Podcasts about montagues

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.

As an English teacher. Shakespeare has been in my lesson plans for years. I could teach the bard with my eyes closed. But what if we could reimagine one of the most classic plays in a new light, and take the famous couplet 'for never was there a story of more woe than this of Juliet and her Romeo', and flip it on its end. For never was a story of more whimsy than this. Of the Montagues and their daughter Rosie.

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.

Join the Reading With Your Kids Podcast at the Chicago Toy & Game Fair - November 9 & 10. Use the promo code READ at checck out to save big on tickets! Hey there, fellow book lovers! In this jam-packed episode of Reading with Your Kids, we had the pleasure of chatting with some amazing authors who are shaking up the KidLit  world. First up, we met Brad and Kristy Montague, the creative minds behind the delightful book "Failabration." This book was inspired by a real-life party the Montagues hosted, where successful people shared their stories of failure. As Brad and Kristy explained, failure is a crucial part of growth and learning, and they wanted to create a safe space for people to embrace their missteps. Their infectious enthusiasm for celebrating imperfection is sure to inspire kids and parents alike. Next, we welcomed sisters Raegan Kelly and Brittany Stroever, the authors of the "Behavior Savior" series. These clever siisters came up with the idea for their books after using a creepy elf to encourage  good behavior. While some parents may be hesitant about scaring kids, Raegan and Brittany assured us that their approach is all about fostering a positive, supportive environment where children can learn from their mistakes. And speaking of young authors, we had the absolute pleasure of chatting with 7-year-old Geneva Grodin, grand daughter of legendary Hollywood actor Charles grodin, who wrote her very own "Jokey Joke Book." Inspired by her author grandmother, Geneva has compiled a delightful collection of jokes, both classic and original. Her infectious enthusiasm and creativity are a true testament to the power of nurturing young writers. Throughout the episode, we explored the importance of failure, the value of individualized approaches to parenting and education, and the joy of sharing stories and laughter. Whether you're a parent, educator, or just a lover of great books, this episode is sure to leave you feeling inspired and ready to embrace the messy, wonderful journey of growth and learning. Click here to visit our website – www.ReadingWithYourKids.com Follow Us On Social Media Facebook - https://www.facebook.com/readingwithyourkids Instagram - https://www.instagram.com/readingwithyourkids/ X - https://x.com/jedliemagic LinkedIn - https://www.linkedin.com/company/reading-with-your-kids-podcast/ Please consider leaving a review of this episode and the podcast on whatever app you are listening on, it really helps!

2+ Hours of ComedyFirst a look at this day in History.Then The Stan Freberg Show, originally broadcast July 28, 1957, 67 years ago, Miss Universe Contest.  Freberg interviews a woman who was excluded from the Miss Universe Contest - Miss Jupiter!Followed by The Magnificent Montague starring Monty Woolley, originally broadcast July 28, 1951, 73 years ago, Gwendoline Visits.  Gwendolyn, the little monster from next door, is staying with the Montagues for a week!Then A Date with Judy starring Dellie Ellis, originally broadcast July 28, 1942, 82 years ago, Moving Day.  A long-distance phone call. Judy's mother is out of town...Judy's father is planning to move. Judy plans to start moving tomorrow!Followed by The Abbott and Costello Show, originally broadcast July 28, 1948, 76 years ago, Lou Learns to Swim.  Lou is suffering from insomnia. Bud suggests the Lou should propose to Susan Miller. Lou decides to became a lifeguard, buys a bathing suit and takes swimming lessons. Finally Superman, originally broadcast July 28, 1941, 83 years ago,  Dr. Roebling and The Voice Machine.  Dr. Roebling collapses on the train. Clark Kent meets the beautiful daughter of Dr. Roebling. A half-hour later...they both disappear!Thanks to Richard for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCivil defense info mentioned on the show can be found here: http://www.civildefensemuseum.com/docs.html

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

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

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

Sergej Prokofiev (1891 - 1953) - Romeo and Juliet, Op. 64 - Excerpts from Orchestral suites No. 1, 21. Montagues and Capulets2. Juliet as a Young Girl3. Masks4. Romeo and Juliet Before Parting5. Dance of the Girls with Lilies6. Romeo at Juliet's Grave7. Death of TybaltStuttgart Radio Symphony OrchestraSergiu Celibidache

Theater maker Grant Sorenson of Minneapolis is excited about the return of a unique theater project being staged at Norway House in Minneapolis.Local creative Kurt Engh adapted the Norwegian author Erlend Loe's cult novel “Naïve. Super” into a one-person play where — here's the twist — the show will be performed by a different actor each night.The play is about a 25-year-old who one day realizes they aren't happy with their life. Through a series of small changes and discoveries, they piece their life back together into something they can enjoy.The actors include seasoned veterans and emerging talents. Sorenson, who saw the original pre-pandemic iteration of the show, is fascinated by the ways the play could shift nightly.As to the challenges of directing and performing a show with a shifting cast, Sorenson says “the show is built to support the performer. The script is available to them in a binder, but then also in books, in lists, in projections that happen throughout the space. Part of the fun is sort of seeing where the actor finds the text of the play.”“Naïve. Super” is 90 minutes without intermission. It runs Friday through Sept. 17.Art enthusiast Florence Brammer of West St. Paul has been attending Mixed Precipitation's traveling outdoor operas for 15 years, having never missed a season. The company's Pickup Truck Opera series offers inventive takes on famous operas, abridged and performed across the state at parks, vineyards, nature centers, and other beautiful spaces.There's still time to see this season's production of “Romeo and Juliet,” adapted and updated for modern times from Vincenzo Bellini's 1830 opera, I Capuleti e i Montecchi (The Capulets and the Montagues). In Mixed Precipitation's signature style, they combine opera sung in bel canto style with pop songs — in this case, works by such “star-crossed” bands as the Fugees, Fleetwood Mac, and the Pixies. Performances are Saturday and Sunday at 2 p.m. at Alexis Bailly Vineyard in Hastings. Other dates and locations include Sept. 8 at Dodge Nature Center in West St. Paul, Sept 9 at Swede Hollow Park in St. Paul, and Sept. 10 at JD Rivers' Children's Garden in Minneapolis. Editor's note: The show was adapted by MPR's Denzel Belin, who was not involved with this episode of Art Hounds. 

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

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.

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

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

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...

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”

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! 

Whispers haunt the walls and treachery darkens the shadows in this captivating historical novel for listeners of C. J. Sansom, Andrew Taylor's Ashes of London and Kate Mosse. Winter, 1607. A man is struck down in the grounds of Battle Abbey, Sussex. Before dawn breaks, he is dead. Home to the Montagues, Battle has caught the paranoid eye of King James. The Catholic household is rumoured to shelter those loyal to the Pope, disguising them as servants within the abbey walls. And the last man sent to expose them was silenced before his report could reach London. Daniel Pursglove is summoned to infiltrate Battle and find proof of treachery. He soon discovers that nearly everyone at the abbey has something to hide—for deeds far more dangerous than religious dissent. But one lone figure he senses only in the shadows, carefully concealed from the world. Could the notorious traitor Spero Pettingar finally be close at hand? As more bodies are unearthed, Daniel determines to catch the culprit. But how do you unmask a killer when nobody is who they seem?

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?

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.

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.

Inseratenkorruption & Staatsaffäre: Was ist los im Nachbarland? Ist das "System Kurz" mit dem Kanzler-Rücktritt am Ende? Wir sprechen mit Schriftsteller Elias Hirschl über seinen Schlüsselroman "Salonfähig", ein Psychogramm der "Generation Slim Fit" / Und außerdem: James Mollisos Fotoarbeiten zu Schlafplätzen von Kindern weltweit im Edwin-Scharff-Museum Neu-Ulm und die Premierenkritik zu Bellinis Oper "Die Capulets und die Montagues" am Mainfrankentheater Würzburg.

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

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...

In the 1950s when Shakespeare's Romeo and Juliet was adapted into West Side Story, popular culture in the US resonated with the gang culture and street fighting depicted on stage because the brass knuckled “rumbles” taking place on streets like those in New York City were current events of the day. Turns out, historically, these gang fights were a real issue for Shakespeare's lifetime as well, and scenes like Mercutio and Romeo fighting in the streets of Verona, the mob that goes after Cinna the Poet in Shakespeare's Julius Caesar, and the tavern brawls that break out in several scenes across Shakespeare's works would have been viewed by Shakespeare's 16th century audience as a reflection of their current events and realities of life on the streets of Elizabethan London. Here this week to help us explore the 16th century history, current events, street fights and even gangs that were present during Shakespeare's lifetime as he wrote about the Capulets and Montagues being “warring families” duking it out in the streets of Verona, is our guest and expert in Elizabethan street crime and one of the Washington, DC, area's most sought-after fight coaches for stage plays, Casey Kaleba.

What is love? Baby, don't hurt me. This week our hosts dive into Romantic Horror with a look at 1993's Return of the Living Dead III, Brian Yuzna's stab at Romeo and Juliet if zombies were the Montagues and the military were the Capulets. It also features a stunning performance by Melinda Clarke, who would later go on to be the formidable Julie Cooper on The O.C. Check out the full episode details

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!!!

In this episode Greg and Patrick attempt to resolve long festering relationship issues that arise between the multilevel modeling and structural equation modeling approaches to growth curve analysis. Along the way they also discuss first dates, Jets and Sharks, Cubs and Cardinals, Montagues and Capulets, Tsingtao Beer, Thunderdome, stupid LISREL tricks, pressure math, dirty secrets, selfishness, and National Haiku Day.

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.

This episode is part of the Movie Marathoners Sundance 5K Series, a series of short episodes spotlighting films from the 2021 Sundance Film Festival. In this episode, Gabriela Burgos from the Film Posers Podcast joins to review the modern retelling of Romeo and Juliet, "R#J." We discuss how the film's decision to be told entirely through phone screens hurts and helps the story of the Montagues and the Capulets. Tune in to hear if this Shakespearian adaptation is right for you! If you would like to leave a comment or a suggestion on how to improve the podcast, email us at moviemarathonerspod@gmail.com. Check us out at https://evergreenpodcasts.com/movie-marathoners, a proud member of the Evergreen Podcast Network. We are also on iTunes, Google Play, Stitcher Radio, Spotify, Overcast, Himalaya, and Castbox. Follow us on Twitter @moviemarapod. Follow Gabriela on Twitter @gaby_burgos27 and Film Posers @filmposers. Like us on Facebook to stay updated on when we release new episodes.  Opening music, "Werq" created by Kevin McLeod. Find more of his work at incompetech.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Latest episode! In this 33rd episode, We continue the MCU in chronological order breaking down the 13th movie in it’s chronological order Age of ultronn Checkout my website: brauliosshow.podbean.comFollow me on instagram: https://www.instagram.com/braulio_show/Follow me on Twitter: https://twitter.com/braulioshow1Send me your emails: brauliosshow@gmail.com Follow Morgan:Twitter: https://twitter.com/morganlbrooksInstagram: https://instagram.com/morganl_brooksTwitch: https://twitch.tv/hiddentimelordTiktok: https://vm.tiktok.com/ZMJkKUsksFull Show Notes Movie News & Rumors -Early reviews for WandaVision are extremely positive calling it - “Delightfully trippy & Brilliant”Kevin Feige tells collider.com that Deadpool 3 will be rated R and will be part of the MCU, Ryan Reynolds is overseeing the scriptWandaVision was almost dropped all at once, but Marvel and Disney decided to drop it as weekly episodesKeving Feige confirms to deadline.com that you never know if the Netflix Marvel character might show up as MCU charactersKevin Feige confirms show’s lengh for Loki and She-Hulk, Loki will be 6, 40 minute episodes, She-Hulk will be 10, 30 minute episodesJessica Jones actress Krysten Ritter rumored to appear in She-HulkKevin Feige confirms to collider.com that Secret Invasion makes more sense as a show rather than a movie as it ads more room to play around with characters and storiesKevin Feige confirms to comicbook.com that Spiderman 3 will not be called Spiderman 3, hints at the multiverse  Main Show Discussion - MCU Chronological release movie 13th, Avengers: Age of Ultro. Directed by Joss Whedon. Main notes: introduction of Wanda & Pietro Maximoff, first mention of Wakanda, introduction of Vision, introduction to Hawkeyes family  Older Movie - Movie: Romeo + Juliet 1996Starting: Leonardo Dicaprio - Romeo, Claire Danes - Juliet, John Leguizamo - Tybalt, Harold Perrineau - MercutioIMDB summary: 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".

This week, we tried something a little different—recording a live interstitial episode! We’re talking about Jen’s formative queen, Julie Garwood, and we dig into dialogue, alphas who are instantly gone for their heroines, heroines who tame wild animals, arranged marriages between children, and why every Garwood historical feels medieval whether or not it actually is. We recorded this episode live during a Fated States postcard-writing party to get out the vote for the January 5th runoff election in Georgia. If you’re a Georgia voter, please vote for Jon Ossoff and Reverend Raphael Warnock, and let’s finish what we started with the blue wave! If you’re up for it, please consider joining us for a phonebanking session on the evening of January 4th!Next week, in advance of the launch of the Bridgerton series on Netflix (coming December 25th!), we’re reading Sarah’s favorite Julia Quinn novel, The Secret Diaries of Miss Miranda Cheever. Get it at Amazon, B&N, Kobo, Apple or at your local indie via bookshop.org.Show NotesFated States is gearing up to phone bank on the evening of Jan 4 from 5-7 central time. Join us if you can! In Sarah’s OSRBC facebook group, there’s a longstanding search for a book where two people are on a beach and a wave throws them together, and then “oops they’re boning.” A few folks have suggested that maybe it was Pirate by Fabio. So check it out. His co-writer (a ghost writer is when they are unnamed) is Eugenia Rielly. A teenage horror/romance that both Jen and Kelly loved was called The Ghosts of Departure Point. Probably came from the Scholastic Book Club, if we’re being honest. In case you’re wondering, the copyright page will tell you if you’re holding a first printing or first edition. Here’s a bunch of people talking about why the edges of paperbacks were dyed. RT Book Reviews and the RT conference once had Julie Garwood and Jude Deveraux on stage at the same time, and YouTube has the video! When Coronavirus is over, I highly recommend going to KissCon. Nora Roberts is our Queen and last week a poor unfortunate soul named Debra learned that the hard way. Obviously, Luke grew up on Tatooine. Hoth was that ice planet place, which is why the women in the Ice Planet Barbarians series call their new home Not-Hoth. We’d be interested in hearing your interpretation of The Bechdel Test. Jen thinks the women can still talk about men AS LONG AS they also talk about other stuff, but Sarah thought it required no discussion of men at all which is pretty tough to find in romance. FWIW, Jen mentioned it in regards to The Bride because Jamie is so isolated and largely without women friends. We like prologues and epilogues here at Fated Mates, but we understand not everyone agrees. The feud between the families in The Gift is “like the Montagues and the Capulets, but worse.” Speaking of which, Kate Clayborn’s upcoming book, Love At First, is an homage to Romeo and Juliet.This isn't exactly about the life expectancy in Scotland was in 1100, but it's close enough. Vanessa Riley’s site has a great explainer about Black people during the Regency on her site. We talked about the Carribean in the Regency when we read Gentle Rogue.It wasn't a "rip off" of Home Alone, it was just an allusion. Similarly, Nathan's whip reminded Sarah of Indiana Jones.Are these books on audio? Why yes they are and Jen listened to The Bride in between recording and release of the episode and greatly enjoyed it. Boats vs ships.Next week, we're reading The Secret Diaries of Miss Miranda Cheever by Julia Quinn

This is the second half of my conversation with Ty Clevenger and Reagan McClenny; please check out the first part if you have not done so already. We covered the topic of tolerance in the first part; here we turn to the war climate in our country that is quickly and perhaps inevitably coming to a boil, much like it did a century and a half ago. We will also discuss the downside to a win-at-all-costs mentality, whether it is in board games or in life. Keep up with Ty's work at www.lawflog.com.Listen to Reagan's sermons and subscribe to the congregational podcast at www.timberlandchurch.org.Check out the YouTube version of the podcast for extra footage, including a guest appearance from Ty's son, Ethan. Some of the background noise will make more sense if you do!

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!

The Potomac equivalent of the Capulets and the Montagues rewrite golfing history in their own image this week. Key takeaways: if you don't have at least one woman named Donzella in your friendship group, you're not hustling hard enough - oh, and if you're going to host a gala in your living room you should at least not name it after an orgasm shot. Follow Faith: @faithh_elisabeth / www.FaithRichardson.co.uk Follow Lou: @louisagrogers / www.LouisaRogers.net Follow Bravo & The Brits: @BravoAndTheBrits

These are not Shakespeare’s Montagues and Capulets! Based on the original medieval Italian source material, Bellini’s take on the star-crossed lovers portrays Romeo as a young man who knows his mind and leads an army. Juliet loves Romeo deeply, but must contend with both external and internal impediments to realizing any happiness with her beloved. Join us for the soaring Bel Canto version of the famous tale of lovers from rival clans.

"From fairest creatures we desire increase...." Hello, friends! This is the first in my Sonnet Sessions. You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can subscribe to the podcast at iTunes, Stitcher, Soundcloud, or download direct from Libsyn. William Shakespeare, Sonnet I FROM fairest creatures we desire increase, That,  thereby,  beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed'st thy light's flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. Thou that art now the world's fresh ornament And only herald to the gaudy spring, Within thine own bud buriest thy content And, tender churl, makest waste in niggarding. Pity the world, or else this glutton be, To eat the world's due, by the grave and thee. Music clips: Sergei Prokofiev, “Montagues and Capulets”, from Romeo and Juliet (ballet), 1935 Ralph Vaughan Williams, "Fantasia on Greensleeves", from Sir John in Love, opera adapted from William Shakespeare's The Merry Wives of Windsor, 1928 (Philadelphia Orchestra, Eugene Ormandy) Nino Rota, "Sarabande" from soundtrack to Zeffirelli’s “The Taming of the Shrew”, 1967 (Columbia Picutres, US / Italy) orchestra conducted by Carlo Savina

Punk Aristocrats Radio 1 presents: International Trendsetters bringing you new music from bands kicking ass and causing a scene on all over the world. Pour a pint and turn your volume to 100 with this loud new rock n' roll show hosted by Jason Hollis. This week new music from Sports Team, MOSES, The Magic Gang, Saint Motel, The Montagues, Deap Lips, The Blue Stones, Louis Berry, Working Men’s Club, BlackWaters, The Voyd, postboy, Parliamo, Hockey Dad and more. ((( VOLUME UP ))) Let's go!!

Hatfields and McCoys. Montagues and Capulets. Sharks and Jets. Throughout history and fiction, these have been some of the greatest rivalries.But now .... we discuss the greatest fight of all time; ZOMBIES VS CHEERLEADERSThat's right, we're talking Z-O-M-B-I-E-S !Join Sam and Arden as they talk about quite possibly the least elegant race allegory in the history of film.Thank you to Solomon Swerling for developing our podcast art, and to Harvey Trisdale for the use of their song "Corners" off their self-titled EP. Harvey Trisdale: https://spoti.fi/35RF9pnSubscribe and tell your friends!Find us on Twitter & IG at: @DisneyPod PlusSam is on Twitter at: @WhoopingKaufSam is on IG at: @WhoopingKauf23Arden is on Twitter & IG at: @ardenjurskis

High School Musical. Just like Romeo and Juliet but the Montagues are the basketball team and the Capulets are the science team. And there isn't any death. Or really any actual plot tension. Or really much romance to speak of. (There's no gay baseball song in Romeo and Juliet which come to think of it really is a shame.) Tune in to listen to us wax lyrical about our School Dayz. 

Our Holiday Countdown celebration continues! Its day two of three and we're back with the Sequel! Soooo..... Ladies and Gentleman, Capulets and Montagues, Boys, girls, inbetweeners! ALL ARE WELCOME! Join us as we celebrate Christmas and Hanukkah as only a wrestling promoter can! Infused with the Sex and Violence! Witness the Beating of Santa Claus by Christians and Jewish peoples alike! A Diva's Egg-Nog Match! the Evil XANTA CLAUS! Tons of TNA! and more Caroling than you'd expect from a bunch of 80s Tough Guys! And don't forget to come back tomorrow for the big release of our BEST HOLIDAY SHOW YET! The Holiday Spectacular 3!

The Hatfields and McCoys. The Capulets and Montagues. Cats and Dogs. Me and Decaf. Employer brand and marketing. These are the feuds that never seem to die. What might be missing from your employer brand is to end the madness and make better friends with the marketing team, not just to access their tools (and budgets), but to move your organization towards one where employer brand and marketing aren't just civil, but integrated. Welcome to the future of the integrated brand.

Introducing the new Sub Rosa Sound Podcast with co-founders Ariel Wang and Margaret Jones. This first episode we introduce ourselves and briefly discuss the current fires in Northern California. Each week we bring you something new - interviews with local musicians, announcements about shows, topics important to the hear and now. Music, Culture (maybe couture), society, sometimes politics, and definitely cats. Follow us on Instagram, Facebook, and Twitter, and send us your favorite podcats! Intro music is "Moontide" by Ariel Wang. Outro music is "Montagues and Catapults" by Ariel Wang. You can find both on her new album "Bridges" available at arielwangmusic.bandcamp.com, Spotify, Apple Music, and more.More about Sub Rosa Sound at https://subrosasound.org, or follow us on social media @subrosasound

Romeo and Juliet – Montagues and Capulets by Snowmass Chapel

“Defer no time, delays have dangerous ends.” — Alençon, Act III, scene ii In episode #13, a quick jaunt through the critical fortunes of Henry VI, Part 1, not an historically beloved play. From the “prequel” question to the plays role as a barometer of Britain’s feelings on nationalism, to just how many times a play can cut Talbot, Joan, or both! Come join me. Listen to episodes at iTunes, Stitcher, Soundcloud, Castbox, or download direct from Libsyn. The Patreon campaign is up and running, with bonus Sonnet episodes! You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. We also have a Spotify playlist, which will be updated as we work through the plays. Key links below. You can also visit the bibliography page here, which is a work in progress. Links mentioned: E.M.W Tillyard and the “Tudor Myth” Key source: Edward Hall, The Union of the Two Noble and Illustre Families of Lancaster and Yorke (1548) Key source: Raphael Holinshed, Chronicles of England, Scotland ,and Ireland (1577) E.K. Chambers, William Shakespeare: A Study of Facts and Problems, 1930 Thomas Nashe, Defence of Plays from “Pierce Penniless” (1592) Emrys Jones, Origins of Shakespeare, 1977 Jonathan Bate, Genius of Shakespeare, 1997 Marjorie Garber, Shakespeare After All, 2004 “Shakespeare And Marlowe: Attributing Henry VI Authorship” – Folger Library Festival of Britain, 1951 Birmingham Rep Theatre: BBC An Age of Kings (1960) Royal Shakespeare Company John Barton and Peter Hall, RSC Wars of the Roses (1963): “The Inheritance” and “Margaret of Anjou” on Youtube Jane Howell, BBC The First Part of Henry the Sixt (1983) at BFI Screenonline English Shakespeare Company: Wars of the Roses (1988) d: Michael Bogdanov Jan Kott (1914-2001), Shakespeare Our Contemporary (1961) – profiled by Michael Billington in The Guardian Edward Hall, Rose Rage (2001), Propeller Theatre Company Shakespeare’s Rugby Wars: Toronto Fringe Festival Michael Boyd, This England (2001) – Royal Shakespeare Company Yushi Odashima, complete translations of Shakespeare into Japanese: at Oxford Reference Bell Shakespeare, Wars of the Roses (2005 – 2008), reviewed by Alison Croggon Benedict Andrews, Wars of the Roses (2010) for Sydney Theatre Company, reviewed by Alison Croggon Globe Theatre: Wars of the Roses Battlefield Performances, review in Telegraph Seattle Shakespeare Company, Bring Down the House (2016), review in Seattle Times Dominic Cooke, Henry VI, BBC Hollow Crown cycle (2016) Audio: Donald Sinden (Plantagenet), RSC Wars of the Roses “The Inheritance” (1965) Music: Sergei Prokofiev, “Montagues and Capulets”, from Romeo and Juliet (ballet), 1935 Armand Broshka, The Sadness of King Henry VI Tchaikovsky, The Maid of Orléans , 1881, Jeanne’s aria performed by Elena Obraztsova Ralph Vaughan Williams, Serenade to Music (1938) from Shakespeare’s Merchant of Venice Giuseppe Verdi, Overture from Giovanna d’Arco (Joan of Arc), 1845 Henry Ley, The Prayer of King Henry VI (c. 1940), The King’s Singers

William Shakespeare's ROMEO & JULIET was nothing more than a prelude to STILL STAR-CROSSED, an epic drama from SHONDALAND - the producers of GREY'S ANATOMY and SCANDAL - about what happened after those ill-fated lovers took their own lives. If you thought the Capulets and Montagues learned a valuable lesson... you were wrong! The fighting only gets worse in STILL STAR-CROSSED, but was this strange, short-lived show CANCELED TOO SOON? Film critics William Bibbiani and Witney Seibold explore the never-ending war in Verona on the latest episode of the podcast! Subscribe on Patreon at www.patreon.com/criticacclaim for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more! And visit our TeePublic page to buy CANCELED TOO SOON shirts, mugs and other exciting merchandise!  Follow us on Twitter at @CanceledCast, "Like" us at Facebook.com/CanceledTooSoon, follow Bibbs at @WilliamBibbiani and follow Witney at @WitneySeibold, and head on over to www.criticallyacclaimed.net for all their podcasts, reviews and more!  Do you have a suggestion for a TV show that was "canceled too soon" (i.e. lasted only one season or less)? You can email us at canceledtoosoon@gmail.com, or you can head over to our Amazon Wish List to send us more exciting one season wonders that we can review on the show! See omnystudio.com/listener for privacy information.

"Awake, awake, English nobility!" In episode #12, we look at Shakespeare's early history play Henry VI, Part 1, which sets the tone for the Wars of the Roses. It's a rip-roaring, Hollywoodised tour of history. Come along to the Gates of Ruin, pick your favourite-coloured rose, and mercilessly mock the French. Why not? Everyone else here is doing it! You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com.The Patreon campaign is up and running, with bonus Sonnet episodes! Links mentioned: The bloody British history that inspired Game of Thrones (iNews) Victoria (2016 TV series) E.M.W Tillyard and the "Tudor Myth" A genealogy of the English monarchs A genealogy of the French monarchs The fleur-de-lis, symbol of the French nobility Key source: Edward Hall, The Union of the Two Noble and Illustre Families of Lancaster and Yorke (1548) Key source: Raphael Holinshed, Chronicles of England, Scotland ,and Ireland (1577) Jeanne d'Arc (Joan of Arc) M.M. Mahood, Playing Bit Parts in Shakespeare's Plays (1998) The Prophet Muhammad was alleged to have trained a dove - see Waleed Aly, People Like Us: How arrogance is dividing Islam and the West, 2007,p. 21 (Google Books) Sybil of Cumae The "Cardinal's Hat" (former brothel, Southwark) The Parliament of Bats (1426) John Barton and Peter Hall, The Wars of the Roses (Wikipedia) Daedalus and Icarus Michelangelo's Pietà  Authorship of the play: At Wikipedia Christopher Marlowe as the new theory (Folger Shakespeare Library, 2017) Audio: Henry VI, Part 1 (LibriVox recording) with John Fricker (Sentinel) and peac (Charles the Dauphin) The First Part of Henry the Sixt (BBC TV, 1983, d: Jane Howell) with Brenda Blethyn (Joan La Pucelle), Paul Chapman (Suffolk), Julia Foster (Margaret), Alex Guard (Young John Talbot), Trevor Peacock (Lord Talbot) Henry VI, Part 1 (Arkangel Shakespeare) with Amanda Root (Joan of Arc), Trevor Martin (Edmund Mortimer), Anthony Jackson (Duke of Exeter), David Yelland (Charles, Dauphin of France), and Company Music: Sergei Prokofiev, "Montagues and Capulets", from Romeo and Juliet (ballet), 1935 Anthony Holborne, Galliard: The Tears of the Muses (c. 1600) William Byrd, The Carman's Whistle (late 16th c.) Tchaikovsky, The Maid of Orléans (excerpts), 1879 Henry Ley, A Prayer of King Henry VI (c. 1940) Patrick Doyle, original soundtrack to Kenneth Branagh's Henry V Paul Mealor, A Prayer of King Henry VI (2013) Giuseppe Verdi, Overture from Giovanna d'Arco (Joan of Arc), 1845  

"From fairest creatures we desire increase...." Hello, friends! This is a bonus episode to give you a taste of my new Patreon campaign. Subscribers to the Patreon can contribute a few dollars to the running of the podcast in exchange for bonus content. I'll be recording Shakespeare's sonnets, with analysis and discussion, and posting them exclusively to Patreon. In the meantime, my standard episodes will always remain free via your favourite podcast app. You can visit the Patreon at: https://www.patreon.com/podshakespeare. And you can listen to this bonus episode, and previous public episodes,   You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can subscribe to the podcast at iTunes, Stitcher, Soundcloud, or download direct from Libsyn. William Shakespeare, Sonnet I FROM fairest creatures we desire increase, That,  thereby,  beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed'st thy light's flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. Thou that art now the world's fresh ornament And only herald to the gaudy spring, Within thine own bud buriest thy content And, tender churl, makest waste in niggarding. Pity the world, or else this glutton be, To eat the world's due, by the grave and thee. Music clips: Sergei Prokofiev, “Montagues and Capulets”, from Romeo and Juliet (ballet), 1935 Ralph Vaughan Williams, "Fantasia on Greensleeves", from Sir John in Love, opera adapted from William Shakespeare's The Merry Wives of Windsor, 1928 (Philadelphia Orchestra, Eugene Ormandy) Nino Rota, "Sarabande" from soundtrack to Zeffirelli’s “The Taming of the Shrew”, 1967 (Columbia Picutres, US / Italy) orchestra conducted by Carlo Savina

I have been natural now for about 5 years, and have not regretted it. Now, even though I have not relaxed my hair, I have been wearing weaves and wigs, instead of my natural hair. Rarely, I am seen without my one or the other pieces on top my head. But, there has been some debat on what is considered natural and what is unacceptable. Let's have discus the pros and cons of being natural.  Natural girls and relaxed hair gals have become the Montagues and Capulets of the hair world. But let’s be clear: having natural hair doesn’t make you a saint and an addiction to the creamy crack doesn’t make you a sinner. Yes, there’s good and bad in giving up the heat, weaves and chemicals for a natural look, but it’s just a personal choice. So, instead of getting ready to go to war, check out 10 pros and cons of going natural.  

"Truly, the tree yields bad fruit." Meet William McGonagall, the worst poet in the English language, and his exquisite Address to Shakespeare. You can listen to the podcast at iTunes, Stitcher, Soundcloud, or download direct from Libsyn. You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can subscribe to our Spotify playlist, which will be updated each week as we work through the plays. And if you enjoy the podcast, please consider leaving a review at the iTunes store; it really does help bring new listeners! The website for the podcast is https://podcastshakespeare.com/. On the website, you can find an evolving bibliography. Links mentioned: McGonagall Online: A one-stop shop for the life and poets of this second Bard" An Address to Shakespeare The Tay Bridge Disaster The real Tay Bridge Disaster chronicled on Wikipedia McGonagall on Twitter Clips: Sergei Prokofiev, "Montagues and Capulets", from Romeo and Juliet (ballet), 1935 Claude Debussy, Prélude #11 - La danse de Puck played by Daniel Barenboim

“The fraud of men was ever so / Since summer first was leafy” — Balthasar’s song, Much Ado About Nothing In episode six, we look at that vexing question of whether or not Will Shakespeare was a complete and utter conman. We’ll follow those who dug up rivers, cracked codes, turned to grave-robbing, or occasionally just wrote really, really long books to find the answer. We’ll hear from Mark Twain, Sigmund Freud, William Wordsworth, and learn some surprising theories as to why Queen Elizabeth I was the Virgin Queen (or was she…?). It’s a journey from the 1560s to our era and back again, and somehow I manage to bring up Golden Girls, England’s greatest treasure hunt, George W. Bush and Dame Agatha Christie! Confused? You still will be after listening, but I hope you’ll enjoy this incredibly long investigation of the madness that is the authorship question. You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can listen to the podcast at iTunes or download direct from Libsyn. We also have a Spotify playlist, which will be updated each week as we work through the plays. The website for the podcast is https://podcastshakespeare.com/. On the website, you will find an evolving bibliography. Contents 00:00 - Introduction / searching for Shakespeare 09:33 - Delia Bacon / candidate Sir Francis Bacon 24:50 - Mark Twain / Ignatius Donnelly, codebreaker 35:05 - Dr. Owen's machine / Mrs. Gallup and Mr. Arensberg 41:45 - J. Thomas Looney / candidate Edward De Vere, Earl of Oxford 1:04:40 - Other candidates / Christopher Marlowe 1:09:35 - Oxford gets another chance / "Anonymous" 1:13:41 - The "Masquerade" connection 1:18:49 - William Shakespeare 1:37:38 - The enduring appeal of theories / My theories 1:47:15 - The "Declaration of Reasonable Doubt" / hail and farewell Links mentioned: Due to the nature of the episode, I have done a separate permanent Authorship page at https://podcastshakespeare.com/further-reading/the-authorship-question/. Some links below. SIR FRANCIS BACON (1561 – 1626) on Wikipedia John Aubrey’s biography and details of his death in Brief Lives (1693) The Francis Bacon Society (“Baconiana”) Supporters of Bacon Delia Salter Bacon (1811 – 1859): at Wikipedia “William Shakespeare and His Plays: An Enquiry Concerning Them” in Putnam’s Monthly Magazine of American literature, science and art, Issue 37, January 1856 The Philosophy of the Plays of Shakespeare Unfolded, 1857 Nina Baym, “Delia Bacon: Hawthorne’s Last Heroine“ Nathaniel Hawthorne, “Recollections of a Gifted Woman” in The Atlantic Monthly, January 1863 Ralph Waldo Emerson, unpublished letter to George P. Putnam regarding Delia Bacon, published by Vivian C. Hopkins in the New England Quarterly, vol 33 no 4, Dec 1960 (JSTOR access required) Catherine E. Beecher, Truth Stranger than Fiction (1850) comments on the Bacon/MacWhorter affair without using names Walt Whitman,“Shakespeare Bacon’s Cipher” Ignatius Donnelly, The Great Cryptogram (1888) Elizabeth Ward Gallup: The Bi-Lateral Cypher (1910) The Tragedy of Anne Boleyn, being a discovery of the ciphered play of Sir Francis Bacon inside the Shakespeare First Folio (1911) [see also, this article on the play at Anne Boleyn Novels] Dr. Orville Ward Owen, Sir Francis Bacon’s Cipher Story (1893-95) Mark Twain, Is Shakespeare Dead? (1909) Henry W. Fisher, Abroad with Mark Twain and Eugene Field, Tales they told to a fellow correspondent, (1922) – see page 49 for Twain and Fisher’s anecdote Queen Elizabeth being a man. Walter Conrad Arensberg: The Cryptography of Shakespeare -(1922) see also The Cryptography of Dante – (1921) EDWARD DE VERE, 17TH EARL OF OXFORD (1550 – 1604) at Wikipedia Poems at Wikisource Family tree and the famous fart anecdote of James Aubrey “Renunciation” poem from Palgrave’s Golden Treasury, ed. Francis T. Palgrave, 1875 Supporters of Oxford John Thomas Looney (1870 – 1944) at Wikipedia The Church of Humanity Shakespeare Identified in Edward De Vere, 17th Earl of Oxford (1920) The De Vere Society of Great Britain The Shakespeare Oxford Fellowship Why I Became an Oxfordian at the “Shakespeare Authorship Sourcebook” Charlton Ogburn: The Mysterious William Shakespeare: The Myth and the Reality (1984) “The Man Who Shakespeare Was Not (and who he was)“, Harvard Magazine, November 1974 Michael Brame and Galina Propova, Shakespeare’s Fingerprints (2002), discussed in Washington University News, January 23, 2003 Percy Allen, Life Story of Edward De Vere (1932) Trailer for Anonymous, directed by Roland Emmerich (2011) GENERAL DOUBT The Declaration of Reasonable Doubt Hester Dowden, the medium who apparently confirmed both Bacon and Oxford had written the plays, at different times – at Wikipedia. WILLIAM SHAKESPEARE (1564 – 1616) The First Folio at the Bodleian online Shakespeare suing for minor debts – at ShakespeareDocumented.org The Shakespeare Authorship Page – a vital resource David Kathman: “Why I Am Not An Oxfordian“, originally published in The Elizabethan Review, at the Shakespeare Authorship Page “Shakespeare’s Eulogies“ at the Shakespeare Authorship Page “Dating the Tempest“ “How We Know That Shakespeare Wrote Shakespeare: The Historical Facts“ with Tom Reedy James Shapiro, Contested Will: Who Wrote Shakespeare? (2010) Irvin Leigh Matus, “The Case for Shakespeare“, The Atlantic, October 1991 Samuel Schoenbaum, Shakespeare’s Lives, 1970 William F. Friedman & Elizebeth Smith Friedman: Wikipedia: He | She The Shakespeare Ciphers Examined, Cambridge, 1957 Ralph Waldo Emerson, Representative Men – chapter 6 “Shakespeare or the Poet” (1850) Terry Ross, “The Code that Failed: Testing a Bacon-Shakespeare Cipher“ at The Shakespeare Authorship Page Don Foster: Elegy for WS, reviewed in The Observer, June 2002 The moot trials of Shakespeare: 1987 trial – at PBS 1987 trial – the New York Times A 1993 trial at the Boston American Bar Association – at PBS Giles Dawson and Laetitia Kennedy-Skipton, The Survival of Manuscripts, from Elizabethan Handwriting, 1500-1650: A Manual, W.W. Norton & Co, 1966 at The Shakespeare Authorship Site Muriel St Clare Byrne, “The Social Background“, in A Companion to Shakespeare Studies, page 190, edited by Harley Granville Barker and G.B Harrison (1934) William Wordsworth, Scorn not the Sonnet (c. 1807) Robert Browning, House (1876) Robert Bell Wheler: Historical Account of the Birth Place of Shakespeare (1806) CHRISTOPHER MARLOWE (1564 – 1593) Marlovian theory of authorship MISCELLANEOUS CANDIDATES Wikipedia’s list of 87 (at July 2018) Robert Frazer, Silent Shakespeare (1915) PDF Gilbert Slater, The Seven Shakespeares (1913) Michaelangelo Florio, aka Crollalanza Roger Manners, Earl of Rutland, in Claud Walter Skyes’ Alias William Shakespeare, Aldor, 1947 Henry Neville, a very peculiar theory – with Tom Veal’s response OTHER LINKS QUOTED Catullus, Poem 5 Kit Williams’ Masquerade John Keats’ Lamia Aeschylus’ Eumenides Clips: Sergei Prokofiev, “Montagues and Capulets”, from Romeo and Juliet (ballet), 1935 Franz Schubert, Im Fruhling, D.882 performed by Barbara Hendricks Gerald Finzi, Love’s Labour’s Lost, op. 28: Dance, Aurora Orchestra conducted by Nicholas Collon Gaetano Donizetti, Overture to Roberto Devereux (feat. God Save the Queen), Royal Philharmonic Orchestra conducted by Sir Charles Mackerras John Dowland, Galliard for the Queen and Robert Dudley Hakan Parkman, “Take, O Take These Lips Away” (Madrigal) from 3 Shakespeare Songs, sung by Singer Pur choir “Bonny Peggy Ramsey” (traditional) performed by Tom Kines on Songs from Shakespeare’s Plays and Popular Songs of Shakespeare’s Time Ambroise Thomas, Hamlet (1868), 1994 recording, London Philharmonic Orchestra conducted by Antonio de Almeida: Thomas Hampson (Hamlet) – singing part of his “Doubt not that I love” letter June Anderson (Ophélie) – Ophélie’s mad scene and death, Act IV

Rebem el tenor Saimir Pirgu per parlar del "Rom

Rebem el tenor Saimir Pirgu per parlar del "Rom

"Thou hadst small Latin and lesse Greek..." In episode five, we explore William Shakespeare's family background, his childhood in Stratford-upon-Avon, and follow him from school to wedlock to the open road. Along the way, we learn what to do in Stratford in the 1500s, how many Annes there were, and why you should never burn historical books just to boil your kettle.   Links mentioned: Giles Fletcher, Licia, Poem 28 The Sweating Sickness Bill Bryson, "Shakespeare: The World as Stage"  Anthony Burgess, "Shakespeare" Peter Levi, "The Life and Times of William Shakespeare" Shakespeare’s birthplace Lady Jane Grey Peter Ackroyd, "Shakespeare " George Peele, "His Golden Locks Time hath to Silver Turn'd" from Polyhymnia Shakespeare's baptism recorded at Stratford Gregorian Calendar The Queen and "Palamon and Arcite" Greer, "Shakespeare's Wife" Stanley Wells on Twitter re: our connection to older eras The school at Stratford Shakespeare's "small Latin and lesse Greek" Stephen Greenblatt, "Will in the World: How Shakespeare Became Shakespeare" Erasmus: 150 ways to say "Thankyou for your letter" in Latin Edmund Spenser, Sonnet 54 Kenilworth Castle, site of Queen Elizabeth's progress Samuel Butler, Erewhon Chidiock Tichborne, Elegy Shakespeare's marriage license Anne Whateley at Wikipedia Anthony Burgess, "Nothing Like the Sun" Robert Nye, "Mrs. Shakespeare: The Complete Works" Commonplace book Don Paterson, "Reading Shakespeare's Sonnets" Sonnet 145 Queen Elizabeth's speech to the troops at Tillsbury   William Beeston, son of Christopher Alexander Houghton's will Duff Cooper, "Sergeant Shakespeare" Shakespeare poaching deer Samuel Schoenbaum, "Shakespeare: A Compact Documentary Life" The 2017 "Will" series The death of William Knell Katherine Duncan-Jones, "Ungentle Shakespeare" The first flush toilet in England Clips: Sergei Prokofiev, "Montagues and Capulets", from Romeo and Juliet (ballet), 1935 John Dowland, Galliard for the Queen and Robert Dudley The Baltimore Consort performing Greensleeves (trad.) Music in the Time of Shakespeare - Teares of the Muses  -  The Earl of Essex Galliard The King's Singers performing Greensleeves William Byrd's The Carman's Whistle The Early Music Consort of London performing: - John Dowland, Flow My Tears (Lachrimae) - Dowland, Michill's Galliard - The Jew's Dance The Choir of New College Oxford performing Thomas Tallis' Spem in alium You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. You can subscribe to the podcast at iTunes, Stitcher, Soundcloud, or download direct from Libsyn. We also have a brand spanking new Spotify playlist, which will be updated each week as we work through the plays. The website for the podcast is https://podcastshakespeare.com/. On the website, you can find an evolving bibliography.

"She sat like Patience on a monument,  smiling at grief." -- Viola, 'Twelfth Night'   Before we kick off the festivities, a quick trip through the backstory of Western theatre, and a look at some of the early playwrights of the Elizabethan era, including Kit Marlowe. You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. The website for the podcast is https://podcastshakespeare.com/. On the website, you can find an evolving bibliography.   Links mentioned: Aristotle, Poetics Kevin Costner, The Postman The playwright Hrosvitha Shakespeare's Way - signposted walk from Stratford-upon-Avon to London Stephen Greenblatt on the "controversial" 2017 Julius Caesar at New York's Public Theatre (The Guardian)   Clips: Sergei Prokofiev, "Montagues and Capulets", from Romeo and Juliet (ballet), 1935 Leonard Bernstein, Intro from West Side Story, 1957 Luciano Michelini, 'Frolic', from Curb Your Enthusiasm, 2000 - present Niamh Cusack as Viola, Twelfth Night Act II scene iv William Walton, Hamlet: A Shakespeare Scenario, 1947 Thomas Adès, The Tempest (after William Shakespeare), Act II scene iv, 2004 Henry Purcell, "Ritornelle" from Dido and Aeneas, Act II, 1689 Giuseppe Verdi, Act I finale from Otello, 1887

"In states unborn and accents yet unknown." - Cassius, Julius Caesar   A brief overview of what's to come on Podcast Shakespeare, and some recommendations for enjoyable listening. You can find me on Facebook, Twitter, or by email at podcastshakespeare@gmail.com. The website for the podcast is https://podcastshakespeare.wordpress.com/.   Links mentioned: Kenneth Branagh as Benedick in Much Ado About Nothing Jane Austen's letter (LV) regarding King John The Complete Arkangel Shakespeare   Clips: Sergei Prokofiev, "Montagues and Capulets", from Romeo and Juliet (ballet), 1935 Henry Purcell / John Weldon, Introduction to The Tempest, or the Enchanted Island, 1667 Blackadder (Rowan Atkinson) meets Shakespeare in Blackadder Back & Forth, 1999 Kym Mazelle, "Young Hearts Run Free", from Baz Luhrmann's Romeo + Juliet, 1996

Welcome Renegade Nation it’s me Naughty Nicole and it’s time for another Renegade Review. And today, we have a double shot for you. Hard as it is to believe we have two new shows both inspired by the Bard himself, William Shakespeare. So today we’re going to be looking at ABC’s Still Star-Crossed and end up the day talking about TNT’s Will. So let’s jump right in and start with Still Star Crossed. Shondaland became a premier source of primetime programming because the production company and its founder, Shonda Rhimes knows a good TV concept when it sees one. A hospital full of super-attractive doctors who all sleep with each other while tackling interesting cases? Check. A Washington fixer who knows how to solve any problem? Check, check. A law professor who drags her five students into a murder case or two? Super Check. Shondaland’s track record is solid that Still Star-Crossed comes as a surprise—and not a good one. Okay, so first things first, I like the bare bones of the show: there’s a good basic premise here and, basically, it should be a slam-dunk. “Should” being the operative word. Let’s start with the positives. We have all talked about how people of color should be in more historical fiction, from books to TV to movies. The big draw Still Star-Crossed has is it’s a show filled with people of color in Shakespeare’s classic story, Romeo and Juliet. Lashana Lynch stars as heroine Rosaline Capulet, who lives with her sister Livia in the home of their uncle Lord Silvestro Capulet and hateful aunt Lady Guiliana Capulet. In an effort to end the violence that increased after the elopement and deaths of Romeo and Juliet, Prince Escalus proclaims Rosaline should marry her blood enemy, Benvolio Montague, the nephew of Lord Damiano Montague. I mean, the cast is attractive enough, and hell it even has Anthony Head, who I absolutely adore. So the basic premise is this… it’s a period drama that picks up where the famous story of Romeo and Juliet leaves off, charting the treachery, palace intrigue, and ill-fated romances of the Montagues and Capulets in the wake of the young lovers’ tragic fate.

May the fourth be with you...it's a good excuse to release a new episode. In this one we ask a lot of questions.We go over the May the 4th bundle sales in the app, and are they good enough to tempt Rhett to update his app and open it? 105K credits for $4.99 is a phenomenal deal, and Rhett is quick to ask why would buy the 300K bundle for $24.99. And quicker still to call them an idiot.What legitimate businesses are depicted in the Star Wars films? Cantina, Jettster's Diner, Watto's shop, the bar where Obi-Wan talks to the death sticks kid...and? Canata's Castle?What local law enforcement is depicted in the Star Wars films? Is Bespin's ships private security? Is Naboo palace guard local law enforcement? Does Constable Zuvio actually appear in The Force Awakens?What was the last line of toys that you worked on collecting as a child?What fast food restaurant brings you shame? That is, the cup from what restaurant do you try to avoid carrying back with you from lunch into your workplace so others won't know that you ate there? This leads to a long discussion of Krystal, and how it may or may not compare and contrast with White Castle.Tommy critiques the missing Star Wars sound effects in the new version of the app, especially compared to the great work that was recently done in the Batter Up game in the Bunt app.Is it actually physically possible to consume as many beers in a day as Wade Boggs has [allegedly] claimed (107)?What's your favorite Prokofiev piece? Rhett's: Battle on the Ice from Alexander Nevsky. Tommy's: Montagues and Capulets from Romeo and Juliet.And the most important question: Have you entered our giveaway contest? Leave us a review on iTunes to enter!

Heyang: Students at Hubei University of Technology have been asked to complete an unusual summer vacation assignment that is to write a confession letter to evaluate your relationship status. The title goes as: "Why are you still single?" So, what's going on?Ryan: Well, let me tell you all about this summer vacation homework. The topic is: "Why you are single" and so basically what the homework request is a personal analysis with 300 words including 5 strengths and 5 weaknesses of yourself inviting someone to start a romantic relationship with you and a love letter with 500 words to your current girlfriend or boyfriend if you have one and on top of all this guys, they are to post it on Weibo when they finish and do like a @your school counselor. This is not a joke but a real summer vacation homework for more than 300 students from Hubei University of Technology. Some students jokingly say that it is absurd calling it really hard for single dogs. It's killing them! Some netizens agree that it is bad others are thinking it's okay. Personally guys for me, this is weird and I think kind of unacceptable for a school project and on top of that shaming yourself, I don't know, I would feel weird putting my information about this specific part of my life on Weibo. Why I'm single?Niu Honglin: Yeah and what I'm trying to say is well by asking the question about why you're single, it feels like its wrong to be single. What's wrong to be single?Ryan: Well putHeyang: That's so weird.Ryan: They use the words: "still single" as if it is a problem.Niu Honglin: It's not nice and also, isn't it kind of a violation of personal privacy? I mean, maybe I choose to. Maybe I didn't find someone that I like, maybe the one pursuing me does not come to certain standards. It has a lot of reasons. You can't just say: Why you're still single? like why you are failing a test？ Why don't you have a job? It's not a nice question.Heyang: It's not a nice question. It feels its naturally discriminating people who are not in a relationship and also for people who are freshmen that just have finished their first year of university and as you migrated into your next year becoming a sophomore, that's an interesting time point to publish this online. There's a few things going on that I think are kind of interesting.Ryan: Well, before we throw her under the bus, let's understand why she, in her opinion assigned this homework assignment. So, basically she came up with the idea during a taxi trip while the driver was complaining that college students nowadays always blame others rather than themselves. Yue thinks this topic is related to students' lives and may help them realize their own problems. Yue was born in the 1980s; all of her students were born after 1995, so they're young. She said the attitudes about love for the two different generations. People of the young generations are more direct. They will speak their love in public or in their dormitory and though this behavior is brave, on the other hand, it's kind of maybe centric on yourself. I will say that I do think the younger generations due to social media and a lot of other things are becoming somewhat narcissistic. They think they're always the victims of certain problems and I attribute this especially to my generation, back in the states. But I think this is a universal thing, maybe you guys can clarify this specifically here in China. But, kids nowadays are quicker to blame others rather than take responsibility which we talk about all the time, people not taking responsibility for themselves. I think we're seeing less and less of that in these newer generations. Niu Honglin: I agree, maybe she meant well. Maybe, she's trying to make university students think about their own strengths and weaknesses but also to remind you, students who have a boyfriend or girlfriend also have to finish the homework but they have to do the article with a theme of: "How did I manage to get a boyfriend or girlfriend?" "What's bad or good I've done in a relationship?" It's kind of like they're the winners of life. They're sharing their experiences. I don't like that attitude. It's like they have this idea that being in a relationship is some kind of winning. I don't think it's a good concept. Ryan: Right. I think this promotes that you should be in a relationship. Why aren't you in one? Your life is incomplete. When I was their age, relationship was the last thing on my mind. I just wanted to have fun with my friends and was living on my own. I was so excited! I mean, granted of course, relationships are always a nice thing but these kids are young and they need the time to be young. To be asking such questions like: "Why are you still single?" I mean A) you're promoting that being single is a bad thing. I don't think that's healthy at all for the mindset and B) they're sharing this with everybody. What if some guys says well, maybe I'm not athletic enough and maybe blah blah blah when he's listing his weaknesses and his peers make fun of him. I don't think this is a good thing to promote. There's no amenity here. These people are posting this personal stuff about them on weibo for everybody to see, right?Heyang: Yeah, so that's the part I cannot agree with. I guard my privacy like I'm guarding the holy land. That's the kind of importance it is for me and in this day and age, I think I'd advise everybody to do that actually. Your personal information getting online means you will not have a chance to get it back to you. So, that's the first thing I want to say and also our Wechat listeners have very personal insights regarding this topic and our Wechat listener Xue has left us a mini essay on this and I think it's really interesting what she says. Xue, I hope this is okay with you but you didn't send us a private message, so I'm assuming it's alright. I'll leave out the parts that I think might be a little bit too sensitive for her. So basically she's saying that in high school, the last year of high school, she was madly in love with this boy and her parents and his parents were like Romeo and Juliet, split them up and said: "No way can you guys have a relationship". You have more important things to do in life and that is the Gao Kao. They listened to parent's advice, broke up, and both of them got to different universities and life is supposed to be better now. But actually she says, she's never managed to find another guy that she really likes in university and now, just in a matter of like two years or so, her parents are pressuring her: "You're in university and how come you don't have a boyfriend." That's like the biggest irony of everything and she's totally upset about it. But, what do you say about this kind of mentality? Prior 18 having a relationship is like the monster in life, then after you're 18, it's like, What? Suddenly, everything has changed, you have to be in a relationship and get married as soon as possible.Niu Honglin: Well, I do feel like Chinese parents have this certain feeling that the age of 18 or the landmark of entering a college is sort of like changing everything. Before that, they say: "on't talk to boys", "Don't have a boyfriend", "Do not do anything", and after that it's like, "Bring back your husband." It's not a life-changing night, maybe it's a life-changing test, but it's not in terms of everything. You cannot decide what you should do or what is okay to be done just over a test. We have to admit it's another period of your life but growing up is a constant process. Ryan: You know, when I'm a father, I will be consistent in that: "No boyfriends ever for my daughter." And that's just how it's always going to be. That's how I'll always feel. But, you know what to this specific scenario, I think the parents are warranted and that is because when you're 18, trust me, cause I've been 18, that was 10 years ago. I was a dramatically different person. I had feelings I didn't understand. I was growing, you grow so much in college and god even after that. So, I think yes it's so sad that you didn't get to spend that proper amount of time with someone you really had feelings for but at the same time I want to tell you that you will find that person out there. Just keep looking, be patient. Realize you're growing, that person is also growing and in amount of time, I'm sure you will bump into each other and things will all make sense. But I'm sorry to hear about the fighting between the Capulets and Montagues, I believe those were the two families of Romeo and Juliet and I hope that you find love as soon as it's appropriate. Heyang: I think that's a life-pursuit for me, I don't know but for people who want to have a real and fulfilling relationship, I think you should never stop trying to look for it. You need to look for it. I don't think it's going to fall on your lap if you're just eating potato chips and playing video games at home. But also, I think it's a delicate balance in the mind that if you're too desperate, that just drives good people away. It's about growing yourself stronger inside, keep looking, and I can't think of anything else right now. Ryan: I want to point out something else too. Yes, I actually agree with you Heyang. I think most people, a big part of life is looking for someone to spend it with, to do those things with, to make memories. It's a beautiful and magical thought when you think of spending your life with another soul, another human being and sharing things nobody else will know about in the world except you and your best friend. But you know what, you need to have patience for that. You also need to be yourself and be okay with being by yourself. I think that person comes when you're independent and when you're happy being by yourself. Because, then it's not like you need them, it's they complement you. It's like you didn't need anyone, but suddenly there's this person in your life that complements you. That's how I've always thought of it. But I think it is always so healthy for you to be confident being by yourself. I think this assignment is promoting an ideology of saying that it's not okay and that's not what a young person should be learning in college. They should be learning that it is okay to be yourself and feel good being yourself. Heyang: Wow. I almost wanted to cry listening to that, Ryan.Niu Honglin: It's just so well-said. Also maybe to perfect the homework, we can instead ask students to write about what kind of quality you want in your future partner and what kind of quality you hope to grow on yourself to find them. Maybe that would be a better article to write aboutHeyang: Also, write a personal letter or don't put it online. I hate it when that stuff is put online.

En chuc mi faille (part 2); La bas sur ces montagues

On this sixth episode of Learnt, I sat down in the dining room with Ms. Santina Jannotti of Baltimore County Public Schools! We discuss her history of teaching inside and outside of BCPS, the importance of your reputation as a teacher, and the parenting styles of the Montagues & Capulets! We also dissect the Baltimore Sun story "Boosting college readiness is a goal for new city schools CEO." We go over the enormous change in store for BCPS teachers with the block schedule, the differences between a school's perceived conditions and the reality of the building, and of course, a callback to Terry's episode. Be sure to read the Baltimore Sun story mentioned at: http://www.baltimoresun.com/news/maryland/baltimore-city/bs-md-ci-college-readiness-20140809,0,1594639.story Music for this episode was provided by JAUNTER off of his debut album SELF-INFLICTED SOLITUDE! The track is called "Dreamscape," and you can download at jaunter.bandcamp.com! You can reach me at facebook.com/learnpodcast, twitter.com/learntpod, or learntpodcast@gmail.com. If you like the show, please share episodes on Facebook and consider donating to our Kickstarter campaign for season 2! It is available for backing at https://www.kickstarter.com/projects/836422533/learnt-podcast-season-2

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. Stream online: https://amzn.to/2VlHtlG

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. Stream online: https://amzn.to/2VlHtlG Become a Patron: https://www.patreon.com/mfrbooksandfilm?fan_landing=true

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. Stream online: https://amzn.to/2VlHtlG

本年もHiroshima University's English Podcastをよろしくお願い申し上げます。 毎月第１週は「ドラマで英語を学ぼう」をお届けします。2012年最初にお届けするのは、ウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）の第２回です。19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。 前回（12/6）配信した第１回では、ロミオとジュリエットが仮面舞踏会で出会い恋に落ちます。夜更けにキャピュレット家に忍び込んだロミオの存在に気付かないまま、ジュリエットはバルコニーであの有名なセリフ「おお、ロミオ、ロミオ、どうしてあなたはロミオなの」（"O Romeo, Romeo! Wherefore art thou Romeo?"）を呟きます。 今回のエピソードの前半ではバルコニーでの二人の愛の行方が描かれ、後半ではモンタギュー家とキャピュレット家の対立が引き金となって物語の展開が加速します。やや長めの分量となりますが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （23:58　13.9MB　中級〜上級）Romeo and Juliet: Part 2 Written by Charles and Mary Lamb Based on William Shakespeare’s story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet’s father Rosaline = Romeo’s first girlfriend Benvolio = Romeo’s friend Mercutio = Romeo’s friend Tybalt = a Capulet who hates Romeo and the Montagues Friar Lawrence = a local religious leader Lady Capulet = Juliet’s mother Lady Montague = Romeo’s mother Count Paris = Juliet’s new fiance Key Words (Note: If it says “old”, it means “rarely used in modern English.”) fain = willingly, happily (old) to chide = to express disapproval or scold to refrain = to hold oneself back, 遠慮する merely = just in fancy =（気まぐれな）好み, 愛好 bade = requested (old meaning). (Note: The present tense is "to bid". In modern English it is usually used with different meanings, and the past tense is usually "bid.") by favor of = taking advantage of (old) (Note: Again, in modern English, the word "favor" usually has different meanings.) to stumble upon = to meet by coincidence or luck to utter = to say to expostulate = to express an objection in the form of logic（…しないよう）忠告する to expose = 露出する kinsmen = relatives (a bit old) 親戚 alack = alas, by bad luck (old) ああ, 悲しいかな, 残念だ peril = danger or risk but = only enmity = hatred to prolong = to lengthen, to make longer a pilot = a guide 'wert thou = if you were (old) vast = big or far away to venture for = to go on an adventure for, to risk one's life merchandise = goods, things which you can get or buy crimson = red a blush = (恥ずかしくて）顔を赤らめる by reason of = because of to reflect upon = to think deeply about to recall = to remember to stand upon form = to be traditional, to follow customs (old) discreet = having wise self-restraint〈人・行為が〉思慮［分別］のある, 慎重な to frown = to appear dissatisfied or angry（…に）まゆをひそめる, 顔をしかめる perverse = in a bad mood, 〈人・言動などが〉つむじ［へそ］曲がりの, ひねくれた suitors = potential mates （女性への）求婚者 harsh = strict a denial = a rejection, saying no to stand off = to step back, to be modest or refrained to affect = to act like, to pretend, to give the appearance of coyness = being modest and discreet an indifference = not caring about 無関心, 冷淡さ that = so that lightly = easily, without enough care 軽率に attainment = getting something 達成, 獲得, 到達 room = time 余裕 puttings off = delays (old) (Note: In modern English, "to put off" means to delay, to postpone) protracted = delayed, made longer 長引く courtship = dating a confession = 白状 frankness = directness and honesty novelty = newness to address (someone) = to speak to (someone) Fair = Sir, Mr., good (poetic and old) to beg = to strongly ask to impute = 〈結果などを〉（人・物に）帰する, 負わせる, 転嫁する yielding = giving in 〈性格などが〉譲歩しやすい, 従順な, 他人の言いなりになる levity = lack of seriousness 軽率な行為 unworthy = insufficient, worthless 価値［とりえ］のない；賞賛に値しない a fault = blame, source of a problem (Note: "to lay the fault upon" means to put the blame on (someone)) prudent = discreet, coy, modest, conservative in behavior dissembling = disguised, false appearance, tricky, 偽ること cunning = trickery, ずるさ to witness = 証言をする (Note: Usually has the meaning of 目撃する ) nothing was further from his thoughts than… = He was not in any way thinking… to swear = to promise a contract = an agreement rash = quick and not thought about much a vow = a promise to retract = to take back something said 撤回する, 引っ込める to bestow = to give (old) 〈栄誉などを〉（人に）授ける, 贈る, 与える((on, upon ...)) bounty = possessions, things a person can get (Note: Here it means "things that can be given") 気前のよさ；恵み深さ；博愛, 寛大 infinite = unlimited a nurse = an older woman who takes care of someone hastily = hurriedly the purport of which was = the central meaning was to appoint = to decide 指定する a lord = a husband (old) jealous = ねたむこと, 心配り her bird = her pet bird to hop = to jump to pluck = to grab quickly a silken thread = 絹糸 to be loath to = to hate to to part = to leave, to separate the day was breaking = the sun was beginning to rise a mistress = a female lover blessed = fortunate, lucky 神の祝福を受けた；あがむべき bent = changed the direction of (Note: Present tense is "to bend") a monastery = a church, a convent hard by = immediately (old) a friar = a religious leader, a reverend, a minister devotions = praying, religious work abroad = awake (old) to conjecture = to guess, to come to a conclusion to be abed = to go to bed (old) a distemper = a disease (old) a distemper of youthful affection = a problem affecting young people to impute = to conjecture, to blame (something) on (something) to reveal = to confess, to openly say a holy man = a religious man a wonder = a great surprise 驚嘆を引き起こすもの affection = love to be privy to = to know the secrets of disdain = hatred chidden = (Note "to chide" above) to dote on = to be in love with, and do a lot for to assent = to agree with, give in to 譲歩する in some measure = to some degree ある程度 matrimonial =　婚姻の an alliance = 同盟, 協定 to make up = to finish a fight by deciding to be friends 〈けんかなどの〉仲直りをする a breach = a divide or gap to lament = to be sad about to interpose = to come between the people (during an argument), to put in (an opinion, etc.) mediation = coming in between 2 arguing people and helping bring about a peaceful solution to consent = to agree blessed = 恵まれた intent = 意図, 意向 to dispatch = to send (a person) a cell = a small room （修道院の）独居房 to bury = to hide, to get rid of strife = fighting, arguments dissentions = disagreements to hasten = to hurry tedious = boring finery = beautiful and fancy clothes a party = a group (of people) impetuous = becoming angry suddenly at their head = in the lead to accuse = 〈人を〉（犯罪・不正行為などのかどで）告発［起訴, 告訴］する bluntly = directly and clearly to associate with = to have relations with, to be friends with to moderate = to calm wrath = hatred fierce = 荒々しい, どう猛な, 敵意のある disgraceful = 不名誉な, 不面目な, みっともない an appellation = a name a villain = a terrible person, a person who commits crimes thoroughly = completely a charm = a small but attractive and delightful thing to allay = to moderate, reduce, or calm (emotions) resentment = hatred (because of things in the past) a watchword = a slogan (old) fury = anger and hatred to reason with = to talk calmly in a logical way with to salute = to greet mildly = gently drew = took out, especially a weapon (Note: This is the past tense of "to draw.) forbearance = being calm, patience submission = 服従, （…への）屈服, disdainful = 軽蔑［侮蔑］的な to provoke = 立腹［憤慨］させる the prosecution of = carrying out, doing 実施する (formal) a wound = an injury vainly = in vain むだに to endeavor to = to try to to part = to move apart combatants = people fighting or trying to win to keep (one's) temper = to remain calm scornful = 嘲笑(ちょうしょう)的な to be slain = to be killed (by a person) a broil = a terrible fight in the midst of = in the middle of a brawl = a fight (involving many people) an offender = someone who breaks the law a fray = a fight or argument to relate = to explain (old) grief = sadness to keep no bounds = to have no limits to exhort = 強く勧告する justice = 正義 partially = in a biased way, 〈人・意見などが〉（…に）かたよった to plead = （…を）嘆願［懇願］する a son-in-law = a daughter's husband to be worthy of = to have the value of forfeited = （犯罪行為・職務怠慢・契約違反などにより）没収される unmoved by = not emotionally affected by to pronounce = to officially declare a sentence = a judicial punishment to be banished = （国から）追放する, 流刑にする ********** Text ********** Part 2 Romeo, having this encouragement, would fain have spoken, but he was desirous of hearing more; and the lady continued her passionate discourse with herself (as she thought), still chiding Romeo for being Romeo and a Montague, and wishing him some other name, or that he would put away that hated name, and for that name which was no part of himself he should take all herself. At this loving word Romeo could no longer refrain, but, taking up the dialogue as if her words had been addressed to him personally, and not merely in fancy, he bade her call him Love, or by whatever other name she pleased, for he was no longer Romeo, if that name was displeasing to her. Juliet, alarmed to hear a man's voice in the garden, did not at first know who it was that by favor of the night and darkness had thus stumbled upon the discovery of her secret; but when he spoke again, though her ears had not yet drunk a hundred words of that tongue's uttering, yet so nice is a lover's hearing that she immediately knew him to be young Romeo, and she expostulated with him on the danger to which he had exposed himself by climbing the orchard walls, for if any of her kinsmen should find him there it would be death to him, being a Montague. "Alack!" said Romeo, "there is more peril in your eye than in twenty of their swords. Do you but look kind upon me, lady, and I am proof against their enmity. Better my life should be ended by their hate than that hated life should be prolonged to live without your love." "How came you into this place," said Juliet, "and by whose direction?" "Love directed me," answered Romeo. "I am no pilot, yet 'wert thou as far apart from me as that vast shore which is washed with the farthest sea, I should venture for such merchandise." A crimson blush came over Juliet's face, yet unseen by Romeo by reason of the night, when she reflected upon the discovery which she had made, yet not meaning to make it, of her love to Romeo. She would fain have recalled her words, but that was impossible; fain would she have stood upon form, and have kept her lover at a distance, as the custom of discreet ladies is, to frown and be perverse and give their suitors harsh denials at first; to stand off, and affect a coyness or indifference where they most love, that their lovers may not think them too lightly or too easily won; for the difficulty of attainment increases the value of the object. But there was no room in her case for denials, or puttings off, or any of the customary arts of delay and protracted courtship. Romeo had heard from her own tongue, when she did not dream that he was near her, a confession of her love. So with an honest frankness which the novelty of her situation excused, she confirmed the truth of what he had before heard, and, addressing him by the name of Fair Montague (love can sweeten a sour name), she begged him not to impute her easy yielding to levity or an unworthy mind, but that he must lay the fault of it (if it were a fault) upon the accident of the night which had so strangely discovered her thoughts. And she added, that though her behavior to him might not be sufficiently prudent, measured by the custom of her sex, yet that she would prove more true than many whose prudence was dissembling, and their modesty artificial cunning. Romeo was beginning to call the heavens to witness that nothing was farther from his thoughts than to impute a shadow of dishonor to such an honored lady, when she stopped him, begging him not to swear; for although she joyed in him, yet she had no joy of that night's contract--it was too rash, too unadvised, too sudden. But he being urgent with her to exchange a vow of love with him that night, she said that she already had given him hers before he requested it, meaning, when he overheard her confession; but she would retract what she then bestowed, for the pleasure of giving it again, for her bounty was as infinite as the sea, and her love as deep. From this loving conference she was called away by her nurse, who slept with her and thought it time for her to be in bed, for it was near to daybreak; but, hastily returning, she said three or four words more to Romeo the purport of which was, that if his love was indeed honorable, and his purpose marriage, she would send a messenger to him to-morrow to appoint a time for their marriage, when she would lay all her fortunes at his feet and follow him as her lord through the world. While they were settling this point Juliet was repeatedly called for by her nurse, and went in and returned, and went and returned again, for she seemed as jealous of Romeo going from her as a young girl of her bird, which she will let hop a little from her hand and pluck it back with a silken thread; and Romeo was as loath to part as she, for the sweetest music to lovers is the sound of each other's tongues at night. But at last they parted, wishing mutually sweet sleep and rest for that night. The day was breaking when they parted, and Romeo, who was too full of thoughts of his mistress and that blessed meeting to allow him to sleep, instead of going home, bent his course to a monastery hard by, to find Friar Lawrence. The good friar was already up at his devotions, but, seeing young Romeo abroad so early, he conjectured rightly that he had not been abed that night, but that some distemper of youthful affection had kept him waking. He was right in imputing the cause of Romeo's wakefulness to love, but he made a wrong guess at the object, for he thought that his love for Rosaline had kept him waking. But when Romeo revealed his new passion for Juliet, and requested the assistance of the friar to marry them that day, the holy man lifted up his eyes and hands in a sort of wonder at the sudden change in Romeo's affections, for he had been privy to all Romeo's love for Rosaline and his many complaints of her disdain; and he said that young men's love lay not truly in their hearts, but in their eyes. But Romeo replying that he himself had often chidden him for doting on Rosaline, who could not love him again, whereas Juliet both loved and was beloved by him, the friar assented in some measure to his reasons; and thinking that a matrimonial alliance between young Juliet and Romeo might happily be the means of making up the long breach between the Capulets and the Montagues, which no one more lamented than this good friar who was a friend to both the families and had often interposed his mediation to make up the quarrel without effect; partly moved by policy, and partly by his fondness for young Romeo, to whom he could deny nothing, the old man consented to join their hands in marriage. Now was Romeo blessed indeed, and Juliet, who knew his intent from a messenger which she had dispatched according to promise, did not fail to be early at the cell of Friar Lawrence, where their hands were joined in holy marriage, the good friar praying the heavens to smile upon that act, and in the union of this young Montague and young Capulet, to bury the old strife and long dissensions of their families. The ceremony being over, Juliet hastened home, where she stayed, impatient for the coming of night, at which time Romeo promised to come and meet her in the orchard, where they had met the night before; and the time between seemed as tedious to her as the night before some great festival seems to an impatient child that has got new finery which it may not put on till the morning. That same day, about noon, Romeo's friends, Benvolio and Mercutio, walking through the streets of Verona, were met by a party of the Capulets with the impetuous Tybalt at their head. This was the same angry Tybalt who would have fought with Romeo at old Lord Capulet's feast. He, seeing Mercutio, accused him bluntly of associating with Romeo, a Montague. Mercutio, who had as much fire and youthful blood in him as Tybalt, replied to this accusation with some sharpness; and in spite of all Benvolio could say to moderate their wrath a quarrel was beginning when, Romeo himself passing that way, the fierce Tybalt turned from Mercutio to Romeo, and gave him the disgraceful appellation of villain. Romeo wished to avoid a quarrel with Tybalt above all men, because he was the kinsman of Juliet and much beloved by her; besides, this young Montague had never thoroughly entered into the family quarrel, being by nature wise and gentle, and the name of a Capulet, which was his dear lady's name, was now rather a charm to allay resentment than a watchword to excite fury. So he tried to reason with Tybalt, whom he saluted mildly by the name of Good Capulet, as if he, though a Montague, had some secret pleasure in uttering that name; but Tybalt, who hated all Montagues as he hated hell, would hear no reason, but drew his weapon; and Mercutio, who knew not of Romeo's secret motive for desiring peace with Tybalt, but looked upon his present forbearance as a sort of calm dishonorable submission, with many disdainful words provoked Tybalt to the prosecution of his first quarrel with him; and Tybalt and Mercutio fought, till Mercutio fell, receiving his death's wound while Romeo and Benvolio were vainly endeavoring to part the combatants. Mercutio being dead, Romeo kept his temper no longer, but returned the scornful appellation of villain which Tybalt had given him, and they fought till Tybalt was slain by Romeo. This deadly broil falling out in the midst of Verona at noonday, the news of it quickly brought a crowd of citizens to the spot and among them the Lords Capulet and Montague, with their wives; and soon after arrived the prince himself, who, being related to Mercutio, whom Tybalt had slain, and having had the peace of his government often disturbed by these brawls of Montagues and Capulets, came determined to put the law in strictest force against those who should be found to be offenders. Benvolio, who had been eye-witness to the fray, was commanded by the prince to relate the origin of it; which he did, keeping as near the truth as he could without injury to Romeo, softening and excusing the part which his friends took in it. Lady Capulet, whose extreme grief for the loss of her kinsman Tybalt made her keep no bounds in her revenge, exhorted the prince to do strict justice upon his murderer, and to,pay no attention to Benvolio's representation, who, being Romeo's friend and a Montague, spoke partially. Thus she pleaded against her new son-in-law, but she knew not yet that he was her son-in-law and Juliet's husband. On the other hand was to be seen Lady Montague pleading for her child's life, and arguing with some justice that Romeo had done nothing worthy of punishment in taking the life of Tybalt, which was already forfeited to the law by his having slain Mercutio. The prince, unmoved by the passionate exclamations of these women, on a careful examination of the facts pronounced his sentence, and by that sentence Romeo was banished from Verona.

本年もHiroshima University's English Podcastをよろしくお願い申し上げます。 毎月第１週は「ドラマで英語を学ぼう」をお届けします。2012年最初にお届けするのは、ウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）の第２回です。19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。 前回（12/6）配信した第１回では、ロミオとジュリエットが仮面舞踏会で出会い恋に落ちます。夜更けにキャピュレット家に忍び込んだロミオの存在に気付かないまま、ジュリエットはバルコニーであの有名なセリフ「おお、ロミオ、ロミオ、どうしてあなたはロミオなの」（"O Romeo, Romeo! Wherefore art thou Romeo?"）を呟きます。 今回のエピソードの前半ではバルコニーでの二人の愛の行方が描かれ、後半ではモンタギュー家とキャピュレット家の対立が引き金となって物語の展開が加速します。やや長めの分量となりますが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （23:58　13.9MB　中級〜上級）Romeo and Juliet: Part 2 Written by Charles and Mary Lamb Based on William Shakespeare’s story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet’s father Rosaline = Romeo’s first girlfriend Benvolio = Romeo’s friend Mercutio = Romeo’s friend Tybalt = a Capulet who hates Romeo and the Montagues Friar Lawrence = a local religious leader Lady Capulet = Juliet’s mother Lady Montague = Romeo’s mother Count Paris = Juliet’s new fiance Key Words (Note: If it says “old”, it means “rarely used in modern English.”) fain = willingly, happily (old) to chide = to express disapproval or scold to refrain = to hold oneself back, 遠慮する merely = just in fancy =（気まぐれな）好み, 愛好 bade = requested (old meaning). (Note: The present tense is "to bid". In modern English it is usually used with different meanings, and the past tense is usually "bid.") by favor of = taking advantage of (old) (Note: Again, in modern English, the word "favor" usually has different meanings.) to stumble upon = to meet by coincidence or luck to utter = to say to expostulate = to express an objection in the form of logic（…しないよう）忠告する to expose = 露出する kinsmen = relatives (a bit old) 親戚 alack = alas, by bad luck (old) ああ, 悲しいかな, 残念だ peril = danger or risk but = only enmity = hatred to prolong = to lengthen, to make longer a pilot = a guide 'wert thou = if you were (old) vast = big or far away to venture for = to go on an adventure for, to risk one's life merchandise = goods, things which you can get or buy crimson = red a blush = (恥ずかしくて）顔を赤らめる by reason of = because of to reflect upon = to think deeply about to recall = to remember to stand upon form = to be traditional, to follow customs (old) discreet = having wise self-restraint〈人・行為が〉思慮［分別］のある, 慎重な to frown = to appear dissatisfied or angry（…に）まゆをひそめる, 顔をしかめる perverse = in a bad mood, 〈人・言動などが〉つむじ［へそ］曲がりの, ひねくれた suitors = potential mates （女性への）求婚者 harsh = strict a denial = a rejection, saying no to stand off = to step back, to be modest or refrained to affect = to act like, to pretend, to give the appearance of coyness = being modest and discreet an indifference = not caring about 無関心, 冷淡さ that = so that lightly = easily, without enough care 軽率に attainment = getting something 達成, 獲得, 到達 room = time 余裕 puttings off = delays (old) (Note: In modern English, "to put off" means to delay, to postpone) protracted = delayed, made longer 長引く courtship = dating a confession = 白状 frankness = directness and honesty novelty = newness to address (someone) = to speak to (someone) Fair = Sir, Mr., good (poetic and old) to beg = to strongly ask to impute = 〈結果などを〉（人・物に）帰する, 負わせる, 転嫁する yielding = giving in 〈性格などが〉譲歩しやすい, 従順な, 他人の言いなりになる levity = lack of seriousness 軽率な行為 unworthy = insufficient, worthless 価値［とりえ］のない；賞賛に値しない a fault = blame, source of a problem (Note: "to lay the fault upon" means to put the blame on (someone)) prudent = discreet, coy, modest, conservative in behavior dissembling = disguised, false appearance, tricky, 偽ること cunning = trickery, ずるさ to witness = 証言をする (Note: Usually has the meaning of 目撃する ) nothing was further from his thoughts than… = He was not in any way thinking… to swear = to promise a contract = an agreement rash = quick and not thought about much a vow = a promise to retract = to take back something said 撤回する, 引っ込める to bestow = to give (old) 〈栄誉などを〉（人に）授ける, 贈る, 与える((on, upon ...)) bounty = possessions, things a person can get (Note: Here it means "things that can be given") 気前のよさ；恵み深さ；博愛, 寛大 infinite = unlimited a nurse = an older woman who takes care of someone hastily = hurriedly the purport of which was = the central meaning was to appoint = to decide 指定する a lord = a husband (old) jealous = ねたむこと, 心配り her bird = her pet bird to hop = to jump to pluck = to grab quickly a silken thread = 絹糸 to be loath to = to hate to to part = to leave, to separate the day was breaking = the sun was beginning to rise a mistress = a female lover blessed = fortunate, lucky 神の祝福を受けた；あがむべき bent = changed the direction of (Note: Present tense is "to bend") a monastery = a church, a convent hard by = immediately (old) a friar = a religious leader, a reverend, a minister devotions = praying, religious work abroad = awake (old) to conjecture = to guess, to come to a conclusion to be abed = to go to bed (old) a distemper = a disease (old) a distemper of youthful affection = a problem affecting young people to impute = to conjecture, to blame (something) on (something) to reveal = to confess, to openly say a holy man = a religious man a wonder = a great surprise 驚嘆を引き起こすもの affection = love to be privy to = to know the secrets of disdain = hatred chidden = (Note "to chide" above) to dote on = to be in love with, and do a lot for to assent = to agree with, give in to 譲歩する in some measure = to some degree ある程度 matrimonial =　婚姻の an alliance = 同盟, 協定 to make up = to finish a fight by deciding to be friends 〈けんかなどの〉仲直りをする a breach = a divide or gap to lament = to be sad about to interpose = to come between the people (during an argument), to put in (an opinion, etc.) mediation = coming in between 2 arguing people and helping bring about a peaceful solution to consent = to agree blessed = 恵まれた intent = 意図, 意向 to dispatch = to send (a person) a cell = a small room （修道院の）独居房 to bury = to hide, to get rid of strife = fighting, arguments dissentions = disagreements to hasten = to hurry tedious = boring finery = beautiful and fancy clothes a party = a group (of people) impetuous = becoming angry suddenly at their head = in the lead to accuse = 〈人を〉（犯罪・不正行為などのかどで）告発［起訴, 告訴］する bluntly = directly and clearly to associate with = to have relations with, to be friends with to moderate = to calm wrath = hatred fierce = 荒々しい, どう猛な, 敵意のある disgraceful = 不名誉な, 不面目な, みっともない an appellation = a name a villain = a terrible person, a person who commits crimes thoroughly = completely a charm = a small but attractive and delightful thing to allay = to moderate, reduce, or calm (emotions) resentment = hatred (because of things in the past) a watchword = a slogan (old) fury = anger and hatred to reason with = to talk calmly in a logical way with to salute = to greet mildly = gently drew = took out, especially a weapon (Note: This is the past tense of "to draw.) forbearance = being calm, patience submission = 服従, （…への）屈服, disdainful = 軽蔑［侮蔑］的な to provoke = 立腹［憤慨］させる the prosecution of = carrying out, doing 実施する (formal) a wound = an injury vainly = in vain むだに to endeavor to = to try to to part = to move apart combatants = people fighting or trying to win to keep (one's) temper = to remain calm scornful = 嘲笑(ちょうしょう)的な to be slain = to be killed (by a person) a broil = a terrible fight in the midst of = in the middle of a brawl = a fight (involving many people) an offender = someone who breaks the law a fray = a fight or argument to relate = to explain (old) grief = sadness to keep no bounds = to have no limits to exhort = 強く勧告する justice = 正義 partially = in a biased way, 〈人・意見などが〉（…に）かたよった to plead = （…を）嘆願［懇願］する a son-in-law = a daughter's husband to be worthy of = to have the value of forfeited = （犯罪行為・職務怠慢・契約違反などにより）没収される unmoved by = not emotionally affected by to pronounce = to officially declare a sentence = a judicial punishment to be banished = （国から）追放する, 流刑にする ********** Text ********** Part 2 Romeo, having this encouragement, would fain have spoken, but he was desirous of hearing more; and the lady continued her passionate discourse with herself (as she thought), still chiding Romeo for being Romeo and a Montague, and wishing him some other name, or that he would put away that hated name, and for that name which was no part of himself he should take all herself. At this loving word Romeo could no longer refrain, but, taking up the dialogue as if her words had been addressed to him personally, and not merely in fancy, he bade her call him Love, or by whatever other name she pleased, for he was no longer Romeo, if that name was displeasing to her. Juliet, alarmed to hear a man's voice in the garden, did not at first know who it was that by favor of the night and darkness had thus stumbled upon the discovery of her secret; but when he spoke again, though her ears had not yet drunk a hundred words of that tongue's uttering, yet so nice is a lover's hearing that she immediately knew him to be young Romeo, and she expostulated with him on the danger to which he had exposed himself by climbing the orchard walls, for if any of her kinsmen should find him there it would be death to him, being a Montague. "Alack!" said Romeo, "there is more peril in your eye than in twenty of their swords. Do you but look kind upon me, lady, and I am proof against their enmity. Better my life should be ended by their hate than that hated life should be prolonged to live without your love." "How came you into this place," said Juliet, "and by whose direction?" "Love directed me," answered Romeo. "I am no pilot, yet 'wert thou as far apart from me as that vast shore which is washed with the farthest sea, I should venture for such merchandise." A crimson blush came over Juliet's face, yet unseen by Romeo by reason of the night, when she reflected upon the discovery which she had made, yet not meaning to make it, of her love to Romeo. She would fain have recalled her words, but that was impossible; fain would she have stood upon form, and have kept her lover at a distance, as the custom of discreet ladies is, to frown and be perverse and give their suitors harsh denials at first; to stand off, and affect a coyness or indifference where they most love, that their lovers may not think them too lightly or too easily won; for the difficulty of attainment increases the value of the object. But there was no room in her case for denials, or puttings off, or any of the customary arts of delay and protracted courtship. Romeo had heard from her own tongue, when she did not dream that he was near her, a confession of her love. So with an honest frankness which the novelty of her situation excused, she confirmed the truth of what he had before heard, and, addressing him by the name of Fair Montague (love can sweeten a sour name), she begged him not to impute her easy yielding to levity or an unworthy mind, but that he must lay the fault of it (if it were a fault) upon the accident of the night which had so strangely discovered her thoughts. And she added, that though her behavior to him might not be sufficiently prudent, measured by the custom of her sex, yet that she would prove more true than many whose prudence was dissembling, and their modesty artificial cunning. Romeo was beginning to call the heavens to witness that nothing was farther from his thoughts than to impute a shadow of dishonor to such an honored lady, when she stopped him, begging him not to swear; for although she joyed in him, yet she had no joy of that night's contract--it was too rash, too unadvised, too sudden. But he being urgent with her to exchange a vow of love with him that night, she said that she already had given him hers before he requested it, meaning, when he overheard her confession; but she would retract what she then bestowed, for the pleasure of giving it again, for her bounty was as infinite as the sea, and her love as deep. From this loving conference she was called away by her nurse, who slept with her and thought it time for her to be in bed, for it was near to daybreak; but, hastily returning, she said three or four words more to Romeo the purport of which was, that if his love was indeed honorable, and his purpose marriage, she would send a messenger to him to-morrow to appoint a time for their marriage, when she would lay all her fortunes at his feet and follow him as her lord through the world. While they were settling this point Juliet was repeatedly called for by her nurse, and went in and returned, and went and returned again, for she seemed as jealous of Romeo going from her as a young girl of her bird, which she will let hop a little from her hand and pluck it back with a silken thread; and Romeo was as loath to part as she, for the sweetest music to lovers is the sound of each other's tongues at night. But at last they parted, wishing mutually sweet sleep and rest for that night. The day was breaking when they parted, and Romeo, who was too full of thoughts of his mistress and that blessed meeting to allow him to sleep, instead of going home, bent his course to a monastery hard by, to find Friar Lawrence. The good friar was already up at his devotions, but, seeing young Romeo abroad so early, he conjectured rightly that he had not been abed that night, but that some distemper of youthful affection had kept him waking. He was right in imputing the cause of Romeo's wakefulness to love, but he made a wrong guess at the object, for he thought that his love for Rosaline had kept him waking. But when Romeo revealed his new passion for Juliet, and requested the assistance of the friar to marry them that day, the holy man lifted up his eyes and hands in a sort of wonder at the sudden change in Romeo's affections, for he had been privy to all Romeo's love for Rosaline and his many complaints of her disdain; and he said that young men's love lay not truly in their hearts, but in their eyes. But Romeo replying that he himself had often chidden him for doting on Rosaline, who could not love him again, whereas Juliet both loved and was beloved by him, the friar assented in some measure to his reasons; and thinking that a matrimonial alliance between young Juliet and Romeo might happily be the means of making up the long breach between the Capulets and the Montagues, which no one more lamented than this good friar who was a friend to both the families and had often interposed his mediation to make up the quarrel without effect; partly moved by policy, and partly by his fondness for young Romeo, to whom he could deny nothing, the old man consented to join their hands in marriage. Now was Romeo blessed indeed, and Juliet, who knew his intent from a messenger which she had dispatched according to promise, did not fail to be early at the cell of Friar Lawrence, where their hands were joined in holy marriage, the good friar praying the heavens to smile upon that act, and in the union of this young Montague and young Capulet, to bury the old strife and long dissensions of their families. The ceremony being over, Juliet hastened home, where she stayed, impatient for the coming of night, at which time Romeo promised to come and meet her in the orchard, where they had met the night before; and the time between seemed as tedious to her as the night before some great festival seems to an impatient child that has got new finery which it may not put on till the morning. That same day, about noon, Romeo's friends, Benvolio and Mercutio, walking through the streets of Verona, were met by a party of the Capulets with the impetuous Tybalt at their head. This was the same angry Tybalt who would have fought with Romeo at old Lord Capulet's feast. He, seeing Mercutio, accused him bluntly of associating with Romeo, a Montague. Mercutio, who had as much fire and youthful blood in him as Tybalt, replied to this accusation with some sharpness; and in spite of all Benvolio could say to moderate their wrath a quarrel was beginning when, Romeo himself passing that way, the fierce Tybalt turned from Mercutio to Romeo, and gave him the disgraceful appellation of villain. Romeo wished to avoid a quarrel with Tybalt above all men, because he was the kinsman of Juliet and much beloved by her; besides, this young Montague had never thoroughly entered into the family quarrel, being by nature wise and gentle, and the name of a Capulet, which was his dear lady's name, was now rather a charm to allay resentment than a watchword to excite fury. So he tried to reason with Tybalt, whom he saluted mildly by the name of Good Capulet, as if he, though a Montague, had some secret pleasure in uttering that name; but Tybalt, who hated all Montagues as he hated hell, would hear no reason, but drew his weapon; and Mercutio, who knew not of Romeo's secret motive for desiring peace with Tybalt, but looked upon his present forbearance as a sort of calm dishonorable submission, with many disdainful words provoked Tybalt to the prosecution of his first quarrel with him; and Tybalt and Mercutio fought, till Mercutio fell, receiving his death's wound while Romeo and Benvolio were vainly endeavoring to part the combatants. Mercutio being dead, Romeo kept his temper no longer, but returned the scornful appellation of villain which Tybalt had given him, and they fought till Tybalt was slain by Romeo. This deadly broil falling out in the midst of Verona at noonday, the news of it quickly brought a crowd of citizens to the spot and among them the Lords Capulet and Montague, with their wives; and soon after arrived the prince himself, who, being related to Mercutio, whom Tybalt had slain, and having had the peace of his government often disturbed by these brawls of Montagues and Capulets, came determined to put the law in strictest force against those who should be found to be offenders. Benvolio, who had been eye-witness to the fray, was commanded by the prince to relate the origin of it; which he did, keeping as near the truth as he could without injury to Romeo, softening and excusing the part which his friends took in it. Lady Capulet, whose extreme grief for the loss of her kinsman Tybalt made her keep no bounds in her revenge, exhorted the prince to do strict justice upon his murderer, and to,pay no attention to Benvolio's representation, who, being Romeo's friend and a Montague, spoke partially. Thus she pleaded against her new son-in-law, but she knew not yet that he was her son-in-law and Juliet's husband. On the other hand was to be seen Lady Montague pleading for her child's life, and arguing with some justice that Romeo had done nothing worthy of punishment in taking the life of Tybalt, which was already forfeited to the law by his having slain Mercutio. The prince, unmoved by the passionate exclamations of these women, on a careful examination of the facts pronounced his sentence, and by that sentence Romeo was banished from Verona.

今回より４回にわたり、毎月第１週は「ドラマで英語を学ぼう」をお届けします。 これまでのドラマとは少し趣を変え、名作のお話を取り上げました。お届けする作品はウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）です。 イタリアのヴェローナで互いに対立し、絶えず抗争を繰り返してきたモンタギュー家とキャピュレット家。それぞれの家に生まれたロミオとジュリエットの悲恋の物語はあまりに有名で、何度も映画化され、世界中で親しまれています。 400年前に書かれたシェイクスピアの脚本は現代の英語とはかなり異なるので、今回は19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。シェイクスピアによるセリフを生かしながら、美しい英語で書かれています。上級者向けの内容ですが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （16:22　9.5MB　中級〜上級）Romeo and Juliet: Part 1 Written by Charles and Mary Lamb Based on William Shakespeare’s story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet’s father Rosaline = Romeo’s first girlfriend Benvolio = Romeo’s friend Mercutio = Romeo’s friend Tybalt = a Capulet who hates Romeo and the Montagues Lady Capulet = Juliet’s mother Lady Montague = Romeo’s mother Count Paris = Juliet’s new fiance Key Words (Note: If it says “old”, it means “rarely used in modern English.”) enmity = hatred remote = far away kindred = relatives a retainer = a servant or slave (old) in so much that = so that a servant = a worker or helper in the house to encounter = to meet fierce = 獰猛な bloodshed = fighting which results in people getting hurt or killed to ensue = to happen later a brawl = a fight fair ladies = beautiful and rich women noble = rich comers = guests a feast = a big dinner or party beloved of = loved by (old) a Lord = 貴族、封建君主 an assembly = a large group of people in the disguise of = の姿に変装して would make him think his swan a crow = he would change his mind, thinking that his beautiful woman was actually ugly to have small faith = to not believe much to lose (one’s) sleep = to not be able to sleep because thinking or worried about something to flee = to run away from (Note: past tense is “fled”) to disdain = to hate to requite (one’s) love = to love someone who loves you affection = love to cure = to make a sick person healthy company = guests to bid (someone) welcome = to welcome (someone) (old) unplagued = not have a disease (old) (Note: a plague = 疫病) a corn = 胼胝（たこ） to fall to (v)ing = to begin doing to be struck with = to be shocked by (Note: “struck” is the past tense of “to strike”) a torch = たいまつ to teach the torches to burn bright = to be brighter than the others (poetic) a blackamoor =　黒人 (old) a dove = ハト to troop with = to walk or be with a companion = a friend to utter = to say to overhear = （偶然）聞いてします、ふと耳にする a nephew = a brother’s or sister’s son fiery = enjoying fighting, gets angry easily temper = personality, mood to endure = to put up with, to stand, 我慢する to fleer = あざ笑う (old) to scorn = to look at in disgust, 軽蔑する、嘲笑する solemnities = 厳粛なふるまい (old) (Note: to be solemn = to be serious and sincere) to rage = to yell and be angry would not suffer him to = would not let him (old) had borne himself like = had behaved like (old) to brag of = to speak proudly about virtuous = having good morals, 徳の高い well-governed = behaving well against (one’s) will = not wanting to, 意志に反して to restrain = to control、抑制する、断念させる to swear = to promise (Note: past tense is “swore”) vile = terrible, disgusting to dearly pay for = to pay a lot for an intrusion = 侵入、ずかずか入り込むこと under favor of = taking advantage of, using (old) liberty = 気ままな行動 (Note: usually “to take liberties”) to presume to = to dare to a shrine = a holy place, 神殿 to profane = 冒涜する (Note: usually an adjective, such as “profane actions”) to blush = to become red in the face because of embarrassment or shyness a pilgrim = 巡礼者 for atonement = to make up for or compensate for bad actions, 償いのために devotion = dedication, 忠誠、献身 by far = 非常に mannerly = behaving politely courtly = noble, gracious, elegant, 宮廷の a saint = 聖人 Saints have hands which pilgrims may touch but not kiss = (poetic) Even pilgrims should not kiss the hands of a saint. Have not saints lips, and pilgrims, too? = (poetic) Both pilgrims and saints have lips (which are usually used for kissing) Aye = Yes (old) grant it = give me my desire lest I despair = (poetic) If you do not, I will be sad allusions = dreams, images loving conceits = light and joking talk about love (old) to be engaged = to be busy to inquire = to ask peerless = matchless, superb, 比類のない an heir = 相続人 a foe = an enemy to dissuade (someone) from doing (something) = to persuade or to stop As little rest had Juliet when = (poetic) In the same way, soon Juliet was shocked when… for = because smit with = shocked by (old) hasty = quick, sudden inconsiderate = not well thought about passion = love, 情熱 to conceive = to make (especially ideas) (Note: Here, Romeo conceived the passion.) prodigious = great (in amount) to induce = 誘導する、引き起こす to leap = to jump an orchard = a group of fruit trees to not be long = to not spend a lot of time to ruminate on = to think deeply about exceeding = great (old) the sun breaks = the sun rises shone = shined faint = not strong (especially a sound or a vision) pale = weak grief = sadness luster = shining to fetch = to go and get, then bring back (Note: Here, it poetically means “to say”) enraptured = うっとりさせられる to bear = 耐える (Note: Usually “cannot bear to…”) mortals = ordinary people to gaze upon = to look amazed at unconscious of = unaware of wherefore art thou = where are you (old) to deny = to say “no” to (especially, a request) thy = your (old) for my sake = for me wilt = will (old) but = only ********** Text ********** Part 1 The two chief families in Verona were the rich Capulets and the Montagues. There had been an old quarrel between these families, which was grown to such a height, and so deadly was the enmity between them, that it extended to the remotest kindred, to the followers and retainers of both sides, in so much that a servant of the house of Montague could not meet a servant of the house of Capulet, nor a Capulet encounter with a Montague by chance, but fierce words and sometimes bloodshed ensued; and frequent were the brawls from such accidental meetings, which disturbed the happy quiet of Verona's streets. Old Lord Capulet made a great supper, to which many fair ladies and many noble guests were invited. All the admired beauties of Verona were present, and all comers were made welcome if they were not of the house of Montague. At this feast of Capulets, Rosaline, beloved of Romeo, son to the old Lord Montague, was present; and though it was dangerous for a Montague to be seen in this assembly, yet Benvolio, a friend of Romeo, persuaded the young lord to go to this assembly in the disguise of a mask, that he might see his Rosaline, and, seeing her, compare her with some choice beauties of Verona, who (he said) would make him think his swan a crow. Romeo had small faith in Benvolio's words; nevertheless, for the love of Rosaline, he was persuaded to go. For Romeo was a sincere and passionate lover, and one that lost his sleep for love and fled society to be alone, thinking on Rosaline, who disdained him and never requited his love with the least show of courtesy or affection; and Benvolio wished to cure his friend of this love by showing him the diversity of ladies and company. To this feast of Capulets, then, young Romeo, with Benvolio and their friend Mercutio, went masked. Old Capulet bid them welcome and told them that ladies who had their toes unplagued with corns would dance with them. And the old man was light-hearted and merry, and said that he had worn a mask when he was young and could have told a whispering tale in a fair lady's ear. And they fell to dancing, and Romeo was suddenly struck with the exceeding beauty of a lady who danced there, who seemed to him to teach the torches to burn bright, and her beauty to show by night like a rich jewel worn by a blackamoor; beauty too rich for use, too dear for earth! like a snowy dove trooping with crows (he said), so richly did her beauty and perfections shine above the ladies her companions. While he uttered these praises he was overheard by Tybalt, a nephew of Lord Capulet, who knew him by his voice to be Romeo. And this Tybalt, being of a fiery and passionate temper, could not endure that a Montague should come under cover of a mask, to fleer and scorn (as he said) at their solemnities. And he stormed and raged exceedingly, and would have struck young Romeo dead. But his uncle, the old Lord Capulet, would not suffer him to do any injury at that time, both out of respect to his guests and because Romeo had borne himself like a gentleman and all tongues in Verona bragged of him to be a virtuous and well-governed youth. Tybalt, forced to be patient against his will, restrained himself, but swore that this vile Montague should at another time dearly pay for his intrusion. The dancing being done, Romeo watched the place where the lady stood; and under favor of his masking habit, which might seem to excuse in part the liberty, he presumed in the gentlest manner to take her by the hand, calling it a shrine, which if he profaned by touching it, he was a blushing pilgrim and would kiss it for atonement. "Good pilgrim," answered the lady, "your devotion shows by far too mannerly and too courtly. Saints have hands which pilgrims may touch but kiss not." "Have not saints lips, and pilgrims, too?" said Romeo. "Aye," said the lady, "lips which they must use in prayer." "Oh, then, my dear saint," said Romeo, "hear my prayer, and grant it, lest I despair." In such like allusions and loving conceits they were engaged when the lady was called away to her mother. And Romeo, inquiring who her mother was, discovered that the lady whose peerless beauty he was so much struck with was young Juliet, daughter and heir to the Lord Capulet, the great enemy of the Montagues; and that he had unknowingly engaged his heart to his foe. This troubled him, but it could not dissuade him from loving. As little rest had Juliet when she found that the gentle man that she had been talking with was Romeo and a Montague, for she had been suddenly smit with the same hasty and inconsiderate passion for Romeo which he had conceived for her; and a prodigious birth of love it seemed to her, that she must love her enemy and that her affections should settle there, where family considerations should induce her chiefly to hate. It being midnight, Romeo with his companions departed; but they soon missed him, for, unable to stay away from the house where he had left his heart, he leaped the wall of an orchard which was at the back of Juliet's house. Here he had not been long, ruminating on his new love, when Juliet appeared above at a window, through which her exceeding beauty seemed to break like the light of the sun in the east; and the moon, which shone in the orchard with a faint light, appeared to Romeo as if sick and pale with grief at the superior luster of this new sun. And she leaning her cheek upon her hand, he passionately wished himself a glove upon that hand, that he might touch her cheek. She all this while thinking herself alone, fetched a deep sigh, and exclaimed: "Ah me!" Romeo, enraptured to bear her speak, said, softly and unheard by her, "Oh, speak again, bright angel, for such you appear, being over my head, like a winged messenger from heaven whom mortals fall back to gaze upon." She, unconscious of being overheard, and full of the new passion which that night's adventure had given birth to, called upon her lover by name (whom she supposed absent). "O Romeo, Romeo!" said she, "wherefore art thou Romeo? Deny thy father and refuse thy name, for my sake; or if thou wilt not, be but my sworn love, and I no longer will be a Capulet."

今回より４回にわたり、毎月第１週は「ドラマで英語を学ぼう」をお届けします。 これまでのドラマとは少し趣を変え、名作のお話を取り上げました。お届けする作品はウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）です。 イタリアのヴェローナで互いに対立し、絶えず抗争を繰り返してきたモンタギュー家とキャピュレット家。それぞれの家に生まれたロミオとジュリエットの悲恋の物語はあまりに有名で、何度も映画化され、世界中で親しまれています。 400年前に書かれたシェイクスピアの脚本は現代の英語とはかなり異なるので、今回は19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。シェイクスピアによるセリフを生かしながら、美しい英語で書かれています。上級者向けの内容ですが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （16:22　9.5MB　中級〜上級）Romeo and Juliet: Part 1 Written by Charles and Mary Lamb Based on William Shakespeare’s story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet’s father Rosaline = Romeo’s first girlfriend Benvolio = Romeo’s friend Mercutio = Romeo’s friend Tybalt = a Capulet who hates Romeo and the Montagues Lady Capulet = Juliet’s mother Lady Montague = Romeo’s mother Count Paris = Juliet’s new fiance Key Words (Note: If it says “old”, it means “rarely used in modern English.”) enmity = hatred remote = far away kindred = relatives a retainer = a servant or slave (old) in so much that = so that a servant = a worker or helper in the house to encounter = to meet fierce = 獰猛な bloodshed = fighting which results in people getting hurt or killed to ensue = to happen later a brawl = a fight fair ladies = beautiful and rich women noble = rich comers = guests a feast = a big dinner or party beloved of = loved by (old) a Lord = 貴族、封建君主 an assembly = a large group of people in the disguise of = の姿に変装して would make him think his swan a crow = he would change his mind, thinking that his beautiful woman was actually ugly to have small faith = to not believe much to lose (one’s) sleep = to not be able to sleep because thinking or worried about something to flee = to run away from (Note: past tense is “fled”) to disdain = to hate to requite (one’s) love = to love someone who loves you affection = love to cure = to make a sick person healthy company = guests to bid (someone) welcome = to welcome (someone) (old) unplagued = not have a disease (old) (Note: a plague = 疫病) a corn = 胼胝（たこ） to fall to (v)ing = to begin doing to be struck with = to be shocked by (Note: “struck” is the past tense of “to strike”) a torch = たいまつ to teach the torches to burn bright = to be brighter than the others (poetic) a blackamoor =　黒人 (old) a dove = ハト to troop with = to walk or be with a companion = a friend to utter = to say to overhear = （偶然）聞いてします、ふと耳にする a nephew = a brother’s or sister’s son fiery = enjoying fighting, gets angry easily temper = personality, mood to endure = to put up with, to stand, 我慢する to fleer = あざ笑う (old) to scorn = to look at in disgust, 軽蔑する、嘲笑する solemnities = 厳粛なふるまい (old) (Note: to be solemn = to be serious and sincere) to rage = to yell and be angry would not suffer him to = would not let him (old) had borne himself like = had behaved like (old) to brag of = to speak proudly about virtuous = having good morals, 徳の高い well-governed = behaving well against (one’s) will = not wanting to, 意志に反して to restrain = to control、抑制する、断念させる to swear = to promise (Note: past tense is “swore”) vile = terrible, disgusting to dearly pay for = to pay a lot for an intrusion = 侵入、ずかずか入り込むこと under favor of = taking advantage of, using (old) liberty = 気ままな行動 (Note: usually “to take liberties”) to presume to = to dare to a shrine = a holy place, 神殿 to profane = 冒涜する (Note: usually an adjective, such as “profane actions”) to blush = to become red in the face because of embarrassment or shyness a pilgrim = 巡礼者 for atonement = to make up for or compensate for bad actions, 償いのために devotion = dedication, 忠誠、献身 by far = 非常に mannerly = behaving politely courtly = noble, gracious, elegant, 宮廷の a saint = 聖人 Saints have hands which pilgrims may touch but not kiss = (poetic) Even pilgrims should not kiss the hands of a saint. Have not saints lips, and pilgrims, too? = (poetic) Both pilgrims and saints have lips (which are usually used for kissing) Aye = Yes (old) grant it = give me my desire lest I despair = (poetic) If you do not, I will be sad allusions = dreams, images loving conceits = light and joking talk about love (old) to be engaged = to be busy to inquire = to ask peerless = matchless, superb, 比類のない an heir = 相続人 a foe = an enemy to dissuade (someone) from doing (something) = to persuade or to stop As little rest had Juliet when = (poetic) In the same way, soon Juliet was shocked when… for = because smit with = shocked by (old) hasty = quick, sudden inconsiderate = not well thought about passion = love, 情熱 to conceive = to make (especially ideas) (Note: Here, Romeo conceived the passion.) prodigious = great (in amount) to induce = 誘導する、引き起こす to leap = to jump an orchard = a group of fruit trees to not be long = to not spend a lot of time to ruminate on = to think deeply about exceeding = great (old) the sun breaks = the sun rises shone = shined faint = not strong (especially a sound or a vision) pale = weak grief = sadness luster = shining to fetch = to go and get, then bring back (Note: Here, it poetically means “to say”) enraptured = うっとりさせられる to bear = 耐える (Note: Usually “cannot bear to…”) mortals = ordinary people to gaze upon = to look amazed at unconscious of = unaware of wherefore art thou = where are you (old) to deny = to say “no” to (especially, a request) thy = your (old) for my sake = for me wilt = will (old) but = only ********** Text ********** Part 1 The two chief families in Verona were the rich Capulets and the Montagues. There had been an old quarrel between these families, which was grown to such a height, and so deadly was the enmity between them, that it extended to the remotest kindred, to the followers and retainers of both sides, in so much that a servant of the house of Montague could not meet a servant of the house of Capulet, nor a Capulet encounter with a Montague by chance, but fierce words and sometimes bloodshed ensued; and frequent were the brawls from such accidental meetings, which disturbed the happy quiet of Verona's streets. Old Lord Capulet made a great supper, to which many fair ladies and many noble guests were invited. All the admired beauties of Verona were present, and all comers were made welcome if they were not of the house of Montague. At this feast of Capulets, Rosaline, beloved of Romeo, son to the old Lord Montague, was present; and though it was dangerous for a Montague to be seen in this assembly, yet Benvolio, a friend of Romeo, persuaded the young lord to go to this assembly in the disguise of a mask, that he might see his Rosaline, and, seeing her, compare her with some choice beauties of Verona, who (he said) would make him think his swan a crow. Romeo had small faith in Benvolio's words; nevertheless, for the love of Rosaline, he was persuaded to go. For Romeo was a sincere and passionate lover, and one that lost his sleep for love and fled society to be alone, thinking on Rosaline, who disdained him and never requited his love with the least show of courtesy or affection; and Benvolio wished to cure his friend of this love by showing him the diversity of ladies and company. To this feast of Capulets, then, young Romeo, with Benvolio and their friend Mercutio, went masked. Old Capulet bid them welcome and told them that ladies who had their toes unplagued with corns would dance with them. And the old man was light-hearted and merry, and said that he had worn a mask when he was young and could have told a whispering tale in a fair lady's ear. And they fell to dancing, and Romeo was suddenly struck with the exceeding beauty of a lady who danced there, who seemed to him to teach the torches to burn bright, and her beauty to show by night like a rich jewel worn by a blackamoor; beauty too rich for use, too dear for earth! like a snowy dove trooping with crows (he said), so richly did her beauty and perfections shine above the ladies her companions. While he uttered these praises he was overheard by Tybalt, a nephew of Lord Capulet, who knew him by his voice to be Romeo. And this Tybalt, being of a fiery and passionate temper, could not endure that a Montague should come under cover of a mask, to fleer and scorn (as he said) at their solemnities. And he stormed and raged exceedingly, and would have struck young Romeo dead. But his uncle, the old Lord Capulet, would not suffer him to do any injury at that time, both out of respect to his guests and because Romeo had borne himself like a gentleman and all tongues in Verona bragged of him to be a virtuous and well-governed youth. Tybalt, forced to be patient against his will, restrained himself, but swore that this vile Montague should at another time dearly pay for his intrusion. The dancing being done, Romeo watched the place where the lady stood; and under favor of his masking habit, which might seem to excuse in part the liberty, he presumed in the gentlest manner to take her by the hand, calling it a shrine, which if he profaned by touching it, he was a blushing pilgrim and would kiss it for atonement. "Good pilgrim," answered the lady, "your devotion shows by far too mannerly and too courtly. Saints have hands which pilgrims may touch but kiss not." "Have not saints lips, and pilgrims, too?" said Romeo. "Aye," said the lady, "lips which they must use in prayer." "Oh, then, my dear saint," said Romeo, "hear my prayer, and grant it, lest I despair." In such like allusions and loving conceits they were engaged when the lady was called away to her mother. And Romeo, inquiring who her mother was, discovered that the lady whose peerless beauty he was so much struck with was young Juliet, daughter and heir to the Lord Capulet, the great enemy of the Montagues; and that he had unknowingly engaged his heart to his foe. This troubled him, but it could not dissuade him from loving. As little rest had Juliet when she found that the gentle man that she had been talking with was Romeo and a Montague, for she had been suddenly smit with the same hasty and inconsiderate passion for Romeo which he had conceived for her; and a prodigious birth of love it seemed to her, that she must love her enemy and that her affections should settle there, where family considerations should induce her chiefly to hate. It being midnight, Romeo with his companions departed; but they soon missed him, for, unable to stay away from the house where he had left his heart, he leaped the wall of an orchard which was at the back of Juliet's house. Here he had not been long, ruminating on his new love, when Juliet appeared above at a window, through which her exceeding beauty seemed to break like the light of the sun in the east; and the moon, which shone in the orchard with a faint light, appeared to Romeo as if sick and pale with grief at the superior luster of this new sun. And she leaning her cheek upon her hand, he passionately wished himself a glove upon that hand, that he might touch her cheek. She all this while thinking herself alone, fetched a deep sigh, and exclaimed: "Ah me!" Romeo, enraptured to bear her speak, said, softly and unheard by her, "Oh, speak again, bright angel, for such you appear, being over my head, like a winged messenger from heaven whom mortals fall back to gaze upon." She, unconscious of being overheard, and full of the new passion which that night's adventure had given birth to, called upon her lover by name (whom she supposed absent). "O Romeo, Romeo!" said she, "wherefore art thou Romeo? Deny thy father and refuse thy name, for my sake; or if thou wilt not, be but my sworn love, and I no longer will be a Capulet."

It was bound to happen! After four episodes of peace, hosts Michael Kaiser and Michael Bradley butt heads over a story in an epic clash sure to go down in history, like those of Ali vs. Frazier, Montagues vs. Capulets and Red Sox vs. Yankees! The story in question comes from DETECTIVE COMICS #31 and finds the Batman battling on land, sea and air to save the life of Bruce Wayne’s fiancée when he meets a nefarious new menace in the form of The Monk! Will such a mammoth confrontation mean the end of the Batman — or the show?! Tune-in, Bat-fans, and find out!

It was bound to happen! After four episodes of peace, hosts Michael Kaiser and Michael Bradley butt heads over a story in an epic clash sure to go down in history, like those of Ali vs. Frazier, Montagues vs. Capulets and Red Sox vs. Yankees! The story in question comes from DETECTIVE COMICS #31 and finds the Batman battling on land, sea and air to save the life of Bruce Wayne’s fiancée when he meets a nefarious new menace in the form of The Monk! Will such a mammoth confrontation mean the end of the Batman — or the show?! Tune-in, Bat-fans, and find out!

Memorial Day Weekend: Fully Armed! - Ephesians 6:10-18 There have been many long-standing feuds: Irish Catholics and Protestants, the Montagues and Capulets. But none of these are as long-standing as the feud against God and Satan. Blessedly, we already know the outcome of this battle, however. Our Lord wins! And yet, even though the outcome of the battle is certain, God calls us to be His soldiers, fighting with the weapons He gives us. This weekend, we are reminded of these weapons which can take down Satan and save souls.

Memorial Day Weekend: Fully Armed! (Chaplain Connie Walker) - Ephesians 6:10-18 There have been many long-standing feuds: Irish Catholics and Protestants, the Montagues and Capulets. But none of these are as long-standing as the feud against God and Satan. Blessedly, we already know the outcome of this battle, however. Our Lord wins! And yet, even though the outcome of the battle is certain, God calls us to be His soldiers, fighting with the weapons He gives us. This weekend, we are reminded of these weapons which can take down Satan and save souls.

Yep, I'm still catching up on Yen Plus. Basically, I will be breaking the review for each issue down into two parts: The Japanese first, and then the OEL and Korean section. Higurashi When They Cry,  Chapter 5: "Isolation" Keiichi is becoming more and more paranoid. You would too if your sweet friends seem possessed at times by a demon and strange murders had occurred and someone put needles in your food! Keiichi's conflict lies in the fact that most of the time his best friends seem like the cute girls he has known for the past few months, but every once in a while, when he asks about the town secrets, their eyes change and they start talking with weird voices. He even starts carrying around a baseball bat for protection. I would say that Higurashi stands heads above all the titles in this magazine with its mix of moe and its never-ending sense of dread and suspense. I watched the first dvd of the anime version a while back so I know how this ends, but the weirdness and horror of the story still packs a powerful punch. I look forward to the undiscovered country beyond this first arc. My Grade: A Nabari No Ou, Chapter 5: "Attack" Raimei has led Miharu and company to her home village of Fuuma to consult with the ninja master Kotaru Fuuma, only to find it under attack. The Iga Grey Wolves are conducting a raid to steal Fuuma's "Forbidden Art Scroll", which they believe will aid them in capturing the Shinra Banshou. It seems to be their lucky day as that very person falls into their hands! On their side is a particularly dangerous individual named Yoite who appears to be able to cut his enemies in two just by pointing at them! I must admit that the earlier chapters of Nabari No Ou were a little too girlish for my taste, especially with Miharu being such an emo brooder with no apparent interest in his special status. But for chapter 5, my hat is off to Yuhki Kamatani, who lets loose a can of whoop ass in the action sequences of this chapter. The art was just incredible and her choice of angles right out of film just blew me away. It's not just that the artist didn't shy away from blood. It's her mastery of pace that captures your eye, pushing you through pages with insistence. Great work. My Grade: A+ Soul Eater, Chapter 2: "Remedial Lesson (part 2)" The two teams of Maka/Soul Eater and Black Star/Tsubaki have a dubious distinction in common. They were supposed to have claimed the souls of 99 humans and one witch. Their current soul count combined: ZERO! So they've been given a remedial mission which they must complete or face expulsion from the DWMA. They must take the soul of Dr. Franken Stein. Yes, that's right, get it? "DR. FRANKENSTEIN". Problem is he's very powerful, being the former partner of Shinigami-Sama's Death Scythe. Both sets of partners will have to attain a higher level of cooperation and skill if they hope to defeat the evil scientist. The early installments of this series left me at a complete loss. Atsushi Ohkubo kept on jumping from character to character each chapter and never really got a story going. I had no idea or context in which to place them so it was starting over with the plot over and over again. Starting last issue, he started bringing the cast together and laying down at least a semblance of a story arc. But the lack of a sensible plot is what makes this the weakest title in the Japanese half of Yen Plus. It does seem like the title is getting better. Good enough to buy the tankoban version, the first volume of which should be out as I write this? Not sure on that point. I'm probably gonna skip it for now. I will say this. Ohkubo's art is very unique and cool, with its absurd expressionistic surrealism, but not enough to sell me on Soul Eater as a whole. My Grade: B Sumomomo Momomo Chapter 4: "Dinner, A Bath, Or Me" This chapter serves mainly as exposition, as Koushi's dad explains what the "Heavenly General's War" is all about and why Koushi and Momoko's marriage is so important to the future of Japan. Apparently, there are two large martial arts bloodlines, East and West factions, in Japan that have been fighting for centuries, like the Capulets and Montagues. Koushi and Momoko represent the two sides. It is believed that their union could finally bring about peace. But to do this means that Koushi will have to get involved in a world that he wants no part of. Don't really have a lot to say about this chapter since it was mainly informational, but there is an extremely funny exchange between Momoko and Tenka at its beginning that made me laugh. I enjoy this title. My Grade: B Bamboo Blade Chapter 9: "Kojiro and the Day He Gave Up the Shinai of His Heart" & Chapter 10: "Kojiro and Bento" With the acquisition of Tamaki Kawazoe, Kojiro still needs one more girl for his Kendo team (even though one of them, Saya, has rarely shown up for practice). When Tamaki kicks Kojiro's ass in less than a second during a practice match, it sends him into a funk, wondering how he has come to be so out of form. He also finally gets around to buying his new team some decent equipment for the big match against his rival, now a month away. What can I say, I am a sucker for a manga or anime that features characters dwelling in poverty or at least struggling to make ends meet. That's what really got me hooked on Cowboy Bebop back in the day. They always seemed to have enough money for rice or noodles but never enough for meat. And featuring a poor teacher as the main protagonist in Bamboo Blade is even more laser sighted up my alley. Kojiro is not putting this Seven Samurai-like team together to fight for the honor of Kendo. He's doing it so he'll be able to eat! It's just so inherently funny. I really like all the characters and the humor as well. The weakness comes in the art, mainly in the kendo fights. They tend to be hard to understand and I had difficulty differing between the fighters and exactly what blows they were landing. It's rather unfortunate but the matches, at least in terms of presentation, seem to be getting better. My Grade: B+