text:
Excellent as Branagh's film is, one of the results of that excellence--as well as the fact that until earlier this year, his was the only version of Much Ado About Nothing available to a wide audience (unless you count the 2005 modern language version, part of the BBC's ShakespeaRe-Told project, starring Damian Lewis, Sarah Parish, and Billie Piper as Hero)--is that for many people my age, and especially those who don't have ready access to theatrical productions of Shakespeare, it has come to seem not only definitive, but like the only "correct" way to stage the play. It certainly helps that unlike Luhrman's irreverent adaptation of Romeo and Juliet, which rubs the audience's face in how unconventional its take on its source material is, Branagh's film strives for a feeling of accuracy. Its setting, like the play's, is a villa in rural Italy, and though its period is deliberately vague, it feels at least roughly contemporary to the play's early 17th century publication date. In addition, as much as Branagh takes advantage of the cinematic medium, with long tracking shots, multiple exterior locations, and an emphasis on period detail, his Much Ado is a very theatrical film--most of the cast play their big speeches to the back benches, and the film has no compunction about letting its actors squarely address the fourth wall, like a stage actor soliloquizing to an audience.
This perception, however, obscures the many choices Branagh made in adapting Much Ado About Nothing, and thus the possibility that other choices might bring out nuances he'd missed or chosen not to emphasize. A quick glance through the play's original text, for example, reveals that as well as cutting the play down to suit his two hour running time, Branagh thinned the text out, removing, in some scenes, every other sentence or half sentence. Take this scene, from early in the play. The bolded lines are the ones that appear in Branagh's version:
Beatrice: I pray you, is Signior Mountanto returned from the wars or no?This has the effect of slowing the pace of the dialogue down, making it easier for the audience to follow along and for the actors to deliver their lines (of the cast, Branagh is nearly the only one who is expected to manage a full Shakespearean gallop). And it leaves room in the film for wordless scenes, such as the long, delightful opening sequence in which Don Pedro's men and the women of Leonato's household bathe and dress before their first meeting, without making its running time unwieldy. It's a perfectly valid choice, and one that pays great dividends in the film, but it is a choice, and the aura that has attached to Branagh's film obscures that fact.
Messenger: I know none of that name, lady: there was none such in the army of any sort.
Leonato: What is he that you ask for, niece?
Hero: My cousin means Signior Benedick of Padua.
Messenger: O, he's returned; and as pleasant as ever he was.
Beatrice: He set up his bills here in Messina and challenged Cupid at the flight; and my uncle's fool, reading the challenge, subscribed for Cupid, and challenged him at the bird-bolt. I pray you, how many hath he killed and eaten in these wars? But how many hath he killed? for indeed I promised to eat all of his killing.
Leonato: Faith, niece, you tax Signior Benedick too much; but he'll be meet with you, I doubt it not.
Messenger: He hath done good service, lady, in these wars.
Beatrice: You had musty victual, and he hath holp to eat it: he is a very valiant trencherman; he hath an excellent stomach.
Messenger: And a good soldier too, lady.
Beatrice: And a good soldier to a lady: but what is he to a lord?
Messenger: A lord to a lord, a man to a man; stuffed with all honourable virtues.
Beatrice: It is so, indeed; he is no less than a stuffed man: but for the stuffing,--well, we are all mortal.
It's easy, therefore, to see how a new film version of Much Ado About Nothing would seem refreshing, even revolutionary, simply for drawing attention to the fact that there are other choices that might be made when adapting the play. All the more so when that version is Joss Whedon's, which seems almost to have been designed as the antithesis of Branagh's film. As has been widely reported, Whedon shot the film in his own house over twelve days, with a cast made up mostly of his friends and favorite actors. But as well as being a modern-day, modern dress production, his Much Ado is an understated affair. Instead of the conscious theatricality of Branagh's version, Whedon reaches for naturalism. His actors deliver the Shakespearean lines as if they were ordinary 21st century dialogue, underplaying the comedy so that it sounds like conversational banter, not a stream of zingers. No one here addresses the screen; when characters soliloquize, they do so while moving in and out of the frame, engaged in some mundane activity, as if to indicate that they are thinking out loud--Benedick (Alexis Denisof), for example, muses about the hurtful words hurled at him by Amy Acker's Beatrice while gathering glasses and empty drink bottles left over from a party. Whedon finds ways to downplay even the biggest, most theatrical moments in these soliloquies. "I will be horribly in love with her!" Benedick shouts, arms outstretched into the air, after he overhears the "news" that Beatrice loves him, but Whedon shoots him from behind and from far away, as if to undermine the grand gesture.
The problem with this choice is that it very quickly comes to seem like a way of avoiding all other choices. Whedon's direction, which often feels like just a bunch of people talking, seems less like an attempt to stage the play as naturalistically as possible, and more as if he hadn't bothered to do any of the actual work of adapting the play and making it his own--as if he doesn't know what he wants his Much Ado About Nothing to be. One gets the impression that he has simply thrown a bunch of talented actors in front of a camera and had them recite their lines in the belief that somehow a coherent work will emerge. The result is a film that is extremely variable, depending on the actors on screen and the emotional tenor of the scene. Dramatic scenes in which the actors pull out all the stops work best--Fran Krantz's Claudio ranting at Hero (Jillian Morgese) about her alleged infidelity, Clark Gregg's Leonato attacking Hero for her disgrace, Beatrice's tirade as she tries to convince Benedick to challenge Claudio to a duel over Hero's honor. The humor, meanwhile, almost invariably falls flat, Whedon having done little work to translate the broad, energetic, consciously artificial comedy of the original play into the more low-key tone of his film (on the rare occasions that he plumps for slapstick, the shift in tone is jarring; when Beatrice overhears Hero and Margaret discussing Benedick's feeling for her, she's so surprised that she falls down a flight of stairs, but the film has been so naturalistic up to this point that this isn't funny so much as scary and unpleasant to watch). Rather than being understated, Whedon's film comes to feel underpowered.
There's a tendency, when talking about Much Ado About Nothing, to concentrate on the warring lovers aspect, the story of two people who fight and fight until they finally realize that they're in love (I did so just a few months ago when I noted the similarities between Benedick and Beatrice and Pride and Prejudice's Darcy and Elizabeth). While that's obviously an important part of the play and a major reason for its enduring appeal, to concentrate on it exclusively (as Whedon does) is to miss out on some of Much Ado's vital components, chief among them the importance of embarrassment to the play's story. Like many Shakespearean comedies, Much Ado About Nothing's plot hinges on miscommunication--both of the couples at the center of its story would never have found themselves at the crisis the play depicts if they'd been willing to talk to each other. And also like many other comedies, the play's story is driven by false identity--Hero is courted by Don Pedro pretending to be Claudio, and undone by Margaret pretending to be Hero; "what a Hero hadst thou been if half thy outward graces had been placed about thy thoughts and counsels of thy heart," Claudio laments at her at their abortive wedding, having been gulled into believing a false persona concocted by Don John, who has previously railed at being made to hide his true identity as "a plain-dealing villain"; the happy ending is achieved when Hero pretends to be her own cousin, and when the truth is revealed she calls Claudio "my other husband."
But what, to my admittedly far from comprehensive knowledge, feels unique to this play is the way that the false identities within it are often something that the characters construct for themselves. Much Ado About Nothing is a play full of people projecting a certain face to the world, obsessed by how the world sees them, and terrified of being found out. Claudio and Don Pedro publicly humiliate Hero because her alleged infidelity shames them--"I stand dishonour'd, that have gone about to link my dear friend to a common stale," is Don Pedro's explanation for standing idly by as Claudio destroys Hero's reputation. Leonato, believing that his daughter has shamed him, imagines having taken in an orphan to raise "Who smirch'd thus and mired with infamy, I might have said 'No part of it is mine; this shame derives itself from unknown loins'." Dogberry is so anxious for his reputation and social standing that even after hearing the full litany of Borachio's crimes, the crime he fixates on is Conrad calling him an ass.
The characters who most embody this terror of embarrassment, however, are Benedick and Beatrice. Both perform roles on the very margin of acceptable behavior (where acceptable means, among other things, acceptable for their gender). Benedick is a jokester, but if people started laughing at him instead of with him, he'd be a clown; Beatrice is a wit, but all it takes is a few too-tart jokes for her to be branded a shrew. They are thus both frantically aware of the danger posed to them by embarrassment, of losing control of the face they present to the world and being seen not as they would like to be seen--cool, detached, unfussed by silly emotions--but as they secretly fear they really are. Their masked encounter at the revel leaves them both (Benedick in particular) so rattled because in it they hear the things they fear most from the person they secretly want.
When Don Pedro hatches his plan to make Benedick and Beatrice fall in love with each other, he uses these very fears to pierce their defenses, and paints a picture in which both are terrified of embarrassment but eager to inflict it on others. Benedick, he announces, "would make but a sport of it and torment the poor lady worse" if he found out about Beatrice's feelings for him, and Hero and Ursula, coached by him, agree that "it were not good [Beatrice] knew [Benedick's] love, lest she make sport at it." Though he speaks as if he expects Benedick and Beatrice to be so ruled by their fear of embarrassment that it will override all other desires ("I measure him," he quotes the fictional Beatrice, "by my own spirit; for I should flout him, if he writ to me; yea, though I love him, I should") Don Pedro clearly expects the "revelation" that Benedick and Beatrice love each other to soothe the sting of his words, and so it does. Knowing that they are loved, for all their foibles and weaknesses, gives Benedick and Beatrice the courage to be vulnerable--"I do love nothing in the world so well as you; is not that strange?" is Benedick's bewildered, self-deprecating declaration to Beatrice--and to put aside the masks with which they've staved off embarrassment, letting themselves be seen.
"Lady Beatrice, have you wept all this while?" Benedick asks before he and Beatrice confess their love. "All this while" can be taken to mean the duration of Claudio's refusal and accusation of Hero, which immediately precedes this scene (Whedon, meanwhile, takes the question literally, and inserts a gap of time between the two scenes for Beatrice to have wept in). But I prefer to think that the question is more symbolic, that it represents Benedick's realization that Beatrice is more than just "Lady Disdain," but a person, who is sometimes sad. And though Benedick's love doesn't magically make that sadness disappear, it does give Beatrice a safe space to be sad in, as when she admits, in her next meeting with Benedick, to being "very ill" over Hero's misfortune.
Even after they learn how to be honest with one another, however, the play doesn't let up on subjecting Benedick and Beatrice to embarrassment. It is almost astonishing, reading the original text, how often and at what wildly inappropriate times Don Pedro and Claudio tease Benedick about his romance with Beatrice--immediately after they learn of Hero's "death," or just before Claudio's punishment marriage to, as he believes, Leonato's niece. And though they can admit their love to one another in private, it takes some prodding for Benedick and Beatrice to admit it in public in the play's final scene (in fact they never entirely do--their final word on the matter is that they are getting married out of mutual pity), and its conclusion seems to be less that the two of them can hold their heads up high, and more that in the end, embarrassment doesn't matter--"a college of wit-crackers cannot flout me out of my humour. Dost thou think I care for a satire or an epigram?" is Benedick's response to Don Pedro's final jab at him. In the end, Much Ado About Nothing is a play about people who are terrified of being seen for the weak, silly people they really are, only to discover that it's actually wonderful.
With a few minor (and not very successful) exceptions, embarrassment is almost absent from the main storyline of Whedon's Much Ado. One doesn't get the sense that its characters are particularly frantic for their image, nor is it ever in much danger--as if the characters' desperation to be cool had rubbed off on their director (I'm almost inclined to suggest that the reason Whedon's Much Ado isn't funny is that he can't bear for his characters to be laughed at). One sees this especially in the case of Benedick. In Branagh's film, Benedick is deliberately emasculated. Branagh's performance is shouty and high-strung, his voice frequently rising to a high pitch. The other male characters treat him with indulgence and bemusement--when Beatrice observes that "nobody marks [Benedick]" it's after we've seen him desperately trying to hold Don Pedro's attention with one more joke. In Whedon's film, it's Benedick who gets to be indulgent and bemused. Denisof plays him as smug and sarcastic, blithely drawling his pronouncements about the silliness of everyone around him from a position of utmost confidence and security (one hardly knows where to look when this self-satisfied Benedick describes himself as "merry"--it's hard to imagine a more joyless version of the character).
It's a choice that robs the audience of the shock (and satisfaction) of seeing the clownish Benedick show his mettle when he castigates Claudio and Don Pedro for humiliating Hero, but it also robs the character of much of his depth--this Benedick starts the play a cool guy, and ends it a cool guy with a wife. In Whedon's version of the story, Benedick is a player who can't commit, a point Whedon drives home with a wordless prequel scene in which we see Benedick slipping out of a sleeping Beatrice's bedroom after a one-night stand. This is not an unreasonable interpretation--it has some grounding in Benedick's speeches against marriage at the beginning of the play. But it's not a very original or, to my mind, interesting one, and it isn't served well by the film and its modern-day setting. While a modern-day Benedick can love 'em and leave 'em, the text's Benedick can't (or at least, not women of Beatrice's class), and indeed the Benedick of the play isn't just anti-marriage, but anti-love and even anti-women. The film does little to resolve this incongruity, or indeed to sell Benedick's swift turnaround on love and marriage as soon as he hears that Beatrice loves him. It is as if we were expected to employ romantic comedy logic--obviously the commitment-phobic man will pop the question by the final scene--without wondering whether either the text or the adaptation support it.
Just about the only character whom the film is genuinely happy to see embarrassed is Dogberry, which is why Nathan Fillion's performance in the role is a rare instance in which the film's understatedness doesn't rob it of all power. Especially in contrast to Michael Keaton's cartoonish take on the role in Branagh's film, Fillion's performance is sedate, and yet he manages to make Dogberry both ridiculous and moving. He plays Dogberry like someone aping the tough-as-nails, unflappable cops he's seen on TV, but every time the script in his head is interrupted by reality, we can see how thin his skin really is. His reading of "Does thou not suspect my place? dost thou not suspect my years?" in response to Conrad calling him an ass is both a tiny masterclass in wringing a laugh out of understatement and genuinely heartbreaking for what it tells us about how Dogberry wishes to be seen. But it only works because unlike the rest of the cast, Dogberry's self-importance is allowed to seem ridiculous and unjustified.
Part of the reason that I'm so down on Whedon's film, and unimpressed by the way it questions the assumptions of Branagh's version, is that by the time I got around to watching it I had already seen the National Theater's 2011 production of the play. Directed by Josie Rourke and starring David Tennant and Catherine Tate, this production not only showed me a way to stage the play that is completely distinct from Branagh's, but managed to make the play its own in a way that Whedon never did. (I wasn't able to see the play live, but a recording is available from Digital Theatre.) Rourke has some advantages over Branagh and Whedon--unlike them, she isn't bound by a feature-length running time, and she doesn't need to make excuses for (or eliminate) theatrical devices like the actors addressing the audience. Most importantly, she has a cast who can handle the Shakespearean language in full, without resorting to Branagh's cuts. In Whedon's film, being able to nonchalantly rattle off a mouthful of Shakespeare is an accomplishment in itself, but Rourke's cast act the lines, which can sometimes mean not behaving as if this archaic language is no big thing, but stressing and even shouting it. Rourke modernizes the language not by underplaying, as Whedon does, but by pouring the characters' modern emotions through it, and allowing her actors to play with their lines to suit their conception of their characters. "Love me! Why, it must be requited," Benedick announces in the original text when he hears about Beatrice's feelings for him, but Tennant, who plays Benedick as even more of a clown than Branagh did, changes the emphasis. "Love me?!" he exclaims; then, softly, bewildered: "Why?"
But if Rourke has certain advantages in staging Much Ado About Nothing, she also sets herself a greater challenge. Where Branagh and Whedon split the play's tone between its comedic and dramatic scenes, Rourke reaches for both reactions at once. That's not to say that her Much Ado can't be purely funny--the twin revelation scenes, in which Benedick and Beatrice learn of each other's feelings, are breathtakingly hilarious. But Rourke knows that embarrassment is both terrible and funny, and so she frequently injects humor into the play's most serious scenes, and tragedy into its funniest. Benedick and Beatrice's sniping has a real edge in this version, often teetering just on the brink of genuine nastiness. Later, when they confess their love to each other, they can't keep a straight face, breaking out in hysterical laughter at what they're saying. Don John, a character whose thinness Branagh and Whedon both try, unsuccessfully, to counteract by portraying him as suave and smooth-talking, is brought to life by Rourke's decision to make him a sniveling weirdo, whose awkwardness would be pitiable if it didn't conceal such relentless cruelty. In an early scene, flush with confidence over Borachio and Conrad's promise to aid in his mischief-making, an almost-giggling Don John (Elliot Levey) announces (in a line that Branagh and Whedon both omit): "Would the cook were of my mind!" Rourke has her actors hold for a moment on Don John's conviction that he has made a clever joke, and Borachio and Conrad's disgust and exasperation with him.
The bulk of this tonal ambiguity, however, falls on Tate's shoulders, and she has what it arguably the production's most difficult, occasionally thankless task. If I'm underwhelmed by the always-excellent Acker as Whedon's Beatrice, it's because Tate's performance has helped me see how much easier (certainly for an actress of Acker's range and abilities) Whedon's complimentary take on Beatrice, as someone who runs the gamut from brittle wit to righteous indignation, is when compared to Tate's frequently unattractive turn. She plays Beatrice as someone who can be strident and unkind as often as she is funny and morally trenchant. In a scene before the masked revel (again, drastically reduced in both film versions) Beatrice and Leonato trade barbs about her unwillingness to marry while Hero and her mother listen, and as Beatrice warms to her subject her family goes from amused to indulgent to sullen, wordlessly conveying that this is an old, familiar argument. Though we may sympathize with Beatrice's clear-sighted take on the marriage market that her cousin is being launched into, it's easy to see how her harping on the subject could easily become aggravating.
The same might be said of the strong slapstick component of Tate's performance, the gurning and braying familiar from her work on Doctor Who, which might put some viewers off. But again, Rourke uses this as much for pathos as for humor. When Don Pedro proposes to Beatrice in Branagh's film, it's a sweet, tender moment of connection. Rourke, using Tate's comedy, turns it into a tiny tragedy--Don Pedro's (Adam James) proposal is genuine, a brief moment of vulnerability from a character who spends the rest of the play acting blithely superior to everyone around him. But a distracted Beatrice takes it as a joke, and answers with a broad laugh, mortifying the prince and, when she realizes what she's done, herself. To try to salvage the situation, she retreats further into broad comedy, trying to pretend that she and Don Pedro were just joshing around, but the awkwardness of her delivery, and Don Pedro's difficulty in getting over his disappointment and joining in, make the scene heartbreaking.
In this scene and several others in Rourke's production, Don Pedro emerges as a person in his own right, not just someone who moves the plot along. James gives him flaws--when the truth about Hero's false accusation comes out, he distances himself from Claudio in disgust as if he had nothing to do with humiliating her--but also a haunting undertone of loneliness which the play, of course, leaves unsolved (in both Rourke and Branagh's versions, Don John ends the play standing apart from the rest of the cast's dancing). In fact, for all that Tennant and Tate are both wonderful, perhaps the most astonishing thing about Rourke's production is that it doesn't allow Benedick and Beatrice to dominate the play, and makes complex people out of all of the major characters--this is the only version of the play I've seen that makes Claudio's penance of being made to marry Leonato's niece seem like an actual punishment, with Tom Bateman conveying his grief at what should have been a joyous occasion being made into something bitter, a lifelong reminder of his greatest mistake.
Aside from Don Pedro, the character who most benefits from this generosity is Hero (Sarah Macrae). Branagh and Whedon both portray Hero as childlike, someone who is acted upon but who seems to have little personality of her own (it certainly doesn't help that they both cut the bulk of Hero's lines). But Hero the person, not the object of others' affections and schemes, has an important role in the play. She is the only person in it who presents herself to the world as she is, and doesn't try to tailor anyone's perception of her (which does her no good when a false face is imposed on her). When Claudio charges her by her name to answer truthfully his "when did you stop beating your wife"-style question about the identity of the man she slept with, she answers "Is it not Hero? Who can blot that name with any just reproach?" That strength and self-knowledge are missing from Branagh and Whedon's Heros, but Rourke restores them, first by casting the tall, athletic-looking Macrae (necessitating a change in Benedick's description of Hero, which is here "Leonato's long daughter"), and then by having her play Hero as confident and self-possessed. In the wedding scene, in which both Morgese and Kate Beckinsale dissolve into sobs, Macrae is tearful but defiant. It is she who argues with her father over her innocence, demanding that he recognize it rather than waiting in despair for him to bestow his compassion. It's a performance that does a great deal to make Hero's forgiveness of (and marriage to) Claudio at the end of the play seem like a genuine choice, rather than a lack of options. (Another important choice is a wordless scene of reconciliation between Hero and Margaret after the truth has come out, reminding us that their friendship has also been damaged along with Hero and Claudio's relationship.)
In praising Rourke's production so highly, I'm aware that I'm in danger of falling into the same trap that I decried where Branagh's film was concerned, of treating one version of the play as definitive, and being over-prescriptive about how the play ought to be staged. One of the reasons that Shakespeare's work has survived for so long is its versatility, the way that different adapters over the centuries that separate us from him have taken his words and stories and poured them into new molds (as a perfect metaphor for this, one need only look at the very different melodies to which Branagh, Whedon and Rourke's composers have set the play's central song, "Sigh No More"). The fact that I take embarrassment to be the most important aspect of Much Ado About Nothing's story doesn't mean that someone else couldn't find an equal, and equally resonant, reading of the play that is completely different (for that matter, the strong feminist component of Rourke's production is surely not, or at least not entirely, something that she found waiting for her in the play). A good adaptation isn't (or shouldn't be) one that conforms to your expectations, but one that can convince of its take on the play. Rourke's adaptation of Much Ado is sublime because it opened the play up for me, and taught me to enjoy it in a new and delightful way. Whedon's, meanwhile, leaves me dubious that he even has a concrete idea of what the play is. The value in Whedon's Much Ado, it seems to me, is that it will remind people who, like myself, don't have regular access to production of Shakespeare's plays that there is more than one way of staging him. But I hope that some of those people will keep looking, and find productions like Rourke's, which also have something to say.


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The news that the German government are to fund the maestro to the tune of 20 million euros comes just a few days before his 70th birthday. But he can't blow it all on ping pong and cigars.
Instead, the cash, spread over four years, will support the activities of Barenboim's West-Eastern Divan Orchestra. It's earmarked for the newly established Barenboim-Said-Akademie in Berlin, which aims to continue and extend the work of WEDO by offering musical training for up to 60 students from the Arab world.
The Academy, like Barenboim himself, is based in Berlin's Staatsoper, currently undergoing a €240m renovation. The grant will help create teaching and practice rooms. Also planned are a concert/rehearsal hall designed by Frank Gehry, who is providing his services pro bono, and a new chamber music hall which can be used by other artists when the Academy don't need it.
The cash injection is timely. The West-Eastern Divan Orchestra's current principal funder, the Andalusian Regional Government, is just as empty-pocketed as the rest of Spain. The German government in contrast have just increased next year's cultural budget by 8% to a total of 1.28 billion euros.

subset: commoncrawl


text:
Troubleshooting console issues with Data Protection Manager
Home users: This article is only intended for technical support agents and IT professionals. If you're looking for help with a problem, please ask the Microsoft Community.
What does this guide do?
Helps you diagnose and resolve performance and crash related issues with the admin console for System Center 2016 Data Protection Manager (DPM 2016) and System Center 2012 Data Protection Manager (DPM 2012 or DPM 2012 R2). Common crash errors ID are 917, 999, 948 and 1069.
Who is it for?
DPM admins who help resolve issues with the admin console.
How does it work?
We'll begin by asking if your DPM is the latest. If your DPM is up-to-date and you're still facing the issue, we'll take you through a series of steps to resolve your issue.
Estimated time of completion:
15-30 minutes.
First Steps
Before proceeding, please make sure you have the latest update rollup package for your version of System Center Data Protection Manager (DPM) installed. There are several known performance issues for DPM that get resolved in each of these rollup packages.
For the latest version, see List of Build Numbers for System Center Data Protection Manager (DPM) in the TechNet Wiki. Install the latest Update Rollup and then test to verify whether the issue still exists.
Did this solve your problem?
First Steps
Before proceeding, please make sure you have the latest update rollup package for your version of System Center Data Protection Manager (DPM) installed. There are several known performance issues for DPM that get resolved in each of these rollup packages.
For the latest version, see List of Build Numbers for System Center Data Protection Manager (DPM) in the TechNet Wiki. Install the latest Update Rollup and then test to verify whether the issue still exists.
Did this solve your problem?
Your Data Protection Manager console issue is resolved.
It appears that we are unable to resolve your issue by using this guide. For more help resolving this issue please see our TechNet support forum or contact Microsoft Support.
Performance Issue or Console Crash?
If the problem remains even after installing the latest Update Rollup Package for DPM, we first need to narrow down the nature of the problem.
Error 917: Connection to the DPM service has been lost
When dealing with console crashes, it's important to understand that the console on the DPM server relies on several services being available, and if any of these stop running or fail then you will likely see error 917:
Connection to the DPM service has been lost.
Review the application event log for information about a possbile service shutdown.
Here is the screenshot of this error.
If the crash is happening when launching the console, verify that all of the DPM services are running. The services that need to be running are listed in the error message and include the following:
- SQL Agent (for DPM instance)
- SQL Server (for DPM instance)
- Virtual Disk Service
- Volume Shadow Copy Service
If one of these services isn't running, try starting it and then reopen the DPM console. If there is a problem starting the service, the error message should give a clue as to the cause of the failure.
Performance Issues
This guide focuses on the most common DB related issues, however if general performance issues are observed across the server as a whole then the server may simply be over utilized. A performance monitor trace is a good place to start if you suspect server-wide performance issues. While server performance evaluation is something best left to experts, we have some general instructions for server performance analysis here: http://technet.microsoft.com/en-us/magazine/2008.08.pulse.aspx?pr=blog.
Within the scope of this guide we will look only at performance issues that are limited to the DPM console with the assumption that the rest of the server is responding normally.
First we want to see if the DPM database is getting bloated (larger than it should be) for any reason, as this can slow down queries returning data and also cause other issues such as filling the C: drive on the DPM server with the database data files.
The check the size of DPMDB, right-click on the DB and select Properties:
If the DB is large then we want to identify which table(s) in the DB are responsible. Large can be fairly subjective as certain configurations (e.g. protection of large Sharepoint Farms) will naturally lead to DB growth, however if it is causing issues with disk space or there are performance issues then these steps should be followed anyway.
To find out which tables are large, run the Disk Usage by Top Table report against the DPMDB as shown below.
Based on the output of this report, which should list the tables in order of size, take a look at the largest tables. Below are some of the tables that are most often found to be large. Select the table that is large in your environment or select 'Database and table sizes appear normal' to go on to the next step.
The Database may be in Recovery Mode
If the database is in recovery mode this can cause problems when services attempt to connect to it. The DB can get put into recovery mode due to a DPMSync failure or due to a crash. To check whether this is the case, run the SQL command below against the DPMDB: If the PropertyValue returned is 1 then the DB is in recovery mode. Run the following to take it out of recovery mode: Once complete, restart the DPM service and try the console again. Did this solve your problem?
select * from tbl_DLS_GlobalSettingwhere PropertyName like 'DbRecovery'
updated tbl_DLS_GlobalSettingset PropertyValue = '0'where PropertyName like 'DbRecovery'
If the database is in recovery mode this can cause problems when services attempt to connect to it. The DB can get put into recovery mode due to a DPMSync failure or due to a crash. To check whether this is the case, run the SQL command below against the DPMDB:
If the PropertyValue returned is 1 then the DB is in recovery mode.
Run the following to take it out of recovery mode:
Once complete, restart the DPM service and try the console again.
Did this solve your problem?
The service starts but then crashes, possibly with Event 999
If starting the service results in the service crashing, check in the Application Event Log for an error indicating which service has crashed. Check for any entries with Error as the level and MSDPM (or any other DPM service) as the source which corresponds to the time of the crash. The General tab for the event should contain information about the service that crashed and some details about the crash.
For example, the MSDPM process fails with Event 999 that has the following details:
The description for Event ID 999 from source MSDPM cannot be found. Either the component that raises this event is not installed on your local computer or the installation is corrupted. You can install or repair the component on the local computer.
If the event originated on another computer, the display information had to be saved with the event.
The following information was included with the event:
An unexpected error caused a failure for process 'msdpm'. Restart the DPM process 'msdpm'.
Here is the screenshot of this event.
In this example the Problem Details section tells us that it failed with the error code 0x80004015 which maps to:
The class is configured to run as a security id different from the caller
We can therefore start investigating the issue as a user account issue. Because we know it was the MSDPM service that crashed, the next step is to take a look at the corresponding DPM error log. The default location for these DPM error logs is similar to this:
C:\Program Files\Micorosft System Center 2012\DPM\DPM\Temp\
The error logs in this folder will be named for the service they log, and the current log file for each service will be named <service>curr.errlog.
If the service has crashed, the system should also create a .crash file similar to those shown below.
The crash event should be recorded at the very end of the file and show you further details as to the cause.
While troubleshooting the various services crashes, their causes and resolutions are beyond the scope of this guide, the Event Logs, error logs and .crash files should provide you with enough information to troubleshoot the most common errors via the Microsoft support site (http://support.microsoft.com), the DPM blog (http://blogs.technet.com/dpm) or the DPM support forum (http://social.technet.microsoft.com/Forums/en-us/home?category=dpm).
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Error 1069: The service did not start due to a logon failure
If you are having trouble starting one of the DPM related services then it may be due to the service run-as account. The service fails to start with the following error:
Error 1069: The service did not start due to a logon failure.
Here is the screenshot of this error.
The only services that might be running with an account other than SYSTEM are the SQL server accounts. Use the table below to verify that the accounts are correct and that they have valid passwords. Note that to change the SQL user accounts it is best to do it via the SQL Server Configuration Manager interface rather than directly via the Services snap-in.
|Service Name
|Run-As Account
|Startup Type
|Investigate if not running?
|SQL Agent (for DPM instance)
|Domain Account (must be local admin)
|SQL Server (for DPM instance)
|Domain Account (must be local admin)
|Virtual Disk Service
|Volumn Shadow Copy Service
|DPM Access Manager
|DPM Agent Coordinator
|DPM CPWrapper
|DPM Writer
|DPM VMM Helper Service
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Error 948: Unable to connect to <DPM Server>
If the service is unable to connect to the DPM database it will likely be unable to start and you will see errors similar to the following:
Unable to connect to <DPM Server>. (ID: 948)
Verify that the DPM service is running on this computer.
Here is the screenshot of this error.
The Problem Details section in the Event Log error should provide additional information regarding the nature of the failure. Typically the DB is offline/not contactable (more likely if on a remote server), or you may have a login failure. If so you will probably see an error in the Event Log similar to one of the following:
Some common reasons why we cannot connect to the DB include:
- Login failure
- DB/instance offline
- Network issue preventing connection
The error message should give you a clue as to the cause of failure.
Login Failures
The account that is failing to login should be clear in the error message, but if not you can also check msdpmcurr.errlog in the DPM Temp folder. If this doesn't make things clear, try the ERRORLOG files which will be in the SQL install location (e.g. C:\Program Files\Microsoft SQL Server\MSSQL11.MSSQLSERVER\MSSQL\Log). Note that the path may vary depending on the exact version of SQL installed or if it was installed to a non-default location.
This error log file should include any failed login audit entries. Resolve these errors by assigning permissions to the account mentioned for the DB referenced. This is normally either the SQL run-as account or the SYSTEM account.
For the SYSTEM account you can add the relevant permissions in SQL Management Studio by going to Security -> Logins and then right-clicking the System account. Ensure that it has the sysadmin role selected as shown below.
For the SQL run-as account, resetting the account via the Configuration Manager should resolve any issues.
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The DB/instance is offline
You probably already checked that the SQL Server service is running at this point, but if not then check that now. Once you've verified that it is running, try to connect to the instance from SQL Management Studio (SSMS). Occasionally this can fail if the server is logged in under a different account than the account it was installed under. In this scenario, try running SSMS as Administrator. If you can connect successfully then the DPMDB is online, however if it is offline it will look like the following:
If the DB is offline, right-click the DPMDB, select Tasks and then select Bring online. Once online, test and see if the problem is resolved.
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Network related issues
If you see errors that suggest there is a network related problem, test the connection to the DB from the DPM server by completing the following:
- Create a .udl file. The easiest way is to rename a blank .txt file with a .udl extension.
- Double click on the UDL file and select the Instance and DB to test from the dropdown.
- Click the Test Connection button.
If this fails, check that you can ping the SQL server from the DPM server and verify that name resolution is working properly. Also verify that the IP address returned is correct. Verify that the address is also correct in SQL -> DPM server. Check for any other obvious reasons why traffic might not get through (firewalls, etc.).
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Service timeouts
If the service run-as accounts are properly configured then you may be experiencing an issue with service timeouts. If the service times-out when trying to start you can try applying the following registry key:
DWord: ServicesPipeTimeout
Value: 300000
If the DWORD does not exist you can create it. The value is the timeout in milliseconds (ms), so 60000 equals 1 minute (60 seconds). You will need to restart the service to implement the changes. You can adjust the value as necessary and the example above sets the timeout to 5 minutes.
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This table can become large when large SharePoint farms are being protected (e.g. farms with millions of items), or multiple farms are protected. The following formula will approximately tell you how big the DPMDB can get when protecting a large SharePoint farm:
((Number of items in the Farm in millions) x 3) + ((number of content DBs x Number of SQL servers in farm x 30) / 1024) = size of DPMDB (Gb)
This only takes into account the SharePoint related DB growth so it may be larger than this value overall, and you may need to work out the size per farm and then total all of them together. There is not much we can do to reduce the disk space used by the DB in this scenario, however if performance is impacted we can inspect the database index size and fragmentation for issues.
Checking DB Index size and fragmentation
Large or highly fragmented indexes can cause significant performance issues for SQL queries running against them and take up more disk space than required. To check for fragmentation, run the following query which will return all the indexes with >20% fragmentation:
SELECT OBJECT_NAME(i.OBJECT_ID) AS TableName,i.name AS IndexName,indexstats.avg_fragmentation_in_percentFROM sys.dm_db_index_physical_stats(DB_ID(), NULL, NULL, NULL, 'DETAILED') indexstatsINNER JOIN sys.indexes i ON i.OBJECT_ID = indexstats.OBJECT_IDAND i.index_id = indexstats.index_idWHERE indexstats.avg_fragmentation_in_percent > 20order by TableName
If there is a large index for one or more table, this will often be resolved by rebuilding the index, particularly if it is very fragmented.
You can run the following query to rebuild an index on a particular table:
ALTER INDEX ALL ON <table_name>rebuildgo
If there are a lot of very fragmented tables, you can run the following to rebuild every index on a DB:
DECLARE @TableName VARCHAR(255)DECLARE @sql NVARCHAR(500)DECLARE @fillfactor INTSET @fillfactor = 80DECLARE TableCursor CURSOR FORSELECT OBJECT_SCHEMA_NAME([object_id])+'.'+name AS TableNameFROM sys.tablesOPEN TableCursorFETCH NEXT FROM TableCursor INTO @TableNameWHILE @@FETCH_STATUS = 0BEGINSET @sql = 'ALTER INDEX ALL ON ' + @TableName + ' rebuild'EXEC (@sql)FETCH NEXT FROM TableCursor INTO @TableNameENDCLOSE TableCursorDEALLOCATE TableCursorGO
This may take some time to run but should not affect the ability of DPM to run as usual, although possibly a little slower during the rebuild.
There is also additional information on rebuilding indexes in the DPMDB at the following link:
If you are seeing issues with SharePoint Catalog creation taking a long time it is recommended to rebuild the indexes for tbl_RM_SharePointRecoverableObject and tbl_RM_RecoverySource.
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TempDB Bloating
This is not as common as bloating of the DPM DB, but it can cause some performance related issues.
NOTE If you want to know more about the TempDB there is further detail at http://msdn.microsoft.com/en-us/library/ms190768.aspx.
Why might it grow?
It could be simply that we have a query working with a large amount of data. This is not likely to be the case if it is growing by several GB. More commonly though, it can be caused by a long running transaction. This can prevent cleanup of the transaction log which causes it to continue growing until the transaction completes, or indefinitely if it never completes.
Also, if other databases are co-located on the same instance it may not be DPM at fault as the TempDB is available to all DBs on an instance. If another application is causing a problem with the TempDB it could therefore impact on DPMs console performance.
To verify whether this is a problem, go to SQL Management Studio and open the TempDB properties:
If it is GB in size then there is likely a problem.
NOTE With TempDB it is not possible to enable AutoShrink, and if AutoGrow is enabled, once the DB grows to a large size it will not drop back in size. For more information on AutoShrink and AutoGrow please see the following:
315512 - Considerations for the "autogrow" and "autoshrink" settings in SQL Server (http://support.microsoft.com/kb/315512)
In Properties you can also see if there is any currently free space (Space Available) in the TempDB. If so, it is unlikely that whatever caused the growth is currently happening.
There is available free space in the TempDB
From the SQL management console you can try to shrink the TempDB size:
If there is available free space in the DB you should be able to shrink it. If you find that the size does not decrease as much as expected, check what the initial size of the DB is set to:
Sometimes this value can be set quite large. If so, drop it back to 8Mb and try the shrink again. Restarting the SQL instance will also reset the TempDB size back to its initial size.
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There is no free space in the TempDB and it is currently large and/or growing
In this scenario, it is likely the problematic query is still running. If it is causing an urgent issue (e.g. it is about to consume all available disk space) restarting the SQL instance should bring temporary relief. Keep in mind however that this will make it harder to identify the source of the problem.
If the issue is due to a long running query, the script below will show you the longest running transactions:
SELECT transaction_id, session_id, elapsed_time_secondsFROM sys.dm_tran_active_snapshot_database_transactions ORDER BY elapsed_time_seconds DESC;
That will return something similar to the following:
Used in conjunction with a SQL profiler trace, you should then be able to work out what is happening in the session by filtering on that session_id:
From this you can see which DB the query is running against. The details pane at the bottom should then show you the text of that query. First check that the DatabaseName is DPM DB. If not then it is another application that is causing the issue and you will need to troubleshoot that application.If it is the DPMDB, take a look at what the query is doing.
If it is calling a stored procedure you can take a closer look at the stored procedure by opening SQL Management Studio and locating the procedure under DPMDB -> Programmability -> Stored Procedures:
IMPORTANT Before making any changes, be sure that you have a backup of the DPMDB! Right-click the appropriate stored procedure to see more details. Clicking modify will allow you to see the actual query. You can then take a look at any of the tables we are selecting from (or updating) to check if they have any problems. While it is beyond the scope of this troubleshooter to resolve complex SQL table and query issues, this should help pinpoint where the problem may reside. Consult your local SQL expert for more information. You can also search for more information using the Microsoft support site (http://support.microsoft.com), the DPM blog (http://blogs.technet.com/dpm) or the DPM support forum (http://social.technet.microsoft.com/Forums/en-us/home?category=dpm).
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Tbl_ARM_DirAndFile and/or Tbl_ARM_Path
The tape catalog pruning settings can cause these tables to be quite large. To reduce the size of these tables, modify the tape catalog retention values to reduce the amount of data being stored in DPMDB:
The default is to remove the entries as the tapes expire. If tapes are kept for multiple years however, this can lead to a large amount of data retained in the DB. Change the settings to "Prune catalog for tapes older than" and set it to a lower value such as 4 weeks as shown below.
Updating this will NOT delete data on tape, but it will mean that tapes older than this value will need to be recataloged in order to restore data from them. Make sure that you are complying with any data retention policies for your organization before making any changes.
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If this table is growing large then it is generally a sign that the overnight jobs to clean up the DB are failing, as Garbage Collection should clean up any data older than 33 days in the task trail table.
To check if Garbage Collection is doing its job, run the following query:
select * from tbl_TE_TaskTrail ttwhere datediff (day, tt.stoppeddatetime, getutcdate()) > 33
This will tell you how many entries there are that are greater than 33 days old. If 0 then Garbage Collection is working properly. You can manually clean up the tables using the script below which will normally clear the problem.
IMPORTANT Be sure that you have a current backup of the database before running any script!
------------------------- start --------------------------USE [DPMDB_MUKESH]GOselect * into dbo.tbl_TE_TaskTrail1 from tbl_TE_TaskTrail where IsGCed = '0'IF EXISTS (SELECT * FROM sys.foreign_keys WHERE object_id = OBJECT_ID(N'[dbo].[fk_TE_TaskTrail__JM_JobTrail]') AND parent_object_id = OBJECT_ID(N'[dbo].[tbl_TE_TaskTrail]'))ALTER TABLE [dbo].[tbl_TE_TaskTrail] DROP CONSTRAINT [fk_TE_TaskTrail__JM_JobTrail]GOIF EXISTS (SELECT * FROM dbo.sysobjects WHERE id = OBJECT_ID(N'[DF_tbl_TE_TaskTrail_IsGCed]') AND type = 'D')BEGINALTER TABLE [dbo].[tbl_TE_TaskTrail] DROP CONSTRAINT [DF_tbl_TE_TaskTrail_IsGCed]ENDGOUSE [DPMDB_MUKESH]GOalter table dbo.tbl_AM_AgentDeploymentTrail DROP CONSTRAINT fk__AM_AgentDeploymentTrail__TE_TaskTrail__TaskIDalter table dbo.tbl_ARM_TaskTrail DROP CONSTRAINT fk__ARM_TaskTrail__TE_TaskTrail__TaskIdalter table dbo.tbl_CM_InquiryResult DROP CONSTRAINT fk__CM_InquiryResult__TE_Task__TaskIDalter table dbo.tbl_MM_MediaRequiredAlert DROP CONSTRAINT fk__MM_MediaRequiredAlert__TE_TaskTrailalter table dbo.tbl_MM_Task DROP CONSTRAINT FK_tbl_MM_Task_tbl_TE_TaskTrailalter table dbo.tbl_MM_TaskTrail DROP CONSTRAINT fk__MM_TaskTrail__TE_TaskTrail__TaskIdalter table dbo.tbl_PRM_CloudRecoveryPointTrail DROP CONSTRAINT fk_PRM_CloudRecoveryPointTrailalter table dbo.tbl_PRM_ReferencedTaskTrail DROP CONSTRAINT fk__PRM_ReferentialTask_TaskTrail_TaskIdalter table dbo.tbl_RM_CandidateDatasetsForSCAssociation DROP CONSTRAINT fk_RM_CandidateDatasetsForSCAssociation_RM_TaskTrailalter table dbo.tbl_RM_RecoveryTrail DROP CONSTRAINT fk__RM_RecoveryTrail__TE_TaskTrail__TaskIdalter table dbo.tbl_RM_ReplicaTrail DROP CONSTRAINT fk_RM_ReplicaTrail__TE_Taskalter table dbo.tbl_RM_ShadowCopyTrail DROP CONSTRAINT fk_RM_ShadowCopyTrail__TE_Taskalter table dbo.tbl_TE_TaskError DROP CONSTRAINT FK_tbl_TE_TaskError_tbl_TE_TaskTrail/****** Object: Table [dbo].[tbl_TE_TaskTrail] Script Date: 07/18/2011 00:25:30 ******/IF EXISTS (SELECT * FROM sys.objects WHERE object_id = OBJECT_ID(N'[dbo].[tbl_TE_TaskTrail]') AND type in (N'U'))DROP TABLE [dbo].[tbl_TE_TaskTrail]GOUSE [DPMDB_MUKESH]GO/****** Object: Table [dbo].[tbl_TE_TaskTrail] Script Date: 07/18/2011 00:25:30 ******/SET ANSI_NULLS ONGOSET QUOTED_IDENTIFIER ONGOCREATE TABLE [dbo].[tbl_TE_TaskTrail]([TaskID] [dbo].[GUID] NOT NULL,[TaskDefinitionID] [dbo].[GUID] NOT NULL,[JobID] [dbo].[GUID] NOT NULL,[VerbID] [dbo].[GUID] NOT NULL,[ExecutionState] [smallint] NOT NULL,[ErrorCode] [int] NOT NULL,[ErrorDetailsXml] [ntext] NOT NULL,[LastStateName] [nvarchar](128) NULL,[CreatedDateTime] [datetime] NOT NULL,[StartedDateTime] [datetime] NULL,[StoppedDateTime] [datetime] NULL,[TaskXml] [ntext] NOT NULL,[ErrorStateName] [nvarchar](128) NULL,[IsGCed] [bit] NOT NULL,CONSTRAINT [pk_TE_TaskTrail] PRIMARY KEY NONCLUSTERED ([TaskID] ASC)WITH (PAD_INDEX = OFF, STATISTICS_NORECOMPUTE = OFF, IGNORE_DUP_KEY = OFF, ALLOW_ROW_LOCKS = ON, ALLOW_PAGE_LOCKS = ON) ON [PRIMARY]) ON [PRIMARY] TEXTIMAGE_ON [PRIMARY]GOinsert into tbl_TE_TaskTrail select * from tbl_te_tasktrail1ALTER TABLE [dbo].[tbl_TE_TaskTrail] WITH CHECK ADD CONSTRAINT [fk_TE_TaskTrail__JM_JobTrail] FOREIGN KEY([JobID])REFERENCES [dbo].[tbl_JM_JobTrail] ([JobId])GOALTER TABLE [dbo].[tbl_TE_TaskTrail] CHECK CONSTRAINT [fk_TE_TaskTrail__JM_JobTrail]GOALTER TABLE [dbo].[tbl_TE_TaskTrail] ADD CONSTRAINT [DF_tbl_TE_TaskTrail_IsGCed] DEFAULT ((0)) FOR [IsGCed]GOalter table dbo.tbl_AM_AgentDeploymentTrail ADD CONSTRAINT fk__AM_AgentDeploymentTrail__TE_TaskTrail__TaskID foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_ARM_TaskTrail ADD CONSTRAINT fk__ARM_TaskTrail__TE_TaskTrail__TaskId foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_CM_InquiryResult ADD CONSTRAINT fk__CM_InquiryResult__TE_Task__TaskID foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_MM_MediaRequiredAlert ADD CONSTRAINT fk__MM_MediaRequiredAlert__TE_TaskTrail foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_MM_Task ADD CONSTRAINT FK_tbl_MM_Task_tbl_TE_TaskTrail foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_MM_TaskTrail ADD CONSTRAINT fk__MM_TaskTrail__TE_TaskTrail__TaskId foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_PRM_CloudRecoveryPointTrail ADD CONSTRAINT fk_PRM_CloudRecoveryPointTrail foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_PRM_ReferencedTaskTrail ADD CONSTRAINT fk__PRM_ReferentialTask_TaskTrail_TaskId foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_RM_CandidateDatasetsForSCAssociation ADD CONSTRAINT fk_RM_CandidateDatasetsForSCAssociation_RM_TaskTrail foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_RM_RecoveryTrail ADD CONSTRAINT fk__RM_RecoveryTrail__TE_TaskTrail__TaskId foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_RM_ReplicaTrail ADD CONSTRAINT fk_RM_ReplicaTrail__TE_Task foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_RM_ShadowCopyTrail ADD CONSTRAINT fk_RM_ShadowCopyTrail__TE_Task foreign key (taskid) references tbl_te_tasktrail (taskid)alter table dbo.tbl_TE_TaskError ADD CONSTRAINT FK_tbl_TE_TaskError_tbl_TE_TaskTrail foreign key (taskid) references tbl_te_tasktrail (taskid)DROP TABLE [dbo].[tbl_TE_TaskTrail1]GO
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The Database may be in Recovery Mode
If the database is in recovery mode this can cause problems when services attempt to connect to it. The DB can get put into recovery mode due to a DPMSync failure or due to a crash. To check whether this is the case, run the SQL command below against the DPMDB: If the PropertyValue returned is 1 then the DB is in recovery mode. Run the following to take it out of recovery mode: Once complete, restart the DPM service and try the console again. Did this solve your problem?
select * from tbl_DLS_GlobalSettingwhere PropertyName like 'DbRecovery'
updated tbl_DLS_GlobalSettingset PropertyValue = '0'where PropertyName like 'DbRecovery'
If the database is in recovery mode this can cause problems when services attempt to connect to it. The DB can get put into recovery mode due to a DPMSync failure or due to a crash. To check whether this is the case, run the SQL command below against the DPMDB:
If the PropertyValue returned is 1 then the DB is in recovery mode.
Run the following to take it out of recovery mode:
Once complete, restart the DPM service and try the console again.
Did this solve your problem?


text:
Industry and Retail Super
Superannuation - Ethical Investment - Stock Investment - Investment Portfolio
Mutual Fund - Secure Investment - Balanced Fund - Stock Fund
Listen to Coronavirus Patient Zero
How to Avoid a bad Mutual Fund
We have all heard the advantages of investing in a mutual fund over trying to pick individual stocks. First of all mutual funds hire professional analysts that are market experts and devout many hours of study to the various stocks. Unless you want to devout a large portion of your free time to the study of the financial reports, you probably won't have as much information to make a decision as a mutual fund manager. Then there is the well documented advantage of diversification. Risk is reduced by holding several non correlated investments. Put simply, some go up, some go down and combined, the return levels off the fluctuations, or risk.
Finally, a mutual fund offers smaller investors a chance to invest in small increments rather than having to save a large chunk of cash to purchase 100 shares of stock. Given the above advantages, it's no wonder that mutual funds have become a very popular form of investing. Now there are thousands of mutual funds to choose from, so how does one make a selection? Here are a few tips: 1. Do not be seduced to jump on the recently performing best fund. It may seem like the safe and rational thing to do, but like individual stocks, you want to buy low and sell high, not buy high and pray for more growth.
Even good funds may not be able to overcome the force of the overall market. You should be looking for funds that can exceed the broad market without increasing risk. Each fund has certain risk parameters that it is required to follow. Read the prospectus closely to understand what these are. Limit the number of funds that you own. Unless you are trying to simply achieve the same returns as the broad market, diversifying into many mutual funds will not reduce your risk or increase your return by much. Funds that become too popular and too big tend to slip in performance.
There are several reasons for this. Find more valuable mutual fund resources at www.best-mutual-fund.info One final point to keep in mind is that the type of fund will totally depend on your investment objectives. There are certain funds that are designed for your objectives be they retirement, income, growth, funding the kids college, etc.
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Despite the Taste of Chicago being cancelled on Saturday, Eli's was back out there Sunday with the Big Cake ready to serve!
NBC 5- Taste Reopens
Chicago Tribune- Sunday at the Taste
Today is opening day for the Taste of Chicago! In 1980, founder Eli Schulman debuted the now famous Eli's Cheesecake at the first Taste of Chicago, making Eli's the only original vendor still participating at Taste. Eli's has sold over 5.2 million slices throughout Taste's history! Marc Schulman, Eli's son and company President, credits Taste for launching the dessert and helping take it from a local favorite, to one of the country's largest specialty cheesecake bakeries, baking over 20,000 cheesecakes and desserts daily at Eli's Cheesecake World located on Chicago's northwest side.
Eli's Cheesecake Booth #16, located at Jackson and Columbus, will feature Eli's Cheesecake Smoosh: Cookie Cheesecake made with Oreo® (topped vanilla ice cream and chocolate sauce), Turtle Cheesecake, Original Plain (with strawberries), Chocolate Chip Crunch Dipper (frozen chocolate chip cheesecake on a stick, dipped in crunchy dark chocolate) and Taste portions: mini slices of original plain cheesecake and Eli's Honey Mediterranean Cheesecake made with honey produced by the students from the Chicago High School of Agricultural Sciences.
Eli's is excited to celebrate 34 years with the Taste of Chicago this coming Saturday, July 12th, with a giant 1,000 pound cheesecake. The festivities will begin at 11:30am at the In The Kitchen with Mariano's Cooking Demo Stage where Eli's Executive Pastry Chef Laurel Boger will be talking about our NEW Vegan Cheesecakes and what goes in to making a GIANT cheesecake. The celebration will continue at 1pm at Buckingham Fountain for the Big Cake Cutting with special guests: The cast of Motown the Musical and Jeff & Spencer Tweedy! Enjoy a FREE slice of cheesecake, meet & greet with the Eli's Slice and more!
For more information on the Taste of Chicago, click here.


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Batelco's net profits slide 24.6% in 2012
Revenue dips 6% in 2012 amid tough competition in home market
Batelco Group, the incumbent telecom operator in Bahrain, saw revenues and profits slide in 2012 as increasing competition continued to erode its share of its home market.
The telecom group, which operates in six countries in the MENA region, reported net profits of BD60.3 million ($160m), a decline of 24.6% compared to the previous year's profits of BD80 million.
The group's gross revenues stood at BD304.7 million for the year, a decline of 6% compared to the telco's 2011 revenues of BD327 million.
EBITDA for the year was BD101.8 million, representing 33% margin, versus EBITDA of BD126 million for 2011.
Batelco attributed the decline to aggressive competitive in Bahrain, restructuring costs for 2012 and 2013 and a number of one-off adjustments. Adjusted EBITDA normalised for one-offs was BD123.0M at 40%.
In brighter news, Batelco continued to increase its proportion of revenues and earnings from outside Bahrain, a key pillar of its diversification plans. In 2012, some 41% of revenues were generated from markets outside of Bahrain, compared to 37% of revenues in 2011.
The group also ended the year with a strong balance sheet and financial position. As of 31 December 2012, net assets were BD520.2 million with net debt of BD18.4 million and cash and bank balances of BD95 million.
The group's subscriber base rose to 7.8 million by the end of 2012, an increase of 18% year-on-year. This includes 17% growth in mobile customers and 52% growth of the broadband subscriber base.
Batelco Group Chairman, Shaikh Hamad Bin Abdulla Al Khalifa, said: "Despite the decline in revenue and income year over year, our profits remained healthy as did our ability to deliver adequate returns to shareholders.
"The actions we've taken over the past year, both in streamlining our operations and planning for further growth will also ensure this continues well into the future."
Shaikh Mohamed Bin Isa Al Khalifa, Group CEO, Batelco, added: "We ended the year on a strong note throughout our operations. Our total subscriber base grew to more than 7.8 million across six markets (excluding results from Indian operations) representing 18% growth year on year with especially strong results from Jordan and Yemen during the year and fourth quarter in particular. We are working hard to support organic growth whilst continuing to identify opportunities to acquire new cash generative businesses with a strong and growing base of customers."


text:
Location: San Francisco Bay Area, Calif.
Posts: 1,688
My VIN: 0934
Club(s): (NCDMC) (DCUK)
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Location: San Francisco Bay Area, Calif.
Posts: 1,688
My VIN: 0934
Club(s): (NCDMC) (DCUK)
March '81, 5-speed, black interior
Location: San Francisco Bay Area, Calif.
Posts: 1,688
My VIN: 0934
Club(s): (NCDMC) (DCUK)
A lovely and memorable day was shared here in San Francisco by the intrepid DeLorean World Tour team and local DeLorean owners together!
The California sun came out on Saturday, 27-Feb so San Francisco could sparkle for our world-touring new friends as they spent a full day with local NCDMC members enjoying the sights, roads and comradery in the City by the Bay. We encourage all DeLorean-heads to seek out our the DWTour team as they make their way around the world. I dare anyone to find three more friendly, energetic and excited "DeLorean ambassadors" than Klaus, Wolfgang and Andre!
Gathering mid-morning at Marina Green Park with DWTour team plus their West Coast friend, Oliver, the group of 6 DeLoreans with DWTour machines escorted in the middle set out directly for the Marin Headlands to view back over the Golden Gate Bridge and The City:
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A scenic detour behind the mountains led to an historic military tunnel for our return back across the GG Bridge so that we could park close up to and beneath .the sunny side of the Golden Gate Bridge. There was a slight delay en route, but no damage done.
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Crowds and photo ops abounded for some time before we crossed to Ocean Beach for a beachside lunch break followed by a lengthy tech inspection of DWTours purpose-built machines. Quite impressive and, again, a magnet for passers-by:
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From there it was on to the geographic center of SF, Twin Peaks, with clear vistas in 3 directions, before jamming down some twisty roads toward the freeway that jetted us to a photo session and coffee break next to the Bay Bridge:
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For dessert 6 DeLoreans weaved through downtown, past the cable cars and then all in a row ran the Lombard Street Slalom, our anti-Nurburgring here, just at dusk. Check the smiling faces that Mark clearly captured:
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Massive thanks to Mark W. for planning, co-driving and coordination. Plus terrific photos he and Brian submitted*. Owners and co-drivers included Rich, Mark, Christian, Melissa, Eric, Rob, Kathy, Brian and Tulani. Truly a memorable day, literally all around San Francisco together with Klaus, Wolfgang, Andre and Oliver.
* Links to online albums by Mark and Brian, respectively, for higher-res and more photos:
Link to Mark's pics
Link to Brian's pics
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We Northern Californians all wish Klaus, Wolfgang and Andre all the best in their worldwide quest. Auf Wiedersehen!
March '81, 5-speed, black interior
Location: NorCal Ben Lomond
Posts: 208
My VIN: 1420
Club(s): (NCDMC) (DCUK)
In sharp contrast to the beautiful day in San Francisco, was the overcast, just a day later in Santa Cruz. It did not dampen our spirits though as we were all glad to meet Klaus, Andre, Wolfgang and Oliver!
Wolfgang was quickly nabbed by the local press for an interview (see link below) with KION news reporter, Maya Holmes:
When asked why are you doing it? Wolfgang replied "One reason is that we can do it"
Second reason..."Nobody stopped us early enough"
Although it was a quick visit, we appreciated the stopover....
...but all too quickly it was time for them to go. Auf Wiedersehen , neue Freunde
Awesome - thank you for sharing the pictures and experiences


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Product Code : A368-HO-156
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Good night sleep has never been better. This king-sized bed cover comes with a square patterned print. The 100% cotton blue colored bed cover feels really comfortable and will give your bedroom a classy touch. It also comes with a pair of matching pillow covers. The simplicity and authentic quality of this bedcover set are surely going to impress you.
Product Features:
Product Code
: Classic-25
Product Type
: Printed Bed Cover
Fabric Material
: Cotton
: As Given As Picture
Work Pattern
: Stitched
Pillow Cover
: 2 Pillow Cover Included
: Bed Cover:7.5 feet, Pillow Cover:20 inches
: Bed Cover: 8 feet, Pillow Cover:36 inches
: All Seasons
: Hand Wash with Mild Detergent
Color Disclaimer:
Actual colors may vary. This is due to the fact that every computer monitor has a different capability to display colors and that everyone sees these colors differently. We try to edit our photos to show the samples as life-like as possible, but please understand the actual color may vary slightly from your monitor. We cannot guarantee that the color you see accurately portrays the true color of the product.
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MINNEAPOLIS, MN -— Despite first quarter total revenue increasing 8.2 percent for Health Fitness Corp., the company's shareholders saw a net earnings decrease of 10.3 percent, according to first quarter 2006 financials released by the company. The company said that additional expenses incurred in later 2005 and early 2006 resulted in the decline.
Total revenue increased 8.2 percent to $14.6 million from $13.5 million in first quarter 2005. Operating income decreased 65.3 percent to $0.4 million in the first quarter 2006 from $1.1 million during the same period last year. Net earnings applicable to common shareholders decreased 10.3 percent in the first quarter 2006 to $0.56 million. It stood at $0.63 million during the same period last year. Diluted earnings per share decreased to $0.01 per share from $0.04 per share.
Still, Jerry Noyce, president and CEO of HFC said the company performed "close to plan" for the first quarter. The first quarter results included the planned investment made in late 2005 and first quarter 2006 to enhance and strengthen the operational capabilities of the company's corporate health management business. HFC hired several new associates to oversee the development and execution of its health management business plan and welcomed 18 new employees from its December 2005 acquisition of HealthCalc.Net.
"These additional expenses resulted in a decline of our operating profit," said Noyce. "At this point, we believe these investments have begun to realize results."
The company recently launched a health management program to two new Fortune 500 customers and received more invitations to propose its health management services to large companies, business that would not have occurred without this investment, said Noyce.
"These are positive indications that our plan to expand beyond fitness management into a broader platform involving integrated health management services is moving in the right direction," he said.
Revenue was $14.5 million for the first quarter, up $1.1 million or 8.2 percent, compared to $13.4 million for the first quarter last year. Gross profit was $3.6 million for the quarter, an increase of $162,678, or 4.7 percent, compared to $3.4 million for the first quarter last year. Gross profit as a percent of revenue was 24.7 percent for the quarter compared with 25.6 percent for the same period last year. A non-cash benefit of $434,521 was recorded during the first quarter due to a change in the fair value of warrants HFC issued in 2005 to new investors. Net earnings applicable to common shareholders were $563,263, a decrease of $64,671, or 10.3 percent, compared to $627,934 for the same quarter last year.
"Revenue from our Health Management Program Services increased $779,302, or 206.0 percent, to $1.15 million, from $378,262 for the first quarter of 2005," said Noyce. "This increase is due to revenue of $590,864 from HealthCalc, a company we acquired in December 2005. The remaining revenue increase of $188,438 is due to the start-up of two new health management contracts in the energy industry." Gross profit as a percent of revenue fell to 24.7 percent for the quarter, from 25.6 percent for the first quarter of 2005. This decrease is due primarily to start-up costs for a large fitness management contract in the automotive industry, and two new health management contracts in the energy industry. "Our experience indicates that as large contracts enter into full production, gross margins typically improve," said Noyce.
Operating expenses increased $879,165, or 37.5 percent, to $3.2 million, from $2.3 million for the first quarter of 2005. Of this increase, approximately $509,000 is due to salaries, other operating expenses and asset depreciation related to HFC's acquisition of HealthCalc. In addition, the company incurred approximately $75,000 of stock option compensation expense in the first quarter of 2006 in connection with its adoption of FAS 123R on January 1, 2006. The remaining cost increase of $295,000 is primarily due to additional staff hired during 2005 to develop and execute its health management business plan.


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Even Obama cannot resist Kim Kardashian
Host Jimmy Kimmel, for instance, remembered last year's dinner, which took place after President Obama had dispatched a team that would track down and kill Osama bin Laden.
"If you're looking for the greatest threat to America right now, she's right there," he said, pointing into the audience. "She's Kim Kardashian."
As the reality-TV star laughed, Kimmel scolded the president.
"When you took office, the Kardashians had one reality show," he said. "Now they have four. This is not a good trend."
But Kimmel saved his best ammunition to mow through the Republican presidential candidates:
Mitt Romney: "When I think of Mitt Romney, I don't think of Etch-a-Sketch. I think of Twister: One foot on red, one on blue and both hands on green."
Rick Santorum: "I guess it wasn't Rick's year. Rick's year was 1954."
Ron Paul: "To me, Ron Paul looks like the guy who gets unhooded at the end of every 'Scooby Doo' episode."
Newt Gingrich: "It's great to see the Gingriches here tonight, because I guess that means the check cleared."
And on the GOP: "I think that Abraham Lincoln has a vision of what the Republican Party would become in 150 years," he said, "and he shot himself."
Click to see gallery: Kim covers up for Obama
The jibes aimed at Kardashian - which also included Kimmel's suggestion that Obama had Navy Seal Team Six outside the Kardashian compound in Beverly Hills disguised as the Denver Nuggets "so they can sneak in undetected" - were among the spiciest in the comic's 20-minute monologue, which stuck mostly to politics and tweaked the president only slightly more often than it took aim at his Republican critics.
As for the guest of honor's own remarks, President Obama was perhaps not as biting as last year, when he went after guest Donald Trump for continually raising questions about Obama's birth certificate.
And he got perhaps his best laugh with a jibe at himself and a recently dredged-up confession from his "Dreams From My Father" autobiography that he ate dog meat as a child in Indonesia. "What's the difference between a hockey mom and a pit bull?" he asked. "A pit bull is delicious."
This time around, the president - who has attended the annual dinner every year that he's been in office - used some of his sharpest lines in a pre-taped opening bit, in which his voice was heard from "backstage" on a microphone that was purportedly left open.
And his targets included, yes, Kim Kardashian.
Click to see gallery: White and black at White House dinner
"Seriously, guys, what am I doing here?" said Obama's voice to an unseen aide. "I'm the President of the United States, and I'm opening for Jimmy Kimmel?...Why am I telling knock-knock jokes to Kim Kardashian? What is she famous for, anyway?"
The crowd was typically varied for a WHCD, with guests including Lohan, Kardashian, George Clooney, Steven Spielberg, Kevin Spacey and cast members from "Glee" and "Modern Family," alongside a host of politicians and Washington insiders.
Or, as Kimmel said, "Here is one room we have members of the media, politicians, corporate executives, advertisers, celebrities...Everything that is wrong with America is here tonight."
For a host the dinner, held at the Washington Hilton, is a minefield of sorts.
The event has been criticised for showcasing a too-chummy relationship between the White House and those who cover it.
But it is also slammed when its emcee plays too rough, as some thought Stephen Colbert did in 2006 when his comments caused several Bush administration staffers to walk out.
The correspondent's association responded by booking the considerably creakier Rich Little the following year, the first time that comic impersonator had hosted the dinner since the Reagan administration.
Since then the gig has gone to Craig Ferguson, Wanda Sykes, Jay Leno and Seth Meyers.
Kimmel continued the tradition of taking jabs at the Chief Executive as he sat only a few feet away, poking fun at Obama for the compromises he's made and the disappointment some supporters feel.
"He has guided us through some very difficult times and paid a heavy price for it," said Kimmel.
"There's a term for guys like President Obama. Maybe not two terms, but one."
Later, pointing out that the dog who starred in "The Artist" was a guest, Kimmel added, "Uggie can roll over on command. He's a Democrat."
He also jabbed at conservative commentator Rush Limbaugh and then skewered the GOP when he said he had a new theory that John Wilkes Booth did not, in fact, assassinate Abraham Lincoln.
In his own speech, President Obama took gentler shots at his rivals, beginning when he noted how many members of Congress were in attendance.
"I've tried to be civil and not take any cheap shots," he said, "and that's why I want to thank all the members who took a break from their exhausting schedule of not passing any laws to be here tonight."
After referring to the large Hilton ballroom - "or, as Mitt Romney would call it, a little fixer-upper" - he congratulated the Huffington Post on winning a Pulitzer Prize.
"You deserve it, Arianna," he said to founder Arianna Huffington.
"There's no one else out there linking to the kind of hard-hitting journalism that the Huffington Post is linking to every day."
And the president also revealed that the conspiracy theorists who think he's ready to unleash a secret agenda if he wins a second term are right.
Among the items on that agenda, he said: "In my first term, I sang Al Green. In my second term, I'm going with Young Jeezy... In my first term, we repealed the policy known as 'Don't Ask, Don't Tell.' In my second term, we will replace it with a policy known as 'It's Raining Men.'"
At the end of their speeches, both Kimmel and Obama paid tribute to the press, with the president calling "a free press that isn't afraid to challenge and criticize" one of the traditions "that make us greater than the challenges we face."
Kimmel closed the night by suggesting, "If we truly want to overcome the problems that we face, we have to do it together. It doesn't matter if you're black, like President Obama, or white, like President Obama, or red, like President Obama's agenda."
Then he mentioned a grade-school teacher, Mr. Mills, who predicted that Kimmel would never amount to anything. "I'm about to high-five the President of the United States," he said. "Eat it, Mills."
Follow Emirates 24|7 on Google News.


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The SerialFlash PROTO Board features an 8 Mbit, low-voltage Serial Flash Memory (M25P80) with 75 MHz SPI bus interface. It fits perfectly into all standard prototyping breadboards. Serial-interface memory can be used in numerous electronic devices and applications. Initially, it is used to store preference data and configuration/setup data. Serial memory modules are the most flexible non-volatile memory modules utilized today. Compared to other NVM solutions, the M25P80 memory module offers a lower pin count, smaller package, lower voltage, as well as lower power consumption.
The seven connection pads are unpopulated, so you can decide how to connect the board to your system. Male header pins are provided that you can solder, for typical breadboard use.
Note: This board uses 3.3V power supply only.


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Flights to Belgium with Qatar Airways
Belgium is a beautiful country, undeniably charming and full of colour and atmosphere. It has had a long and eventful history that has made it a favourite among travellers and explorers. Travel to Belgium with Qatar Airways and discover an enchanting country right in the very heart of Europe.
Historically, this part of Europe is the most intriguingly complex part of the entire continent. This is because it is squeezed between the Netherlands, Germany and France and has frequently been crucial in holding the balance of power in the region.
Belgium has one of the finest artistic legacies in the whole of Europe, from the Flemish Primitives to majestic Gothic creations in stone to Art Nouveau masterpieces and surrealism. Whether you have a passion for art or not, Belgium certainly delivers on many fronts.
The rich artistic heritage of Belgium stared in the late Middle Ages in Bruges, and the influence of the Flemish Primitives spread from there right across Europe.
Hans Memling and Jan van Eyck were just two of the key players and their works are featured at the Groeningemuseum in Bruges. Surrealism, too, found a home here in Belgium; the cultural icons of Georges Simenon of Inspector Maigret fame and the fictional Tintin both hail from these parts.
There are various ways of getting around Belgium to see the sights, including boat, bus and car. The famous canals are probably the most leisurely way of travelling inside the country, and while taking a barge is slow, it's certainly the option with the best scenery.
The landscape is largely flat and is sprinkled with castles and other monuments, and many of the towns have their medieval walls still intact.
Fly to Belgium with Qatar Airways and you'll soon find out why this little country is one of Europe's most precious gems.


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Identifying Opportunities for Climate-Compatible Tourism Development in BelizeAmbergris Caye, Belize
Identifying Opportunities for Climate-Compatible Tourism Development in Belize
© Marianne Fish
In Belize, coral reefs, mangroves and beaches are the cornerstone of the tourism industry and coastal communities rely on mangrove and reef-based fisheries for food security and income. Growth of the tourism industry is key to economic development in Belize but is often accompanied by habitat degradation that directly threatens the resources upon which the industry depends. The challenge faced by decision-makers is how best to move forward with tourism development whilst maintaining healthy, functional ecosystems that support the tourism industry, sustain livelihoods and provide resilience to climate change.
The "Identifying Opportunities for Climate-Compatible Tourism Development in Belize" project will inform that process by assessing the vulnerability of Belize's tourism system to climate change, including the coastal ecosystems on which it depends, and assessing how current policies facilitate or hinder climate-compatible tourism development based on healthy coastal ecosystems. We will also explore the policy reforms and adaptation strategies required to enhance ecosystem resilience to climate change and foster tourism development, at a local and national scale.
This project is funded by the Climate and Development Knowledge Network (CDKN), through CARIBSAVE.
Project Partners
Environmental Research Institute, University of Belize
Coastal Zone Management Authority and Institute (CZMAI)
Belize Tourism Board (BTB)
Belize Ministry of Tourism and Culture
Belize Tourism Industry Association (BTIA)


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JACKSONVILLE, Fla. – A 70-year-old woman died in a crash on the Northside on Wednesday morning that was likely the result of a medical emergency, according to the Jacksonville Sheriff's Office.
Police said Albert Culbert was driving on Myrtle Avenue at West 10th Street about 9 a.m. and was stopped at a stop sign when her car rolled through the intersection, jumped a curb and struck a tree.
The Culbert was taken to a hospital, where she died of an apparent medical emergency.
Police said her car was not damaged.


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Rugby (2016): Rugby has had an on-again, off-again relationship with the Olympic program. It's been an official Olympic sport on four different occasions—1900, 1908, 1920 and 1924. In 2009, the IOC voted to bring Rugby-7 back to the Olympic program and it will rejoin the list of official Olympic sports at the 2016 games in Rio.
BMX (2008): Bicycle motocross started in the 1960s and quickly gained popularity in the U.S. and throughout the world. Although the International BMX Federation was founded in 1981, BMX didn't make its way onto the Olympic program until 2008 in Beijing. Latvia's Maris Strombergs and France's Anne-Caroline Chausson were the first gold medalists in BMX cycling.
Trampoline (2000): The trampoline was invented in 1934 to train astronauts as well as divers and skiiers. It was so much fun it gained popularity as a sport of its own. Trampolining became its own Olympic sport at the Sydney 2000 Summer Olympics. Russian gymnast Alexander Moskalenko was the first male to win gold in trampoline in 2000, and he also took home silver in Athens in 2004.


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Manifold Greatness Opens at Elizabethtown College
On February 2, central Pennsylvania welcomed the Manifold Greatness traveling exhibit to the High Library at Elizabethtown College. The reception has been overwhelming and we could not be happier with the enthusiasm and support for the exhibit. Even the weather has worked out in our favor and the programs have gone on without a hitch!
Our opening reception was attended by over 200 people, and attracted visitors from outside the area, including individuals from New Jersey and Maryland. To quote our keynote speaker for the event, Jeff Bach, the reception provided "a feast for the eyes in the exhibit and items from our special collections, a feast for the ears thanks to the glorious music provided by our student group Camerata who performed ancient acapella musical selections, a feast for the soul as the Word was read aloud, and our minds through the opening lecture."
We also hosted a panel discussion on February 6 as scholars discussed "Shakespeare, Literature and the Language of the King James Bible." Speakers included Professors Christina Bucher, Louis Martin and Suzanne Webster. On February 7, we were mesmerized by our Elizabethtown's own Professor Patricia Likos Ricci who lectured on "The Bible as a Work of Art." Professor Ricci will replay this lecture on February 19 at the Elizabethtown Public Library. We will also hear from our own Professor Jean-Paul Benowitz on Family Bibles. It has been wonderful to see and experience all the diverse backgrounds and generations who have visited the exhibit. We have had young, old, Mennonite, Brethren, Catholic, Baptist, and Protestant visiting the exhibit. Our youngest tour thus far has been a group of middle school students who really enjoyed hearing about the Wicked Bible from our student docent, Annemarie. We also hosted a group of Old Order Amish who toured the exhibit with Professors Jeff Bach and Don Kraybill.
The Manifold Greatness exhibition has also provided an opportunity for the High Library special collections to be featured. We have displayed the High Library copy of the 1599 Geneva Bible, the rare 1712 Marburg Bible, and the Berleburg Bible. In addition to the unique displays, the visitors have also enjoyed using iPads we have setup to connect them directly with the audio tour of the exhibit provided by the Folger Shakespeare Library. We hope to continue to reap the rewards of the amazing exhibit and are looking forward to another fantastic 2 weeks with the King James Bible.
Louise M. Hyder-Darlington, M.S.L.S. is Access Services Librarian and Project Director for the Manifold Greatness traveling exhibition at the High Library, Elizabethtown College in Elizabethtown, PA.


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By the time March arrived, Joanne Pepe didn't know where to turn.
It had been five months since Superstorm Sandy sent a deluge of sewage and salt water through Fuzzybutz, the dog care and grooming parlor she opened on Madison Street in Hoboken less than a year before.
Cleaners and contractors cleared the sludge and debris from the floor and started to rebuild and replace. But more work – and big bills – remained.
U.S. & World
With due dates for thousands of dollars in payments approaching, major insurance claims and requests for disaster relief aid filed by Pepe were still tied up in disputes and red tape. She had already dipped into her pension earned from 10 years as a teacher and borrowed money from family members.
A last-ditch online search had led her to The Intersect Fund, a young nonprofit that gives microloans to small businesses. Several forms, conversations and site visits later, her application for a $20,000 loan was approved. An electric deposit arrived in her account in a matter of days, just in time for her to pay her bills.
"I had to write the check to the contractor literally the next day for him to do the concrete. It couldn't have been any better timing than it was," she said. "I really have no idea what we would have done."
Fuzzybutz reopened in July, nine months after the storm and four months after receiving the loan from Intersect.
As billions in federal and state aid sometimes sluggishly made its way to residents affected by the hurricane that devastated much of the northeastern seaboard a year ago, nonprofits big and small stepped up to provide funding, support and boots on the ground for Sandy victims.
The Intersect Fund was one such nonprofit. Started by two Rutgers graduates in 2008, Intersect provides businesses with 'bridge' loans -- small loans designed to help a business stay afloat while starting up or awaiting another source of money. After Sandy, Intersect focused on giving loans at a discounted rate to businesses impacted by the storm.
"You have no power, you get no gas, you can't do anything," said Rohan Mathew, president and co-founder of the fund, describing the extent of the devastation to businesses. "I just felt like it was part of our mission to try to do something to (help them) find their way out of this."
The fund has loaned more than $500,000 to 69 businesses in New Jersey hit by Sandy, allowing owners to replace spoiled inventory, pay staff while the doors remained closed and, in cases like Joanne's, cover repair bills while insurance claims are sorted out.
The aid extended by the Intersect Fund – typically loans of less than $15,000 with a small accompanying grant -- is smaller in size and scope than the major federal dollars doled out by federal programs like the one run by the Small Business Administration, which approved 1,857 loans worth a combined $195 million in New Jersey alone by the time its effort wrapped up in July.
But Mathew argues that his group's experience working with small businesses and its pared-down application allowed it to respond faster and more nimbly than the federal programs, helping deserving businesses "that weren't going to be able to make it through that criteria and that process."
"We really understand the reality of how small businesses operate," he said. "We don't necessarily need the business to document every single penny that they've earned and spent. If they can document their sales, we know the business structure of a beauty salon or a bodega… We've done so many bodegas, we have a very good idea of how much they're making and how much they can pay back."
Working with private funds, including a $150,000 infusion from Capital One Bank, also gives them more flexibility to use "common sense" and approve loans on a case-by-case basis, even if some financial records are found to be out of date or destroyed in the storm.
"We can accept the spiral notebook that they keep under the counter when they log their sales everyday," he said. "The SBA, that's not something they can consider because they've got a binder of a standard operating procedures filled with what they need."
Pepe, who has a degree in business and worked as a consultant for years, had more than a notebook to offer government regulators, insurers and potential lenders. Before the storm hit, Pepe and her partner, Vicki Yannacci, who grooms the dogs, went to the basement shop to prop furniture and supplies up on cinderblocks and grooming tables. At the last minute, Pepe says she also decided to back up all their business files on a flash drive that they brought back home. The cinderblocks proved futile when 44 inches of water rushed through their 1,000-square-foot space "like a tidal wave," but the records were safe.
Access to those files didn't help Fuzzybutz get the cash needed to repair the damages to the business.
While StateFarm promptly honored a personal property claim for damaged furniture and supplies, Pepe says appeals for more substantial aid were complicated by a Federal Emergency Management Agency appraisal that deemed the commercial-zoned condominium basement that houses Fuzzybutz a non-livable enclosure. A provision in the condo association bylaws also led SBA to deny a grant request.
In all, Pepe says she's received about $8,400 for plumbing and electrical repairs to cover what's amounted to $42,000 in contractor fees. She's spent an additional $30,000 of her own money on renovations and upgrades after the storm.
"It's very, very frustrating," Pepe said as she sat in the courtyard where Fuzzybutz clients play outside. "I'm not looking to buy an island. I'm really just looking for what I deserve to be reimbursed for. That's all I've asked the insurance company for."
The loan from Intersect allowed Pepe and Yannacci to pay for fixes like ripping out water-damaged walls, leaving the original brick walls exposed, and raising electrical outlets up higher on the walls to protect against future floods while they continue to seek full reimbursement for their costs. Friends, clients and vendors have also chipped in, she said, helping purchase new couches for the dogs to lounge on and a flatscreen TV for Yannacci to keep on during the day.
Quantifying the total impact of nonprofits on Sandy recovery is difficult because of the number of diverse efforts involved in helping both businesses and families. Players range from major operations like The Robin Hood Foundation, which says it has distributed $73 million in grants to 400 groups, to the Monmouth/Ocean Small Business Development Center, a group partially funded by the SBA that says it provided 700-plus hours of free, confidential consultations to more than 225 businesses impacted by the storm in the two hard-hit New Jersey counties.
"People were in shock to the point that we were like, 'How can I help you?' and they we're like, 'We don't know.' They were extremely overwhelmed," Jackeline Meijas-Fuertes, regional director for the center, said. "We gave them a really good opportunity to get things off their chest and do an assessment with them and create a strategy for them where they can start to move forward with their businesses."
While federal and state funds continue to play a role in the recovery, Mathew and others say the need for additional charitable contributions will only grow as government aid runs dry and claims are settled short of what is needed. Funding from private sources has allowed The Intersect Fund to extend its Sandy relief initiative through June of 2014 to help businesses and communities still trying to rebound.
"At the end of the day, small businesses are one of the things that really make a community what it is," Mathew said. "It's been really cool to see some examples of rallying support to keep the business and get them through it as the whole community recovers."


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Songwriters Burt Bacharach and Hal David Receive 2012 Gershwin Prize for Popular Song
The Librarian of Congress announced that Grammy and Academy-Award-winning songwriters Burt Bacharach and Hal David will join the ranks of Paul Simon, Stevie Wonder, and Paul McCartney as recipients of the Library of Congress Gershwin Prize for Popular Song. Bacharach and David each will receive the Library's Gershwin Medal next spring at an all-star tribute in Washington D.C. This will be the fourth time the honor has been awarded and the first time to a songwriting team.
The creators of dozens of hits including "I Say A Little Prayer," "Do You Know the Way To San Jose?," "Raindrops Keep Falling on My Head," "Walk On By," "What the World Needs Now" and "Alfie," for artists such as Aretha Franklin, Dionne Warwick, Jackie DeShannon and Herb Alpert, composer Bacharach and lyricist David are the first songwriting team to be honored with the Gershwin Prize.
"It's a great honor to receive this award and to follow the past recipients, Paul Simon, Stevie Wonder and Paul McCartney, it doesn't get any better than this," Bacharach, 83, said in a statement with Thursday's announcement.
In the same statement, Librarian of Congress James H. Billington said, "Their creative talents have inspired songwriters for more than five decades, and their legacy is much in the tradition of George and Ira Gershwin, for whom this award is named."
The first Bacharach-David song registered with the U.S. Copyright Office, which is part of the Library of Congress, was "Peggy in the Pantry," dated May 9, 1956. Since their heyday in the 1960s and '70s, Bacharach has teamed for varied projects with other musical partners including Elvis Costello, Don Was and Ronald Isley of the Isley Brothers.
(Source: Library of Congress, USA)
The Library of Congress Gershwin Prize for Popular Song:
For information on USA Songwriting Competition, go to: