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Cast Size: Small (1-10) • Medium (5-21) • Large (14+). Vocal Demands: Easy • Moderate. Dance Requirements: Extensive • Some Dancing Required. Good For: Elementary School • High School • College/University • Amateur/Community • Professional Theatre • Religious Organization.
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Rodgers + Hammerstein's CINDERELLA has arrived on Broadway for the first time ever!
Four-time Tony Award® nominee Douglas Carter Beane's (Sister Act, Xanadu) delightfully romantic and hilarious take on the ultimate makeover story features all the classic elements you remember—the pumpkin, the glass slipper, the masked ball and more—plus some surprising new twists! Rediscover some of Rodgers + Hammerstein's most beloved songs, including "In My Own Little Corner," "Impossible/It's Possible" and "Ten Minutes Ago" in this outrageously fun Broadway musical for dreamers of all ages.
Learn more about Rodgers + Hammerstein's CINDERELLA on Broadway!
Table of Contents
There are hundreds of versions of the famous Cinderella fairy tale. Most of them feature a glass slipper, and many of them include a glass slipper in the title. Oddly enough, the original Cinderella story, written by a seventeenth century Frenchman named Charles Perrault, was entitled, "Cendrillon, ou La Petite Pantoufle de Vair." In English this means, "Cinderella or The Little Slipper of Squirrel Fur." How and why did it become a glass slipper?
There are different theories, but many scholars speculate that it was a simple case of mistaken identity. In French, the word for squirrel fur is "vair," and the word for glass is "verre." Since they are both pronounced the same—to rhyme with "air"—it is easy to understand how listeners might have gotten confused.
An alternative explanation is one of theatrical expedience. In France at the time of the original story, squirrel fur was as rare and expensive as ermine is today. Theatrical prop men would have found it much easier to locate glass slippers than fur ones. It is ironic that today—as anybody who has tried to find a glass slipper will tell you—it would be much simpler to find the "vair" than the "verre."
In 1956 Richard Rodgers and Oscar Hammerstein 2nd were indisputably the world's most successful writers of musicals. Julie Andrews was a sparkling new star, having just triumphed in MY FAIR LADY. When her agent approached Rodgers and Hammerstein and suggested that the television audience would welcome a musical version of Cinderella, it was an irresistible temptation for all.
Everything about the project was right from the start. The CBS production team was quickly assembled. Richard Lewine, a distant cousin of Rodgers and a close friend, was the producer, Ralph Nelson the director. Howard Lindsay and his wife, Dorothy Stickney, were signed for the King and Queen; Jon Cypher played the Prince; the Stepmother and Stepsisters were made less frightening and more comic by Ilka Chase, Kaye Ballard, and Alice Ghostley; rather than the standard old crone, the beautiful Edi Adams played the Godmother.
Rodgers and Hammerstein approached the story with the honesty and simplicity that characterized all their work. They purposely did not seek to improve a story they felt was dramatically sound, as many writers are prone to do, instead concentrating on bringing the characters to life. Rodgers wrote in his autobiography Musical Stages, "In writing the story and the songs, Oscar and I felt that it was important to keep everything as traditional as possible, without any 'modernizing' or reaching for psychological significance." When Hammerstein was asked where he found the version of Cinderella story he based his adaptation upon, he answered, "I looked it up in the encyclopedia."
The marriage of music, lyrics and story in CINDERELLA exemplifies their artistic philosophy that seemed so revolutionary in OKLAHOMA! and so natural with their latest show, THE SOUND OF MUSIC that it had become the form of most musicals. All elements held together integrally to illuminate the characters. As Rodgers explained, "Although a few of its songs have become popular, our score for CINDERELLA is another example of what theatre music is really about. No matter what the medium, a score is more than a collection of individual songs. It is, or should be, a cohesive entity whose word and music are believable expressions of the characters singing them. When the lonely, bullied heroine sings "In My Own Little Corner," it's not merely a song, it's a revelation of the girl herself. When she finishes, we know something more about her than we had before—her sense of humor, her naïve optimism, her imagination and her relationship to the rest of her family. It is fair to say that this song is familiar to a vast number of people, but it has never made anyone's hit parade and never will; it is simply part of a score, and it is the score in toto that either succeeds or fails. Like a symphony, concerto or opera, some portions have greater appeal than others, but it is the work as a whole that makes the overall impression."
CINDERELLA in toto succeeded. When it was broadcast on March 31, 1957, it was viewed by more people than any other program in the history of television.
As a kingdom celebrates its Prince's decision to give a ball for the express purpose of finding a bride, Cinderella's two stepsisters and their mother enter. This less-than-lovable trio is followed by what seems to be a large pile of packages, but in fact is Cinderella carrying the ladies' ball gowns, frills and frou frou from a successful shopping spree. Cinderella, it becomes apparent when they arrive home, will have the formidable job of making the Stepmother and Stepsisters beautiful for the ball—in addition to her other jobs, which include cooking, sewing, cleaning, washing and everything else imaginable. Although she won't be allowed to go to the ball herself, Cinderella is happy for the others. She always tries to be cheerful and never complains. Sometimes, however, she retreats to her "own little corner" and dreams of a more exciting life.
The Queen and King are not in complete agreement about the Prince's ball (which should in fact be called the Queen's ball, since it is entirely her idea).The King doesn't want to have it at all, since it will be a great deal of trouble, a large expense, and why would a red-blooded boy want to get married in the first place? But the Queen has her heart set on it, and neither the King nor the Prince (who dreads the whole idea) can bear to disappoint her. The preparations continue.
On the night of the ball, Cinderella helps her Stepmother and Stepsisters get ready. After they leave, she sits alone in her corner and imagines what it might be like at the ball. She's not alone for long, however, for her Godmother appear at the window. Despite this lady's sensible looks and practical manner, she is no ordinary godmother, though Cinderella doesn't suspect this. With help from the Godmother's "fol-de-rol" and "fiddley dee," Cinderella is magically transformed for the ball. Her carriage, changed from a pumpkin, drawn by horses that were mice a moment before, whisks her to the palace.
The ball is the ball that everyone remembers from their storybooks, and Cinderella is the most beautiful of Princesses. Does she captivate everyone at the palace? She does! Do she and the Prince fall in love? They do! Must she flee at midnight before her carriage changes back into a pumpkin? She must!
Before she escapes, Cinderella loses her slipper, which the Prince retrieves. It is his only clue to finding her again, and he mounts a search for the foot that fits the slipper. All efforts are in vain, however. Even at the Stepmother's house, the Godmother's efforts to intervene for Cinderella are fruitless for Cinderella is nowhere to be found.
Meanwhile, the Prince has been trying to convince his mother (and himself) that he is not in love with a dream, but with a real girl, even if she has disappeared. When his is told that no one can be found whose foot fits the slipper, he is shattered. In anger he tosses the slipper into the bushes.
Cinderella, who herself can hardly believe her memories of the ball, has returned to the palace garden, hoping to recapture the magic of the night before, if only in her mind. The Prince stops her, but hardly recognizes the vision of loveliness he danced with underneath Cinderella's sooty clothes and dirty face. She is embarrassed to be seen by him and tries to leave. For a moment it looks as if the story will end unhappily as she walks away, but at the last moment the Prince thinks to try the slipper on her foot (after the Godmother retrieves it and places it next to him). And, of course, the slipper fits.
Almost immediately the Royal Wedding begins. As the curtain falls on the happy couple, the Godmother reminds everyone that "Impossible things are happening every day."
By today's standards, it is almost impossible to conceive. The broadcast of Rodgers & Hammerstein's CINDERELLA starring Julie Andrews on CBS-TV, March 31, 1957, was seen by the largest audience in the history of the planet at the time: 107,000,000 people in the USA, representing 60% of the country's population at that time, and another 10,000,000 or so stretching from Canada to Cuba. It was an Event, a golden moment in the Golden Age of television. In an era when Broadway still commanded attention, this was a Broadway-caliber musical by Broadway's most successful duo, starring Broadway's brightest new talent. Broadcast night was opening night, and everyone in America was invited to attend.
In retrospect, it was only a matter of time before the precocious art of television would look to Broadway plays and musicals to help feed its voracious appetite for wholesome yet sophisticated entertainment. Throughout the 1950s, vintage Broadway titles, including ANNIE GET YOUR GUN, ANYTHING GOES, and two early Rodgers and Hart shows (DEAREST ENEMY and A CONNECTICUT YANKEE) showed up on the small screen. In 1955, NBC broadcast the Broadway musical version of PETER PAN starring Mary Martin; it was a sensation—and quickly rebroadcast—and the network wanted more. Richard Rodgers had given NBC a success a few years earlier with his Emmy Award winning score for the World War II documentary series, VICTORY AT SEA. Now NBC wanted to know if Rodgers and Hammerstein would do something that had never been done before: write an original musical, a family musical, expressly for television.
The team was intrigued; the fact that this would be their first foray into television only whetted their appetite for challenge. "Some people said we stayed out of TV so long because we didn't like the medium," Hammerstein told TV Guide. "That isn't true. It was simply a question of finding something exciting to do and then finding a way to do it."
In considering NBC's criteria, R&H settled on the fairy tale of Cinderella. Not sure how to navigate some of the network's requirements, however, they sought the advice of an old friend, Richard Lewine, who was at the time serving as Vice President in charge of color television for rival CBS. (In 1980, following the death of Richard Rodgers, Lewine would run the R&H office for a transitional period.) Lewine told R&H that CBS was looking to land a "television spectacular" of its own; the network even had a talented newcomer signed to them for this purpose—Julie Andrews, who was then appearing on Broadway in an Edwardian Cinderella tale, MY FAIR LADY. She would be ideal. "What sold us immediately was the chance to work with Julie," recalled Rodgers in his autobiography. "It was right from the start."
NBC was out, CBS was in. This would be a "package deal": R&H would write the show and own it, CBS would air it and have the option of a second broadcast. Line items that would have been standard in a Broadway budget—casting, costumes, scenery, direction, choreography—were the responsibility of R&H. Those elements unique to television—cameras, lights, sound and technical equipment, national promotion, studio facilities—would be taken care of by CBS.
R&H had already begun writing CINDERELLA when CBS announced the project on September 5, 1956. In the Saturday Review, Hammerstein talked about how the team approached the material: "We want the kids who see it to recognize the story they know. Children can be very critical on that score. But, of course, their parents will be watching too, so we have tried to humanize the characters without altering the familiar plot structure." The score was mapped out efficiently, and early.
"Deciding who would say what and who would sing what took us a few days," Hammerstein told TV Guide. "We blueprinted the action, then we began writing." One early memorandum from Hammerstein indicates several sequences and song ideas that did not make it to the final version, including "Tirade," for the Stepmother; "I'm On My Way," for Cinderella and her Godmother en route to the Ball; "The Prince is in a Dither," for the men's chorus; and "I Have a Feeling," a love song for the two romantic leads.
CINDERELLA was written for the unique parameters of event television (in this case, a 90-minute program with six commercial breaks), so the action, songs and dances were meticulously crafted to fit into half a dozen separate acts. "It takes a year to write a Broadway show, "Hammerstein told Time Magazine, adding, "It took me seven months to write the book and lyrics for CINDERELLA."
A working script was completed just in time for the start of rehearsals on February 21, 1957. The director for CINDERELLA was Ralph Nelson, already an old hand in this young field; the previous year he had won an Emmy directing REQUIEM FOR A HEAVYWEIGHT. The dance sequences were staged by Jonathan Lucas, who had, in earlier seasons, choreographed for THE MILTON BERLE SHOW. In the music department: Rodgers' old friend Robert Russell Bennett orchestrated CINDERELLA, and CBS' Alfredo Antonini was hired to conduct. Richard Lewine was on board officially as well, serving as producer while the sets and costumes were from Broadway's husband and wife team of William and Jean Eckart, with lighting by Robert Barry.
It was Julie Andrews' commitment to MY FAIR LADY (she still managed to do eight shows a week there during most of the CINDERELLA rehearsal process) that kept CINDERELLA in New York, and it was her talent that set the standard for the Broadway-caliber company surrounding her: Ilka Chase as the Stepmother; Kaye Ballard and Alice Ghostley as the Stepsisters, Edie Adams as the Fairy Godmother and a handsome unknown, Jon Cypher, as the Prince. To play the King and Queen, a pair of Broadway royalty: the husband and wife team of Howard Lindsay and Dorothy Stickney.
With CINDERELLA, R&H braced themselves for the strange world of television by pretending they were still on familiar ground. "You know," Rodgers told the Saturday Review, "we're doing it as much like a stage show as possible." In Time Magazine, Hammerstein reflected, "TV's easier than theater because it's very intimate, very fluid. You have dissolves, quick cuts and no exit problems. Being ignorant of the medium," he added, "I wrote this show on the assumption we could do anything and nothing has been refused me yet."
From the mammoth studios of the CBS headquarters on West 57 Street, where rehearsals began, the CINDERELLA company moved to its actual broadcast studio in early March. CBS Color Studio 72 at Broadway and 81st Street was, at the time, the smallest color studio in the CBS empire, but the best option in New York. For three weeks leading up to the March 31 broadcast, it was a scene of frantic activity—a combination of MY FAVORITE YEAR and A NIGHT AT THE OPERA.
Packed into the cramped, 4,200-foot space were 56 performers, 33 musicians, and 80 stagehands and TV crew. Providing a hair-raising obstacle course at all times were four giant RCA color cameras, racks loaded with up to 100 costumes, over half a dozen huge set pieces, and loads of props (some of them rigged with special effects). The actors were instructed to maneuver with caution, and the musicians were sequestered in a tiny room that required a specially-devised echo chamber to overcome the suppressed acoustics. Every inch counted: even Cinderella's live mice got too big during rehearsals and had to be replaced by broadcast night.
Added to the frenzy was pressure: CBS had a lot riding on this one, including prestige (a competitive desire to surpass the high mark set by NBC with PETER PAN) and money (over $370,000 was spent on CINDERELLA—more than double the sum usually spent on a TV production at that time). Taking no chances, the network rolled out the largest PR and marketing campaign America had ever seen, ensuring that every newspaper; magazine, radio and TV outlet in the country knew about CINDERELLA. In addition to CBS, the two proud sponsors of CINDERELLA—Pepsi-Cola and Shulton, makers of Old Spice—undertook lavish promotions of their own. In a final, pre-broadcast flourish, Pepsi printed up 5 million comic books based on CINDERELLA, and shipped them out with 6-packs of soda.
Along with their stars, Rodgers and Hammerstein gave a series of high-profile interviews, and appeared in TV featurettes promoting the telecast. In perhaps the biggest PR coup of all, the duo appeared on THE ED SULLIVAN SHOW exactly one week before the CINDERELLA broadcast. There, as Hammerstein recited the lyric, Rodgers lead the Sullivan orchestra in the first broadcast rendition of "Do I love You Because You're Beautiful?"
Promoting the CINDERELLA songs was of great importance to R&H, since they wanted to be sure that their songs from this score be given as much chance to succeed as had the big hits from their Broadway shows. Rodgers: "It takes time for the public to become accustomed to songs and to like them. If we had to depend on one performance of OKLAHOMA! or SOUTH PACIFIC to put the music across, it would have been pretty tough."
So the team took no chances. In early March, Julie Andrews recorded six songs from CINDERELLA for a special disc that was sent to an extensive list of TV news editors and radio disc jockeys. Another album of four songs from the score, covered by Vic Damone, Peggy King and Paul Weston's Orchestra, was released exactly four weeks before air date. And finally, on March 19, in the midst of rehearsals, the entire CINDERELLA company dashed over to the Columbia Record Studios to make an original cast album. Produced by the venerable Goddard Lieberson, the CINDERELLA album was in stores on April 1, the morning after the broadcast.
Keeping to their "it's just like a Broadway musical" mantra, the creative team put the cast and TV crew through several full-length run-throughs that would serve the same purpose as an out-of-town tryout—albeit one without a live audience, but still giving the creatives a chance to see what worked, and what didn't. Three entire performances were filmed and analyzed; the first two, dubbed "New Haven" and "Boston," lead to some key changes in costuming, wigs, line readings and the repositioning of the opening number. The third filming was a strict record of the hoped-for final product, available to the CBS technicians as back-up if anything went wrong during the live broadcast. (One traditional form of coverage was dismissed by these men with nerves of steel, however: understudies. "If Julie can't make the show," Rodgers blithely told TV Guide, "then neither can we.")
Finally, it was air date: Sunday, March 31, 1957. Starting at 8PM, CINDERELLA was broadcast live in Eastern, Central and Mountain standard time in both monochrome and compatible color; the West Coast received a delayed broadcast starting at 8PM local time, a videotape format that was transmitted in black and white. Beyond the United States, CINDERELLA was carried by CBS syndicated affiliates in Canada, Mexico, Cuba, and the US territories of Alaska, Hawaii and Puerto Rico.
The ratings, based on the "Trendex Survey" in use at the time, were astonishing then, and almost incomprehensible today. According to Variety, the 107,000,000 American viewers for CINDERELLA, factored into the number of televisions then known to be in existence, indicated that 24.2 million households were tuned in that night, with an average of 4.43 viewers for each set. Jon Cypher later recalled heading out of Studio 72 on that cold early spring night, a few minutes alter the broadcast had ended, and finding the streets deserted. No one was out; everyone had stayed in, huddled around their TV sets.
CINDERELLA had aired 14 years to the day of Rodgers and Hammerstein's first opening on Broadway, OKLAHOMA!, and the comparative statistics were not lost on the composer; as he later recounted, a Broadway run of CINDERELLA could only have equalled its initial TV audience if it played 8 sold-out performances a week, every week, for 140 years!
A few weeks after the broadcast, Hammerstein revealed to Variety that he and Rodgers were planning on expanding CINDERELLA into a full-fledged Broadway musical. It never came to pass, though the team stayed with the Cinderella theme for their next and final two works: Mei-Li of FLOWER DRUM SONG and Maria of THE SOUND OF MUSIC both make the rags-to-riches journey, and each one finds true love with her personal Prince.
Though Rodgers and Hammerstein didn't bring it to Broadway themselves, CINDERELLA made an easy transition to the stage. The London Coliseum in England had the honor of performing it live for the first time, with a 1958 holiday pantomime adaptation that also used songs from ME & JULIET. In the U.S., CINDERELLA began appearing onstage as early as 1961. With its stage success on track, CBS wanted to bring CINDERELLA back to television. The 1957 premiere had been phenomenally successful, but in the days before videotape it was doomed to one performance only. In 1965 CBS re-staged CINDERELLA, with Richard Rodgers serving as Executive Producer. While Joseph Schrank was brought in to revise the teleplay, the score remained intact, with the addition of a solo for the Prince, "Loneliness of Evening" (a ballad originally written for, and cut from, SOUTH PACIFIC in 1949).
The '65 CINDERELLA featured a cast as remarkable as the original: Ginger Rogers and Walter Pidgeon played the King and Queen; OKLAHOMA!'s original Ado Annie, Celeste Holm, played the Fairy Godmother; Jo Van Fleet was the Stepmother with Pat Carroll and Barbara Ruick as her daughters; and Stuart Damon played the Prince. A young Broadway star-to-be, Lesley Ann Warren, played Cinderella. Taped for broadcast, this CINDERELLA premiered on February 22, 1965, and was shown on CBS eight more times through February of 1974.
Yet another television remake of CINDERELLA was prepared for a broadcast premiere on ABC-TV's "The Wonderful World of Disney," November 2, 1997. Its dazzling all-star cast included Whitney Houston as The Fairy Godmother, singing and TV sensation Brandy in the title role, Bernadette Peters as the Wicked Step-mother, Whoopi Goldberg as The Queen, Victor Garber as The King, newcomer Paolo Montalban (plucked from the Broadway cast of THE KING AND I) as The Prince, and Jason Alexander as his Steward.
Budgeted at more than $12 million, this spectacular new production also boasted several songs new to CINDERELLA—Rodgers & Hart's "Falling in Love with Love," as advice from the Step-mother to her daughters; "The Sweetest Sounds," a number from Rodgers' solo Broadway score, NO STRINGS, sung here by Cinderella and the Prince; "The Prince is Giving a Ball," revised as a production number merging stanzas from the Steward's song "Your Majesties" with additional lyrics by Fred Ebb; and "There's Music in You," written by Rodgers and Hammerstein for the 1953 film MAIN STREET TO BROADWAY, sung here as a sweeping benediction and the fairy tale's finale by Fairy Godmother Whitney Houston.
A co-production of Walt Disney TeleFilms, Storyline Entertainment and Houston Productions, this CINDERELLA—like the two TV versions preceding it—made television history: as the #1 show of the week, with over 60 million viewers, it became the highest-rated TV musical in a generation, a hit with critics and audiences alike. An encore broadcast on Valentine's Night 1998 drew another 15,000,000 viewers and the Disney Home Video version, also released that year, became the best-selling video of a TV movie ever released.
Rodgers & Hammerstein's CINDERELLA endures. All three TV versions have been released on DVD, and their soundtracks are all available on CD. Stage productions of CINDERELLA continue to thrive as well, including an acclaimed version presented by the New York City Opera in 1993, 1995, and 2003. In the Fall of 2000 Rodgers & Hammerstein's CINDERELLA stepped down from the screen and onto the stage once again in an enchanting revival on U.S. National Tour, starring Eartha Kitt as The Fairy Godmother.
Today, R&H Theatricals also offers GETTING TO KNOW...CINDERELLA, a shortened and simplified version of the musical that can easily be performed by children. Between this version and the original, CINDERELLA remains one of the most popularly performed musicals: more than 250 productions of Rodgers & Hammerstein's CINDERELLA are presented in the United States every year.
Travelling from TV screens to opera houses to stages across America, Rodgers & Hammerstein's CINDERELLA has emerged from her own little corner to live happily ever after.
Grammy AwardsJanuary 01, 1958 — 2 Nominations including Best Musical Contribution for Television (Richard Rodgers)
Emmy AwardsJanuary 01, 1998 — Award for Outstanding Art Direction for a Variety or Music Program7 Nominations
Vocal Range of Characters:
// Photos
Musical Stages
Written By: Richard Rodgers
Though a few of its songs have become popular, our score for CINDERELLA is another example of what theatre music is really all about. No matter what the medium, a score is more than a collection of individual songs. It is, or should be, a cohesive entity whose words and music are believable expressions of the characters singing them. When the lonely, bullied heroine sings, 'In My Own Little Corner,' it's not merely a song, it's a revelation of the girl herself. When she finishes, we know something more about her than we had before;her sense of humor, her naive optimism, her imagination and her relationship to the rest of her family. It's fair to say that this song is familiar to a vast number of people, but it has never made anyone's hit parade and never will; it is simply part of the score. Like a symphony, concerto or opera, some portions have greater appeal than others, but it is the work as a whole that makes the overall impression.
KeyboardEase:This unique resource is designed specifically to meet the needs of productions that want convenient, cost-effective access to these hard to find keyboard sounds. We have carefully assembled all sounds required for a given show. Everything is laid out in correct sequential order, so you can easily progress through each song in each keyboard book with professional, authentic, show-specific sounds. All you have to do is connect any standard keyboard (or multiple keyboards) to your laptop and you'll be ready to perform. And we'll help you every step of the way.
Demo KeyboardEase for Mac or PC.
Contact Realtime Music Solutions for more information: www.keyboardease.com, via email: [email protected], or via phone: 212-620-0774.
InstrumentalEase: This product is an orchestra enhancement instrument capable of augmenting a traditional ensemble of any size. Contact Realtime Music Solutions for more information: www.rms.biz, via email: [email protected], or via phone:212-620-0774
AccompanEase: This product is a rehearsal tool that allows for unlimited teaching, training and practice of individual vocal parts or dance sequences. Contact Realtime Music Solutions for more information: www.accompanease.com, via email: [email protected], or via phone: 212-620-0774.
MAKE YOUR OWN PLAYBILL! Playbill VIP allows you to create your very own Playbill Program. We have provided Playbill with all of the credits, song listings, musical numbers and more so that most of the work is already done for you. Just add your productions details, photos of the cast and share it with all of your friends. Learn more: www.playbillvip.com
- CINDERELLA (ENCHANTED) - Orchestration (21 Books/20 Players)
- 1 – BASS (acoustic stand up bass)
- 1 – PERCUSSION: Doubling Trap Set, 2 Timpani, Orchestra Bells, Mark Tree, Chinese Bell Tree, Triangle, Crash Cymbal, Suspended Cymbal, Finger Cymbals, Wood Blocks (2 pitches), Temple Blocks (3 pitches), Drum Sticks & Brushes
- 1 – FLUTE I (Doubling Piccolo)
- 1 – OBOE (Doubling English Horn)
- 1 – KEYBOARD I (Synth)
- 1 – KEYBOARD II (Synth)
- 1 – VIOLIN I (one or more players)
- 1 – VIOLIN II (one or more players)
- 1 – VIOLA/VIOLIN III (one or more players)[THE VIOLA/VIOLIN III book is split 75% Viola/25%Violin III. The part may be played completely on Viola with the player playing the Violin III parts on Viola. In some instances these will be in the higher range of the viola, but are not unplayable.]
- 1 – CELLO (one or more players)
- 1 – Logo CD
- Digital Logo
- Cinderella (Enchanted Edition) - Partitur
- Transpositions are available on demand, please email [email protected] to request a transposition.
6 Women
1 Man
2 Men
Large singing-dancing ensemble of Villagers, Merchants, Maidens and Palace Guests
Her Fairy Godmother
Her Stepmother
Grace - her awkward stepsister
Joy - her sullen stepsister
Christopher - a charming young prince
Lionel - his royal steward
Queen Constantina - his mother
King Maximillian - his father
Charles - a cat who will become a Coachman
4 White Mice - who will become Horses
A Dove - who will become a Footman
Villagers, Merchants, Maidens and Palace Guests
CINDERELLA takes place once upon a time in a kingdom far away.
The Village Square
The Stepmother's Manor House
The Royal Parlor
The Pumpkin Patch Behind the Manor House
Outside the Royal Palace
The Royal Ballroom
The Royal Gardens
Throughout the Kingdom
The Wedding Finale
Materials Notes
VIOLA/VIOLIN III (one or more players) NOTE: THE VIOLA/VIOLIN III book is split 75% Viola/25%Violin III. The part may be played completely on Viola with the player playing the Violin III parts on Viola. In some instances these will be in the higher range of the viola, but are not unplayable.
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text:
Organization of Petroleum Exporting Countries
Dictionary.com Unabridged Based on the Random House Unabridged Dictionary, © Random House, Inc. 2019
Culture definitions for organization of petroleum exporting countries
Organization of Petroleum Exporting Countries
An organization of about a dozen nations that sell oil to other nations. The purpose of OPEC, a cartel, is to control the production of oil and to establish favorable oil prices for the member nations. Most OPEC countries, such as Libya and Saudi Arabia, are in the Middle East or northern Africa, but Indonesia and Venezuela are members as well.
notes for Organization of Petroleum Exporting Countries
OPEC was formed in the early 1960s but had little impact before 1973. Then, to punish the United States and several Western nations for supporting Israel in a war against Egypt (see also Egypt) and Syria (see Arab-Israeli conflict), the Arab members of OPEC placed an embargo on the sale of oil to the United States and some of its allies. The result was a severe gasoline shortage and a recession in Western nations, especially in Europe, Canada, and the United States. Since then the price of oil has fluctuated, partly because OPEC members have had difficulty agreeing on and policing a common pricing policy.
The New Dictionary of Cultural Literacy, Third Edition Copyright © 2005 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

subset: commoncrawl


text:
Some apps just slurp up your battery like a starving animal eating its first meal in months. But which ones are draining the most juice? Carat will give you the answer.
It scans your apps to tell you the affect they're having on your phone. Then it recommends which ones you should nix, and how much time you'll gain if you do.
Carat is really straightforward. For example, it will direct you to kill Facebook in order to see see an expected improvement of an hour. If you've ever had that desperate feeling where you're phone's running out of power and you're away from home, you'll be happy to have Carat. Just don't expect it to work right away—it has to spend a couple days monitoring your usage habits before it can give a proper reading. [TechCrunch]
Carat is a free download for iOS and Android


text:
ST. LOUIS, Mo. – The Brandeis University men's basketball team completed a sweep of their University Athletic Association (UAA) Midwest trip for just the second time ever today, as the Judges defeated 13th-ranked Washington University, 67-62, in the WU Field House today. With the win, the Judges improve to 14-2 and remain tied with #2 Rochester atop the UAA with a 5-0 record. They join the 2010 squad as the only ones to complete the Chicago-WashU sweep, and pick up just their third-ever win in St. Louis. The Bears fall to 12-4, 2-3 UAA, and sit three games back.
The Judges were led by juniors Derek Retos (No. Attleboro, Mass./Brimmer and May School) and Gabriel Moton (St. Petersburg, Fla./St. Petersburg), who scored 37 of the team's 46 points in the second half as Brandeis overcame a four-point halftime deficit. Retos led all players with all of his game-high 23 points coming after the break, when he hit 6-of-9 from 3-point range, including four in a row at one point. Retos's 23 points off the bench were 11 more than the entire WashU reserves combined. With his six 3-pointers, Retos became just the seventh player with 150 for his career at Brandeis, moving into sixth overall with 154. He needs three more from downtown to move into the top five.
Moton, the team's leading scorer, had three points in the first half when he hit just 1-of-8, but in the second he connected on 4-of-6 with a pair of 3-pointers and four free throws for 14 points. Moton buried what proved to be the game-winning trifecta from the top of the key as the shot clock expired with 1:19 left in regulation, snapping a 57-57 tie, the sixth deadlock of a game that also featured 11 lead changes.
Brandeis did a fine job on the boards in the contest, especially in the second half. Against a Bear squad leading Division III with a +13.3 rebound margin entering the weekend, the Judges won the battle of the boards, 21-14, in the second half and trailed by a slim 39-38 margin for the game. The Judges had a balanced attack on the boards, with six different players grabbing between four and six caroms. Junior Ben Bartoldus (Hillsborough, N.H./Proctor Acad.) led the Judges with six boards, while senior Wouter van der Eng (Alphen aun der Rijn, Netherlands/Kimball Union, Vt., Acad.) and junior Alex Schmidt (Dublin, Ireland/Fork Union, Va., Military Acad.) with five each, including four on the offensive glass for Schmidt. Moton, with four assists, and Retos with three, combined for seven of the Judges' 10 assists.
WashU put three starters in double figures, led by Chris Klimeks' 18 points. Matt Palucki had a terrific all-around contest for the Bears, with 12 points and game-highs of nine rebounds and five assists. Alan Aboona finished with 10 points on three 3-pointers, and had four helpers. Washington took nearly twice as many free throws as the Judges (30-16), but the hosts hit just 15 of those foul shots for 50 percent from the line. After holding the Judges to 23.3% shooting (7-30) in the first half as they built a 25-21 lead, WashU allowed the visitors to connect on a 53.6% clip (15-28), including 53.3% from beyond the arc (8-15).
Brandeis trailed by as many as six points in the first half at 11-5 eight minutes in, but the Judges scored 10 unanswered points, the last five by senior Jay Freeman (Dorchester, Mass./Taft School) off the bench. The Judges were ahead, 18-14, on a Bartoldus trifecta with 3:42 on the clock , but WashU closed on a 12-3 run – sparked by an answer long ball from Ben Hoener - to take the four-point 25-21 edge into the locker room.
Brandeis opened the second half with nine of the first 14 points, tying the game on a Moton jumper and reclaiming the lead,30-29, with his trifecta at the 17:13 mark. After a rare free throw miss by Retos on a technical foul shortly after, Palucki knotted the game, 31-31, on a lay-up with 16:05 left. WashU hit 1-of-2 from the line to go ahead by one on their next possession, but Retos caught fire after that. He hit 3-pointers on four of the Judges' next six possessions – several from 25 feet out – capping a 14-8 run. The Bears didn't go away, reclaiming a one-point lead three more times the rest of the way, but the Judges answered each time, once with a Moton jumper and twice with Retos from downtown.
After Klimek tied the game at 57-57 with an underneath lay-up and 2:30 left on the clock, came the most important possession of the game. The Judges twice missed 3-pointers on the possession, but Schmidt corralled the offensive boards each time. The third time was the charm, as the Judges probed the WashU defense before Moton connected from deep as the shot clock expired. Brandeis then hit 7-of-8 from the free throw line to keep the hosts at bay.
Brandeis continued its four-game UAA road trip next weekend at Emory University at 8 p.m.


text:
The 18 technical standards concern grid access for large wind farms, offshore wind-power development, wind-turbine operation monitoring, wind-farm electric-energy quality and wind-power crucial-facility manufacturing.
These technical standards will go into effect on 1 November.
NEB deputy director Liu Qi said a number of issues have been caused by the rapid expansion of China's wind-power industry. The focus on constructing large-scale wind farms has led to reduced quality control and poor management.
Liu said wind-power standards have lagged behind wind-farm construction. While the biggest bottleneck for wind farms is in terms of sending wind power to the grid.
Industry officials say the implementation of the new technical standards is likely to set off changes in the industry.
Shu Yinbiao, vice general manager of State Grid, said China has over 80 wind-turbine makers, whose gross production capacity exceeds domestic demand.
Improving Chinese technical standards will facilitate consolidation within the country's wind-turbine manufacturing sector.
Shu said that in the course of revising and improving the Chinese wind-power-standard system, China also needs to participate in establishing international standards.


text:
The Official Jam #5 Voting Topic
(click here for the discussion topic)
http://www.youtube.com/watch?v=YzagMN1WRdI&feature=colikeAfter a long two weeks of voting I have tallied up the votes and it seems that we have a tie for first place! So without further ado, here are the listings of all the entries :
1st place:
Disillusion by TrueValhalla
Breaking The Facade by Ziggler1
3rd place
An Inconvenient Facade by RetardedLemon
4th place
Duality by TheSnidr & Zekka
Citified by Venomous
False by JonathanPzone & KodyT
7th place
Nothing Will Ever Hurt You by DxSmiley
8th place
Boximus by Harrk
Dawn Of Nightmares by mads2194
10th place:
Falling For Milk by 11clock
11th place:
Water, Water, Water by orange08
Fix It by ThatSnail
You Monster by Klassic
RedHood Revelation by _250500
15th place:
Subterranea by Viloen
16th place:
SpyBot by TheM
Mario Norris Kart by Yal
18th place:
Save Us by Khornel
Mystery Men by RedOctober
20th place:
Shadow Runner - Behind the Facade by Fireball16 & Zesterer
Moonlight Sonata by Docopoper
22nd place:
The Fountainface by masterofhisowndomain
Feet Of Clay by Blake
Kaities Flight To The Netherlands by Zeddidragon
25th place
Julius Dragonslayer by wakeskater_x, IceMetalPunk & TheUltimate
Fake Date by ShinyJiggly
Cellz (The Viruses' Facade) by Hgameguy
28th place
Hallucinogun by NAL
29th place
Gaming 404 by makerofthegames & Speedchuck
Money Running Out by free_napalm
Bots by Ivaxlar
Bubble by Rusty
ICTOAT by snailman
Defend! by ariugh
Dungeon Deceiver by Keevor
FayKade by HayManMarc
BakLush by Desttinghim
Squirrel Launch by Follomania
Facade by SkullSoft
Fac-Ace by Joh
What You See by TrickPixel Games
Twisted Mission by Earthwalker
Agency by Sondar
Masked Awesomness by faissialoo
Bair by NicroGames
City Mania by ahmed#elyamani
Seeds And Weapons by RekNepz
Clown Fish Coffee by DarkClower & Tribbe
Masks of Duhkovu by True_Predator
SHAP3 SH1FT3R 2600 by Bobmoo
I Love My Wife by blopit
PolyWorld by DarKblaDe
Wanted - Dog Not Alive by jakobs98
RGB by snailman
Eulophoria by mrScience00
BallX by ImperialGames
Eeveelution by alex1101
Daface by exar3000
Modern Hero by BruceCollins
Shoot The Pigeon by Rusty
Don't Judge A Building By It's Facade by Irfanfox
Defender Of Rospuda's Valley by Nirvan
Fake Guide by The_Puzzle
Molten Lead by CaptainApril
Congratulations to the winners and I'll be in touch in the next day or so to discuss your prizes and to present you with your banners for winning this 5th Jam. And to those of you who didn't make it into the top 5 or so, better luck next time and I hope that you aren't disheartened, but rather encouraged to try harder and do better in the next one!!!!


text:
Good to see you captured that Black headed trogon. It took me too long… you know, all these rattle-snakes, howler monkeys, and poets around you have to be afraid of. Here are some of my impressions: https://picasaweb.google.com/103180228919654777351/GranadaNicaragua2012
Thanks for permitting this little ad. All best, Ron
At four in the morning there is a noise of riotous celebration from the nearby square, but I cannot be bothered to make it to the balcony to discover its source. Then there is an hour or so of quiet before the deafening screech of birdsong that signals both the beginning and the end of daylight in the tropics. From the trees circling the park hundreds of birds dance, joust, leap and dive in a frenzied avian fiesta.
Yesterday began with an excursion to the cloud forest volcano of Mombacho – in which we saw howler monkeys
and many birds, including the black headed trogon (trogón cabecinegro, in Spanish) pictured here,
after visiting two coffee plantations, sampling their delicious brews, and witnessing a possum asleep in a bucket
– and concluded with an interminable poetry reading, extremely mixed in quality, but beginning with a single (new) poem by Ernesto Cardenal on the sacking of the museum of Baghdad, and ending with Derek Walcott, again reading a single poem, Sea Grapes. Between these two octogenarian maestros – and with one or two exceptions – a number of distinctly indifferent poets went on for far too long, though I will refrain from mentioning the worst offenders.
Granada is an extraordinary festival, which is growing in importance and recognition, but which needs reining in and the exertion of greater balance in the selection of invited poets. This year, like last, I have met some wonderful individuals, made new friends, and learned a lot, but have also had to listen to far too much bad poetry. Fortunately, Walcott's Sea Grapes does not fall into this category.
Sea Grapes
That sail which leans on light,
tired of islands,
a schooner beating up the Caribbean
for home, could be Odysseus,
home-bound on the Aegean;
that father and husband's
longing, under gnarled sour grapes, is
like the adulterer hearing Nausicaa's name
in every gull's outcry.
This brings nobody peace. The ancient war
between obsession and responsibility
will never finish and has been the same
for the sea-wanderer or the one on shore
now wriggling on his sandals to walk home,
since Troy sighed its last flame,
and the blind giant's boulder heaved the trough
from whose groundswell the great hexameters come
to the conclusions of exhausted surf.
The classics can console. But not enough.
Or you can listen to Walcott reading it here.


text:
Starting MSRP from * $34,700
Experience the 2019 Silverado 3500HD CC at your Killeen Chevrolet source - All American Chevrolet of Killeen
It's simple, when it comes to providing competitive pricing and selection - All American Chevrolet of Killeen is your Killeen Chevrolet Silverado 3500HD CC authority. Come visit All American Chevrolet of Killeen today for a test drive where our friendly sales team is ready to assist you in your search for a Chevrolet Silverado 3500HD CC with their years of experience and enthusiasm. Make All American Chevrolet of Killeen your destination when you're in the market for a 2019 Silverado 3500HD CC and find out why more Killeen Chevrolet drivers are choosing us for their Chevrolet needs.


text:
Find us on:
email@example.com www.nutritioncare.org/
8630 Fenton Street
#412Silver Spring, MD 20910-3803
1-800-727-4567 (Voice - Toll-free)301-587-6315 (Voice)301-587-2365 (FAX)
The American Society for Parenteral and Enteral Nutrition (ASPEN) is a professional and scientific organization, established to encourage the development of improved patient care through clinical nutritional support of patients during hospitalization and rehabilitation. ASPEN provides education for health care professionals interested in intravenous and tube feeding of sick patients, sponsors certification and self-assessment programs, and develops standards of care for nutritional assessment and support of patients. ASPEN program meetings provide continuing education credit in the areas of medicine, dietetics, nursing, and pharmacy.
ASPEN produces course syllabi, bibliographies, monographs, audiovisual materials, and product directories. Serial publications: Journal of Parenteral and Enteral Nutrition, bimonthly--original research, editorials, reviews, bibliographies of current research, and case studies; Nutrition in Clinical Practice (magazine), bimonthly--organizational news and clinical information.
Monday, May 23, 2011
Language Assistance Available


text:
The GopherHole Hockey Forum is for passionate Gophers hockey fans to discuss sweeping the Badgers, recruiting, player analysis, story links and more.
There are currently 18 users browsing this forum. (0 members & 18 guests)
Use this control to limit the display of threads to those newer than the specified time frame.
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text:
BACKGROUND IMAGE: iSTOCK/GETTY IMAGES
- Feature10 ways to get the best storage price
- FeatureSurvey Says: WAFS adoption picks up
- FeatureBackup reporting tools cast wider nets
- FeatureStorage rethinks power strategies
- FeatureSnapshot: Email archiving on the rise with users
- FeatureMidrange rivals top dog
- FeatureSecure iSCSI storage
- FeatureUsers test deduplication limits
- FeatureKnow when to hold 'em...
- FeatureNegotiating for support
- FeatureMore laptop backup options
- FeatureStorage managers in control
- FeatureHot Spots: Time to learn from Microsoft's mistakes
- FeatureStorage Bin: 50 years of right is now very wrong
- FeatureEditorial: Top 10 reasons to find another vendor
- FeatureBest Practices: Protecting SharePoint data
iSTOCK/GETTY IMAGES
Best Practices: Protecting SharePoint data
SharePoint's collaboration framework is gaining in popularity, but it has a number of data protection challenges that can result in significant levels of complexity rather quickly. Storage and data protection groups must work with application teams to plan an effective data protection strategy.
As Microsoft's collaboration app gains popularity, it will hold more and more corporate data; however, protecting that data isn't so easy.
In my last column (see "Are backups a waste of time?," Storage, March 2007), I suggested that, given the range of data protection options available today, it's necessary to develop a more unified view of how various data protection components are deployed in an environment. To accomplish that, one must adopt a view of data protection from the application perspective. This generally involves sitting down with a team, including members from applications, database, storage and backup, to piece together the various data protection activities each group performs. From there, one might hope to identify duplicate or overlapping activities to improve efficiency or identify/fix holes in the data protection plan. Less common is the opportunity to design a comprehensive data protection strategy from scratch for a new app. Rarer still is the opportunity to do that for a new class of application.
With the release of Microsoft Office SharePoint Server 2007, organizations find themselves in the last situation. The latest version of SharePoint features new functionality and a degree of integration with other Office products that will likely cause it to become a de facto standard for collaboration in many environments--but don't construe that as a recommendation or endorsement. The wisdom of relocating documents from a file system to a database is debatable, but I suspect it will become a fact of life that many storage and data protection professionals will need to address.
SharePoint presents a number of data protection challenges that, in a large enterprise, can result in significant levels of complexity rather quickly. Furthermore, by its very nature, SharePoint can mushroom throughout an organization, leading to high storage consumption levels. It's therefore critical that storage and data protection groups work with application teams to plan an effective data protection strategy. Let's look at the structure of SharePoint and its built-in data protection capabilities, and then discuss some approaches to ensure efficient recoverability.
SharePoint infrastructure basics
SharePoint can be thought of as an enterprise portal, intranet, content management and collaboration tool that provides indexing and search, document versioning and a Web-based development platform. It's a multitiered application consisting primarily of Web front-ends (WFEs), application servers and database servers. While these three components could theoretically reside on a single server, in most cases multiple servers are used. A collection of these servers constitute a SharePoint farm (see "Sample Microsoft SharePoint farm," below). Each SharePoint farm contains one common configuration database and one or more content databases.
|Sample Microsoft SharePoint farm
An enterprise SharePoint implementation may consist of multiple farms, each with numerous WFEs, application servers and content databases. In addition, special-purpose servers for indexing and application support, such as Excel Calculation Services servers or Microsoft Project servers, can reside within a farm. With these varied components, it's easy to see how a SharePoint environment can become a data protection nightmare. While most of the data resides in content databases, data related to the farm itself and its components resides in the configuration database, while customization and other special-purpose information for the WFEs, application servers, index servers and so on sits on each of these systems themselves. As a result, managing all of these diverse elements requires a good deal of planning.
Recovering SharePoint content
To effectively plan a SharePoint data protection strategy, you have to consider content recovery and disaster recovery (DR). Widespread adoption of SharePoint within an organization will likely mean that SharePoint servers will eventually replace existing file servers. In other words, users will access documents via SharePoint Web portals (and, ultimately, SQL databases) rather than as files in a shared directory. I don't believe the potentially enormous implication on traditional nightly backup has been adequately considered. There are masses of files currently managed as individual entities by a backup app that would now be stored in monolithic (from a backup app perspective) SQL databases under SharePoint.
But a more immediate issue might be understanding how SharePoint content is recovered. While this version represents a significant step forward from earlier versions in this regard, it still leaves much room for improvement. Consider the analogy to another wildly successful enterprise Microsoft application--Exchange. Most backup administrators have vivid memories of the difficulties restoring content from early versions of Exchange. Because of API limitations back then, most backup applications only supported recovery of an entire Exchange Information Store--a time-consuming procedure of restoring to an alternate server, searching for the specific messages or mailboxes to be recovered, and then migrating the data into the production Information Store.
Prior to the 2007 version, a similarly arduous process was required for SharePoint. But Microsoft has added an important timesaver--a recycle bin--to ease the pain. Actually, SharePoint now has two recycle bins: a user and a site-level (or administrative) recycle bin. Recycle bin functionality can be disabled, and both size quotas and object expirations can be applied. In addition, SharePoint inherently supports document versioning, so it's possible to revert to an earlier version without necessarily having to do a recovery. While the recycle bin will help eliminate many nuisance-level file recovery issues, if a document must be recovered the only options are the traditional Exchange-like recovery process or via a third-party product--more about these later.
DR for SharePoint environments is even trickier. SharePoint provides GUI and command line (stsadm.exe) options to back up an entire farm, for example, but Microsoft subtly suggests that these options are most effective for "small to medium" deployments. Also, there's no scheduling mechanism within SharePoint, so automation would need to be performed by scripts executed via the Windows Task Scheduler.
Of course, because SharePoint largely consists of SQL Server databases, one approach is to simply back up or protect those databases using the tried-and-true approach of your choice. This is certainly a viable option, but one must further consider that, because traditional SQL backups will lack knowledge or context of a SharePoint environment, additional time-consuming postprocessing activities will have to be performed to reintegrate the database back into SharePoint. Furthermore, SQL backups can't adequately address the aforementioned content recovery issues nor the additional steps needed to recover WFEs and application servers. Even index servers, if they're large, may need a recovery strategy as rebuilding would be very time-consuming.
Alternative approaches
To meet recovery time objectives and recovery point objectives for both operational recovery and DR, most organizations will turn to third-party products. The obvious first place to look is at your backup app. Major vendors have vowed support for SharePoint 2007, but to date only Comm-Vault has announced a comprehensive strategy for both content and disaster recovery. Symantec has supported content-level recovery via a Backup Exec 11d agent since SharePoint 2003 and is expected to provide similar capabilities for SharePoint 2007. Enterprise backup products such as Symantec Veritas NetBackup and EMC NetWorker offer limited SharePoint-specific functionality at this time.
Startup vendor AvePoint has carved out an interesting niche as a SharePoint data protection specialist. Its DocAve 4.1 suite offers a comprehensive set of solutions, including the ability to perform live backups without suspending indexing. By the time you read this, AvePoint is expected to announce a relationship with IBM to incorporate its product as Tivoli Storage Manager's SharePoint protection offering.
Beyond backup apps, other technologies that lend themselves particularly well to SharePoint data protection are snapshotting, replication and virtualization. Regarding the last, a number of companies are running SharePoint 2003 servers within virtualized environments with considerable success. A word of warning, however: Microsoft says it doesn't officially support virtual configurations at this time. That's unfortunate because management of all SharePoint elements--WFEs, app and index servers, and databases--could be dramatically simplified using virtualized servers.
It's imperative to define and deploy standard configurations and consistent processes for SharePoint components and to be sure that these are fully documented. As SharePoint 2007 environments become commonplace, more technology options are sure to appear along with a well-defined body of best practices.
Related Resources
- Focus on Storage in a VMware Environment –SearchConvergedInfrastucture
- Storage in a Virtual Environment: Expert Answers to 4 FAQ –SearchStorage.com
- Accelerating Time-to-Value: Fast-Growing Reduxio Implements Priority Engine to ... –TechTarget


text:
Hello All,
I just HAD to share this:
THE HISTORY:I worked on a man two weeks ago today, who was diagnosed with a multiform gioblastoma in his Left Parietal Lobe about six months ago...the tumor was growing very aggressively...they put him on several trials of Temador (very strong Med. taken over 5 days) but the tumor kept growing. A month ago they put him on Temador again with Accutane. I work with his niece and she has been after them to come to Lafayette and hear about TKM...after last month's bad news about the tumor's aggressive growth into the motor cortex , across the lobe and down, they came for a TKM session.
THE SEQUENCES:It lasted three hours because I worked on his wife first, then his sister, educating them as much as possible: then, we all three of us worked on the "patient"...he was verbal but not very coherent...he started laughing and then got very relaxed. We did the 3rd Method of Correction. I sent them home with instructions to continue with the 3rd Method. Until they'd done it 10x''s and I had them do the Spleen seq. & #3 seq. since he was taking such strong meds. Plus I had the "caregivers" doing the Median Self Help Sequence daily to stay strong for his care. I wanted to give them ALL the sequences listed in the Immune recipe but I didn't want to overwhelm them so I kept it to three or so.
THE RESULTS:At the beginning, his wife came in so tightly strung with stress, fatigue and tension she vibrated sitting on her chair. She left with the most beautiful peace in her face.....she has been soo faithful to work on him and herself, as has his sister, also one of his caregivers. They called their niece today from Houston (MD Anderson) and told her the MRI came back with the news that the tumor had not only stopped growing but had shrunk so significantly that the doctors said "We have NEVER seen a tumor shrink this much in one month's time"...I thought to myself "how about in two WEEKS time??!!" Another physician wrote," It is shrinking.....SOMETHING is working! " PRAISE GOD! PRAISE GOD! PRAISE GOD! He loves us so!!!
I thank God for you and the work you do. I encouraged them to go get trained! I apologize for the lengthy e-mail but I had to share the wonder--- God is so AWESOME! God Bless and Keep YOU!
Robin Harwell
Remarkable story!
Dr. King, Remember the little guy I told you about who was thrown into a trash dumpster at birth -- here is a more accurate account from the grandmother. I had the timing a little off.
"Just wanted to respond to what you told Dr. King. Actually it is much better than what you said. After the first time I did the Median Sequence on the baby, he sat up on his own from a prone position three times the very next day. This was only one treatment...not weeks! We were impressed! Also the Spleen sequence helped him to sleep through the night after the first time I did the sequence on him. Pretty amazing!"
Client of a Neurodevelopmentalist
A lady came for infertility issues and she received her first TKM® session on April 12, and began a normal menstrual cycle on April 15 after being irregular for years. Follow up sessions occurred on April 23, June 7 and June 9. She was scheduled for another session on June 23, but cancelled since she found out she was pregnant!
Her daughter was born on Jan. 7, 2005. They are celebrating her 1st birthday tomorrow.The full story on this case was reported in issue 3 of the KIMA® Journal under the testimonies section. As you can see her sessions were not frequent or even close together.
Alissa is in Arizona helping do TKM® on her 81 year old grandpa. Here's a message she just sent. She is also doing other sequences to help him with his various medical problems like heart, bladder and blood infections, fatigue.
She just wrote and said, "Last night I palmed Grandpa's calves for a whole hour. Today he told us that he didn't take any pain or sleeping pills. Grandma thinks TKM® is really working and wonderful."
Praise God!!
I have been working with a man since July who was diagnosed with neuro-endocrine prostate cancer. His PSA was over 1200. He is 6'3" and weighs 275 and had a volley ball sized tumor in his groin area that was closing off his ureters and causing problems with the kidneys. The urologist inserted stints in his ureters to keep them open and the oncologists told him the cancer was inoperable and all they could do was give him a lupron shot to shrink the tumor maybe 10%.They sent him home to die. We began a cleansing program and I trained his wife to do TKM® on him. I worked on him a total of three times since July. She was very diligent and after eight weeks a scan showed the tumor had shrunk by 50%. His PSA was 1.2. The doctors were dumbfounded. His wife took the TKM® Levels 1 and 2 class here in Sebring in September. He had to have nephrostomy tubes put into the kidneys in October due to recurring infections. His creatine levels reached 9. After the tubes were put in his wife continued her daily TKM®. Just before Christmas, to the urologist's surprise, his creatine levels were down to 1.4. The best they had been told to expect was 4.0. They also checked his PSA at that time and it was .1. They removed the nephrostomy tubes.
I just got a call from his wife reporting that they had just gotten a report from an MRI done today. There is no sign of the cancer. I repeat, no sign of any tumor or cancer. There is much joy in Sebring tonight. Let none of us doubt what God can do when we are diligent to do our part. This couple has lived a miracle.
Jim Robertson, N.D.
Dear Dr. King,
While in Alaska I worked on a sister who is fighting bone cancer. She came back there to spend her "last" days as she used to live in that community and wanted the support that comes from the family there. Anyway, on my last day there Anne and I worked on her for an hour. She also had a blockage in her large intestine--labeled, of course by her doctors.
The pulses showed large intestine (5th stratum interferring with all stratums) and some other directions. I applied the R&R 5-4-3-2-1 and Anne applied Lg. Intestine sequence and something else. Immediately when either of us barely touched the #13's she would start weeping. A good thing! Lots of emotional trauma over the years. I left for home and this is the e-mail I received today.
"Hello Pam,
I went over and gave her the information on the TKM® lifesaving finger holds and self-helps that pertained to her need. The next day I was able to work on her. I Did the 3rd MOC. She is doing her own homework. An announcement was made that she is doing better. Her bowels are moving better, her down time isn't as bad and her pain isn't as bad. Bless God! I know you would want to know. God is good. I just want to keep you current."


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New Technology - Metal over Cap
This robust switching panel is designed for use in harsh environments and can be equipped with front plates of stainless steel or aluminium. The customer-specific graphical printing of the surface design is made by screen printing with an additional protective coating. The sensor electronics with common communication interfaces is mounted on a rigid PCB from the rear. The MoC technology is robust against vibrations and permits use in an extended temperature range of -40 °C to +85 °C.
The MoC technology of SCHURTER can be used in building and security technology, transportation and construction machinery.


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INFOCUS Juried Exhibition of Self-Published Photobooks – Selected Photobooks
Earlier this month, coauthors Mary Virginia Swanson and Darius Himes met at the Phoenix Art Museum to participate in the jurying process for the INFOCUS Juried Exhibition of Self-Published Photobooks. The jurying was then completed by:
Abigail Nersesian, Librarian, Phoenix Art Museum
Jennifer Barnella, Retail Sales Manager, Phoenix Art Museum
Joshua Chuang, Chief Curator, Center for Creative Photography
Becky Senf, Norton Family Curator, Center for Creative Photography and Phoenix Art Museum
Larissa Leclair, Founder, Indie Photobook Library.
"The jury reviewed 271 submissions from 15 countries in the Americas, Europe, Asia and Australia. The exhibition represents the 151 books they chose, as examples of the wide range of photobooks being produced today."
The exhibition will be on view, August 23 to September 28, 2014 at:
Phoenix Art Museum
Doris and John Norton Gallery for the Center for Creative Photography
NE corner of McDowell Road & Central Avenue
Phoenix, Arizona 85004
Or, if you can't make it to Phoenix to pore over the books in person, you can view them online by following the links in the list of accepted books at infocus-phxart.org/photobooks.


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Starting MSRP from * $50,800
- Service varies with conditions and location. Requires active OnStar service and paid AT&T data plan. Visit onstar.com for details and limitations.
- Not compatible with all devices.
- LS models only.
- Requires 2WD and available Max Trailering Package. Before you buy a vehicle or use it for trailering, carefully review the Trailering section of the Owner's Manual. The weight of passengers, cargo and options or accessories may reduce the amount you can tow.
- With 5.3L EcoTec 3 engine. EPA-estimated MPG highway 22 2WD, 21 4WD.
- With 5.3L EcoTec 3 engine. EPA-estimated 22 MPG highway (2WD), 21 MPG highway (4WD).
Chevrolet Suburban
Experience the 2019 Suburban at your Rockville Chevrolet source - Ourisman Chevrolet of RockvilleIt's simple, when it comes to providing competitive pricing and selection - Ourisman Chevrolet of Rockville is your Rockville Chevrolet Suburban authority. Come visit Ourisman Chevrolet of Rockville today for a test drive. At our Rockville showroom our friendly sales team is ready to assist your search for a 2019 Chevrolet Suburban. It doesn't hurt we staff a team with years of experience and passion in our product and our services. Make our Rockville Chevrolet showroom your destination for a 2019 Suburban. We think our staff, atmosphere and enthusiasm for our cars and trucks will win you over when you walk in the door. Come and see why more Washington DC Chevrolet used car and new Gaithersburg drivers choose Ourisman Chevrolet of Rockville for their Chevrolet needs.
Our Rockville,MD Chevrolet vehicle page allows you to easily customize for your desired trim options, body style, price, drive train and much more. See how we make Chevrolet Suburban Chevrolet car shopping as easy as surfing online or stopping in at our Rockville Ourisman Chevrolet of Rockville showroom and full auto body and collision car repair facilities. Simply use our online tools to refine your search at home for that new Chevrolet in Washington DC at Ourisman Chevrolet of Rockville. We are happy to answer any of your specific questions, including great financing options along with other great options and offers. At Ourisman Chevrolet of Rockville - we care about our great Washington DC community - and we invite you to stop in to see why our Rockville showroom is a one of a kind Gaithersburg and Bethesda new car shopping experience. We look forward to assisting you in the future!
2019 Chevrolet Suburban in Rockville MD
Your Chevrolet Washington DC Source for a Customized Chevrolet Suburban
At our Rockville showroom we cannot think of one reason why should not consider us for your next Washington DC Chevrolet Suburban this year. Why is that? Well at Ourisman Chevrolet of Rockville we can not only get you in a great vehicle at a low price, we are also fully capable at customizing the particular Chevrolet that you're in the market for so that your next vehicle doesn't just fit your life - it fits your personality. Whether it is springing for those leather seats, installing a custom sound system, or simply adding window tinting, at Ourisman Chevrolet of Rockville we take the time to work with you,that when you drive off the lot in your 2019 Suburban, you will have the specifications you want!
Enjoy a Different Car Shopping Experience at Ourisman Chevrolet of Rockville
Perhaps the best reason to choose your new Chevrolet at Ourisman Chevrolet of Rockville, is the fact that we'll be there for you to help you out with a stress-free car buying experience. At our Rockville dealership, we're completely focused on staying in tune with what you're looking for in a car shopping experience, whether it's a Chevrolet Suburban or another vehicle model. We look forward to helping you find your next vehicle.


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- This event has passed.
Heceta Head Lightstation Tours
June 12 @ 11:00 am - 3:00 pm
|Recurring Event (See all)
An event every day that begins at 11:00 am, repeating until December 31, 2019
Free docent led tours at Heceta Head Lightstation (circa 1894)
- LIGHTHOUSE TOURS: 11am-3pm daily thru year
- LIGHTKEEPER'S HOUSE TOURS: 11am-3pm Sat/Sun thru Sept
Tours may be made by appointment throughout the rest of fall, winter, spring.
Usual Annual Schedule: Memorial Weekend thru Labor Day
Heceta Head Lightstation is 14 miles south of Yachats on US 101.
$5/vehicle/day use fee or valid OSP parking pass or Oregon Coast Passport


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The Department of Institutional Diversity and many other entities on campus currently does and will continue to provide opportunities to explore many different aspects of Diversity. For more information about this, please contact Emily Johnson or Nam Provost.
The Workshop consists of six, 2.5 hour sessions that total 15 hours.
Provide a foundation to move the College from "Good to Great" with regard to campus inclusiveness through the building of cross-racial competence at all levels of the campus community.
Building institutional capacity for Racial and Cultural competence is reflected in the Presidents' Initiatives, the College's Mission and the overall strategic plan that currently emphasizes the need to increase racial diversity within the student body. The Fostering the Roots of Cross Racial Competence curriculum was initially developed by CSS community members Nam Provost (Intercultural and Diversity Services) and Kevin Skwira-Brown (Adjunct, Social Work) in partnership with Duluth Community Action colleagues, Xavier Bell and Allegra Henderson.
If you would like to be alerted to upcoming sessions, follow the following linkand input your contact information.
Fostering the Roots of Cross-Racial Competence builds capacity within individuals to examine and change personal and institutional patterns that are barriers to full inclusion. The dynamic and responsive curriculum utilizes time for open dialogue and provides a setting of safety to overcome differences in order to answer the question "What does racial/cultural competence look like day to day?" The Workshop is designed for flexible delivery to accommodate varied academic schedules.


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Nick Kael
Nick L. Kael
is Chief Technology Officer (CTO) at
Ericom Software
. He has over 24 years experience in the technology industry, including 17 in cybersecurity. He is knowledgeable in areas including web technologies, architecture, infrastructure, networking and development environments. At Ericom, Nick is responsible for technology partnerships, solutions management, and technology strategy. In previous roles, he was Group CTO for Global Service Providers at Symantec and Director at Zscaler in the Chief Architect Team for Channel and Service Providers. From 2009 to 2012, as a member of the Symantec CTO's team, Nick advised the executive team. Earlier, he held leadership roles in network and security engineering for telecommunications providers including MCI, Qwest, Global Crossing, and British Telecom. He holds certifications in CISSP, CEHv7, CCSK, BCCPP & Bluecoat Blue Knight, MCSE + Security, CCDP, CCNA, CCSA, VTP5, and VTSP5.
How to Implement a Zero-Trust Network
Nick Kael
November 6, 2019, 8:43 pm
November 6, 2019
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Posted 19 June 2003 - 01:58 PM
Posted 20 June 2003 - 01:43 PM
He's quite a character to talk to.
If you're not already signed up on the mailing list, you can do so here: http://www.ghostvill...subscribe.shtml
Posted 20 June 2003 - 05:34 PM
Posted 21 June 2003 - 06:02 AM
Posted 21 June 2003 - 06:22 AM
Welcome PygmyPlaidGiraffe,
Glad you dropped in. For general edification, can you give an example of what Mr. Randi would consider a double blind test?
Flyingorb, for a brief description of what a double blind test is, check out this link: http://www.skepdic.com/control.html
I'll see if I can find specific examples in tests that Randi has overseen by searching his weekly commentary archives - it may take a while though. As a general rule it'll go something like this:
A dowser says he can detect water using dowsing rods. He agrees to a test in which a volume of water is placed within one of ten sealed containers. These containers would be given an ID by an independent third party and randomly arranged such that only this third party knows which container holds the water. The dowser would then attempt to detect the water, overseen by another group who will ensure the tests are carried out correctly. In this way, neither the dowser nor the 'test overseers' would be aware of where the water was. Once the dowser has identified which container he thinks holds the water, the third party will be brought in to reveal whether the 'guess' was correct.
Posted 21 June 2003 - 06:20 PM
Thanks for the link too.
Posted 21 July 2003 - 01:57 PM
Flyingorb, <snip>
I'll see if I can find specific examples in tests that Randi has overseen by searching his weekly commentary archives - it may take a while though. <snip>
I promised you a clear example of a JREF double-blind test, FlyingOrb - and here it is: Randi's suggestion of a protocol for testing Penta water. It's towards the bottom of the page - Randi's response to the Penta water seller's recommendation of the use of a Bio Impedance Analyzer. Hope it helps.
Posted 21 July 2003 - 05:11 PM
Smaller clusters of water indeed! Even ice is more of a crystal lattace. This nonsence about the "smaller clusters" of water is the kind of fraud I like to see exposed.
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Politics & Government
California health exchange slow to offer voter registration
Supporters of the new national health care law portray California's exchange as among the most successful at signing up residents for medical coverage.
But advocates of expanded access to the ballot box believe Covered California is failing miserably at carrying out another responsibility: Helping people register to vote.
The National Voter Registration Act requires public assistance agencies and designated departments to offer voter registration services, and federal and state officials have determined health insurance exchanges fit the criteria. Known as "motor voter" because of its required presence at the Department of Motor Vehicles, the 20-year-old law compels agencies to distribute voter registration cards to applicants, assist them in filing out the documents, and send completed cards to election officials.
"They haven't done any of that," said Lori Shellenberger, director of the American Civil Liberties Union of California Voting Rights Project. "Quite honestly, it's baffling to me."
Anne Gonzales, a spokeswoman for Covered California, countered that the exchange is working diligently to meet its obligations under federal and state voter registration laws. It recently appointed a staff member to work as a liaison with advocacy groups, established a voter registration Web page, and included tabs in multiple places in its enrollment pages, she said. Paper applications will be a component of the future efforts.
"This will be a long-term process, and we are making progress," Gonzales said.
Having launched in October, the state exchange is approaching the halfway point of its first open-enrollment period. This week, Executive Director Peter V. Lee estimated that more than 400,000 residents have enrolled in coverage, excluding MediCal.
"I think a lot of the frustration comes from the fact that there's a great need, that this is a great opportunity and there is this perception that we are missing that opportunity," said Mindy Romero, director of the California Civic Engagement Project of the UC Davis Center for Regional Change.
In the original debate over the motor voter law, supporters said it was needed to broaden the electorate, particularly among under-represented groups. The idea was to to provide an immediate contact: education and applications to electoral subgroups that historically have had poor access.
In the latest showdown, the Obama administration through the Centers for Medicare and Medicaid Services said health insurance marketplaces were public service agencies because applicants could be eligible for services through an exchange or Medicaid. Not every state has come to agree, Romero said.
"Some are doing it and some are questioning it," she said.
Even those states that have pledged to follow the president's orders have differed in how, and when, they go about applying the mandate. What makes California stand out, Romero said, is Secretary of State Debra Bowen's insistence in a May 15 letter that the state become "a national leader" in making certain those who apply for health benefits are given the opportunity to register to vote. Bowen's designation was the first in the country.
"Covered California said things wouldn't be perfect right off the bat," Romero said. "But they aren't doing things that they promised to do."
California's voter registration rate hovers near the bottom among the 50 states. According to U.S. census figures from late 2012, 54.2 percent of Californians of voting age were registered to vote. Only Hawaii ranked lower – barely – with 54.1 percent. California's meager showing is due in part to delays in modernizing its voter registration database and poor implementation of the motor voter law, as confirmed in state audits, said Kim Alexander, president of the California Voter Foundation. When Bowen made her declaration, California was viewed as a key place where in one swoop, a large number of residents could join the electorate.
At more than 5 million, the number of eligible unregistered voters is roughly equal to the amount of people without health insurance. They tend to be younger, poorer, less educated and more ethnically diverse than their voting, insured counterparts, Alexander said.
As the exchange works to bolster outreach, she said it wasn't enough for officials to simply link to the voter registration form.
"They need to provide the offer of assistance and then provide it," she said, adding the advocates remain in talks with the exchange.
"I am glad that the lines of communication are open and that they are talking with us," Alexander said. "What they have done so far tends to be the steps that are easier to do and don't get them closer to complying with (the law)."
To address the lost opportunity, some have suggested mailing out registration cards. Yet they acknowledge the "cold" mailings would not have the same impact.
At a recent meeting of the exchange, Dr. Robert K. Ross, a board member, said with all of the agency's focus on enrollment, voter registration could sometimes feel like an afterthought. Ross, president and chief executive for the California Endowment, a private foundation that works to expand access to health care in underserved communities, sought to assure advocates that fulfilling its obligation to boost voter outreach was a top priority for the exchange.
"It continues to be a very critical part of what we are doing," he said.
Even as the exchange works to come into compliance, some elected officials say they don't see it as the state's job to get involved. Assemblyman Dan Logue, R-Marysville, questioned what health insurance policies have to do with residents registering to vote.
"Are they going to threaten to cut off their health care if they don't register to vote?," asked Logue, vice chair of the Assembly Health Committee and a member of the Assembly Committee on Elections and Redistricting. "Is that the next step by an overreaching government that thinks they should tell us how to blow our nose and when we should do it?"
Logue, who is challenging Democratic U.S. Rep. John Garamendi next year, said public confidence in the law and the exchanges was eroding.
"Nobody trusts what the big government says. Nobody believes them anymore," he said. "There's always an agenda that goes beyond health care. The real fear is: What is that agenda?"
Daniel Zingale, a senior vice president at the California Endowment leading its Healthy California team, said that given the controversy swirling around the health care law, it's only right that the people most affected should be given a say in its future.
"We have confidence that the more people experiencing Obamacare and voting, the better the future is for the law," he said.