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Matthew Paris
Posts: 109
Fri Jan 30, 2004 6:59 pm
- Shakespeares Henry IV at the Vivian Beaumont
On October 28th I saw a performance in the Mitzi Newhouse Theatre of the Lincoln Center complex of Shakespeares Henry IV, sort of. Sort of, sorrily is the way it is in our current hapless directors theatre.
What I actually saw was a four hour version of Shakespeare two plays of roughly three hour space cut down to four hours by the nefarious Dakin Matthews with scenes not always in the order Shakespeare wrote them, a few lines added by estimable Matthews, no doubt himself a masterful poet, to smooth his new continuity. The scenes were cut to suit this remarkable Matthews, no doubt a near relative of William Shakespeare; I suppose the director Jack OBrien, sated with presenting masterpieces by geniuses who know what they were gong, was hungry to stage a skein of episodes Shakespeare hadnt structured. Anybody can direct a great play. Its mounting a disaster and convincing an audience of gulls they havent been invited to a pretentious catastrophe thats hard.
The coarse patchwork of this evening wasnt as free as the famous Douglas Fairbanks and Mary Pickford movie of the Taming of the Shrew with the legendary credit: script by William Shakespeare with additional dialogue by Sam Toylor, but it had that kind of aesthetic one remembers in that bizarre movie. Douglas Fairbanks had played it straight, had the Shakespearean gift and was wonderful in his way as Kevin Cline is in this production; everybody else in that hoary flick had been at least slightly miscast. Some couldnt handle the lines at all, either Shakespeares or Sam Taylors somewhat less elevated blank verse. The director in this successor to that debacle must have noticed early something was rotten in the state of Denmark and several other provinces in this spectacle. There apparently had been quite a few changes in the play from its first preview. Sometimes one lards a different sauce on a fiasco. One can hope the audience notices the salsa.
One of the assistant directors commented to a friend of his in a conversation I overheard about how after two weeks the play ran more smoothly. Given dropping Shakespeares structure the original version of a play Shakespeare had decided not to write must have been quite choppy.
This production of Henry IV had a great lead, Kevin Cline as Falstaff, a good Henry the although many of his lines and scenes were cut by mandarin chopper Dakin Matthews; otherwise the cast including the hapless Ethan Hawke was really terrible; none were really good enough in craft to play their roles. Some were positively awful. Of course Hawke is a realistic movie actor, a synthetic fellow with an artificial career who was one of the draws.
So was Aurora MacDonald, a Black singer cast as Hawkes wife, showing her talents at Elizabethan chirping in a song not in Shakespeare version of his own play. Luckily she has only a few lines. Hawke isnt as fortunate. He is terrible at some long and extricating leisure.
Yet as long as Cline is on stage, which is most of the some in this shredded version, this production is more than worth savoring. He is as good as they come. When he isnt around Richard Easton as Henry IV is excellent as the polyhedrous king though he isnt around as much as Shakespeare wanted him to be. Michael Hayn is forgettable, not well crafted vocally but at least physically a presence as Prince Hal; he has no technique at all but he at least tries to get into the character with very limited intuitive skills of the Actors Studio variety.
I suppose dogged intelligent failure is more worthy of our attention than catastrophe such as Ethan Hawkes from lack of talent and sloth. When both Cline and Easton arent on the boards one could be watching a community theatre fiasco staged by churls in deepest long Island.
Theatre is about persuasion and effect, not authenticity. Shakespeare doesnt have to be done uncut or unmangled; it doesnt even have to have an English accent to sound persuasive. Boitos libretto for Verdis great opera Falstaff borrows from Henry IV as well as The Merry Wives of Windsor, is in Italian, and is utterly convincing. Its arguable that structurally Boitos version of Othello makes more sense than Shakespeares. You have to have Boito at the helm to do a job like that. You dont get artistic rogues like Dakin Matthews.
The model for this lame atrocity was a great film, never credited either in the playbill or notes: Orson Welles Chimes At Midnight. The shift to making Falstaff the protagonist, the cutting around the other characters to give Welles a great role was Welles idea, hardly foaled from the lesser brain of poor Dakin Matthews.
Welles of course got no credits here. When you have Orson Welles making an adaptation and playing Falstaff you have a genius hacking away at Shakespeares two plays; somebody on the level of Welles is liable to come up with something intriguing if it isnt Shakespeares intent. If one puts the same odd hunger to make a new play from Shakespeares materials in the hands of hacks one gets what I saw on this evening.
Shakespeare only demands greatness in actors; the rest is up to them. Douglas Fairbanks and John Barrymore were suburb stage actors who cold play Shakespeare with a mid-Atlantic accent that served them very well. They both had vocal range, could do accents of all kinds; they worked in an American Shakespearean tradition that went back Elmo Lincoln, flourished most famously in the heyday of Edwin Booth. We in America think of somebody vaguely from Massachusetts as speaking something like English.
In the United States we accept that kind of formal and vaguely patrician accent from nowhere as genuinely almost English. As one of the technicians in the production who got me my comps told me, half the cast simply didnt even have the vocal talent to alter their voice and accent. One heard Ethan Hawke do Harry Percy as if he were from a small pig farm in Ohio. My friend told me Ethan Hawke was told by the director Jack OBrien to do a generic English accent; stead Hawke sounded as if he should be prodding porkers on an acre of land somewhere near Cleveland.
Nothing Hawke did on stage was persuasive or secure; even his walk and how he held himself varied as much his vocalization wavered. C.J. Wilson as Douglas didnt even try a Scottish accent; the ubiquitous Dakin Matthews as Glendower didnt sound like a Welshman either. At least he gave it a try; he was better doubling in a small part as Warwick. The erratic skills of the performers gave the production sonic incoherence that was comical when it wasnt merely annoying.
When couldnt help thinking that all the money spent on this disaster might have been better spent looking for people of talent, assuming one was certain the world needed a mangled adaption of Shakespeare. One doesn't even have to look like the part in a Shakespeare play. Burbage was middle aged when he played Hamlet. One simply has to be extraordinary. I saw Orson Welles do a great King Lear in a wheelchair.
We all know that Shakespeare didnt have wheelchairs in his time. Welles made his little vehicle aa central prop in his stage business. I saw James Earl Jones do a stunning MacBeth; there certainly werent any Afro-African kings in Scotland even in the almost forgotten past. If one has talent and even acting genius one rides over authenticity.
As Shakespeare said himself, probably thinking of this play and Henry V, having twelve actors joust with swords on an empty stage wasnt exactly an emulation of a war. Theatre isnt
really the imitation of peace either; it is too interesting.
Sometimes the memory of being rich makes poverty a double woe; the recall of bedroom capers with an extraordinary lover does injury to all other intimates. The virtue of the one great actor in the production, Kevin Cline, advertises the incompetence and to ineptitude of everybody else. If this production, at the level of a college production, didnt have a virtuoso like Cline in it one would notice how comparatively limited and dilettantish everybody else on the stage was.
Back in the 50s certain actors like Charlton Heston of Lee. J. Cobb would tour colleges with a traveling cast of five or six actors, allowing the college departments to cast the minor roles with their own local talent. This two tiered level of competence or lack of it was pretty much what it felt like to be watching this show. Its great of course for the minor actors if they have the stretching ability to get up to the level of a great actor because otherwise they would be embarrassed to be on the stage.
Actors love to work with performers better than they are; they discover something about their talent they never knew before. The other thing is that one realizes one cant stretch; one gives a vigorous but not wide ranging performance because it is all one can do. Sadly, I felt that way about most of the actors in this hapless production.
Moreover there was no coherence, no central vision in Jack OBriens direction. One saw five or six styles of acting mixed together in a fantastical potpourri when the actors had nay style at all. Jeff Weiss, an excellent physical actor whom I had seen in the Village decades ago doing work of an Artaud persuasion, was very strong and funny a Justice Shallow but worked in a style at an oblique angle from anyone else on stage.
Weiss at least was intriguing to see as an actor at work. Others like David Manis as Pistol had no style at all; he bawled out lines like a dunce is a sitcom. Shakespeare almost always has very complex and introspective characters on stage because only such types can be comfortable with his wild rhetoric and run of feral similes and metaphors.
To play this kind of role and actor has to have the ability to create such characters and lines himself but the sensitivity to understand them. Falstaff is a delicious character, a rogue but very witty with Shakespeares searching intelligence.
Almost certainly he was played by the actor who did Polonius in Hamlet, there are even two lines about his being behind the arras as if Shakespeare couldnt get the odd phase out of his mind from one play to the other. Prince Hal and Hamlet are fairly similar characters, probably played by the same actor as well. Richard Burbage.
I have always suspected that Prince Hal and Harry Percy were played by the same actor too. They are never on stage together, are polar yet parallel; in the one seance where hey meet and fight, Shakespeare could have had hem do it in visors with another actor.
Some of the scenes in Henry IV are quietly and insinuatingly similar to Hamlet. The king has ascended to the throne by stealth and sinister means, the heir to the throne is a young sardonic fellow with a talent for acting in improvised plays, he makes semi-cocci fun of Polonius and the ripe Doll Tearsheet as Hamlet does of the same actors in his own play.
Hal has a kind of irritability like Hamlet. My own theory, utterly speculative is that Henry IV Part One and Part Two and Hamlet came out of the same inquiry Shakespeare took up about his relations with his own son Hamblet. Its a name in itself not far in sound from Henry, Harry and Hal and Hotspur.
Certainly all three plays turn on relations between fathers and sons. Its not merely the two Harrys and their fathers in the duo of history plays but as well adhesions and conflicts between sons and surrogate fathers, the curiously conventional relations between Horatio and Polonius, almost certainly the same actor who played Falstaff, the biting and cruel wit of the double Harrys as well as Hamlet, and that Shakespeares son Hamblet himself had a father who had risen to a kind of regal status in London through an art as deceptive as the means of Henry IV and Claudius.
Shakespeare was after all the sons of a provincial innkeeper who probably showed up in London in his early 20s with a west English country accent he rid himself of quickly enough and a very erratic education comes from self-taught study as he says in the guise of Prospero, as a child he was too busy reading books to notice much of the domestic political infighting going on around him.
Somewhere back of the both historical dramas and the tragedy one can smell if one is cunning a very idiosyncratic genius pondering over the difficulties with his son with the singular ability of Shakespeare to entertain and chew over almost any point of view at all unless the character is low and coarse. Shakespeare as one who must have seemed a country lout to some as Abraham Lincoln did to many Americans form the east in his time didnt think provincial were quite as human as Londoners.
Thats why Welshman and Scotsman take a little bit of a beating in the two parts of Henry IV and Hamlet, a prince of the Danes, a nation that had conquered and settled England many centuries before ad left many of their descendants in Brain, were seen by him as a bit on the melancholy, warlike and barbaric side.
Italians were civilized but cunning and Machiavellian, Moors lustful, and so on. Shakespeare was much more likely to be sympathetic to Shylock; he was rich and a Venetian alien not unlike himself in another country.
He was less happy depicting anybody who was the sons of a slave or a villain. Shakespeare didnt have any trouble identifying with a man who was at once part of a society but an alien from it; he was that sort of half legitimate person himself. Shylocks speeches about his biological legitimacy speak for him. I also think that Shylock, probably played by the same actor who did Falstaff and Polonius is reflected in Polonius famous neither a borrower nor a lender be discourse.
I would guess Shakespeare had been beaten out of more than few pounds by somebody he trusted, a lamentable sense of betray which happens to most of us; few of us have engendered as result his poetic inquiry about loaning money revolving around both men. On the other hand Shakespeare really could not abide having low characters around even in his plays without trashing them. Iago is such a character; a villain is, one must remember, is what Iago was: not a bad guy but a steward for a feudal lord. Iago makes many charming blue remarks to others; he often has the best lines in the play.
We dont see in our time in which bawdiness is a virtue how much Shakespeare himself must have bane cloven about Falstaffs and Hals visits to tavern and bawdy hoses. After all Shakespeares father ran a tavern. Many of the scenes between Falstaff and Hal occur in a tavern.
Shakespeare must have also had very ambivalent feelings about Hamblets lack of appreciation of him as most fathers do. One must feel much compassion for the young Hamblet as Shakespeare calls him in his play that is a kind of covert memorial to his son a few times; William Shakespeare was, as they say, a hard act for any kid of his much less a stranger to follow.
The real Hamblet apparently died before he reached his majority. Perhaps Shakespeare thought of him when he wrote about Hal, Hotspur and Hamlet, all of whom perished in relative youth. Something of this ulterior competition survives in Falstaffs long monologue about who is real, who counterfeit standing over the dead Hotspur. Its a hidden discourse on one who has lamentably survived his own son. Its very possible that Shakespeare with his overlay of a London accent and spotty education might have seemed like a counterfeit himself to a lot of Londoners. After all nobody is more of a public counterfeit than an actor.
Shakespeare, one might imagine, pushed his son Hamblet as a genius learns to take up industry in a desperate way that most people would find inimical to their character much less their interests. When one get close to a genius as children do they see not the gaudy character the public knows but the driven and inwardly alchemical spirit invoking heaven and hell to reinvent himself as well as a theatre of one kind or another where he can be what he claims to be with the credentials of a magician and the talent of a genius.
As much as we are grateful Shakespeare was what he was and did what he did, it is pretty scary stuff for a son.
One should have no doubt about what Shakespeare was like and thought about himself; hes left his opinion of his own character with its satirical bite and sometime melancholy all over his plays, sometimes quite overtly in Berowne and Jacques. One also sees in these dramas how people took him. Unlike most of us he could play himself on stage and get applause for it. Most people play other characters and still get trashed for their performance.
Like Shakespeare, Hal and Hamlet are improbably both actors as well as sons of nobles. Its possible that some of these delicious theatre scenes reflect Shakespeares and Hamblets improvises when they were at home, shifting parts back and forth. My guess is that Shakespeare put Hamblet into some minor roles in his company, possibly for example on of the you princes in Richard Third and the boy in Cymbeline and Triolus and Cressida. Very probably Henry IVs own rueful speeches on the means that he became a king might reflect Shakespeares own sense of run and fragility about his claims to nobility.
Its plain that the issue, not significant to us in this democratic age tact is led by men who at least show in public none of the pomp and hunger for legitimacy of kings, was central to Shakespeare; as he says in The Tempest and As You Like It he found legitimacy in magic and exile from his land in a magic world n which he was the central necromancer. It must have been weird and difficult for the young Hamblet to have such a father. If the motley Henry IV I saw has the inherent incoherence of any adaptions with major surgery of a another mans very idiosyncratic personal efforts, even the costumes had that kind of principled confusion; its baffling lack of internal integrity gave it the consistency of a repeated and finally banal vice one at best tolerates out of pity.
Some like Prince Hal seemed to be vaguely in modern dress although he looked like a character out of a comic book; others wore medieval costumes like inexplicable characters in a dream. The drama itself, off kilter because it hadnt been designed by Shakespeare, was all the more skewed became the lines if not the dramaturgy were almost all his.
The taped music had kind of ambient quality with orchestral and choral stabs like a movie melodrama; at least it had the consistency of repetitive stupidity.
This Vivian Beaumont and Mitzi Newhouse Theatre at Lincoln Center sorrily is knows for this kind of quality of deep internal confusion. A few years ago I saw the very limited sitcom talent of Helen Hunt self-destruct in Twelfth Night on this same stage. It had all the meretricious faults of this production. Helen Hunt, the draw but completely miscast, out of her range, had to step nimbly to avoid falling into a swimming pool in the middle of the set that had a major role in the presentation.
As I have said, in trying to give Shakespeare two plays meant to be played, one imagines on successive late afternoons, Dakin Matthews seriously and centrally compromises and lacerates the structural intents of a form Shakespeare had carefully fashioned with a lapidary hand in these two dramas. As one can see in the epic and leisurely Henry VI and what parts Shakespeare wrote in Henry VIII these are devices Shakespeare had worked out which offer an audience a milt-dimensional meditation on history, principally certain themes are presented tragically and comically by different characters in the same play.
In this version one gets a large portion of Henry IVs lines cut out along with a central contributions of political forces Shakespeare had put into Part Two. Playing the two parts as is on one night would be repetitive because they are two main actions; the adaptor has to cut one of them very severally, even wholly, to make a play one can see in an evening that has not go to the break Shakespeare wrote deliberatively into the material.
What seems central and august in one scene takes the same material and presents it farcially or trivially and back again. Sometimes Shakespeare will take up a more linear action as he did in Richard Second or Richard Third and create a tragedy. Certainly his Julius Caesar is a kind of tragic play with Brutus as the flawed hero.
With something of the structure of Hamlet shadowed as it is by similar scenes, it implies there are no clear lines between tragedy and history or for that matter any form in Shakespeare; as Samuel Johnson says the style mixes many approaches.
In Henry IV Part One and Part Two the king who has a wastrel son is jealous of one of his allies who has a regal sons he would have liked to have foals, Harry Percy, called Hotspur. Both the fathers and sons parallel each other, first in their hopes and their losses. Both the sons have brothers that are their allies. Falstaff plays in a Hamlet-like bit of craft a play within a play in which Falstaff and Hal go back and forth in an improvisation playing both father and son.
Kevin Clines performance emphasizes this darkly playful resonance. A consummately intelligent as ell as great actor, Cline knows his lines will be funny, his character will be a rogue; for this reason he aims at all times for dignity and grandeur, never for easy laughs. There is nothing cruel about his Falstaff. He has the capacity for elevated sadness whenever he can manifest it. His last scene with Justice Shallow, which could be played as low comedy, is heartbreaking.
In some sense Hal has taken on Falstaff as a roguish guide rather than his father; one discovers he hasnt seen his father for three months and has spent no time with him at all at the beginning of the play. The main action of the play to the extent that there is one is the movement of Hal for Falstaff, his surrogate father, to Henry IV, his real father. This only occurs after the death of the king. In a pivotal serene Shakespeare has Hal remove the crown from the aged and perhaps dying kings bed and put it on himself, then hurry out of the room. Hal makes his explanation very persuasive, usually played as if we should believe him.
Perhaps he is cleverly lying. In any case he never becomes other than a wastrel and angry abetter of thieves until his father dies. The niche is open for him to take the throne and he can reject the prince of rogues; Falstaff.
Shakespeare has a few speeches in which Henry IV refers rather ruefully like Claudius to the unsavory means by which he got to the English throne; he may remind us of Claudius in Hamlet yet the venal and equally murderous Claudius has no son. In Hamlet Claudius wants to call Hamlet his son and heir to the throne; Hamlet rejects him. There is obviously in this shifting of materials some inner resolution of something personal going on in Shakespeares mind.
I suspect that both Hamlet and Hal were played by the same actor. That would identify Richard Burbage as Shakespeares choice for Prince Hal. Hamlets ghost tells Hamlet that he is now in hell because he had perished before he could be striven of his sins by confession. We never see the queen in Henry IV; this monarch seems to have had a son without a mother. Later in another play we do see Henry V woo his French princess. We do see Harry Percys mother as well as his wife Prince Hal never trashes his mother like Hamlet; she doesnt appear in the play. He does have some witty reposes to the whores in the tavern he and Falstaff frequent.
Henry IV has a kind of open lechery in its lines one doesnt find in Shakespeare elsewhere. There is ribald talk of visiting bawdy houses, some equal innuendo about casual coitus of a bare sort,. And even a hint that Falstaff has been the amaranth of Doll Tearsheet; after all she is, as she says, easy to discover sexually, wants to marry him.
One assumes Shakespeare didnt write an eight hour play like Henry VI or Henry IV, then cut it into parts without thinking deliberately what he was doing. Henry V, Richard II, Richard III, King John, are all neat linear plays done within three hours. Shakespeare probably favored such large double and triple tiered structures much as Richard Wagner did to keep the audience combing back into the theatre on successive evenings.
Certain themes one finds in Homer and Sophocles haunt Henry IV as they do many of Shakespeares other history plays. Accidents perhaps designed by murky fates occur that seem to turn the battles one way rather than another in Julius Caesar, Antony and Cleopatra and Coriolanus.
There is a feeling of hidden nemesis and ruling pagan gods in these history plays even if in some cases the characters are Christian. Its plain Shakespeare was a pagan.
My insider friend who had got me the freebies for this show remarked to me before the play while commenting ruefully on the lack of talent and craft in this production that the Vivian Beaumont complex is as close to the English National theatre as we have in America. Certainly the Vivian Beaumont is like Lincoln Center itself an imitation of that notable set of theaters by the Thames if it has two theatre to Londons complex of four, no traditional fare over centuries of masterpieces nor a living craft accessible to it if others in New York have it that can deal with a work that assists both in the past and the present. There really isnt much difference between the physical technology available to either city or the magical staging I saw in the Duchess of Malfi last year at the Royal Shakespeare productions of Jacobean plays at the Geilgud in London. Like these English sets, this two headed and limb lopped off Henry IV had an austere stage, fluid movement, intriguing costumes doing the work of defining character and teem while in fact there were as Shakespeare players working in a kind of emptiness that itself adds a strange flavor to the magic.
Rather curiously some of Shakespeares most early devices of theatre enter into Henry IV. There are long speeches of insult and depreciation in this history play such as one finds richly in the very early Henry VI. There is much wild run of wit and concern with wit, sometimes asserted by Falstaff, as one find In Loves Labours Lost.
There are many passing jobs about natural inequality mirroring the vertical clad system of Shakespeares England. The run of rhetoric is rich and spectacular. Shakespeare doesnt struggle to have to persuade an audience that people can be clever though then and now one finds in rarely in life. He has princes, various nobles and colorful rogues to do that for him. Even Sir John Falstaff is of patrician birth.
We would have trouble in America identifying a class or a group among us whom we would presumptively accord the franchise to be witty. We wont find it too quickly among our professors; they are too busy in their politically correct colleges not trying to make enemies and keep a tenure that entitles them to all the freedom to be clever of a minimum security prison.
One has to commit a white collar crime and be caught at it to have their freedom. We have many rich and poor slaves but we dont have nobles to attribute bon mots even by playwrights making sugary fictions; we only have oligarchs known for their capacity to inspire boredom as well as terror.
Most of the audience on the evening I attended seemed to be upper middle class theatergoers who could pay the sixty dollars minimum for this spectacle or were theatre people who were friends of the huge cast. One of them during the intermission, a pleasant young man of Asiatic descent who was probably a theatre major or English scholar, said to me: They should have called this play Falstaff; they never cut one of his lines or scenes.
The doubled skulled if one had been removed surgically Henry IV got the biggest cuts for the king; there was a also whole major sub plot that had disappeared. Given the erratic abilities of the cast I cant blame the director, Jack OBrien for featuring his one trump: Kevin Cline. Yet were one to see Shakespeare done in England, there are no bad actors ever in minor parts. They all learn their craft.
In these Vivian Beaumont productions the cast is the equivocal harvest of some poltroon thinking of the financial draw. Sometimes they got an actor like Kevin Cline, one who can play western heros as well as he can do Falstaff. The other draw was Ethan Hawke, a different caliber of talent who might have been an understudy at most major collages, and who cant stretch too far out of easy realistic roles.
One sees very commonly on Broadway that casting is done by who draws, if even if the star cant play the role. Once the audience pays the money for the tickets it doesnt matter. After all there might be a genre of entertainment that exhibits draws who cant act not acting. The Maize Newhouse and Vivian Beaumont theaters are not easy stages to for even a competent actor to play on.
It is very large, three sided, seats about two thousand in the audience, is in a large chamber with many echoes. The actors are miked because few of them have the voices to be heard in such a huge space. Even with the mikes one heard a lot of bawling and shouting such as Shakespeare makes fun of in Hamlet. Jack OBrien, the director, went for the broad stoke, not for subtlety. One can't blame the director. Aside of Kevin Cline and Richard Easton as Henry IV the poor man had bupkis out there.
Its true that playwright, particularly when in a hurry, sue old material in what they hope are new ways. Echoing Welles film in which Falstaff seems to be facing these confounded scurvy bells at the end of his life, the phrase chimes at midnight comes from Falstaffs remark to Justice Shallow, a farcical character in this history representing provincial rudeness: We have heard many times chimes at midnight.
These lines remind one of Sir Toby Belchs speech of mingled melancholy and feral hunger for life: If music be the food of love, play on...that strain hath a dying fall. and alter, Shall we have no more cakes and ale and so on. I would reckon the same actor played Sir Toby Belch in Twelfth Night.
Falstaff is engaging because he is afflicted with a deep inner melancholy. He blusters, is fragile inwardly, frail and doughty as many of our contemporary crones maundering on our Florida the shuffleboard courts he has once had conventional hopes and ambitions. He remarks sentimentally in passing about his days of hope as a page in a long perished court. Its plain that he came to his current nihilism and roguery by degrees after having many other more noble ideas.
The fear of death that is at the center of Falstaff actions and wit, is echoed by many other characters in this play. Falstaff mirrors the line: each man owes God a death.. There is a similar line in Henry V. Most of the characters in this play either die or come close to it. Henry V himself as his audience knew died at a fairly young age. The black Angel haunts this play.
Many critics have spoken of Prince Hal, afterwards Henry V as Shakespeare ideal king. I think there is a certainly a shallow partial truth to this view; one might say it verged on treason in Shakespeares day to have presented his monarchs one after another including Henry V as very fallible and tormented characters with blood on their hands. Shakespeare is definitely a monarchist in the same sense Montescqieu was a century or so later in his monumental Spirit Of the Laws; both men saw the need for some executive power but hoped they would be checked by other estates if not always by virtue.
If all that stood between the populace or the nobles and havoc was the whim of the monarch to be moral they were in parlous straits. We have ourselves constitutionally if not in reality in the United States that Rome-derived idea of Shakespeare and Montescqieu: a sort of near dictator for four years, a Senate to harry and check him, a justice system to confound both in their caprice.
The history play is a form Shakespeare took from others before him, yet made his own with qualities that are native to his genius rather than following more minor writers. Usually this genre has a single main action told straightforwardly with no comedy and subplots.
Shakespeare both in this form and the tragedy garlands this skeleton with a shifting view of the same materials as if her were offering a slowly moving kaleidoscope or a lugubriously whirling polyhedron with inner lights in which the comedy echoes the serious scenes in parodies that are characteristic of his often irrepressible satirical talent.
It might be more accurate to see Prince Hal as one more variation of a slightly disguised inner life of William Shakespeare than some exterior monarchial ideal. Shakespeare often casts himself as a noble, duke or king. Like Hamlet and Prospero, Hal is exiled if in this play by his own choice from his father, living in a roisterous theatre within a theatre in which making improvised plays is one of the chief entertainments. He has a brother if in this play he has a brother as ally, a curious relation to his the son of his fathers enemy though once ally, Harry Percy, who is not a ghostly brother but a kind of doppelganger, everything legitimate Hal is not, yet like Hal and Shakespeare something of a satirist.
Hal has as well two fathers of sorts, King Henry IV and Falstaff, one of whom is a an open rogue of great wit, the other a more dour rogue of tragic mein. Henry doesnt see his roguery mirrored in his son in a different way. Shakespeare mounted in this material in play after play; he was a consummately autobiographical writer though some have missed his confessional nature in his plays.
In life as in some of his dramas he returned to Avon finally as a legitimate gentleman; we probably have his father who misunderstood him and criticized him to thank for his plays although many have had such fathers and none but one have written like Shakespeare.
Jonsons description of Shakespeare in the flesh as a satirist and student of nature is aptly seen in Prince Hal and Hamlet. There is a kind of natural manic comedian in Shakespeare in plays that others would have made consistently dark that Samuel Johnson calls attention to in his studies of the English poets. Much of Henry IV like his serious works from Henry VI to Hamlet and Richard III is comedy. Shakespeare must have noticed what his trump card was in history plays early: comedy is missing from King John and it is lousy. We have to play our trumps as creative intelligences when we can; its as if Shakespeare cant help being amused by his tragic plots and times. He breaks out into parody and wit when it isnt called for.
Shakespeare was one of those playwrights who like Noel Coward and Moliere was also the director and a main actor in his productions. We can usually spot the parts Shakespeare played; he rarely has too many lines, balm for an actor having to learn therm; his speeches are usually the moot wild and philosophical runs of his verse.
He played along the way, Berowne, Mercutio, Friar Lawrence, various dukes, Hamlets fathers ghost, Fortinbras and so on. Like Alfred Hitchcock his appearance was his signature.
My guess is that Shakespeare was thinking initially of playing Harry Percy in Henry IV Part One. If he didnt do it, he wanted to do it. John Barrymore, another tormented comedian, intuitively felt where Shakespeare and written for himself or an actor who could play him; he played both Mercutio and Hamlet. Shakespeare certainly played Mercutio, a character whose lines never advance the plot and seems rather unconnected with the main action. Its also true about Friar Lawrence. Shakespeare could pay both; he wrote the play so that they never appeared at the same time.
The other quality Shakespeare is almost unique for is a capacity to invent wild metaphors Na simile. Only John Webster is in his language for this; then we have only two plays of Websters in that niche of wild language. Unfortunately we dont have his letters; I think its clear from his plays and the lack of letters in other plays of his time that he was quite a letter writer.
Marlowe has the language too; his verse is always wedded to the action; Shakespeare and Webster have characters who are in love with slinging words the point of mania.
Falstaff is the only character of Shakespeares popular with Queen Elizabeth to the point where she asked Shakespeare to write another play with Sir John as the protagonist. Old and fat as he is, the butt of humor as he finds himself when contending with Prince Hal, Falstaff is a character unique in Shakespeare though he is used again in a minor way in Sir Toby Belch, Polonius, and Brabantio. One might ask: why is Falstaff not merely an unforgettable character in Shakespeares plays in a language of his own but very probably not even an important character to Shakespeare when he wrote the first lines of Henry IV Part One? Something happened as soon as Shakespeare took the action from the court of the king to the inn where Falstaff and Prince Hal spent their time that must have surprised Shakespeare himself. After all, the main action of the play was about the bloody hand sinister rise of Henry IV and his unhappy relations with his son, not a comedy about one of Prince Hals chief collaborator in London roguery.
Once the play takes off Falstaff is pushed into action he would have probably avoided like the Battle Of Shrewsbury and the rather deceptive dispatch by Henrys forces later of Douglas and Glendower.
Falstaff has monologues in the most improbable places; he is in fact the chief monologist in a play about other people. Shakespeare according to Jonson was a very good looking man; since he never lived beyond 52, wrote most of his plays between 24 and 46 its strange that something in Shakespeare resonated with a character who was old and obese hustler and rogue. We dont have monologues in our current theatre; yet it is the only chance a playwright has to offer the inner life of a character in a genres mostly of surfaces and manners.
One can only approximate this offering when a character reveals all at a denouement or if he is known as a petulantly honest fellow. When a playwright gives a character a monologue he breaks the action to either offer motive for this actions or has the character state hi philosophy. Falstaff does the latter.
Of course Falstaff is himself a satirist, wordslinger and comic wit like Shakespeare; I think there is more to it. Falstaff nihilistic discourse on life as a kind of virile force that stands apart from honor, his comment that all men die anyway; some survive longer than others because they avoid honor and conflict, probably represent some of Shakespeare own sallies in his private life.
Rather curiously the character one would expect to run monologues at us is Prince Hal; yet he has none. He remains something of an enigma to the end of the play to us. Perhaps he was as much for the author.
As Falstaff stands over the dead Harry Percy, he comments that he is no counterfeit knight; Percy himself is a counterfeit. He looks like a living man but is a corpse. In fact overbuy on the stage in that scene is a counterfeit; they are all actors. The supposed dead Percy is as much a counterfeit living actor as well. One should not forget that Falstaff stands primally for a father figure who has killed his son, the wrong father and the wrong son, in this craft a kind dream commentary on what Henry IV would have liked to have done to Prince Hal.
Ernest Jones in his study of Hamlet is very good at picking up these multiple images. Shakespeare at once handles complex plots with efficiency and runs these ambiguous dream images at us. There are innumerable examples of this technique in this play: we have after all three fathers, two sons and even the brothers of the sons as two sons more.
This sort of talent is why Shakespeare rarely invented a plot or characters; he borrowed from Greene, Plutarch, any history book, other mens plays, always in the spirit of parody. Shakespeares talent was piqued by the notion that whenever he was in the presence of another mans work he thought he could do it better or at least make it more witty. Thats why Jonson called him a satirist, why Greene called him a magpie. Satire is a kind of moral, acceptable and focused use of rage.
Falstaff stands both for Shakespeare, Queen Elisabeth and ourselves for the wild hunger for life that bypasses hope, looks, ambition, and the sanguine history of England itself. Shakespeare usually makes fun of drunks: the Porter and Justice Shallow in this play are drunkards. He dislikes any libidinous taste, erotic or alcoholic that coarsens the character of a human being. This play has the same line in MacBeth about liquor exciting erotic ambition but inhibiting performance.
Since Shakespeare says it twice, it might have come from episodes in his own life where he realizes the value of sobriety in bed. Outside of Toby Belch, who is a minor character, Falstaff is the only lush in Shakespeare plays whom Shakespeare gives the license to praise drink. It stands for Toby Belchs melancholia that music hath a dying fall, it resonates in us because we are this ancient fat man hungering for more life it only to revel and sweat in bawdy hoses is within us no matter what age we are or what station we have.
When Falstaff reminisces toward the end of these two plays about his days as a young age in court we feel with a rueful twist of our heart how far he has come, how much youth has turned to caraways age, how it is the lot of all of us if we live awhile to become our own uncouth parody before we die. There is much talk between the two oldsters Falstaff and Shallow that all men must die. They know many men in their ripeness who have indeed perished.
Its one of Shakespeare intriguing skews of reality going back to Lovers Labours Lost that nobles are partial to writing letters, even literate, that they are witty and moreover are elevated folk who value wit. Perhaps it was true in his day. What do I know? Im an American.
Ive never met a noble; only a few minor oligarchs. As for metaphysical beings, even the minor angels have never set with me over a bowl of Vegan chowder.
To give an idea of the ineptitude of poor Ethan Hawke in this production, when Harry Percy says to Hal: I have lost my youth in a straight ahead voice and Ohio accent in a speech that is supposed to be piteous; at that moment the audience laughed. That should have told the director something about the talent of his hapless actor playing that role. Lamentably, he was one of the draws.
One sees on the august walls of the theatre the various names that have endowed this shaw. It doesnt operate on low commercial enterprise; it has names like the Rockefeller Foundation, the Mellow Fund and all sorts of ballooner patrons on its walls. One might think that these American nobles would be able with such massive input of lucre to influence the quality of what we groundlings see.
Im hardly all that queer for the authentic. Its a kind of metaphysical hope at best since we can never experience it. As Antony Burgess says, even a few weeks after Shakespeare wrote Hamlet he couldnt see it as he had written it. Too many topical elements in his life had changed. If we can help Shakespeare with technical effects that dazzle the groundlings he didnt have why shouldnt we? I very much believe with Sir Thomas Became and Leopold Stokowski that if the musicians and writers of the past had our options of pretention they would take some of them up instantly.
Its particularly true about Shakespeare because he complains about his lack of means to do certain things on stage like battle scenes. Since he didnt like bawling actors he would have used miking if he had had it; its right for this production to use it to conceal the limits of craft of actors without sufficient vocal equipment. Nothing we have now in our magical pharmacies in the way of elixirs or simples can help their lack of intelligence.
Yet if one is going to use that vaporous imprimatur to make the skewed and meretricious goods out of Shakespeare masterpieces because like Hamlets ghost he is dependent on the living to stand for him in this world, we are liable to be haunted by the spirit of the Bard maundering in the wings of the Vivian Beaumont complex calling for vengeance on those who have dishonored his immortal soul.
One may wonder after seeing several productions at this Lincoln Center complex, thank God always on comps, why many of theme have a meretricious quality at their center that leads all this money and patronage of the local rich to disaster aft disaster. One of the elements is that once the playwright is dead they treat him like a cockroach even if he is William Shakespeare.
The only good play I have seen from this venu is Tom Stoppards Arcadia, which they couldnt mangle because Stoppard is alive and would have strangled after slow torture whoever was in charge had they done to him what they did to the lately perished Avon bard. They will outlast Stoppard; one Stoppard goes pffft they will deal with him too like Shakespeare as if he is some sort of noisome insect.
These Lincoln Center assassins like dead playwrights because they can treat them like Hamlets fathers ghost. One the playwright kicks off, they need the living to intercede for them as Hamlet eventually got around to doing for his fathers spirit. The Lincoln Center crew arent afraid of ghosts.
They act this way because they have a singular arrogance and contempt for both playwrights and their audience that isnt common or a ubiquity in New York; from company to company one sees varying standards of morals and honor toward plays.
This is the same city that has companies like The Mint, an almost ideal set of theatre people with elevated nations of their calling. Ive seen stunning productions of Shakespeare here from The Pearl, a company who did a magnificent Richard Third last year with the great Dan Dailey, Troilus and Cressida done to a startling and heartbreaking turn by the superb American Shakespeare Company a few years ago, and even a great Revengers Tragedy a while ago by the, shall we say politely, very erratic Cocteaus. We have the actors, the style, everything else to do great Shakespeare, great anything in New York.
This part of the dilemma is the audience. If they would stay away form these catastrophes because they are looking for caviar and are served scrapple, in a money culture though Lincoln Center is fed by innocent patrons it would all turn around; the fare would be better. Instead they probably do show up to see a fake actor with a synthetic careener like Ethan Hawke in person as if he were the living Adonis or perhaps they cruelly enjoy how he publicly makes a fool of himself.
Ethan Hawke is a good looking man; he is not an actor. In a movie the insiders give him a gun and tell him to snarl Anglo-Saxon epithets. The man should never appear on the stage unless as the audience did this envying, the hope is to get a few cruel laugh out of his woeful lack of talent butchering lines Shakespeare wrote hoping to be tragic.
Do we take in these coarse parodies of old plays at Lincoln Center because America is a rhinestone country with an Alzheimers take on yesterday that has a brassy disdain for the past? No.
Sadly we live in a retro culture. We love the past because it much of it once made money; history for us is like a series of shopping mall brand names for English gourmet marmalade. Iis easier fare to market brand name preserves to the purblind rubes than the more murky jams of our always half known or unknown present. As a result there is almost nothing on in New York stages but plays who have turned many a coin into the pockets of dead impresarios in other times.
From butchering the imaginary corpse of Shakespeare to egregiously shameless miscasting, the injury to the Bard is at bottom a moral issue between these hacks and heaven. The adapter Dakin Matthews is guilty of lack of talent, impudence, arrogance, contempt for both William Shakespeare and his current audience. Most of all this drudge is guilty of an unforgivable sin in theatre: mediocrity. The director Jack OBrien is equally ethically culpable for betraying both author and audience, directing a fiasco only a draw not from his mostly inept cast but almost entirely Boccaccio William Shakespeare wrote the scenes if not the play,
Most of the cast were woeful to the point where they should never have been on the stage even in a Three Stooges tribute. The patrons from diverse Rockefellers to Mellon were stupidly prodigal with their money. Lucky they have a lot of it.
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Vanessa Williamshas been entertaining audiences for years and now the former Miss America is opening up about her troubled childhood.
The actress opened up about being molested as a child on OWN's Master Class on Sunday.
During the interview, she revealed that she was molested by a woman at the age of 10 while on vacation with her family.
Her aggressor was the 18-year-old daughter of a family friend.
"She was one of the cool girls. She made you want to feel like you were a grown-up," she explained.
Vanessa dished details on the disturbing ordeal and explained how she was instructed to "lie down on the floor. She took my bottoms off and she said, 'Be quiet.' She went down on me."
She also explained that she kept quiet about the molestation because her uncle died right after it happened.
She also blamed the event for prompting her to become promiscuous at an early age.
"It awakens your sexuality at an age where it shouldn't be awakened. Had that not happened in my life and had I had an opportunity to have a normal courtship with a boyfriend at 16 or whatever… there wouldn't have been that shame that was always haunting me," she said.
"It made me more sexually promiscuous and more sexually curious at a younger age than I should have been."

subset: commoncrawl


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SANTA FE — What should we expect from New Mexico's 2013 Legislature? Our chosen leaders have promised to work together but the chances don't look good.
Former Gov. Bruce King's campaign slogan was "Working Together," But Bruce had been on the county commission, was a former House speaker and a three-time governor. He knew how to make it work.
Today we are faced with more than 30 of our 112 lawmakers being new to their jobs and a governor whose experience is as a prosecutor — a job not known for working together.
Add to those problems new leadership in both the House and Senate. House Speaker Ben Lujan retired and Senate President Pro Tem Tim Jennings was beaten in a bitter battle. So we have no steady hand of longtime leadership plus a number of first-time committee chairs.
And it doesn't end there. The recent elections were the most expensive ever -- and probably the dirtiest. Everybody claims dirty elections but this is the first time we have had GOP money being used to defeat Republicans in the Republican primary and Democrats in the Democratic primary. And it was the governor's PAC that was behind it all.
If that doesn't make for some poisonous water, I don't know what does. To top it off, Gov. Susana Martinez is reported to have wanted Republican Senate Floor Leader Stuart Ingle, of Portales, out of the Legislature because he is too nice a guy. Ingle is staying and is probably too nice to hold it against her.
Gov. Martinez says she plans to work closer with legislators this year. She said that last year too but some legislators tell me they were called into the governor's office only to be told how the governor would like them to vote and not to listen to any legislator's concerns.
The governor remains popular with the pubic, possibly because she appears at many public events and visits many elementary schools.
State employees, many of whom voted for her, aren't wildly enthusiastic about her now. But the governor has avoided doing anything to make them want to rebel as they have in some states.
Agreeing to participate in the federal Medicaid expansion program also should be a popular decision for the governor. Only one other Republican-led state has agreed to do so,
New Mexico is a very poor state with a high number of people unemployed. Problems could be in the offing as to the degree of involvement necessary from the Legislature and from the governor.
Gov. Martinez is expected to try her two signature pieces of legislation again this session. She may not get any further with taking driver's licenses from undocumented aliens.
Some Senate Democratic lawmakers claim they have designed alternative legislation that fulfills all of Gov. Martinez's concerns that won't take transportation away from undocumented workers who need a way to get to their job.
But the governor won't budge. She wants it her way or no way. She says it is a matter of public safety. But some states are beginning to decide that it is safer to know that illegal alien drivers have passed a driving test and had insurance at least at the time they applied for a license.
Retention of third graders if they are not reading proficiently is another issue that should be able to be resolved by diplomatic negotiations.
Since long before I taught fifth grade 50 years ago, teachers have been blocked from holding poor students back by parents who wouldn't hear of it. But that was a call involving much more than a test score.
We may be moving toward some resolution of this standoff with extra reading help in the early years and more parental involvement.
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Britney Spears Gives Boyfriend Jason Trawick a $45,000 Motorcycle for His 40th Birthday
Britney Spears' boyfriend, Jason Trawick, got a sweet surprise on his birthday. The pop star gifted her beau with a hot set of wheels, which fans may recognize from the singer's 'Criminal' video.
To celebrate her man's 40th birthday, Spears scored a brand-new Confederate motorcycle, just like the one Trawick rocked on camera for her 'Femme Fatale' clip. "Hbday Jason!," the singer entitled a new Facebook photo album with pics of the present. She added in the caption of the gift, "He looked so cool in the video, that I had to get him a new motorcycle. Check out this new Confederate Bike I got him!"
According to the Daily Mail, the 30-year-old star dropped a cool $45,000 on the bike, which is reportedly a third generation X132 Hellcat from Confederate Motorcycles. The model is considered "the Bentley of motorcycles." Of course, the singer also splurged on a leather jacket to complete the package. Nothing's too good for Brit's man!
Meanwhile, it looks like Trawick has returned the favor. Spears tweeted on Friday morning: "OMG. Last night Jason surprised me with the one gift I've been waiting for. Can't wait to show you! SO SO SO excited!!!! Xxo" Could it be an engagement ring? We'll just have to wait and see.


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Homeschooling Moms
Featured Posts
Seems the support for me home schooling is draining...feeling alone. Confident and still ready, but alone. My husband is not much for supporting me being that I am pregnant. He has his doubts. He's all for home school, but doesn't want me to feel overwhelmed. Isn't that sweet? No, not when he keep mentioning Private School suggested by his sweet sissy that would drain us financially or going back to the ragedy public school that gave me the strength to carry on with home school. And not to mention this sister-in-law who can't stop quizzing my son when he goes to stay with his lovely auntie and how she is putting it into hubby's head and my son's heart to be in public school when he is the one who begged to come back home. I told him when he packed his bag that he is not a lab rat and to refuse the "tests" cause she doesn't quiz anyone else's kids and I told him to tell her he is not allowed to discuss family matters such as EDUCATION outside of the home without his parents being present. Let's see how that goes as my son is a very obedient little boy (so far--if that changes, he won't be staying with her overnight any longer). I just wish my husband would be the Principal he is supposed to be and the loving supportive husband he claimed he would be when we had the idea to homeschool in the first place. But I did tell him...IF YOU WANT THEM IN SCHOOL, DO IT YOURSELF; THE PAPERWORK, THE REGISTRING, THE UPDATE ON SHOTS, THE PHYSICALS, THE PARENT/TEACHER MEETINGS, ETC. cause I was not in agreement. So I KNOW it's not gonna happen now. I do EVERYTHING for these kids. Bad attitude, I know, but I am FED UP.Ok. Vent over. Thanx ladies.
by oredebJuly 31, 2013 at 11:54 AM
awwwwwww i m so glad you got it out!!!
how old is your son? whens baby due? maybe you should renew/write a homeschooling contract with your husband and have him sign it! and then take it out when hes not following it through!!
by mem82July 31, 2013 at 2:09 PM
Good luck! Hopefully your SIL gets the message.
July 31, 2013 at 3:25 PM
A contract! Now THAT is a fabulous idea! Only I'd hang it up permanently so he would not have to be reminded only periodically. My son is 8 and the baby is due December 3rd, in which I have planned the days just right so we can take the entire month of December off aside from reading and library visits/Science Center Trips that I will have dad take them to. And sil was so ready to let him stay an extra day--the day we are supposed to start. Good thing the first day is only going over new responsibilities and introducing new curriculum cause DH was ok with him staying the extra day.
Quoting oredeb:
awwwwwww i m so glad you got it out!!!
how old is your son? whens baby due? maybe you should renew/write a homeschooling contract with your husband and have him sign it! and then take it out when hes not following it through!!
by KickButtMamaJuly 31, 2013 at 6:03 PM
EEP! I can't STAND the nosy family! Those who quiz the kids or ask when we'll put them in 'real school'. But I don't allow those people to take care of my kids overnight either. My DH thought HS was for weird kids or the super religious. But after a couple of years he bragged to everyone like it was all his idea, or like he had some hand in any of it! LOL. Being an HS parent is very isolating. You have to develop decompression techniques, I would imagine this is doubly true when preggers.
I'd just tell your DH that you feel stress when he throws out the private school idea, and the endless discussions of it are more exhausting to you than HS ever would be.
July 31, 2013 at 11:40 PM
Well, we let him stay over cause she's the closest to a Grandmother as he is going to get...well, an ACTIVE grandmother anyway. My mother is far away and have no patience and dh's mother has passed away. But today must've had a total break through cause she gave me the name of a person who gave me a message to contact her for HomeSchool resources in the area since we just moved and have little information of how to get involved in the home school community. I am very grateful for that and relieved. Seems she had a little chat with someone who HomeSchools who she dares not to taunt. I'm satisfied.


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When Kristi Washbourn was in middle school and received a typewriter for Christmas, she began writing her first book. Now that her daughter, Juli, is in middle school, she has decided to author a book series for tweens.
When Kristi Washbourn was in middle school and received a typewriter for Christmas, she began writing her first book. Now that her daughter, Juli, is in middle school, she has decided to author a book series for tweens.
While looking for books for her daughter to read, Washbourn felt as though there were not many options suitable for her age range.
"I looked at 'The Diary of a Wimpy Kid' series and that was too young for her and then I looked at the 'Twilight' and 'Hunger Games' series and those were just too old for her. I wondered why no one was writing anything for the tween age and then it struck me that I should," said Washbourn.
Washbourn started writing the Jack O'Rourke series in June 2010 and self-published the first book, "Second Beginnings" in May. During that time, Washbourn also wrote the second book in the series during that time and has begun writing the third installment.
"It took some time to let go of the book - you know, to feel comfortable with accepting that some people will not like it and to know that all the edits were done and Jack was ready to go out into the world," said Washbourn.
"Second Beginnings" focuses on the main character, Jack O'Rourke, moving in with her grandparents after her father's death and enrolling in a new middle school. According to Washbourn, the book aims to show that young adults can stand up for themselves and others, as well as focus on solving the mystery behind her father's death.
"I decided to do six total books because I mapped out where I wanted the story to go and I wanted to follow Jack through her last year in middle school, but I also am thinking about adding more to the series based on another year when she gets into high school," said Washbourn.
The first book and the rest of the series will be published through CreateSpace Independent Publishing Platform. CreateSpace users can download the book online, and those who do not have a CreateSpace account can find the book at www.amazon.com or at www.barnesandnoble.com. The first book is also available at Second Beginnings shop at 340 W. Main St. in Ionia.
"Autographed copies are always available at Second Beginnings and I am working with the Ionia Community Library to have a book night with teens on the series and just to spread awareness about Jack and the series," Washbourn said.
After 15 years working in Human Resources for a corporation, Washbourn asserts that she is glad to finally be able to write and work at Second Beginnings Family Resource Center with her mother, Linda Ragnoli-Tubergen.
"I have a very supportive husband and a phenomenal mother. I have a very supportive family and that's why I can do this," said Washbourn.
According to Washbourn, the series is based on a combination of herself, her son Jake and her daughter Juli.
"It has been a lot of work but I really enjoy writing. It's my dream," said Washbourn.


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SAN DIEGO, Feb 14, 2014 (BUSINESS WIRE) -- Every two seconds someone in the world suffers a stroke. A study from the Rehabilitation Institute of Chicago approached stroke rehabilitation through a new combination of therapies which produced significantly greater gains in patients' motor function 6 months post-stroke. The combination of non-invasive navigated transcranial stimulation (nTMS) along with occupational therapy (OT) opened the door to improving the quality of life for stroke survivors. The study presented Thursday at the American Heart Association (AHA) and the American Stroke Association's (ASA) International Stroke Conference, yielded results from the active group of improved function by 13+ points in UEFM score.
"The results obtained in the Contrastim trial provide evidence that non-invasive neurostimulation has major potential for improving motor function in stroke sufferers." – Jarmo Laine, MD, Nexstim VP of Medical Affairs
The Study
Dr. Richard Harvey and his team at the Rehabilitation Institute of Chicago (RIC) presented their research (presentation #152) which looked at the combination of non-invasive nTMS along with OT in post-stroke patients.
"It helped me greatly. It's just immeasurable the progress that I have made." – Dwayne Nelson, stroke trial patient
Treatment consisted of 20 minutes of pre-functional OT, 17 minutes of nTMS, followed by 60 minutes of upper limb task-oriented OT. Patients received treatment during 3 visits per week, for 6 weeks, as the standard of care in the US. They then returned for follow-up visits at 1 week, 1 month, and 6 months. The study found that Nexstim's non-invasive Navigated Brain Stimulation (NBS) System used as an adjunct to therapy promoted lasting improvements in patients' motor function compared to the sham group.
"What we found is that there are areas of the brain, usually where the lesion is, that are less active than they used to be, and that there are actually areas on the brain on the opposite hemisphere, the healthy side of the brain, that are more active than they used to be." – Lynn Rogers, PhD, Director, Neuralplasticity Laboratory, RIC
The Technology
Nexstim's NBS System uses stereotactic, MRI-guided transcranial magnetic stimulation (TMS) to non-invasively modulate precise areas of the motor cortex. The System's e-field-based targeting tool allows the therapist to accurately locate the patient's exact stimulation location using technology similar to navigating the globe with a GPS. The nTMS was used to stimulate the patient's non-injured hemisphere at low frequency. The nTMS affects the excitability of the brain, down-regulating the healthy side of the brain. Adding navigation to TMS is the key to finding the exact location and orientation of the e-field of the motor area that should be inhibited by stimulation. Nexstim's targeted stimulation has been proven to correlate with Direct Cortical Stimulation in the OR).
"The trial results from RIC, the top site in post-acute stroke rehab in the US, are showing great potential for non-invasive brain modulation. The difference Nexstim is providing is the proven navigation to enable this approach. We are dedicated to taking this further and bringing this to the market for the patient care." – Janne Huhtala, CEO, Nexstim
About The Rehabilitation Institute of Chicago
The Rehabilitation Institute of Chicago (RIC) is the largest rehabilitation research enterprise in the world, and the Nation's #1-ranked provider of comprehensive physical medicine and rehabilitation care to patients from around the world. Ranked #1 by both U.S. News and World Report and the U.S. National Institutes of Health, RIC holds an unparalleled market distinction. Founded in 1954, RIC has been designated the "#1 Rehabilitation Hospital in America" by U.S. News & World Report every year since 1991.
About Nexstim
Founded in Helsinki, Finland in 2000, Nexstim is committed to improving the quality of life of patients with significant unmet clinical needs. The advanced technology providing navigation to TMS has led to Nexstim being the world leader in image-guided transcranial magnetic stimulation (TMS).
Nexstim has pioneered the technology for brain diagnostics, holding FDA-clearance of the Navigated Brain Stimulation (NBS) System for non-invasive pre-surgical mapping. NBS is recognized as the emerging standard for pre-operative direct functional mapping. Nexstim's NBS System enables treatment of brain injury and disease using repetitive TMS (rTMS) with accurate and repeatable 3D-guidance of therapeutic electrical field. See www.nexstim.com.
"The Nexstim machine is amazing! I want stock in this company." – Darryl Holmes, stroke trial patient
Caution: Nexstim's non-invasive NBS System is not approved by the Food and Drug Administration for therapy in commercial use in the United States and is available to select physicians for investigational use only.
SOURCE: Nexstim
NexstimJaime BloomUnited States: +1-404-358-7440Finland: +358 9 2727 email@example.com Institute of ChicagoCari firstname.lastname@example.com
Copyright Business Wire 2014


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Hybrid-Based Compressed Domain Video Fingerprinting Technique
Video fingerprinting is a newer research area. It is also called "content-based video copy detection" or "content-based video identification" in literature. The goal is to locate videos with segments substantially identical to segments of a query video while tolerating common artifacts in video processing. Its value as a tool to curb piracy and legally monetize contents becomes more and more apparent in recent years with the wide spread of Internet videos through user generated content (UGC) sites like YouTube. Its practical applications to a certain extent overlap with those of digital watermarking, which requires adding artificial information into the contents. Fingerprints are compact content-based signature that summarizes a video signal or another media signal. Several video fingerprinting methods have been proposed for identifying video, in which fingerprints are extracted by analyzing video in both spatial and temporal dimension. However, these conventional methods have one resemblance, in which video decompression is still required for extracting the fingerprint from a compressed video. In practical, faster computational time can be achieved if fingerprint is extracted directly from the compressed domain. So far, too fewer methods are known to propose video fingerprinting in compressed domain. This paper presents a video fingerprinting technique that works directly in the compressed domain. Experimental results show that the proposed fingerprint is highly robust against most signal processing transformations.
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DOI: https://doi.org/10.5539/cis.v5n5p25
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Philadelphia, PA (SportsNetwork.com) - The Tampa Bay Lightning did something Saturday no other team has done since earlier November: hand the Philadelphia Flyers a loss at home.
Ryan Malone scored two goals, Anders Lindback made 35 saves and the Lightning doubled up the Flyers, 6-3, at the Wells Fargo Center.
"He was arguably one of the best players tonight. You want to win hockey games in this league you've gotta have solid goaltending. Consistent goaltending is what you need," said Lightning head coach John Cooper about his backup. "Today, it went his way, and I think we talked about it this morning -- you work hard enough eventually things are gonna turn around and go your way."
Teddy Purcell, Alex Killorn and Valtteri Filppula each had a goal and one assist for Tampa Bay, which has won four of its last six games.
Jakub Voracek lit the lamp twice for the Flyers, who had won 10 in a row at home. Steve Mason was beaten five times on 17 shots through two periods before getting replaced by Ray Emery in the third.
New Jersey was the last team to beat the Flyers in Philadelphia, blanking them 3-0 on Nov. 7.
"Second period we gave up three, four odd man rushes and they scored on three of them. That's basically it," said Flyers head coach Craig Berube. "We just didn't play smart for about seven, eight minutes in the second."
Tampa Bay twice squandered two-goal leads in a wild second period that featured seven combined goals by the teams.
Purcell's sharp-angle shot from the right circle went through the legs of Mason to put the Lightning up 2-0 at 5:21 of the middle frame. Voracek answered 1:23 later on a breakaway, but the Bolts responded quickly as Malone capped a 2-on-1 rush by elevating Nate Thompson's backhand pass at 7:28.
The Flyers then struck twice in a 3:21 span to tie things up at 3-3. Wayne Simmonds deposited a rebound from the doorstep for a power-play marker at 11:14 and Voracek, who hit the post during an extended 5-on-3 in the first period, split the defense before beating Lindback on a shot from the slot at 14:35.
Filppula, however, backhanded in a rebound to restore the lead for Tampa Bay 66 seconds later.
"We had that momentum, and they went down and we got scored on. Sometimes it happens in a game when you have momentum then you lose it right away, but we are a very good team so we should build it right back," said Voracek. "I think we played a solid game tonight, we had so many chances in the first period, we couldn't capitalize, and it hurt us at the end."
A right-circle one-timer by Martin St. Louis off a left-wing feed from Tyler Johnson made it 5-3 with 56.2 seconds remaining.
"Yeah you'd rather have a tighter checking game, but games like this happen. You have to find ways to make saves and just have to make those saves," Mason admitted. There was some back-door plays, but you have to find ways to make the saves you sometime should be able to make."
Lindback turned away 12 shots in the third period and Malone hit an empty net to seal the win with 1:48 to play.
The Lighting capitalized on a giveaway by defenseman Nicklas Grossmann to open the scoring 4:33 into the contest.. Killorn cut to the left circle and beat Mason on wrister that may have deflected off the stick of a Flyers defenseman.
Game Notes
Former Flyers defenseman Matt Carle was a career-best plus-6, while Simmonds, Mark Streit and Grossmann were all minus-3 in defeat ... Tampa Bay was 0-for-3 on the power play. Philadelphia has killed off 22 consecutive short- handed situations ... The Lightning have won three straight and six of the last seven meetings with the Flyers ... Tampa Bay forward Ondrej Palat had his career-high point streak snapped at eight games ... Philadelphia's 10-game home win streak in regulation was its longest since taking 14 in a row from Feb. 10-Apr. 4, 1985.


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Hey, I need some help on my final questions for my predicate logic problem set. It'd be great if someone could help explain this to me!
What is wrong with the following proof to the theorem?
The product of an even integer and an odd integer is even.
Proof: Suppose m is an even integer and n is an odd integer. If mn is even, then by definition of even there exists an integer r such that mn = 2r. Also, since m is even, there exists an integer p such that m = 2p, and since n is odd there exists an integer q such that n = 2q + 1. Thus mn = (2p)(2q + 1) = 2r where r is an integer. By definition of even, then mn is even as required.
Assume the existence of predicates Prime(x), whose value is true if x is a prime, and x j y whose value is true if y is a multiple of x (y = xa for some integer a).
Rewrite the following in predicate logic and prove if true or false
1. If n is a positive integer that is not a multiple of 2 or a multiple of 3, then 4n + 3 is a prime number.
2. For some positive integer c, no matter how we choose a pair of positive integers x and y, we have x + y c * max{x, y}


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Mojang Specifications, the development company formed following the immense success of Minecraft on PC, has finally released the first trailer for its next title, Scrolls.
Of course, the game's title may change, as ZeniMax--holding company of publisher and developer Bethesda Softworks--is claiming the game's name infringes on the Elder Scrolls franchise trademark.
Whatever the game ends up being called, we do know something for certain, Mojang's next game has the extremely specific release date of "eventually."
BOOM video 10273


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When President Obama told the joint session of Congress on Tuesday that substantial work had been completed on the task of getting the nation's fiscal house in order, it might not have come as a surprise if the lighting in the hall had taken on a pink hue.
After all, it takes the rosiest of rose-colored glasses to make such a statement.
Obama said that over the past few years, the deficit has been reduced by more than $2.5 trillion through spending cuts and tax hikes on the richest 1 percent of Americans. "As a result," Obama said, "we are more than halfway towards the goal of $4 trillion in deficit reduction that economists say we need to stabilize our finances."
What is most troublesome about this argument is that it concedes the point of whether the federal budget will be in balance at any point in the next two decades. However, as the baby boomers surge toward retirement and their Social Security and Medicare benefits, the scope of federal spending will not have decreased at all in the long run.
In the coming weeks, the rancorous political climate in Washington will grow worse as advocacy groups at all levels realize what the true effects of government spending cuts entail. As sequestration goes into effect, sharp reductions in spending for defense, social programs and other federal programs will occur. The worst-case scenario could be a complete government shutdown by the end of March if no action is taken.
Unfortunately, the blunt instruments of sequestration and shutdown will not bring the United States' fiscal house back into order. By allowing such actions to occur, Congress and the president run the risk of having the nation's credit rating eroded further, which will create more difficulties throughout all levels of government and into the private sector.
By now, it should be obvious what needs to be on the table for the "grand bargain" to occur: Substantive cuts to the federal budget, modifications to Medicare and Social Security to ensure their solvency through the next decades and the elimination of tax loopholes that, while popular, have outlived their usefulness as policy goals. Such loophole closures should allow the overall federal tax rates to be decreased.
The federal debt and ongoing budget deficits matter -- but by trying to advance the argument that a bulk of the work on them has been accomplished, President Obama has not shown a seriousness of purpose to get the true cost of government into balance.


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Phoebus expects to play its non-district football game next fall against a team from Maryland, possibly on ESPN.
Phantoms coach Jeremy Blunt said the opponent will be either DeMatha from Hyattsville or Potomac from Oxon Hill. The game would be played the weekend of Aug. 23 if it's DeMatha or Sept. 6 if it's Potomac.
"Nothing's locked in now," he said. "But it'll definitely be one or the other."
Blunt said the game will be part of a classic, which ESPN is interested in televising "to showcase the Tidewater area." Possible sites are Foreman Field in Norfolk and the Virginia Beach Sportsplex.
Though the VHSL's new six-division alignment goes into effect this fall, the Peninsula District remains intact for regular-season games. The schedule is not officially set in stone, but it's about 99 percent there.
To answer the obvious question first: Phoebus and Hampton will play in the season's fifth week on Sept. 27, a Friday night. That's a change from the past two years, when the rivals met on the 10th and final week of the regular season.
The non-district opponents look like this: Bethel vs. Western Branch, Denbigh at Tabb, Gloucester vs. Norview, Hampton vs. Indian River, Heritage vs. Wilson, Kecoughtan at Granby, Warwick vs. Maury, and Woodside at Granby. Menchville does not have a non-district game set as of yet.


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CHARLOTTE – Running back
Rivera ruled Stewart out for Sunday's game against the New York Jets.
"We'll get a better feel for it in the next ten days," Rivera said. "It wasn't the ACL – that much I know, which is huge. Very happy for Jonathan that there is a bit of good news."
Stewart suffered the injury in the third quarter when he took a direct hit to the knee from Saints cornerback Keenan Lewis at the end of a 16-yard catch.
After suffering a season-ending ankle in Week 12 last year, Stewart had offseason surgery on both ankles that forced him out of training camp and the preseason entirely. He was not activated from the physically unable to perform list until Week 9 against the Atlanta Falcons.
Stewart has rushed 48 times for 180 yards and recorded seven catches for 44 yards in 2013. He started Week 12 versus the Tampa Bay Buccaneers with running back
Williams returned to the starting lineup Sunday against the Saints. Rivera thought Williams ran well, gaining 52 yards on 13 carries.
Fortunately for the Panthers, there is depth at the running back position. In addition to Williams, who will be relied on heavily, Carolina can turn to


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Honors & Awards
Big 12 Commissioner's Fall Academic Honor Roll (2010)
- Big 12 Commissioner's Spring Academic Honor Roll (2010, 2011)
2011 Outlook
Sophomore Robert Barry heads into fall camp with hopes of earning playing time at tight end behind returning starters Ben Cotton and Kyler Reed. Barry has impressed the coaching staff with his work ethic in his first two years in the program. The 6-8 Barry is among the tallest players on the Nebraska roster, providing a big receiving target for Husker quarterbacks. The Battle Creek, Neb., native has added more than 25 pounds of muscle since his arrival on campus two years ago.
2010 (Redshirt Freshman)
Barry provided depth at tight end, but did not appear in a game.
2009 (Redshirt)
A walk-on, Barry redshirted in his first year at Nebraska and worked on the scout team.
Before Nebraska (Battle Creek HS)
Barry was a talented all-around performer for Battle Creek High School and Coach Greg Wemhoff. Barry caught about 30 passes for 400 yards and five TDs as a sophomore tight end, but primarily played quarterback during his final two seasons.
Barry passed for a combined 2,300 yards as a junior and senior, while rushing for another 500 yards with 32 TDs. Barry was an honorable-mention Class C-2 pick by both the Omaha World-Herald and the Lincoln Journal Star. Barry helped Battle Creek to the state playoffs in 2006 and 2008.
Robert is the son of Bob and Mary Barry, and was born on July 13, 1990. He is majoring in secondary education-social science and is a three-time Big 12 Academic Honor Roll selection. He has volunteered with team hospital visits, at Elliott and Meadow Lane Elementary and during School is Cool Week.


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U.S. Sen. Mary Landrieu said she is pushing the Obama administration for a key bureaucratic approval needed in the long-running push for a federal hurricane protection project in Terrebonne and Lafourche.
U.S. Sen. Mary Landrieu said she is pushing the Obama administration for a key bureaucratic approval needed in the long-running push for a federal hurricane protection project in Terrebonne and Lafourche.
Landrieu, D-La., said she called Office of Management and Budget Deputy Director Brian Deese on Wednesday evening. She urged his agency to sign off on the favorable Army Corps of Engineers Chief's Report for Morganza-to-the-Gulf, a $10.3 billion system of levees, locks and floodgates that aims to protect much of the two parishes from Gulf storms.
Under federal law, after a project receives a favorable chief's report, the Office of Management and Budget has 120 days to concur and allow the corps to recommend the project to Congress, Landrieu said.
This is the final bureaucratic step in the authorization process. Morganza is included in the Senate version of the Water Resources Development Act but was left out of the House's version. U.S. Sen. David Vitter, R-La., is serving on the conference committee that will iron out the differences. He and others are pushing to include authorization for Morganza in the final bill, which then heads back to both houses of Congress for a final vote and, if approved, to President Obama for his signature.
Authorization does not guarantee Morganza will receive federal money. Congress would have to pass a separate measure to set aside money for the project.
In the meantime, Terrebonne's levee board Is about two to three years away from completing an interim system of levees along Morganza's route. It is building the system using local and state tax money after years of lobbying the corps and Congress for money proved fruitless.
The chief's report was signed in early July, and the Office of Management and Budget has missed its 120-day deadline, Landrieu said. The agency cited the backlog created by the recent government shutdown as the primary reason.
She said Deese assured her the agency is focused on Morganza at the highest level and that completing the review is a top priority.
"I urged Deputy Director Deese to give Morganza the final approval it needs to move forward and end this cycle of unnecessary delays," Landrieu said today in a news release. "After studying this project for over 20 years, the Army Corps fully endorsed Morganza with a favorable chief's report last summer -- we just need OMB to sign off. I am united with our local leaders in our determination to build Morganza-to-the-Gulf quickly and at a reasonable cost. It's time to stop studying and start building."


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Music Reviews
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Contra (XL Recordings )
Contra is the follow-up album to the indie rock band's critically acclaimed self titled debut in 2008. The new release was produced by band member Rostam Batmanglij. A tad less vigorous, yet as classy and topped with a blissful array of trendy vocal harmonies and world-music influenced sounds, this album may transport you into a timeless era. The new wave touches on the track 'Holiday' and the Simon and Garfunkel'esque arrangements on 'White Sky' are perfectly eccentric. No wonder the young band is being cherished by the media and their fans alike.
The Show Must Go (Universal )
It has been two years since the BC boys served their fans with some hard driven rock and roll. So their third studio album The Show Must Go was highly anticipated. And this time around, not only are they back with their catchy titles and choruses, they've managed to step it up a notch while exploring additional modern pop boundaries. Hedley has a way with words: whether writing a sarcastic tribute to reality TV ('Cha-Ching') or a profoundly heartfelt ballad ('Perfect'), their authentic 'in your face' style is what we like about them.
XXXX (Paper Bag /Universal )
The West Coast quintet had made its mark with some groovy dance-punk beats on their previous album titled Lose All The Time (2007). While their new record XXXX is loaded with rocky fun and love themed antics, the loudness and stomp is not consistent. YSP! WSD! has creatively explored their slower tempo and cast some melody infused choruses. This is a highly manicured production with dedicated musicians. These new songs will probably find their voice in the band's unique ways on stage. Definitely try to catch a concert.
Fixin ' To Thrill (Universal )
Fixin' to Thrill is the Toronto electro-pop group's second record. This release continues to showcase the 80's influenced sounds heard on their debut album Galore and the busy synth beats take centre stage again (but are at times a little repetitive). The tunes are sexually charged. The fun begins with the first title track and fades away here and there with a few slower tracks ('Easy'). Lead vocalist Martina Sorbara's charmingly clear yet scratchy vocals (à la Cyndi Lauper) deliver yet again. Take away: the nice blend of experimental electro arrangements might catch your ear.
The Element of Freedom (J Records /Sony )
The multi-instrumentalist strikes loudly with a well balanced fourth album. Keys plays up some power ballads ('Empire State of Mind') AND some dimmer, sexier, low-key vocals on her Jazz infused and smooth R & B tracks ('Love is Blind'). On The Element of Freedom, the NYC raised singer-songwriter and philanthropist doesn't stray far away from her favourite subject: love – yet the evolving song-writing subtleties are noticeable. Her signature piano skills are still the melodic punch, yet she dared to take her style one step further. This woman is surely gifted.
Live At Reading CD-DVD (Geffen )
This is a re-mastered release of the grunge band's legendary concert that took place in the UK in 1992. For those who knew the melodic song-writing strength of frontman Kurt Cobain, you'll be happy to relive such an emotionally charged concert: from revolutionary tracks like 'About a Girl' to 'Smells Like Teen Spirit', the raw, misbehaved vocals and eccentric guitar riffs are still musically relevant today. If Nirvana was not on your radar and you decide to dive in, you may well be exploring a precursor genre into today's indie and pop music scenes.
Heartland (For Great Justice Records )
Heartland is Owen Pallett's (aka Final Fantasy) third studio project. Crowned Canada's inaugural Polaris Music Prize winner in 2006 with his controversial debut release titled He Poos Clouds, much has happened since. Pallett's fascinating collaborator on Heartland is the Czech Symphony Orchestra. The Torontonian has proven to be a violinist extraordinaire and has worked on strings arrangements for fellow Canadian indie musicians The Hidden Cameras, Jim Guthrie and Arcade Fire. Pallett has deepened his technical and tricky arrangements and this 'conceptual' album is an adventure in itself
Rated R (Def Jam )
Rated R is a complex and poignant look into the star's emotionally turbulent past year. Accompanied by more aggressively sounding guitar riffs, Rihanna sings her abuse like a freeing mantra. Surrounded by her mentor (Jay-Z) and powerhouse producers, they've managed to elevate her pop sound to a resonating pop sound. Fearless and determined, she has made this dark part of her life part of her career. Let's hope we can later remember the full artistry of this project and not simply the autobiography references.
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The St. Louis Blues aim to rebound from their first loss of the season on Thursday night as they take on the Nashville Predators for the second time in four days.
The defending Central Division champs kicked off the season with a win over the visiting Detroit Red Wings before logging a shootout victory at Nashville on Monday. However, the Blues got their scoring too late on Tuesday night in Chicago, falling to the Blackhawks 3-2.
Down 3-0, St. Louis did not net its first goal until Andy McDonald's tally 4:40 into the third frame. A power-play goal from T.J. Oshie with 5:07 to play made it a one-goal game, but Chicago held on.
"That wasn't the team we're capable of being. It took us a while to get going," McDonald said. "I just think we didn't manage the puck well and didn't make the plays that we're normally capable of making."
Brian Elliott yielded a goal in each period, ending with 24 saves. He got the start after relieving Jaroslav Halak in Monday's 4-3 shootout win at Nashville.
Elliott stopped all 13 shots he faced through overtime and both skaters in the shootout. Oshie and Alexander Steen both scored in the breakaway frame to seal the win, St. Louis' third straight over Nashville.
The Blues have points in 10 of their last 12 versus the Predators, going 7-2-3, and are expected to start Halak in this game. The netminder has a career 1.86 goals against average versus the Preds.
Rookie Vladimir Tarasenko scored a goal and had two assists in the win over Nashville, giving him five points through his first two NHL games. However, the Blues forward was held without a point against the Blackhawks.
Pekka Rinne made 36 saves against the Blues in his second start in as many games for Nashville. He also manned the net in the club's season-opening shootout defeat to the Columbus Blue Jackets.
After a pair of shootout setbacks at home, the Predators played in Minnesota on Tuesday and notched a 3-1 win over the Wild. Martin Erat had the game- winner, scoring after he intercepted a clearing attempt in the third period during a 4-on-4 situation.
Nick Spaling and David Legwand also tallied for the Predators, who began a franchise record-tying seven-game road trip.
"We had a little bit of a slow start, but as the game went on we started to get better and better," said Spaling. "We just have to work on putting a full game together."
Rinne got the night off against the Blue Jackets, with Chris Mason making 29 saves. He signed a one-year deal this offseason to serve as Rinne's backup and made his first start since April 5 with the Winnipeg Jets.
Nashville has won seven of its last 10 in St. Louis.
Wade Redden could make his Blues debut after being activated to the roster on Wednesday. To make room for the defenseman, who had his contract bought out earlier this season by the New York Ranges, St. Louis assigned blueliner Ian Cole to the AHL.


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If you're like me, living a balanced and healthy lifestyle isn't easy and it's hard finding answers to these really tough questions…
* How can I decrease stress and increase energy?
* How can I achieve better health at any age?
* High carb, low carb, raw food, what's best?
* How can I create healthier relationships?
* What is whole health?


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Call Control: Call is dropped during CG failover
From DocWiki
Call Control: Call is dropped during CG failover
|Problem Summary
|A call is delivered to an available agent. While the call is ringing, CG failover occurs. After failover is complete, the call gets dropped.
|Error Message
|Possible Cause
This problem occurs if the time it takes for Finesse to go back in service after the failover is greater than the RONA ring no answer timeout. As a result, RONA times out and the call is dropped.
This may occur when Finesse and CTI servers are connected over a WAN.
|Recommended Action
|Release 8.5(3), Release 9.0(1)
|Associated CDETS #


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GULF SHORES, Ala. - (RU vs. CBC Box Score) (LU vs. MC Box Score) Reinhardt (Ga.) and Lee (Tenn.) picked up a pair of wins on day two of pool play action Saturday at the NAIA Softball National Championship. The event is being held at the Gulf Shores Sportsplex for the second-straight year.
Reinhardt started the day by knocking off the pool's top seed Central Baptist (Ark.), 3-0, and Lee run-ruled Morningside (Iowa), 8-0, in five innings.
Maddie Monroe dominated in the circle for the Lady Eagles, limiting Central Baptist to three hits in a complete-game shutout. She struck out eight and walked three. Jessica Bock took the loss after giving up three unearned runs on four hits in 7 innings of work.
All three of the game's runs came in the top of the first inning, when Reinhardt used small ball and some help to score three. After a leadoff single from Nikki Roddy, three-straight bunts followed which plated two runs. The first bunt scored a run with aid from an error, and the last was a squeeze from Ashley Kennedy.
Lindsey Booker finished 2-for-3 for Reinhardt, while Natalye Chudy went 2-for-3 at the plate for Central Baptist.
In Lee's win, the Lady Flames used a five-run first inning to roll, while Brittany Balough allowed only two hits in five innings of shutout ball.
Nine hitters stepped up to the plate in that first inning. After a pair of singles and an out started the inning, four-straight hitters drove home a run. Ana Coscorrosa drove home the first run. The run-rule took effect in the fifth inning when three doubles from the Lee bats drove home a pair to end the game.
Charlie Wooden finished 3-for-3 with two runs scored, Jennifer Ringle went 2-for-3, and both Dezirae Parsons and Tabitha Farrow drove in a pair of runs for the Lady Flames. Taylor Michaelson went 2-for-2 for Morningside.
In Pool D on Saturday, Reinhardt will face Morningside at 11:30 a.m. CDT and Central Baptist will battle Lee at 4:30 p.m.
For the complete schedule, click here.


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The number of poorly written emails, resumes and blog posts I come across each month is both staggering and saddening. Grammar is off. There are tons of misspellings. Language is much wordier or more complex than necessary. Some things I read literally make no sense at all to me.
Via Brian Yanish - MarketingHits.com