Free trade backers turn up the heat in U.S.
U.S. Supporters of the Central American Free Trade Agreement have begun a new drive to assure congressional approval of the accord the Bush administration says will help workers in the region and in the United States. A coalition of business and manufacturing groups announced the new effort Wednesday, as opponents continue to voice their objections to the agreement.
With the Republican leadership in Congress hoping for June consideration of the treaty, lawmakers are urging business and Hispanic organizations supporting it to intensify their lobbying campaign.
The Business Coalition for U.S.-Central American Free Trade, comprising some 500 companies and associations used a Wednesday news conference to reinforce several of its key messages: that the free trade agreement will be good for U.S. workers, and will help support emerging democracies in Central America.
Tom Donohue, president of the U.S. Chamber of Commerce, promises what he calls a "relentless" public relations campaign to drive home those and other points.
"Mark my words, we're going to win this vote, because the issues are so fundamental to this country," he said. "We're going to get past the 'China' arguments, we're going to get past the emotion, we're going to look every member of the House and Senate in the eye and ask him, are they going to let our progress slide behind, are they going to close markets to American manufacturers, I don't think so."
Among many criticisms by congressional and trade union opponents of the free trade treaty is that it will lead to further job losses in the United States and permit exploitation of workers in Central America.
Among those opposing the past is the United Steel Workers Union and its president Leo Gerard who appeared earlier this month at a rally against the treaty known as CAFTA.
"What CAFTA does is it entrenches the rights of multi-national corporations," he said. "CAFTA is not a trade deal. CAFTA is not even an investment deal. CAFTA is a multinational exploitation deal and that is one of the many reasons it has to be defeated."
However, John Engler, president of the National Association of Manufacturers, says the agreement will help preserve jobs and prevent U.S. exports and the work supporting them from going to Asia.
"There is $4 billion of existing U.S. exports that could otherwise be diverted to Asia," Engler noted.
Support for the agreement crosses party lines, with a number of free trade House Democrats taking the side of the Bush administration in pushing for implementation.
Jim Moran, a Virginia Democrat, says the pact is Latin America's last chance to avoid economic isolation.
"This is Central America's last hope. It is. And I'm sorry that so many of my friends particularly in the Democratic party are so resistant to the threat of change, they are willing to take the chance, and we think it is an inevitability, that Central America is going to end up in the backwaters of the global economy. We should not, [and] cannot let that happen," he stated.
However, the treaty faces strong opposition in Congress, much of it from House Democrats who compare it to the much larger North American Free Trade Agreement of the 1990s, and say it will result in thousands of additional jobs leaving the United States.
When lawmakers return from a Memorial Day recess, CAFTA faces crucial consideration in House and Senate committees.
WASHINGTON, D.C. — President George Bush reaffirmed the importance of passing and implementing the Central American Free Trade Agreement, which he said will continue to promote democracy in Central America and the Dominican Republic and will reduce tariffs on American goods in the region.
Bush met Wednesday with the President's Export Council, a national advisory committee on international trade comprising business leaders, representatives from the U.S. Congress, and some members of the president's Cabinet. The president used the meeting to strongly urge passage of the agreement by the U.S. Congress.
Speaking at the White House following the meeting, Secretary of Commerce Carlos Gutiérrez said Bush '"stressed how important this agreement is for continued promotion of democracy and freedom in our own neighborhood."
"He was very, very strong about that and strong about getting the word out that this is a very, very important agreement for our country and very important for our hemisphere and very important for our future," Gutiérrez said.
Thanks to Jay Brodell (A.M. Costa Rica May 25, 2005) for his objective talk on the phenomena called "The Brothers," a/k/a Luis Enrique Villalobos, the apparent pyramid/money laundering scheme that paid off handsomely for some, but sunk so many others. As suggested, the only ones who might still view him as a saint are those having trouble facing the fact that they were duped.
Prior to the operation's collapse, a bunch of my friends were talking up the "fail-proof" returns, and tripping over each other to invest. My best friend wanted to borrow money to hand over to The Brothers, and dismissed "high risk" warnings as simply "missing the boat." The publicity driving this gold rush was none other than satisfied customers, both those who were getting their regular monthly payments, and better still, individuals who had gotten their capital back. These testimonials were worth their weight in gold — for The Brothers that is.
By carefully nurturing this safe and lucrative image, The Brothers got fabulous free publicity, avoided negative scrutiny and attracted wheelbarrows of cash for what was it — some 15 years? This speaks of the considerable skill and patience exercised by these very professional con artists. It is sad that religion pretensions might have been part of this camouflage, and sadder still how many trusting people, decent but who should have known better, got so badly hurt.
The publicity as now generated by Jay and A.M. Costa Rica can help mitigate these wrongs by warning those who still might be tempted by what "looks too good to be true, and probably is".
Regarding your story, It was a telephone, not a slot machine!, we are the owners of a new B&B in Alajuela, The Dragonfly Inn.
When we opened in mid-December, we had the BBG international phone installed because we had seen one at another B&B and thought it was a good service to offer. We were told we would receive a commission, but never given a contract with details despite repeatedly requesting one or any indication of rates.
When we asked about the rates, the representative who sold us the service said he would get back to us, but never did. Two months went by before the first guest used the telephone. As soon as he received his credit card statement he e-mailed to say he had been billed at an exorbitant rate.
I called BBG to inquire about their rate policy and was given the same explanation as your story reports, probably a pre-written paragraph to counter other irate customers. After accusing the company of being capitalistic vampires much akin to most corporations in the United States, and assuring them that our establishment was based on sincere service, not sleight-of-hand highway robbery (who actually asks the calling rate before placing a call?), I told them to immediately remove the phone from our B&B.
A lovely picture of a Costa Rican butterfly now hangs where the phone once did; a much better use of space. Thank you for exposing BBG for what they are: (you fill in the blanks)!
Just to let you know this case is not unusual — travelers should always be aware that telephoning, even local calls, from hotels will cost a lot more. We see the same thing here in Israel and even in New York.
That's why buying a phone card in the local country (not having one of these you buy in the States) is like a direct dial and the most economical. And of course, not making person-to-person (or other operator assisted) calls is crucial to keeping the cost down.
Tourists should basically never phone from their rooms in a hotel, anywhere. What's that Latin expression about "buyer beware?" I love keeping up with all the news via your daily newspaper! Keep up the good work.
We follow Lenny Karpman's food column and on several occasions have visited restaurants he recommended and most have been exactly as he described.
However, there is one glaring exception, experienced by two separate sets of diners and I think you owe it to your readers to give their experiences.
A group of four of us went to the Greek restaurant in Escazú, on the road next to the golf course. We found the food to be sub-par, with the chicken souvlaki especially lacking in any taste.
Then friends of ours, also following Lenny's advice went there and had a dreadful food experience. The salad was old, the chicken was as we had experienced, the service inattentive.
Each separate group of diners had the same poor feed experience. Both went there solely on Lenny Karpman's advice, and we feel this follow-up feedback experience needs to be made known. To be fair, 90 percent of his writing is bang-on correct. We've happily followed his advice, but in this case your readers need to be aware.
EDITOR'S NOTE: Dr. Karpman makes multiple visits to the restaurants he reviews. He does not identify himself as a food critic nor does he seek any special treatment. Toward the end of the final visit he may conduct interviews. But sometimes the quality of a meal is pretty random. In case of complaints of poor dining experiences, he may work a new visit into his schedule.
The article "Sort of a tree house that doesn't hurt the forest," Grant Bonsib stated "You can see the rivers turn brown every time it rains. There's destructions in the ocean from all this dirt."
This left me wondering whether he takes his protection of the environment one step further and builds septic systems capable of handling the grey water or if it is left to run off into the rivers that turn to brown foam when it rains?
Regarding the letter concerning the new "global tax" people should understand that this is nothing new. As a matter of fact, Costa Rica probably learned about this concept from the U.S. The U.S. tax code says income from what ever source is taxable unless it is specifically excluded. While there is a partial exemption for wages, all other income earned throughout the world, such as interest, capital gains etc. are subject to U.S. taxes for U.S. citizens.
The part that makes it palatable is that the U.S. grants a tax credit for taxes on income paid to other countries, thus preventing the double taxation. The new "global tax" will not change your total tax bill, it just redistributes your tax dollar a little differently between the U.S. and Costa Rica.
An image of the Virgen de los Angeles, known affectionately as la Negrita by Costa Ricans, now has a permanent home in a church for Latin Americans in Rome.
The image, donated by the Costa Rican ambassador to the Vatican, Javier Guerra Laspiur, and his brother, José Ángel Guerra Laspiur, was the centerpiece of a ceremony Wedneday at the Church of Santa María della Luce del Inmigrante Latinoamericano.
Archbishop Luis Robles Díaz, vice president of the pontifical commission for Latin America, presided. Attendees included the Costa Rican ambassador to Italy, Manuel Hernandez, and the nation's ambasador to the U.N. Food and Agricultural Organization, Victoria Guardia de Hernández.
During the ceremony Robles read a telegram from the Vatican in which Pope Benedict XVI invoked the continual protection of the Virgin Mary for the Latin American faithful.
The image is identical to that of the Virgen de los Angeles in the basilica of the same name in Cartago.
Archbishop Luis Robles Díaz hands the image of the Virgen de los Angeles to Tica Vania Alvarez so she can place it on the display reserved for it.
An investigation by the Royal Canadian Mounted Police has found no wrongdoing by the agency's police officers who were in Costa Rica when the Villalobos Brothers offices were raided July 4, 2002.
The letter, dated May 3, came from Divisional Superintendent Dale Begbie, who was responding to a series of allegations raised by Jack Caine, a creditor of the defunct high-interest Villalobos operation.
The police official also made it clear that the raid conducted on the Villalobos operation at Mall San Pedro July 4, 2002, was planned and carried out by Costa Rican officials and not because Canadian officers had asked that it be done.
Sgt. Cam Croal was the principal investigator of Caine's complaints. Caine provided a copy of the letter.
From reviewing documents from Costa Rica, the Canadian law officers realized that authorities here were in possession of information and evidence with respect to businesses, bank accounts and suspicious financial transactions related to the Villalobos Camacho Family dating back to at least 1998, said the superintendent.
Caine made his complaint April 26, 2004 with the Commission for Public complaints against the RCMP. His allegations were mostly procedural but he also suggested that Canadian police officers were involved when money was pilfered during the raid at the Villalobos operation.
The superintendent said that Costa Rican officials report that there is no missing money and that $260,797.60 and 7,562,000 colons were taken in the raid and are in the accounts of the Costa Rican drug institute as the law provides. "The final decision regarding the allocation of the funds will be determined after the trial to be initiated against Osvaldo Villalobos Camacho," said Begbie.
The superintendent also noted that no Royal Canadian Mounted Police officer was present when the Mall San Pedro operations were raided. Canadian officers were in Jacó where a raid was being conducted at the condominium of the target of their investigation, Bertrand St. Onge.
Caine argued in his complaint to Canadian officials that Bertrand St. Onge was dead at the time of the raid. But the superintendent said that Bertrand's actions, in combination with the actions of the others who also were under investigation, formed the basis for belief by investigators that Bertand St. Onge and others were involved in a conspiracy to import cocaine into Canada, that Bertrand St. Onge had acquired and held rights to property in Jacó beach with the proceeds of crime and that Bertrand St. Onge, Richard Rivers and Norm Denault had deposited the proceeds of crime into an account at the Villalobos operation. St. Onge had died of natural causes the previous March.
Luis Enrique Villalobos and his brother Oswaldo ran a money exchange business and an adjacent office where depositors could get up to 3 percent a month on deposits in excess of $10,000.
The letter quoted prosecutor Walter Espinoza as saying the Villalobos investigation was under way before Canada sought help in its investigation. And Canadian law officers were not present for the July 4 raid of the Ofinter money exchange business or of the adjacent Villalobos office in Mall San Pedro, he said.
The government of Costa Rica took more than a year to provide copies of evidence seized in the raids to Canadian authorities, the superintendent said. By Oct. 3, 2003, the Canadian Department of Justice had obtained convictions and forfeiture orders from the principal conspirators.
Five of the six people involved as suspected in Operation Oilcrew have been convicted. Four of the six had been living in Costa Rica.
The superintendent's letter clarifies the situation with those with ties to Costa Rica who were arrested in Canada.
Sandra Kerwin-St. Onge, the wife of the dead man, pleaded guilty March 10, 2003. Richard Rivers pleaded guilty June 17, 2003, and Luc St. Onge pleaded guilty June 25, 2003.
Several proponents of the Villalobos brothers, have said repeatedly that no one had been convicted in the Canadian drug case. Technically this is true. Three admitted their guilt without trial. Al Día went even further and published an incorrect story that said the suspects had been acquitted.
A fourth suspect, Richard Thibault, has requested adjournments and is not expected to go to trial until next January and there is a court order imposed to prevent publication in relation to the evidence, said the superintendent.
He said this because Caine claimed the Canadian police were blocking information even though the case was concluded.
The Canadian case was called Operation Oilcrew. The six-month investigation, resulted in the seizure of cocaine with an estimated value of over $60 million Canadian. This cocaine was destined for the Ottawa-Gatineau region, said investigators at the time.
LONDON, England — The human-rights organization, Amnesty International, says respect for human rights across the world is on the slide, and the group says U.S. policy has a lot to do with that. The 308-page annual report highlights the state of human rights in nearly 150 countries.
Last year was not a good one as far as human rights goes. That is the conclusion of Amnesty International. Based on detailed information from 145 countries, the organization says governments are betraying their promise of a world order based on human rights.
Amnesty's Secretary General Irene Khan delivered her gloomy assessment.
"In 2004, far from any sign of principled leadership, what we saw was actually a new and dangerous agenda in the making," he said. "Rewriting the rules of human rights, discrediting institutions of international cooperation and usurping the language of justice and freedom to promote policies that create fear and insecurity."
Ms. Khan singled out Sudan, Zimbabwe, the Democratic Republic of Congo, Nepal, Uzbekistan, and Haiti as among the worst human-rights offenders.
Amnesty International says the United States, by its actions, is sending out a permissive signal to abusive governments and that is leading to more torture worldwide.
Ms. Khan says the United States must end, what she calls, its practice of indefinite detention, which she says is in breach of international law.
"Amnesty International is calling on the U.S. administration to close Guantanamo and disclose the rest," she said. "Either release the prisoners or charge and prosecute them with due process. By peddling the politics of fear and division, this new agenda has also encouraged intolerance, racism and xenophobia."
Amnesty International has been refused access to the prison camp. The Geneva-based International Committee of the Red Cross is the only independent group to have access to the Guantanamo detainees.
Amnesty's Khan says the United States sets the human rights standard worldwide and is the most important role model for other nations.
"The U.S., as the unrivaled political, military and economic super-power, sets the tone of government behavior worldwide," said Ms. Khan. "By thumbing its nose at the rule of law and human rights, what message does the U.S. send to repressive regimes who have little regard for international law anyway?"
Ms. Khan says several governments have openly defied human rights and international humanitarian law in the name of national security and "counter-terrorism."
Amnesty also criticizes the United Nations as being unable and unwilling to hold its member states to account. The report says the U.N. Commission on Human Rights has become a forum for horse-trading on human rights.
Among the few positive trends the group noted in 2004, were U.S. and British legal decisions curbing some anti-terror measures and what Amnesty calls a rise in human-rights activism.
The U.S. government has not responded to the Amnesty report, but a military spokesman says the United States continues to be a leader in human rights, treating detainees humanely and investigating all claims of abuse.
Latin America has made real progress toward democratic consolidation in recent decades, but violence, corruption and weak institutions in the region could undermine these democratic gains, according to Adolfo Franco, assistant administrator for Latin America and the Caribbean at the U.S. Agency for International Development.
In testimony Wednesday before A House subcommittee, Franco said that although democracy has taken hold in most of Latin America, democracy and good governance are not one and the same. He added that trends linked to poor governance could unravel past democratic progress.
Franco pointed out that violence and high crime rates in Latin America are creating instability and impeding economic development. He said that corruption is also undermining development efforts, and weak institutions are compromising governments' abilities to provide services to their constituents.
The struggle of Latin American governments with these governance challenges has eroded perceptions of government legitimacy and undermined public support for democracy, Franco said. "When governance and rule of law are weak, all efforts to promote democratic development suffer," he said. "Efforts to reduce poverty and promote free trade and economic growth cannot compete with the offspring of bad governance, which include poorly defined property rights, high transaction costs and economic risks, corruption, and greatly reduced domestic and foreign investment."
To help Latin governments confront governance challenges, Franco said, The U.S. Agency for International Development has allocated approximately $271 million in fiscal year 2005 for efforts to support democracy and encourage good governance.
He told lawmakers that the focus of governance programs in the region is justice-sector modernization The U.S. official noted that the region has made progress on a number of fronts toward more modern justice systems — particularly the transition to oral, adversarial trials.
Franco noted that 12 Latin nations have adopted more modern accusatory, oral criminal procedures since 1992. He said that his agency has trained thousands of judges, prosecutors, litigators, law professors and community activists to smooth the transition to these more modern judicial systems.
More demonstrations against a Panamanian government pension reform plan are expected Wednesday in the capital, Panamá City. Hundreds of students and workers clashed with police Tuesday. Witnesses say the protesters blocked streets and damaged property. At least 72 students were arrested and several people were injured during similar protests on Monday. The protests have been organized by opponents of a government proposal to save money in the government pension system through reforms such as requiring an older retirement age. Officials say the pension system is facing a serious budget deficit.


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A curious coincidence: this fall we worked on two Op. 89s. The first was our instrument for the University of Tampa. The second was a tubular-pneumatic organ built exactly 100 years previous by the Wangerin-Weickhardt Organ Co. of Milwaukee for Immaculate Conception Church in St. Helena, Nebraska. The restoration of the bellows revealed cuttings of the Milwaukee Sonntagspost from 28 October 1910, the very date on which one century later the bellows was removed from the organ for restoration.
Restoration work was completed on 3 December 2010.
We remember with fondness and gratitude the life of Roger F. Greene, an early Dobson employee, who built much of the interior mechanical parts of the organ, such as stop actions, wiring and steel framing. Members of our crew were happy to visit with him again during our work on Op. 87 in Dallas, where he was living with his wife Shirley. We send our deepest condolences to Roger's family.
Congratulations to our own Donny Hobbs, who valiantly overcame a wave of apathy and the stigma of running unopposed to prevail in his first election to the office of Mayor of the City of Lohrville (pop. 431). Donny had been appointed to the position following the resignation of the previous mayor in May, and consented to chance fate and the whims of a fickle electorate on Election Day. Having quieted barking dogs and put up stop signs to slow reckless drivers, voters rewarded him with the opportunity to spend fruitful hours in discussions of sewerage and dilapidated houses.
Our Op. 75 in Los Angeles' Cathedral of Our Lady of the Angels was featured during the month of November in the 2010 Choir & Organ Calendar. As a month-by-month bonus, visitors to the Choir & Organ website were be able to view the specification and download an mp3 recording of each month's instrument.
Wayne State College in Wayne, Nebraska, announces that Lynn Dobson (WSC '71) has been selected as the 2010 Outstanding Alumnus for the School of Arts and Humanities. A graduate with majors in Art and Industrial Education, Lynn taught high school art in Plattsmouth, Nebraska, for one year before realizing that his true calling was building pipe organs. Lynn was recognized at WSC's awards banquet on Homecoming Weekend, Friday, 24 September 2010.
Restorative repairs were made at Luther College's Center for Faith and Life, home of a three-manual organ by Robert Sipe. Built in 1978 and subject to unremitting daily use for over three decades, the organ was cleaned and some mechanical improvements made. Though there will be no tonal changes, re-regulation of the pipework was undertaken to correct any imbalances that have crept in over the years.
8-13 August 2010
Lynn Dobson and John Panning attended the biennial congress of the International Society of Organbuilders, held this year in Montréal, Québec.
Our Op. 87 appears on the cover of the May-June 2010 issue of Worship Arts, the magazine of the Fellowship of United Methodists in Music and Worship Arts. David F. Donathan, in his article describing the renovation of Highland Park United Methodist Church, remarked, "The colors found in the organ were simply breathtaking. At times during the concert, I could not tell if the oboe in the orchestra was playing or if it was the oboe stop on the organ."
The completion of restorative repairs to the 1896 W.W. Kimball & Co. organ in the Union Sunday School in Clermont, Iowa, was celebrated today in a concert given by Gregory Peterson and William Kuhlman, both of nearby Luther College. The work on this instrument, the largest remaining tubular Kimball in original condition, was supported by a grant from Save America's Treasures with matching funds from the State of Iowa (the owner of the Union Sunday School) and from local donations. A series of eight recitals runs through the summer.
On Wednesday 20 January, Lake City suffered its worst ice storm in decades, bringing down hundreds of trees and interrupting power for two days. Most exposed surfaces are covered with up to one inch of ice. In the lemonade-from-lemons department, however, those of us with fireplaces and woodstoves are replenishing our woodpiles…

redpajama_set_name: RedPajamaCommonCrawl


The Friars invite you to pray with us, to join our special novenas and Masses and to send us your intentions so we may pray for them as thousands have done since our community began on the Holy Mountain of Graymoor.
Type your Prayer Request above and then press Submit.
and if necessary, to correspond with you regarding this prayer request.


This is a single check disc assembly for the 2 1/2 - 3" Febco LF870 Series double check assemblies. This disc assembly will fit either the first or second check kit. This is a vulcanized clapper disc style rubber and is a direct replacement. Genuine Febco repair kit. No special tools are required for servicing.


The Office of Sheriff originated in England in the 9th and 10th Century, and is the oldest continuing law enforcement unit in history. The expansion of the British Empire brought the Office of Sheriff to the colonies where it evolved into part of the American democratic fabric. The Sheriff's Office is a full service law enforcement unit throughout the most of the counties/parishes within the United States.
The DeKalb County Sheriff's Office is a full service law enforcement unit that includes patrol, investigations, corrections, telecommunications and civil process. In addition the Sheriff's Office provides contract law enforcement services to other entities within the county. The Sheriff's Office is a 24/7 operation throughout the 650 square miles of DeKalb County.


This document, published early in 1846 by George Bell of 186 Fleet Street, London, was the Society's first. The author, shown as 'CB', was Revd Charles Boutell, one of the secretaries. The engravings were provided by Orlando Jewitt.
This page was added by Jonathan Mein on 05/02/2019.


I was shooting Middles this morning from the rocks. The waves looked great and the conditions looked ideal.
I confused my ambitions with my capabilities and decided to paddle out with the camera.
There were some solid sets and a lot of water moving. I saw some beatings go down, and took a couple on the head as well.
During the hour long swim back in I had plenty of time to consider whether or not 2 weet-bix really is enough.
If you look close you can see an arm on top of that foam ball.


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'Strictly' judge Shirley Ballas 'trying not to dwell' on health scare as she awaits test results
Albertina Lloyd
Shirley Ballas is set to undergo further tests in hospital this week after 'Strictly' viewers spotted a lump in her arm. (BBC)
Strictly Come Dancing star Shirley Ballas admitted she is trying not to think about her potential health problems as she awaits test results.
The 61-year-old head judge revealed is set to undergo further tests at King's College Hospital in London on Friday, after viewers spotted a lump in her armpit during the BBC dance show.
Ballas was asked by Good Morning Britain's Richard Madeley if she was worried, and admitted she was avoiding the question.
Read more: Shirley Ballas undergoing cancer tests after finding lump
She added: "I try not to worry because it's so busy and there are other people relying on me.
"I just keep moving forward. Don't dwell on it because it will be what it will be."
A post shared by Shirley Ballas (@shirleyballas)
The dance teacher revealed she had visited her doctor after being contacted by several concerned viewers about the lump under her arm, and her blood tests had highlighted some alarming hormone levels.
Ballas said: "The last two weeks, it has been like a whirlwind with everything else I've been doing.
"I was doing a Paso Doble move, put up my right arm and one or two people got in touch and I kind of ignore. And then there was about 11 people getting in touch so I thought, 'No I better go to the doctor'.
"I went off to see my doctor, she had a little feel around and she couldn't feel anything but she had some past blood tests from a few months before. I hadn't gone back for the results - my fault - and she was alarmed by them.
Shirley Ballas is busy as the head judge on 'Strictly Come Dancing'. (BBC)
"She redid all my bloods last week and she was alarmed by the testosterone levels, the lack of oestrogen levels and other things that were going on. So I'm going off for my test on Friday at King's College.
"With me, the NHS has been really, really quick. I normally find out within a week to 10 days, I can get the results and then my doctor can go from there."
Ballas - who contracted coronavirus in March - underwent tests earlier this year after doctors discovered a "cyst or tumour" between two bones of her shoulder.
She told GB News in June: "I got the Covid virus and then they found a ganglion cyst or a tumour in my shoulder.
"I am going backwards and forwards to the hospital all the time. I feel I seem to be getting sicker by the minute. I can't seem to get up and out. It's something between two bones and they are not really sure what it is yet.
'Strictly' viewers spotted a lump under Shirley Ballas's arm. (BBC)
"They have done the dye and the MRIs plus this and that. I get the results in a few weeks. The gentleman seems to think it will be fine but, still, it is worrying."
Read more: Strictly's Shirley Ballas required stitches after severely cutting her hand
The former dance champion had her DD breast implants removed in 2019 after discovering a growth on her chest.
There is a history of cancer in Ballas's family. Her mother Audrey was diagnosed with colon cancer in 2019, and her grandmother and aunt have also battled the illness.
Watch: Shirley Ballas shows off injured hand after kitchen accident
Pharmacists see slower-than-expected demand for COVID vaccine for kids 5 to 11
With a hoped-for return to school less than two weeks away, the pace of vaccinations for children aged 5 to 11 is slowing down in New Brunswick. Only 51.3 per cent of children in that age group had received a first dose as of Monday afternoon, according to the province's COVID-19 dashboard. Pharmacists have seen a slower than expected demand for first shots. "There aren't that many bookings. There are only a few hundred a day and that's spread around 130 pharmacies," says Jake Reid, executive di
French far-left presidential hopeful woos voters with jobs
NANTES, France (AP) — Far-left French presidential candidate Jean-Luc Melenchon embraced migrants and Russia and derided campaign rivals Sunday as he sought to reinvigorate his flagging campaign for April's election with an unusual "immersive and olfactory" rally. Yes, olfactory: The campaign team diffused various smells into the exhibition hall in the western city of Nantes, surrounding participants with screens and speakers. While the videos were powerful, with ocean waves and starscapes trans


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Gooden Brings Holiday Joy to Kips Bay Boys & Girls Club
December 21, 2016 4:27 PM·
Photo credit: Rich Mancuso
By Rich Mancuso/Sports Editor
Dwight "Doc" Gooden came to town Tuesday afternoon and distributed toys and joy to youngsters at the Kips Bay Boys & Girls Club Christmas party for kids in the Castle section of the Bronx.
The former Cy Young Award pitcher for the Mets and Yankees distributed toys to 500 youngsters from homeless shelters in the Bronx and to members of the Kips Bay Boys & Girls Club.
"We are providing a holiday experience for youngsters who may otherwise not have it," said Danny Quintero Executive Director of Kips Bay. "For kids from single parent homes we are filling an amazing void in their lives."
This was the tenth year that Quintero hosted the annual party for kids that included lunch, magic acts, a visit of gift-giving from Gooden and, of course, a visit from Santa.
Quintero, Executive Director of the Kips Bay Castle Hill clubhouse for the past 20-years, once again had volunteers pitch in from the design industry to assist with gifts and entertainment. He's able to continue his traditional event with support from the New York Yankees, Ray Negron, Hanks Yanks, and Alfred Zacagnino, an local entrepreneur.
"Ten years ago I remember when I came back to the Yankees, I was sitting with Mr. Steinbrenner and Tony Bruno, head of Yankee Global, and The Boss said ever since you been a little boy you like doing these things," Negron recalled.
"I [replied], if it weren't for you I would never have a chance to give back and he said to me 'I want you to always do this for me.' I promised him that I always would and I am happy that Tony was there and Doc."
Gooden said, "I love kids. What good is a life if you don't have an impact on another life. These kids are trying. Give them a chance. They want it."
The efforts of Gooden, Negron, Zacagnino, Quintero and the Kips Bay Boys & Girls Club gave every youngster a chance at happiness during this holiday season.
Comment Rich Mancuso: Ring786@aol.com Twitter@Ring786 Facebook.com/Rich Mancuso
There was no DH issue with A-Rod and Beltran: Not this Friday Night Subway Series Game 3: More Drama for Mets in loss to Yankees Coaching Alliance Honors Youth At Yankee Stadium Yankees' Ron Guidry in the Ted Williams Hall Of Fame
Tags: Bronx, Dwight "Doc" Gooden, Kips Bay Boys and Girls Club, NY Yankees, toys


to hide in the safety of metaphors.
the graves stretching all around you.
you would lose your voice.
not even as you kneel at the Wall of Death.
will be studied, weighed, judged.
with no beginning, no ending.
Pray for the sky, the earth, the questions.
Phebe Jewell is a writer and teacher from Seattle, Washington. Her work has appeared in Bindweed Magazine, Crab Creek Review, and Crosscurrents.
Amazing and brilliant. A poem to dwell over in the memory of those senseless deaths.


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Derivative of lnx, derivative of log x2, derivative of ey,derivative of 2ˣ, Differentiation of raise to power function an easy and short cut manners, differentiation of raise to power function.
Till Date we have learn to differentiate this question by taking log on both sides and then differentiate.
This is very long process to differentiate this types of functions .
But today we shall learn a different and an easiest method to differentiate such type of functions.
then assume this function as [ log (Base) ]× [ Power ] then use product rule of differentiation and place the given function in front of the result so obtained.
First Assume base x as Log x as 1st function and power function as 2nd function, then apply Product rule of differentiation, and place f(x) in front of the result so obtained.
Now put f(x) in front of this result and that will be derivative of the f(x).
Thanks for devoting your valuable time for this post differentiation of raise to power function,derivative of lnx, derivative of lnx^2,derivative of e^y,derivative of 2ˣ, implicit differentiation calculator,derivative of log of my blog . If you liked this this blog/post, Do Follow me on my blog and share this post with your friends . We shall meet again in next post with solutions of most interesting and mind blowing mathematics problems ,till then Good Bye.


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I was born in New Orleans, LA in 1945. My mother was from that unique city and her first three children were born there. My Bostonian father was a Naval aviator, often at sea for several months, so the first few years of my life were spent off and on in my grandparent's home near Audubon Park. Due to Naval life, I spent each of my early years in a different East coast or southern school, moving nearly every twelve months. Because of this quasi-nomadic life, my parents bought an old farmhouse in the pinewoods of Cape Cod to offer some summer stability for their four children. Later we moved to the village of Siasconset on Nantucket Island. My early connection to nature came from spending summers in these two places in Massachusetts. When I was fifteen the family moved to Neauphle-le-chateau, a small town outside of Paris. I attended the American School of Paris for two years where I was introduced to my favorite subjects: art history and language. During this period, our family traveled extensively throughout Western Europe. In 1967 I graduated with a B.A. in painting from Connecticut College. While at college I met my future husband Joel who was a student at Wesleyan University. We were married in 1967. In 1970 we went to Florence, Italy where Joel was doing research for his dissertation. This two-year period established the beginning of a life-long love of Italy and its people and art. Our first daughter Lisa was born there in 1972. Shortly thereafter my husband was offered a job at the University of British Columbia in Vancouver, Canada. Our second daughter Laura was born in 1973. We spent many years enjoying the incredible beauty of the Northwest coast, becoming avid ocean kayakers and gardeners. In 1980 we returned to Florence where Joel was a Fellow at Villa I Tatti, the Harvard Center for Italian Renaissance Studies. We lived in a stone farmhouse north of Fiesole with Vanda Scaravelli, a most extraordinary woman. She taught the girls classical piano and they attended the Martinot Art School in Florence where they learned traditional methods of painting and sculpture. Meanwhile I was home schooling the girls; this and a large vegetable garden took up most of my time during those five wonderful years in Tuscany. In 1985 we moved back to Vancouver. It was during this period that I started weaving baskets seriously and collaborating with Native artists. These were years of intense learning and experimentation. Eight years later we moved to Santa Fe, NM. Since then both daughters have attended art and design colleges and now are pursuing careers in the arts. These days I devote myself fully to making fine baskets and Joel contributes to this venture with his woodworking and conceptual skills.


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text:
Trollwood Children's Theatre
SparkMusic
Totally Trollwood Academy
Totally Trollwood Musical
Totally Trollwood Winter Academy
Trollwood Academy
Trollwood Conservatory
Trollwood Players
Mainstage Musical
Trollwood Winter Academy
TROLLWOOD EVENTS
Mainstage MusicalKathy Anderson2021-01-15T23:42:22+00:00
MM PRODUCTION TEAM
CAST PARTICIPATION
CAST AUDITION INFO
ORCHESTRA PARTICIPATION
ORCHESTRA AUDITION INFO
TECHNICAL CREW PARTICIPATION
MM FORMS & RESOURCES
MM STANDARDS & BENCHMARKS
2021 Mainstage Musical
Proudly sponsored by Bell Bank
Ages: 14 through 2020 or 2021 Graduated Senior
Location: Trollwood Performing Arts School at Bluestem Center for the Arts, 801 50th Ave S, Moorhead, MN
Program Dates: June 3-August 6, 2021
Cast Auditions: Cinderella Cast Auditions for Summer 2021 are complete and closed.
Orchestra Auditions: TBD
Technical Theatre Involvement: Register for Technical Theatre – Independent Study and/or Mainstage Musical Run Crew.
Measurement Party: TBD
Kick Off Meeting: June 3, 7:00pm, location TBD. 1 student and 1 parent must participate.
Orientation: June 7, 11:00am-12:00pm, location TBD. Student must participate.
Discounted Group Sales: OPEN NOW for purchases of 10 or more tickets on a single performance night
Tech Week: July 5 – 14
Performances: July 14-17, 21-24, 28-31, 2021
Strike: Cast, crew and orchestra members are REQUIRED to attend strike week, August 2-6
Production Party: Thursday, August 5
Registration Deadline: May 14, Registration remains open after this deadline however, a $25 late fee will be assessed.
Fees: See Program Fees page HERE.
MAINSTAGE MUSICAL PRODUCTION TEAM
MICHAEL WALLING
Michael Walling is a nationally known New York City-based stage director and arts educator. Michael has been the resident guest director for Trollwood since 1992 and is currently the Artistic Director for the Main Stage Musical. 2021 will mark the 30th stage production Michael has directed for Trollwood. Michael was the Artistic Director of the Pit and Balcony Theatre Company in Michigan, directing 24 stage productions. He's also served as Artistic Director for Fort Peck Theatre in Montana, directing and producing over 15 productions. For the last three decades Mr. Walling has been a frequent Guest Artist/Lecture on the regional theatre and university stage. Teaching masterclass's in stage directing and audition technique. Michael was a founding member of the Directors Company in the prestigious Goldberg Department of Dramatic Writing at NYU's Tish School of the Arts. Throughout 1992-2000, Michael directed numerous of projects for the writing program.
As Artistic Director of the Main Stage Musical, Michael continues to lead a national artistic team to produce high quality professional theatre while inspiring thousands of our local students through the discipline of arts education. Because of Michael's continuous dedication to our community, it was announced in 2001 by the mayor of Fargo that from this day on, July 18th would officially be "Michael Walling Day" in Fargo ND.
Michael's Trollwood directing credits include: 1992-Oklahoma, 1993-Anything Goes, 1994-Joseph and the Amazing Technicolor Dreamcoat, 1995-West Side Story, 1996-Guys and Dolls, 1997-A Funny Thing Happened on the Way to the Forum, 1998-42nd Street, 1999-Jesus Christ Superstar, 2000-Damn Yankees, 2001-Crazy for You, 2002-Footloose, 2003-Les Misérables, 2004-Kiss Me, Kate, 2005-Disney's Beauty and the Beast, 2006-Fiddler on the Roof, 2007-Thoroughly Modern Millie, 2008-Joseph and the Amazing Technicolor Dreamcoat, 2009-The Wiz, 2010-Anything Goes, 2011-The Music Man, 2012-Legally Blonde The Musical, 2013-Shrek The Musical, 2014-How to Succeed in Business Without Really Trying, 2015-Mary Poppins, 2016-Disney's The Little Mermaid, 2017-Disney's Beauty and the Beast, 2018-Hello, Dolly! and in 2019-Freaky Friday!. Michael is currently working on our 2021 production of Cinderella.
JACK MEHLER
Scenery & Lighting Designer
Jack Mehler has designed lighting and scenery for theatre, dance, opera and corporate events for over twenty years based in New York. He was the 2013 recipient of the Korean Musical Theatre Award for Lighting Design of the year (the Korean Tony) for Rebecca and the 2012 recipient for Elisabeth. Notable recent projects include Marie Antoinette for EMK International in Seoul, Billy Elliot for Ogunquit Playhouse and premieres for The Joffrey Ballet, Lar Lubovitch, and Ballet Memphis. His work for TPAS began in 1996 with the scenery design for Guys and Dolls and he has designed scenery and/or lighting for 21 TPAS productions. He was an owner's consultant for the Trollwood New Home which opened in 2009. His work has also been seen with Alvin Ailey American Dance Theatre, Donald Byrd/Spectrum Dance, Cleveland Play House, Hubbard Street Dance Chicago, Manhattan Theatre Club, Northshore Music Theatre, Seattle Rep, Spoleto Festival (Italy), Paper Mill Playhouse, The WPA Theatre and many others. Jack lives in Bronxville, NY with his wife Marguerite and their children Patrick, Ben, and Katherine.
TRAVIS CHINICK
Travis has worked for the last 10 years as a freelance designer and painter. He currently obtaining his MFA at Yale School of Drama. Highlights include A Dog Story (Seaglass Theatrical), Mysterio! Magic Rocks the Night! (Holiday World and Splashin' Safari, IAAPA Finalist), That Bachelorette Show (Davenport Theatrical), the Ivy and Bean National Tour (Maximum Entertainment), The Tutors (Attic Theatre Company – NY Premiere), Strictly Dishonorable (Attic Theatre Company), Les Miserables (Assistant Designer- 2014 Broadway Revival), Legally Blonde(Argyle Theatre) and others. Travis has also worked as a Costume Painter at The Metropolitan Opera and was an in-house designer and shop manager for RWS Entertainment Group where he designed and coordinated costumes for theme parks and cruise ships across the country and world.
BRIGHTON COGGINS
Costume Stitcher/Wardrobe Crew
Brighton Coggins is a theatrical costume technician based in Alaska. He graduated Magna Cum Laude from the University of Alaska, Anchorage (UAA) in 2020 with a major in Theater and a Design and Technical Theater concentration. Brighton has worked as a designer, cutter/draper, stitcher, costume crafts artisan, wardrobe crew member, and assistant costume shop manager on a variety of productions; some of his favorites include Fuddy Meers (UAA), Romeo and Juliet (UAA), Ugly Lies The Bone (Blue Chair Productions) and As You Like It (Illinois Shakespeare Festival). Cinderella will be Brighton's first foray into youth theater as an adult, but as an aspiring educator he is delighted to be part of the team and help the talented artists at Trollwood to hone their craft.
Scenic Charge Artist
Kathryn E. Cook is a Scenic Designer and Scenic Artist based in Southern New Jersey. She received her BA in Theatre Design and Production from The Richard Stockton College of NJ and went on to earn her MFA in Theatre Design and Technology from The University of Alabama. Before she graduated, she was awarded 2nd place in the South Eastern Theatre Conference's 2015 graduate level design competition for her work on Sarah Ruhl's Eurydice. Kathryn's professional credits include: Scenic Designer and Scenic Artist at The Interlochen Arts Camp, Scenic Charge Artist at the Virginia Shakespeare Festival, and Scenic Charge Artist and Scenic Designer at the Cumberland County Playhouse in Crossville, TN.
KIAH CORRIN
Costume Lead Cutter/Draper
Kiah is very excited to be returning for her second year on the Trollwood Mainstage Musical costume team! After graduating with a BFA from the University of South Dakota, Kiah worked as a stitcher/dresser for Freaky Friday in 2019. When Kiah is not working at Trollwood she runs her own small business making custom dancewear in Minneapolis, Minnesota. She enjoys listening to podcasts, video games, weightlifting, ice cream, and fostering cats!
ARIA DURSO
Hair & Makeup Designer
Aria Durso is a Professionally trained Wig Master and SFX artist. Originally from Nashville, Aria Studied SFX makeup at Joe Blasco Makeup Center East in Orlando Florida, before moving to Philadelphia to apprentice in wardrobe and wigs at The Walnut Street Theatre. Aria toured for years with various touring productions, including 2 years as Wig Master for The Rogers and Hammerstein's Cinderella 2nd National Tour. She is currently pursuing her Masters Degree in Information Sciences at the University of Knoxville, Tennessee. She lives in New York with her husband Peter and her tiny cat, Eponine.
MICHAEL ESTANICH
Michael Estanich is the Artistic Director of the Chicago based dance theatre company, RE|dance group. Since 2009 RE|dance group has been presenting work in nationally recognized dance festivals throughout the United States. In summer of 2016, RE|dance group was invited to present its seminal duet Abbot & Viv at the New Dance for Asia International Dance Festival in Seoul, South Korea. Michael is also a Professor of Dance at the University of Wisconsin-Stevens Point. He teaches modern dance, composition, dance pedagogy, movement analysis and dance history. He earned his MFA from The Ohio State University and his BFA from Denison University. His creative research currently examines ideas of space, architecture, landscape and habitation often resulting in dances supported by sculptural environments. Michael's professional performance credits include Molly Shanahan/Mad Shak, Cerulean Dance Theatre, Rebecca Rosen, Melanie Bales, Bebe Miller, a reconstruction of Mark Morris' choreography All Fours, and Susan Marshall's ARMS. He is the North Central Regional Director of American College Dance Association (ACDA). Michael has been a part of the Trollwood Performing Arts School dance faculty since 2006, serving as the department chair since 2010, and the choreographer for the Mainstage Musical since 2015.
ZIA FOX
Sound Technician
Zia Fox is a sound designer and audio engineer. They graduated from the University of Illinois at Urbana-Champaign in 2018 with a BA in Music Technology, and again graduated from Urbana-Champaign in 2021 with a Master of Fine Arts in Theatre Sound Design and Technology. Zia has designed and engineered many resident productions at Krannert Center for the Performing Arts, the most recent including Lysistrata, PSHITTER! A Drinking Song for the Year of Our Lord 2020, Gem of the Ocean, and The Adventures of Little Sharp Ears. Outside of theatre, Zia does video game sound design and other multimedia projects.
THOMAS IODICE
Scenic Carpenter
Thomas Iodice is honored to join Trollwood Performing Arts School as a carpenter for Rodgers + Hammersteins Cinderella. He is currently a rising third year student at the University of Cincinnati College-Conservatory of Music pursing a BFA in Technical Production and a minor in Information Technology. He was previously the Technical Director and Set Designer for Disney's Beauty and the Beast, Disney's The Little Mermaid, and Footloose in his hometown, Northern Virginia.
JORDAN JONES
Jordan "J.J." Jones is pleased to be joining the Trollwood family once again after having a blast stage managing last year's Freaky Friday. J.J. works full time at the Leslie S. Wright Performing Arts Center on Samford University's campus located in Birmingham, AL. Spending most of her time assistant managing the venue, she is most excited to dive back in to working on the production of a great musical. Some of her favorite musical credits to stage manage have been Children of Eden, Guys and Dolls, Hairspray, The Little Mermaid, and Oklahoma!. She is looking forward to another fantastic summer!
SUE JORDAHL
Sue Jordahl has been a part of the Trollwood family filling multiple roles for more than 20 years. Sue is delighted to work as the Trollwood Performing Arts School Pit Orchestra Director for the seventh year. Previous work with the Pit Orchestra includes being the lead keyboardist and a mentor since 1995. Sue has been part of the Trollwood faculty where she has taught classes for both Trollwood Academy and Totally Trollwood Academy, as well accompanying dozens of Trollwood Academy classes over the years. Sue holds a Master of Education degree from NDSU, where she is also active with the Gold Star Alumni Band. Currently, Sue is an instructor at West Fargo High School where she teaches band and is very involved in the musicals put on by the school. She also participates in the pit orchestras of other area high schools as the keyboardist, most recently Fargo North. In addition, she has served as the director for the West Fargo Community Band and is the organist/keyboardist and hand bell director for her church. During the school year, Sue plays percussion with the Lake Agassiz Concert Band. Sue's entire family has been involved at Trollwood over the years, as her husband, two children, and son-in-law have all been members
of the Trollwood Pit Orchestra and her children are Trollwood alums, as well.
LYDIA KABZINSKI
Assistant Costume Shop Manager/Wardrobe Head
Lydia Kabzinski is thrilled to be back in the Trollwood family again this summer after working on last year's 'Freaky Friday' production as the Assistant Costume Shop Manager and Wardrobe Head! Lydia graduated from Morehead State University in the spring of 2020 with a Bachelor's degree in Theatre, and she is excited to continue her work in the arts!
This will be Autumn Light's first production with Trollwood Performing Arts School. She is a Texas based Lighting Designer who recently received a BFA in Design/Technology from Wright State University in Dayton, Ohio. This past spring, she was able to spend her last semester working full-time at a production company in Austin, Texas. During her time there, she learned how to program multiple lighting consoles while designing for small concerts and corporate events. She is looking forward to this new endeavor and thanks her family and friends for the endless love and support!
TOBI OSIBODU
Assistant Deck Chief
Tobi Osibodu will be returning to Trollwood for his second summer Mainstage Musical. Tobi is a native of the Chicagoland area but is currently studying music and theatre at Millikin University in Decatur, IL. He serves a Stage Manager at the Kirkland Fine Arts Center where he has worked with acts like The Alabama Ballet, The Moscow Ballet, and Postmodern Jukebox. He is looking forward to yet another wonderful summer with Trollwood.
CAROLINE PATTERSON
Scenic Painter
Caroline Patterson is a BFA Scenic Design 4th year at Ohio University and currently a Scenic artist for Trollwood Performing Arts School. Scenic Artist: Objects in the Mirror, She Kills Monsters, Rhinoceros, Big Love, Pluto, Silent Sky, Romeo & Juliet. Assistant Scenic Design: Silent Sky. Scenic Charge Artist: People Places and Things, Macbeth.
SARAH REKOW
Sarah Rekow is excited to work with Trollwood Performing Arts School this summer. Sarah graduated from Fashion Institute of Design and Merchandising in 2017. She has worked on several productions in the costume department including Matilda with McCoy Rigby Entertainment and The World Goes Round with Reprise 2.0. When not working on shows, she is the wardrobe supervisor at 3-D Theatricals in Anaheim, CA.
ISABEL SAMUEL
Isabel is going into her second year as a lighting MFA student at Illinois State University. She recently was the Assistant Lighting Supervisor at North Shore Music Theatre, as well as a freelance designer and electrician in the Boston area. Favorite design credits include The Little Mermaid (North Attleborough High School) and Driving Miss Daisy (The Barnstormers). Isabel received her BFA in theatrical design from Salem State University. She wants to thank Katie Whittemore for convincing her to join the team at Trollwood. Isabel can also be found at: isabelsamuel.com
ELIZA SNORTLAND
Vocal Director
Eliza Snortland is the director of choirs at White Bear Lake Area High School-North Campus where she conducts five choirs, assists two others, and vocal directs the musicals. She recently completed her graduate studies at Northern Arizona University in Flagstaff, AZ. While pursuing her Master of Music in Choral Conducting, she also directed the NAU University Singers, co-directed the NAU Chamber Singers, and chorus mastered two lyric theatre productions. Prior to moving to Arizona, Eliza conducted 6th-8th grade choirs at Central Middle School in White Bear Lake, MN and sang with the semi-professional ensemble, Magnum Chorum, based out of the Twin Cities. For the past seven summers, Eliza has served as the vocal director for the Mainstage Musicals at Trollwood Performing Arts School. She is a former Trollwood student and was the vocal student leader for two summers. Eliza is also a graduate of Saint Olaf College, where she earned her Bachelor of Music degree in Vocal Music Education. She sang and toured nationally with the St. Olaf Choir and served as the alto section leader. When she is not conducting choirs or vocal directing musicals, Eliza enjoys arranging choral music and cooking!
LUCAS STREIT
Master Carpenter
This will be Lucas Streit's first summer working with Trollwood Performing Arts School. He is from the Chicagoland area and is currently studying scenic technology at the University of Illinois Urbana-Champaign. Lucas' previous show credits include, Pshitter! a drinking song for the year of our lord 2020, La Boheme, The Rape of Lucretia, Eurydice, and Big Fish. Lucas is very excited to get to work and be a part of the team at Trollwood Performing Arts.
KATIE WHITTEMORE
Lighting Director
Katie Whittemore is very excited to return to Trollwood this summer after joining the team for Freaky Friday in 2019. She is based in NYC, where she works as a freelance lighting designer. She most recently was the Assistant Lighting Designer for An American in Paris (National Tour), and on Menopause: the Musical (Ogunquit Playhouse). She was also the Associate Lighting Designer for Matilda (Engeman Theatre), and Elf (The Gateway). Her recent design work includes Fen (Columbia University), Mother of Pearl (Rough Draft Theatre Festival), Steerage (Columbia University) and A Burning Church (New Ohio Theater). Before moving to NYC, Katie was the Lighting Supervisor at North Shore Music Theatre in Massachusetts for two years, where she had the pleasure to serve as Jack Mehler's associate on multiple productions. She received her BFA with a concentration in Lighting Design from Salem State University in 2016. She now lives in the Washington Heights area with her husband Corey and their two cats. katiewhittemoredesign.com
CAST REHEARSALS/PERFORMANCES INFORMATION
Prerequisite: By Audition. All roles for 2021 are cast at this time. Students are highly encouraged to take advantage of all training opportunities available. Please consider the Winter Academy audition classes in January/February and the Trollwood Academy & Trollwood Conservatory roster of classes as you plan your summer.
Rehearsal: Monday–Friday rehearsals meet June 4-29 from 4:30-9:15pm; June 30, Sun Celebration times TBD; July 1 & 2 meet 9:00am to 5:00pm. No rehearsal July 4. Saturday rehearsals: June 5, 12, 19, 26 & July 3 meet 9 am – 4 pm. Tech Week rehearsals daily July 5-14, these are day and evening rehearsals, schedule TBA. Rehearsal schedule may vary as other details for summer are confirmed. Please reserve Sundays throughout June as alternative rehearsal dates may need to be added once other events are booked in the amphitheater.
Monday, July 5 – Tech Week begins
Cast members have responsibility to the Mainstage Musical and must attend ALL scheduled meetings, rehearsals and performances between June 3–August 6.
NOTE: It is discouraged to miss any rehearsals. After three excused absences, the additional days of rehearsals missed directly affects the amount of responsibility you will be given in the Mainstage Musical. Approval for an excused absence must be secured in advance through the submission of a written request and requires the approval of the Mainstage Musical Artistic Director.
Mainstage Musical cast participants must register for at least one Trollwood Academy intensive or one session of Trollwood Conservatory. We encourage you to take more if your schedule allows! Cast is also required to do 5 hours of tech work on their own.
Performances: July 14-17, 21-24, 28-31. Showtime: 8:30 pm each night.
Strike: Cast members are REQUIRED to attend strike August 2-6.
Production Party: All students are invited to celebrate their success at a production party, August 5, 7:00 pm, Marcil Commons, Trollwood Performing Arts School at Bluestem. Strike participation is required to attend.
CAST AUDITION INFORMATION
All roles have been auditioned and filled for 2021.
Full auditions will be held for the 2022 Mainstage Musical in Spring 2022, dates TBD. Once the audition dates have been announced, sign up for an audition session by contacting Trollwood at (218) 477-6500. If you are unable to attend these auditions, you may audition via recorded video.
2022 Cast Audition Schedule: Please arrive 20 minutes prior to your session start time to register & warm up.
Spring 2022, dates and times TBD. Marcil Commons, Trollwood Performing Arts School
Dance Callbacks:
Vocal/Acting Callbacks:
Callback and Cast Lists will be emailed to participants, date and time to be determined.
Audition Instructions:
Come with a prepared song. Come with a portion of memorized song, not to exceed 1.5 minutes. Choose which portion of the song best reflects your vocal range and abilities; you don't need to start at the beginning of the song. To help us understand your ability to grasp the essence of 2022's Mainstage Musical, please select a song from another similar musical. It's best not to select a song from the show for which you are auditioning.
An accompanist is provided or you may bring your own. No A Cappella, please. Bring one copy of sheet music for the accompanist. You may bring recorded instrumental accompaniment for your vocal number; however, recordings with accompanying vocals are not allowed. Auditioners should not accompany themselves.
Be prepared to talk about yourself. The audition staff will usually ask you a few questions to get to know you better. They might ask about your recent performing experiences, why you want to be a part of this play, etc.
Come in a dressy casual outfit for the singing part of the audition. We will be doing this part of the audition first. Remember, when you feel good about how you look you perform at a higher level.
Bring clothes you can move in! The movement/dancing part of the audition will be second. You will learn a short dance combination, so bring something that you can be energetic in—clean, flexible-soled shoes and comfortable clothing.
Be fully rested for your audition. Energy is that intangible force that can elevate you to that next level of excellence. When you audition, take a deep breath, focus your thoughts and energy, and GO FOR IT!
Remember to be yourself, project your voice, smile, and have fun! Break a leg!!!
Recorded Auditions:
If you are unable to audition in person, please submit your audition using one of the following methods: DVD, YouTube, Vimeo or similar online video host. All videos must be received in the Trollwood office 1 week before the in-person auditions to be considered.
Requirements: Your recorded audition can be submitted in DVD or online video format. For videos uploaded to YouTube, Vimeo, etc. please be sure they are set to "Private" and include any necessary passwords. DVDs or online videos must be labeled (titled) with the auditioner's name. Please include with your recorded video a brief written profile, including name, address, phone, current age and grade. Also include a recent photo and resume. Online posted videos need to include a working direct link to the video and any password associated with it for access.
Click here to email us your audition video.
Record on your Video:
Name, current age and grade, information about you and your previous experience
A short dance combination, showing your full range of dance and movement abilities
An audition song not to exceed 1.5 minutes, that reflects your vocal capabilities. See musical selection hints in Audition Instructions, this page
A monologue from a scripted, published play, not to exceed 1.5 minutes
The 2021 Orchestra has been auditioned and all parts have been filled for 2021.
BEING IN THE TROLLWOOD MAINSTAGE ORCHESTRA OFFERS MANY BENEFITS!
Top Reasons to Join the Orchestra…
Meet new friends from all around the region as you rehearse and perform the musical accompaniment to the Mainstage Musical
Improve your skills as a musician
Learn how to perform in a musical style you may not get to experience otherwise
Connect with many of the region's finest musicians
Demonstrates your commitment to music/performance for post-secondary education recruiters
Master Classes with professional musicians—give you an opportunity for association and advanced teaching not readily available to high school students
Be part of 100+ students all working toward the goal of making an extraordinary performance!
Best of all—it's FUN!
As an orchestra member at Trollwood you will work hard to provide the musical framework that creates a really great musical show, but you'll also make life-time friends and memories while you laugh and play (as in 'have fun!'), and create wonderful music!
Our evening rehearsal schedule allows you to take Trollwood classes, have a day job, attend Summer School, or just hang out with friends, so you CAN "have it all" this summer!
Mainstage Musical Instrumentation
All Band and Orchestra Instruments; this includes:
1 Reed 1 (Piccolo, Flute, Alto Flute)
1 Reed 2 (Oboe, English Horn)
1 Reed 3 (Clarinet, E-Flat Clarinet, Bass Clarinet)
1 Reed 4 (Bassoon, Flute, Clarinet)
1 Horn 1
1 Trumpet 1 (Doubling Flugelhorn, Piccolo Trumpet)
1 Trumpet 2 (Doubling Flugelhorn)
1 Trombone (Doubling Bass Trombone)
1 Keyboard
1 Harp
1 Drums
1 Percussion
1 Violin 1 (2 Players)
1 Viola
1 Bass
Prerequisite: By audition
Auditions: Dates TBD for 2022. Contact Trollwood Performing Arts School at 218-477-6500 to schedule your audition time once dates are set.
Rehearsals: Orchestra rehearsals for 2021 are June 4-29, July 1-2, 6:00-9:30 pm, Monday–Friday, Trollwood Performing Arts School at Bluestem.
Saturdays and Sundays during June are not scheduled at this time; however, additional rehearsal time may be scheduled as necessary.
Daily evening rehearsals with the cast begin Monday, July 5, Trollwood Performing Arts School at Bluestem.
Conflicts must be submitted at audition. It is possible to miss limited rehearsals and still perform for shows at the director's discretion.
Tech Week: Daily evening rehearsals, beginning Monday, July 5, including Saturday and Sunday, through July 13.
Performances: July 14-17, 21-24, 28-31.
Strike: Orchestra members are required to attend strike, August 2-6.
Production Party: August 5, 7:00 pm, Trollwood at Bluestem, Marcil Commons
Registration Deadline: Friday, May 14. Registration remains open after this deadline. However, a $25 late fee will be assessed.
Cinderella Pit Orchestra Audition Information
Auditions have already taken place for the Cinderella Pit Orchestra and at this time our Cinderella Pit Orchestra for Summer 2021 is closed.
Pit Orchestra Auditions will be open again for the 2022 Mainstage Musical and will be held Winter/Spring 2022. Specific dates TBD. All auditions will be held at Trollwood Performing Arts School at Bluestem. If you are unable to attend these auditions, you may audition by CD, DVD, or other digital means. If you need an alternate time, please call and we will work with you to the best of our ability. 2022 Orchestra auditions will be available by appointment, dates TBD. Please call Trollwood, 218-477-6500, to sign up for a 15 minute time slot once dates and times have been announced.
Auditioning by CD, DVD, or other Digital Means:
Your digital recording must be received in the Trollwood Office by the date TBD to be considered. You may email, mail, or drop off your recording to the Trollwood office. If you would like your recording returned, please enclose a pre-stamped and addressed padded envelope.
Requirements: Please label the recording with the auditioner's name. Accompany it with a brief written profile, including name, address, phone, email, current age and grade, school, music teacher's name, and audition instrument.
Include the following on your recording: Begin with an introduction of yourself: name, age and grade, information about you and your previous experiences. Please record a solo selection and scales as specified in Audition Requirements.
Audition Requirements
The goal of the audition is to determine your training level and ability to master the music in the allotted rehearsal time. The audition will be performed for the orchestra conductor and may be recorded for later reference.
Each audition will consist of three parts:
1. Scales: Be prepared to play two major scales of your choice (two or three octaves) and the chromatic scale the entire range of your instrument (ascending and descending). *Chromatic scales do not apply to string instruments.
2. Solo: Prepare a solo of your choice for approximately a minute in length. The piece may be a solo, etude, or ensemble, and may be band or orchestra music.
3. Sight Reading:This will be one or more short excerpts and will likely contain key changes, time signature changes and some counting examples.
Keyboards: Two major scales of your choice (two or three octaves). Two solos of one minute in length showing different styles of music.
Percussion: Prepare a solo of approximately one minute in length for mallets, snare, timpani, and/or drum set. You may also be asked to play a two-octave scale.
TECHNICAL THEATRE OPPORTUNITIES
Grade 8 through 2020 or 2021 graduated senior
(All ages refer to the 2020-2021 school year)
For Summer 2011, we have 2 options available for our technical theatre students. Choose the program(s) that's the best fit for you and sign up for the corresponding option on the Mainstage Musical Theatre section on page 3 of the Trollwood Summer Registration Form.
Technical Theatre Independent Study
(Grade 8 through 2020 or 2021 graduated senior)
Prerequisite: Previous technical theatre experience
Dates: June 7-30, 2021
Join us to help build the magical world of Rodgers + Hammerstein's Cinderella. Areas of Technical Theatre Independent Study include Lighting, Make-up/Hair, Props, Set, Sound, & Wardrobe. Watch the magic be created behind the scenes! To sign up, check the box marked "Technical Theatre Independent Study under the Mainstage Musical section on page 3 of the Trollwood Summer Registration Form (available January 18, 2021). Please indicate your area of interest on the form. The department head of your chosen area will work with you to create your ideal schedule!
Technical Run Crew
Dates: July 5-August 6, 2021
Run Crew members are students who operate equipment and carry out various technical theatre functions of the Mainstage Musical during performances. Running crew members work in the following areas:
Wardrobe crew assists with quick changes during the performance and manages costume care.
Lighting crew is responsible for running lights for the show, to provide mood and spirit to each scene.
Makeup/Hair crew transforms their peers with new faces and hair styles.
Props crew assists with the management of the props during the run of the show.
Set crew is responsible for executing scenic shifts during performances.
Sound crew assures the audience can hear all the performers.
To sign up, check the box marked "Technical Run Crew" under the Mainstage Musical section on page 3 of the Trollwood Summer Registration Form (available January 18, 2021). Please indicate your area of interest. Team members' running crew roles are determined by department heads, who consider the student's dedication to learning, their performance throughout construction sessions, and their ability to handle responsibility.
NOTE: If you are interested in being on a Technical Run Crew, it is strongly recommended that you also sign up for either "Technical Theatre Independent study if your schedule allows.
Safety Practices: All technical theatre study work is carried out using strict safety practices. Therefore, students must complete safety instruction on the care and use of all hand and power tools, equipment, and materials prior to being allowed to use them. Students will be expected to use hand tools, power tools and machines, electrical equipment, computers, paint, chemicals, foam, and other construction materials appropriate to the area of study as part of their coursework.
Any student who abuses or misuses any Trollwood tools, equipment, or materials will not be allowed further access to the item, which may affect their ability to complete required coursework and thus may be dismissed from the program.
Students are required to wear safety gear (protective eye wear, ear protection, etc.) and follow safe operating procedures for all tools, equipment and materials used at Trollwood.
Foot Wear: Proper footwear must be worn during all technical theatre classes and work or construction sessions to ensure maximum safety for participants. Proper footwear consists of closed toe and covered heel shoes, and may include athletic shoes, boots, loafers or street shoes. Proper footwear should form to the foot and not be "loose," nor allow for movement of the foot inside the shoe. Sandals, flip flops, open-backed, and some slip-on shoes are not adequate footwear for technical theatre classes and work sessions.
Mainstage Musical participants should check back here periodically throughout the summer for relevant documents.
Mainstage Musical (9-12)
The Mainstage Musical offers cross-curricular arts education and training to high school students. It also provides valuable performance experience and unique, differentiated instruction tailored to the needs of every student. The multiple curricular areas and applicable standards and benchmarks are listed below. Not all standards and benchmarks are addressed in every opportunity, but a significant number of standards and benchmarks within multiple disciplines are represented.
Standard 1: Singing
Students sing, alone and with others, a varied repertoire of music.
9-12.1.1. Sing with expression and technical accuracy.
9-12.1.2. Sing music written in four or more parts, with and without accompaniment.
9-12.1.3. Sing in small ensembles with one student per part.
Standard 2: Instrumental Performance (Orchestra only)
Students perform on instruments, alone and with others, a varied repertoire of music.
9-12.2.1. Perform on an instrument, alone and in small and large groups.
9-12.2.2. Perform with expression and technical accuracy on a string, wind, percussion, or classroom.
Standard 3: Improvisation
Students improvise melodies, variations, and accompaniments.
9-12.3.1. Improvise stylistically appropriate harmonizing parts.
9-12.3.2. Improvise rhythmic and melodic variations.
Standard 4: Composition
Students compose and arrange music within specified guidelines.
*This standard is not applicable in Mainstage Musical
Standard 5: Reading Music
Students read and notate music.
9-12.5.1. Know how to read a score of up to four staves.
Standard 6: Listening
Students listen to, analyze, and describe music.
9-12.6.1. Know the uses of the elements of music in the analysis of compositions representing diverse genres and cultures.
9-12.6.2. Understand technical vocabulary of music.
Standard 7: Evaluating Music
Students evaluate music and music performances.
9-12.7.2. Evaluate a given musical work in terms of its aesthetic qualities.
Standard 8: Music and Other Disciplines
Students understand the relationship between music, the other arts, and other disciplines.
9-12.8.1. Know how artistic elements and processes are used in similar and distinctive ways in the various arts.
9-12.8.2. Understand the ways in which the principles and concepts of various disciplines outside the arts are related to those of music.
Standard 9: Music, History, and Culture
Students understand music in relation to history and culture.
9-12.9.2. Know sources of American music, the evolution of these genres, and musicians associated with them.
9-12.9.3. Know various roles that musicians perform and representative individuals who have functioned in each role.
Standard 1: Dramatic Literature
Students comprehend a wide variety of dramatic literature.
9-12.1.1. Know elements of dramatic literature.
9-12.1.3. Understand the impact of choice of medium.
Standard 2: Acting
Students use fundamental acting skills.
9-12.2.1.Understand the physical, emotional, and social dimensions of characters found in dramatic texts from various genres and media.
9-12.2.2. Know various classical and contemporary acting techniques and methods.
9-12.2.3. Know how characters as an ensemble communicate with audiences.
Standard 3: Production
Students use fundamental production skills.
9-12.3.1. Use technical elements to design a production plan for a scene or play.
9-12.3.2. Perform publicly and house management duties.
9-12.3.3. Manage a technical element of a scene or play.
Standard 4: Cultural Context of Drama
Students understand drama's role in cultural and human experiences.
9-12.4.1. Know the historical, social, and cultural factors that influence the theatre.
Standard 5: Consumer of Theatre
Students understand how to be knowledgeable consumers of theatre.
9-12.5.1. Understand the relationship between production elements and the director's interpretation of the playwright's script.
9-12.5.2. Understand the relationship of background research for a production to the audience's comprehension and enjoyment of the production.
Standard 6: Drama and Human Development
Students understand the role of theatre in human development.
9-12.6.1. Use Understand how drama influences the development of creative thinking skills, critical thinking skills, and social skills throughout one's life.
Standard 7: Drama and Other Disciplines
Students understand the connections between drama and other disciplines.
9-12.7.1. Know how elements of drama are used in similar and distinctive ways in various arts.
9-12.7.2. Know the ways in which drama influences other disciplines.
9-12.7.3. Know the ways in which other disciplines influence drama.
Standard 1: Movement Elements
Students understand the role of movement elements and skills in dance.
9-12.1.1. Use appropriate technique in dance.
9-12.1.2. Know complex steps and patterns from various dance styles and traditions.
9-12.1.3. Understand the importance of using various complex time elements.
9-12.1.4. Understand the principles governing combinations and variations in a broad dynamic range.
9-12.1.5. Understand why it is important to project in dance.
Standard 2: Choreography
Students understand choreographic principles, processes, and structures.
9-12.2.1. Understand the importance of structures and forms of movement.
9-12.2.2. Understand the use of improvisation to generate movement.
Standard 3: Dance and Meaning
Students understand dance as a way to create and communicate meaning.
9-12.3.1. Understand how movement choices are used to relate abstract ideas and themes in dance.
9-12.3.2. Understand how interpretation of dance can be influenced by personal experience.
Standard 4: Dance and Thinking Skills
Students apply critical and creative thinking skills in dance.
9-12.4.1. Establish a set of aesthetic criteria for evaluation.
9-12.4.2. Formulate and answer aesthetic questions.
Standard 5: Dance, History, and Culture
Students understand the historical development of dance and its relationship to various cultures.
9-12.5.1. Know the similarities and differences among various contemporary theatrical forms of dance.
9-12.5.2. Know dance pioneers as an index to the artistic and social values of civilization.
9-12.5.3. Understand how dance and dancers are portrayed in contemporary media.
9-12.5.4. Know the traditions and techniques of classical dance forms.
Standard 6: Dance and Personal Wellness
Students understand the connection between dance and personal wellness.
9-12.6.1. Know how lifestyle choices affect dancers.
Standard 7: Dance and Other Disciplines
Students understand the connections between dance and other disciplines.
9-12.7.1. Know how dance is similar to and different from other disciplines.
9-12.7.2. Know how technology can be used to reinforce, enhance, or alter dances.
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Q: Documents in Salesforce Customer portal behind login We have a Customer portal that our member log into. Once they log in they have access to a documents library which are are held in the Static Resources section.
I have a document that we will want to share (via URL) with our users, but make sure that the users can only access the document once they have logged in. I've uploaded to the Static Resources, tried both public and private and using a different browser tested the result. With private the document doesn't appear, with public it appears without having to login.
Where is the best place to keep documents - files or static resources?
How can I set it so that someone has to log into their portal page to access that document?
Please note we do not use chatter and don't have feeds within our portal. It is a static resource library.

A: Files can be used in this scenario. You have to set Visibility of ContentDocumentLink to AllUsers in trigger. AllUsers means anyone who can see the record can access the file, including community users.
Trigger could be like this
trigger shareFilesWithCommunityUsers on ContentDocumentLink(before insert){
  for(ContentDocumentLink cdl:trigger.new){
         cdl.ShareType = 'I';
         cdl.Visibility = 'AllUsers';
  }
}

redpajama_set_name: RedPajamaStackExchange


Serbia, a land of ancient volcanoes, has some of the most abundant mineral water resources in Europe. In the Communist era, the state took them over, even if Orthodox religious bodies often continued to run them. Today, as the church has recovered its place in Serbian society, it has also developed an awareness of the financial value of these water resources. Read the whole story in NY Times here.
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