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Cast Size: Small (1-10) • 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 • Religious Organization.
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Having no delusions of grandeur, "The King and I" does not attempt to solve the problem of the East and the West. It never strays very far from the immediate needs of the people in the play while they are getting to know each other, as the key melody phrases it. But "The King and I" is a seriously intended and deeply moving experiment in human understanding. It richly deserves the affection everyone has for it.— Brooks Atkinson, The New York Times, October 05, 1952
Written By: JANE NORRIS
An interview with Bayork Lee
When the curtain rises Saturday on Ash Lawn Opera Festival's production of "The King and I," the commanding main character won't be the only Broadway royalty in the house.
Baayork Lee, who played Princess Ying in the original Broadway production of the Richard Rodgers-Oscar Hammerstein II musical, is in the director's chair, leading the second show of Ash Lawn Opera's season.
The thrill of that first experience of Broadway magic turned a wide-eyed child into a focused student of theater — and a lifelong fan of the musical.
"This show changed my life," Lee said. "I was 5 years old, and I made my mind up at 5 that this is what I wanted to do. I wanted to dance. I wanted to be in the theater.
"I've come full circle — I'm directing 'The King and I.' It's an honor to be here and to be giving it to a new generation."
Layers of sentiment make the Ash Lawn experience meaningful for her. Lee is working once more with longtime friend and frequent collaborator Susan Kikuchi, who is choreographer and associate director.
Kikuchi was 7 when she first appeared in "The King and I," and she and Lee formed a friendship while both appeared in "Flower Drum Song." Both were spellbound by what they experienced, though Lee said that Kikuchi gravitated more toward modern dance, while Lee found her calling in musical theater.
"We have local dancers, and they are learning the original Jerome Robbins choreography" from Kikuchi, Lee said.
"Susie and I have lived 'The King and I.' Susan's mother was the original lead dancer — and I watched her dance, and that was what I wanted to be. I think that because I was so focused as a child, I didn't have any distractions, and here I am.
"I'm so lucky, because in my life in musical theater, I've been blessed, and I've just let it happen."
Lee has been involved in many productions of the classic musical over the years, but she said one feature of Ash Lawn Opera's version sets it apart.
"I have voices at Ash Lawn," Lee said. "When you're in musical theater, you don't get voices like this."
Lee describes the voice of Brandy Lynn Hawkins, who sings the role of Lady Thiang, as "superb" and that of Elizabeth Andrews Roberts, who sings the leading role of Anna the British governess, as "sublime."
And of bass-baritone Seth Mease Carico, who plays the ruler of Siam, Lee said, "Keep an eye out for the King.
"The King," Lee said with a laugh, "he's the big surprise. He was a favorite here last season, and everyone will be surprised to see him."
Fans who attended last year's festival heard Carico as Leporello in "Don Giovanni" and Jeff in "Brigadoon."
"I am excited. I've done so many shows, but to hear these voices — it blows me away," Lee said. "Ash Lawn's production is like no other."
Carico and Roberts bring the many layers of the complicated relationship between Anna and the King to life, Lee said. A spark between the two actors is important, because the musical delves into complex issues of cultural differences in romantic relationships, gender roles and class distinctions.
Anna is a spirited Westerner, an independent woman who's suddenly immersed in a world in which women have few rights and fewer undergarments. The King of Siam, who has multiple wives, is amazed to hear a woman speak to him as if she were an equal.
As Anna settles in to teach the King's children and help bring more awareness of Western culture to the royal court, the schoolmarm and the monarch learn to respect each other's points of view.
They're immediately drawn to each other's intellects, which, in another time and another place, might have become the bedrock of a remarkable friendship. And there's no denying that the romantics in the audience still keep looking for a spark, a hint, a possibility that love might bloom, no matter how deeply ingrained the royal protocol and social mores that stand between them. Hello, young lovers, indeed.
"The chemistry between the two of them is important," Lee said of Roberts and Carico. "They've found the man-woman relationship when it's needed. They've found the king-schoolteacher relationship when it's needed."
So, while actors are following iconic portrayals by Gertrude Lawrence and Yul Brynner, "how do you make it your own? That's the actor finding his inner strength," Lee said.
Of course, there's much more to Lee's busy career than "The King and I."
Fans of "A Chorus Line" may know that Lee created the role of Connie in the hit musical. They might not realize that "A Chorus Line" is what brought Lee to Charlottesville the first time.
The national tour came to the John Paul Jones Arena on Feb. 25, and Lee eventually said goodbye to the production to work on "The King and I" for Ash Lawn Opera.
And there's yet another musical connection: Lee and conductor Jon Kalbfleisch worked together decades ago on a production of "Gypsy."
But the magnetic pull of "The King and I" never is far away. Lee said the show has stood the test of time because "Rodgers and Hammerstein were so far ahead of their time" in terms of taking a more mature and modern look at race relations and cultural differences than had been seen in other musicals of the era. Cultural contacts during World War II had made the world a much smaller place, and Rodgers and Hammerstein reminded a popular culture that had treasured its homogeneity that other cultures had valid viewpoints of their own.
"They were so far ahead of their time with 'South Pacific,' '' Lee said. "There's the musical genius — they don't make songs like that anymore. It's like an operetta.
"And it has a very important story to tell. Everybody who comes to see it gets wrapped up in that relationship."
Table of Contents
THE KING AND I is based on a 1944 novel by Margaret Landon, Anna and the King of Siam which, in turn, was adapted from the real life reminiscences of Anna Leonowens as recounted in her own books The English Governess at the Siamese Court and The Romance of the Harem.
The time is the early 1860s. The place, the royal capital city of Bangkok in the kingdom of Siam. Anna Leonowens, an attractive English widow, arrives in Bangkok with her son Louis. She has been engaged by The King of Siam to teach English and other Western ideas and philosophies to members of the royal family, including the King's many wives and many more children. Escorted ashore by the King's Prime Minister, The Kralahome, Anna is at first unsure that she and Louis have made the right decision by coming to Siam.
In the King's court, attempts toward implementing Western values clash with old fashioned customs and traditions. Even as the King is proclaiming his belief in the ideals of the West, he accepts a gift from the King of Burma – a peace offering, a slave. The King admires the young girl, Tupim, not suspecting her lack of interest in him nor the fact that her true love in Lun Tha, the young Burmese who has escorted her to Bangkok.
Anna is finally presented to The King, and her doubts turn to indignant anger when it seems that His Majesty has a cavalier way of forgetting issues that do not interest him – such as Anna's salary, her days off and the issue of a brick house that was supposed to be built for her adjacent to the Royal Palace. But, on the verge of storming out, Anna is coxed into meeting the Royal Children. She is introduced to the King's first wife, Lady Thiang, and in turn to the King's children. That settles it. She stays to teach.
In the classroom Anna instructs the Royal Children, the King's wives and sometimes the King himself. They learn of a great outside world where there exists such strange and unheard wonders as snow, ice, and freedom of the individual.
When the King learns that a British diplomat, Sire Edward Ramsay, is on his way from Singapore to Bangkok ostensibly to pay his compliments to the King but also to assess the monarch's hold on his own thrown, Anna cleverly finds a way to help the King convince Sir Edward that is a sophisticated and commanding leader. Anna suggests that the King host a dinner for Sir Edward in the European style, with his wives dressed in the latest European style, and with an entertainment provided by the quick and intelligent slave girl Tuptim.
The King is so happy with the thought of this forthcoming dinner, and recognizing the friendship that is growing between himself and the equally strong-willed "Mrs. Anna," he now promises Anna that she will get her brick house, according to their agreement.
The dinner proves a great success, despite the discomfort and anger that arises from the King during Tuptim's presentation of "The Small House of Uncle Thomas," in which Harriet Beecher Stowe's passionate denunciation of bigotry in American has been transformed into a Siamese ballet. Nevertheless, the troubled mood of the moment is quickly forgotten in the warm and encouraging endorsement of his regime that the king receives from Sir Edward.
The plan has worked. Alone in the ballroom now, congratulating each other on the evening and reliving its finest moments, Anna and the King bask in their friendship. He recalls, from earlier in the evening, the strange Occidental custom of a man dancing with his arm around a woman's waist. The King persuades Anna to teach him the English dance and it becomes apparent, as they dance the polka, that there exists a strong attraction between them.
The mood is shattered by the startling news that Tuptim and Lun Tha have escaped together from the Royal Palace. They are discovered by the King's secret police; Lun Tha is killed, and Tuptim is captured and returned to the palace. Outraged, his pride wounded, the King is prepared to punish her himself; his arm upraised, the whip in his hand, he is ready to lash punishment across her back when Anna intervenes. Defiantly she tells him that this regression to savagery and barbarianism undermines all that he has strived for since she came to Siam. The King realizes that Anna is right, but with that realization his power as an absolute monarch is gone also, and putting down the whip, the King flees from the room, a broken man, a confused and unsteady leader.
Anna realizes that she has humiliated the King that she can no longer remain in Siam. Her belongings are packed and placed aboard a ship. As she is about to embark, she receives a note from the King, who is dying. The note expresses his gratitude for all that she has done for him. Tearfully Anna returns to the Palace to see the King.
Lying near death, the King is surrounded by his wives and his children. When they see Anna, the children embrace her and beg her not to leave them. Anna is deeply moved and now realizes how much she loves them and how much they need her. Dying, the King directs Anna to take notes from Chululongkorn, the new King. The Prince, who has learned his lessons well from Anna, regally announces that henceforth there will be no servile bowing and scraping before him. As the King dies, Anna, the Kralahome, the wives and children sink to the floor in a low curtsey and bow, in final obeisance to the dead King, and with a respect for the new one.
Rodgers & Hammerstein's first musical play based on a true story was also the first project brought to them by a star who wanted to play the leading role. The star was Gertrude Lawrence, and her idea for a musical came from the highly popular novel, Anna and the King of Siam by Margaret Landon which, in turn, was based on the memoirs of Anna Leonowens, a 19th century Englishwoman who became governess to the children of the King of Siam.
Coincidentally, a few years before Miss Lawrence approached Richard Rodgers and Oscar Hammerstein II, they had already had the idea pitched to them by their wives. Both Dorothy Rodgers and Dorothy Hammerstein had read the Landon book, but it wasn't until Rodgers and Hammerstein viewed a screening of the 1946 film version of the Landon novel that they came around. The film, starring Rex Harrison as the King and Irene Dunne as Anna, provided Rodgers and Hammerstein with the clue they were looking for: yes, the history was fascinating, and yes the exotic themes and settings were ideal for musical pageantry and spectacle; but a good musical also needs story and conflict and here—in the multiple themes of East versus West, "civilization" versus "barbarism," despotism versus democracy and man versus woman—Rodgers and Hammerstein found plenty to write about.
Casting Gertrude Lawrence as Anna was the easy part. As for the King, Noel Coward, Rex Harrison and Alfred Drake, among others, were offered the role and all, for various reasons, turned it down. It was at an open audition that a young dancer whom Mary Martin had recommended walked out onto the stage of the James Theatre, sat cross-legged on the floor and, in Richard Rodgers' words, "plunked one whacking chord on his guitar and began to howl in a strange language that no one could understand...We had our king." He was, of course, Yul Brynner.
THE KING AND I was readied for Broadway with a budget of $360,000—making it the most expensive Rodgers & Hammerstein musical to date, and one of the most lavish in Broadway history. John van Druten was the director; Jerome Robbins served as choreographer, giving his unique touch to such memorable moments as "Shall We Dance?" and the Siamese treatment of Uncle Tom's Cabin, "The Small House of Uncle Thomas." Jo Mielziner designed the sets, and Irene Sharaff the costumes. With a supporting cast that included Doretta Morrow as Tuptim, Dorothy Sarnoff as Lady Thiang, and Larry Douglas as Lun Tha, THE KING AND I began its trek to Broadway in the late winter of 1951.
The musical was greeted enthusiastically in New Haven where changes were made nevertheless. Searching for an Act I song for Anna to brighten her character, Rodgers and Hammerstein were stumped until Mary Martin, visiting from New York, reminded them of an upbeat soft-shoe discarded from SOUTH PACIFIC. A few changes in the music and a brand new lyric, and "Suddenly Lucky" was metamorphosed into "Getting To Know You."
THE KING AND I opened on Broadway on March 29, 1951, where it proceeded to run for three years, racking up 1,246 performances. It received five Tony Awards, including Best Musical, and honors for both of its stars. Very quickly the allure of THE KING AND I began to spread worldwide. Valerie Hobson and Herbert Lom starred in the original London production, and the musical scored great successes in Australia, Japan, and throughout Europe—from LE ROI ET MOI in Brussels to DER KONIG UND ICH in Berlin.
In 1956 Twentieth Century Fox—which had presented the 1946 version starring Harrison and Dunne—released the motion picture version of THE KING AND I under the careful eye of studio chief Darryl F. Zanuck. "More than your eyes have ever seen," promised the posters—"More than your heart has ever known!" THE KING AND I starred Deborah Kerr as Anna (with her musical voice provided by Marni Nixon) and Yul Brynner recreating his role as The King. An immediate success, THE KING AND I became the second-highest grossing film of the year and was also critically acclaimed; nominated for nine Academy Awards, it received five, including the Best Actor Award to Brynner.
Yul Brynner's relationship to THE KING AND I is unique in the annals of theatre. Over the course of 34 years he played The King more than 4,600 times, first on stage, then on the big screen and then on television (co-starring with Samantha Eggar in the short-lived series, ANNA AND THE KING in the early '70s.) He brought THE KING AND I back to Broadway for two separate, triumphant engagements; the latter, the culmination of his farewell tour as The King, was presented in 1985, the final year of his life. At the conclusion of that run Mr. Brynner received a special Tony Award for his achievements.
Ultimately, the musical that was conceived by one star, and made a star out of another, has transcended its star vehicle status to live on as a classic in its own right with two starring roles. In addition to the legendary Gertrude Lawrence and Yul Brynner, a host of great names have played these star parts over the years. The honor roll includes, as Anna: Susan Hampshire, Angela Lansbury, Barbara Cook, Jan Clayton, Jeannette MacDonald, Betsy Palmer, Eileen Brennan, Betty White, Virginia McKenna and Florence Henderson. The King, meanwhile, has been played by, among others, Darren McGavin, Alfred Drake, Cameron Mitchell, Farley Granger, Ricardo Montalban, Pernell Roberts, Theodore Bikel, Stacey Keach, and Rudolf Nureyev.
In 1992 Philips Classics released a studio cast recording of THE KING AND I. Under the direction of John Mauceri and featuring the Hollywood Bowl Orchestra, the all-star recording was led by Julie Andrews (Anna) and Ben Kingsley (The King), with Lea Salonga (Tuptim), Peabo Bryson (Lun Tha), Marilyn Horne (Lady Thiang) and cameo appearances by Martin Sheen and Roger Moore.
Earlier that season, a new production of THE KING AND I starring Hayley Mills began touring Australia. The director was Christopher Renshaw, the designers were Brian Thomson for sets and Roger Kirk for costumes, and the producer was John Frost of the Gordon/Frost Organisation. Distinctive and unusual, this production caught the eye of composer Rodgers' daughter Mary, who declared it the best KING AND I she had ever seen. Within a short time the wheels were set in motion to bring this production 10,000 miles up to Broadway.
It arrived four years later, opening at the Neil Simon Theatre on April 11, 1996, starring Tony Award winner Donna Murphy as Anna and film star Lou Diamond Phillips as The King. Renshaw, Thomson and Kirk repeated their assignments, and Frost's primary co-producers were Dodger Productions. Hailed by the critics and public alike, THE KING AND I swept the triple crown of Broadway honors that spring, winning the Tony Award, Drama Desk Award and Outer Critics' Circle Awards for Best Musical Revival; Murphy received her second Tony, and both set and costume designers won Tony Awards as well. During its second year on Broadway the leads were replaced by Faith Prince and Kevin Gray. Prince herself had been replaced by Marie Osmond (in her Broadway debut) by the time THE KING AND I closed on Broadway in February,1998; its tally of 807 performances made it the longest-running R&H revival in Broadway history.
A U.S. National Tour, starring Hayley Mills for its first year, opened in Minneapolis in April of 1997; the following year Ms. Mills was replaced, first by Marie Osmond and finally Maureen McGovern. A London version of this production, starring Elaine Paige, opened at the legendary Palladium in May of 2000, where it played for nearly two years before embarking on a U.K. National Tour into 2002.
Today, THE KING AND I still reigns, its majesty still shines. With its legacy assured, we leave the final word to Oscar Hammerstein II. In 1956 he wrote to his partner, Richard Rodgers: I am convinced that this is our best work. I have a kind of humble feeling of not knowing how we did it. It has more wisdom as well as heart than any other musical play by anybody. It will remain 'modern' long after any of our other plays.
Recommended Bibliography
Block, Geoffrey. The Richard Rodgers Reader. New York: Oxford University Press, 2002.
Ewen, David. Richard Rodgers. New York: Holt, 1957.
Ewen, David. With a Song in His Heart (Richard Rodgers). New York: Holt, Rinehart and Winston, 1963.
Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II. New York: Random House, 1977; Decapo Press, 1995.
Green, Stanley. The Rodgers and Hammerstein Story. New York: John Day, 1963; Decapo Press (Paperback), 1980.
Hammerstein II, Oscar. Lyrics. Introduction by the author, Preface by Stephen Sondheim. Milwaukee: Hal Leonard, 1985.
Landon, Margaret. Anna and the King of Siam. New York: The John Day Company, 1944.
Leonowens, Anna. The English Governess at the Siamese Court. Singapore, Oxford University Press, 1988.
Leonowens, Anna. The Romance of the Harem. Edited by Susan Moran. University Press of Virginia, 1991.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992.
Nolan, Frederick. The Sound of Their Music. New York: Walker, 1978; Applause Books, 2002.
Rodgers, Richard. Musical Stages: An Autobiography. New York: Random House, 1975; New York: Jove Paperback, 1978; DeCapo Press, 1995; (Revised Edition, 2002).
Smith, Leslie Dow. Anna Leonowens: A Life Beyond THE KING AND I. Nova Scotia: Pottersfield, 1991.
Taylor, Deems. Some Enchanted Evenings. New York: Harper, 1953.
Outer Critics Circle AwardsJanuary 01, 1952 — 3 Awards including Best Musical Revival
January 01, 1996 — 3 Awards including Best Musical Revival
Drama Desk AwardsJanuary 01, 1996 — 4 Awards including Best Musical Revival
Academy AwardsJanuary 01, 1956 — 5 Awards for the Motion Picture of THE KING AND I:Best Actor, Yul BrynnerArt Direction (Color), Lyle R. Wheeler, John DeCuir; Set Decoration: Walter M. Scott, Paul S. FoxCostume Design, Irene SharaffMusic (Scoring of a Musical Picture), Alfred Newman, Ken DarbySound Recording, 20th Century-Fox Studio Sound Department, Carl Faulkner, Sound Director
Tony AwardsJanuary 01, 1996 — 4 Awards for 1996 Broadway Revival of THE KING AND I:Best Revival (Musical), Dodger Productions, The John F. Kennedy Center for the Performing Arts, James M. Nederlander, Perseus Productions, John Frost, The Adelaide Festival Centre, The Rodgers and Hammerstein OrganizationBest Actress (Musical), Donna MurphyBest Costume Designer, Roger KirkBest Scenic Designer, Brian Thomson
Vocal Range of Characters:
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Notes on the Original Broadway Production
These notes were culled from conversations with Gemze de Lappe, a performer in both the original Broadway cast and the 1956 20th Century Fox film version of THE KING AND I. Ms. de Lappe also assisted Jerome Robbins in mounting subsequent productions of THE KING AND I, including the original West End production in London in 1953.
THE KING: The character of the King is that of a man who is secure in his power. He is serious and intellectual and anxious to bring Western knowledge to Siam. He is not a man of anger or petulance. Because he has never known anything but absolute and unquestioned authority there is little reason for him to need to resort to bombastic behavior. This changes only as Anna begins to challenge him and he is forced to pit his vision of a civilized Siam against his own ego. When the King is first revealed (in Act One, Scene Three) the mood surrounding him is one of serenity and decorum. The court dancers and music should provide an effect akin to classical music being played softly in the background. He sits on a dais which places him physically and spiritually above everyone else in the room. His subjects do not look directly at him. In his presence their hands are kept in praying position. The court's behavior in front of the King is always one of utmost respect.
ANNA: Anna is in many ways a very modern woman. To her, business is business. She is confident, she understands the job she has been hired to do, and is she is willing to stand up for what she believes is correct. Her flaw is her temperament. Without this flaw she could be mistakenly perceived as merely a colonialist, which misses the point of the story.
LOUISLouis is about eight. He has been brought up in the middle class of the Victorian era. He is polite to and respectful of those around him, but sincerely so. He should appear to be a couple of years younger than Chulalongkorn.
CHULALONGKORN: Chulalongkorn is about ten. He looks to be a couple of years older than Louis. As the Crown Prince he is given deferential treatment by the entire court. Only his father outranks him. His manner can seem rigid and his bearing militaristic as he tries to walk in his father's footsteps, on his way to becoming the king his parents and his country need him to be.
TUPTIM: Tuptim should not show herself as a victim at the start of the play ("My Lord and Master"). She becomes a victim as the play progresses. She arrives at the Siamese court not only angry and indignant at being made a gift but consternated that she is not allowed to communicate with Lun Tha, her lover. Eventually her love for Lun Tha gets the best of her, and she reveals herself to disastrous results for both of them.
AMAZONS: These women guards should be in every scene in which the Wives appear. They are strong, strapping women whose demeanor tells us they are willing and able to protect the Wives, who have been placed in their care.
The King's Court is made up as naturally as possible, except for the Royal Dancers in #38 "The Small House of Uncle Thomas" Ballet. These characters make up with white faces and red lips as well as darker eyebrows and eyeliner. The Court Dancers in #6. Vignettes and Dance and the Schoolroom Dancer in #16. "Getting To Know You" are made up naturally, with a little exaggeration of the eyes.
The Royal Dancers in the Ballet do not look up or out, but keep their eyes averted down. The exception is the expression of fear which is accompanied by an exaggerated opening of the eyes.
Throughout the play the members of the court perform different kinds of ceremonial bows to the King and to each other. These are specified as:
[A] Prostrate (Kneeling, sitting on heels, body bent forward with forearms, palms and forehead on the floor)
[B] On One Knee
[C] Standing (Hands in prayer position, bending from the upper back)
[D] Kneeling (Sitting on heels)
[E] Kneeling High (Straight from the knees up)
When leaving the presence of the King all member of his court back away from him respectfully, leaning forward with hands in prayer position. At a certain point they may turn and exit the stage quickly.
These bows are demonstrated in the choreographic video.
#6. Vignettes and Dance
In the original production the dancers being made up in the corridor were not the same dancers who were preset in the King's library and were dancing for him as he was revealed in act one, scene three.
The dance being performed for the King should set a mood of dignity and intellectual sophistication. The mood of the musical underscore and the dancing should be one of soft murmurs – beautiful, gentle, lovely movement, slightly sensuous and serene.
This dance is demonstrated in the choreographic video.
#11. The March of Siamese Children
This is the introduction of the King's Children, who enter from upstage right, one by one, bow before the King, cross down to Anna, and touch her hands to their foreheads. They then back up to take kneeling positions stage right, having been guided into place by their mothers.
1st CHILD (Girl) holding a doll in her arms, is carried on by one of the Amazons, who sets her down at the bottom of the steps. She gives the doll to the Amazon before bowing to the King. She then goes to Anna and is guided back into position by her mother. The Amazon backs off right.
2nd CHILD (Boy) is carried on by an Amazon, bows to the King, goes to Anna and is then guided back into position by his mother. The Amazon exits right.
3rd & 4th CHILDREN (Twins) walk on together holding hands, do their bows together and are guided back into position by their mother.
5th CHILD (Boy) walks on, does bow to King, is about to touch Anna's hands, looks at his own hands, realizes they are dirty, rubs his hands on the seat of his trousers, then does his bow to Anna and is guided back into position by his mother.
6th CHILD (Girl) walks on, stares at Anna all through her bow to the King, fascinated, then crosses down to Anna, does a normal bow to her, then makes a grab at Anna's skirt, lifting it and looking beneath it. The Kings steps forward, angrily claps his hands, and she is shamefacedly guided back into position by her mother.
7th CHILD (Prince Chulalongkorn) At bar 53 of the music Chulalongkorn strides on proudly, stopping at center and facing front on the 13th beat (the downbeat of bar 59.) On the 1st beat of bar 61 he comes down center, turning on the 5th beat (downbeat of bar 62) to face his father on the 9th beat (downbeat of bar 65.) On the 13th beat (downbeat of bar 67) he drops to his knees. On the 15th beat (downbeat of bar 68) he prostrates himself to his father. On the 1st beat of the next bar (downbeat of bar 69) he straightens up. On the 3rd beat (downbeat of bar 70) he stands. On the 5th beat (downbeat of bar 71) the King returns his bow. On the 9th beat (downbeat of bar 73) Chulalongkorn moves to Anna. They regard each other, and at bar 77 she slowly curtseys to him, deeply and respectfully. At bar 79 he responds with the same bow he exchanged with his father. At bar 81 he backs up and is received by Lady Thiang, who guides him to his place as the next child enters (bar 83.) All of Chulalonghorn's moves should be made with military precision and bespeak his regal bearing. He is his father's son.
8th CHILD (Boy) performs a straightforward bow to the King and a curtsey to Mrs. Anna.
9th CHILD (Girl) After her bows to the King and Anna she turns and starts to walk into position right. Her mother points to her and indicates that she has forgotten something and that she should turn back. Realizing her mistake, she turns to Anna, takes a red rose from the hair and offers it to Anna. Then she backs into position assisted by her mother.
10th CHILD (Princess Ying Yaowlak) enters smiling and starts to mount the dais to embrace her father. He hastily pushes her away, she bows. Going to Anna she is crestfallen, but as she retreats from Anna the King smiles at her and she smiles back at him joyously.
11th CHILD (Boy) performs a straightforward bow to the King and a curtsey to Mrs. Anna.
12th CHILD (Smallest Boy) is carried on by an Amazon, who sets him down and exits right. The child crosses to the King, who is looking in another direction, and tugs at his penuang. Receiving the King's attention he bows and then bows to Anna and backs into position.
On the final beat of music all Wives and Children prostrate themselves to the King and Anna.
#31. "Western People Funny"
The staging needs to be simple and believable. The comedy derives from the Wives reaction to wearing Western clothing and especially Western shoes for the first time. Western clothes are very restrictive to these women. They can't move in them the way they are used to moving in their own clothes. They find themselves, some with one shoe off and one shoe on, having trouble sitting down and maneuvering past each other. If the actors believe in the situation the audience will accept it. The joke as Hammerstein has written it is not on the Siamese but on the Westerners who sentimentalize them. ("They think they civilize us whenever they advise us to learn to make the same mistake that they are making too.")
#38. "The Small House of Uncle Thomas" (Ballet)
The dancers never look directly out at the audience, as they would always avert their eyes from the King.
One of the small children (but not the smallest) should portray Buddha.
The bows that the six principals take at the end of the ballet are demonstrated in the choreographic video.
[NOTE: Gemze de Lappe (the original King Simon of Legree) points out that during the rehearsals of the original production she watched Yul Brynner to help her create her own King character. Since the ballet is Tuptim's invention she has created the character of King Simon of Legree with her anger toward the King of Siam in mind.]
#49. EXIT MUSIC (Bows at end of Show)
Corps Dancers and SingersChildren Supporting Roles (Sir Edward, Phra Alak, Captain Orton)Solo DancersPrincipal Roles
Although the encores for both "Hello, Young Lovers" and "Getting To Know You" have been retained in the piano vocal score and instrumental parts, this has been done for historical purposes only. Encores were often called for in an era when it was not unusual for a star of Gertrude Lawrence's magnitude to provide them. This was especially the case as the songs were being introduced for the first time. However, keeping in mind that the running time of the original Broadway production was three hours and two minutes, these encores should not be included in contemporary productions of THE KING AND I unless the audience demands them.
About The King and I, The New York Times
Written By: Rodgers and Hammerstein
'Anna and the King of Siam,' being itself a biography based on an actual diary, demanded much more fidelity than would a satire, a fairy tale, or a revue. Dealing with a governess who went to the court of Siam in 1861 to teach English to the royal children, the quality of the original book was its authentic feeling, its simple statement of facts and occurrences, which were fantastic enough to need no embellishment.
Our basic problem was how far we could capture this remote reality and still give our production the lift and glow that all musical plays must have. Obviously THE KING AND I is not an example of stark realism in the theatre, or a documentary work on the Orient in the middle of the nineteenth century. We have not been slavishly literal in following the book, nor completely conscientious historically. But in spite of whatever factual compromises we have seen fit to make, we have tried very hard, within our own romantic medium, to present the King and Anna as the genuine and fascinating man and woman we believe they were.
The strength of their story lies in the violent changes they wrought in each other. Yet their life together bears unmistakable implications of deep mutual attraction$mdash;a man and woman relationship so strong and real and well founded that it seems in some ways more than a love affair, more than a marriage. The intangibility of their strange union was a challenge to us as librettist and composer. In dealing with them musically we could not write songs which said 'I love you' or even 'I love him' or ' I love her.' We were dealing with two characters who could indulge themselves only in oblique expressions of their feelings for each other, since they themselves did not realize exactly what those feelings were.
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
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
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
- THE KING AND I - Orchestration Package (28 Books/27-28 Players)
- 1 – Piano Conductor Score
- 1 – Flute I
- 1 – Flute II (Doubles Piccolo)
- 1 – Oboe (Optional Doubling English Horn)
- 1 – Clarinet III (Doubling Bass Clarinet)
- 1 – Bassoon
- 1 – Horn III
- 1 – Trumpet III
- 1 – Trombone I
- 1 – Trombone II
- 1 – Tuba
- 2 – Percussion
- 2 – Violin A (Divisi)
- 2 – Violin B (Divisi)
- 1 – Violin C
- 1 – Viola (Divisi)
- 1 – Cello
- 1 – Bass
- 1 – Harp
- 1 – Clarinet I
- 1 – Clarinet II
- 1 – Horn I
- 1 – Horn II
- 1 – Trumpet I
- 1 – Trumpet II
- THE KING AND I - Rehearsal Set (22 Books)
- 20 – Libretto-Vocal
- 2 – Piano Conductor Score
- 1 – Digital Logo
- THE KING AND I - Two Piano Arrangement (2 Act I, 2 Act 2)
- 2 – Two Piano Arrangement - Act I
- 2 – Two Piano Arrangment - Act II
- THE KING AND I - Full Score, 1 Act I, 1 Act II
- 1 – Full Score, Act I
- 1 – Full Score, Act II
- The King and I Flat Bundle
- 1 – Flat Banners
- 1 – Flat Facebook Tabs
- 1 – Flat Print
- 1 – Flat Headers
- 1 – Flat Poster Red
- 1 – Flat Poster Black
- The King and I Layered Bundle
- 1 – Layered Banners
- 1 – Layered Poster
- 1 – Layered Print
- 1 – Layered Facebook Tabs
- 1 – Layered Headers
- Transpositions are available on demand, please email [email protected] to request a transposition.
3 Women
2 Men
2 Boys
2 Men
Large singing-dancing ensemble consisting of Royal Dancers, Wives, Children, Priests and Amazons
Captain Orton
Louis Leonowens
Anna Leonowens
The Interpreter
The Kralahome
The King
Phra Alack
Lun Tha
Lady Thiang
Prince Chulalongkorn
Sir Edward Ramsay
Princess Ying Yaowalak
Nine Princes and Eight Princesses
Eighteen Royal Dancers
Ten Priests of Siam
Ten Royal Wives
Four Amazons
Casting Note: THE KING AND I takes place in Siam during the early 1860s, and the roles should be cast accordingly.
THE KING AND I takes place in and around the King's Palace in Bangkok, Siam during the early 1860s.
Deck of the ship Chow Phya
King's Library in the Royal Palace
Anna's Bedroom
Reception Room at Palace
Theatre Pavilion in Palace
Room in Anna's House (Dismantled)
Materials Notes
Onstage Percussion for #38 "The Small House of Uncle Thomas (Ballet)" can be found in the Libretto-Vocal book.
Featured Videos
Featured News
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.
- Vector Title
Display customized, eye-catching banner ads to promote your production.
Don't worry about reshaping banners to fit different websites: This package already includes 4 standard banner sizes - vertical, horizontal, and rectangular.
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Don't worry about needing fancy design programs – these flat .JPG files are ready to use with any free paint or photo editing program. Demos show you how to customize graphics with your theater's text.
- 160x600 - Wide Skyscraper
- 300x250 - Medium Rectangle
- 468x60 - Full Banner
- 728x90 – Leaderboard


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Welcome to the Coaches Learning Network, an online resource and community for football coaches at ALL LEVELS - because all coaches want to learn and grow, and all coaches have knowledge and experience to share.
Your Free CLN Membership gives you Unlimited Access to all Team Clinics, Articles, Drills and Forms provided by some of today's top coaches who share their strategies, techniques, fundamentals and philosophies with CLN Members.If you have any questions or suggestions for us - or if you want to talk a little football - please feel free to contact us at: email@example.com
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Hummer H1 Alpha Review - The New H1 Alpha Hummer
Now Powered By Duramax And Allison!
Anyone in the 4x4 world knows of the H1 Hummer and its fine reputation for being extremely capable off-road, but slow. And though it is big and beefy, it's also slow. That's why many owners and 4x4 shops have yanked the slug of a 6.5 GM diesel out and slipped in everything from big-block brutes to massive diesel mills in the quest for speed and power. But what if the Hummer factory did the same thing, and decreased the 0-60 time from two days to just under 13.5 seconds, and at the same time provided a 46 percent increase in horsepower and an 18 percent increase in torque? Enter the new Hummer H1 Alpha series, which is factory-equipped not only with the famed Duramax diesel engine and Allison 1000 transmission, but also a host of other upgrades and features that will make this new version of the Hummer one that is sure to please even the most ardent opponents.
Private owners have swapped a few Duramax/Allison combos into H1s before, but it took the Hummer engineers to do it right. As great as the engine and transmission combo is, it wasn't designed to operate in the same environment or even at the 60 percent grade ability that the Hummer does, so massive modifications were made, as well as an integral 2-inch body lift to make everything fit correctly. Other Alpha upgrades include new helical-geared portal hubs for less rocking and noise, and vastly improved cooling of everything from the engine to the transfer case. And while the engineers were having fun improving the H1, Hummer now offers Eaton ELocker selectable lockers in both axles when you order the Adventure Package, which also nets you a 12,000-pound Warn winch and 37-inch Goodyear MT/R tires on forged dual bead-locked wheels with runflat ability. And did we mention the Central Tire Inflation System, which is standard, and the new 50-gallon fuel tank for a 600-mile range? Oh yeah, don't forget the bigger shafts in the NV242 transfer case or beefier halfshafts in the axles, the beefier steering box, or the new, nicer interior either.
While still wide and heavy, the new Hummer H1 Alpha is a significant improvement over the old H1, which has fought many battles to be accepted into the realm of regular wheeling-dom. True, this beast is not exactly cheap at around $140,000 MSRP, but then again technology never is at first. And no, you won't be picking up used H1s at bargain basement prices either, but for a significant segment of off-roaders, the new Alpha series will be the hot ticket to a much more capable 4x4. We had the chance to flog one over a Nevada test course, and even enjoyed slamming them down on the T6 aluminum rocker protection (without any problems) just for fun. Big, not slow, much nicer on the inside and outside, and with many new technological advances, it is just what the H1 needed, and the Alpha designation delivers what owners have wanted. Expect to see many more of these beasts on the trail in the future, as they just keep getting better.


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Are We in a Cyber War With China?
Is the U.S. engaged in a cyber war with China? In an excerpt from the Big Interview, Army Vice Chief of Staff John Campbell outlines the cybersecurity threat and the steps needed to give the U.S. an advantage.
This transcript has been automatically generated and may not be 100% accurate.
... I ... China ... Cyber the Pentagon has ... explicitly said that ... of ... the ... Chinese military or hacking ... U S government computers and those of ... military contractors ... um and were snowed in this um ... this affected ... the contractor who had access to the NSA ... documents ... it has indicated that ... we've been packing the Chinese back ... how would you characterize this ... conflict between the United States and ... China Over cybersecurity are we ... in a low grade Cyberwar already with China ... I think you're a widower with China but that the world as the Harlot the start of the um ... think for the future of ... of of ... of the army of Detroit Force recruit a look at our cyber capability ... the goal is for Bersani duvet underneath the cyber calm ... ever the same reports on what's happening between China was that the United States ... impact the stadium on financial institutions ... silver copper though the cyber capabilities of the United States has with them for ... for so lot that we have to learn their ... letters we look in reducing at least in the arm in reducing army over the next couple years we ... leave Dell size based on the Budget Control Act of two thousand eleven ... one of the year is the will to maintain learning continue to grow his role in cyberwarfare Adidas whose growth and the meticulous rooms as well ... but what is the Cyberwar look like aam is this what it looks like of this kind of back and forth that we're Artie seen in the ... intrusions rather substantial that were saying ... that they care that is close to get people can see ... the impact of data David everday up in the ... cut in the digital world out in those clouds that are going to see those types of intrusions out there ... the impact and how dangerous it could be on the onthe state security on financial institutions have things like that I think is very very great we gotta continue to invest ... in cyber would continue to educate data continue to make sure we ... get the right people the right leadership positions in cyber ... I think that a lot of work that goes on behind the scenes to build its own particular ... soap business has complained about the intrusions into business ... though the administration has caused called this the ... greatest theft of of pop of value of the total property another ... source of ... of by China and others ... in the history of a kind ... of Should businesses ... be allowed to hack back ... from the water glossing cheeky and ... they're all Sosa services radical robot from high ... that provide a little bit ... of cut of the sort of mercenary type force ... I've that you can hire if you're if the suspension should that be allow to resent not the way to go ... that's a policy issue no hidden costs of these two but if your business to one make sure that ... future systems can protect your sensitive information ... then there are ways to do that I think the all those companies ... as we move formal have those types of systems in the end of ... the nation will take this on this is not just discovered promise coverage Romans go to Nationals ...


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Most car songs today are getting written by rappers, but there are still some indie kids writing tunes about automobiles. This one, "Eighth Avenue" by Hospitality, ain't half bad.
After VW of India's massive vibrator-related PR fail, VAG could certainly use some hospitality and Festering Neon Distraction obliged by giving them some sagely advice.
You know whats dumb? Intentionally suggesting your product is small and buzzy.
The all new 2012 Crapbox, from Rattletrap Motors: Small and buzzy!
If only more carmakers read Jalopnik.


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TNJ Murray is a worldwide reseller of military vehicles and parts. We offer a wide range of parts and vehicles that are for sale to the public from military surplus. These vehicles include but not limited to the M151, 2 1/2 Ton, 5 Ton, and HMMWV, also know as the Hummvee or Hummer. As a worldwide reseller, we welcome foreign and domestic orders. Feel free to browse our site and if you have any questions email us from our Contact page. We look forward to hearing from you and doing business with you.
We add new products to our website daily! Currently theres 3303 products for you to check out!
Also, as an added service to our customers we are offering manuals that you can browse to better assist you in locating the parts that you may be looking for.
Current Specials
There are currently no specials being offered.


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We meet twice weekly, all sessions are free of charge, and if you can't meet on Tuesday or Saturday, just give us a call at 202.759.4114!


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View All 9 Colors
Polyester Metallic Beehive Netting Lavender
- Details
- Hand
- Luster
- Tips & Tricks
- Care
Polyester Metallic Beehive Netting is a lightweight soft, gauzy, transparent fabric great for eveningwear, bridal/wedding, lingerie, creative sportswear, and some home décor. Much softer in handfeel and drape than synthetic tulle, Polyester Metallic Beehive Netting is more like a mesh than a traditional tulle. It requires several layers to create volume, and is best suited for garments with a delicate, gauzy look.
Warp knit mesh - holes make this fabric completely transparent. 2-way stretch in crosswise direction.
Warp knit mesh - holes make this fabric completely transparent. 2-way stretch in crosswise direction.
Extremely lightweight and thin with a very slightly pebbly texture
Slight degree of shine
Tips and Tricks:
- Cut pieces with stretch going across the body
- Layer the fabric between two sheets of tissue thin paper before cutting to stabilize.
- Hold fabric in place using fabric weights or fine, sharp pins (like our extra fine pins).
- Keep cut fabric pieces pinned to tissue paper until right before you're ready to sew.
For more exact cutting, lay out fabric on dressmaker's cutting board, hold down pattern pieces w/fabric weights and trace around pattern pieces (one layer at a time) with a sharp rotary cutter.
- Use a very fine ballpoint (stretch) needle when machine sewing
- Use a knit stitch to maintain stretch – chainstitch is ideal, but you can also use a narrow 2-step zig-zag stitch or overlock (serger) to sew seams without additional stitch
- Mesh should not touch the feed dogs when sewing – if sewing mesh as an overlay to another fabric be sure to keep the mesh as the topmost layer under the presser foot.
- Otherwise, back all mesh with tissue paper and tear paper away (gently!) when finished
- If sewing two layers of mesh together, sandwich between two layers of tissue paper and tear paper away (gently!) when finished
- Mesh does not ravel at edges when cut – you do not need to finish the edges unless you need to for the look of your garment
- Consider finishing edges with very thin self binding, bias cut woven binding, or a knit binding
- This fabric is completely transparent – only use seam and hem finishes that will look nice inside and outside the garment. Be sure to use matching thread for all seams and finishes.
- The best finishes for mesh are: very thin binding (see above), very thin french seams, DTM overlock or purl stitch, very thin rolled edges, or neatly trimmed raw edges.Hand wash gently in cold water, lay flat to dry or dry clean.
Hand wash gently in cold water, lay flat to dry or dry clean.
100% Polyester
58 Inches Wide
40 Gr/Yd


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Maxmade Limited also supply parts for floor, wall and door protection for both new build and refurbishment work, and are able to offer a fabrication service to fabricate special items such as louvers, door canopies, and door frames.


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Pregnancy and Birth in the US - A Fact
Chick In Black Monday: An Old Blouse
I wore this blouse yesterday and realized that it's been with me for sometime now. In short, it is old. This photo was taken when I was still working with Convergys and have not conceived Roey yet. Ha ha! But it still look as if new. Yes, I only have few clothes and most of 'em are about 4 years already. Some were donated, some became an everyday wear clothing. I know it's kinda weird that when I plan to buy something for me but always end up buying for the kids instead. That's one characteristic of a mother, no doubt about it. most of us Moms are like that.
This is my first time joining Chic in Black Monday.
Facebook Timeline
This is mine, temporarily. As stated in the application, Facebook Timeline will be live by the 30th of September. There are some who find it cool and some doesn't really like the changes Facebook recently launched. I guess we just have to learn to go with the flow sometimes and embrace the fact that changes are inevitable, be it for the better or otherwise.
When The Kids Get Sick
On the other hand, when my kids show cold symptoms, I really do not give them any medications at once. Serving them with fruit juices and lots of water is what I do normally. In most cases too, I use Saline nose drops or spray so as to help thin and remove mucus and let them breathe in comfort. I do not rely on medicines instantly for anything even for myself. I always have in mind that all medications have side effects especially to children. Another reason why I do not want to go through a 6 months long medication, in case Roey has Primary Complex is the fear of accidental overdose. These medicines have too many ingredients, yet not everyone has all the symptoms and same level of illness severity. I have seen the hesitation in giving the antibiotics in the eyes of the on-duty doctor at the emergency room last Monday. My MIL accompanied me and was the one who mentioned about giving Roey antibiotics. The physician gave a bit of a sigh, signed the prescription and explained the reason why he had to give the antibiotics.
Roey is getting better now. No more fever. But still, I'm having a hard time feeding her. She became a lot more closer to barney though.
It is definitely hard when the kids get sick especially if they do not have any health insurance. Health benefits are what I liked about my previous employments. We do not have to worry about shelling out money for consultation fees and the medical expenses are reimbursable too. Oh, am I missing the regular job prior to being a freelancer? I could be, but I am not giving up yet. I know I will do good as a freelancer. I can earn the same amount of money I was earning before and afford getting my kids the health insurance they deserve. Having said that… let me go back to work. LoL!
Learning Investment on Penny Stocks
Are you a parent who would like to invest for the family's future? I am sure that a number of parents out there have been contemplating on where to put their fund in good use. Some would plan to go for a business; others would rather put their money in the bank and a few would want to try buying or investing in stocks. I personally would like to try that too, invest in stocks. I guess it is a wise decision. But, do you know that before investing in stocks, it is best to know a lot about it first, if not everything? You would not want to just jump right in it unless you are ready to lose your investment in no time.
There are paid seminars that would be of great hep in being knowledgeable about stock investments. Alternatively, one could also sit down and discuss everything that we need to know with a financial adviser. An investor should also know how stocks are being moderated by the Securities and Exchange Commission.Aside from these, websites that can help too in getting helpful tips and tricks in succeeding in this kind of investment. There are some that guarantees free services, weekly tricks and information. Finding success in stocks investment can be a little tricky, that is why an investor needs to start right. Conducting research is but a right thing to do. It may not easy to find hot penny stocks, nor learn how to detect a profitable stock but reading and researching is a good starting point.So, if you think you already have all the needed information about stock investment and is well ready to start it, go ahead. As for me, I still have to learn a lot and save money to start with.
STEFtember Prizes
I have already claimed that this is my month... Septembercharm, remember? Here are few of the surprises that came my way this month.
Thanks to Eihdra and Pearl for these prizes. Aside from these stuff, I've been blessed to have been hired as a researcher as well. Blessings are definitely starting to pour. Issues of the heart & home may be there but I manage to keep positive. These issues just pass by but the lessons that's packaged in it stays with me plus I always remind myself that I'm more blessed than problematic. I have friends, family & relatives and my wonderful kids!
I'm looking forward to more happiness! Happy September! Read more...
Top 10 Emerging Influential Blogs 2011
Losing Weight and Gaining It Back
Read more...
I indeed lost weight. That's what I told myself after looking at these photos. Both these photos were taken maybe 4 years ago. The first one at the PBCom Towers office of Convergys and the other at my parents in law's home.
Weight loss, why am I little alarmed? Well first, I didn't really intend to lose weight. I didn't enroll in a weight loss program at all. I have not really grown big but I would like to maintain or be at the 50 kilos level. I'm below it as of this day. It was just recently when I realized that I've lost almost 22lbs. That's quite a lot. That's an achievement to those who are in a weight loss program or using weight loss systems. I have been made aware of this by friends and my cousins. That's what made me decide to do something to gain it back. Extra rice please!
Electronic Cigarette, Thumbs Up or Not?
I'm not a smoker, but hubby is. He may not be a chain smoker, still, he smokes. He unintentionally shares the toxins brought by second hand smoke. Well, he's kind enough to go outside when he needs to light a cigarette so our kids won't see him or inhale the smoke brought by the cigar. Nah! Even so, right?
Anyways, my brother in law was also a smoker. He still smokes sometimes. The only difference is, he no longer needs to buy the cigarettes per piece or pack, he just needs to recharge his electronic cigarette in case it needs to be recharged. Yes! He's now using an electronic cigarette and gave one to Ronald as well. He also mentioned the benefits of using it. I can't believe I am actually typing this, benefits of using electronic cigarettes. Wow!
Really? So what are they? Let's enumerate them...
First of all, you save money. And this is self explanatory.
Secondly, there's no second hand smoke. Well, there is smoke literally but it's water vapor released like smoke. When there's no smoke, then it's also smoke smell free!
Third, no tar, no toxins and no poisons and the likes...e-cigarettes are non-flammable too, so it won't burn anyone's skirt or shirt. I remember to have a shorts that has a cigarette burn, courtesy of an uncle. Haha!
I guess there were indeed quite a few benefits of using an e-cigarette than be the one being referred to by the cliche: "Smokers never grow old because they die young". I would like name the hazardous effects of smoking but I don't really want to go on the details anymore since they can be gross and scary at the same time. I'm gonna keep it short and simple instead : Smoking is dangerous to our health. And I have to really try harder to convince hubby in using the e-cigarette from now on if he can't really just stop.
Read more...
Mosquito Patch
Thank you to my friend Vangie for this photo. Happy 22nd month to our Roey as well.


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English, est. c. 1786
Breakfast cup, saucer, c. 1802–1805
hybrid hard-paste porcelain
(a) cup: 7.4 x 13.3 x 10.9 cm; (b) saucer: 4 x 165 cm
Collection of the Winnipeg Art Gallery; The Frank Evison Collection; Gift of The City of Winnipeg
1999-75 ab
Ceramic, Decorative Arts Ceramic
This breakfast cup—a wider and more generous vessel than a teacup—and saucer derives from a service made for the British Admiral Horatio Nelson (1758–1805). Serving with the Royal Navy during the Napoleonic Wars, he is perhaps best known for leading his troops to victory at the Battle of Trafalgar in 1805, at which time he was mortally wounded. The insignia on the wares includes the ducal coronet, the viscount coronet, and the crest of the San José, a ship captured by Nelson during the Battle of Cape Saint Vincent on February 14, 1797. Records indicate that Nelson ordered this service on August 26, 1802, while visiting Chamberlain, a factory that began as a decorating establishment and progressed into an extremely successful and well-respected producer of high-quality British porcelain. The rich gilding present is characteristic of the excellence of Chamberlain's production.
Gallery Hours
- Tuesday 11am-5pm
- Wednesday 11am-5pm
- Thursday 11am-5pm
- Friday 11am-9pm
- Saturday 11am-5pm
- Sunday 11am-5pm
- Closed Monday


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Anderson has announced the hiring of Bobby Ladner as head football
coach. Ladner replaces Jeff Judge, who guided the Ravens from
2003-2011. Ladner comes to Anderson from Concordia-Selma, where he
served as assistant football coach and recruiting coordinator.
Prior to his time at Concordia-Selma, Ladner served as assistant
head coach, defensive coordinator and recruiting coordinator at
Olivet Nazarene.
"We are very excited to bring to the Raven football program a young, talented leader in Coach Bobby Ladner," said James L. Edwards, president of Anderson. "At first meeting Bobby impressed us as one who understands and is deeply committed to our values and has the energy, intellect, experience and vision to lead our program to success. We are very excited to welcome him to Anderson University and to Raven football."
"I'm excited to have coach Ladner leading our football
program," said athletic director Marcie Taylor. "Bobby
brings valuable experience and knowledge, along with enthusiasm and
a commitment to creating a top notch football program with an
environment that will motivate our student-athletes to excel in the
classroom, on the football field and in their daily
Prior to working at Olivet Nazarene, Ladner served as a recruiting coordinator, defensive coordinator, and assistant athletic director at Belhaven in Jackson, Miss. from 2004-09. In addition to his extensive coaching duties, Ladner taught Wellness and Fitness as well as strength and conditioning classes at Olivet Nazarene.
Ladner has produced 31 all-conference players during his career as well as three NFL players and Belhaven won a conference championship in 2006. He has also worked with the Chicago Bears during training camp while at Olivet Nazarene and been the chair of the Belhaven Hall of Fame committee.
Ladner graduated from Belhaven in 2003 with a bachelor's degree in sports administration/nutrition. He earned his master's in management and leadership from Liberty in 2009.
After being recruited to Louisiana State as a fullback in high school, Ladner transferred to Belhaven, where he was a four-year letterman on the football team. He was named all-conference three times (2001-03) as well as All-American honorable mention after the 2003 season. He was a team captain as a senior and is the school's all-time sack leader (36) and second in career tackles (252).
"It truly is a blessing and honor to be chosen to lead the Anderson University football program," said Bobby Ladner. "It is a joy to be associated with an institution that strives to impact lives every day. My wife, Tori and I are excited for the opportunity to become a part of the Anderson University family. The Anderson community is a special place with outstanding people and we are thankful to be a part of that. I would like to thank Dr. Edwards, Dr. Baker, and Marcie Taylor for their leadership and vision for the institution. I also would like to thank the search committee, our players, coaches and the entire Anderson family for believing in me and giving me this opportunity."


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If Walls Could Talk / Kat Gombac + Rebecca Ladds / Ornament, Lament
Rebecca Ladds is a currently in her final thesis year at OCADU. Her interest in history informs her current work that are completed in carbon pencil and ink on paper. By combining techniques of heavy baroque figuration with intricate and detailed ornamentation in ink, she explores the dualities that exist between historical warfare artifacts and narratives and their effect on the contemporary body. As she moves forward in her explorations, she has begun to come to terms with the historical identity of Canada, and where she finds herself within it.
Kat Gomboc is a goofy, lanky thesis student at OCADU studying Drawing and Painting. She finds inspiration in the shared human experience, which has most recently manifested itself in an interest in mythology where she explores its impact on contemporary culture and the rift between fact and fiction. She applies this subject matter to conceptually appropriate mediums such as oil painting, intaglio, and book-making. In her practice, she strives above all else to create approachable, accessible work.
Gomboc and Ladds discovered shared artistic passions after meeting in Florence, Italy where they spent a year studying Fine Art through Toronto's OCAD University. Here they became engulfed in a sea of inspiration surrounded by the Renaissance's ornamentation, architecture, and the rich history that accompanies it. Upon returning to Canada, they were confronted with a new perspective on the very contemporary city of Toronto, and its own historical identity.
Common ground between Florentine artwork and contemporary illustration manifests itself in this installation through the use of black ink on white walls. Gomboc and Ladds create bold graphic images with intricately detailed line-work as an ode to the interior aesthetic of Renaissance building while hinting at influences like intaglio, tattoo, and cartoons. Subtly they place Toronto signifiers among this imagery, inviting the viewer to uncover them as they scan the space.
The Gladstone compliments this installation perfectly, as it represents a beacon of historic Victorian architecture in the middle of a booming modernized city. The installation parallels this juxtaposition, and harmonizing a classic aesthetic with their own contemporary practices informs their unique approach to the upcoming installation.
IWCT is an experiential illustration event that will be on public display at the Gladstone Hotel from March 6–30, 2014.
Curated by Leila Courey, IWCT is a juried exhibition of experiential illustration that features work by emerging and established artists. Selected projects use illustration—or other art forms related to it—to occupy or alter the hotel's 2nd floor gallery and public spaces, in dramatic, conceptual, and experimental ways.
We'd like to thank media sponsor Applied Arts Magazine and agency partner Zulu Alpha Kilo, for their generous support.
For press and media inquiries please contact Managing Director – Artistic Projects, Britt Welter-Nolan


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Her future is bright in this adorable outfit set. Includes long-sleeve tee with sparkly graphics and mesh tutu detail, paired back to a matching polka-dot mesh tutu shirt with star-embellished elastic waist.
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text:
I am the most optimistic Chicago sports fan you'll ever read.
I still hold hope that the Theocracy will break a 105-year Cubs drought, I believe Derrick Rose will lead the Bulls past Miami this spring, and I don't see any reason why the Blackhawks won't play in the Stanley Cup Final again this season.
But trust me, the Bears' season is over.
Sure, they'll play the games. I mean, they have to. NFL commissioner Roger Goodell would be ticked off if they went all Grambling on him. And the Bears will win a few, I'm sure.
But without Jay Cutler and Lance Briggs, they won't win in Green Bay. They won't beat Detroit the following week. And that'll place the Bears at 4-5 with a measly 1-3 NFC North record. And either Seattle or San Francisco will take the other NFC wild card spot. And and and and and I HATE EVERYTHING NOW.
It's the same problem the Bears had last year: you can win 10 games per season but if you lose the wrong six, you lose the tiebreakers. And even if Cutler returns after five or six weeks and Josh McCown engineers a .500 record in his absence, it won't be enough wins this year in the NFC.
(By the way, if you think McCown's excellent second-half performance against Washington portends more excellent performances, remember that Washington's secondary allows the fourth-awesomest QB rating thus far. Mike Tomczak would light those mups. Present-day Mike Tomczak.)
I guess we can look forward to Cutler playing meaningless games in December to justify whether he's worth a long-term contract? I guess we still have fantasy football? I guess we can adopt an AFC team to rent for a season? I guess we can start paying attention to Mel Kiper Jr. to see what college player will be available in the Nos. 10-15 range next spring?
I guess we can—gulp—do things with our families and friends on Sundays?
RedEye special contributor Alex Quigley can be heard on WGN Radio 720.


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Medieval Musicians & Minstrels for hire in Wiltshire 6 of the finest Wiltshire Medieval Musicians & Minstrels to hire for your events
These are the perfect Medieval Musicians & Minstrels for weddings, corporate events & parties in Wiltshire, locally sourced by our entertainment experts. Find the best Wiltshire Medieval Musicians & Minstrels only at Alive Network, the UK's biggest entertainment agency.
Find Medieval Musicians & Minstrels available for your event...
Refine your search for Medieval Musicians & Minstrels in Wiltshire
CantigaMedieval Musicians & Minstrels based 77 miles from WiltshireNumber of members: 3 5 stars - Cantiga are Highly Recommended 5 Customer ReviewsFee for Wiltshire £706
Cantiga perform historic music and dance from Mediaeval, Tudor and English Civil War periods. Dressed in costume and playing authentic instruments of the day, Cantiga are a professional, friendly & unique act suitable for all ages!
The PrincesMedieval Musicians & Minstrels based 83 miles from WiltshireNumber of members: 3 5 stars - The Princes are Highly Recommended 7 Customer ReviewsFee for Wiltshire £898
With an Early Music repertoire ranging from Medieval through Renaissance to early Hanoverian, this eccentric 'Tudor power trio' will bring a rowdy peak to any party, festival or historical event!
Mediaeval BaebesMedieval Musicians & Minstrels based 84 miles from WiltshireNumber of members: 6 Highly RecommendedFee for Wiltshire £3,847 +VAT
The Mediaeval Baebes are an exquisite & highly acclaimed act who offer unique musical beauty & outstanding talent whilst singing in an impressive array of long-forgotten languages using both classical & mediaeval instruments.Christmas Songs Online
The Kings WaitsMedieval Musicians & Minstrels based 169 miles from WiltshireNumber of members: 2 5 stars - The Kings Waits are Highly Recommended 11 Customer ReviewsFee for Wiltshire £577
The Kings Waits are a group of musicians specialising in medieval and renaissance music. Performing in both contemporary and authentic period costumes and playing between them over 40 different early instruments.
Historical MusicMedieval Musician based 179 miles from WiltshireNumber of members: 1 5 stars - Historical Music are Highly Recommended 2 Customer ReviewsFee for Wiltshire £462
Leeds based, Medieval style performer Historial Music will be perfect for any traditional banquet, festival or wedding.
Having trouble finding the perfect Medieval Musician?
If you would like help selecting the perfect medieval musician for your event, simply give us a call or submit the quick enquiry form below and one of our talented entertainment coordinators will be happy to assist.Make a Quick Enquiry
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9am-5.30pm Mon-Fri
The Kings MinstrelsMedieval Musicians & Minstrels based 329 miles from WiltshireNumber of members: 3 Highly RecommendedFee for Wiltshire £1,411
The King's Minstrels are a specialist medieval music ensemble based in Edinburgh, and have been performing for events, weddings and corporate functions since 2001


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I should write a program to run on my clients in local network and connect to my ftp site behind the firewalls installed on client computers. firewalls prevent my program, or at least notify to users, but iexplore.exe and explorer.exe and other web browsers (such as opera, Firefox) can connect to site and transfer files without any notification from firewalls.
I guess that firewalls have a white list of well known soft wares such those I mentioned above, but I can't found such list in firewalls (at least in all of firewalls). Then I decide to make my connection and file transferring in a thread in a dll file and inject that dll into explorer. In such circumstance because of code run on explorer address space, it's like that explorer connect to ftp site and transfer data. Using this approach I can connect to ftp site successfully but unfortunately and surprisingly firewall prevent transferring files by blocking ftp servers computer IP address. In this condition the explorer still can connect to ftp site by normal way. why????????
please help me


text:
Real Estate License: CQ1020610
CAM License: CAB4012
Licensed in the State of Florida
The information being provided by Stellar MLS is for the consumer's personal, non-commercial use and may not be used for any purpose other than to identify prospective properties the consumer may be interested in purchasing. Any information relating to real estate for sale referenced on this web site comes from the Internet Data Exchange (IDX) program of Stellar MLS. Real estate listings held by brokerage firms other than this site-owner are marked with the IDX/MLS logo. Information deemed reliable but is not guaranteed accurate by Stellar MLS.2019© All Rights Reserved. Latest Update : 12/16/2019 01:29:30 - #: 37188


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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
Tag: best friend
Kit is generally very excited about dropping Kat off in the morning and I cannot remember a day since Kit started school last year when it was the other way round...so that makes TODAY a very special day indeed...Kat had a Conference Day in school so she was overjoyed with her day off while Kit had normal school (they FINALLY realised they had given too many snow days away!)
Kit is very perceptive we couldn't just tell her that Kat was staying home (I mean, which sibling can bear to see the other one stay home with mummy?) so we made a little plan we told Kit that Kats school teacher was running a little late so her bus was late, blah, blah... and hence, Kat would drop her first (clever!!).
Kit was super excited and I felt a little guilty about making up this story but I did think it would do more good than harm, so I guess mums are allowed to do this, right?
We were all in good spirits, all was going fine and we were waiting for Kits bus when the doorman asked Kat why she didnt go to school (as part of general chit chat) and I boldly answered for her: She has a holiday at school (I should learn to keep my mouth shut!!!)
Kit looked at me and then at Kat. Kat looked at me as if she couldnt believe how dumb I was! (That I told you so look when your kids get older and start to think mums have lost it and today I did think I had!)
Was it that pressure of ending the conversation quickly that made the truth come out or was it the pressure of getting Kit to school or was it just the rush in general or just plain craziness? Whatever it was, I was not prepared for that look in Kits eyes.
Of course, Im a mum and I quickly picked myself up from where I had stumbled (too low in my eyes I think!) and started the story about how Kats teacher was too late and now they might give a day off and so on...dont think Kit believed me she just kept quiet. I even gave her my cell phone to play with (a really special treat)
Finally, the bus came and Kit was on her way to it. She looked back and said to Kat Youre staying home with mummy today, arent you?
I looked at Kit Maybe but remember I love you. (Too tired to lie anymore. Could even feel a migraine coming on now...)
Kit (instantly): more than Kat?
You do, dont you? I know you do
And she was off on the bus, sitting contentedly by the window, blowing kisses to both Kat and me, happy in the belief that I love her more than Kat...such innocence...such a carefree life...how I wish I was 4 years old!
Normally when Kats bus pulls into the driveway, Kit is the first one to run and hug and kiss Kat and generally fuss over everything today she calmly stood outside and mechanically just waved goodbye I said Kit, why are you not hugging Kat or saying goodbye nicely?
Kit: Mummy, I am. I am giving Kat her favourite lip gloss SMILE
Kat walked away, UNAMUSED!
By the time they both get back from school today, all will be forgotten... Kat will ring the doorbell...Kit will run to open the door...Kat will hide behind the wall and Boo! her and then Kit will be running behind Kat asking did you get anything for me? - some days its a book or a little sweet tucked away somewhere and other days its just a hug or a kiss...it just has to be something!
There is a rule in school (for both Kit and Kat) that you are not obliged to give out valentines but if you do decide to, then you have to give one each to the entire class Kat was not very happy with this as at the age of 11 you dont really want to write out valentines to boys unless you really want to! But since her friends were going to hand them out anyway, she felt she must do so too...however the main argument was not that, it was over the type of valentines Kat wanted to buy them but she did not want to spend her own money how cheeky is that? Imagine getting pocket money every week and then asking us to spend money for her friends valentines??
It sounded hugely ridiculous and when she did shed a few tears over it and still nothing happened (which surprised her too) she came up with a plan (finally!) Lets do it in-house YAY!!
All the commotion got Kit interested in the whole thing (she had no clue about it before this) she was ecstatic that Mummy was going to do a project with her now Kat always has an endless supply of coloured papers and pencils she is our stationery cupboard. We made some cute little coloured heart shaped valentines for Kits class and Kit got so tired of writing that she could do only 5 at a time...it did take a while to finish the 20 cards!
Kat did her 27 pink hearts on red coloured paper with different messages for girls, boys and teachers (some patience she has!)
Then we had another BIG problem. Kats school had allowed candy to school on Valentines Day but Kit was not allowed. Kit made me promise that I would not allow Kat any candy and it broke my heart when I taped a Sour patch to each of Kats Valentine when Kit went to bed. (Things you have to do for peace at home!)
On Feb 14th, Kit and Kat got up excitedly and got ready for school Kit was bubbling with excitement and wishing Happy Valumtimes Day to one and all. She even handed cards to Kats Bus Matron and lady Driver. It got her all ready for the day this is the first time she has been so excited about Valentines Day...maybe next year she can even learn to pronounce it correctly!
Kit Kat came back home with loads of Valentines from school (Kat even came back with chocolates which Kit does not know about), they both got a 3-D Sun Catcher painting kit from us and I got a surprise flowers delivery from them all!!
Its all about love...Happy Valentines Day to all of you. Hope you all had a wonderful Day!
Kat (who has over the years silently and uncomplainingly become the more mature one or maybe it has to do with the lets give up to this overdramatic sibling of mine syndrome) is usually the one who will quietly agree to give in to Kits strange (sometimes atrocious) demands and at times, I must admit I am amazed that Kat actually has the patience to listen to Kit and her nonsensical (at times comical wishes)!
Just today Kit started a whole drama because she wanted me to give Time Out to Kat as she believed Kat had hurt her on purpose (this whole on purpose thing has great consequences in our household for Kit Kat!!) What a drama ensued it got blown out of proportion (everything is super blown when there is a SNOW DAY and no babysitter...I lost patience, Kit got crazy...I got crazier but then finally...Kat came to the rescue:-)
She has this soothing voice which Kit listens to like a puppy no matter how angry Kit is (even at Kat) she will respond to that voice...lo behold! In an instant, an out of control Kit is soothed by the magical powers of a sister and I watch them both become friends again as quickly as the fight began. I am alienated (yet again!) but am truly thankful for these precious moments that save my sanity - Thank you Kat!
We are back to lunch turkey sandwiches, egg etc...
Kat: I dont like Sun on Top (referring to the egg)
Kit: I love it!
Kat: I dont. I think its disgusting. (We have gone through numerous lessons never to refer to food as the d word but obviously its not helping )
Kit: You never yuck somebodys yum
Kits sentence made Kat and me laugh. It was such a clever sentence. Since then Kat and I have been using this sentence in our day to day talk. Such a beautiful way of expressing an honest thought.
Have to go back to bed tonight and pray for school tomorrow. Cannot have another Snow Day...how much snow can January handle?
I love you so much when the sky is grey
I love you the rainy days
I love you when the sun is bright out in the sky
I love you with 13 dollars
If you bring me something, I will love you more
I will love you if you bring me cuddly toy to sleep with
or a flower or a doll
Even when I get lemonade or
a box of teddy grahams
I love you with the heart of my singing voice
Kits first poem about love to us. She insisted that I pick a paper and pen and just write whatever she was feeling as she could only talk, not write so fast! So these words are straight from Kits heart, completely unedited version of this beautiful love poem, to be treasured forever.


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1 Overview
The OTP Design Principles is a set of principles for how to structure Erlang code in terms of processes, modules and directories.
1.1 Supervision Trees
A basic concept in Erlang/OTP is the supervision tree. This is a process structuring model based on the idea of workers and supervisors.
- Workers are processes which perform computations, that is, they do the actual work.
- Supervisors are processes which monitor the behaviour of workers. A supervisor can restart a worker if something goes wrong.
- The supervision tree is a hierarchical arrangement of code into supervisors and workers, making it possible to design and program fault-tolerant software.
Figure 1.1: Supervision Tree
In the figure above, square boxes represents supervisors and circles represent workers.
1.2 Behaviours
In a supervision tree, many of the processes have similar structures, they follow similar patterns. For example, the supervisors are very similar in structure. The only difference between them is which child processes they supervise. Also, many of the workers are servers in a server-client relation, finite state machines, or event handlers such as error loggers.
Behaviours are formalizations of these common patterns. The idea is to divide the code for a process in a generic part (a behaviour module) and a specific part (a callback module).
The behaviour module is part of Erlang/OTP. To implement a process such as a supervisor, the user only has to implement the callback module which should export a pre-defined set of functions, the callback functions.
An example to illustrate how code can be divided into a generic and a specific part: Consider the following code (written in plain Erlang) for a simple server, which keeps track of a number of "channels". Other processes can allocate and free the channels by calling the functions alloc/0 and free/1, respectively.
-module(ch1). -export([start/0]). -export([alloc/0, free/1]). -export([init/0]). start() -> spawn(ch1, init, []). alloc() -> ch1 ! {self(), alloc}, receive {ch1, Res} -> Res end. free(Ch) -> ch1 ! {free, Ch}, ok. init() -> register(ch1, self()), Chs = channels(), loop(Chs). loop(Chs) -> receive {From, alloc} -> {Ch, Chs2} = alloc(Chs), From ! {ch1, Ch}, loop(Chs2); {free, Ch} -> Chs2 = free(Ch, Chs), loop(Chs2) end.
The code for the server can be rewritten into a generic part server.erl:
-module(server). -export([start/1]). -export([call/2, cast/2]). -export([init/1]). start(Mod) -> spawn(server, init, [Mod]). call(Name, Req) -> Name ! {call, self(), Req}, receive {Name, Res} -> Res end. cast(Name, Req) -> Name ! {cast, Req}, ok. init(Mod) -> register(Mod, self()), State = Mod:init(), loop(Mod, State). loop(Mod, State) -> receive {call, From, Req} -> {Res, State2} = Mod:handle_call(Req, State), From ! {Mod, Res}, loop(Mod, State2); {cast, Req} -> State2 = Mod:handle_cast(Req, State), loop(Mod, State2) end.
and a callback module ch2.erl:
-module(ch2). -export([start/0]). -export([alloc/0, free/1]). -export([init/0, handle_call/2, handle_cast/2]). start() -> server:start(ch2). alloc() -> server:call(ch2, alloc). free(Ch) -> server:cast(ch2, {free, Ch}). init() -> channels(). handle_call(alloc, Chs) -> alloc(Chs). % => {Ch,Chs2} handle_cast({free, Ch}, Chs) -> free(Ch, Chs). % => Chs2
Note the following:
- The code in server can be re-used to build many different servers.
- The name of the server, in this example the atom ch2, is hidden from the users of the client functions. This means the name can be changed without affecting them.
- The protcol (messages sent to and received from the server) is hidden as well. This is good programming practice and allows us to change the protocol without making changes to code using the interface functions.
- We can extend the functionality of server, without having to change ch2 or any other callback module.
(In ch1.erl and ch2.erl above, the implementation of channels/0, alloc/1 and free/2 has been intentionally left out, as it is not relevant to the example. For completeness, one way to write these functions are given below. Note that this is an example only, a realistic implementation must be able to handle situations like running out of channels to allocate etc.)
channels() -> {_Allocated = [], _Free = lists:seq(1,100)}. alloc({Allocated, [H|T] = _Free}) -> {H, {[H|Allocated], T}}. free(Ch, {Alloc, Free} = Channels) -> case lists:member(Ch, Alloc) of true -> {lists:delete(Ch, Alloc), [Ch|Free]}; false -> Channels end.
Code written without making use of behaviours may be more efficient, but the increased efficiency will be at the expense of generality. The ability to manage all applications in the system in a consistent manner is very important.
Using behaviours also makes it easier to read and understand code written by other programmers. Ad hoc programming structures, while possibly more efficient, are always more difficult to understand.
The module server corresponds, greatly simplified, to the Erlang/OTP behaviour gen_server.
The standard Erlang/OTP behaviours are:
- gen_server
- For implementing the server of a client-server relation.
- gen_fsm
- For implementing finite state machines.
- gen_event
- For implementing event handling functionality.
- supervisor
- For implementing a supervisor in a supervision tree.
The compiler understands the module attribute -behaviour(Behaviour) and issues warnings about missing callback functions. Example:
-module(chs3). -behaviour(gen_server). ... 3> c(chs3). ./chs3.erl:10: Warning: undefined call-back function handle_call/3 {ok,chs3}
1.3 Applications
Erlang/OTP comes with a number of components, each implementing some specific functionality. Components are with Erlang/OTP terminology called applications. Examples of Erlang/OTP applications are Mnesia, which has everything needed for programming database services, and Debugger which is used to debug Erlang programs. The minimal system based on Erlang/OTP consists of the applications Kernel and STDLIB.
The application concept applies both to program structure (processes) and directory structure (modules).
The simplest kind of application does not have any processes, but consists of a collection of functional modules. Such an application is called a library application. An example of a library application is STDLIB.
An application with processes is easiest implemented as a supervision tree using the standard behaviours.
How to program applications is described in Applications.
1.4 Releases
A release is a complete system made out from a subset of the Erlang/OTP applications and a set of user-specific applications.
How to program releases is described in Releases.
How to install a release in a target environment is described in the chapter about Target Systems in System Principles.
1.5 Release Handling
Release handling is upgrading and downgrading between different versions of a release, in a (possibly) running system. How to do this is described in Release Handling.


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With increasingly high standards and stricter regulations on hazardous goods, companies are under pressure to implement safety measures without losing sight of costs and efficiency. If your industry is affected by local, national or international norms regarding dangerous goods, you aim to balance these critical concerns with your core business.
We are specially equipped to assist you in this endeavor, with staff trainings and seminars to help you deal with hazardous goods and the authorities that oversee them. Get insider knowledge on the handling of hazardous materials, remediation and the latest updates on regulations and ordinances on dangerous substances. We can advise you on compliance with local and regional authorities and support your efforts to safely manage hazardous material.


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Whether just riding to school, or hitting the trails, the 20"-wheel Base 18.5" is designed to fit the younger rider (8-11yr old). With a shorter 18.5" top tube, smaller bars, shorter 160mm cranks and lower stand over height, it fits without compromise. A rear U-brake, 3-piece cranks and two pegs, add up to a bike that's ready to ride.
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