of support for the environment and respect for the global community. Strong practices around being environmentally sensitive include use of naturally-reoccurring ingredients, refraining from animal testing and omitting external product packaging keep the company environmentally conscientious and ecologically responsible. Additionally, products are formulated with no animal by-products, in compliance with FDA regulations and in the United States for tight quality control. SeneGence's non-profit organisation, the Make Sense Foundation® regularly raises and contributes funds for women and children in need.
It was founded on the idea to offer superior products and an opportunity for women to be independent and successful in business regardless of age, background, or education. Since 1999, SeneGence has grown to support thousands of successful careers and satisfied customers around the world and remains steadfast in its commitment to offer products that really work, including LipSense long-lasting lip colour and a complete line of anti-ageing skin care and long-lasting cosmetics.
Distributors Join my Team
Labels: Distributors Join my Team
What's in: Collagen Night Pak
All About: Collagen Night Pak
What's in BrowSense?
All About: BrowSense
Using your Stripes Online!
How to Apply LipSense Stripes?
Why Wear LipSense Stripes?
Roadshow Tour: Interested in being a Distributor?
How to Sign up as a Distributor for FREE! - LipSen...
The Benefits of SenePlex Complex
Published Results of SenePlex Complex
SenePlex Complex Explained
All About: SenePlex Complex!
The Tingling with LipSense
The Senegence Story
Senegence: The Company Values
What does Senegence mean?
Pinned Post to Read!
SeneDerm Polishing Exfoliator vs SeneDerm Facial R...
What's in: Polishing Exfoliator
All About: Polishing Exfoliator


When was the last time you tried a food you had never tasted before? How often do you add a new-to-you vegetable to your bag at the supermarket? If nothing comes to mind, you are not alone. Many of us tend to shop for the same items week after week, as we cook a regular rotation of favored recipes. In fact, globally 75% of our food is supplied by just 12 plant and 5 animal species, and 60% of our plant-based intake is from just 3 foods - rice, maize, and wheat.
Why can it be advantageous to try new foods from The Future 50 Foods, such as black salsify, yam bean root, or adzuki beans? Adding more diverse vegetables, legumes, grains, and nuts to our diets may supply important vitamins, minerals and antioxidants that could be lacking otherwise. Eating a wider variety of foods can also be beneficial for our planet. When farms grow the same limited crops year after year, agrobiodiversity is threatened. That means that we become dangerously dependent on a small number of foods as other crops become extinct and delicate ecosystems are put at risk. Luckily, we have the power to affect change.
● Start Small Successful habits are built one step at a time! Try swapping in fonio, spelt, or amaranth in place of rice or adding broccoli rabe or pumpkin flowers to your usual salad. Get tips from Knorr for cooking tips and ideas to add and swap the Future 50 Foods in your meals.
● Identify Your Opportunity Are you bored with your breakfast options or dreading a humdrum dinner? What a perfect excuse to add umami-rich Enoki mushrooms to your eggs or use lotus root in a stir-fry.
● Update Your Protein Replacing animal-based protein can reduce our agricultural impact on the environment. Trade in all or some of the ground beef in a recipe for earthy lentils, meaty black beans, or buttery broad beans.
● Practice Makes Perfect Keep an open mind and remember that the more you try new foods, the more you will develop your palate and open your appreciation for new favorites! Get inspired by Knorr chefs with delicious recipes that make a difference.
Click here for delicious recipes that make a difference.


text:
Storm stripped of two NRL premierships
April 22, 2010 by league
Melbourne Storm have been stripped of two NRL premierships and fined a total of A$1.6 million after being found guilty of massive, long-term salary cap breaches.
NRL chief executive David Gallop announced they would also not be allowed to accrue any premiership points in the 2010 season.
Gallop said (quote) They had a long-term system of effectively two sets of books and the elaborate lengths they have gone through to cover this up has been extraordinary. He went on to say (quote) The breakthrough in the investigation was the discovery by the salary cap auditor (Ian Schubert) of a file in a separate room at the Storm to the room which contained the file with the player's contracts, outlining the payments to the players not disclosed to us. It was through this system that they were able to attract and retain some of the biggest names in rugby league. The results of their practices on the field speak for themselves. (end quote)
While Melbourne lost their titles from the 2007 and 2009 seasons, Gallop said neither losing grand finalists Manly or Parramatta would assume those titles.
John Hartigan, chairman and chief executive of News Limited, who own the Storm, said his organisation was totally unaware of the situation and he felt sick after learning of it. Hartigan said News Ltd had referred the matter to the police. He said his organisation intended to help clean up the club and remained committed to both the Storm and rugby league in general.
Hartigan released a statement saying News would take a range of actions on top of the NRL's sanctions. They include the appointing of accounting firm Deloitte to conduct a forensic audit of the club's accounts and financial affairs and standing down two senior staff still employed by the club who were believed to be involved in the deception pending the outcome of the audit.
News has also hired respected rugby league administrator Frank Stanton to move in as caretaker chief executive of the Storm.
Hartigan said: (quote) I do not think there will be a league fan anywhere who is not outraged by what appears to be a highly-orchestrated, deeply deceptive fraud in which there was systematic and deliberate concealment of unlawful payments to certain players over an extended period. This club has had a couple of rats in its ranks and it's my intention to root them out and try to rebuild a great club.
Filed Under: Melbourne Storm Tagged With: jersey, NRL, rugby league, shirt
All Melbourne Storm shirts


text:
Un circuit mixte est un courant électrique comportant 20 bornes dont 10+ et 10-. On le reconnait aussi par sa forme triangulaire.

Notes et références

Circuit électrique

redpajama_set_name: RedPajamaWikipedia


The Uptown Boutique is a trendy and affordable shop based in Springfield, Missouri. After a few successful years in business, The Uptown Boutique made the decision to make the jump online in addition to their brick and mortar store. The goal is to create a one-of-a-kind shopping environment where customers can find an outfit for any occasion, whether you're on a budget or not. Each piece is hand picked just for you with all fashionistas in mind.


SAN FRANCISCO, CA, and QUEBEC, QC--(Marketwired - May 17, 2017) - Coveo, a leader in AI-powered search and predictive analytics, and recently positioned as one of the highest for execution and furthest for innovation in the leaders quadrant of Gartner's Magic Quadrant for Insight Engines, today announced the unveiling of Coveo Pro Edition for Salesforce. This addition completes the family of Coveo products for Salesforce, which includes the Free and Express Editions released last month, as well as the Enterprise Edition.
Coveo's cutting-edge artificial intelligence technology is elegantly woven into enterprise solutions for some of the world's biggest, most innovative brands. There is no "one-size fits all" mold when it comes to providing personalized, relevant information to employees and customers. In response to this reality, the family of Coveo products offers a full range of AI-powered search solutions to fit every customer support need regardless of business size, complexity or industry.
With the release of the Coveo Pro Edition, every Salesforce-based support team can quickly and easily add cloud-based content sources to their Community Cloud and Service Cloud organizations, allowing Coveo's AI-powered search to surface personalized, relevant content and insights to agents, partners and community members, with minimal effort.
"With the addition of the Coveo Pro Edition, we are completing a product offering that meets a broad and diverse demand for enabling intelligent self-service and support on the Salesforce platform. We strongly believe that machine learning is the best way to deliver those relevant and personalized experiences at scale, and that search is at the core of your crowd's interactions. This family of products is making it easy for our System Integrator Partners and customers to experience the power of AI-driven search, and expand its capabilities to the extent of their needs." Laurent Simoneau, President and CTO, Coveo.
The family of Coveo products is built on the same cloud-based intelligent search platform with Coveo Machine Learning at its core. This enables users of the Free and Express Editions to have the option to easily upgrade to Pro and Enterprise Editions with no business disruptions or strain on IT. Using simple drag and drop tools, Coveo Pro Edition customers can add cloud-based content from sources including Salesforce, websites, sitemaps, YouTube, SharePoint Online, Atlassian's Confluence Cloud, Atlassian's Jira Cloud, RSS feeds, Google Drive, Amazon S3, Dropbox, and Box; and push other content to Coveo using a framework of APIs.
Marc LeCours, General Manager for Salesforce practice of Perficient comments, "Coveo has an easy to use, yet very powerful set of solutions that is helping us build richer, more engaging, and more relevant search experiences for our Salesforce customers. It is a great extension of the work we are doing for our customers on Community Cloud and Service Cloud. As a Coveo partner, it's a no brainer to use it in our deployments."
The Coveo Free and Express Editions are currently available at coveo.com/salesforcefree.
The Coveo Pro Edition will be generally available in the second half of 2017 and available via the Salesforce AppExchange.
Visit coveo.com/salesforce to compare editions and find the right fit for your organization.
Coveo will be on the road at the upcoming Salesforce World Tour, Boston and London.
Salesforce AppExchange is the world's leading enterprise apps marketplace that empowers companies to sell, service, market and engage in entirely new ways. With 3,500 partner apps and more than 4 million customer installs, it is the most comprehensive source of cloud, mobile, social, IoT, analytics and artificial intelligence technologies for businesses.
Positioned as one of the upper-rightmost in the leader's quadrant of Gartner's Magic Quadrant for Insight Engines, Coveo helps companies transform by bringing relevance to every interaction their business has with customers, partners and employees. Coveo improves customer, partner and dealer engagement, and upskills employees with self-learning, AI-powered information and recommendations across all digital experiences, driving self-service intelligence from websites to contact centers and intranets. A Sitecore Platinum Technology Partner and a Salesforce Gold ISV Partner, Coveo removes complexity and improves proficiency and engagement. Powered by artificial intelligence, unified search, rich analytics, and machine learning, Coveo drives more relevant and effortless experiences by providing contextual information and predictive insights from across all cloud and on-premises systems. From website intelligence and self-service applications to intelligent contact centers and intranets, Coveo partners with some of the world's largest enterprise technology players and currently has more than 1,500 activations in mid-to-large sized global organizations across multiple industries, such as Johnson & Johnson, Adobe, VMWare, L'Oreal, GoPro, KeyBank and 3i.
For more information, visit www.coveo.com and follow our blog, LinkedIn, Twitter, and YouTube accounts.


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