Announcements

New Paper for Comment: Henry V: A Genius (Ironic) Hoax?

The Shakespeare Conference: SHK 29.0141  Wednesday, 21 February 2018

 

From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Wednesday, February 21, 2018

Subject:    New Paper for Comment: Henry V: A Genius (Ironic) Hoax?

 

As a service to its members, SHAKSPER makes selected papers for which the author would like comments available for a short time on the SHAKSPER server.

 

The following paper is currently available: folder Henry V: A Genius (Ironic) Hoax? (Click on title to the left to download a pdf copy.)

 

Henry V: A Genius (Ironic) Hoax?

By Mark E. Alcamo <This email address is being protected from spambots. You need JavaScript enabled to view it.>

 

None of Shakespeare’s plays is so persistently and thoroughly misunderstood as Henry V, and one is tempted to think that there is no play which is more important to understand . . . Shakespeare can scarcely have intended that force of preconception should, hundreds of years after his death, still be preventing the careful, the learned, and the sympathetic from seeing what he so definitely put down. The play is ironic: that is, I venture to think, a fact susceptible to detailed proof. - Gerald Gould (1919)

 

Although Henry V does not typically make a short list of Shakespeare masterpieces, the critical history of the play is one of the most interesting in the canon, and although it is generally not considered a problem play, it is “by far the most controversial of the histories.” The controversy centers on discerning Shakespeare’s intent for the play: is it to present King Henry V as an exemplar, a mirror for other monarchs to emulate, and to glorify his incredibly improbable victory at Agincourt, or is Shakespeare taking his audience in with that outward appearance while his perspective of the action is actually ironic, and is revealed in the subtle but pervasive undermining and subverting of that celebratory view. The dispute is generally acknowledged to have been started by William Hazlitt (1817), the first critic to attempt noticing a chink in the armor of King Henry V, and although Hazlitt’s essay often switches between comments pertinent to the historical King Henry V versus the play’s King, he does label the play character “a very amiable monster,” which is at odds with him being referred to in the play as “the mirror of all Christian kings” (2.0.6). During the next hundred years of commentary there arose a few more disparaging comments about the King and the war presented by Shakespeare, including from William Watkiss Lloyd and W.B.Yeats,5 but for those who see something beyond a gung-ho war lay in Henry V, the next definitive milestone in the play’s criticism was from Gerald Gould in the essay quoted above, where he unequivocally states “the play is ironic.” His position was that although the play appears to be celebratory of King Henry and his Agincourt victory, it is actually “a satire on monarchical government, on imperialism, on the baser kinds of ‘patriotism’, and on war.” And although commentators by no means jumped onboard Gould’s bandwagon, from this point on a review of the criticism on the play will clearly show a noticeable concern with the protagonist King Henry, his actions and his character, and with the war, from the cause and effect of it, to how it is presented. For almost three hundred years the play had been almost beyond reproach seen as a patriotic panegyric to a heroic king and his impossible victory at Agincourt—George Bernard Shaw even termed it jingoistic—but Gould had definitely thrown down a gauntlet challenging this view that scholars deemed necessary to consider and respond to. If you were of a mind to celebrate English hegemony in martial matters, with an accent on their heroic and noble aspects, Gould’s essay might be seen as analogous to an opening of Pandora’s box: Henry V’s world hasn’t been the same since.

 

 

The author lives in the Pacific Northwest and has been reading and studying Shakespeare for many years. He has also written a more broadly ranging essay on the ironic Henry V,  “Once More: The Case for a (Mindful) Reading (Ironic) of Henry V” that can also be found free on the Internet, as well as a comprehensive book on the ironic interpretation of Henry V titled, A Genius Hoax: Shakespeare’s Trojan 

Horse War Play.

 

 

You should send your comments directly to the author by Mark E. Alcamo <This email address is being protected from spambots. You need JavaScript enabled to view it.>; or if you wish, you may start a thread through the normal SHAKSPER channels by sending it to the list at This email address is being protected from spambots. You need JavaScript enabled to view it..

 

Applying Shakespeare Symposium, the Shakespeare Institute, 9 March 2018

The Shakespeare Conference: SHK 29.0131 Tuesday, 13 February 2018

 

From:        R. M. Shaughnessy <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 12, 2018 at 2:02:23 PM EST

Subject:   Applying Shakespeare Symposium, the Shakespeare Institute, 9 March 2018

 

Registration is still open for this one-day event:

 

Applying Shakespeare Symposium, the Shakespeare Institute, 9 March 2018

 

The 'Applying Shakespeare' symposium is an opportunity for practitioners and scholars to come together to consider the uses of applied Shakespeare, sharing best practice and considering the impact of new and existing projects.

 

Shakespeare’s work continues to occupy a unique position within contemporary education, performance and popular culture. Applied theatre is an umbrella term for a range of performance forms, often in non-theatrical spaces and with an agenda of personal or social change. When these two fields combine, the results can be transformative for those involved. 

 

Speakers include Dr Sue Jennings, Kelly Hunter, Ben Spiller and Phil Novis as well as papers on topics such as Robben Island Shakespeare, Shakespeare with autistic children and broadcast representations of applied Shakespeare.

 

There will be short performances from Open Access Arts and Blue Apple Theatre.

 

This event is organised in collaboration with Guildford School of Acting, University of Surrey, and the Centre for Cognition, Kinesthetics and Performance, University of Kent.

 

 

https://www.birmingham.ac.uk/schools/edacs/departments/shakespeare/events/2018/shakespeare-symposium.aspx

 

 

 

Shakespeare Research Seminar

The Shakespeare Conference: SHK 29.0130 Tuesday, 13 February 2018

 

From:        R.M.Shaughnessy <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 12, 2018 at 8:18:22 AM EST

Subject:    Shakespeare Research Seminar 

 

Dear colleagues,

 

Please join us for a joint GSA Theatre & Performance/ School of Literature & Languages research seminar: 

 

Cultures in Contact

 

Wednesday 21 February, Ball Studio, GSA, 5.00-700pm

 

Fictions of Comfort: Shakespeare and the Failure of Consolation

 

Jürgen Pieters, Ghent University

 

Leadership signalling in Richard II

 

Darren Tunstall, Guildford School of Acting, University of Surrey

 

http://gsauk.org/events/lecture/gsa-theatre-and-performance-school-literature-and-languages-joint-research-seminar

 

GSA Theatre and Performance, School of Literature and Languages Joint Research Seminar | GSA - Guildford School of Acting

 

Cultures in Contact Wednesday 21 February, Ball Studio, GSA, 5.00-700pm

 

Wine and alternatives will be served. 

 

Robert Shaughnessy 

Director of Research 

Guildford School of Acting

University of Surrey 

 

 

 

Vermont Shakespeare Festival

The Shakespeare Conference: SHK 29.0128 Tuesday, 13 February 2018

 

From:        Nicholas Clary <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 12, 2018 at 4:53:02 AM EST

Subject:    Vermont Shakespeare Festival

 

The Vermont Shakespeare Festival’s 2018 season includes a Salon Series as well as a summer production in various venues in northern Vermont. Actors present staged readings of selected plays in the Salon Series, after which invited guests join the actors and the directors in discussing the plays with the audience. The summer production is mounted in full dress performance.

 

Salon Series schedule:

     Wittenberg by David Davalos

          March 10 at Highland Center for the Arts (Greensboro, VT)

          Mach 11 at Vermont Coffee Company (Middlebury, VT)

 

     Mary Stuart by Friedrich Schiller, new translation by David Harrower

         October 14 at Saint Michael’s College (Colchester, VT)

 

     The Revolutionists by Lauren Gunderson

        December 1 at Town Hall Theater (Middlebury, VT)

        December 2 at The Mead Hall (Colchester, VT)

 

Summer Production Schedule:

     The Taming of the Shrew by William Shakespeare

      July 27-29 at Highland Center for the Arts (Greensboro, VT)

      August 3-5 at Champlain College (Burlington, VT)

      August 9-11 at Shelburne Museum (Shelburne. VT)

 

Further information is available at www.vermontshakespeare.org

 

 

 

CFP: Computational Methods for Literary-Historical Textual Studies

The Shakespeare Conference: SHK 29.0125 Thursday, 8 February 2018

 

From:        Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 7, 2018 at 1:59:13 PM EST

Subject:    Call for Papers: Computational Methods for Literary-Historical Textual Studies

 

Dear SHAKSPERians

 

Conference: Computational Methods for Literary-Historical Textual Studies. 3-5 July 2018 atDe Montfort University

 

The Centre for Textual Studies at De Montfort University in Leicester, England, is running a three-day international conference to showcase and explore the latest methods for analyzing literary and historical texts using computers. A particular focus will be the ways in which literary and historical scholarship will turn increasingly algorithmic in the future as we invent wholly new kinds of questions to ask of our texts because we have wholly new ways to investigate them. The conference will bring together, and put into fruitful dialogue, scholars using traditional literary and historical methods and those exploring and inventing new computational methods, to their mutual benefit.

 

Proposals are invited for 20-minute papers on our topic, which might cover such matters as:

 

* More markup or smarter algorithms?: The future of text analysis.

 

* Is anything just not computable in literary-historical textual studies, and does it matter?

 

* Where are we with Optical Character Recognition?

 

* Are texts Orderly Hierarchies of Content Objects, really?

 

* Can (should?) one person try to learn traditional and digital methods of textual scholarship?

 

* XML but not TEI: Using roll-your-own schemas

 

* New developments in Natural Language Processing

 

* Regularizing historical spelling variation: Is it necessary? How can we do it?

 

* Getting started with digital textual analysis: Reports from unwearied beginners

 

* Is it too easy to get results with computers and too hard to avoid big errors?

 

* Teaching textual analysis using computers

 

* Does it matter if non-computational colleagues don't understand our work?

 

* Showcasing new technologies

 

* Is digital practice changing textual theories?

 

* When is a source text digital transcription good enough?

 

* Teamwork versus lone scholarship: Does working digitally make a difference?

 

* Where does textual analysis meet digital editing?

 

The conference is generously funded by the UK’s Arts and Humanities Research Council, which includes the provision of eight student bursaries, worth 200 GBP each, to help cover the costs of attending to give a paper.  Students wanting to apply for bursaries should indicate so in the paper proposal.

 

To apply to give a paper, please send the title of the paper and a description (200-300 words) to Prof Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>. If you are a student applying for one of the bursaries, please say so in your proposal and add a couple of sentences describing your circumstances in a way that makes us want to give you the bursary.

 

Regards

Gabriel Egan

De Montfort University. www.gabrielegan.com

Director of the Centre for Textual Studies http://cts.dmu.ac.uk

National Teaching Fellow http://www.heacademy.ac.uk/ntfs

Gen. Ed. New Oxford Shakespeare http://www.oxfordpresents.com/ms/nos

 

 

 

Shakespeare in Prison Conference

The Shakespeare Conference: SHK 29.0124 Wednesday, 7 February 2018

 

From:        Curt L. Tofteland <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 7, 2018 at 9:17:12 AM EST

Subject:    Shakespeare in Prison Conference

 

The Old Globe Theatre in San Diego is hosting our 3rd International Shakespeare in Prison Conference March 22-25, 2018.

 

3rd International Shakespeare in Prison Conference

 

SiPC offers arts practitioners the opportunity to share their collective experiences working with incarcerated and post-incarcerated populations; rejuvenate passion; renew commitment for their vocation; and build upon their expanding network of peers.

 

1. REGISTRATION!

 

https://www.theoldglobe.org/edp-pages/2018/shakespeare-in-prisons-conference/

 

2. BOOK YOUR HOTEL.

 

Rooms and rates are now extended through February 22, 2018. Reserve your room at the historic Lafayette Hotel for the special Shakespeare in Prisons Conference rate of just $99/night. Call ASAP as rooms at this hotel go fast. Call (619) 296-2101 to guarantee your reservation, or email This email address is being protected from spambots. You need JavaScript enabled to view it..

 

3. GUESS WHO'S COMING TO SiPC!

 

Renowned Scholars Peter Holland, University of Notre Dame, Sarah Beckwith, Duke University, Larry Brewster, University of San Francisco, and Michael Balfour, Griffith University (Qeensland, Australia), will make presentations; Famed performers Liza Jessie Petersen (13th) and Lisa Wolpe (Shakespeare and the Alchemy of Gender) will perform; Alokananda Roy from India (Love Therapy in My Second Home), Zein Daccache from Lebanon (Scheherzade’s Diary), and Marina Kivacevic & Dubravka Radusinovic from Serbia (Notes from the Cell Number 12 Center) will be each screen their documentaries; Prison Arts Practitioners and returning citizens from around the world will be onsite to share their amazing work with incarcerated populations. Find out who else and what else here.

 

Have questions? Feel free to email us at This email address is being protected from spambots. You need JavaScript enabled to view it.!

 

Curt L. Tofteland | Founder & Producing Artistic Director |

Shakespeare Behind Bars, Inc. | 616.402.6281 |

Post Office Box 83 Macatawa, Michigan 49434 |

This email address is being protected from spambots. You need JavaScript enabled to view it. |

www.shakespearebehindbars.org |

 

The Mission of Shakespeare Behind Bars is to offer theatrical encounters with personal and social issues to the incarcerated, allowing them to develop life skills that will ensure their successful reintegration into society.

 

 

 

Call for Submissions: Auditory Worlds: Hearing on Shakespearean Stages

The Shakespeare Conference: SHK 29.0122 Tuesday, 6 February 2018

 

From:        Walter Cannon <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 5, 2018 at 2:15:12 PM EST

Subject:    Call for Submissions: Auditory Worlds: Hearing on Shakespearean Stages

 

Call for Submissions: Auditory Worlds: Hearing on Shakespearean Stages

As a follow-up to our 2012 volume, Who Hears in Shakespeare? Auditory Worlds on Stage and Screen (FDU Press), Laury Magnus and Walter Cannon are designing a volume that will explore the theatrical intelligibility of Shakespeare’s multifaceted soundscapes on original stages as well as post-Restoration to modern stages.

We introduced Who Hears in Shakespeare? by giving an overview of the rich dimensions of “Shakespeare’s Auditory Worlds,” discussing both the explicit and the implicit, subtle, and often ambiguous byways of hearing; we examined the ways in which Shakespeare’s characters listen to and hear each other, as well as how their hearing, overhearing, eavesdropping, and whispering “creates a rich meta-theatrical soundscape” designed both to acknowledge and develop a sophisticated awareness of the audience as part of the production.

In the proposed volume, we and our contributors will expand on prior topics of mishearing and “hearing in disguise” and introduce new materials concerning the multifaceted relationships between sound and sight; in addition, contributors’ essays will examine special listening situations created not just by dialogue and blocking, but by the use of dialects and other languages (Kate's French or Glendower’s Welsh, for example), as well as by music and other non-dialogic sounds. The topics for which we would welcome submissions are as follows:

I-Hearing and Seeing/ Hearing Versus Seeing on Shakespeare’s Stages and in later staging incarnations


II. Hearing Gone Awry: Mishearing and Not Hearing


III   Hearing in Hiding (Disguise, Overhearing, Eavesdropping: Further Meditations)


IV   Shakespeare’s Soundings and Music: Trumpet blasts, clocks, bells cries, fanfares, drums, songs and dances.

If you would be interested in any of these topics, please let us know in a “reply to all” and give us a working title and an abstract of about two pages describing what you would like to do by March 1. We would like to have a good sense of the individual essays selected for inclusion by April 30 and will let writers know by that date.  The deadline for completed chapter submissions is July 31.

 

If you have any questions, please contact us.

Walter Cannon
This email address is being protected from spambots. You need JavaScript enabled to view it.

Laury Magnus
This email address is being protected from spambots. You need JavaScript enabled to view it.

 

 

CFP: 20th Annual British Graduate Shakespeare Conference

The Shakespeare Conference: SHK 29.0121 Tuesday, 6 February 2018

 

From:        BritGrad <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 3, 2018 at 1:17:31 PM EST

Subject:    CFP: 20th Annual British Graduate Shakespeare Conference

 

BritGrad

The 20th Annual British Graduate Shakespeare Conference

For graduate students, by graduate students

31 May – 2 June 2018

 

We invite graduate students with interests in Shakespeare, Renaissance, and Early Modern Studies to submit paper proposals for the 20th Annual British Graduate Shakespeare Conference (BritGrad).

 

This interdisciplinary conference provides a friendly and stimulating academic forum in which graduate students from all over the world can present their research and meet together in an active centre of Shakespeare research: Shakespeare’s hometown of Stratford-upon-Avon. Attendees will also have the opportunity to attend the RSC production of King Lear, directed by Gregory Doran, at a group-booking price. Lunch will be provided each day, and there will be a party and reception for attendees. Please check our website for upcoming announcements of plenary speakers as they are confirmed.

 

We welcome abstracts of up to 200 words proposing papers 20 minutes in length onsubjects relating to Shakespeare, Early Modern, and/or Renaissance Studies. We accept papers in any discipline which intersects with the above fields (including, but not limited to, literature, history, drama and performance, art, music, politics, and cultural studies). We also accept creative forms of criticism, such as original writing or performance, for which a 200 word abstract should also be submitted. For the first time we’re also accepting proposals for panels. Panels should be made up of three papers, each 20 minutes in length, and a 200 word abstract is required for each. If you feel you have something suitable that doesn’t fit into the above categories please do get in touch with us. In the conference’s 20th anniversary year we’re keen to explore the field as widely as possible, and, as a result of this, we’re offering a number of conference bursaries in areas which have been underrepresented at BritGrad (details below). Undergraduate students in their final two years of study are invited to attend the conference as auditors (non-speakers).

 

Deadline for Paper Proposals: 23:59 GMT on 21 March 2018, to be submitted via the email address below. BritGrad awards an annual abstract prize. All accepted abstracts will be considered for the prize.

 

Presenters will be notified of acceptance in time to register by 21 April and secure any necessary visas. Auditors are encouraged to register by 19 May for early-bird pricing. Due to the growing success of this annual conference, we strongly encourage early registration to ensure a place on the conference programme.

 

For more information you can find us on Facebook and Twitter, and explore this website. Our email address is This email address is being protected from spambots. You need JavaScript enabled to view it.; please don’t hesitate to get in touch if you have any questions.

 

 

BritGrad Bursaries and Prizes

 

Conference Bursaries


Due to generous support from The Society for Renaissance Studies, we’re pleased to be able to offer five bursaries to cover conference fees for delegates presenting papers related to Shakespeare’s contemporaries. Priority will be given to applicants attending the entire conference. If you feel your paper should be considered for one of these bursaries, please indicate in your submission. Successful applicants will be informed alongside confirmation of acceptance.

 

Travel Bursaries


The Liz Ketterer Trust offers travel bursaries for delegates attending BritGrad. Four awards are available this year: two of £50 for delegates travelling within the UK, one of £100 for a delegate travelling within the rest of the EU, and one of £200 for a student traveling from outside of the EU. Delegates must attend all three days of the conference to be eligible. These bursaries are administrated by the Trust, and applications will open at the same time as registration.

 

Abstract Prize


Every year BritGrad awards prizes for the best abstracts, with the winner being awarded £100. All accepted abstracts are put forward for the award.

 

 

 

2018 Shakespeare in Prisons Conference

The Shakespeare Conference: SHK 29.0120 Tuesday, 6 February 2018

 

From:        Scott Jackson <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 2, 2018 at 4:05:16 PM EST

Subject:    2018 Shakespeare in Prisons Conference

 

Third International Shakespeare in Prisons Conference

March 22-25, 2018

The Old Globe Theatre 

San Diego, CA

 

REGISTER: https://www.theoldglobe.org/edp-pages/2018/shakespeare-in-prisons-conference/

 

Friends:

 

It is my distinct honor to invite you to the 2018 Shakespeare in Prisons Conference (SiPC) at San Diego's Old Globe Theatre from March 22-25, 2018.  

 

This third iteration of the SiPC is the first to travel away from the University of Notre Dame, and we are hoping that the proximity to this year’s SAA in Los Angeles the following week (3/28-3/31) might tempt a few of our interested friends to join us a bit farther south to participate in an exceptional event that highlights the power of Shakespeare and the theatre arts to effect positive social change.

 

The SiPC offers prison arts practitioners the opportunity to share their collective experiences working with incarcerated and post-incarcerated populations, rejuvenate passion, renew commitment for their vocation, and build upon their expanding network of peers.

 

Artists and educators engaged in transformational arts programs using Shakespeare in prisons around the world are brought together to explore and study the effects arts programming has on prison populations and beyond. The SiPC promotes a collaborative learning forum that exposes participants to a diverse array of programs that all strive for a common result: the habilitation of the prisoner’s mind, heart, body, and spirit.

 

We welcome your voice in this conversation.

  • Register before February 6 and pay only $225. Use promo code SIPC18 to receive your discount.
  • After February 6, the regular attendance fee is $275.

The Shakespeare in Prisons Conference registration fee includes three meals a day for three days in addition to entrance to all conference events and activities.

 

Please don’t hesitate to contact me directly at This email address is being protected from spambots. You need JavaScript enabled to view it. with any questions about the SiPC.

 

Yours--

Scott Jackson

Mary Irene Ryan Family Executive Director

Shakespeare at Notre Dame

230 DeBartolo Performing Arts Center

Notre Dame, IN 46556

574-631-1563

shakespeare.nd.edu

 

 

 

Public Booking is Now Open for #Globe2018

The Shakespeare Conference: SHK 29.019 Monday, 5 February 2018

 

From:        Hardy Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 2, 2018 at 12:57:07 PM EST

Subject:    Public Booking is Now Open for #Globe2018

 

Public booking now open for our Summer Season.

 

Michelle Terry’s inaugural season continues our radical theatrical experiment, building on past achievements and exploring new directions.

 

Join us, under the stars or sun (or rain), or by candlelight, in our two beautiful theatres, in our exhibition, in our workshops, on the road, online, or wherever else we might meet you this year.

 

http://www.shakespearesglobe.com/whats-on/d/2018-04-25:2018-12-31?utm_source=wordfly&utm_medium=email&utm_campaign=MGPublicbooking(29Jan)&utm_content=version_A

 

Hamlet

From 25 April

 

Shakespeare Within the Abbey

From 26 April

 

Guided Tours & Exhibition

Open all year round 

 

Sonnet Walks 
Sweet Love Remember’d

From 28 April

 

As You Like It

From 2 May

 

Twelfth Night

From 7 May

 

Hamlet 
Introductory Talk

From 8 May

 

The British Academy Lecture

From 10 May

 

The Taming of the Shrew

From 11 May

 

Eastward Ho!

From 13 May

 

Eastward Ho! 
Rarely Played

From 13 May

 

The Merchant of Venice

From 14 May

 

Staging Milton’s Paradise Lost

From 14 May

 

Staging Milton’s Paradise Lost

From 14 May

 

Voter's Choice

From 18 May

 

 

 

Speaking of Shakespeare with Keith Baxter

The Shakespeare Conference: SHK 29.016 Tuesday, 30 January 2018

 

From:        John F. Andrews <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         January 29, 2018 at 4:08:17 PM EST

Subject:    Speaking of Shakespeare with Keith Baxter

 

Speaking of Shakespeare with Keith Baxter

 

Thursday, February 1, at 12:15 p.m.

Woman’s National Democratic Club

1526 New Hampshire Avenue NW in DC

Luncheon and Program $30

For Reservations, call 202-232–7363

 

Best known to most of us as the actor who depicted Prince Hal in “Chimes at Midnight,” the 1966 Orson Welles classic in which the filmmaker portrayed Falstaff and Sir John Gielgud played Henry IV, Keith Baxter is now at the Shakespeare Theatre Company in Washington, where he is charming audiences as the Ghost, the Player King, and the Gravedigger. Mr. Baxter will talk about those and other memorable roles with John Andrews during a luncheon conversation near Dupont Circle in Washington.

 

John F. Andrews, President

The Shakespeare Guild

14 Via San Martin

Santa Fe, NM 87506

www.shakesguild.org

1-505-988-9560 (Home, Office)

1-505-670-9815 (iPhone)

 

 

 

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