Fighting Racism through Diversity Training Programs Essay

Imagine being hated by people because of skin color. Racism still exists. Racial discrimination is always wrong and demeans a person. Everyone suffers when racial discrimination flourishes. Racism is one of the world’s major issues. Many people are not aware of how much racism still exists in the schools, workforce, and everyday life. Racism has affected America on a personal level as well as a global level. While racism still exists in America, it can be prevented or potentially eliminated through the effective implementation of diversity training programs in schools and corporate institutions. Why do some people hate the color of African American skin? All people bleed, cry, die, and have feelings. Society has standards and expects†¦show more content†¦What this California woman proves that racism still exists.†Have we reason to expect, or dare we ask of him whose ways are all equal, the continuance of his blessings to us, whilst our ways are so unequal.†(Nash 131) People can also help prevent racism in our communities and schools. Suggest that people develop a policy statement against all forms of racial discrimination. Object to racist jokes and insults because there not funny. â€Å"Nothing less than a racial reorganization of American elementary education is necessary, therefore, if the schools are to begin to discharge their obligation to teach Negro youngsters.† (Silberman 277) Experiencing racism is difficult especially on those who never been in that type of work environment. In the workplace corporations have created test to determine if a person is racist which is very helpful in prevent racial discrimination. All in all, racism is something that should have not happen and it’s sad that it did and still does. Though it has gone through many stages, America progressed in trying to get better and show everyone that they are equal. People can also find ways to remove racism completely. If the old generations stop passing on racism to the new generations it would be a step to ending racism.Show MoreRelatedRace Speaks : Awareness Project1455 Words   |  6 PagesMendez v. Westminster School District, the Brown v. Board of Education, and the Milikin v. Bradley bills that brought major changes to African American students. Meanwhile whites kept fighting for a way to disadvantage black students by having black and white schools separated. Institutional racism is a form of racism expressed in the practice of social and political institutions. It has become the basis of today s culture and unequal system of education. 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Adolescent Changes - 1416 Words

Adolescent Years Adolescence is the of the most significant changes that occurs for a child when developed from a child into a adult. This can carry them through many changes physically, emotionally, socially. During puberty boys and girl change in size, developing breast, growing pubic hair, changes in body odor, and acne. The adolescence stage usually starts occurring in between the ages of 10 and 19 in which boys and girls hypothalamus and pituitary glands begin to become active and start hormonal changes. Children going through puberty normally will experience growth spurts in which their bodies begin to change. Some children begin seeing changes in their height, size, they†¦show more content†¦In America adolescents are at risk to many issues such as gangs, drugs, running away (homelessness), sexuality, and school truancy. There are approximately over 1 million to 3 million homeless and, runaway children according to the runaway teen website (www.1800runaway.org/news). The Runaway and Homeless Youth Act also defines homeless youth as â€Å"individuals under age 18 who are unable to live in a safe environment with a relative and lack safe alternative living arrangements, as well as individuals ages 18 to 21 without shelter.† There are about 5,000 runways that will lose their lives due to suicide, assault, and untreated illness. Children and youth who run away from home are usually victims of homelessness, physical and substance abuse, pregnancy, suicide and death from untreated illness. Homelessness is a major factor in the lives of children who runaway. When running away from their homes most children do not have a plan of action as to where they are going to live. Often, they are not able to support their selves with their basic needs such as food and clothing. They are forced to reside on the streets of America without any assistance. Homelessness in America started being a concern of the government in the 1970’s. 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Concert Attendance Paper Free Essays

MUS 121 Jeffrey Phelps, cello and Lee Jordan-Anders, piano 14 October, 2012 Dr. Ford Tidewater Community College CA#1 The Program Sonata in A Major, Opus 69 (1808)Ludwig van Beethoven Allegro, ma non tanto Scherzo, Allegro molto Adagio cantabile/Allegro vivace Sonata (1915) I. Prologue: Lent, sostenuto e molto risoluto II. We will write a custom essay sample on Concert Attendance Paper or any similar topic only for you Order Now Serenade: Moderement anime III. Final: Anime, leger et nerveuxClaude Debussy The Concert On Sunday, 14 October, Jeffrey Phelps, cello and Lee Jordan-Anders, piano, performed Ludwig van Beethoven’s Sonata in A Major, Opus 69 (1808) and Claude Debussy’s Sonata (1915) at Trinity Methodist Church in Smithfield Virginia. After the introduction of the performers we were asked to hold all applause until the end of each piece. The first Sonata by Beethoven bears the heading of Inter Lacrimas et Luctum, meaning â€Å"Amid Tears and Sorrow. † The first movement, Allegro, ma non tanto, from Beethoven’s Sonata, opened with the cello resting on one note. The timbre of the cello as it began in a lower register was warm and rich, the tempo starting rather slow. The mood was mournful to me at the beginning and I had no idea what to expect. The texture at the beginning of the first movement was monophonic. As the piano entered the melody for both cello and piano was conjunct with symmetrical phrasing. Here the texture became polyphonic. The tone color of the piano seemed varied to me, alternating throughout the piece between vibrant and subdued. When the mood was not lively it became somber. The dynamics of both instruments changed throughout this movement, from piano to forte and then piano again. The movement of the melody was conjunct at the beginning of the piece and the contour of the melody was wavelike, especially by the piano. This movement began in a major key then abruptly moved into a minor key, where the dynamics were fortissimo. The texture was polyphonic, the counterpoint producing a call and response, as if the cello and piano were holding a conversation. The melody had a narrow to medium range in the beginning of this movement. Repetition allowed all the themes to reappear throughout the movement, which is a trademark of the sonata. The cello and piano take turns performing small solo passages before veering off to something else. At one point early in the piece I heard a homorhythmic texture when cello and piano played the same notes together. After a descending melody from the piano the movement then becomes disjunct with a wavelike contour. It seemed to me that when the melody in the cello ascended, the melody in the piano descended. It had a lyrical mood to it and it was beautiful. The harmony, at this point, was still in a major key as the cello took over, characterized by a timbre that was dark. The mood was one of melancholy and I could feel sorrow. It was interesting to watch Phelps and Jordan-Anders subtly cue one another as the dynamics became pianissimo and the tempo adagio. In the lower registers both cello and piano had a timbre that was warm. In the upper registers it sounded fiery. The texture of the cello here was monophonic with no piano. I was not expecting the explosive part that followed. At about four minutes into the movement the dynamics became fortissimo and I could hear the harmony in a minor key. The contour of the melody descended and was conjunct. There was a return to a major key and the dynamics became piano for both instruments. The mood of this movement reminded me of yearning. The tone color for the piano became brighter here as the cello returned to the warm, rich sound like in the beginning. The contour of the melody was ascending and conjunct. This movement remained in duple meter throughout the piece. There was a return to counterpoint as both cello and piano played, using a polyphonic texture, the dynamics piano before returning to forte. As the tempo became allegro the cello strings were plucked creating a timbre that was bright and a mood that was lively. There was a return to a monophonic texture for the cello and the dynamics became pianissimo. Since this movement’s form was ostinato, I heard short melodic, rhythmic, and harmonic patterns repeated. This piece was long, at twelve minutes, and at one point I stopped taking notes, in awe of what I was hearing. The entire piece felt symmetrical to me and was sing able throughout. Beethoven’s Sonata 3, Opus 69 nears a close with a texture that was heterophonic, dynamics that go from forte to piano and a bright tone color for cello and piano. The melody remained conjunct with a contour that was wavelike, by ascending and descending, especially for the piano. The tempo returned to allegro throughout this piece and ended with the dynamics returning to forte and the final cadence as the harmony resolved in consonance. The second movement of Beethoven’s Sonata in A Major, Opus 69 was Scherzo: Allegro molto and began with Jordan-Anders playing the opening notes of the melody in a narrow range with a melodic movement that was conjunct. The texture here was monophonic for only a few measures. The timbre of the piano was bright and the harmony was minor. I heard the second movement in triple meter, and by the time the cello began to play there seemed to be a return to the polyphonic texture which was common in the first movement. The movement of the melody was disjunct with a medium range, the dynamics of the piano soft (piano) and the tempo allegro. Phelps began playing in a dynamic that was piano which mirrored the opening measures of the piano part, with a very interesting rhythm I’m not sure how to describe. The rhythm was syncopated with a constant emphasis on beat three of every measure with the second beat marked by silence. The timbre of the cello felt bright, even in its lower register. There was an ostinato form in this piece and again, the cello and piano seemed to talk to each other, with a call and response pattern familiar in the first movement of this sonata. Movement two seemed to reach a dynamic climax halfway through which was forte, only to return to piano. The melody in the piano alternated between conjunct and disjunct and as the dynamics became louder the contour of the melody was ascending. The exchanges between the cello and piano created a lively mood throughout the movement and the texture once again became homorhythmic with a return to a polyphonic texture. I heard these textures throughout the Scherzo. The timbre of the piano and cello became quite broad with very loud dynamics. The theme was repeated and again, ostinato was at play. The movement ended with dynamics of the piano forte, the cello and piano using a texture that was heterophonic, because both instruments were playing in unison. The cello was plucked near the very end which created a dull timbre. The piano again employed a dynamic that was piano. This piece was full of manic energy that left me wanting to hear more. The word scherzo means â€Å"joke† but this lively little piece was anything but a joke! The third movement of Beethoven’s Sonata in A Major, Opus 69, began with a short Adagio cantabile which started with the piano. The dynamics were soft. The texture of the piano at the very beginning was monophonic until the cello joined in, and I heard a mixture of textures, but couldn’t quite tell for sure what they were. At one point, early on, I heard both piano and cello playing in unison which made the mixed texture heterophonic as well as heterorhythmic. The melody for both cello and piano was conjunct with a movement that I heard as having a narrow range for the piano and a medium range for the cello. The meter was duple. The dynamic used is piano and the tempo was adagio. Even though the harmony was major, the mood of the first part felt quite melancholy to me. Remaining in duple meter, the movement shifted from the Adagio cantabile to the final Allegro vivace, the title a clue of what was to come! The harmony remained in a major key however the tempo became lively (vivace) and the mood felt playful to me. The tone color of the cello was once again warm, as I am finding the cello to be. The timbre of the piano was bright and crisp as both instruments seemed to veer apart, trying to find a way to come back together. I felt excited when hearing this movement. The contour of the melody felt wavelike for both instruments, especially when scales were used, sometimes ascending, sometimes descending. The dynamics changed throughout this movement from soft to loud then back to soft again. I heard the movement of the piano as conjunct but wasn’t sure about the cello. Again, ostinato is at play halfway through the movement and I thought I heard dissonance, as the piano and cello seemed to battle it out. The harmony sounded like it was in a minor key at this point, like the cello and piano were trying to find resolution. The timbre of the piano was piercing here. The tempo for both instruments became fast and the dynamics loud. Finally, the harmony reached consonance, after the cello repeats the first bar of the theme over and over again while the piano pounds out the accompaniment. The dynamics alternated between soft and loud, cello and piano ending on the final note in unison, the dynamics a startling forte. The first movement of Claude Debussy’s Sonata, Prologue: Lent, sostenuto e molto risoluto, began with Lee Jordan-Anders’ lone piano part that was homophonic in texture with a harmony that was minor. The tone color here was very dark, the mood quite somber. The program notes for this performance note this Sonata as the first of six projected sonatas for various instrumental combinations that Debussy was unable to complete due to the cancer that made his final years a misery. This sonata was the first composition. I could feel his pain and misery as I listened to this work. The phrasing of the melody was symmetrical with a movement that was conjunct. This movement began with a dynamic that was forte. The texture of the piano was homophonic. The cello entered, with an ostinato form which repeated the part just heard by the piano, giving it a tone color that I heard as a bit subdued and dull. The melody ascended, then descended, only to ascend again creating a wavelike contour with a conjunct movement. The dynamics continued to be forte. The cello then played alone, giving a monophonic texture. I felt the mood to be sad here, the movement of the melody more conjunct with a medium range. The harmony was minor. The tone color was muted. The melody of the cello began to ascend, the dynamics piano. Here, the piano joined the cello and the mood started to feel agitated. I heard the harmony to be dissonant here as the dynamics became forte. The texture was homophonic here and the timbre of the cello broad. The melody in the cello descended and was conjunct. The dynamics were piano at this point in the sonata and the tempo andante. The movement came to an end with a shift in harmony from major to minor with an obvious slowing of tempo. The dynamics remained piano. The second movement of Claude Debussy’s Sonata, Serenade: Moderement anime, began with the cello that had a tone color that was dull, almost muffled as Phelps plucked the strings with his fingers, which is pizzicato. The melody was not sing able and I heard the harmony as dissonant. I’m not sure about the meter, but I heard it as nonmetric because it felt weak to me. The dynamics at the beginning of this movement were pianissimo and the mood was one of distraction or agitation. The phrasing was not symmetrical and as the cello continued in the lower register the piano can be heard, also playing in dissonance above the cello. I had a difficult time with this piece because technically it seemed all over the place. The timbre remained dark and gloomy. The melody became conjunct with a narrow range of three notes with the dynamics moving from soft to loud. The tempo was vivace at one point, even though this movement’s tempo was rather slow. The tone color of the cello became brighter, as a lone part played in a higher register, making the texture homophonic. This movement closed with a cello part that seemed to be looking for resolution, still with a minor harmony and it seemed to repeat the first part of the piece. The third movement, Final: Anime, leger et nerveux, began in duple meter with the melody of the cello sounding sustained, then alternating between an ascending then descending movement, with a wavelike contour. The piano became very noticeable as Jordan-Anders began playing in a higher range that had a bright tone color. The melody was conjunct and wavelike, the phrasing symmetrical, for a short while. As the piano descended, the timbre of the cello once again became dull, as Phelps plucked the instrument. The mood turned dark and stormy once again as dissonance became prevalent. I’m sure there were all kinds of technical things going on in this movement that my ear is not trained to detect. I could clearly hear the return to the earlier theme as both instruments reached a loud dynamic, the final note of the movement struck by both cello and piano. Even though this movement was played with mostly piano dynamics, I could hear a contrast between the changing moods, brought about mostly by frequently changing keys. It was a wonderful performance by Jeffrey Phelps and Lee Jordan-Anders and I am very glad I attended. I left the church remembering why I have a soft spot for classical music, something I’ve not listened to very much in recent years, until I signed up for this music appreciation class. How to cite Concert Attendance Paper, Essay examples

Charles Busch some kind of diva Essay Example For Students

Charles Busch: some kind of diva Essay Innocence isnt something youd expect to be thinking about if you were to find yourself sitting amidst the opulent fin-desiecle passementerie that fills the sitting room of New Yorks best-loved theatrical drag performer, chatting about his recent experience playing the female lead in The Maids, Jean Genets transvestite drama of madness, envy and murder. Yet theres something disarmingly unguarded, something waiflike, about Charles Busch. At first, it takes you by surprise. When youve seen him sprawled across the velvet throws that cover a sofa in his Greenwich Village apartment, though, it gets easier to sense in the adult Busch a lithe, slight figure with corn-fed looks and a precocious adolescents rapidfire delivery a ghost of the awestruck eight-year-old who was taken by his father to the old Metropolitan Opera house to see Joan Sutherland perform. The theatre itself, the gilt on the ceiling Id never seen anything more fantastic, Busch recalls some 30 years later. And then there she was, with this red hair and this pale green dress. Just huge. He pauses. Ive been recreating that ever since. Outline1 Fiendish cross-fertilization  2 Stolen hairstyles  3 Mistresses of melodrama   Fiendish cross-fertilization   As anyone whos been keeping up with Off-Broadway theatre for the past decade or so knows, those re-creations have taken the form of the benzedrinelaced send-ups of Hollywood and Broadway leading-lady vehicles that have made Busch famous. In them, you sense that precocious child at work. Like fiendish theatrical cross-fertilizations dreamt up by some star-struck high school chemistry whiz, the vehicles that Busch has created for himself are gleefully loony hybrids. They remind you of the screenplays being pitched by those desperate writers the beginning of Robert Altmans The Player. Buschs The Lady in Question? Its Watch on the Rhine meets The Sound of Music. Psycho Beach Party? Try Gidget meets The Three Faces of Eve meets Mommie Dearest. Yet if the mere titles of drag parodies like Vampire Lesbians of Sodom or Theodora, She-Bitch of Byzantium (not to mention Buschs recent first novel, Whores of Lost Atlantis) hint at preoccupations that are anything but kid stuff, Buschs over-the-top sensibility is clearly part of a coherent artistic vision that stems from his indelible first impression of the theatre. Now, that vision is taking Busch ever further from the satiric vehicles that made his reputation. Projects like The Maids demonstrate the actor-playwrights growing willingness to explore new theatrical avenues, as he examines all of the possibilities not merely the comic inherent in drag. The memory of that first trip to the opera evidently lingered in Buschs creative imagination. The leading role in nearly all of his plays is, in fact, some kind of diva: a movie queen, a concert pianist, a cabaret chanteuse. As a result, each performance, no matter how hilarious the particulars, is ultimately about performance. Even if Busch didnt tell you that the Pirandellian notion he had in mind when he first started writing roles for himself was that hed be just this grande dame actress appearing in a play that she didnt quite approve of, itd be hard not to sense in the artful staginess of Buschs performances that he was playing an actress whos playing well, whatever. Stolen hairstyles   The thing that allows Busch to get away with this metatheatrical conceit (Busch has appropriated the term from a recent NYU dissertation about his plays, and he uses it with the proprietary pleasure you associate with the owners of new appliances) is his remarkably thorough knowledge of film and theatre history, coupled with an uncanny knack for verbal and visual mimicry. Busch recalls being accosted by one fan who, he says, recognized every hairstyle in Lady in Question and what movie I stole it from. And, he adds with a yelp, he was right! That almost scholarly attention to detail and insistence on authenticity are what make his own parodies more than what he dismissively refers to as spoofs of spoofs of spoofs. .u582b2ebb782ea67e36dbd86046d0c73d , .u582b2ebb782ea67e36dbd86046d0c73d .postImageUrl , .u582b2ebb782ea67e36dbd86046d0c73d .centered-text-area { min-height: 80px; position: relative; } .u582b2ebb782ea67e36dbd86046d0c73d , .u582b2ebb782ea67e36dbd86046d0c73d:hover , .u582b2ebb782ea67e36dbd86046d0c73d:visited , .u582b2ebb782ea67e36dbd86046d0c73d:active { border:0!important; } .u582b2ebb782ea67e36dbd86046d0c73d .clearfix:after { content: ""; display: table; clear: both; } .u582b2ebb782ea67e36dbd86046d0c73d { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u582b2ebb782ea67e36dbd86046d0c73d:active , .u582b2ebb782ea67e36dbd86046d0c73d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u582b2ebb782ea67e36dbd86046d0c73d .centered-text-area { width: 100%; position: relative ; } .u582b2ebb782ea67e36dbd86046d0c73d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u582b2ebb782ea67e36dbd86046d0c73d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u582b2ebb782ea67e36dbd86046d0c73d .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u582b2ebb782ea67e36dbd86046d0c73d:hover .ctaButton { background-color: #34495E!important; } .u582b2ebb782ea67e36dbd86046d0c73d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u582b2ebb782ea67e36dbd86046d0c73d .u582b2ebb782ea67e36dbd86046d0c73d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u582b2ebb782ea67e36dbd86046d0c73d:after { content: ""; display: block; clear: both; } READ: Don't tell mother EssayThe fun, Busch goes on, is in getting the tone exactly rightmaking it seamless. And indeed, the 40s and 50s actresses who play Buschs leads are eerily familiaryou sometimes have to remind yourself that youre watching a takeoff, rather than some forgotten Stanwyck vehicle. When Irish OFlanagan, the hard-boiled nightclub singer who gets a Wonderful Life-esque chance at redemption in Times Square Angel, grits her teeth and talks about menthe shelf-life of a dames good looks is shortah than a can of chili, she growlsyou can practically count how many times shes been around the block. For Busch, theres nothing wrong with blurring the line between parody and straight performance. Even within a parody play, he observes, there are so many things you can do. You can have moments of tenderness; you can have moments of romance; you can have genuine suspense. Why waste that going for a vulgar laugh? Easy laughs are something Busch himself has increasingly avoided. He was especially pleased with Lady, a melodramatic thriller to which some audiences reacted with real emotion. And in Red Scare on Sunset, he gave his 50s-movie-queen heroine Mary Dale and her best gal-pal, radio hostess Pat Pilford, a moral ambiguity some found disturbing. (The play ends with Mary naming names to Congress, after a brush with conniving commies who were as bad as their right-wing adversaries.) Busch dismisses as humorless those who found Red Scare to be anti-left. Indeed, his P.C. critics seem to have missed the fact that, typically for Busch, Red Scare is preoccupied more with the theatre and its conventions than it is with politics. Im not a political satirist at all, Busch readily admits. Its not my sense of humor. Its no accident that the front used by the evil reds is a Method workshopa device that allows Busch to take regular swipes at the thespian pretensions that threaten his own more 19th-cent ury aesthetic. I cant wait to roll up my sleeves and go to work, cries one of Red Scares Brandowannabes. I have so many demons needing to be released! Mistresses of melodrama   One of Buschs own demons is a gnawing sense that grinding out spoofs of the silver screen wont satisfy him forever. That fear of artistic emptiness is what led him to Genet. Director David Esbjornsons vision of The Maids as a contemporary fantasy of homeless people, drug addicts and pimps, is a far cry from the crinolines and divans that clutter Buschs own dramas. But Busch wanted the challenge of something new. Thats why, when offered his pick of Genets three leads in the production at New Yorks Classic Stage Company, he settled on Solange the harder, more grounded of the two maids. He wanted to experiment with paring down his usual gestures (the body language of the diva) to suit Solanges proportions. I didnt want to do the grande dame sort of thing, he says, when asked why he didnt choose to play either the flashy Madame or the delusional Claire, Genets answer to Blanche DuBois. Busch is disarmingly frank when describing what he felt were his shortcomings at the beginning of the Genet run. The experiment with naturalistic acting, he ventures, may have gone a bit too much against his Bernhardtesque grain. It was not my old self, he says flatly. As a result, he found himself during rehearsals doing weird, self-conscious things, like breaking up his lines in mid-sentence. (Sandy Dennis-ish, he quips, without the fun.) Busch didnt begin to feel that he had a handle on Solange until he finally followed Esbjornsons advice to do what he does best that is, to get metatheatricalto be Glenda Jackson; be Faye Dunaway as Solange, as Esbjornson would urge him. .u0e58fd6985ca736cc462511499fe3c23 , .u0e58fd6985ca736cc462511499fe3c23 .postImageUrl , .u0e58fd6985ca736cc462511499fe3c23 .centered-text-area { min-height: 80px; position: relative; } .u0e58fd6985ca736cc462511499fe3c23 , .u0e58fd6985ca736cc462511499fe3c23:hover , .u0e58fd6985ca736cc462511499fe3c23:visited , .u0e58fd6985ca736cc462511499fe3c23:active { border:0!important; } .u0e58fd6985ca736cc462511499fe3c23 .clearfix:after { content: ""; display: table; clear: both; } .u0e58fd6985ca736cc462511499fe3c23 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u0e58fd6985ca736cc462511499fe3c23:active , .u0e58fd6985ca736cc462511499fe3c23:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u0e58fd6985ca736cc462511499fe3c23 .centered-text-area { width: 100%; position: relative ; } .u0e58fd6985ca736cc462511499fe3c23 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u0e58fd6985ca736cc462511499fe3c23 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u0e58fd6985ca736cc462511499fe3c23 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u0e58fd6985ca736cc462511499fe3c23:hover .ctaButton { background-color: #34495E!important; } .u0e58fd6985ca736cc462511499fe3c23 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u0e58fd6985ca736cc462511499fe3c23 .u0e58fd6985ca736cc462511499fe3c23-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u0e58fd6985ca736cc462511499fe3c23:after { content: ""; display: block; clear: both; } READ: Oliver Twist - Board Scene EssayThe Maids run sharpened Buschs sense that his strong suit is for the larger-than-life roles suited to his modelsmistresses of melodrama like Bernhardt, a special favorite. In the future, he says, its unlikely that hell essay any role in which he feels obliged to be all tense and small. Joan Sutherland, after all, stands nearly six feet tall.