Podcasts about capulets

Welcome back to our Podcast. and in this episode, we are going to explore the mysterious junction between human potential and the human predicament. Today, we're diving into an idea that may sting a little at first, but, if we look closely, it might also open a hidden door to hope. It involves the unfortunate observation that while human technology, what we do, has evolved at an astonishing pace, human consciousness, who we actually are, has lagged significantly behind. Our ability to split atoms, utilize instant global communications, and code digital realities has raced ahead at lightning speed, fueling our Modern Times. But our capacity for empathy, humility, compassion and having the capacity to be able to live a peaceful, and meaningful life looks much more like we're still stuck the Middle Ages. Which brings us to the content of this episode called “Spears and Switchblades: One Stubborn Species.” To help bring the basic idea into focus, we're going to compare two of the most iconic love tragedies ever put on the stage: William Shakespeare's Romeo and Juliet and its mid-20th century musical reincarnation, West Side Story. Though separated by more than 350 years, these two narratives—one set in Renaissance Verona and the other in 1950s New York City—are mirrors reflecting the same fundamental human flaws. Jealousy. Tribalism. Miscommunication , Stubborness and Pride, among many others. All of which are run by an emotional impulsivity that can turn love into war, and beauty into ashes. So, the first question that we want to explore is: have we grown at all in the past 400 years? Or have we simply become more sophisticated in the weaponry that we have developed in order to kill each other more efficiently? Let's start with the core human dynamics that drive both plays, because even though they are separated by centuries, their basic human flaws remain exactly the same. In Romeo and Juliet, two teenagers fall in love across the boundary of a family feud. The Montagues and Capulets have nursed a blood vendetta for so long that no one even remembers how it started. And it doesn't matter anymore. They just plain hate each other. And its consequences are clear: violence in the streets, death, heartbreak, and ultimately, a double suicide. What are the dominant negative human traits here? Hatred passed down like an heirloom Honor culture run amok Impetuous emotion overpowering reason A lack of inner stillness or reflection, overcome by rage Fast forward 400 years to West Side Story, and we meet Tony and Maria, two lovers from opposing street gangs: the Jets, composed mostly of white working-class youths, and the Sharks, made up of Puerto Rican immigrants. Once again, love blossoms in hostile soil, and once again, the terrible price of primal tribal hatred is death. Different clothes, different slang, different soundtrack. Same madness. And this is the bottom line of the issue. Totally different external world, everything has changed, as well it should. After all, four hundred years have gone by and the situation facing the teenagers living in the streets of New York City would be absolutely unimaginable to the kids running around in the late 1500's.  Completely different on the outside – yet the inner madness remains exactly the same. And the ramifications of this imbalance are immense. Let's compare the outer worlds of these two stories: Romeo and Juliet takes place in late 16th-century Verona. It's a world without electricity, medicine as we know it, or organized police. Family ruled everything. Honor was a matter of life and death. Raw emotions emerged dramatically and physically. And the sword was both symbol and solution. West Side Story unfolds in 1950s Manhattan, post-WWII. Televisions had entered the living room. Jet engines had conquered the sky. The UN had been formed, civil rights movements were stirring. Science had given us vaccines, electricity, and refrigeration. And yet... disputes were still settled with violence. In this case, the weapon of choice was the switch blade. Anger and tribal pride still led to bloodshed. And the beauty of love still ended in the tragedy funerals. So, what changed? The world around us got faster, smarter and ever-more connected. But the world inside us? Pretty much the same old garbage pail. And one of the primary central drivers in both stories is basic tribalism—the instinct to form in-groups and out-groups. The name of the game is us-versus-them. In Romeo and Juliet, the tribes are defined by blood. In West Side Story, by race and ethnicity. In both, the borders are irrational and absolute. This human trait is ancient, seemingly almost hardwired into our survival code. We evolved in small tribes where loyalty equaled life, and strangers equaled threat. But now we live in megacities, online echo chambers where we're still addicted to tribalism. We divide ourselves by politics, religion, race, nationality, gender identity, and more—often with a sense of inner hostility that's far more emotional than rational. In both plays, the pride of belonging to an in-crowd becomes a major fuse. Tybalt's stone cold sense of us and them, along with an ego based identification with personal honor won't let him ignore Romeo's presence at the Capulet ball. Four hundred years later, Bernardo's defense-based sense of belonging to the Sharks won't let him see Tony as anything but another American self-entitled Jet. In both cases, primal tribal dignity demands a serious and significant attack against the perceived enemy. So, the basic recipe for tragedy that spans the centuries remains the same: paranoid pride, mixed with anger and fear, driven by impulse and untampered by any wisdom or understanding turns into a violent weapon of darkness and death. In a certain sense, what happened to us over the years isn't evolution at all. It's just plain repetition Unfortunately, of course this didn't end in the late 1950's. Far from it. While we've vastly upgraded our weaponry, we've also developed more subtle, yet powerful ways to threaten and hurt each other, like social media shaming for example,  where it becomes pretty easy to ruin someone's life just by pressing a few buttons. In the time between William Shakespeare and Leonard Bernstein, humans invented calculus, steam engines, telegraphs, airplanes, televisions, and atomic bombs. We mapped the human genome. We put men on the moon. But we still haven't figured out what we're really all about. Oh, we all know how to chase things, but are these things that we've been programmed to chase real, or they just illusions? Maybe we're just addicted to chasing, itself. In that regard, we've all heard about the tendency of dogs to chase cars. But there are two key aspects to that particular pursuit. One – the dog can never really catch the car. It is much too fast for it. And secondly – what happens if the dog actually does catch the car and we all know the answer to that – nothing. The dog can't do anything if and when it catches the car. It's the same way for us. We're just running after things on the outside, oblivious to who we really are and what we are really made of, not to mention what can actually make us truly happy and satisfied. And all of this goes on while we continue to improve our technology by leaps and bounds. Yet, we still don't know how to disagree without resorting to violence. We still haven't universally adopted the idea that every human being, regardless of their identity, has intrinsic value. We still raise children who feel unloved, unheard, or unsafe. We're still driven by fear disguised as pride. We still confuse dominance with dignity. And we still kill the thing we love because we don't know how to hold it. And the bottom line of it all is basically defending the inherent illusion of our ego selves, which is still at the basic foundation of our inner C-Suite. As such, we still confuse noise with strength. And we still take most the good things in our life for granted, which is truly tragic. Like Joni Mitchell sang in a seemingly earlier age, “Don't it always seem to go that you don't know what you've got till it's gone.” As it all continues to spiral further, in so many ways, the message to us is crystal clear – It's time to wake up and grow up. Romeo and Juliet loved across a line they weren't supposed to cross. Tony and Maria did it too. Their love was a shining light in the midst of all this darkness. Even though everything seemed to be against them, they knew what they had. And we knew it too. And despite what we knew it was that they were facing, we all rooted for them, because something about the higher thing in life, the Better Angels of Our Nature, speaks to the deepest part of our intelligence, both in our hearts and in our minds. We have more tools than ever to connect across cultures, to educate, to innovate, to heal. And yet, we still face the same old demons. But here's the good news: we are capable of change. Unlike the characters in those plays, our story isn't written yet. We are not locked in a script. We can choose awareness. We can choose evolution. The keynote to both of these tragedies is that it is time to individually bring our inner light to our own inner darkness. The Wisdom of the Ages as well as modern brain science tell us that we do have the power to protect this light from the winds of hate, fear and pride, and that we can, and essentially must, cultivate the inner skills of patience, compassion, empathy, and yes - courage. NeuroHarmonics: Inner Technology for a New Humanity That's what the NeuroHarmonic Method is all about: cultivating the inner circuitry to match the brilliance of our outer inventions. It's not just about brainwaves or affirmations or even spirituality. It's about training the nervous system to return to equilibrium, to respond rather than react, to perceive the human being behind the mask, and ultimately to shift from emotional immaturity to presence. From the rage of vengeance to an intuitive sense grace. But this is a path toward real evolution that can only be travelled one person at a time. Because the world won't evolve until we do it individually. Not really. So here we are, somewhere between Shakespeare's Verona and the 21st century, still caught in the drama. But I hate to tell you that the Bard didn't invent this particular tale. The truth is, it stands atop a mountain of ancient stories echoing the same theme—love thwarted by fate, culture, or conflict. And this motif is not unique to the Renaissance or even to Western civilization. The same basic story can be found in the cultures of ancient Greece and Rome, Babylon, ancient Egypt, Persia, and India. Indeed, it's one of the most enduring themes in human storytelling. And the deeper you dig, the further back you go, the more you realize: the tragedy of love versus society and the battle of light versus darkness is as old as storytelling itself. But maybe, just maybe, we're ready to write a different ending. One where love doesn't die. One where pride yields to peace. One where technology finally partners with wisdom. Let's imagine a future version of West Side Story, maybe 400 years from now. What would it take for that version not to be a tragedy? Maybe the gangs might still exist, but their interchange would consist of words instead of weapons. Maybe love would not be hidden in the shadows, but declared in daylight. Maybe reconciliation would be taught in schools, right alongside science and math. Maybe forgiveness would be considered a mark of strength, not weakness. Consciousness evolution would be about not just developing new tools, but new tendencies, moving us from: From reaction to reflection From judgment to curiosity From pride to presence From tribalism to universalism It means valuing not just intelligence, but wisdom. This all represents something to look forward to and welcome into our lives in the here and now, as much as we are able. And if we're not able to yet, at least we can make our intentions known to ourselves. Well, this will be the end of this episode. As always, keep your eyes, mind and heart open, and let's get together in the next one.

MUSICMatt Pinfield revealed the gift he received from the Osbournes while recovering from a stroke he suffered in January. Alice in Chains canceled their show Thursday night in Uncasville, Connecticut after drummer Sean Kinney suffered "a non-life-threatening medical emergency." Stone Temple Pilots guitarist Dean DeLeo has come up with a side project of his own while his bandmates Robert DeLeo and Eric Kretz tour with Joe Perry this summer. It's called One More Satellite and it's a collaboration with U.K. singer Pete Shoulder. Their self-titled debut will be out on July 18th. The first single and video is called "Paper Over the Cracks,"Usher apologized to Sabrina Carpenter's father for feeding her a cherry during his performance at the Met Gala. NEW MUSIC IN RECORD STORES AND STREAMING:Sleep Token's Even in Arcadia is one of the most anticipated rock albums of the year.Pierce the Veil's The Jaws of Life: Deluxe Edition adds their cover of Radiohead's "Karma Police" and more.Thom Yorke of Radiohead teamed up with Mark Pritchard for Tall Tales.TVOf all the things Elon Musk and DOGE have been cutting from the federal government, the one thing we can least afford to lose is Elmo. Which is why people were freaking out when they thought it had happened.Hoda Kotb could be back on television. According to Page Six, Kotb is on the list of people who could take over Kelly Clarkson's talk show time slot should she choose to step downAfter the Wrestle Zone podcast made claims that he had skin cancer, wrestling legend Ric Flair has denied the rumors MOVING ON INTO MOVIE NEWS: "Juliet & Romeo" (PG-13) Trailer: Australian actor Jamie Ward and Danish actress Clara Rugaard are Romeo and Juliet in this upbeat musical version of the Shakespeare's classic tragedy about the Montagues and the Capulets. Rupert Everett and Rebel Wilson play Juliet's parents and Jason Isaacs is Lord Montague. "Shadow Force" (R) Kerry Washington and Omar Sy leave a shady multinational special forces group after they have a son together. But when Mark Strong refuses to let them go and puts a bounty on their heads, they decide to fight back and go to war. "Fight or Flight" (R) Trailer: Josh Hartnett plays a mercenary sent by Katee Sackhoff to track down and protect a high value asset known only as Ghost aboard an international flight. But before he can figure out his target's identity, they find out the plane's full of assassins, and he has to John Wick his way through them all. Check out the trailer for "The Conjuring: Last Rites". Sydney Sweeney is being criticized for dragging her new puppy out in front of reporters after the Met Gala.Shia LaBeouf revealed he once lived in New York City's Central Park during a turbulent period around 2013.Brie Larson is releasing a cookbook with her best friend, a chef named Courtney McBroom. MISCNintendo Switch 2 sales forecast … The release of the Nintendo Switch 2 is still expected on June 5th – and company insiders are trying to figure out just how many gaming systems will ship in the first year. The predictions have been all over the place because of the economy and tariff issues, but they have settled on 15 million, which is almost 2 million less than they thought before things got bumpy. As a comparison, Nintendo has sold over 150 million Switch units to date – including 17.8 million in the first 13 months after that console was released.AND FINALLY Have you ever aspired to be like a mom you've seen on screen? People over at Ranker.com are voting for the most inspirational moms in movies. We cover the Top 15AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

David Meyer joins the show to discuss the UHC CEO assassination

Oh Romeo, Romeo, wherefore art thou Romeo? More like “Wherefore art thou like this Romeo?” Curious to find out more? You're just in luck because Season 3 Episode 6: Romeo & Juliet (1996) is available to listen to on your favorite podcast streaming services now! Romeo & Juliet (1996) is a movie adaptation of one of the most famous William Shakespeare's work of the same name to date. Baz Luhrmann helped adapt this classic Shakespearean romantic tragedy for the screen, updating the setting to a post-modern city named Verona Beach. In this version, the Capulets and the Montagues are two rival gangs. Juliet (Claire Danes) is attending a costume ball thrown by her parents. Her father Fulgencio Capulet (Paul Sorvino) has arranged her marriage to the boorish Paris (Paul Rudd) as part of a strategic investment plan. Romeo attends the masked ball and he and Juliet fall in love. Currently, Juliet & Romeo (1996) is available to purchase on Google Play, Apple TV, Fandango, and Amazon Prime as well as a physical copy. Music Credits: Downtown Walk by | e s c p | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://escp-music.bandcamp.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music promoted by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.free-stock-music.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Creative Commons / Attribution 4.0 International (CC BY 4.0) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://creativecommons.org/licenses/by/4.0/

A great story is one that we are never done with, and there are few stories in human history with as many retellings and reimaginings as the epic tale of Romeo and Juliet.  Nicola Vaccai wrote this 1825 opera based not on the Elizabethan play, but on the source materials from which Shakespeare drew.  Here, the Montagues and Capulets are not merely feuding families, but armies waging war as a part of the titanic power struggles between the Holy Roman Empire and the Papacy that wracked medieval and renaissance Italy.  However, the heart of the story remains the doomed romance between young lovers caught in a maelstrom beyond their control.   This is the second in a (non-contiguous) series in which Pat and Kathleen closely consider the Romeo and Juliet story in opera.  For an episode that presents an operatic take on Shakespeare's play about these famous lovers, please listen to Opera for Everyone, Episode 120. Hosted by Pat and Kathleen For more cultural and arts commentary by Kathleen Van De Wille, visit Constructive Criticism on Substack.

Oil and water. The Capulets and the Montagues. Michigan fans and Steven Godfrey. After years of often contentious relations, Godfrey threw down the gauntlet for Michigan fans to donate a bunch of money to charity, and they smashed giving goals like always. So here it is: Godfrey—egged on by Michigan diehard and New York Times writer James Coaston—acknowledges the good in both the Wolverines and the famous bowl game that they won last year. Production: Anthony Vito. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.splitzoneduo.com/subscribe

     This week- a couple of nostalgic classics from low budget independent  studios.     Mandroid escapes the lair of nefarious scientist Albert Reeves and his time travelling plan for global conquest. Soon he finds an ally in robotics expect Nora Hunter, roguish riverboat captain Harry Fontana, ninja Kuji, and desperate for its own toyline complete with a Saturday morning cartoon to market it S.P.O.T. Can our intrepid heroes stop the wicked plans or will history as we knew it be wiped out by our beloved cyborg overlords? Eliminators.     Tromeo lives in squalor with his father, Monty Que, and works at a tattoo parlor with his cousin, Benny, and friend, Murray. Juliet is hidden away in her family's mansion, being guarded by her abusive father, Cappy Capulet, and dangerously overprotective cousin, Tyrone, with only sultry servant, Ness, to comfort and provide her with kindness. The Ques and Capulets have long been locked in a brutal and bloody conflict. Crashing Cappy's masquerade ball, to celebrate Juliet's arranged marriage to meat tycoon Arbuckle, Tromeo finds himself on a collision course with... true love! Can our loving lovers who love find loving love or will the machinations of Cappy bring about a tragic end? Tromeo & Juliet.     All that and Kevin gets a animated about vehicles for a third time, Dave solo levels, and Tyler might just have the war against those dang grimy primates. Join us, won't you?   Episode 361- Laser-crossed Lovers

In today's episode, we are exploring the historical context for the family feud and violence between the Capulets and Montagues in William Shakespeare's Romeo and Juliet. We'll briefly revisit the history of medieval bloodfeuds that we examined in our episodes on Macbeth, then we will dive into the pratices of vendettas and dueling in the Italian renaissance and how this form of violence was imported into England, Scotland, and Wales in the late 1500s and early 1600s. We will examine the rise in popularity of dueling among young men of the English nobility and gentry, how the public theatres romanticized and dramatized dueling, and how Shakespeare wove this trend and reactions to it into the plot of Romeo and Juliet.  Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone  or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod Works referenced: Bowen, Lloyd. “The Duel in Elizabethan and Jacobean England and Wales.” Anatomy of a Duel in Jacobean England: Gentry Honour, Violence and the Law, NED-New edition, Boydell & Brewer, 2021, pp. 68–83. JSTOR, https://doi.org/10.2307/j.ctv18x4j9z.11. Accessed 14 Apr. 2024. Dean, Trevor. “Marriage and Mutilation: Vendetta in Late Medieval Italy.” Past & Present, no. 157, 1997, pp. 3–36. JSTOR, http://www.jstor.org/stable/651079. Accessed 14 Apr. 2024. Quint, David. “Duelling and Civility in Sixteenth Century Italy.” I Tatti Studies in the Italian Renaissance, vol. 7, 1997, pp. 231–78. JSTOR, https://doi.org/10.2307/4603706. Accessed 14 Apr. 2024.  

***This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/playon and get on your way to being your best self.*** Juliet's body is discovered by the Nurse, sending the household into frenzied mourning. Romeo hears news of her death before the Friar's message arrives to tell him that it's all a ruse. Grief stricken, Romeo goes to an apothecary for poison which he plans to drink next to Juliet's body. Paris gets to Juliet's tomb before Romeo and tries to stop him from breaking into the crypt. Romeo kills Paris, finds Juliet's body and drinks the poison. Juliet wakes to see Romeo dead. She ends her life with a dagger. The Montagues and Capulets arrive with the Prince, and together they mourn the tragic consequences of their feud. Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG       as     JULIET CHRIS BANNOW      as     ROMEO MIA KATIGBAK        as     NURSE and PRINCE DANIEL LIU              as     LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI         as     FRIAR LAURENCE MITCHELL WINTER as     PARIS, TYBALT and APOTHECARY DAISUKE TSUJI         as     LORD CAPULET and LORD MONTAGUE JOSE GAMO             as     MERCUTIO and SAMPSON ZION JANG           as     BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Benvolio tells the Prince how Mercutio was killed by Tybalt, and Tybalt by Romeo. The Capulets call for Romeo's execution but the Prince punishes him with banishment from Verona instead. Back at home, Juliet awaits news of her rendezvous with Romeo but when the Nurse arrives and informs her of what has happened, she threatens to kill herself. The Nurse calms her by saying she'll find Romeo and bring them together. Romeo, hiding in Friar Laurence's cell, mourns his banishment and threatens to take his own life until Juliet's Nurse arrives with news of her desire to be with him. Romeo agrees to go to Juliet's chamber and to leave for Mantua by nightfall, where he will stay until the dust has settled and he and Juliet can return in marriage to Verona. Meanwhile, Lord Capulet comforts his grieving wife by setting a date with Paris for him to wed Juliet in two days.  Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG       as     JULIET CHRIS BANNOW      as     ROMEO MIA KATIGBAK        as     NURSE and PRINCE DANIEL LIU              as     LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI         as     FRIAR LAURENCE MITCHELL WINTER as     PARIS, TYBALT and APOTHECARY DAISUKE TSUJI         as     LORD CAPULET and LORD MONTAGUE JOSE GAMO             as     MERCUTIO and SAMPSON ZION JANG           as     BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's puzzle is a tautly constructed Saturday crossword, with just 58 words -- not quite few enough for the Guinness Book  of World Records, but getting close! The puzzle itself was not too difficult -- for a Saturday -- but it did have a bevy of fine clues that kept both co-hosts entertained (esp. this one). Deets inside, as well as the winner of this week's JAMCOTWA (Jean And Mike Crossword Of The Week Award), so have a listen and, as usual, let us know what you think!Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Hi! I'm Georgiana. Thanks for joining me for another episode of the podcast. My mission is to help you improve your fluency. Today, I will discuss Shakespeare's play "Romeo and Juliet," but don't worry because I've made it very easy to understand. Before we start, get the transcript for free at SpeakEnglishPodcast.com/podcast Let's start! Today, we'll explore the famous play 'Romeo and Juliet' by William Shakespeare, written over 400 years ago. This play is divided into five acts, like chapters in a book. I've prepared a short summary for each act. In this episode, we'll focus on Acts 1, 2, and 3, and in our next session, we'll continue with Acts 4 and 5. In the play, Shakespeare explored important things like love, family, and problems that were important back then and still matter to people today. Now, let's start with the first three acts of this classic story. [Act 1 - A Tale of Two Families] Okay, picture this: we're in a lovely place called Verona, Italy. There are two big families there, the Montagues and the Capulets, and they don't get along.  But guess what? A young guy named Romeo, from the Montague family, and a girl named Juliet, from the Capulet family, meet at a fancy party and fall in love, unaware of the enmity between their families. And so Act 1 ends with a big surprise. Romeo and Juliet find out who each other really is. This is a big shock because they're from enemy families. This surprise begins a sad and complicated story with many problems that happen next. [Act 2 - Balcony Magic] In Act 2, the story becomes more romantic. Romeo sneaks into Juliet's garden, and they talk from her balcony. They declare their love and plan a hidden wedding with the help of Juliet's Nurse.  Tybalt, who is Juliet's cousin, challenges Romeo to a fight. This happens because Tybalt is angry with Romeo. Their clash is a significant moment in the story. As a result, the Prince banishes Romeo from Verona. The act concludes with Romeo and Juliet apart, encountering fresh difficulties, and their secret marriage adding more complexity to their love tale. [Act 3 - Trouble in Town] In Act 3, things get even more intense. Tybalt, who is Juliet's cousin, wants to get back at Romeo, and this leads to a big fight with Mercutio, which sadly ends in Mercutio getting hurt very badly. Romeo is very sad about Mercutio and gets into a fight with Tybalt, which results in Tybalt's death. Because of this, Romeo has to leave Verona. Things are getting really tough for Romeo and Juliet because they can't be together. Get the full text on my website: https://speakenglishpodcast.com/podcast

Aquesta frase de Johnny Carter, el protagonista d'"El perseguidor", de Julio Cort

Welcome to the Cinema Sitdown! Grab a Drink and come hang out with us while we Discuss the Romantic story of ROMEO AND JULIET The classic story of Romeo and Juliet, set in a modern-day city of Verona Beach. The Montagues and Capulets are two feuding families, whose children meet and fall in love. They have to hide their love from the world because they know that their parents will not allow them to be together. There are obstacles on the way, like Juliet's cousin, Tybalt, and Romeo's friend Mercutio, and many fights. But although it is set in modern times, it is still the same timeless story of the "star crossed lovers". IG: https://www.instagram.com/porshalauri YT: https://www.youtube.com/PorshaLauri/ IG: https://www.instagram.com/officialjerryjoseph87 IG: https://www.instagram.com/londonbloke. Tiktok: thecinemasitdown --- Send in a voice message: https://podcasters.spotify.com/pod/show/cinema-sitdown/message

Romeo, Mercutio, Benvolio and friends cavort their way to the costume party at the Capulets. Mercutio delivers his famous Queen Mab soliloquy. Then Romeo shares a premonition about the future.

Here the "new mutiny" breaks out between the Capulets and Montagues. The Prince! Lord Montague and a key insight into Romeo. Then our protagonist appears. He's lovesick.

After a brief hiatus of exactly 1 week's time, the guys have returned to rant and rave about such amazing things as the series finale of Picard, the season (possibly series) finale of The Mandalorian, some amazing episodes of Ted Lasso, and so much more!You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

After a brief hiatus of exactly 1 week's time, the guys have returned to rant and rave about such amazing things as the series finale of Picard, the season (possibly series) finale of The Mandalorian, some amazing episodes of Ted Lasso, and so much more!You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

Two Shakespeare professors travel back in time to offer funny, fresh insights into some of your most pressing modern problems. What would the Capulets hoard during a plague outbreak? Could a 16th-century remedy for staying young work for me? (And am I willing to drink the urine of a male child to find out?) How would Lady MacBeth secure her kid's spot as pee-wee soccer team captain? Whether you're dealing with an aging libido, a pandemic, or a dysfunctional family gathering, you'll feel a little bit better when Bard meets life. New episodes drop every other Monday. Subscribe wherever you listen to podcasts. Want more Everyday Shakespeare? Check out Caroline and Michelle's website at www.everydayshakespeare.com, and follow them on Twitter at @EverydayShakes.  “The Everyday Shakespeare Podcast” is produced by Jill Ruby.   Series launches April 23, 2023.

๏ Épisode 56 ๏ Rencontre au bal masqué, affrontement entre Montaigus et Capulets, mort de Mercutio et de Tybalt, stratagème de Frère Laurent… Tous ces évènements contribuent à sceller le destin malheureux des amants de Vérone. Mais comment, trois siècles et demi après Shakespeare, Prokofiev s'est-il emparé de l'une des plus grandes tragédies de la littérature pour restituer en musique la passion et la mort de Roméo et Juliette ? C'est ce que nous propose de découvrir Max Dozolme dans ce nouvel épisode. ▂ 

Sounds & Sweet Airs - The Complete Works of Shakespeare Romeo & Juliet Act 4 Romeo is banished. Juliet is betrothed against her will to Paris, and the marriage is fast approaching. Seeking help from Friar Lawrence, she conspires to fool the Capulets and Montagues alike, but the plan is not without risk... CAST Juliet - Mimi Brown Friar Laurence - Chris Roby Capulet - Stephen J Davies Lady Capulet - Jo Pratt Nurse - Theresa Ross Paris - Jade Harris Tyler CREW Writer - William Shakespeare Director - Dario Knight Sound Engineer - Gareth Johnson Music - Rand Aldo & Cercles Nouvelles

Do you know the names of the people who live next door? Chances are you live next to someone, but do you actually know them? Sadly, the only time we do seem to hear about people's neighbours is when things go wrong – hearing people say things like they have the neighbours from hell! So, what does go wrong?你知道住在隔壁的人的名字吗？你可能住在某人旁边，但你真的认识他们吗？可悲的是，我们似乎唯一一次听到人们的邻居是在事情出错的时候——听到人们说他们有来自地狱的邻居！那么，出了什么问题呢？When talking about famous feuds with people who live in proximity, you only need to think of the Montagues and Capulets in Shakespeare's Romeo and Juliet. Thankfully, most real-life quarrels don't go that far. These days, especially in cities, many people live in condominiums, tightly packed into apartment blocks. Our neighbours are all around us – so what issues can come from that?当谈论与住在附近的人的著名世仇时，您只需要想到莎士比亚的罗密欧与朱丽叶中的蒙太古和凯普莱特。值得庆幸的是，大多数现实生活中的争吵都没有那么严重。如今，尤其是在城市里，许多人住在公寓里，密密麻麻地挤在公寓楼里。我们的邻居就在我们身边——那么这会带来什么问题呢？The first obvious cause of dispute is noise pollution. Loud bass pumping through the walls, construction, or people arguing next door can disrupt the harmony of your living space. Asking someone directly to turn the music down can cause you to feel anxious. However, getting someone like a building manager involved to speak to your neighbour and making complaints official can make things more awkward down the line as you didn't speak to your neighbour directly.第一个明显的争议原因是噪音污染。穿过墙壁、建筑或隔壁争吵的人的响亮低音会破坏您生活空间的和谐。直接要求某人将音乐音量调低可能会让您感到焦虑。但是，让大楼经理等人参与与您的邻居交谈并正式投诉可能会使事情变得更加尴尬，因为您没有直接与邻居交谈。And then what about smells? If your neighbour likes eating especially pungent food, something that offends your nostrils, and that smell drifts through your window, what can you do? Some other common issues include water leaking through the ceiling, pets making noise, and littering from the balcony above you.那么气味呢？如果你的邻居特别喜欢吃刺激性的食物，会刺激你的鼻孔，而且气味会从你的窗户飘进来，你能怎么办？其他一些常见问题包括天花板漏水、宠物发出噪音以及在您上方的阳台上乱扔垃圾。And then, if you're lucky enough to own a garden, that can present even more issues to fight with your neighbour about! This could include hedges and fences that are too high, balls and toys invading your garden or hitting your windows, and boundary disputes over where your neighbours' land ends. All these can create animosity over time.然后，如果你足够幸运拥有一个花园，那可能会出现更多问题需要与你的邻居争吵！这可能包括树篱和栅栏太高，球和玩具侵入您的花园或撞击您的窗户，以及关于邻居土地边界的边界纠纷。随着时间的推移，所有这些都会产生敌意。It's not easy living next door to someone, especially if they're noisy. But having a clear and honest line of dialogue might help. Also, try considering if the things you are doing could upset your neighbours. If it's something that would upset you, maybe think again.住在某人的隔壁并不容易，尤其是当他们很吵的时候。但是，进行清晰和诚实的对话可能会有所帮助。此外，请尝试考虑您正在做的事情是否会让您的邻居不高兴。如果这会让你不高兴，也许再考虑一下。词汇表next door 隔壁neighbour from hell 非常糟糕的邻居feud 争吵不休，长期不和proximity 邻近quarrel 争吵condominium 公寓住房apartment block 公寓楼dispute 纠纷noise pollution 噪音污染bass 低音argue 争吵harmony 和谐，融洽living space 生活空间building manager 物业经理hedge 树篱fence 围栏，篱笆boundary 分界，此处指两家之间的界线animosity 敌意，憎恶dialogue 对话

Michael Crain is a guitarist, singer, producer and songwriter best known as the guitarist of the bands Kill the Capulets, Retox & Dead Cross. He joined Dead Cross with Justin Pearson, Mike Patton & Dave Lombardo. The band has new album out now, simply titled “Dead Cross 2.”  We discuss the new music, Michael's cancer battle, Mike Patton's burnout & more! 00:00 - Intro 00:47 - Dead Cross Genre 02:15 - Mike Patton & Songwriting 04:25 - Dave Lombardo & Band Formation 09:47 - Mike Patton Burnt Out 13:02 - Other Projects for Michael 13:58 - Songs on New Album 14:40 - Ross Robinson & Producers17:17 - Beating Cancer & Inspiration 25:05 - Touring, Making Records & Band Life 28:05 - Dogs & Charity 29:01 - Outro Dead Cross website:https://deadcross.bandcamp.com/Humane Society website:https://www.humanesociety.org/Chuck Shute website:http://chuckshute.com/Support the showThanks for Listening & Shute for the Moon!

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: New Cause: Radio Ads Against Cousin Marriage in LMIC, published by Jackson Wagner on August 15, 2022 on The Effective Altruism Forum. This New Cause Area is brought to you by my newsletter, Nuka Zaria. Reducing “kinship intensity” might give outsized boosts to a nation's culture and economic productivity. Although rare in western countries, marriage between first or second cousins still make up about 10% of all marriages worldwide. It's well known that the children of closely-related relatives are at higher risk for genetic disorders. By itself, this might be a reason to discourage cousin marriages, as has been discussed previously on the Forum. But the story quickly gets weirder. Some historians and academics think that when Western Europe shifted away from cousin marriage starting in the 1400s, this might have actually caused profound changes in the structure of European society — inadvertently creating a more individualistic, entrepreneurial, and high-trust culture which set the stage for the scientific and industrial revolutions. How is it that some random medieval Church edicts against cousin marriage could possibly have had such powerful effects? The idea is explored in more detail in sources like Harvard professor Joseph Henrich's book “The WEIRDest People in the World” (review here), and covered in articles like this one. The basic concept is that banning cousin marriage helped break up the power of kinship-based tribes (imagine the Capulets and Montagues of “Romeo & Juliet”), which changes the whole structure of the social graph: instead of rival houses, you get a more atomized individualism where people become more willing to cooperate across families. Quoting from the article above, Before the Middle Ages, Europe was similar to other agrarian societies around the world: Extended kin networks were the glue that held everything together. Growing crops and protecting land required cooperation, and marrying cousins was an easy way to get it. Cousin marriages were even actively promoted in some societies because they kept wealth concentrated in powerful families. Traditional kin networks stressed the moral value of obeying one's elders, for example. But when the church forced people to marry outside this network, traditional values broke down, allowing new ones to pop up: individualism, nonconformity, and less bias toward one's in-group. The academic work here is speculative, but “big if true”, since it suggests the existence of a neglected lever for influencing long-term cultural outcomes. If discouraging cousin marriage leads to such good outcomes, let's keep doing it! Lots of people have described the Industrial Revolution as "the best thing to have ever happened", "the most important event in human history", and so forth. Today, high levels of societal trust and high long-run economic growth rates are some of the most prized traits of the world's most successful countries. So, how can we get more of a good thing? Since the medieval era, rates of cousin marriage have plummeted, not just in Europe but across the world, as societies changed their norms. But some places still experience very high rates of cousin marriage — it's most common in Africa, the Middle East, and South Asia: Existing public health efforts could cheaply warn about genetic harms from consanguinity. So, if we want to slightly accelerate the ongoing global trend away from cousin marriage, and thereby accelerate the transition to a more high-trust, individualistic culture and a higher long-run economic growth rate for the civilizations of Africa, the Middle East, and South Asia, what should we do? Obviously, EA has neither the authority nor the inclination to implement coercive bans on cousin marriage, like the Catholic Church did centuries ago. But there are already a number of charities (l...

Episode #72: Mab about the boy Uploaded: July 9, 2022 Hector Berlioz: Roméo et Juliette, Symphonie dramatique, Op. 17 Part I: Introduction: Combats – Tumulte – Intervention du Prince Prologue: “D'anciennes haines endormies” Strophes: “Premiers transports que nul n'oublie! Récitatif: “Bientôt de Roméo la pale reverie” Scherzo: “Mab, la meesagère fluette et légère!” Part II: Roméo seul – Tristesse – Bruit lointain de bal et de concert – Grande fête chez Capulet Part III: Nuit sereine – Le Jardin de Capulet, silencieux ed desert – Les jeunes Capulets, sortant de la fête, passent en chantant des reminiscences de la musique du bal – “Ohe! Capulets, bonsoir” – Scène d'amour Part IV: La reine Mab, ou la fée des songes Part V: Convoi funébre de Juliette – “Jetez des fleurs pour la vierge expirée!” Part VI: Roméo au Tombeau des Capulets: Invocation – Réveil de Juliette – Joie délirante, désespoir, dernières angoisses et mort de deux amants Part VII: Final: Le foule accourt au cimetière – Récitatif et Air du Pére Laurence, “Quoi! Roméo et retour! Roméo! – Recitatif: “Je vais dévoiler le mystère” Air: “Pauvres enfants que je pleure” Rixe des Capulets et des Montaigus, “Mais notre sang rougit leure glaive!” – “Silence! malhereux!” Serment de reconciliation, “Jurez donc, par l'auguste symbole” Regina Resnik, contralto André Turp, tenor David Ward, bass London Symphony Chorus and Orchestra Pierre Monteux WESTMINSTER LEGACY 00289 479 2343 GB 40 Dmitri Shostakovich: Symphony No 13 in B-flat Minor, Op. 113, “Babi Yar”, after poems by Yevgeny Yevtushenko I. Babi Yar. Adagio II. Humour. Allegretto III. In the store. Adagio IV. Fears. Largo V. A Career. Allegretto Nicola Ghiuselev, bass Men of the Choral Arts Society of Washington National Symphony Orchestra Mstislav Rostropovich, conductor ERATO ECD 75529

On this week's annotated deep dive, The Cultists present Baz Luhrmann's 90s frenetic teen angst extravaganza, Romeo + Juliet (1996). Known for his kinetic color-fueled explosions of images and sound, Luhrmann's second offering in his “red curtain trilogy” put him on the film world's map as an Auteur with a distinct and immediately recognizable style. Bright, brash, and unforgiving to anyone who prefers a more minimal Mise-en-scène, Luhrmann's penchant for decadence was ripe for a world of high octane emotions, brawls, masquerades, and the lush arc of an epic demise. However Luhrmann's vision of bringing the dusty pages of the oft produced Shakespearean play into the hearts and minds of the notoriously apathetic 90s teenage market was a rather unprecedented and hard sell for commercial studios at the time. Particularly when Luhrmann insisted that not only would he win over a teen audience, he would do it all without altering a single syllable of the original Shakespearean language of the play. And he would use a cast of mostly young people to do it. Luhrmann's vision succeeded, jumpstarting a subsequent decade stuffed with Shakespearean film adaptations for teens, and yet, ‘R+J' remains distinct among them all. A burning strange indefinable star that shall not be defied. Deep dives include: The film's production history, editing and cinematography; the lineage of the Romeo and Juliet literature cycle that lead to Shakespeare's 1596 adaptation of the tale; the 1996 film's comparisons with the exactly 400 years older play; the historical roots of the warring Guelph vs. Ghibelline factionalism that led to such constant civil brawls; how amazing it is that Romeo spends a full third of the play desperately and despondently in love with someone else; why the developing teenage mind lacks impulse control; and why even Dante personally hated the Montagues and Capulets enough to write them into his levels of Hell two centuries before Shakespeare was even born. Episode Safe Word(s): “impulse control”

Romeo and Juliet by William Shakespeare audiobook. Romeo and Juliet is perhaps the most famous of Shakespeare's plays and is thought to be the most famous love story in Western history. It concerns the fate of two very young lovers who would do anything to be together The Montagues and the Capulets of Verona, Italy, are in the midst of a long-standing feud when Romeo Montague drops in on a masquerade party at the Capulets'. While there he meets and woos the daughter of the house, Juliet. She likewise returns his passion, and their secret meeting later that night on her bedroom balcony begins a series of tragic events that no one could have foretold.

Think Romeo and Juliet, but instead of taking place in Verona, it's 1920s Shanghai, and instead of the Capulets and Montagues, we have the White Flowers and Scarlet Gang. Oh and imagine there is a monster running around the city making people tear out their own throats!   In our next read, These Violent Delights, author Chloe Gong takes the classic tale of Romeo and Juliet and gives it a fantasy makeover complete with monsters, potions, and of course, forbidden love.   The romance and fantasy expert, Sierra Marshall, joins me today to talk all things Shakespeare.    In this episode we cover:  Why this book should not be described as a Romeo and Juliet retelling. Why we may get kicked out of Goodreads and TikTok for our very unpopular opinion of this book. Why choking someone with a necklace and holding a knife to someone's throat is pretty sexy...at least in Juliet's case Grab a drink, open the book, and press play on this fair podcast where we lay our opinions.    Mentioned in the Pairings section of the podcast: Westside Story (Musical and Movie) Stalking Jack the Ripper by Kerri Maniscalco (Book) Romeo and Juliet (Play) William Shakespeare's Romeo + Juliet (Movie Adaptation by Baz Luhrmann) ***  Once you're done listening, hop onto our Instagram and TikTok @rwreadspodcast to give us your thoughts on the discussion and the book. We look forward to hearing from you! 

What's the deal with sales and marketing departments hating each other? Is this some sort of Capulets vs McCoys or Montagues vs the Hatfields historical blood feud thing.C'mon, gang, we're all on the same team, right?And yet, the battle between salespeople and marketing people continues today. Why is that? What's going on with these two?Listen as Steve and Dave share their personal experiences with companies that had this problem. Why does it happen? And how did our intrepid duo get their clients sales and marketing departments to play nice-nice?

Intro: Should we take offense that it's Women's History month? (history has not exactly honored women.) Gina had a rough re-entry from vacation, the Disney enchantment, the expense of having kids, the pleasures of one on one time, Junipero Serra was also a monster, Whitey Bulger, networking. Let Me Run This By You: Is Drag Race sexist?, Sasha Velour,  Interview: We talk to Rebecca Spence about Hendrix College, Phantom of the Opera with Linda Eder, Ricky Schroeder and Silver Spoons, Erin Gray, taking the Christmas pageant quite seriously, Syler Thomas, being the preacher's daughter, playing Adelaide in Guys and Dolls and the Stage Manager in Our Town, Tisch, Zelda Fichandler, Mary Beth Fisher, Carmen Roman, Deanna Dunagan, Ora Jones, Amy Morton, Steppenwolf, Goodman Theatre, Every Brilliant Thing, Cyrano at Milwaukee Rep, beauty privilege, aging as an actress, Linda Evangelista, how Rebecca sees herself in terms of the cultural shift in American theatre, the accessibility benefit of digital theatre.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Pulice. We went to theater school1 (12s):Together. We survived it, but we didn't quite understand.2 (15s):And it's 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (22s):And you will too. Are we famous yet? February one, one month behind my friend one month by,2 (37s):Well, it's March 1st happy women's history month.1 (41s):I didn't even know that's how bad of a woman I am.2 (45s):Oh, well I was just thinking like, should we take offense that it's, you know, black history and women's history, like it's all in the past, you know, like why with both of those groups of people, we don't really want to be in the past.1 (1m 2s):Oh. And in fact there is a t-shirt that says that people love that. I have the same thought that says the future. Wait, the future of film is female. And I'm like, what about the present of film?2 (1m 17s):Right, right. Write1 (1m 19s):About like, I don't have a lot of time. I'm 46. Like what are you talking about the future? I mean, I can't be talking about the future. So I, I think the more we can get things in the present, the better off we are,2 (1m 33s):The better off we are now you're back. I'm back. I'm back. I'm back. I'm back. I did not want to come back. I did not leave my vacation. I did not wanna leave 80 degree weather and no responsibilities and fun all day. And it was our, a free entry1 (1m 53s):Monday, really? For everybody, just2 (1m 55s):You or well, for everybody. But for my part, it was getting in on a very late plane, not getting home till one 30 in the morning. It's two inches of ice on my driveway. So I'm like doing slapstick, trying to get my luggage to my door. My daughter's asleep. Oh my, I took the wrong key. I didn't have the right. I didn't have my house key. I don't know what the key is that I took. And so luckily, I mean, I guess I, nobody knows my address, but luckily we have a door that we often leave unlocked and it was unlocked.2 (2m 45s):So we got in and I got my daughter upstairs and I said, just go to sleep. I'll take care of everything. And she was like, yeah, of course, of course. I'm like, I'm not taking care of anything right now. So I remembered that we had some snow melt. I smelled, I go get it. And of course, when I walked into this door, that's usually unlocked. I immediately locked it saying like, we really shouldn't be leaving this open all the time. Oh my God. I know what's coming. I think, keep going, keep going though. And then I get my little ice smell and I go to the back and I closed the door because it's 20 degrees. And I don't want to let all the more mare out. And I happily salt my steps and get the luggage and bring it back up.2 (3m 30s):And the door was locked because the door was locked and I still don't have a key. And that my daughter is fast asleep. And not only is she slowly, I've already turned on the white noise machine. So if I ring the doorbell, if I had any chance of her hearing me, which it's pretty scant. And in any case, because she's a heavy sleeper, I've now masked the sound and it's cold, it's cold. And you, I immediately would be like, I have to eat this ice melt. That's not sane. That did not occur to me. Here's what occurred to me. I'm wearing leggings a t-shirt and a thin sweatshirt because I was just in 80 degree weather and sneakers.2 (4m 12s):I have no hat. I have no code. I have no gloves. I don't even have a key to the car. That's in the driveway because it's my husband's car. And why would I have a key to that? And we do have a garage code that has been broken for like a year. So I guess I should fix that for next time. I'm in this situation. Yeah. And I just tried ringing the doorbell and I tried yelling her name, you know, from down to like I'm in Romeo and Juliet, just yelling up to her window to the family in Utah. They weren't back. Oh my God.2 (4m 55s):I'm like, what the hell am I going to do? Walk to my neighbors at two in the morning and, and do what use, oh, and I didn't mind my phone was inside of, oh my God. Even if I had my phone, what am I going to do? Call my daughter. She doesn't have a cellphone. So I was in a real quandary. I was, I was in a pickle. So here's what I'd come to. I'm going to throw a heavy Boulder through our glass door so that I could get in. And then I'm going to tape it up with cardboard because I must get inside of my house. And then I remembered that another security breach we have is that our window in our dining room that goes directly onto our porch is never locked and very easy to climb through.2 (5m 43s):So that's what I did. And I didn't get to sleep until 3:00 AM. And that's just, that was just like, that was just, of course that was my reentry. Like there could have been no other reentry because ending your vacation sucks, sucks,1 (5m 60s):Bad. It2 (6m 0s):Really sucks. The greatest period of time is like the two weeks before your vacation, when you're getting psyched and then your vacation. And then for me, about two days before it's over, I'm like, oh God, I have to go.1 (6m 12s):I, I, I mean, you know, we're, I am really bad at transitions. Like I remember as an actor being told that to like, and I remember thinking that, and I remember thinking that's perfect. Like that, that makes perfect sense. I'm not shocked. And it makes perfect sense. I, there were no transitions in my childhood. It was like, you're being thrown here and then you're being thrown it. And so this all makes sense. And also it to be fair, your vacation did look fucking brilliant.2 (6m 43s):Like my vacation was like a1 (6m 46s):Dream.2 (6m 47s):It was like a dream come true. Honestly, like I kept being like, why is this so amazing? And I, I do. I do think, I, I think I understand now why Disney has the stranglehold on everybody's wallets that it does. It's because for many people, it is a place where your childhood is openly defended and encouraged and people don't get that. You know, and most people don't get that in other realms of their life. And you know, there's a lot of adult, only groups of people at Disney.2 (7m 28s):Like I even read a review of our hotel that was complaining about the number of children there. It's a, it's a, it's a, it's called the all star movies. It's like the it's 101 Dalmatian themed and toy story and Fantasia. And I'm thinking, wow, this couple went here thinking, oh,1 (7m 50s):People visionary tear like they without no, no, no. There are. Yeah, no, you're right on eighties. I think you've really, really hit the nail on the head. When you said that it's people's childhood encouraged, like, are you kidding me? Like senior pictures. I was like, oh, I'm going there. And I don't care if I go alone. Like, I don't give a fuck. You're going to see me alone. Wandering through Disneyland. Happy as a fucking clam.2 (8m 19s):Do you like rollercoasters? No. Oh, you don't like roller coasters. I was going to say, well, let's go together because I didn't get to ride one single roller coaster.1 (8m 25s):I will go with you. I would go if I trusted the person, I'm always just like, because I'm so neurotic. I'm like, do I want to die with this person? If I'm with some weird, like, you know, whatever. No I would go with you.2 (8m 40s):Well, let me tell you that. I don't know when the last time you went to like a six flags was, but the difference between your run of the mill amusement park and Disney is like the difference between coach on spirit, airline and first class Emirates. Yeah, exactly. It's just, they really, they really curate the experience for you. And I'm so fascinated by all of the work that has gone into just that, like all of the work that has gone into, and we, we had a classmate at the theater school who worked at Disney before she went to theater school and I'm drawing a blank on her name, blonde blonde hair.2 (9m 23s):And she told us about some of the rules. They have rules about how long your fingernails could be. And they had rules about your earrings and they had rules. I think some of those rules have changed because I'm pretty sure you didn't used to be able to show tattoos. I think you couldn't have dreadlocks before. Like it was a whole thing. It was a whole thing. So, so they've put a lot of effort into preserving the magic, right? Like you can't, there's this underground tunnel system. So you don't see the characters in there. Cause my daughter kept saying, oh, it was so sweet. She said, there's this hotel that's right near the park. And she said, why didn't we stay at that hotel? And I said, because it's like $3,000 a night. And she said, oh, I bet that's where the princess is live.2 (10m 7s):And I said, yeah, maybe. And I, and it was, as you recall, we went through this whole Santa's Easter bunny thing and she's she's hip to that. So I didn't challenge her assumption, but a couple of days later she did. And she said, well, they're not really princesses. They're really people who put on princess dresses. So they probably don't live here. I said, yeah, they probably don't. She said, where do I live? And I said, in an apartment, and I just saw the look on her face, like imagining, you know, Ariel living in her studio in like Florida. Right. And I live in Orlando having gone to theater school and then like, what am I doing? But you know what she's doing? She's fucking making dreams come fucking true is what she's done is like, honestly, it's the Lauren's work.2 (10m 53s):I felt like because they have these opportunities for you to meet the princesses, you know? And these people know their characters so well to the point that I can never hear Cinderella, she talks so quietly. I can never hear what she's saying. The, the girl, the woman who plays Rapunzel, that character talked a million miles an hour, she talks a million miles an hour. They read and they just know the ins and outs of their movies, such that they're constantly referencing. Like when, when we met Jasmine, she said, have you seen my monkey?2 (11m 35s):A pu I mean, and Clarissa was like, no, is she around here? Like, we'll, we'll go look for him. They really draw you in to the world. Do they are master storytellers? That's what they are Disney is. And these people, their whole,1 (11m 54s):I know people that go on Disney cruises that are like, I would live on this boat if I could.2 (12m 2s):Yeah, man. It's so enticing. It, it really is. And I, and I found myself being like, okay, this is like a museum product. It's a vacation. Like, but I think it made it harder to leave Mo a lot of times I have to say, especially since having kids, no offense to my kids. A lot of times when I come back from vacations, I'm like so relieved for it to be over because I've had to do so much work. I mean, traveling with one kid, who's pretty, self-sufficient was very easy to put a whole new spin on a family vacation.1 (12m 38s):It's my new thing, which is one-on-one time. So what I noticed in your pictures and social media was that when it's one-on-one time and I just had my niece here, right? Yes. I want to hear all about that. One-on-one time is so much different than family time. And I never had one-on-one time with either of my parents. Not that I really wanted it, but like, it was always trying to force groups or other families with our family. And I think one-on-one time people don't like to do because it's so intimate. And I, and I get that. But I also think when I saw your pictures, what I noticed was a genuine happiness and a knot in your face and your daughter's face, but also like a fun, it looked like fun.1 (13m 27s):And a lot of times when you see family fucking pictures, everyone looks miserable, miserable, miserable, miserable, miserable, and it's no one's fault, but that is the jam. It is miserable to be in a group.2 (13m 37s):It is miserable. And actually, as we were walking around, she kept saying, why is that? Dad's screaming at his kid? Like there was a moment where somebody was, I didn't observe it, but there was a baby crying. And how she reported it to me was that this mother told the baby to stop crying. And I said, well, you know, we're not having that experience because you're not a baby. And because we're not all together, but we've had a lot of experiences like that. You know, I'm glad that you don't necessarily think, look at that and say, oh, that's just like our family. But that is just like our family when we're all together,1 (14m 17s):It's a dynamic. So this is my whole, my whole like new way of seeing things. Not new way. But like w what helps me get through situation is like, oh, this is a dynamic problem. It is, it is a energetic, interpersonal problem. It's not one, one person's fault. But like, I now will never, I said to my niece, like, I only want to do one on one time with, with each of you. Great2 (14m 45s):Idea. Great idea. So how did that whole thing1 (14m 47s):Come to be? So I really wanted to, so each I have taken my nephew and my niece, the oldest one on solo trips, right. To two different places. But the youngest has never been, and then the pandemic hit. And so I was like, wait a second. This isn't fair. Not that life is fair, but I like to keep things kind of like, I don't want her being like, what the hell? I'm the youngest? Cause I was the youngest. I get it. So I was like, all right, I want a lease to come out here. But by herself, without my sister, without the kids, without George, like, no, no, no, no, no. Also our place is so small. Only one person could fit in it. Right. So a small person.1 (15m 28s):And so I said to my sister for her 13th birthday, which was Sunday, I want to fly Elise out. And so that's what I did. And she, she had president's day, right? So she, she missed one day of school because me and Mr. Davis school to do something with my sister and at least came and we had a blast one-on-one man, I'm all about trying to help the dynamic, not be unmanageable for myself and for others, but I'm really thinking about myself. Like2 (15m 60s):Probably so appreciated the attention she got. Right. Because I'm sure there's not much opportunity for her to get individual attention.1 (16m 8s):It's not practical. It just doesn't happen. There's so much going on. And you know, and, and so we had a blast. Now look, one thing that I was telling my therapist yesterday, I was like, oh, this is what I realized about children. They're fucking a lot of energy, even one brilliant child, right. That is, is just being a child. That's turning 13, no problems. Still, a lot of energy goes out cause she's, you know, and they're fucking expensive. So I don't care. I mean, I don't, I know nothing about, I know 100th of what the costs would be, but I'm like, oh my God.1 (16m 48s):And we weren't even doing crazy shit. We were so like, for people to say like, oh, a family of four or five can live on 50,000, $50,000. I'm like, are you, I spent like $50,000 in three days that I don't have, what are you talking about?2 (17m 3s):This is why, I mean, I have avoided saying miss in the past, but this is why we make so much money and have nothing. I mean, we have our house, we have a house, we own a house and we own cars. Yeah. But we have nothing else. We have nothing else. We have no savings. We have nothing else because 100% of our money goes to this very expensive thing we've chosen to do, which is1 (17m 28s):Yeah. And, and I have so much, I'm like, oh my God. Just even light. Yeah. Just life. Just not even buying. I mean, we didn't go crazy. We didn't go to Beverly Hills. We're not like living. Okay. So we went to, she got in really late Friday night and we went to, then we slept in a little bit. And then we went to the beach, went to my favorite beach, which is a unibrow beach who I found out was a terrible ruler that killed a lot of indigenous people, which is sad. But anyway, yeah. Paradise, Sarah that bad, bad, bad, bad, bad, man. I thought he was a Franciscan monk. I don't know my okay. I don't know.1 (18m 9s):Anyway. So it was like, oh, you know, he killed a bunch of indigenous people. I'm like, oh, that's great. Anyway. So we went to that beach in long beach, my favorite beach. Cause it's super chill. It's not a scene. It's not like Malibu. It's not like it's like down home. I love long beach. Right. And I also have an affinity to long beach because my ex lived there who passed away. So I like long beach, a lot. I have like special memories of that. And so we did that. We went, we ate like I now, because we moved to the pandemic. I had no reference for good food in my, in my neighborhood, in Pasadena, in LA none. So I was like, all right, we're gonna use this as an opportunity to explore dude, look, it has no, it doesn't hold a candle to Chicago.1 (18m 55s):Cause that's just how, you know, Chicago. I always tell people like Chicago is the best food and you'll die of a heart attack, but like, you'll eat the best food. We found great restaurants that we ate at. We, so we did a lot of eating. We did a lot of walking, walking around. We did some walks, some hikes. She obsessed with my dog Doris. And she was really, really good with her. Like trained her. Like she's really, she and her brother are both really into training dogs. So she did a lot of training with Torres, which I kept up zero. And then I just, I just don't care. And then I just don't, that's the truth. And we just really spent time together talking about life and about, you know, her, her life as a 13 year old and teenage stuff.1 (19m 42s):And, but it was, it was only, it was like she got in Friday night, she was here Saturday, all day, Sunday, all day, Monday, all day. She left Tuesday afternoon. I was so exhausted. I was like, I don't know. I have. So again, I have so much respect for her parents and people who are engaged with their kids. That's what I'll say. Like people who actually are trying to fucking be engaged. It's it's insane. I don't know how anyone has time to do anything else. Let me run this by, You know, I go into my little phases with the content I'm consuming and right now I'm really deep into con reconsider.1 (20m 31s):This is an old love that I kind of got away from drag race. Oh, right. Yeah. And I never had this thought before and I'm not, I don't have a judgment about it really either way. It's truly just a curiosity.2 (20m 47s):Curious to know what your thoughts are. Did you ever watch1 (20m 49s):That show? So I watched it a long time ago when it first came out. Did they remounted like, is there's different incarnations?2 (20m 57s):Yeah. They're on like season 13 or something like that. Yeah.1 (21m 0s):I watched it at the beginning when I also got into project runway and I got into America's next top model and all that stuff. Yeah. I, I, it wasn't my thing. It just didn't, it didn't compel me. Like I wanted it to love it and I, it's not, what is it about me? It is that, or the show. It's not my type of reality show in that. I just don't care enough. It's you know, about fat, like the fashion, the fashion. I, I'm more interested in the psychological component and at least at the beginning, it wasn't a huge part of the show.2 (21m 45s):Yeah. Well, for me it is the clue. Remember on star search when they used to have acting that acting component and it was so boring to watch, you know, because it's just not the same as singing and dancing. Right. Even I, as a little kid was like, this is boring. I didn't want to watch the acting part of star search. So we don't have an acting reality competition show. Drag race is the closest thing we have to because drag is theater, you know, it's creating character it's it's and, and there, the art has elevated to such a degree that the people who are really killing it are doing things that you would not imagine are drag and they're not wearing breastplates and they're not, they're just there.2 (22m 37s):And it's part of this whole concept of gender fluidity, which I'm really interested in. But my, my question is, is it inherently sexist that these men are doing female impersonations, right? Because, and a big part of it is the humor. And I just had this mode of being like, wait, is the fundamental conceit here that we're laughing at men being women, because why would you be a woman when you can be a man? I just, yeah, it may not be. And, and many, many drag artists may be feminists may consider themselves feminist.2 (23m 22s):I think RuPaul is not necessarily a feminist and he's not, he's not necessarily anti-racist. I mean, I think he's problematic in his own way, but it just occurred to me like, what am I laughing at this idea about just being a woman? Are we, are we trivializing? And we're making it frivolous.1 (23m 43s):It's so interesting. Like, I mean, think that it goes, what comes to mind is also like, how do the artists identify? Like, do they identify as, as, as non, you know, non-conforming or, or, or, or how, how did they feel?2 (23m 60s):Right. That's been an interesting evolution in the show actually from the first season. I think they they've had, they had at least one person who through the course of doing, it said, actually, I'm not, I don't really want to do drag. I want to be a woman. I am a woman. There's, there's been that. And I haven't really followed it closely, but there has been some controversy about like, well, if you have a woman, a trans woman on the show, then is it still drag? Right. So there's all these questions. I don't really know where that debate sits at the present moment, but I do know that very many people who consider themselves drag artists don't consider themselves men in any way.1 (24m 43s):So it's like, right. I, so that, that then leads me to be super curious about yes, like can cat it become one. It reminded me of Shakespeare when she experienced time pretending to be women. And it was always, you know, women weren't allowed to be actors or whatever, and they, and they also like, you know, they would make fun in a higher sort of, even a intellectual way. They were making fun of the, the weaker sex, whatever. So, yes, I think there's a part of it that we're just laughing at the horror show that is being a woman. And then the other thing that I was thinking about was I think you're onto something when, if we can transform it from being about that, to being about elevating art too.1 (25m 29s):Like when you said things that you wouldn't that piques my interest, wouldn't consider quote, drag. That is like, where I think we're headed in theater, right?2 (25m 38s):Like, oh yes, we must be. I mean, if we are to survive, we must be headed in that way.1 (25m 44s):Can you give me an example of like what, what you wouldn't consider drag that is like,2 (25m 50s):I got there's this drag artists named Sasha Valore and sh I'm right now, I'm on season. I forget if it's eight or nine, it might be nine. And she Sasha the lore does L well, first of all, and I think he identifies as a man. He does his art is political and intellectual. And he's one of these people who doesn't wear fake breasts. He does, he, what he does is he covers his nipples with pastries and, and, but builds the most beautiful garments around a look around an idea blend.2 (26m 31s):And, and it's rough. What I love is when it's referencing so many different things, when he explains his outfit later, he's like, well, this is a reference to Marlena Dietrich. And this is, this is a reference to, you know, the, how the gay culture in Russia exists because it's, you know, it's illegal to dress in drag there and, and homosexuality is not outright illegal, but it's, you know, obviously not a way that you want to go around presenting yourself. It's just this elevated conversation. I mean, the first time I ever saw actual drag was in Las Vegas at a show, I was a teenager and I couldn't believe I'd never seen it before.2 (27m 15s):I couldn't believe how much this man looked like a woman. And that's what the drag was. It was all about pretty much straight forward, like glamor looking as feminine as possible. And it has just come a long way since then. And now it's about, it's really just about embodying characters.1 (27m 34s):So yeah, you love storytelling. So this is what I'm getting at from the Disney thing. And from this is that you love detailed nuance, researched and referenced storytelling. Totally. That is your jam. So2 (27m 51s):It was my mind when, when all of these disparate things can come together into one cohesive piece of art. That's what I like in plays. That's what I like in books. That's what I like him.1 (28m 1s):So that's really interesting to know. Like, I think also like, yeah, for me, what I like is yes, super detailed, specific thought out things like I remember my favorite thing as a kid was pop-up books that had teeny little hidden parts that you wouldn't expect to have a tab that have it. That was my fucking jam. I was like, that is what I like about television is when there's callbacks or references or little Easter eggs, or like where you're like, oh my God, oh my God. Oh my God. Did you notice that the, you know, like I get into that because it means ultimately that people fucking care what they're doing.1 (28m 45s):Yeah,2 (28m 46s):Yeah, yeah. Oh, yes. That's what really gets you. That people care Today on the podcast we are talking to Rebecca, Rebecca is an actor. And if you live in Chicago and see theater, there's a very good chance that you've seen her on more than one occasion in more than one brilliant star Trek. She also does film and television. She's got actually a television series, 61st street. She's in Candyman, that's out in theaters right now.2 (29m 26s):She was in one of my favorite shows, easy, which featured a lot of great Chicago actors. We didn't really talk about any of that. We talked about her as dying love for Chicago theater and her absolute respect for the actors that make it happen. So please enjoy our with Rebecca Spence3 (29m 52s):Podcast or a voiceover.2 (29m 55s):What's the matter with you? Why don't you get with it podcast or be a professional podcast? It's so easy. Honestly, you just break right into the market. You get tons of downloads. And3 (30m 9s):This is what I hear. It's amazing that I haven't jumped on this bandwagon yet. I don't know.2 (30m 14s):I will say the number, the apex of active podcasts or podcasts that were downloadable in the pandemic was 2 million up from 750,000 before the pandemic.3 (30m 29s):I absolutely2 (30m 30s):Believe it's trending back down because I think people realize like it's kind of a lot of work to maintain something every week. So, you know, we're just hoping to get back into that sweet spot. Maybe even less people will do it and we'll get down to like half a million. So then we'll really have a chance. Anyway, congratulations, Rebecca Spence, you survived theater school. Wait, wait. You're, you're looking, you're looking like you don't agree with me.3 (30m 59s):I, I I'd like to reframe it a little bit. I, I survived a theater major. I did not survive the grad school audition process. I Did not into the theater school.2 (31m 18s):We've often said we should call it. We should really call this. I survived my desire to be famous, whether you became famous or not, you know, like you have to contend with your, with your desire for us,1 (31m 29s):Never went to grad school for you went to undergrad and you got a theater major, and then you, and then you went to you, you auditioned for grad schools and didn't get it. What, how could Rebecca Spence that fucking get into grad school? Are you kidding me?3 (31m 43s):No. What I was doing, I didn't have a clue what I was doing. So I, but I can say that my audition process for grad school is what brought me to Chicago and, and made me fall in love with Chicago. And ultimately helps me choose Chicago as a home base, which is where I've had my education. I, my entire education in theater has been through observing and watching people very, very, very good at what they do. And2 (32m 15s):Just observing or asking people. I mean, you said you didn't know what you were doing when you were auditioning, but3 (32m 21s):Yeah, I went to my, I had, I don't know anything to compare it to. I think I had a great theater experience in, at my tiny little school. We had a three professor department and they were wonderful. I, I looked at some conservatories for undergrad and I just wasn't entirely sure if that was what I wanted to do. Cause I didn't know anything about professional theater, not a thing I grew up in, in, in Texas. I had, I think I saw maybe one professional production.3 (33m 2s):I had a friend whose parents were into musicals and they gifted me with an evening to go see Phantom of the opera with Linda ETR of all people. So I'm like, if you're going to get an experience seeing it, that was great. But I knew I wasn't a musical person. I didn't have that kind of gift. And I didn't know what, like I never had seen regional theater. I had never gone to1 (33m 29s):Like a play3 (33m 30s):Play. No, I think my parents took me to a community college production of glass, menagerie,1 (33m 39s):Light fodder for a child have to say like, what is coming forward for me when you're talking about, you're not the first person to say like a musical with the first introduction to any kind of acting and they get a bad rap, sometimes musicals, but they're a gateway for so many kiddos. It's like magic. I'm like obsessed with musicals now.3 (34m 7s):Yeah. I I'm the youngest of three girls by a large margin. My sisters are nine and 11 years older than I am. And so they would put on plays and then stick me in them. So I was kind of dressed up a lot and they'd be like, go say this. And I would do that. And I've got1 (34m 27s):Actors now. What's that? Are3 (34m 29s):They actors now? Okay. No, not at all. No. We just had very active imaginations. And so I, but I loved it. I, I always wanted to be, I had a very active imagination and, and wanted to, I knew I wanted to act like I, I want it to be on silver spoons. Oh,1 (34m 50s):Well, here we are facing. I always, I always thought that the line was here. We are faced to face a Comella silver spoons. Somehow someone informed me that Kamala, wasn't a real word. You guys. And so I was like, wait, what do you, they were like, what did you just say? They're like, say it again. And they were like, you know, that's not the line, but anyway, you want it to be in silver. Did you want to be on like, Ricky's like sister or anything? Like you just wanted to be in that world?3 (35m 26s):Oh no. I had a whole, I had a whole plot line. Oh yeah, no. I was also going to be adopted into the family. Oh yeah. They were, I, I was also going to be adopted into the family, but then of course we were going to become love interest. Of course it's very twisted. I was, I was quite convinced. I, you know, Aaron Gray was going to be my mother. Oh. I also loved buck Rogers. So it was a big club look, Roger. So I kind of followed Erin gray. I thought she was quite possibly the most glamorous woman I'd ever seen. And that's not true.3 (36m 6s):Doris Day was, but I wanted to be parented by1 (36m 13s):Yes. I mean, that's like me and like my modern day telling Brian Cox, I wanted him to be my new father. Right. And that didn't, he was like, people have told me that before. It was actually, it's a real thing. So like, okay, so you, you want it to be that. And then how did that translate Rebecca into like actually studying it? Because like, how did you know? It was a thing3 (36m 37s):I started doing a lot of plays in church. I did a lot of church. Like I was married about 12 times. It feels like, and I remember taking, I remember my like little, my first like actual play. I remember, I think I had been four and I was married and I took it really seriously. And the little boy who was playing Joseph, who also happened to be named Joey was not taking it seriously. And he kept taking his little robe and throwing it over his head. And I remember being livid, absolutely livid. I just was, I was so disappointed because I really felt like I was giving off as many, like holy maternal vibes as I possibly could.3 (37m 26s):And he, he wasn't up to the task.1 (37m 28s):Did you find it, did he get fired or like, did he get recast recast?3 (37m 33s):I I, no. No, no. I mean, my memory is being up in front of the, I don't remember any group kind of rehearsal process. I just remember being up there and holding my little baby doll and feeling very pious Over. And Joey was like screwing with a shepherd.1 (37m 54s):That's fantastic. I am Joey, by the way, I would be the Joey. I'd be like doing dance moves and they'd be like this one, but here's the thing3 (38m 3s):Laughing. And that's why it was because people were laughing and they, you know, he was drawing attention and laughing. And I was like, I don't remember this being a comedy. This is a comment1 (38m 19s):Here's, what's interesting about that story for me is that you w I've never worked with you as an actor, but I know from being around you and seeing you work, that you are not enough, and this is not, well, I'll just say it like, you are like a consummate per actor. Like you, you take this shit seriously, which I adore, which I actually learned from people like that. But like, you are very kind and lovely, but you also are a fucking professional actor. And there is like, I know that sounds so obvious, but you know what I mean? Like there are people like Joey that fuck around at age four, which is fine. He's four. But like the fact that you didn't fuck around as Mary at age four, I think is actually an important thing in your, in your history because you take this shit seriously.1 (39m 7s):Also. You're like you work all the time, which is fantastic, which I don't think there's a coincidence there. That's all I'm saying. That's all. Yeah.3 (39m 19s):Thank you. I mean, I knew I wanted to do, I played a lot alone. I mean, I was alone all the time. So I was constantly like perfecting different personalities. I mean, because I moved as much as I did, we moved every two and a half to three years. I had like an opportunity to like, be put into different scenarios. And that was just like a playground for me to, to, well, first of all, it was survival. It was trying to figure out where am I? How do I fit in? How do I make friends? What what's like that group of people doing and how do I sort of evolve and adapt. So that they'll speak to me.1 (39m 57s):Did you move because of your family? Were you a military situation?3 (40m 2s):God's military? My, my father was an Episcopal priest, tiny segue. I listened to your podcasts and I'm the one that, that I just delighted and was listening to Siler. Thomas. I knew Siler Thomas from church camp. I had no idea Seiler Thomas. Wasn't cool. We, I grew up sort of adjacent to, to him. He's older than I am. So he was in a much like cooler hipper, older church crap. And, but we went to like all of the same, like regional functional things.3 (40m 47s):Cause my father was an Episcopal priest. And so he was very active in youth stuff. And so I went with him. That's how I know Seiler camp counselor. And I was a camper and I had no clue that he was a theater person. No, I can't2 (41m 5s):Wait to tell him. I can't wait to tell him3 (41m 7s):We reconnected sort of over Facebook, but I haven't seen him, but I listened to his entire podcast and I, I, I got really, I got really excited.2 (41m 15s):Yeah. Yeah. He's, he's fantastic. What I would have done if I had to move every couple of years is I would have pretended that I was British. When I came to a new school. Did you ever adopt new, like a really different3 (41m 31s):Personality? No, I couldn't. We were always sort of presented, like we were kind of presented as a family so that wouldn't have ever worked out for me. I did have a friend though in the sixth grade, my friend, Susan. And it was the first time we in, I was in Waco, Texas, and we went to all the sixth graders, went to one school for me, entire city were busted into a sixth grade center and we would rotate classes and she, and I would come up with like each class that we were in. We would have completely different personalities. We would like today where the really loud Rawkus girls and today were very shy and reserved, but today where the pranksters.3 (42m 17s):And1 (42m 18s):So you did go to theater school cause that's all we did. So there2 (42m 23s):Starting at four years old, you started your year to school3 (42m 25s):Training.2 (42m 28s):Yeah. So when you finally, when it was time for college, you were considering conservatories, but decided not to. How did you pick the school that you went to Hendrix?3 (42m 41s):I picked Hendricks because they had a theater program and my parents said that I had to be within a day's drive. And so they said, we can, you can go to school, but we have to be able to be able to drive to you within 12 hours, if anything happens. So I went 10 and a half hours away to two Hendricks college in Arkansas and had a pretty campus. And I, I knew, I, I knew I wanted to do theater. I had started doing more professional place, not professional, but, but really high quality plays in high school.3 (43m 21s):And I knew that I wanted to keep doing that. I really loved it. I just sort of disappeared into that. And that was, that was a safe way to build quick family, you know, do you found your people really fast? And I, I, that, that felt good to me. So I really enjoyed it. And2 (43m 41s):Were they known for having a great theater department?3 (43m 45s):No, but they built, so I did my freshman year, we moved in the middle of my eighth grade year and I had one freshman year in a, in a really small, small town in Southeast Texas or S yeah, it was near the coast and that didn't, that didn't go so well for me. And I ended up being sent to boarding school.1 (44m 13s):What did you do? Were you depressed?3 (44m 15s):Very poor choices and trying to, in trying to, to fit in, what is it,1 (44m 21s):Does that mean? What does that mean? Did you smoke cigarettes or like kill people? What happened like3 (44m 27s):In the middle? No, I, I had some substance stuff happened. I found the substances are pretty early in like, like an eighth grade. Yeah, yeah, yeah, no. I mean, we, we lived in the town that I lived in was known for grass farming and rodeo, and we didn't have anything to do. There was no, there was no movie theater. We didn't have a Walmart. We didn't have a skating rink there. It was,1 (44m 57s):It's like Footloose the toast.3 (44m 60s):So what we did is we went out to fields and drank like, that's true. That was what you did. So I, I, I wanted to do that. So I drank a lot and then I got caught a lot. And so my parents had a panic and sent me to boarding school in Austin, which they had a, really a growing theater department. And by the time I graduated, they had built this huge complex. So my senior year was the first year they sort of became an art school. So I kind of said goodbye. I mean, our first production was like, I remember they flew in some flats from Las Vegas.3 (45m 42s):I want to say we did guys and dolls, but we had like actual professional flats. And it was like my senior year. I was like, oh my God1 (45m 51s):Star, were you the star Rebecca? I was3 (45m 53s):Adelaide Adelaide. And then I got to be the stage manager in our town. So that was, but of course I, I didn't know what that meant. I wanted to be Emily,1 (46m 5s):Emily, of course. And then there were3 (46m 7s):Like stage manager and I was like, what? I'm stage managing the play? Like, I clearly hadn't read the whole play. I just read what I was like. I didn't know that that meant I had more to do. And it ended up being like a really, really meaningful, beautiful experience.2 (46m 24s):And just getting back to like the making. Cause I, I really love talking about making bad decisions. Would you say that you kind of did the, there is a trope of a preacher's daughter getting in to trouble? Is that what happened to you? Yeah, it was a rebellion against,3 (46m 43s):I mean, I, I just, you know, is there either the really, really good girl or the really, really bad girl and I, I, I didn't want to be the really, really,1 (46m 56s):Really hard position to be like, I can't imagine, like, even if your parents are like the nicest people there, again, there's a status thing that happens when there's someone in the community is touted as a certain thing. Like it's like royalty a little bit in America. Like we don't have, you know, so it's like you it's like, and then you're expected to behave a certain way. And as much as I had, like, I would say very little care and guidance in some ways I also didn't have a lot of pressure to be a certain way because we were all just like, there was no title. Like my parents didn't do anything. So it's, it's a tricky situation. But what I'm, what I'm also noticing is that the, the poor decision making and the drinking and they're getting caught actually was, it led to some really good fucking theater like that.1 (47m 46s):You went to Austin and you got to do like really good acting work. So it worked. I mean, you know, it wasn't a, it wasn't an all a bad thing. So you were like, yes,3 (47m 58s):I have learned more from my, my failures than I have ever learned from my successes. And I've had a lot of failures. I've had a lot of,1 (48m 8s):You know, something that I can speak to from being in like an insider in Chicago or formerly, and now in California, but being at a Chicago actor is like, everybody, I want to talk about the pressure in Chicago. So you are one of those people in Chicago that everyone's like, oh, Rebecca Spence books, everything. And I know it's not, I listen. I'm not saying it's true. This is what I'm saying. Let's get to the heart of the thing that I want to ask, which is from being on the I'm now on the outside looking in. Right. So what is it like? Cause that's always something that I heard and it has actually very little to do with you with other people's shit.1 (48m 48s):Right? It's not, I'm not saying you are doing anything, but what I'm asking as a woman and a performer, what is it like? And it's easy for me to do now because I'm in LA. So I don't give a, you know, like it's like, what does it feel like to have that kind of pressure of people, first of all, are you aware of it? That people are like Rebecca spins, books, everything. And then how does that affect you? And do you want to tell them to go fuck off? Or are you like, I work really hard.3 (49m 14s):Well, this, if this I'll take it two steps back, because this is a Testament to how much I, I love and admire Chicago theater. My understanding, I, I didn't get into theater school because I sabotage my auditions because I didn't know what kind of an actor I wanted to be. I actually, I choked. I freaked out because I thought that if you wanted to be an actor that meant that you wanted to be famous. And, and so I went to NYU, I came to Chicago to audition for theater school that I did the errata and auditioned for NYU Tisch.3 (49m 56s):And then I crashed the Harvard art. I didn't know you could crash. And somebody said you did. So I just got in line and I crashed the Harvard auditions. I made it to the final rounds of, of Tish. And I flew to New York and had a solid panic attack. I just, I didn't know anything about New York. I had, I came from tiny town in Texas. I had never been to Chicago. I had never been to New York. I didn't have a smartphone. I didn't know how to get around. I, I met Zelda. I met, you know, I did all the stuff. I was like, I can't afford this. I don't, I don't know what this is. I don't know what I'm doing. And I, I P I straight up chokes and, and really sabotage my own audition.3 (50m 40s):But I liked Chicago and my husband got a job here and we moved here and then somebody said, you know, I needed to find a job. I didn't even know. They were like, what about the Goodman theater? And I, I was like, I don't even know what that is. And I didn't know what, like actual regional theater was. And I ended up getting a job in development at, at the Goodman theater, because I was too scared to act. Cause I thought I don't actually know what I'm doing. I didn't know how to do like prepare a monologue very well. I had done that my senior year in college. Like we prepared one monologue. I didn't know like how to go through that whole process. But I started working at the Goodman. I started watching, I saw Chicago actors come on stage.3 (51m 24s):And it was people like Mary Beth Fisher, people like Carmen, Roman people like Deanna Dunnigan. Like people, people like Ora Jones. Like that was when I started hearing when they were like, oh, oh, oh my God. Or Jones is going to be on say, oh my God, Amy Morton. I'm like, who wait, who are these people who wait, who are these people? And like, people that I started hanging out like the theater crowd, when they started speaking about these people and their work ethic, I was like, that's what I want. I want to be a well-respected name in a medium sized town.3 (52m 5s):That's that to me is how I know I've made it. If people are like, oh, oh, we want to go see that show because I guarantee you, you're going to see someone who has put in the time, put in the effort, they're going to bring nuance. They're going to bring, you know, a craft to it. That was my goal. That's. And so when I hear that, there's part of me, that's like, I still don't know what I'm doing, but the little ego part in the back of my brain is like, it's what we've always wanted.1 (52m 38s):Yeah, no.3 (52m 39s):I wanted to be a respected actor in a town that who, whose work? I respect so much. I fucking love Chicago actors. And I love Chicago theater. I don't think there's any better theater in the country. I think that, that the work ethic and the quality of people that go in and do the work and bring, bring their hearts and their souls to it. That's all I've ever wanted to be a part of. So when you say, when you're like, oh, she works all the time. I'm like, I, I, I don't, I mean, I do work, but there's part of me. It's like, oh my God, maybe we're doing it. Maybe1 (53m 17s):I can tell you right now, Rebecca Spence, that you are doing the thing. Because when I saw you in, what was it? Every brilliant thing is that the, It was, it was beautiful. And when I saw it, I was like, oh yeah, this is why she, she books. She works all the time. It's all relative. Right. But that thing of she works all the time. But like, this is why it actually is because you're good at what you do. And you're also, like you said, you actually really care about the thing we were talking about. Caring, like Disney really cares how they take care of their parks. Like, that's a, that's a segue, but like, that's the, the point is that you, you, the care that you put into your, your art is very desirable, right?1 (54m 5s):Like people want to work with that. And I think in Chicago, there is this sense of, we're just sometimes we're just there to make it to the next place. But what it sounds like for you is like, this is your place3 (54m 18s):I'm here. Like this is, I have no desire to move to New York. I have no desire to move. I'm doing exactly what I always like. I'm doing more than I ever thought I ever hoped that I could do.2 (54m 33s):Like, wow.1 (54m 34s):I mean,3 (54m 35s):I ever thought that I hook could hope to do so. I am. I'm always really grateful because I,2 (54m 46s):Yeah, honestly, I, I really think that more people could stand to do that, to have as their goal. You know what, one of the things that has come out of this glut of information put out us all the time is this concept of like exceptionalism and that you only really hear reflected or, or echoed or amplified stories of people who are exceptional. People who make millions of dollars or people who, whatever graduate Harvard when they're 10 years old. And it, one of the casualties of it is that I think people who are forming their identities don't necessarily get enough examples of people who are achieving anything in the middle, you know, any kind of other success.2 (55m 36s):And, and we know how much these extreme successes lead to like tragedy. In a lot of cases, we'd be doing ourselves a favor. If we could put more stories of like, I aimed for this thing, that is not the, you know, the outer limit, but is, you know, difficult to do, but was obtainable for me. I think that would be,1 (55m 57s):I think it's so good. And I think that the, the also the, the irony or whatever it is is that now you, you, in terms of, in terms of film and television, you do book that work too, but it's not because your it's like you, that was your goal. And, and all this theater stuff is just sort of there it's like that work comes because of the, what you have done build the platform. And I think Gina, what you're speaking about is nobody's building the fucking platform on which to stand. So it's like all of a sudden, they're just catapulted on this platform at the top of the sky, and there's nowhere to go, but fall. Right. So you've done the work to build the platform, Rebecca.1 (56m 40s):And I think that that's, that's rare that doesn't happen. And I think that's fricking amazing because you have something to stand on. You're not like floating in LA like on a pedestal about,3 (56m 53s):I wouldn't do well in LA. I don't think I, I don't think I would do well there. I could maybe hang out in New York, but I don't think LA would, I liked LA. I went out there for just a brief moment just to see what it felt like. And people are like, oh, you're going to love it, or you're going to hate it. And I didn't feel either way. I, I liked it. I mean, I, I, wasn't responsible for living there and getting rent, paying rent. I was staying in a friend's pool house. And so I had a place to live for a month and I had one audition. So I hiked, it did a lot of hiking, which was great. And I found little pockets there, but I've thought, I don't think I could live in a town that is just constantly cycling around one industry.3 (57m 41s):And that was kind of how I've always operated. I didn't want to go to a conservatory because I was like, there's way more to me than just acting like, I, I love, I, I like, I love what I do it's but it's not the only thing that drives me. Like I like theater and acting is, is the thing that I love most, most of all, but I really there, I love Chicago, so there's so much more to do than just2 (58m 10s):So true. So I keep thinking about a little Rebecca and little Joey, we've heard a lot of stories about people who, when they were in college, feeling resentful about P other people who they felt like didn't take it seriously enough people, you know, like a common thing is a person who had to work really hard to get a full ride because they couldn't have afforded it to go to college otherwise. And then to be there with people who are partying instead of, you know, spending a hundred percent of their time dedicated to what they're doing. Does that come up for you now working on something now, do you encounter people who you feel maybe aren't fully appreciating the opportunity they're being given or, or at this level now, are you mostly with people who take it very seriously to,3 (59m 3s):Yeah, I haven't had that. And I mean, most of the people that I work with are really just so excited to be in the room. I mean, I, I, I th I can think of one instance when I was doing non-equity theater in a basement somewhere for, for, I was the only female in the entire, in the entire production, like cast, crew, everything. It was, it was me. And it was a bunch of guys that were kind of jerking around a little bit and it affected, it was like a really serious play.3 (59m 45s):And I remember one of them pulled up a pretty, I don't want to say dangerous, dangerous is too extreme of a term, but it was a play. It was days of wine and roses, which was, and you know, where I have to, the character ends up drink in some, but they, they changed the bottle and put actual alcohol in it onstage, and didn't tell me. And so I chugged and had like a thing of alcohol and I was like, and nobody would fess up to it. Like nobody who did, who did it? Y'all who did that? Just like tell me, and no one would, would, would fess up to it.3 (1h 0m 26s):And then I was like, this sucks. Yeah. That's actually, that's the only time I can think of when I was like, I'm, I'm putting my heart and soul into it for the most part. No, I've never, I thought, what about upset or like, is everyone you're working with really like, to joke around too. I mean, I, yeah, what I do on stage, I take very silly, but I love to play. I'm a prankster. I liked to, I I'm very silly. I like to be silly. I, I love people that are having a fantastic time. And when I know that it's not like messing up somebody else's process I'll jump right in.3 (1h 1m 7s):Cause I, I like it. So I haven't had any, what's a, what's a favorite project. Gosh, there've been, there've been a lot. I did a production of a three person Cyrano up at Milwaukee rep and it was the first time I'd ever left Chicago. And we did a three person version of, of Cyrano where we did made all of the sound effects ourselves.3 (1h 1m 49s):And so we switched characters and jumped and I had never done anything like that of like sort of it wasn't devised, but it, it, it was much more deconstructed than anything that I had ever been a part of. And it was, and we toured it. We toured it all around Wisconsin and into Minnesota and I'd, I'd never done it. I'd never done summer stock. I had never done anything like that. And we were this little Merry band of three, plus our manager in a, in a van driving all over making, you know, I was, we would do the sword fights and I would, I would use the foils and make all the sound effects and sheets.3 (1h 2m 30s):And I just thought that was, it was, it was a great time. I love it.1 (1h 2m 34s):Why did you love it? Like what, what you just love doing the like, cause it was the first time you did it or like what was the feeling that you were like, this is fucking awesome. Wow.3 (1h 2m 44s):Creative thing. And we surprise so many people because we made like the set was made out of ladders and like we would make the set and I love surprising the audience cause they would come in, they'd be like, what the, what is this? Like, are you like, oh God, we're gonna watch people like create out of boxes. See it, like, you're going to take me on one of these like craft paper theater projects and what am I getting myself into? And with just like a little thing of twinkle lights and we, and I was working with these two phenomenal actors, Reese, Madigan, and Ted Daisy, who work at Milwaukee rep all the time out and, and Oregon Shakespeare.3 (1h 3m 25s):And they do a lot of Oregon Shakespeare work. And we just played, we played in, played in, played in plate. It was, it was playing. And yet then we would have these like gut punch moments and it, I had just never done anything like that. I had always been put in sort of very traditional roles and nobody usually allowed me to step outside of those boxes. And I, I did it and had such, such a good time doing it.1 (1h 3m 53s):That leads me to my question about beauty. Okay. So I'm obsessed with this idea of beauty as, as a, as it relates to how people that are, are how we relate to our own beauty or feeling lack thereof or so, you know, you, I would say for me, you like a stunning, stunning woman. And, and I would like to know what is your relationship like? I mean, it's a very, it's a very intense question, but I am obsessed with it. What is your relationship like to your own idea of your beauty? Because people, because what you said, really trait triggered something in me of like people usually put me in these traditional roles, which to me means like beautiful wife, a beautiful mother, a girlfriend, a blah.1 (1h 4m 46s):And as you age, like talk all about that because people will say like Rebecca Spence is gorgeous and I agree and I want to know what is it like? And I guess it's sort of hard if you're the fish in the water, but like tell me, what's your relationship like to the way your own looks?3 (1h 5m 2s):Sure. You know, I, I, I fully acknowledged that I've had duty privilege. Like I've fully acknowledged that that has been a part of my progress. And you know, it has been something that has put me in roles. Like I was never the ingenue ever. I was never the Juliet. I was always the lady capital. I was always, cause I had always had a lower register and I always looked mature. I had a very classic features. And so I was always like lady Croom, lady Capulets.3 (1h 5m 43s):I was always like the bitter aunt. And it's kind of, I was Jean Brody, you know, like I got to, to have these sort of larger power play or things, which I always wanted. I wanted to play more powerful than I wanted to play pretty because I knew that I was always viewed as such. And you know, it's, I know that I've been allowed into a lot of rooms because of how I look. I think maybe that's why my drive is so strong because I want to back it up.3 (1h 6m 24s):Like I don't, it's very important to me that I bring work ethic and integrity and talent to, to, to that so that as I age and as I grow and as this goes away or transforms and evolves that I'm leaning more on, on, on the thing behind it. And, and aging as, as someone who is it's real, like it's, it's a real ego check when you were always called in for the beautiful wife and now you're starting to be called in for, you know, other roles.3 (1h 7m 11s):And, and this isn't a it's I know how it sounds like I always like know and feel1 (1h 7m 18s):No, no, no, no. Here's the thing. You're the one, you're the first person that we've talked to that we've said like, Hey, like I remember we interviewed someone and Gina brought this up to someone and was like, you're very beautiful. Like, what's it like to, and the person could not acknowledge that they, because they were, I think, I don't know what was going on. I assume they were afraid to sound vain, but here's the thing. It doesn't sound any kind of way. What sounds, what it sounds is like, you're trying to make sense of the way the world sees you, which actually isn't about you either. It's like, and yet acknowledge the privilege.1 (1h 8m 0s):So you're the first woman that we've talked to that has said, yeah, like I acknowledged like this got me into rooms, but I want to back it up instead of pretending that it doesn't exist. Right. Because,3 (1h 8m 12s):Because for anybody to lie, I, you know, I remember being, I remember being in a room and I was like, I was like, you're beautiful. And she was like, oh, I just am fat. And I'm like, come on. You know, I was like, come on, don't do it. Like it doesn't, it's, it's, it's so insulting to people that, that, that, that, like, let's be the thing I've tried to do is truly be objective about my work and, and who I like to. So you have to be objective about, like, I know what I look like. I know what I bring in, so what else do I add to it?3 (1h 8m 52s):And I it's something that I will never forget because, and after that, I know when we were very young, who is doing really, really well right now, and she is, you know, a self identified fat actress and like that, that is how she works in the world. And it's, she's, she's just phenomenal. But she was the daughter of a, of a beauty queen. Like her mother was a beautiful, beautiful woman. And she was like having to grow up with, you know, under, under someone that was beautiful. She's like I had to watch watching her age was one of the most painful things I could have ever witnessed because she was so used to being the most beautiful woman in the world, in the room.3 (1h 9m 42s):Like that was her identity was she didn't have to do too much else because she was the most beautiful woman in the room. And when she aged and those things started to fade it, she had sort of lost her identity. And that, that conversation has stuck with me for forever. I was like, don't ever be the person that, that your exterior is the only thing you have.2 (1h 10m 4s):Yeah. Well, I mean, I think it's awesome. I think it's fantastic that you acknowledge your beauty privilege, but I also acknowledge that there is a prison aspect to it too, or certainly when one is young, you know, where you can only be considered, you know, for a certain type of role, it can be just as limiting. And then if you go to that,3 (1h 10m 28s):Because of it, I mean, I I've been told, I lost I've lost roles where something is really, really, really excited about. And they were like, you're too, you are too classically attractive to be relatable. And I was like,2 (1h 10m 45s):Yeah,3 (1h 10m 46s):Being relatable is my jam. Right, right. What I worked so hard to do, I wouldn't be relatable. And I'm, you won't allow me out of that. And then of course, you know, I've got to sit back and I'm like, look, people have to face this kind of feedback on a completely dip. So, you know, I was like, then I mean that it sucked. And I, and I grieved that. I was like, but, but this is this industry that, and other people face that in tote for D for a myriad of different other reasons, they are told based off of how they look that they aren't right for the role. And I, I always knew that, but I was like, God, that sucks.1 (1h 11m 26s):And I'm thinking of like, yeah. And, and,3 (1h 11m 31s):And know it. And you don't want to tell anybody about it because no one, no one's going to be like, oh, that's horrible.1 (1h 11m 37s):Right. Right. I mean, it's this thing of you don't of course you don't want to, but I'm also just aware of like, like, I was obsessed with this whole story of Linda Evangelista who got face surgery, and then she finally showed her face and she looks fucking fine to me. Like, it's not about that. It's not about her face. It was about, it was no, no. I mean, literally it she's. I read the whole thing too. She, she calls herself deformed. She has like some fat that comes up over her bra3 (1h 12m 13s):Solidified. It's hard. Like, oh, that's true. Yeah. It's painful and hard. And,1 (1h 12m 20s):But the thing is like the, it is for me, what, what it brought forward was like from the outside, right outside, looking at Linda Evangelista, she's still one of the most beautiful people I've ever seen with her without her deformity. But it doesn't matter because she is not her identity was this model. Right. Which probably screwed her for life and also offered her privileges beyond my wildest dreams. Both are true. So I guess what it brings forward is like, everything about this journey is a combo fucking platter. You kinda have the privilege of beauty without also being in a prison.1 (1h 13m 1s):You cannot have the privilege of, you know, like for me, I kind of have the compassion that I have for humans. If I had not gone through what I had gone through as a child, especially an overweight child, like gum, it comes together. And I think we're so used to seeing people as, oh, that's Rebecca Spence. This is what she does. And this is how her life, it's not that way. And I think that's one of my life goals is to just show people through my writing and my work. Like this is a fucking combo platter. People like you don't get one way, like Linda Evangelista said, she feels like the most ugly person. And she acknowledged that she was a model and made millions of dollars doing it.1 (1h 13m 42s):So like, it's both, you're both, you're both things I give you permission. I give everyone permission to have both the prison and the privilege. I know it's not my job to do, but that's what I would wish on the world if I was running shit, which I'm not. So there we go. But anyway, that's my rant about you. I just really am focused on like asking women, especially like, what is it like, you know, especially as we get older to like change and it's a real3 (1h 14m 10s):Ego knock, I'm, you know, I'm not going to lie. I, I filmed something recently and I, my son went on, said, took a picture of the monitor and gave it to me. I was like, you know, I was like, oh shit. Okay.

We all have heard of family feuds that have lasted for years or generations, even to the point that no one remembers what the original grievance was about. History records the stories of Romeo and Juliet's families, the Capulets and the Montagues or the Hatfields and Mccoys. Even the bible tells stories of Jacob and Esau, Leah and Rachel, and Joseph being sold into Egypt by his brothers. These stories all illustrate that jealousy can lead quickly to many other unkind and hurtful choices. However, some people chose forgiveness and that forgiveness allowed healing and love to flow unrestrained. In a world filled with contempt and contention, how can we teach our children to use the power of forgiveness to free them from the negative feelings of anger, frustration and contempt ? How can we choose to forgive more and be jealous less? Join us in today's discussion as we look at how we can create experiences that will help teach our children not only WHY they should forgive, but also HOW they can forgive. Want to join us in our upcoming Children Who Know Challenge? Be sure to get on our mailing list so you don't miss this amazing experience. Email us at linsey@mytheachingmatters.com or join our Facebook group, Come Follow Me - Intentionally teaching our children and youth. --- Send in a voice message: https://anchor.fm/myteachingmatters/message

Melvyn Bragg and guests discuss William Shakespeare's famous tragedy, written in the early 1590s after a series of histories and comedies. His audience already knew the story of the feuding Capulets and Montagues in Verona and the fate of the young lovers from their rival houses, but not how Shakespeare would tell it and, with his poetry and plotting, he created a work so powerful and timeless that his play has shaped the way we talk of love, especially young love, ever since. The image above is of Mrs Patrick Campbell ('Mrs Pat') as Juliet and Johnson Forbes-Robinson as Romeo in a scene from the 1895 production at the Lyceum Theatre, London With Helen Hackett Professor of English Literature at University College London Paul Prescott Professor of English and Theatre at the University of California Merced And Emma Smith Professor of Shakespeare Studies at Hertford College, University of Oxford Producer: Simon Tillotson

Melvyn Bragg and guests discuss William Shakespeare's famous tragedy, written in the early 1590s after a series of histories and comedies. His audience already knew the story of the feuding Capulets and Montagues in Verona and the fate of the young lovers from their rival houses, but not how Shakespeare would tell it and, with his poetry and plotting, he created a work so powerful and timeless that his play has shaped the way we talk of love, especially young love, ever since. The image above is of Mrs Patrick Campbell ('Mrs Pat') as Juliet and Johnson Forbes-Robinson as Romeo in a scene from the 1895 production at the Lyceum Theatre, London With Helen Hackett Professor of English Literature at University College London Paul Prescott Professor of English and Theatre at the University of California Merced And Emma Smith Professor of Shakespeare Studies at Hertford College, University of Oxford Producer: Simon Tillotson

For February we chose three books featuring womanThe Pickwick Murders (A Dickens of a Crime #4)by Heather Redmond Published October 26th 2021 by Kensington Publishing CorporationIn a reimagining of Charles Dickens' classic The Pickwick Papers, Heather Redmond's fourth Victorian-era mystery in the Dickens of a Crime series finds a young Charles tossed into Newgate Prison for a murder he didn't commit, and his fiance Kate Hogarth striving to clear his name...London, January 1836: Just weeks before the release of his first book, Charles is intrigued by an invitation to join the exclusive Lightning Club. But his initiation in a basement maze takes a wicked turn when he stumbles upon the corpse of Samuel Pickwick, the club's president. With the victim's blood literally on his hands, Charles is locked away in notorious Newgate Prison.Now it's up to Kate to keep her framed fianc� from the hangman's noose. To solve this labyrinthine mystery, she is forced to puzzle her way through a fiendish series of baffling riddles sent to her in anonymous poison pen letters. With the help of family and friends, she must keep her wits about her to corner the real killer--before time runs out and Charles Dickens meets a dead end...The Wife Upstairsby Freida McFadden Published March 23rd 2020 by Hollywood Upstairs PressVictoria Barnett has it all.A great career. A handsome and loving husband. A beautiful home in the suburbs and a plan to fill it with children. Life is perfect—or so it seems.Then she's in a terrible accident… and everything falls apart.Now Victoria is unable to walk. She can't feed or dress herself. She can't even speak. She is confined to the top floor of her house with twenty-four-hour care.Sylvia Robinson is hired by Victoria's husband to help care for her. But it turns out Victoria isn't as impaired as Sylvia was led to believe. There's a story Victoria desperately wants to tell... if only she could get out the words.Then Sylvia discovers Victoria's diary hidden away in a drawer.And what's inside is shocking.The Mystery of the Sorrowful Maiden (A Laetitia Rodd Mystery #3)by Kate SaundersPublished December 7th 2021 by Bloomsbury PublishingFrom internationally bestselling author Kate Saunders, a delightful new cozy mystery that finds detective Laetitia Rodd entangled in the shocking world of the Victorian theater.In the spring of 1853, private detective Laetitia Rodd receives a delicate request from a retired actor, whose days on the stage were ended by a theater fire ten years before. His great friend, and the man he rescued from the fire, Thomas Transome, has decided to leave his wife, who now needs assistance in securing a worthy settlement. Though Mrs. Rodd is reluctant to get involved with the scandalous world of the theater, she cannot turn away the woman in need. She agrees to take the case.But what starts out as a simple matter of negotiation becomes complicated when a body is discovered in the burnt husk of the old theater. Soon Mrs. Rodd finds herself embroiled in family politics, rivalries that put the Capulets and Montagues to shame, and betrayals on a Shakespearean scale. Mrs. Rodd will need all her investigatory powers, not to mention her famous discretion, to solve the case before tragedy strikes once more.For readers of the Grantchester Mysteries, The Mystery of the Sorrowful Maiden is the charming third mystery in Kate Saunder's series about Laetitia Rodd, the indomitable lady detective.

"Make of our vows one last vow. Only death can part us now." Die Montagues und die Capulets sind die Jets und die Sharks. Tybalt und Mercutio sind Riff und Bernardo. Romeo und Julia sind Tony und Maria. Heute geht es um die moderne Shakespeare Musical-Adaption West Side Story. Ein absolutes Broadway-Urgestein, das uns auch heute noch begeistert und berührt. Eine Tragödie, die aus Hass geboren und mit viel zauberhafter Musik durchsetzt ist. Anders als der zur damaligen Zeit etablierte Glitzer, Glam und Showbiz besticht das Werk von Bernstein und Sondheim vor allem durch seinen Realismus, der es so wirken lässt, als könne die Story noch heute einen Block weiter genauso stattfinden. Filmvergleich 1961 und 2021 Cher - West Side Story Original Broadway Cast Recording

Title Nerds hosts Mike O'Donnell and Bethany Abele welcome title insurance industry professional Sam Shiel to the podcast for Episode Six.  Sam Shiel of Madison Title Agency has a conversation with Mike about his early interest in title insurance and how he got started in the industry, and what is required of a title agent.  Sam explains what it really means to be an independent nationwide title agent, as well as differences in markets, and then talks about the services beyond title searches and issuances of policies that may be provided by some title agents.  The conversation also moves into how good title agents safeguard against wire fraud, the evolution of the title industry and what may be coming in the future.  Of great interest to our listeners is that it was determined during the episode that a prescriptive easement was at the heart of the feud between the Capulets and Montagues in the Romeo and Juliet tragedy! Taking that theme, Bethany then speaks with Riker Danzig attorney Desiree McDonald about a recent prescriptive easement case decided by the Colorado Supreme Court.  In Lo Viento Blanco, LLC v. Woodbridge Condo. Ass'n, Inc., 489 P.3d 735 (Colo. 2021), L.R. Foy Construction ("Foy Construction") conveyed a large parcel of land with condominiums to the Woodbridge Condominium Association, but did not convey a smaller parcel of land that sat between the conveyed parcel and a gravel road. Woodbridge then used this smaller parcel of land over a period of decades for different purposes and maintained it, and, in 1991, offered Foy Construction $10,000 for the smaller parcel. Without replying to Woodbridge, Foy Construction subsequently sold the disputed parcel in 2010 to Lo Viento Blanco LLC, who presented Woodbridge with a plan to build on the disputed parcel. Woodbridge objected and filed suit to establish that it owned the disputed parcel or, in the alternative, that it had acquired a prescriptive easement over it. The Colorado Supreme Court agreed with the Court of Appeals, noting that a prescriptive easement claimant that shows that it has possessed the easement for more than the statutory period is entitled to a presumption of adverse use.

Discussion Episode:  Sharks vs Jets Steven Spielberg’s adaptation of West Side Story comes to America this weekend.  We decide to show how little Dave knows about West Side Story and Romeo & Juliet, and how much we both know about … Read More →

In fair Verona is where we set our scene... with the legend that is Comedian Zoe Coombs Marr!"Romeo and Juliet" is a really old story about really young love, written by William Shakespeare (ALLEGEDLY!)The movie we watched is a 1996 action/romance directed by Baz Luhrmann.The Montagues and the Capulets hate each other. They fight lots like the gangs in "West Side Story" except without the songs and the dancing and the white washing... although there is a bit of white washing in this film. When Romeo (a Montague) and Juliet (a Capulet) fall in love with each other. Together they have sex and tell each other how they feel a lot. Their romance hits a bit of a roadblock when their mates start killing each other. John Leguizamo plays Tybalt, Juliet's cousin. He hates Romeo so much. He wears low cut pants and a cool vest. He's vindictive and hot. See acast.com/privacy for privacy and opt-out information.

O Romeo, Romeo! Wherefore art thou Romeo? Parting is such sweet sorrow…but we are BACK on Leo's birthday with William Shakespeare's Romeo + Juliet (1996) directed by Baz Luhrmann. Join us and our special guest Millie Jones on a romantic journey, from spectacular costumes to real-life storms and shocking sudden deaths, as we explore the life of the Capulets and the Montagues.

Continuing with our exploration of Romeo & Juliet, we come to Act 1: Scene 1... yes, OK, we jumped around a bit, but don't judge. After the prologue we get a taste of what life in the streets of Verona has been like during the famous feud between the Capulets and the Montagues. It ain't good. We meet Samson and Gregory, a couple of dick-swinging bravos, who quickly cower when a pack of Montagues shows up in the piazza. A brawl breaks out and that's just the beginning. Want to know more? Connect with us on our website: https://fckshakespeare.com Follow us on Instagram: https://www.instagram.com/fckshakespeare/ Tweet at us if you must: @fckshakespod Join our Facebook group: https://www.facebook.com/groups/fshakespeare And if you are inclined to be a patron like Queen Elizabeth, you can support this podcast for as little as 99¢/month. Click the link below! Think of it like throwing money in the virtual hat while we crazy players do our little song and dance here. We thank you! (imagine us bowing now) After Romeo & Juliet we will tackle Hamlet! Have a particular question?? DM us or email us: fckshakespeare69@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fckshakespeare/support

This week Macie talks about The Chicago Tylenol murders, a series of poisoning deaths resulting from drug tampering in the Chicago area in 1982. The victims had all taken Tylenol capsules that had been laced with potassium cyanide. A total of seven people died in the original poisonings, and several more deaths came from copycat crimes. This crime is currently unsolved. Then Naomi dives into botulism following her foray into canning and subsequent fear of unintentionally killing people. Botulism is a rare and potentially fatal illness caused by a toxin produced by the bacterium Clostridium botulinum. Beware of the canned meat. Do you know what SPAM stands for? Until next time...thank you for listening to our independent podcast.     

Welcome to listen and learn with Your Favourite Teacher! In the 3rd podcast in our Romeo and Juliet series, Miss Meeks talks you though the Capulets and the Montagues and Minor Characters in William Shakespeare's Romeo and Juliet. If you've enjoyed this taster series and want more resources, tailor made to help you ace your English Literature, Language, Maths and Science GCSEs, head to www.yourfavouriteteacher.com/home-learning/ and sign up for a free trial!

Es ist das passiert, was irgendwann in dieser Saison passieren musste. Im Kampf um P1 sind Hamilton und Verstappen aneinander geraten und Verstappen ist bei Topspeed in die Barrikade gekracht - zum Glück geht es ihm gut aber jetzt haben wir ein 2 geteiltes Fanlager. Die Hamiltons und die Verstappens, so wie einst bei Romeo und Julia die Montagues und Capulets. Fix ist, ist ist wohl die kontroverseste Szene der aktuellen Formel 1 Saison, über die zur Zeit diskutiert wird. Und das tun wir natürlich auch. Außerdem haben wir uns den SPRINT ganz genau angesehen und hätten da ein paar kreative Ideen, wie die FIA das ganze "Ding" noch etwas aufmotzen könnte. Wir finden, das soll bereits in Monza genau so umgesetzt werden. Wir helfen der FIA natürlich gerne bei der Umsetzung. Und liebes Williams Team: Für euch würden wir für 1 Woche unseren Podcast in WEMula 1 umbenennen. Warum? Das hört ihr in dieser Episode In dieser Episode zu Gast: - Sara Cabitza (Aerodynamicist bei Alpine) Website: www.femula1.at Instagram: www.instagram.com/femula_1...

Es ist das passiert, was irgendwann in dieser Saison passieren musste. Im Kampf um P1 sind Hamilton und Verstappen aneinander geraten und Verstappen ist bei Topspeed in die Barrikade gekracht - zum Glück geht es ihm gut aber jetzt haben wir ein 2 geteiltes Fanlager. Die Hamiltons und die Verstappens, so wie einst bei Romeo und Julia die Montagues und Capulets. Fix ist, ist ist wohl die kontroverseste Szene der aktuellen Formel 1 Saison, über die zur Zeit diskutiert wird. Und das tun wir natürlich auch. Außerdem haben wir uns den SPRINT ganz genau angesehen und hätten da ein paar kreative Ideen, wie die FIA das ganze "Ding" noch etwas aufmotzen könnte. Wir finden, das soll bereits in Monza genau so umgesetzt werden. Wir helfen der FIA natürlich gerne bei der Umsetzung. Und liebes Williams Team: Für euch würden wir für 1 Woche unseren Podcast in WEMula 1 umbenennen. Warum? Das hört ihr in dieser Episode In dieser Episode zu Gast: - Sara Cabitza (Aerodynamicist bei Alpine) Website: www.femula1.at Instagram: www.instagram.com/femula_1

Es ist das passiert, was irgendwann in dieser Saison passieren musste. Im Kampf um P1 sind Hamilton und Verstappen aneinander geraten und Verstappen ist bei Topspeed in die Barrikade gekracht - zum Glück geht es ihm gut aber jetzt haben wir ein 2 geteiltes Fanlager. Die Hamiltons und die Verstappens, so wie einst bei Romeo und Julia die Montagues und Capulets. Fix ist, ist ist wohl die kontroverseste Szene der aktuellen Formel 1 Saison, über die zur Zeit diskutiert wird. Und das tun wir natürlich auch. Außerdem haben wir uns den SPRINT ganz genau angesehen und hätten da ein paar kreative Ideen, wie die FIA das ganze "Ding" noch etwas aufmotzen könnte. Wir finden, das soll bereits in Monza genau so umgesetzt werden. Wir helfen der FIA natürlich gerne bei der Umsetzung. Und liebes Williams Team: Für euch würden wir für 1 Woche unseren Podcast in WEMula 1 umbenennen. Warum? Das hört ihr in dieser Episode In dieser Episode zu Gast: - Sara Cabitza (Aerodynamicist bei Alpine) Website: www.femula1.at Instagram: www.instagram.com/femula_1...

Noah Berry is BACK, and he's even more powerful than we expected. Please. Send help. After a rousing session of who Noah would f*ck, marry, kill, and open a business with between the boys, the quintet dive into an improv game to uncover the true reason of why Hunter's pinkie was in a splint this day. What transpires is an epic ballad of Hunter, the wiffleball bat-wielding warrior who fought bravely against Barney the dinosaur (though in actuality, he dislocated it playing basketball during a game of Horse. Gotta keep him humble.) The Weekly Prompt comes to us from Reddit user MrJuic3: One day you wake up with 30 dollars and a note that says “For Rent”. The thing is you aren't renting out the place. The next day you see a spider and right before you kill it you hear it say, “Please I paid my rent don't kill me.” With Noah and Hunter as the resident arachnophobes, the discussion spirals into a tale of a landlord's nonstop escapades with his 8-legged tenant. A Noah visit entails a SpongeBob fanfiction as a guaranteed feature of the episode, to which Rhys delivers us We're All Okay by author Scientia_Fantasia. Taking on a more emotional tone, this story explores a touching moment of understanding from Squidward as he attempts to comfort a traumatized SpongeBob after the harrowing events of SpongeBob Squarepants: the Musical. Awakening a genuine compassion and vulnerability from the cynical cephalopod, this story embraces redemption in a heartwarming way as the boys deep dive into plenty of sentimentality (as well as theory crafting the origin story of Mr.Krabs along the way). Wes follows suit with a truly unique fanfiction. Insurance Insurgence by Pi_Cloud merges the commercial world of Home & Auto Insurance agencies— namely State Farm and Progressive— paralleled to the Montagues and Capulets in the bloody tale of Romeo and Juliet. Seriously. This one is special, and no blog description can do it proper justice. So listen to the damn episode already!!!

Join Bill as he takes us on a journey through the emotionally charged streets of Verona, Italy in William Shakespeare's Romeo and Juliet.We'll discover how the play is filled with morons, why one characters could very well have ended up with clammy hands, whether or not the Montagues and the Capulets ended up in purgatory, and that there may be some echoes of a frightfully boozy Irish queen in the script.During each episode Bill will invite you to draw along and give us your interpretation of the idioms we find in Shakespeare's works. Please share your drawings with us using the hashtag #BardwithBill.-----Additional Reading and corrections- The female role with the most lines in Shakespeare's plays is actually Rosalind, Cleopatra is second, Imogen third, Portia fourth and Juliet fifth.- Dante's Purgatorio is from Canto VII is available to read for free online. - The tales of Queen Medb can be found in the Ulster Cycle of Irish Mythology.

West Side Story had Sharks and Jets. Romeo and Juliet had Montagues and Capulets. In Bible times, there were Jews and Samaritans – hated enemies. Pastor Johnny shares today how Jesus' parable of the Good Samaritan depicts compassion from someone who was an archenemy. The Samaritan's compassion led to action and his example has greater meaning for you personally than what might appear on the pages of this passage. Jesus is the Good Samaritan and He has compassion on you!

Rebem el tenor Saimir Pirgu per parlar del "Rom

Rebem el tenor Saimir Pirgu per parlar del "Rom