text:
The time is 1873. The place, a small fishing village on the rocky New England coastline. Billy Bigalow, the handsome and swaggering barker for Mrs. Mullin's carousel in the local amusement park, meets Julie Jordan, a lovely young working girl at the nearby mill, when Julie and her friend Carrie Pipperidge come to the carousel. Billy and Julie fall in love and are soon married.
Everyone, it seems is against this union – the townspeople caution Julie and Billy is warned and even threatened by his boss, Mrs. Mullin, who is jealously in love with him. Because of the marriage, Billy loses his job. Thereupon he becomes sullen and difficult, raging bitterly and bullying his wife – until Julie quietly informs Billy that he is about to become a father.
Desperately anxious to provide for the coming child, Billy is persuaded by Jigger, a shiftless sailor, to take part in a hold-up. The robbery attempt is thwarted; Jigger escapes, but Billy is caught by Mr. Bascombe, the would-be victim, who vows to hand him over to the police with the prospect of a long prison term. Cornered, disgraced and terrified for Julie and their unborn child, Billy kills himself. Julie arrives on the scene and cradles Billy as he dies in her arms.
Fifteen years pass. Billy, escorted by a Heavenly Friend, arrives in the backyard of Heaven. Here he meets The Starkeeper, who informs him that he will never get into Heaven until he redeems himself. After some argument, Billy is given a chance. He is allowed to return to Earth for one day, during which he must perform one good deed. Afforded a glimpse of Louise, his lonely and unhappy fifteen-year-old daughter, Billy steals a star to give to her at their first meeting. But back on earth, he is still the rough blunder. Louise is shy and won't accept his gift. Unable to reach her in any other way, Billy slaps his daughter – but the sting feels miraculously like a kiss to the girl. Louise explains this to her mother, Julie, who also sees the star that Billy has left behind, and instinctively, Julie understands.
Nevertheless, Billy has not yet performed his good deed, and the slap should have been his final straw. But Billy persuades the Starkeeper to give him one last chance. Unseen, Billy watched Louise at her high school graduation. He observes his daughter's self-doubts, her insecurities. Invisibly, spiritually, Billy reaches out to her; he urges her to believe in herself, and he is filled with pride as he watches his daughter blossom with confidence. Turning to Julie, Billy says simply, "I love you, Julie. Know that I love you." And Julie, somehow, hears him. She joins Louise and the rest of the townsfolk in singing "You'll Never Walk Alone"…as Billy heads towards heaven.
Cast Size: Medium (5-21) • Large (14+). Vocal Demands: Moderate • Challenging. Dance Requirements: Extensive • Some Dancing Required. Good For: Elementary School • High School • College/University • Amateur/Community • Professional Theatre.
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Fan Info:
"June is bustin' out all over!" Rodgers & Hammerstein's CAROUSEL receives 2019 GRAMMY® Award Nomination for Best Musical Theater Album read more
Table of Contents
The Theatre Guild, a theatrical producing organization which flourished on Broadway from the early '20s for over half a century, hit upon successful formula of turning a few of its classic plays into classics of musical theatre. Their production of Gershwin's PORGY AND BESS was based on their production of DuBose Heyward's PORGY; likewise, Rodgers & Hammerstein's OKLAHOMA! was based on Lynn Rigg's GREEN GROWN THE LILACS.
In 1921 The Guild presented the American premiere of a new play called LILIOM by the renowned Hungarian playwright, Ferenc Molnar. Benjamin Glaser was the translator (although a fascinating and never-proven rumor has suggested that an early translation of LILIOM was provided by Rodgers' first partner, Lorenz Hart), and Eva Le Gallienne created the role of Julie to Joseph Schidkraut's portrayal of the title role.
LILIOM was a critical and popular success for the Guild; set on the outskirts of Budapest, its mix of whimsy and pathos, tragedy and fantasy, hit a chord with the American public. The Guild knew they had a winner; more than that, they felt its potential could be further exploited. A preliminary request to Molnar that LILIOM be musicalized, following on the heels of PORGY AND BESS, was rejected; but a subsequent proposal, this time fresh on the heels of OKLAHOMA! and with the understanding that the authors of that musical adaptation would tackle this one as well, met with Molnar's approval. LILIOM could sing, if Rodgers & Hammerstein wrote the score.
However, there was yet another problem, this time on the American side of the equation: in 1945, at the height of World War II and the Nazi occupation of Europe, Budapest was not a romantic of uncontroversial setting for a musical. If LILIOM were to work, it would have to be relocated, and Rodgers and Hammerstein were reticent to do so. Theatre Guild producer Theresa Helburn suggested a New Orleans setting, with Liliom becoming a tough and exotic Creole character. Hammerstein demurred on the grounds that his lyrics, always rife with dialect of the setting they were placed in, would be riddled with so many "ze's" and "zose's" as to make the songs sound like so manu buzz saws.
Helburn was determined not to let the idea go, and she persisted. It was Richard Rodgers who came up with the concept of New England in the late 19th century—and suddenly the idea fell into place. While visions of clambakes and fishing boats danced in their heads, the authors went to work. The very first song they wrote for the score was the most daunting—Billy's powerful and insightful "Soliloquy." As daring as anything in the groundbreaking OKLAHOMA!, this number provided character, story, passion and heartfelt emotion—in an unprecedented eight-minute solo. After the "Soliloquy" everything fell into place: the upbeat choral numbers ( "June is Bustin' Out All Over," "This Was a Real Nice Clambake"), the love songs ("If I Loved You," "When I Marry Mister Snow," "What's the Use of Wond'rin," and "When the Children are Asleep,") and the haunting and inspirational "You'll Never Walk Alone." CAROUSEL proved that the extraordinary innovations of OKLAHOMA! were no one-time fluke; the opening scuttled the traditional overture and replaced it with a lush "Carousel Waltz" joined by a storied prologue in mime; and this was followed by the now-classic "Beach Scene" in which dialogue and snatched of song we intermingled to breathtaking effects.
CAROUSEL shared with OKLAHOMA! its stellar creative team: authors Rodgers & Hammerstein of course, and director (Rouben Mamoulian) and choreographer (Agnes de Mille.) After tryouts in New Haven and Boston, CAROUSEL opened at Broadway's Majestic Theatre on April 19, 1945, where it ran for 890 performances. While not the spectacular success the OKLAHOMA! was, CAROUSEL managed to do the impossible—follow a mammoth success and stand on its own right. Audiences in the throes of World War II could not help but be moved by the story of a young widow raising a child without its father. The final scene, in which Bill comes back to Earth spiritually and reaches out to Julie and their daughter Louise, was played before countless war widows, parents, children and siblings who had lost a loved one overseas. The effect of CAROUSEL and "You'll Never Walk Alone" is haunting, to this day.
The original Broadway cast featured John Raitt as Billy, Jan Clayton as Julie, and Jean Darling as Carrie. Winner of the New York Drama Critics' Circle Award as Best Musical of 1945, the Broadway run was quickly followed by a two year national tour, as well as countless productions throughout the world. In 1950, CAROUSEL premiered at London's Theatre Royal Drury Lane, where it played for 566 performances, and in 1956 the motion picture version, starring Gordon MacRae as Billy and Shirley Jones as Julie, was released.
OKLAHOMA!, the first musical Rodgers & Hammerstein wrote together, wasn't a mere success: it was a phenomenon. An artistic triumph that changed the course of musical theatre, it shattered box office records when it opened in 1943, outran every show before it, held Broadway's longevity crown for fifteen years, and launched the Rodgers & Hammerstein partnership as Broadway's Golden Team in Broadway's Golden Era.
Inevitably the question arose: what could possibly follow OKLAHOMA!? In his autobiography Rodgers recalls the sage advice he received from film mogul Sam Goldwyn: "This is such a wonderful show!" Goldwyn bubbled. "You know what you should do next? Shoot yourself!"
Fortunately Rodgers & Hammerstein had other ideas in mind. Their first assignment after OKLAHOMA! was a new work in another medium altogether—writing the score for a movie musical called STATE FAIR (1945), a charming depiction of homespun Americana that introduced "It Might as Well Be Spring," the Academy Award winner for Best Song of the Year.
Still, Hollywood was only a detour on the return to Broadway. As with OKLAHOMA!, it was Rodgers & Hammerstein's producers, Lawrence Langner and Theresa Helburn of The Theatre Guild, who provided the team with the source for their next musical. In two previous, successful instances Helburn and Langner had recycled Guild plays into Guild musicals (turning PORGY into PORGY AND BESS, and GREEN GROW THE LILACS into OKLAHOMA!). Now, the Guild wanted Rodgers & Hammerstein to make a musical out of LILIOM.
Hungarian playwright Ferenc Molnar's elaborate fantasy had its American premiere under the auspices of the Theatre Guild, in a 1921 production translated by Benjamin F. Glazer that starred Joseph Schildkraut in the title role and Eva Le Gallienne as Julie. The property was rich with musical potential, but before it could be transformed Helburn and Langner had to convince not only their skeptical American authors, but also their Hungarian one.
Molnar had already turned down several requests to turn LILIOM into an opera. And he was ready to resist again, until, at the Guild's invitation, he attended a performance of OKLAHOMA! and was instantly won over. LILIOM could sing, he decreed, if Rodgers & Hammerstein wrote the score.
But Rodgers & Hammerstein had their doubts too. It was not the themes of domestic violence and fateful tragedy in LILIOM that deterred the authors—in fact these issues only served to whet their appetite for challenging work—but the play's locale: Budapest, Hungary. In 1944 Budapest was ravaged by war and setting a play there would only compete with the headlines or, worse, seem exploitative.
If a musical of LILIOM were to work, they concluded, it would have to be relocated, and Rodgers and Hammerstein were reluctant to do so. Helburn suggested a New Orleans setting, with Liliom turned into a tough and exotic Creole character. Oscar Hammerstein II demurred on the grounds that his lyrics, which were always steeped in the dialect of their locale, would become riddled with the "ze's" and "zose's" of the Creole accent and end up sounding like a chorus of buzz saws.
But then Richard Rodgers came up with the concept of New England in the late 19th century and everything fell into place. Liliom would become Billy Bigelow, barker on a carousel in a small fishing village, and Julie would be featured as one of the local millworkers. While images of clambakes and lighthouses danced in their heads, the authors went to work. The very first song they wrote for the score was the most daunting—Billy's powerful and insightful "Soliloquy." As daring as anything in the groundbreaking OKLAHOMA!, this number provided character, motivation, passion and heartfelt emotion—in an unprecedented eight-minute solo.
Structurally, CAROUSEL proved as daring as OKLAHOMA! in style and form, while telling a story that was far more sophisticated. Here, in addition to Billy's "Soliloquy," the innovations included the opening, which scuttled the traditional overture entirely and replaced it with a lush "Carousel Waltz" that underscored a storied prologue in mime; and the now-classic "If I Loved You" scene, in which dialogue and fragments of song were intermingled to breathtaking effects.
CAROUSEL began rehearsals in early 1945. Guiding it was OKLAHOMA!'s stellar creative team: authors Rodgers & Hammerstein, producers Helburn and Langner, director Rouben Mamoulian, choreographer Agnes de Mille and costume designer Miles White. Featured in the original cast were John Raitt as Billy, Jan Clayton as Julie Jordan, and Jean Darling as Carrie.
After tryouts in New Haven and Boston, CAROUSEL opened at Broadway's Majestic Theatre on April 19, 1945, and eventually ran for 890 performances. Even the skeptics were confounded: while it could never be the unexpected revelation that OKLAHOMA! was, CAROUSEL did the impossible—it followed a smash hit by succeeding in its own right. Audiences in the throes of World War II responded deeply to its story of a young widow raising a child alone, and its spiritual imagery had a profound impact on those who had lost a loved one overseas. The effects of CAROUSEL and its authemn, "You'll Never Walk Alone" are haunting to this day.
Winner of the New York Drama Critics' Circle Award as Best Musical of 1945, the Broadway run was followed by a two year national tour. In London CAROUSEL followed OKLAHOMA! directly into the Theatre Royal, Drury Lane, opening in June of 1950 and playing for over a year and a half. In 1956 the motion picture version was released by Twentieth Century Fox. Filmed on location in Boothbay Harbor, Maine, it was originally slated to star Frank Sinatra as Billy and Judy Garland as Julie. However, she withdrew prior to filming and he left over a contract dispute during the first weeks of shooting. They were replaced by the OKLAHOMA! movie co-stars Gordon MacRae and Shirley Jones.
CAROUSEL has been performed by hundreds of theatre and opera companies throughout the world. Notable productions include the Music Theater of Lincoln Center with John Raitt re-creating the role of Billy (1965); a television version starring Robert Goulet with choreography by Edward Villella, broadcast on ABC-TV (1967); and a summer run at the U.S. Pavilion of the 1958 Brussels Exposition, with Jan Clayton re-creating the role of Julie.
Director Nicholas Hytner, choreographer Sir Kenneth MacMillan and designer Bob Crowley collaborated on the revelatory 1992 Royal National Theatre production of CAROUSEL in London, which played to sold-out houses in the Lyttleton Theatre before transferring to the Shaftesbury Theatre in the West End the following September, where it was presented by Cameron Mackintosh.
In March 1994, CAROUSEL marked its first return to Broadway since the original run, playing for a year at the Vivian Beaumont Theater. Presented by Lincoln Center Theater, this CAROUSEL went on to receive a record-setting five Tony Awards (the most of any show that season), including Best Director of a Musical (Hytner), Best Choreography (MacMillan), Best Scenic Design (Crowley) and Best Revival of a Musical 1994. A Japanese production played extended engagements in Tokyo, Nagoya and Osaka in 1995, and a U.S. National Tour visited over 40 cities from February of 1996 through May of 1997, and starred Broadway stars to be Patrick Wilson, Sarah Uriarte Berry and Jennifer Laura Thompson. In 2002, Carnegie Hall hosted a concert performance with Hugh Jackman, Audra McDonald, Philip Bosco, Blythe Danner, John Raitt, Norbert Leo Butz, Jason Danieley, Judy Kaye and Lauren Ward. That same year, Emily Loesser appeared in CAROUSEL at the Royal Festival Hall in London. Shirley Jones played Nettie at the Reagle Theatre in 2005. In 2007, the Boston Pops' CAROUSEL featured Aaron Lazar, Liz Callaway, Jason Danieley and Marin Mazzie, while R&H opera star Lesley Garrett played Nettie in a 2008 West End revival.
CAROUSEL had always been Rodgers & Hammerstein's personal favorite; the latest turns on the CAROUSEL prove that their opinion is still shared by audiences everywhere.
"You'll Never Walk Alone" (music by Richard Rodgers, lyrics by Oscar Hammerstein II) was written for the 1945 Broadway musical play CAROUSEL. The song highlights a momentous plot turn early in Act II, and is reprised as the musical's powerful and inspirational finale.
From the very beginning, this song has always had a special resonance and meaning beyond its context and function within the score for CAROUSEL. During the musical's original Broadway run, with the world at war, many in the audience who had a husband, a brother, a son or a lover fighting overseas, found solace in its meaning and its message.
In addition to numerous recordings of the song on CAROUSEL cast albums and the motion picture soundtrack, "You'll Never Walk Alone" has been recorded by dozens of pop, rock, gospel, country western and opera stars, including: Louis Armstrong, Chet Atkins, Shirley Bassey, Glen Campbell, Ray Charles, Perry Como, Michael Crawford, Placido Domingo, Aretha Franklin, Judy Garland, Gerry and the Pacemakers, Marilyn Horne, Mahalia Jackson, Patti LaBelle, Cleo Laine, Mario Lanza, Darlene Love, Jim Nabors, Olivia Newton John, Pink Floyd, Elvis Presley, The Righteous Brothers, Nina Simone, Frank Sinatra, Kiri Te Kanawa, Conway Twitty and Dionne Warwick.
Rodgers & Hammerstein's "You'll Never Walk Alone" has a unique history in Great Britain where a 1963 cover version of the song by the Liverpool band Gerry and the Pacemakers was embraced by the locals (known as "scousers"), and lead to its adoption as the motto and anthem of the Liverpool Football Club. Subsequently, it has become ubiquitous at football (soccer) matches all over the world.
True to the song's intent, it has also provided inspiration in times of peril, and has served as a potent fundraiser for causes borne out of disaster. In 1985, a recording of "You'll Never Walk Alone" featuring British pop and rock stars, was put together to raise funds for victims of the Bradford Stadium tragedy — and did: the song was a Number One single in Britain throughout the summer of 1985, and raised hundreds of thousand of pounds for the cause. In September 1997, on the eve of the funeral for Diana, Princess of Wales, scores of Londoners who had gathered for the event broke into spontaneous, subdued choruses of "You'll Never Walk Alone." In happier times, BBC live coverage showed over 750,000 Britons gathered on the Mall in front of Buckingham Palace in June 2002, singing "You'll Never Walk Alone" during the 2002 Golden Jubilee of Queen Elizabeth II.
In the United States in recent years, "You'll Never Walk Alone," long associated with Jerry Lewis' Labor Day Muscular Dystrophy telethons, has also been adopted by such causes as Hurricane Andrew and Hurricane Katrina relief and the annual national AIDS Walk campaigns. Marilyn Horne, Joan Baez and others have sung "You'll Never Walk Alone" at AIDS Walk rallies in New York, Los Angeles, San Francisco, Philadelphia and Chicago, and in 1992 Patti LaBelle made a new recording of the song for a national AIDS Walk public service announcement. Bringing the song full circle, at the 1994 AIDS Walk New York, Shirley Verrett and the cast of the Broadway production of CAROUSEL sang "You'll Never Walk Alone" on the Great Lawn in Central Park before a crowd of 30,000. 17 years later, CAROUSEL co-star Audra McDonald sang the song, to a crowd now swollen to over 45,000.
Rolling into the 21st Century, "You'll Never Walk Alone" continues to inspire the world at times of triumph and tragedy. In 2002, opera great Renee Fleming sang it at Ground Zero as part of the first year anniversary commemorations of the devastating 9/11 attacks; in 2009 she sang the song for a worldwide audience once again, this time backed by the US Naval Academy Glee Club on the steps of the Lincoln Memorial for a globally-televised concert in honor of the Inauguration of President Barack Obama.
Suggested Additional Resources
Ewen, David. Richard Rodgers, Holt, New York 1957
_____. With a Song in His Heart (Richard Rodgers), Holt, Rinehart and Winston, New York 1963
Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II, Random House, New York 1977
Green, Stanley. The Rodgers and Hammerstein Story, John Day, New York 1963; DeCapo Press paperback, 1980
_____. The Rodgers & Hammerstein Fact Book, Hal Leonard, Milwaukee 1980
Hammerstein II, Oscar. Lyrics, with an introduction by the author and a preface by Stephen Sondheim, Hal Leonard, Milwaukee 1985
_____. A Real Nice Clambake, illustrated by Nadine Westcott, Little, Brown & Co., Boston 1992
Mordden, Ethan.Rodgers & Hammerstein, Harry N. Abrams, Inc., New York 1992
Nolan, Frederick. The Sound of Their Music, Walker, New York 1978
Rodgers, Richard. Musical Stages: An Autobiography, Random House, New York 1975; Jove Paperback, New York 1978
Taylor, Deems. Some Enchanted Evenings, Harper, New York 1953
Donaldson AwardsJanuary 01, 1945 — 8 Awards including Best Musical, Book, Lyrics and Score
L.A. Dramalogue AwardsJanuary 01, 1994 — 8 Awards
January 01, 1996 — 8 Awards
New York Drama Critics Circle Awards (United States)January 01, 1945 — Best Musical
Theatre World Awards (United States)November 30, 1943 — 3 Awards - Charles Lang, Bambi Linn and John Raitt
July 24, 2013 — 1 Award - Ann Crowley
July 24, 1993 — 2 Awards - Michael Hayden and Audra Ann McDonald
Outer Critics Circle Awards (United States)July 24, 1993 — Best Actress (Musical) - Audra Ann McDonald
July 24, 1993 — Best Set, Costume, and Lighting Design
Laurence Olivier Awards (London) (United States)July 24, 1993 — Best Actress (Musical) - Joanna Riding
July 24, 1993 — Best Performance in a Supporting Role (Musical) - Janie DeeBest
July 24, 1993 — Best Director (Musical) - Nicholas Hytner
November 30, 1991 — Best Musical Revival
Drama Desk Awards (United States)November 30, 1944 — Best Musical
November 30, 1993 — Outstanding Choreography - Kenneth MacMilan and Jane Elliott
July 24, 1994 — Outstanding Director of a Musical - Nicholas Hytner
July 24, 1994 — Nominated for Outstanding Actor in a Musical - Michael Hayden and Outstanding Revival of a Musical
Tony Awards (United States)July 24, 2013 — Nominated for Best Scenic Designer - Oliver Smith
July 24, 1994 — Best Featured Actress in a Musical - Audra Ann McDonald
July 24, 1994 — Best Choreographer - Sir Kenneth MacMillan
July 24, 1994 — Best Director of a Musical - Nicholas Hytner
July 24, 1994 — Best Musical Revival - Produced by Lincoln Center Theatre, André Bishop, Bernard Gersten, The Royal National Theatre, Cameron Mackintosh, and the Rodgers and Hammerstein Organization
July 24, 1994 — Best Scenic Designer - Bob Crowley
Vocal Range of Characters:
|Vocal Type
|Low Note
|High Note
|Julie Jordan
|Carrie Pipperidge
|Nettie Fowler
|Billy Bigelow
|Enoch Snow
|Jigger Craigin
Vocal Range notes for Carousel:
// Photos
Written By: Agnes DeMille
In the last year of her life, legendary choreographer Agnes de Mille revisited her contributions to the original groundbreaking 1945 Broadway production of Rodgers & Hammerstein's CAROUSEL, resulting in an extraordinary video of insight, commentary and recollection. Hosted by the composer's daughter, Mary Rodgers, the video includes the dance sequences from "June is Bustin' Out All Over," "The Hornpipe," and the Act II Ballet, recreated by Ms. de Mille's longtime associate Gemze de Lappe and performed by members of the Nashville Ballet. Commentary from Ms. de Mille and Ms. de Lappe includes analysis, discussion and demonstration, advice and suggestions for the director, and discussion of sets, costumes and lighting. This instructional video is included with the materials provided by R&H Theatricals for CAROUSEL and is recommended for viewing by your entire production team, cast and crew.
The New York Times
Written By: Oscar Hammerstein II
Toward the end of January, 1944, Theresa Helburn and Lawrence Langner beckoned Dick Rodgers and me into a dark corner of Sardi's, put their fingers to their lips with a hushing gesture, looked from left to right to make sure no one was listening, and whispered, 'How would you like to do a musical play based on Molnar's Liliom?' We looked from right to left and whispered back at them in unison: 'No.' A pause. Then Lawrence asked, 'Why?' We took turns listing successive objections, all having to do with the original scene, Hungary. 'It's a beautiful story,' Terry commented wistfully. We agreed. 'Interesting set of characters,' volunteered Lawrence. Granted. We had some cannelloni, and ice cream and raisin cake, and parted.
The following week we met at my house and Miss Helburn was prepared to meet our locale objection: 'Move it from Hungary to Louisiana. You boys say you want to write about America. Louisiana is America$mdash;but it also has a European flavor. Liliom can be a Creole.' This sounded like a good idea. I promised to give it serious consideration.
Well, I brushed up on my Creole atmosphere and ran bang into a disconcerting difficulty$mdash;the dialect. Meanwhile, however, Molnar's tender story and its strange characters had begun to hypnotize us. Dick and I kept telling each other why we weren't going to adapt 'Liliom,' and then we would drift off into a contemplation of all its attractive possibilities. The very difficulties of the job we knew would lead us into unusual devices. We knew we wouldn't wind up with a conventional musical comedy. It was obvious that we would have to mix in values from the dramatic stage and opera. The idea that really opened the way to it all was a suggestion by Dick that at first sounded downright silly. This was to transplant the play to the New England coast. But it sounded silly only for a few seconds.
I began to see an attractive ensemble$mdash;sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty. The poignancy of the story, I was certain, would not suffer from gaiety of background. It would enhance it. As for the two leading characters, Julie with her courage and inner strength and outer simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. So now, for the first time, Dick and I felt that irrational enthusiasm that lures men into the harrowing project of writing a musical play. And away we went.
from 'Turns on a Carousel'
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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.
For use by licensed stage productions of Rodgers & Hammerstein's CAROUSEL, we are pleased to offer the instructional video:
A discussion of CAROUSEL with one of its creators.
In the last year of her life, legendary choreographer Agnes de Mille, revisited her contributions to the original groundbreaking 1945 Broadway production of Rodgers & Hammerstein's CAROUSEL, resulting in this extraordinary video of insight, commentary and recollection, hosted by Mary Rodgers, daughter of the composer.
Featured in this video:Complete uninterrupted dance sequences from CAROUSEL— 'June is Bustin' Out All Over' The Hornpipe ('Blow High, Blow Low') Act II Ballet (Louise on the Beach) Choreographed by Miss de Mille Recreated by her longtime associate, Gemze de Lappe Performed by members of the Nashville Ballet Commentary from Miss de Mille and Miss de Lappe, including analysis, discussion and demonstration Advice and suggestions for the director, including auditioning and casting Discussion of the sets, costumes and lighting Displays of Miles White's costume sketches for the original production
Recommended for viewing by your entire production team, cast and crew
Running time: 75 minutes
Contact The R&H Theatre Library for more information: [email protected]
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
- CAROUSEL - Orchestration (27 Books)
- 1 – Flute I (Doubling Piccolo)
- 1 – Piano-Vocal
- 1 – Flute II (Doubling Piccolo)
- 1 – Oboe (Doubling English Horn)
- 1 – Clarinet I
- 1 – Clarinet II
- 1 – Basson (Optional Bass Clarinet)
- 1 – Horn II
- 1 – Horn III
- 1 – Trumpet I
- 1 – Trumpet II
- 1 – Trombone I
- 1 – Trombone II
- 1 – Trombone III
- 1 – Tuba
- 1 – Percussion
- 1 – Harp
- 2 – Violin I (Divisi)
- 2 – Violin II (Divisi)
- 2 – Viola (Divisi)
- 2 – Cello (Divisi)
- 1 – Bass
- CAROUSEL - Rehearsal Set (22 Books)
- 20 – Libretto-Vocal
- 1 – Dance DVD
- 1 – Logo CD
- 2 – Piano-Vocal
- Digital Logo
- CAROUSEL - Synthesizer String (1 Str Syn I, 1 Str Syn II)
- 1 – Synthesizer String I
- 1 – Synthesizer String II
- CAROUSEL - Two Piano Arrangement (2 Act I, 2 Act II)
- 2 – Two Piano Arrangement - Act 1
- 2 – Two Piano Arrangment - Act II
- CAROUSEL - Reduced Orchestration (18 Books)
- 1 – Bass (Acoustic)
- 1 – Cello (Solo Player)
- 1 – Reed I (Flute, Piccolo, Alto Flute)
- 1 – Reed II (Oboe, English Horn)
- 1 – Reed III (Clarinet)
- 1 – Reed IV (Bassoon)
- 1 – Trumpet I
- 1 – Trumpet II
- 1 – Trombone
- 1 – Viola (Solo Player)
- 1 – Violin I (Solo Player)
- 1 – Violin II (Solo Player)
- 1 – Harp
- 1 – Percussion (Timpani, Triangle, Traps, Bells, Military Snare)
- 1 – Piano Conductor
- 1 – French Horn I
- 1 – French Horn II
- 1 – Keyboard (Synth: plays Accordion and fills out strings as needed)
- Full Score
- 1 – Full Score, Act I
- 1 – Full Score, Act II
3 Women
3 Men
2 Women
2 Men
Large singing-dancing ensemble with Townspeople, Amusement Park Carnies, Youngsters and Seafaring Men
Carrie Pipperidge
Julie Jordan
Mrs. Mullin
Billy Bigelow
1st Policeman
David Bascombe
Nettie Fowler
Enoch Snow
Jigger Craigin
2nd Policeman
1st Heavenly Friend (Brother Joshua)
2nd Heavenly Friend
Carnival Boy
Enoch Snow, Jr.
Dr. Seldon
Townspeople, Amusement Park Carnies, Youngsters, and Seafaring Men
CAROUSEL takes place on the New England Coast between 1873 and 1888.
An Amusement Park on the New England Coast
A Tree-lined Path along the Shore
Nettie Fowler's Spa on the Ocean Front
On an Island across the Bay
Mainland Waterfront
Up There (Heaven)
A Beach
Outside Julie's Cottage
Outside a Schoolhouse
Materials Notes
CLARINET I and CLARINET II are both B-Flat Clarinets.
The BASS CLARINET part in the BASSOON book has been double lined for BASSOON, if a doubler or an additional player is not available.
TROMBONE I, TROMBONE II and TROMBONE III are all Tenor Trombones.
The HARP part may be played on a synthesizer with a harp patch if a real harp is not available, but the HARP part is essential cannot be omitted The PERCUSSION book is written to be played by one percussionist, with the exception of "The Carousel Waltz"� which can be played by either one, two or three percussionists.
The original string breakdown was 5 VIOLINS 1-A, 4 VIOLINS 1-B, 4 VIOLAS, 3 CELLOS and 2 BASSES.
Featured Videos
Featured News
"June is bustin' out all over!" Rodgers & Hammerstein's CAROUSEL receives 2019 GRAMMY® Award Nomination for Best Musical Theater AlbumRead More
Media Rights
1. The Promotional Video shall be recorded and shown for the sole purposes of advertising your licensed production of the Play. For such a video, R&H allows theatres to film up to 10 minutes of total footage taken at either a performance or rehearsal (i.e.: 10 minutes of scripted moments.)
2. The Promotional Video may not include more than (i) 1 minute from any song or (ii) 3 minutes, in the aggregate, of footage of copyrighted material from the Play.
3. The Promotional Video may not include any sponsorship or underwriting without the prior consent of all R&H.
4. The Promotional Video must be submitted to R&H by sending the source video and video link to [email protected]
5. The Promotional Video must include the following: "Rights courtesy of Rodgers & Hammerstein, www.rnh.com"
6. Upon approval by R&H of the Promotional Video, you agree not to make any alterations in the approved copyrighted material used therein and you agree to obtain the prior written approval of R&H for any other use of the Promotional Video not specifically granted herein.
7. Upon termination of the Term, you shall cease to have any rights to use the Promotional Video including, without limitation, in connection with a future production of the Play, and shall immediately remove its content from any and all websites on the Internet.
8. You may not use a commercially available recording.
9. Any additional promotional rights must be approved by R&H by contacting[email protected].
1. Subject to the information provided in Licensee's application and payment of the fee as set forth in Paragraph 3 herein, Licensee shall have the right to create a single copy of the Video for internal archival, private viewing purposes at Licensee's address only and shall not be re-copied, distributed or otherwise exploited, in whole or in part, in any media now known or hereafter developed without the prior written approval of R&H. Without limiting the generality of the foregoing, the Video shall not be (i) sold to anyone (ii) telecast by any television station or network, including, without limitation, any local cable station or (iii) distributed, exhibited or otherwise exploited over the Internet or as part of any online auction.
2. Licensee agrees to include the following language at the beginning of the Video:
©Year By R&H Theatricals. This production was videotaped by special arrangement with R&H Theatricals for archival purposes only. All Rights Reserved.
WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, videotapes or videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine.
This Video is provided to you for private, organizational and home viewing purposes only. By accepting the Video, you agree not to authorize or permit the Video to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.
1. Licensee shall have the right to create the Video and to make up to one hundred (100) copies of the Video for sale at cost to its Members for internal archival, private viewing purpose at Licensee's address and for private, home-viewing purpose by Members, and shall not be re-copied, distributed or otherwise exploited, in whole or in part, in any media now known or hereafter developed without the prior written approval of R&H. Without limiting the generality of the foregoing, the Video shall not be (i) sold to anyone other than the Members (ii) telecast by any television station or network, including, without limitation, any local cable station or (iii) distributed, exhibited or otherwise exploited over the Internet or as part of any online auction.
2. Licensee agrees to include the following language at the beginning of the Video:
©Year By R&H Theatricals. This production was videotaped by special arrangement with R&H Theatricals for archival purposes only. All Rights Reserved. WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, videotapes or videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine. This Video is provided to you for private, organizational and home viewing purposes only. By accepting the Video, you agree not to authorize or permit the Video to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.
Broadway quality show art in a 14" x 22" poster format.
Don't worry about optimizing your poster for printing at 300 pixels per square inch, this poster comes at high resolution, with CMYK colors ready for printing.
Don't worry about leaving a blank margin around your show's artwork: This poster comes with a .25" margin on all sides, letting you trim the edges of the graphic for beautiful, full-bleed, edge-to-edge color.
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Don't worry about needing fancy design programs – these flat .JPG and .TIFF files are ready to use with any free paint or photo editing programs. Free text and video instructions show you how to customize graphics with your theater's text.
Choose between .JPG files that give you compatibility with any program, and .TIFF files providing the highest quality graphics for premium printing, compatible with many programs.


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|Entering the following in the Keyword(s) to search: box:
|Results in:
|Selections containing the word Canada.
|Selections containing the word Canadian
|Selections containing any word that begins with the letters Canad, such as Canada, Canadian, Canadians. Enter the root of your wild card search all in lower case. the search term cannot start with the wild card ("*egin" will not work). It can be used for subtle variations in spelling like "harb*r*" (which should return "harbour" and "harbors").
|Canada OR Ontario
|Selections containing the word Canada or the word Ontario. The "OR" must be entered in CAPS. Alternatively, go to the Advanced Search screen, enter "Canada Ontario" and select the "or" radio button from the "Logic between keywords" list.
|Canada AND Ontario
|Selections containing the word Canada and the word Ontario, but not selections containing just one of those words. The "AND" must be entered in CAPS. Alternatively, go to the Advanced Search screen, enter "Canada Ontario" and select the "and" radio button from the "Logic between keywords" list.
|Ontario Canada
|Same as search above. The search instruction and is understood.
|Ontario AND NOT Canada
|Selections containing the word Ontario but not the word Canada.
|"Canada and Halton"
|Selections containing the phrase Canada and Halton. Note that in this instance the word and is part of the phrase, not a search instruction. Alternatively, go to the Advanced Search screen, enter "Canada and Halton" and select the "phrase" radio button from the "Logic between keywords" list. Note: not all words are stored in the index so words like "of" and "in" may be ignored in your phrase.
|Note that with the exception of the wild card search, these searches are not case-sensitive. Canada will find canada and canada will find Canada. Note that phrases must appear inside quotation marks, as in "Canada and Halton."
The Fuzzy search attempts to enlarge the search by allowing the search engine to find words spelled nearly the same as the ones you entered. It does this by simple letter substitution. For example a Fuzzy search on "Macdonald" returns records with "McDonald" and "Macdonalds" as well. A Fuzzier search adds variations like "Donald."
Behind the scenes, records may have a range of dates that represent a known or reasonable guess about the years associated with a given object. The Fuzzy Date limits your search to records tagged with this class of dates. If you enter the year "1900" and for "how fuzzy?" select "+/- 5 years" the system looks for objects whose date range intersects with the period 1895-1905. If it was tagged with a date range of 1888-1898, for example, that record would be returned, as would records tagged 1880-1920 or 1903-1913. On the other hand, a record tagged 1906-1960 would not be returned.
The Geographic Location limits your search to records tagged with that specific place name. Some of the records in the index may not be indexed by place, and would not appear in the results. Sometimes, places are contained by other places (a bay in a lake, or a village in a township, or a "harbor" in a town). You will need to search each term separately. It is a powerful way to narrow results but use it with caution.
Keyhole Markup Language (KML) is an XML-based language schema for visualizing geographic annotation on two-dimensional maps and three-dimensional Earth browsers.
The KML file specifies a set of features (placemarks, images, 3D models, textual descriptions, etc.) for display in a KML application. The most common of these is Google Earth, but there are a number of other 3D earth browsers and viewers which implement the KML encoding.
Each place located by the KML file uses a minimum of a longitude and a latitude. If additional data is provided, the view can be more specific — for example a "camera view" uses further details such as such as tilt, heading and altitude. Enriched KML files are often distributed as KMZ files, which are zipped KML files with a .kmz extension. When a KMZ file is unzipped, a single "doc.kml" is found along with any overlay and icon images referenced in the KML.You need a KML viewer
The first step to using any KML file is to have an application or browser plug-in which is capable of handling this file format. We'll use Google Earth as the example here.How to use a KML file?
When you click on link to get a KML file for the first time, your browser may not know how to handle this file format, and will simply offer you the opportunity to download it. This means you will then need to locate the .KML file on the computer's desktop (or wherever you have set the default download folder to be) and double click on that file to launch Google Earth.Need More Help with Google Earth?
Excellent Google Earth Help files and documentation are available.

subset: commoncrawl


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Artisan S. wrote:Great programming work Des....I'll send you a package of Neurofen......you'll need it. You should move to Germany and work for KRPANO Klaus.
Greets, Ed.
Destiny wrote:Yes Georg... so true... I would need to take the entire packet of Neurofen to go to the other place.... oh no no no..!...
Besides... we have a strong link already Georg.. Austria - Australia....
Artisan S. wrote:Well in Germany they are beginning to be a part of the landscape......roo's are everywhere......Germans keep them as pets.....and well underestemate the jumping powers of the beasts....so they take a hike and can survive in Germany quite well. Last morning I even woke up to a documentary about Skippy on the German channel Arte. No I think she be best of in Germany.....so KRPANO Klaus will have to move as well.
Greets, Ed.
BTW, who the hell calls a Austrian town Deutschkreuz.....of course you get confused .
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Fibre glass copy of plaster cast of birth chamber at temple of Hathor at Dendera - Egyptian, 1900-1936
This panel is a copy of a relief from the wall on the birth house within a large temple complex in Dendera, Egypt. The original was carved between 31BCE and 141CE. This was when the birth house was constructed as a cult shrine. It was dedicated to the marriage of the gods Amun and Hathor and the birth of their son, Ihy. The original carving dates from the Roman period. It is one of the figures believed to represent the then Roman emperor, Trajan. The birth house was attached to the temple of Hathor. It was constructed to unify the Egyptian religion by assimilating its deity into the more prominent cult of Horus.
Object number:
A634738 Pt1
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Glossary: replica
Use for precise reproductions of valued objects, usually in the same dimensions as the original. For reproductions of an image alone, use "reproductions" or "facsimiles." Use also when more than one similar object is produced by the same artist, craftsman, or studio, with little or no variation between them; if variation is apparent, use "versions." Distinct from "forgeries" and "counterfeits," which are produced with the intent to deceive.
Glossary: birth chamber
No description.


text:
Gas fireplaces with traditional logs and authentic look
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Optional items to finish around the fireplace
Some things never go out of style, like the beauty and old world craftsmanship of a Sovereign wood burning fireplace. Authentic masonry design and attractive finishing options allow you to create the centerpiece of your home.
Get information regarding pricing, promotions, and installation for the Sovereign Wood-Burning Fireplace.
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These bifold doors feature a side opening and add a decorative finish to your fireplace.
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These attractive black mesh cabinet style doors finish off your fireplace beautifully.
Customize the interior of your fireplace with these alternate firebrick kits.
Blower kit extends the heating range of your fireplace.
This optional accessory allows you to control the speed of your blower fan.
Own With Confidence
Why Majestic?Majestic stands for outstanding durability, stunning looks and long lasting performance in wood and gas fireplaces.
Ensuring that we make environmentally conscious decisions is a key factor when selecting the products and services we choose to buy and use.
Learn more about our history, our exclusive technologies, and more here.
Limited Lifetime WarrantyOur Limited Lifetime Warranty is the strongest in the industry. It illustrates our commitment to producing
the best and most reliable products available—and allows you to own your hearth appliance with confidence.
Read more specifics on our Limited Lifetime Warranty here.
Fireplace Safety: Our CommitmentAt Majestic we are committed to your safety. We've led the industry with advanced safety
developments – automatic intermittent pilot ignition systems, protective safety screens and Direct Vent technology, to name a few.
Learn more about our industry-leading safety standards here.
Appliance Depth includes entire unit including depth of firebox and extension onto hearth.
BTU: 1st hour output uses high burn efficiency number. BTU will vary depending on the type of fuel used and moisture content of the fuel.
BTU/hr Input based on maximum feed rate per hour multiplied by approximately 8600 BTU, which is average BTU from a pound of pellets.
This is a general guide, see your local dealer for help in determining the product that best suits your heating needs based on climate, home efficiency, location of the heater, and air movement in the room.
Actual burn times will vary based on how the appliance is operated, load size, moisture content and type of wood used.
Fuel density and pellet shape will affect hopper capacity.
Weighted Average LHV (Low Heating Value) efficiency.
Heat output will vary depending on the type of fuel used. The flame and ember appearance may vary based on the type of fuel burned and the venting configuration used. Actual product appearance, including flame may differ from image shown. Refer to the owner's manual for complete clearance requirements and specifications. Product specifications and pricing subject to change without notice. For testing and listing information please refer to the owner's/installation manual.
*For select products: Heating capacity to be used as a guide only. See your local dealer for help in determining the product that best suits your heating needs based on climate and home efficiency.
†For wood-burning appliances: Actual burn times will vary based on how the appliance is operated, load size, moisture content and type of wood used, and installation.
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Vegan Cooking for Carnivores - by Roberto Martin
Ellen DeGeneres' personal chef, Roberto Martin, shares over 125 delicious vegan recipes he's created for Ellen DeGeneres and Portia de Rossi that he hopes will make healthy vegan cooking accessible and easy for everyone. Portia de Rossi explains in her foreword, "Roberto taught me that the key to making good food vegan is substitution...you can enjoy all your favorite foods and never feel deprived."
Some of the standouts Martin, a Culinary Institute of America-trained chef, has developed for Ellen and Portia include: Banana and Oatmeal Pancakes, Avocado Reuben, Red Beans and Rice, "Chick'n" Pot Pie, and Chocolate Cheesecake. Featuring mouthwatering photographs by award-winning food photographer, Quentin Bacon, this cookbook will appeal to die-hard carnivores and vegetarians alike.


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- Kids Outdoor playground equipment
- Kids Outdoor Playground Facilities
- Kids Indoor Furniture
- Kids Indoor Equipment
- Kids Other Supplies
- Kids New Arrival
- Indoor Trampoline Equipment
Liben kids playground equipment is a professional manufacturer, supplier of low-price-playground, we provide low-price-playground OEM & ODM wholesale, low-price-playground price and more questions, please contact us and follow our Facebook , We will respond in a timely manner, we are not the lowest price of low-price-playground, but we will provide you with better service.
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Low Price Park High Quality Wisdom Series outdoor playground
Contact Person
- Address:
- Yangwan Industrial Area, Qiaoxia Town, 325106, Yongjia County, Wenzhou City, Zhejiang Province, China


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Jaeger-LeCoultre Master Control 1418420
This Jaeger-LeCoultre has undergone a thorough inspection of accuracy, functionality and condition at our Jaeger-LeCoultre certified service centre to determine the level of reconditioning required to meet our strict standards. It has also been checked against our records to ensure authenticity.
Product Description
|19 years (2000)
Manufacturer warranty
|1 year 6 Months remaining
|Product code
|Case size
|Case material
|Bracelet material
|Alligator - Black
|Dial type
|Silver Quarter Arabic
|Water resistance
|30 metres
What our customers say
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Had a really great experience at Watchfinder. Shanaz in Brent Cross was our Sales Advisor and she went above and beyond to help us. She provided excellent service, was professional and polite and real...ly made us feel comfortable when making our decision. read more
Thanks Matthew at Watchfinder Birmingham
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I am delighted with Watchfinder,the…
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Good website, helpful staff, very well presented watch. Very Pleased,
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After purchasing an Omega Seamaster drivers 300m watch from Watchfinder, I was amazed at the level of service, from start to finish the service was outstanding, a great shout out to Kevin who helped m...e trade in my old watch, I had in the past tried to sell my watch to authorised dealers, But the crazy prices they offered me was I could not... read more
Please fill in your details below and our team of experts will be in touch. If your enquiry is urgent, please contact us on 0844 247 8884.
Please fill in your details below and our team of experts will be in touch. If your enquiry is urgent, please contact us on 0844 247 8884.
Watchfinder is proud to be an official Jaeger-LeCoultre Certified Service Centre. Our 4,000 sq ft service centre is staffed with manufacturer certified watchmakers, who use brand approved tools and machinery to ensure every Watchfinder watch meets the exacting standards of the manufacturer.
Our watches have a 12-month warranty for your peace of mind, as well as any remaining manufacturer's warranty from new or from service. Warranty claims on watches covered by a manufacturer's warranty can be sent either to us or direct to the manufacturer.
Please fill in your details below and our team of experts will be in touch. If your enquiry is urgent, please contact us on 0844 247 8884.
Product Code: 133433
Jaeger-LeCoultre Master Control 1418420


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ageing bath time best friend birthday books brushing teeth celebration child play fashion fear fighting with each other goldfish growing up hair happy with looks health holiday how children copy kumon learning new words living with guilt love mealtime with kids morning with kids music play date reading school silly talk with kids sisters sleep habits snow sorry swimming with kids teasers therapy thumb sucking weekend working from home
Archives: November 2010
Such a long awaited, spreading over 2 weeks celebration finally ended with a grand finale this Sunday and Kit is already looking forward to her next one (I am aching from all the running around and of course belly hurts from all the yummy cake(s) trying not to think about the endless miles on the treadmill!!)
There definitely is something magical about this age. The more I look at her, the more I want her to remain this age. The bond between the sisters is so tender now, especially because Kit is beyond the find all, break all stage and Kat is so thankful for that!
This birthday was the first time when Kat shelled out her pocket money to buy gifts for Kit. It was spent on two Barbie movies (Barbie dolls not allowed here but movies are ok), an Ariel colouring book, a Pinkalicious book and a magic wand (this last one was actually our gift but Kat made it her gift cheeky!)
This 4th birthday was also the first time we did something totally different we did a birthday colour coded Scavenger Hunt! It was so much FUN we hid all of Kits presents and she spent the first hour finding them and the look on her face when she discovered them one after the other was priceless...she insists we do the same next year :- )
Kits school made her birthday extra special too. They celebrated a Celebrate Me Week in school for her and every day was so special for Kit. She took something from home to share with her class for circle time. One day was the Tooth Fairy Box, then her first baby clothes and our holiday scrap book. I got to do healthy breakfast with the class one day followed by a favourite story...and a class project another day. So exciting it all was - It never ceases to amaze me how teachers can cope with 18 children all of the same inquisitive, always hyperactive minds of 3-4 year olds...it was hard enough to simply be a guest reader for precisely 5 minutes!!
Birthdays are so special for little ones I still love to spoil them on theirs. I remember how I used to love mine and was so depressed on the evening of my birthday thinking it would be another year before the next one...It is so true you do see your own childhood reflected in your children they do make all the nice things last so much longer. God bless!


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Home > Fitness & Health > Health Library > Oxygen Treatment for Chronic Obstructive Pulmonary Disease (COPD)
Oxygen treatment increases the amount of oxygen that flows into your lungs and bloodstream. If your COPD is very bad and your blood oxygen levels are low, getting more oxygen can help you breathe better and live longer.
There are several ways to deliver the oxygen, including:
You don't have to stay at home or in a hospital to use oxygen. Oxygen systems are portable. You can use them while you do your daily tasks.
People using oxygen should not smoke.
Do not use oxygen around lit cigarettes or an open flame. If you or those who care for you smoke, or if there are other risks for fire, it is important to consider oxygen treatment very carefully because of the danger of fire or explosion.
Long-term oxygen treatment may improve your quality of life. It can help you live longer when you have severe COPD and low oxygen levels. You may notice less shortness of breath and have more energy.
Long-term oxygen therapy is used for COPD if you have low levels of oxygen in your blood (hypoxia). It is used mostly to slow or prevent right-sided heart failure. It can help you live longer.
Oxygen may be given in a hospital if you have a rapid, sometimes sudden, increased shortness of breath (COPD exacerbation). Oxygen can also be used at home if the oxygen level in your blood is too low for long periods.
Long-term oxygen therapy should be used for at least 15 hours a day with as few interruptions as possible. Regular use can reduce the risk of death from low oxygen levels.footnote 1 To get the most benefit from oxygen, you use it 24 hours a day.
Your need for oxygen depends on your health status and the results of oximetry or an arterial blood gas test.
You may need oxygen in certain situations, including:
Several studies show that using oxygen at home for more than 15 hours a day increases quality of life and helps people live longer when they have severe COPD and low blood levels of oxygen.footnote 2, footnote 3 Oxygen therapy has good short-term and long-term effects in people who have COPD.
Using oxygen may also improve confusion and memory problems. It may improve impaired kidney function caused by low oxygen levels.
Typically there are no risks from oxygen treatment as long as you follow your doctor's instructions. But oxygen is a fire hazard, so it is important to follow safety rules. Do not use oxygen around lit cigarettes, open flames, or anything flammable.
Oxygen is usually prescribed to raise the PaO2 to between 60 and 65 mm Hg or the saturations from 90% to 92%. Higher flow rates usually do not help, and they can even be dangerous.
McIvor RA, et al. (2011). COPD, search date April 2010. Online version of BMJ Clinical Evidence: http://www.clinical evidence.com.
McIvor RA, et al. (2011). COPD, search date April 2010. Online version of BMJ Clinical Evidence: http://www.clinical evidence.com.
Global Initiative for Chronic Obstructive Lung Disease (2017). Global strategy for the diagnosis, management, and prevention of chronic obstructive pulmonary disease. http://goldcopd.org/gold-2017-global-strategy-diagnosis-management-prevention-copd. Accessed November 27, 2016.
Other Works Consulted
Global Initiative for Chronic Obstructive Lung Disease (2017). Global strategy for the diagnosis, management, and prevention of chronic obstructive pulmonary disease. http://goldcopd.org/gold-2017-global-strategy-diagnosis-management-prevention-copd. Accessed November 27, 2016.
Long-Term Oxygen Treatment Trial Research Group (2016). A randomized trial of long-term oxygen for COPD with moderate desaturation. New England Journal of Medicine, 375(1): 1617–1627. DOI: 10.1056/NEJMoa1604344. Accessed November 7, 2016.
Current as of:
June 9, 2019
Author: Healthwise StaffMedical Review: E. Gregory Thompson MD - Internal MedicineKathleen Romito MD - Family MedicineAdam Husney MD - Family MedicineHasmeena Kathuria MD - Pulmonology, Critical Care Medicine, Sleep Medicine
Current as of:
June 9, 2019
Healthwise Staff
Medical Review:E. Gregory Thompson MD - Internal Medicine & Kathleen Romito MD - Family Medicine & Adam Husney MD - Family Medicine & Hasmeena Kathuria MD - Pulmonology, Critical Care Medicine, Sleep Medicine
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use and Privacy Policy. Learn how we develop our content.
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Pastor Refuses To Pay Tip -- And Receipt Goes Viral [UPDATE]
Employees have on occasion been guilty of doctoring receipts to say offensive things. There was the Hooters receipt that referred to two Korean immigrant customers as "Chinx" (they filed suit), the Maryland RadioShack employee who called a customer an "ugly itch" on her receipt, from "ghettohood, usa."
But customers can get creative on receipts too, as with the Applebee's receipt that advised the server to "Stop eating b*tch!" And like the restaurant customer -- purportedly a pastor -- who scratched out the automatic 18 percent gratuity, and scribbled in: "I Give God 10% Why do you get 18," according to a photograph recently posted to the online forum Reddit, and picked up by the Consumerist.
The self-described server who posted the photo said on the Reddit thread that the gratuity was only included because it was a table of 20, and only parties under eight can choose to tip how much they like. "It's in the computer," he writes, "it's not something I do."
UPDATE: After the receipt went viral, Pastor Alois Bell, of the St. Louis-based Truth in the World Deliverance Ministries, reportedly called up the Applebee's and demanded that everyone involved -- from servers to the managers --be fired, reports Gawker. While the entire staff wasn't fired en masse, the waitress who posted the receipt to Reddit was canned.
"I originally posted the note as a lighthearted joke," the woman told The Consumerist. The woman, identified as "Chelsea," said that she wasn't the pastor's server that night -- but she saw the note and took a photo of it. "I did my best to protect the identity of all parties involved. I didn't break any specific guidelines in the company handbook -- I checked," said Chelsea, who earns $3.50 an hour. With tips, she said, she usually earns less than $9 per hour.
For her part, Bell regretted leaving the note on the bill, calling it "a lapse in my character and judgment" that was "blown out of proportion."
More:The Rich Less Likely To Support Raising The Minimum WageThe receipt was for $34.93, although the full table's bill came to over $200, according to the server. The receipts shows the automatic tip of $6.29 as scratched out, and $34.93 entered as the total, along with the word "Pastor."
Christians are in fact more likely to tip badly than diners with no religious affiliation, according to a study on the subject by Michael Lynn of Cornell University. While Christians gave an average of 17.3 percent for good service, a significant minority -- 13 percent -- left less than 15 percent gratuity for good service, which is double the percentage of unaffiliated diners who tip in that range and six times the percentage of Jewish diners who do the same.
Several servers have reported receiving a $10 bill as a tip, only to find it's phony, with the words "SOME THINGS ARE BETTER THAN MONEY" written on the back, "like your eternal salvation, that was brought and paid for by Jesus going to the cross."
Some Christian leaders have even spoken out on the issue, such as Daniel Readle, a pastor at a Baptist church in Cleveland. As he wrote on his blog: "By leaving tracts and not tips, that person is saying to their waiter or waitress, 'You are not a person, but rather just a notch on my belt of evangelistic pride.' "
CORRECTION: An earlier version of this story mistakenly said that a message on an Applebee's receipt was directed at a customer from a server. The message saying "Stop eating b*tch!" was reportedly written by a customer and directed at a server.
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Allen Hale: Hoping to soar into office
Allen Hale was starting Day Six without power, thanks to Hurricane Isabel, when he spoke to The Hook. He wasn't sweating sitting in the Hot Seat without a shower, though, because the day before, he'd literally jumped in a creek.
The longtime Nelson County resident is challenging incumbent Watkins Abbitt for the 59th District seat, a fairly obscure House of Delegates district that, in fact, is Virginia's largest, thanks to the magic of redistricting. Its biggest towns are Appomattox and Dillwyn, and it takes in a large chunk of Albemarle County: everything west of Scottsville and south of I-64, a swath that includes Batesville, Covesville, and North Garden.
Hale's Virginia roots go deep. He was born in Charlottesville, and his family hails from Staunton. But he's also a man of the world, having graduated from high school in Rome and then later serving in Vietnam and El Salvador when he was with the Foreign Service.
His resumé boasts a variety of jobs: hydrologist, reporter, and English teacher in Rangoon. He became familiar with Nelson County during a stint at the Daily Progress, and when he decided to settle down stateside, that's where he went.
Hale revived his father's surveying business– and opened a natural history bookstore, Buteo Books, that's got the largest ornithology collection in the country. "I was able to combine an avocation and interest in birds with a business," he says.
And the most exciting find of a birdwatcher who has been all over the world with his binoculars? "The presence of the bald eagle here," he says. "I've seen lots of bald eagles, but they nest in Albemarle County."
This is not Hale's first run for office– he sought the Democratic nomination in 2000 to run against Virgil Goode for the House of Representatives' 5th District seat, and from that race he learned, "Politics is a dog-eat-dog world. It takes money to run, too much money, certainly for a U.S. Congressional seat."
Even a run for the state House requires cash. So far, Hale has raised $20,000, "probably a third of what my opponent's raised." He points out that, aside from a $3,000 contribution from Mitch Van Yahres' Road Back PAC, most of his donations have come from individuals.
And if elected, what will Hale do differently? "I strive to be honest with constituents and give people straight answers," he replies. He doesn't like politicians' tendencies to make promises which they can't deliver on, and he told one potential supporter, "I can't promise you anything." That strategy may have potential, because the response he got back was, "You've got my vote."
Age: 60
What do you like best about Charlottesville? The university, the great choice of fine restaurants, and the used bookstores.
What do you like least about Charlottesville? The continuing racial divide and the traffic.
Favorite hangout? My hawk-watching spot at Rockfish Gap and, in times past, the C&O.
Most overrated virtue? Piety
What would people be surprised to know about you? I flew with Charles Lindbergh on PanAm's inaugural flight from Rome, Italy, to Rabat, Morocco, in 1962.
If you could change one thing about yourself, what would it be? Less impetuous behavior, particularly when I was younger.
What accomplishment are you proudest of? Building my house with the help of family and friends, and the success of my small businesses.
What do people find most annoying about you? Failure to adhere to advice.
Whom do you admire? Mustafa Kemal (Ataturk), the father of modern Turkey, a military man who led his country from the ruins of the Ottoman Empire to a secular democratic state, but in the process, sought neither wealth nor glory for himself.
Favorite book? Peter Matthiessen's At Play in the Fields of the Lord
What subject causes you to rant? The failure to recognize that the increase in human population has a negative effect on quality of life and the natural world around us.
What thrills you about life in the 21st century? The ease with which one can travel to the most remote places of the world, e.g., Kapawi, on a tributary of the Amazon in Ecuador where one can meet with the Achuar people and walk in the rainforest. And, the facility with which information can be found and conveyed on the Internet.
What creeps you out about life in the 21st century? The growing disparity between wealthy nations and poor nations, and the conflicts that arise from these conditions.
What do you drive? A GMC Suburban for business and a 1974 BMW motorcycle.
What's in your car CD/tape player right now? Robin and Linda Williams' The Rhythm of Love
What's your next journey? In January, to Richmond to take a seat in the House of Delegates.
What's the most trouble you've ever gotten in? Drinking Scotch with a pair of KGB agents (unbeknownst to me) at a German Embassy reception, early in my Foreign Service career
What do you regret? Not being fluent in several languages
Favorite comfort food? Spudnuts when in Charlottesville, honey buns in rural Virginia
What's always in your refrigerator? Cilantro, salsa, beer
Must-see TV? West Wing, but I fear for the new season.
Favorite cartoon? Doonesbury
Describe a perfect day. Walking and watching birds in good weather
Walter Mitty fantasy? Being a benevolent dictator in a tropical paradise
Who'd play you in the movie? Jason Robards
Most embarrassing moment? On a wager that I could be in West Virginia within the day, I jumped a freight train headed west. It switched back and forth and then parked in the yard.
Best advice you ever got? Political advice: listen. Business advice: buy low, sell high.
Favorite bumper sticker? Hale, Yes!


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19 March 2013 at 12.16pm | Comment on this article
The Kingdom of the Shades, Act III of Petipa's La Bayadère, is one of the most celebrated moments in classical ballet. Mesmerizing and dream-like, the sequence involves the entire corps de ballet dancing across the stage in perfect unison. The dance, which reflects Solor's opium-fuelled hallucination, demands absolute synchronization and is one of the ultimate tests for the dancers. Ballet Mistress Samantha Raine is currently in the middle of rehearsals. We caught up with her to find out more.
Why is The Kingdom of the Shades so well known?
It's famous for the entrance of the 24 shades, where the girls perform a series of 39 arabesques. This is followed by a difficult adage sequence where they need to breathe and dance as one. It's beautiful when you see it and looks stunning when all of the girls appear from behind the cloth.
How do you go about preparing the corps de ballet for such a sequence?
We start by teaching each step with the music so that everyone knows exactly how it works musically: when you step, when you lift your leg to the arabesque, which way you look, which way your arm goes - all of the details. Then, the challenge is getting everyone in line.
At the start of the sequence, the dancers enter via a ramp. We can rehearse most things in the studios, but unfortunately there is no ramp to practice on. We will only have about three or four stage calls for La Bayadère, and the dancers will have to get used to balancing on the ramp, and to the lights shining in their eyes.
I think it is one of the hardest dances for the corps de ballet nerve-wise. There are lots of holds and arabesques, and you just have to be really calm. It's the most nervous you can get with that many people on stage because if one person puts their leg down or wobbles, your eye goes straight to that person. Also, you're in tutus so there's no hiding anything!
The girls are already thinking ahead, and lots of them are working hard in pilates classes to get extra strength in their ankles to prevent any wobbling. As a dancer, you know what's in the rep and it's up to you to be at your best.
I know from dancing the different roles that it was probably one of the scariest as a corps de ballet. However, it's very rewarding afterwards when you know everyone has danced as one and in a team.
How do the dancers keep time and achieve these perfectly straight lines and formations?
It's a case of watching each other to make sure you're in line. Your eyes have to go both ways – forwards and sideways – to check you are in line in both directions. It's just practice really. To help achieve the straight lines, there will always be markings on the stage - tape is used to mark a centre line and lines from the centre to the wing, and to achieve unison, it is largely musical. Perhaps most of all, you have to be watching all the time.
Choreographer Natalia Makarova said: 'In this ballet the corps de ballet is the leading role and each member of it should feel like a ballerina. Yet the corps must always work together as a unified whole, they must dance and breathe as one'. How do you achieve this delicate balance?
Everyone is working together and no one wants to let anyone else down, but you also need to feel special. If you feel you are just one of 24, it doesn't work because you'll never get the right atmosphere or the right mood. You always need to work thinking that you are the only person on stage.
La Bayadère runs from 1–17 November 2018. Tickets are still available.
Staged with generous philanthropic support from Mrs Aline Foriel-Destezet, Simon and Virginia Robertson and The Tsukanov Family Foundation.


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How to Define Your Perfect Partner
Recently, I spent an afternoon helping a friend write her first online datingprofile. She told me she had a clear vision of her future husband but would allowfor some wiggle room (she wanted to be open-minded, after all). Her dream mancould be chubby, as long as he was willing to work his gut off at the gym. Hecould be struggling, provided he had fierce ambition. If he wasn't especiallyfunny, he had to be smart. If he wasn't smart, then he'd better be rich. If notrich, then he'd best be funny and smart and hot, because who would pin herromantic hopes on a homely, unemployed, humorless idiot?
Hmmm. I guess I would, in theory. An unemployed guy would be able to spend moretime with me—and my kids—than a wealthy workaholic could. Aless-than-gorgeous man might have fewer opportunities to be unfaithful and sowould be all the more sexually attentive and perhaps more grateful for myaffections. A husband who couldn't tell a joke might be the perfect straight mangiven my perpetually wisecracking sensibility. (Someone has to play the part ofthe audience.) As for IQ, well, intelligence comes in many forms. An attentive,appreciative, faithful man who could teach me a few new things (like how to fix abroken faucet or even dance the tango) didn't sound half bad.
Besides which, I informed my profile-writing friend, a "hot, rich, funny,smart" 30-year-old could, by the whim of fate and the ravages of hard living andfoolish decisions, turn into a bald, bloated, broke slob. A struggling lost soul,on the other hand, might end up finding his fortune. (Don't believe me? Try goingto your 20th college reunion, and then we'll talk.)
It's human nature to hope for optimum happiness and to plan the best course ofaction to get there. When I was in my 20s and getting dumped by one guy afteranother, I worked with a well-worn list of my own, one that contained all theclassic requirements for a future mate. I envisioned someone who was tall, funny,smart, cute, ambitious and, of course, really into me. When I met Glenn, my firsthusband, I felt smug about how well he fit my requirements. Except just ashappiness and success aren't a given in this life, having a long, healthy life isnever a sure thing, either. Glenn, a man with a promising future ahead of him,died of lung cancer at age 34. He never got to fulfill his promise. And I became a35-year-old widow with two very young girls.
After months of grieving, it became a comfort, even part of my healing process,to fantasize about falling in love again. I envisioned a man who would lift me outof my loneliness, so once again, I created a list of this future partner'squalities. My new list, however, bore no resemblance to the one I'd used earlier.Evidently, my emotions and priorities had evolved over the decades, through hardlife experience.
It's a good thing they did or Steve—short, living paycheck to paycheck,11 years older than me and with a heart condition—wouldn't have cleared thefirst-date hurdle. But I did date him, and I quickly became enamored. My friends,who likely wouldn't have considered Steve for more than a fling, warned me not tofall for the first guy who came along. Of course, they stopped short of saying,"You're settling," because, as doubtful as they were about my handsome butconsiderably older, not to mention cash-strapped, new beau, they were relievedthat after all the heartache I'd been through, I was feeling happy again.
And I was happy, deliriously so. There was the chemistry and red-hot sex. (Icouldn't get enough of it!) Plus, contrary to my friends' ideas of what I shouldor shouldn't be looking for in a mate, Steve happened to meet every item on mynew-and-improved checklist, starting with the very first one:
He likes kids. When I met Steve, I had two daughters (Maggie,6, and Lucy, 2), and they needed a father, or at least a father figure. I had highhopes for Steve's kid-friendliness because of the way he talked about and doted onhis 11 nieces and nephews. After we'd been dating for three months, I invited himover to meet the girls. My older one made a huge food mess, my toddler spilledsoda on him, and both of them threw tantrums about going to bed. In short, theywere pretty much hateful, screaming brats. After I'd finally gotten them to sleep,I apologized for their behavior, afraid he'd run screaming himself. "Yeah, theywere acting up a bit tonight," he acknowledged. "But I can tell that they'recheerful. They actually seem like they'd be a lot of fun." Check (mate).
He doesn't have too much emotional baggage. With the deadhusband and two fatherless children, I had enough baggage for the entireneighborhood, thank you very much. Call me shallow, but I was not interested intaking on someone else's problems, complications and issues, whether crazyex-wives, troubled children or deep psychological complaints. Steve was a bachelorwhen we met. He'd had several long-term relationships, but none had progressed tomarriage for what seemed to me to be good reasons. Incredibly, he was friends withmost of his not-certifiable exes. There were no bastard children tugging on histrousers, no bitter family stories or scarring childhood recollections. He seemedemotionally clean and willing to take on me and my brood. (Baggage) check.
He's fun. I'd had a devastating year caring for my husbandduring his illness, grieving over his loss and shepherding Maggie and Lucy throughthe minefields attached to that process. By the time I got to the other side ofmourning, I craved the company of a guy who wasn't averse to occasionally gettingsloppy drunk, making out in cars, eating weird food, singing (loudly) and havingadventures, even if only within the four walls of the bedroom. In short, I didn'twant to hear the word no. Steve always said yes to having a good time. (Double)check.
He loves sex. I consider this a special subcategory of fun.Steve was up for anything and everything, many times a night. To my mind, that waspretty impressive for a then 47-year-old. Sex drive, I learned, doesn'tnecessarily have an age limit. Older men really are superior lovers. Check (themout).
He's flexible. What with picking up the kids at school at 3and putting them to bed by 9 at night, my day-to-day routine was pretty much setin stone. During my months as a new widow, I fantasized about a man who could fithis schedule into my rather inflexible parameters. Selfish? So be it. I'd spentmost of my dating life and even my marriage accommodating my partner's needs. Thistime, my mate would have to shape his existence around mine. Steve, an operasinger by profession, traveled a lot on tour. He rehearsed and performed manyevenings. But he was free during the day. During our first few months together,all our dates took place from 10 a.m. to 2 p.m., while the kids were in school. Hedidn't have pets (or even plants) at his apartment, so he was happy to come to myplace for days on end. Steve wasn't simply flexible; he understood and acceptedthat I truly couldn't be. (Reality) check.
He genuinely loves what he does for a living. I'd watchedGlenn struggle with his career for years. Because he wasn't sure exactly what hewanted to do, he changed jobs repeatedly. Grasping for clues, he went to graduateschool to get his MBA and did well there. Yet as successful as he was, Glenncouldn't find his true calling, and his doubts were a persistent theme in ourmarriage. I tried to sympathize as he tried to find himself. But I struggled withhis uncertainty, too; it was stressful for both of us. After his death, I decidedthat whoever my next husband turned out to be, it was more important that he lovedhis work than that he made a lot of money doing it. Here came Steve, anot-quite-starving artist. (Incidentally, as the principal baritone for a New YorkCity opera company and an orchestral French horn player, he also happened to be atthe top of his profession—but that doesn't mean he was well paid for hisgigs; he earned enough to cover his rent and other modest living expenses.) Tyingthe knot with someone who offered financial security would have been nice, but tome, Steve's passion for his work held even greater value. He loved what he did, heworked hard at it and he couldn't imagine doing anything else. Check (but, alas,not in the mail).
He'd bravely faced life's challenges. In addition to finding aman with a playful side, I also hoped to find someone who had been to the darkplaces I had, someone who was acquainted with illness and loss but who didn'tdwell on it or romanticize it. I sought a forward-thinking survivor because thatwas how I characterized myself. Although Steve's family tends to live freakishlylong (his grandfather made it to 94), Steve had gone through serious healthproblems in his 20s, including severe colitis and a heart arrhythmia. Once, he'deven come close to dying. His attitude about it all: Those experiences were in thepast. He remembered them but didn't harp on them or fret about them. (Perspective)check.
My new love list was based on what I felt to be important in a marriage. It wasalso built around what my daughters and I needed most at that time in ourlife—namely, a man of character. Money, height and six-pack abs seemedinsignificant when compared with courage, openness, conviction and passion. Stevewas my fantasy man made real. Ten years into our relationship, six years into ourmarriage, my "list" qualities are still what I most love about Steve, who,incidentally, is as strapped for cash as ever. Of course, one day, it's possiblethat Steve or I will fall out of love. (There are no guarantees in love or life,as I well know.) But I doubt it. It's more likely we'll run out of money. For thisreason alone, a lot of women might conclude that I settled for my husband. But howcould that be when I've found the person who is everything I dreamed about andactually meets all the requirements on my list? Choosing anyone other than Steve,all 5 feet 5 inches of him, would have been selling myself short.


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A drunken driving charge against veteran ABC News personality Sam Donaldson has been dismissed after a Delaware judge ruled that police lacked probable cause to arrest him.
WATCH: Missing Woman's Remains Found 34 Years Later
A Sussex County judge also said Friday that there was insufficient evidence against Donaldson.
Police in the southern coastal town of Lewes stopped 79-year-old Donaldson last December for a traffic violation.
Police say the officer determined Donaldson had been drinking and gave him field sobriety tests. Donaldson, a resident of McLean, Va., subsequently was charged with drunken driving.
Defense attorney Eric Mooney said Donaldson was "extremely satisfied" with the outcome of the case.
Donaldson's career at ABC News included stints as chief White House correspondent and co-host of "PrimeTime Live" and the Sunday morning broadcast "This Week with Sam Donaldson and Cokie Roberts."


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So, I tried to google a free program that can edit .isos as an archive without extracting them / breaking them as bootable disks and requiring me to rebuild them.
Unfortunately I could not find a freeware program that did this via google - the ones that I found have converted to shareware / spyware.
Anyone know of any?
Edit: This problem has been solved, use 7-zip to take something apart and imgburn to put it back together.


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Quote: Low kicks actually start earlier, with Jhoon Gun (if I'm not mistaken, a blue belt pattern).
Quote:the safety reason is kind of moot, seeing as other arts train leg kicks regularly and its not a huge issue.
Quote: and which one of all the others is Olympic??
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