Scoreland Mature Blond
The resulting findings showed that blonde-haired white women had an average IQ of 103.2, compared to 102.7 for those with brown hair, 101.2 for those with red hair and 100.5 for those with black hair.
scoreland mature blond
Zagorsky noted that more women than expected in the NLSY79 reported that they were blonde. In the survey, 20.7 percent of white women reported being blonde, compared to only 17.1 percent of men. Assuming that hair color is not related to gender and that men were less likely to color their hair, Zagorsky said the results suggest that about 3.5 percent of women reported their natural hair color as blonde when it was not.
Reviewed by: Rienzi Micaela Baranello Richard Wagner . Rienzi. DVD. Sebastian Lang-Lessing / Deutsche Oper Berlin. With Torsten Kerl, Camilla Nylund, Ante Jerkunica, Kate Aldrich, Krzysztof Szumánski. [Halle an der Saale, Germany]: Arthaus Musik, 2010. 101521. $39.99. This first video of the early Wagner opera Rienziis a welcome contribution to the DVD catalogue. The grand opera dating from 1842 is a surprisingly engrossing political drama set in late medieval Rome, contrasting large public scenes with private double-dealing. With some conventional numbers and some larger, more dramatic sections in the later acts, its score at times echoes Meyerbeer and at others, bel canto. The work bears scant resemblance to mature Wagner, and the score contains both inspired and banal music. Today the opera is best known for its reception by one individual: Adolf Hitler was obsessed with it. The parallels with its demagogic, messianic title character are only too obvious, and serve as the hook for this 2009 Deutsche Oper Berlin production.
Director Stölzl's production explicitly evokes the Expressionism of the Weimar era and the Nazis, with a flat cartoonish cityscape and a large R and pictures of Rome replacing the swastika and Berlin. He essentially trusts that the mythology of the Third Reich will fill in the blanks of the drama, with the help of a few minor text edits (the "free Romans" in Act 1 become "proud Romans"). Genocide remains discreetly offstage, though war intrudes towards the end, and we are trusted to interpose our own conventional wisdom of Nazis as the evilest of evil to make sense of the story. Stölzl cuts most of the episodes involving [End Page 141]the Church, and what remains is confusing and an insufficient counterweight to the title character. Yet on the whole the production works well and produces a number of memorable images. In Act 1, a flat cityscape recalls Metropolis, when Rienzi takes over a gallery of Weimar freaks (contrasted with Irene, a blond Mädchen in a Drindl) and transforms into a uniformed, ordered army. In the second half, a stunning double-level set portrays the street above and Rienzi's bunker-like headquarters below. The production effectively uses video, imitating grainy newsreel footage, in Rienzi's proclamations.
For though Wenger has always been seen as a mature, sophisticated polyglot, he himself has never denied that fires burn underneath. Not least, as one so clearly remembers, when Arsenal played West Ham United a few seasons back at Upton Park, West Ham got what proved to be the winning goal and the Hammers' manager, Alan Pardew, went into frenetic ecstasies of celebration on the touchline. Wenger moved menacingly towards him and had to be restrained.
On another day, this would have meant nothing to our father. He treated Andrew and me like small adults; we were expected to wait extensive lengths of time between bathroom breaks on car trips and to budget our allowances for spending money. This was his idea of parenting: preparing us for the realities of life. Once, at the movie theater, I forgot my pink zipper purse and had to borrow three dollars from my father, with interest, to buy popcorn. Dad was often saying things like, "Money doesn't grow on trees," and "You've got to be more mature," especially to Andrew, who was two years older than me. Our mother hardly ever intervened. 041b061a72