WEBVTT 1 00:00:19.980 --> 00:00:22.380 Maggie Monteverde: Yes, okay all the screen as well. 2 00:00:29.130 --> 00:00:36.090 Maggie Monteverde: Okay, that way your presentation is good Okay, but it means it's sharing it before i've spoken to the people out there. 3 00:00:36.780 --> 00:00:54.750 Maggie Monteverde: they'll be they'll still seeing you too okay alright, so I want to welcome you to our the next the next session sorry much shorter to the next session that we have in our fault humanity symposium and which is. 4 00:00:55.920 --> 00:01:06.600 Maggie Monteverde: Sorry i've done so many now reading is a radical act, I want to welcome those of you who are here in the room, as well as the many people, we have. 5 00:01:07.320 --> 00:01:16.020 Maggie Monteverde: Online right now I know about this, not because I see a number, but because I get questions after the fact, so I want to say a word or two to you and i'll. 6 00:01:16.440 --> 00:01:27.390 Maggie Monteverde: about how you would go about getting bell core credit because it's different For those of you who are in the room versus those who are online okay For those of you are here in the room. 7 00:01:28.020 --> 00:01:42.870 Maggie Monteverde: at the back of the room there are four boards we're in the process of putting up the session qr code, there are a qr Code, the qr code for this specific session will be on that on those boards okay. 8 00:01:43.770 --> 00:01:55.440 Maggie Monteverde: For those of you and all you do is scan it I do want to let you know that it can work very quickly, in fact it works so quickly, sometimes that I have students who think that they didn't get credit. 9 00:01:55.800 --> 00:02:01.470 Maggie Monteverde: And then, when they do it again it'll say you already have credit for this session because all that happens, is it goes to something. 10 00:02:02.190 --> 00:02:09.270 Maggie Monteverde: That looks exactly like the listing in the wall core it will just show our little tree logo and things like that. 11 00:02:10.080 --> 00:02:24.720 Maggie Monteverde: if by chance, you get something that says, this is an error, it just means there's too many people trying to get into the system, at the same moment, if you try again occasionally have someone who needs to try it three times, make sure you're looking straight at it. 12 00:02:25.800 --> 00:02:31.140 Maggie Monteverde: It will eventually go in I haven't had anyone who has not eventually been able to get it to scan for credit. 13 00:02:31.740 --> 00:02:45.150 Maggie Monteverde: For those of you who are online it's a slightly more complicated process Okay, so when the session is over, and actually probably will not be able to do this until either later tonight or tomorrow morning. 14 00:02:46.320 --> 00:02:53.760 Maggie Monteverde: For a reason i'll explain in a minute you'll need to go on to blackboard in my belmont all of you should have a course. 15 00:02:54.420 --> 00:03:06.300 Maggie Monteverde: That is called the wealth core blackboard course click on that course when you open it, you need to look over to the left menu and it's going to have all the categories as well core. 16 00:03:06.630 --> 00:03:18.090 Maggie Monteverde: pick the one that this category is in click on it and it'll come up and it will only show those programs, I believe that are that that were offered virtually okay. 17 00:03:18.540 --> 00:03:28.890 Maggie Monteverde: You may need to scroll down pretty far depending on the category find the program that you're seeking wealth or credit for, then what you'll do is open the quiz that's in there. 18 00:03:29.580 --> 00:03:35.670 Maggie Monteverde: You have seven days to take the quiz you need to get four of the five questions right okay. 19 00:03:36.150 --> 00:03:44.520 Maggie Monteverde: we're not trying to make these gotcha questions they're really they're just to see if you were at the session Okay, once you get that you'll submit it. 20 00:03:45.150 --> 00:03:58.800 Maggie Monteverde: you'll get a little form back that's a brief assessment form, and that will complete the process for those of you who are virtual i'll come back on and remind you about this at the very end of the session because there may be a few people coming in late. 21 00:04:00.060 --> 00:04:06.240 Maggie Monteverde: So at that i'd like to introduce my colleague Dr marcia McDonald, who will be introducing our speaker. 22 00:04:09.300 --> 00:04:24.480 Maggie Monteverde: Good afternoon it's a great pleasure and honor to introduce Dr Jamie yo this afternoon, she joined the belmont English faculty in 2013 coming from rice university, where she earned her PhD in early modern literature. 23 00:04:24.960 --> 00:04:40.830 Maggie Monteverde: She has published on early modern religious literature on Shakespeare, and a number of other topics she's received any H summer stipends and fellowships currently she is a work on I think on at least two maybe more projects on Shakespeare. 24 00:04:42.360 --> 00:04:55.080 Maggie Monteverde: And she's taught Shakespeare in prison English in Japan and from freshman to graduate students at belmont she served as our director of graduate studies for a few years. 25 00:04:56.190 --> 00:05:03.600 Maggie Monteverde: For those of you fortunate enough to have had her in class you already know that she helps you connect your deepest questions to. 26 00:05:04.470 --> 00:05:16.260 Maggie Monteverde: A range in a variety of literature and that she is very creative and effective at doing that I have had the privilege of collaborating with her and with Dr Joel overall. 27 00:05:16.710 --> 00:05:31.350 Maggie Monteverde: On the folger library NIH funded project that enabled students to create a digital archive of nashville Shakespeare performances and through that process I gained a really deep appreciation for. 28 00:05:32.010 --> 00:05:44.160 Maggie Monteverde: The her insights into course design her skills as an effective teacher and in knowing what effective teaching is the currency and the depth of her scholarship. 29 00:05:44.670 --> 00:05:52.050 Maggie Monteverde: and her gifts as a writer and as an editor i've learned much from her in her time here about being a. 30 00:05:52.770 --> 00:06:04.530 Maggie Monteverde: Good teacher and a scholar, but i've learned even more about being a good friend we're important we're fortunate to have someone of her talents and interests and spiritual wisdom here at belmont. 31 00:06:05.040 --> 00:06:15.510 Maggie Monteverde: Someone who gives generously of her time to her students, except when she needs to take some time out to play with her son William or to be with her husband Robert briggs. 32 00:06:16.260 --> 00:06:25.740 Maggie Monteverde: we're eager eager to hear how Shakespeare has managed to relocate to nashville we know many others are but welcome Dr yo to the session. 33 00:06:29.400 --> 00:06:38.520 Maggie Monteverde: Thank you marsha and I have to say marsha is my mentor and all around superhuman so it's sort of a joy to be introduced by her son, thank you. 34 00:06:39.990 --> 00:06:45.420 Maggie Monteverde: um so yeah my talk today is from a work in progress i've been working quite a bit on. 35 00:06:45.840 --> 00:06:53.850 Maggie Monteverde: Shakespeare, and the regional formations that he takes it's part of a larger project of on the history of Shakespeare in nashville that i'm trying to. 36 00:06:54.240 --> 00:07:01.980 Maggie Monteverde: uncover and what you see on the screen, now is the only plug that i'll put in for the national Shakespeare performance archive, which is an archive. 37 00:07:02.280 --> 00:07:11.760 Maggie Monteverde: of performance data from Shakespearean performances in nashville that we're trying to collect as part of this project with that i'll go ahead and jump in. 38 00:07:13.050 --> 00:07:22.200 Maggie Monteverde: There are two shakespeare's in the world today, one is a version of Shakespeare that, for reasons that i'm hoping will become clear i'm going to call St Shakespeare. 39 00:07:23.370 --> 00:07:32.370 Maggie Monteverde: Say Shakespeare is best represented in this image, the chandos portrait, which is one of only two portraits drawn from life, this is the Shakespeare we usually think of. 40 00:07:32.700 --> 00:07:40.320 Maggie Monteverde: When we think of Shakespeare in erudite slightly aloof figure the inheritor of the western cultural tradition, the genius bar of Avon. 41 00:07:41.280 --> 00:07:48.150 Maggie Monteverde: The second Shakespeare is less well known, but actually more ubiquitous i'm representing him with this image. 42 00:07:49.020 --> 00:07:53.940 Maggie Monteverde: created for the nashville Shakespeare festival by christy Carter Smith and Joe Anderson of Anderson design group. 43 00:07:54.750 --> 00:08:04.260 Maggie Monteverde: This print relocates the chandos portrait to nashville centennial park where Shakespeare lounges with his lap dog by but by the Parthenon and shorts and flip flops. 44 00:08:04.650 --> 00:08:19.620 Maggie Monteverde: While he takes in an evening performance, I feel like he's just finished a game of hacky sack and is waiting for his friends to bring him a craft cocktail he's approachable he's close really specific he belongs to nashville i'm going to call this Shakespeare popular Shakespeare. 45 00:08:20.970 --> 00:08:30.750 Maggie Monteverde: Neither of these shakespeare's are actually Shakespeare, the man, these are cultural attitudes towards Shakespeare orientations to art and history that have a double function. 46 00:08:31.320 --> 00:08:41.850 Maggie Monteverde: First they shape how we understand our artistic heritage, and second, they determine how that heritage shapes our culture and identities in ways that we don't always recognize. 47 00:08:42.450 --> 00:08:46.170 Maggie Monteverde: Now, judging by the title of my talk it's no real secret which, when I prefer. 48 00:08:46.590 --> 00:08:58.440 Maggie Monteverde: But i'm going to trace the history of both shakespeare's as they relate to southern identity and nashville in specific and what i'm hoping to show is that St Shakespeare has largely been a culturally regressive force. 49 00:08:59.100 --> 00:09:01.890 Maggie Monteverde: While this version of Shakespeare has informed southern identity. 50 00:09:02.280 --> 00:09:14.580 Maggie Monteverde: The cultural attitude that venerated St Shakespeare is also responsible for barring people usually the working class women and people of color from artistic legitimacy and creative identity, making. 51 00:09:15.330 --> 00:09:25.860 Maggie Monteverde: In contrast, popular Shakespeare has been a culturally progressive force a catalyst at the Center of a long standing creative conversation about inclusion and identity in the south. 52 00:09:26.850 --> 00:09:32.340 Maggie Monteverde: So this is really a talk about shakespeare's role in marginalization and inclusion in the south and in nashville. 53 00:09:33.480 --> 00:09:39.300 Maggie Monteverde: To tell this story i'm going to go all the way back to the early 19th century and the birth of St Shakespeare in America. 54 00:09:39.900 --> 00:09:43.200 Maggie Monteverde: Now, in the 19th century, everyone knew their Shakespeare. 55 00:09:43.830 --> 00:09:58.440 Maggie Monteverde: volumes of Shakespeare appeared in cabins in plantation homes complete works of Shakespeare were loaded onto wagons headed West quotes from Shakespeare peppered speeches, including lincoln's references to Hamlet in his inaugural address in 1861. 56 00:09:59.700 --> 00:10:08.790 Maggie Monteverde: So tied to American identity with Shakespeare that Herman melville would peevishly denigrates the absolute and unconditional adoration of Shakespeare in America. 57 00:10:09.120 --> 00:10:19.170 Maggie Monteverde: noting that you must believe in shakespeare's approachability or quit the country this American veneration of Shakespeare is tied directly to education. 58 00:10:20.100 --> 00:10:30.780 Maggie Monteverde: Most scholars trace shakespeare's popularity among the American elite back to the first American textbooks the macguffin readers which contained numerous selected scenes from his works. 59 00:10:31.230 --> 00:10:38.070 Maggie Monteverde: As Philip christiansen argues the macguffin can and contributed to an American belief in Shakespeare authority, a second only to the Bible. 60 00:10:39.150 --> 00:10:45.780 Maggie Monteverde: But this nationalist Shakespeare took on separate forms in the north and the south and that's what usually gets overlooked. 61 00:10:46.260 --> 00:10:53.280 Maggie Monteverde: While the north developed a distinctly American individualism, the southern aristocracy looks to England for its cultural capital. 62 00:10:53.730 --> 00:11:03.630 Maggie Monteverde: It sent it sons to the top ranking schools of Britain at these institutions, the southern elite developed personal and business ties that would continue to underwrite the slave trade well into the 19th century. 63 00:11:04.410 --> 00:11:10.560 Maggie Monteverde: The cells, commercial and educational exchanges with England we're so ingrained that it even impacted southern dialect. 64 00:11:10.860 --> 00:11:20.310 Maggie Monteverde: southerners and especially those who had been educated in England held to the non robotic or silent are found in phrases like and I apologize, in advance, I do to play. 65 00:11:21.030 --> 00:11:32.400 Maggie Monteverde: i'm from Oregon that just sounded wrong coming off my tongue, but it's that silent are right for the South Shakespeare symbolized a distinctly English or at least Anglo file version of educated elitism. 66 00:11:33.690 --> 00:11:41.700 Maggie Monteverde: Shakespeare may also have a peer to the appeal to the agrarian values of the antebellum South where identification with the land verged on religious devotion. 67 00:11:42.540 --> 00:11:53.520 Maggie Monteverde: Importantly, southern South southerners southern land is the backbone to a communitarian social order, unlike in the north, where the wilderness was allied to individualism think the Rose on Walden pond. 68 00:11:54.870 --> 00:12:11.970 Maggie Monteverde: In the south place was allied to a social order in which land and laborers became a collective social body Michelle vimeo notes Thomas jefferson's notes on the State of Virginia which rests on the notion that those who Labor in the earth are the chosen people of God. 69 00:12:12.990 --> 00:12:22.560 Maggie Monteverde: Land contextualize is the laboring individual into a larger community, an idea that traces its way even into the 20th century and literary figures such as the Southern agrarian. 70 00:12:23.220 --> 00:12:36.780 Maggie Monteverde: This group of writers in the 1920s and 30s were based here at vanderbilt university and included Robert pen Warren who wrote all the king's men and claim Shakespeare, as the greatest influence on his work will return to Warren and all the king's men later in this talk. 71 00:12:38.190 --> 00:12:42.060 Maggie Monteverde: Shakespeare St Shakespeare is often tied to this veneration place. 72 00:12:42.480 --> 00:12:54.570 Maggie Monteverde: Shakespeare himself is in many ways a poet of place nations appear almost like characters in his place widows and orphans cry out with Scotland which is quote almost afraid to know itself as Macbeth takes the throne. 73 00:12:55.080 --> 00:13:00.540 Maggie Monteverde: The ghost of Hamlet imagines denmark's ear listening to the lies that covered up the story of his murder. 74 00:13:01.050 --> 00:13:14.760 Maggie Monteverde: When Romeo is banished his thoughts turned to Juliet in Verona, as he cries there is no world without verona's walls, but purgatory torture hell itself Shakespeare like southerners had a certain kind of dedication to the land. 75 00:13:16.200 --> 00:13:20.850 Maggie Monteverde: Michelle be in your notes that, in the south, the plantation was this symbol of communal idealism. 76 00:13:21.600 --> 00:13:36.480 Maggie Monteverde: The literary plantation was conceived as a pre laps area and world of edenic natural self yielding plenty it was essentially a temporal an idealized world of pastoral innocence, which was bound to remain an illusion, as it came into tension with history. 77 00:13:37.050 --> 00:13:45.390 Maggie Monteverde: And this is the real problem with southern agrarian ideals of communal Labor they rely silently and insidiously on racial oppressions. 78 00:13:46.560 --> 00:14:04.080 Maggie Monteverde: The southerners who were educated in England were importantly landowning and slave only men and it's this intersection of three cultural forces elite education land ownership and slave ownership that brings Shakespeare in alignment with racial oppression in the south. 79 00:14:06.150 --> 00:14:13.500 Maggie Monteverde: The common attitude toward African American knowledge of Shakespeare in 19th century was usually disbelief or ridicule. 80 00:14:15.030 --> 00:14:21.180 Maggie Monteverde: For instance, john wilkes booth most famous for assassinating Lincoln was also the son of a renowned Shakespearean actor. 81 00:14:22.020 --> 00:14:28.020 Maggie Monteverde: At nights on the family farm he and his brothers would recite Shakespeare, while the people who were enslaved on the farm would listen. 82 00:14:28.800 --> 00:14:41.700 Maggie Monteverde: booth sister Asia tells how once when booth had mangled his lines, a young enslaved girl had recited them back to him more accurately prompting him to explain in surprise, she has sharper wits than I. 83 00:14:43.200 --> 00:14:49.890 Maggie Monteverde: minstrel shows during this period, frequently traded on this racist dismissal of African American knowledge of Shakespeare. 84 00:14:50.700 --> 00:15:01.590 Maggie Monteverde: The minstrel shows For those of you guys who aren't familiar with them, they were variety shows that typically featured white actors in blackface performing stereotypical situations from plantation life. 85 00:15:02.070 --> 00:15:14.520 Maggie Monteverde: it's telling that the laws and acted in the South to maintain racial discrimination, after the close of the civil war took the name of one of the most popular minstrel characters developed by Thomas rice a character, he called Jim crow. 86 00:15:15.660 --> 00:15:28.710 Maggie Monteverde: Despite these racist origins minstrel music was closely allied to African American folk singing and you believe songs and would later inform the development of ragtime and jazz will come back to that idea later as well. 87 00:15:29.820 --> 00:15:39.240 Maggie Monteverde: A popular spin off of the minstrel shows were parodied adaptations of Shakespeare in fact Thomas rice Jim crow had produced a parody of a fellow in 1833. 88 00:15:40.080 --> 00:15:46.890 Maggie Monteverde: In these productions scenes from Shakespeare are performed by white actors in blackface and Douglas linear points out. 89 00:15:47.130 --> 00:15:57.990 Maggie Monteverde: that a common thread is the desire of African Americans to become Shakespeare actors with the invariable result that they quote mangle and misapply the text misunderstand the plot and characters. 90 00:15:58.710 --> 00:16:12.630 Maggie Monteverde: Joyce green McDonald has argued that these parodies D legitimize black performance of Shakespeare and linear extends the point, arguing that Shakespeare becomes a symbolically powerful means for denying African Americans, the mantle of cultural authority. 91 00:16:13.830 --> 00:16:20.700 Maggie Monteverde: This tacit racial exclusion, although most notable in southern theater also existed in the North and in Europe throughout the 19th century. 92 00:16:21.780 --> 00:16:31.530 Maggie Monteverde: When American actor IRA aldridge became the first person of African descent to perform a fellow on the London stage in 1825 reviews were mixed. 93 00:16:32.460 --> 00:16:38.940 Maggie Monteverde: The public ledger announced his death seem to be one of the finest physical representations of bodily English anguish we ever witnessed. 94 00:16:39.690 --> 00:16:50.100 Maggie Monteverde: But others denigrated the performance and especially his accent with the times reporting that he had lips so shaped quote, that it was utterly impossible for him to pronounce English. 95 00:16:51.420 --> 00:16:57.780 Maggie Monteverde: Shakespeare here stands is the gatekeeper not only to intellectual ability, but to the English language itself. 96 00:16:58.860 --> 00:17:11.850 Maggie Monteverde: Although aldrich would have a successful stage career in Europe, he would continue to struggle for legitimacy, but history would eventually show that his work on European stages paved the way for Shakespearean actors of African descent, both in America and in Europe. 97 00:17:14.010 --> 00:17:21.330 Maggie Monteverde: In order for the upwardly mobile people of the 19th century America to be accepted into elite educated society they simply had to know their Shakespeare. 98 00:17:21.960 --> 00:17:29.400 Maggie Monteverde: it's perhaps for this reason that references to Shakespeare began appearing in black cultural spaces of nashville in the early years of the Jim crow era. 99 00:17:30.210 --> 00:17:38.850 Maggie Monteverde: Frederick douglass 1873 address to the Tennessee colored agricultural and mechanical association here in nashville begins and ends with quotations from Hamlet. 100 00:17:41.220 --> 00:17:52.320 Maggie Monteverde: And references to Shakespeare are sprinkled throughout the nashville Globe a newspaper founded by Henry Allen boyd in 1906 with the express purpose of promoting self reliance and prosperity for African American nashville. 101 00:17:53.850 --> 00:18:02.790 Maggie Monteverde: In 1909 the globe announced that the young men's literary society would meet to debate the question of whether Shakespeare or tennyson deserved more floor time for their meetings. 102 00:18:03.570 --> 00:18:06.870 Maggie Monteverde: Shakespeare one and in 1911 they beautifully met to discuss hamlet's. 103 00:18:07.470 --> 00:18:20.220 Maggie Monteverde: Meanwhile, the young woman's progressively hell discussions about Shakespeare and quotes from his plays were often given in response to roll calls at all literary societies black and white, male and female through out nashville and the US during this time. 104 00:18:21.240 --> 00:18:35.640 Maggie Monteverde: In 1907 Fisk university revived a production of the merchant of Venice by popular demand and the nashville Globe announced that with this production African American audiences finally had an opportunity to hear and see a play of the highest order without being Jim crow. 105 00:18:37.140 --> 00:18:45.420 Maggie Monteverde: In these years Shakespeare provided a social calling card and cultural capital a response to racist assumptions about intelligence and ability. 106 00:18:47.130 --> 00:18:56.220 Maggie Monteverde: Against this background, there were also early calls and national for developing a black literary arts that would make the need for Shakespeare as cultural capital obsolete. 107 00:18:56.970 --> 00:19:06.750 Maggie Monteverde: In 1917 the glow published and intriguing op ED entitled the future by an author, who identifies as fests i'm going to quote from this at some length. 108 00:19:07.290 --> 00:19:14.400 Maggie Monteverde: fest writes the salvation and growth of our race in the future depends on the interest taken in the present to foster the development of a distinctive literature. 109 00:19:15.120 --> 00:19:23.610 Maggie Monteverde: Without a literature, no race can have a history chaucer Milton Shakespeare addison Goldsmith Scott ruskin browning Dickens and a host of other illustrious names too numerous to mention. 110 00:19:23.970 --> 00:19:30.810 Maggie Monteverde: have indeed made history for their race, the lesson is quite plane tomorrow safety rests on our duty today now. 111 00:19:31.140 --> 00:19:43.410 Maggie Monteverde: develop a literature, make it distinctive see the beauty in the sons and daughters of they own flesh ferret out new roads of progress paint your pictures in the sun kissed brown of autumn know your hero and heroine in black. 112 00:19:44.250 --> 00:19:50.190 Maggie Monteverde: And i've been trying to find this quote So if you have any idea where this quote at the end comes from I would be very curious to know. 113 00:19:51.150 --> 00:19:59.790 Maggie Monteverde: But here we have an articulation of an idea that 50 years later, would become the black arts movement and a search for art that reflects and elevates black identity in America. 114 00:20:00.480 --> 00:20:12.000 Maggie Monteverde: decades after this op ED works by Lorraine hansberry amiri Baraka and others in the years following World War Two would do just that develop a black literature specifically black theater and make it distinctive. 115 00:20:12.930 --> 00:20:21.450 Maggie Monteverde: However, this tension between black theater and so called classical theatre represented by Shakespeare remained remarkably live even today. 116 00:20:22.200 --> 00:20:34.020 Maggie Monteverde: In 1996 80 years after this op ED appeared in nashville's newspaper playwright August Wilson made a similar point in a national address to the theater communications group. 117 00:20:34.710 --> 00:20:42.630 Maggie Monteverde: He two sided Shakespeare in his speech, the ground on which I stand Wilson traces black theatre, to the oral traditions of the self. 118 00:20:43.530 --> 00:20:53.520 Maggie Monteverde: And he calls on America to give resources, not only to classical theatre, but also to quote art that feeds the spirit and celebrates the life of black America. 119 00:20:54.450 --> 00:21:07.200 Maggie Monteverde: In this speech, as in the piece by fest Shakespeare stands as an icon for Anglo European literature that centers white identity and America and funnels resources into white theater and away from black artistic endeavors. 120 00:21:07.860 --> 00:21:24.090 Maggie Monteverde: The problem for August Wilson, and I want to be really clear here the problem from August Wilson and fest is not that Shakespeare exists it's that the veneration of Shakespeare St Shakespeare strangles opportunities for black art to be heard and seen. 121 00:21:25.410 --> 00:21:28.500 Maggie Monteverde: The Shakespeare in these spaces, is an elitist Shakespeare. 122 00:21:29.130 --> 00:21:42.720 Maggie Monteverde: Shakespeare for educated southern aristocrats, this is not just a problem of class or race, this is a problem for art, because this notion transform Shakespeare from an artist, whose works, we might dialogue with into the gatekeeper of class mobility. 123 00:21:43.500 --> 00:21:58.740 Maggie Monteverde: Placing his work at the symbolic Center of a social gaze that looks backwards and across the Atlantic to an idealized and problematic past for cultural legitimacy, the effect is an enshrined and immobilized Shakespeare a dead thing. 124 00:22:01.140 --> 00:22:09.870 Maggie Monteverde: Sometimes, when discussing Shakespeare with audiences either my own students are at talks I get glimpses of this Shakespeare in their expectations. 125 00:22:10.770 --> 00:22:18.450 Maggie Monteverde: audiences might express a slight preference for Shakespeare, as he was meant to be performed as though you might need a degree in history to stage his work. 126 00:22:19.440 --> 00:22:23.910 Maggie Monteverde: What they believe is that there is a right or authentic way to stage Shakespeare. 127 00:22:24.810 --> 00:22:37.620 Maggie Monteverde: The kind of production day imagine, from what I can tell contains unconscious echoes of the cultural elitism of St Shakespeare Victorian sets elizabethan costumes English accents and often implicitly white SIS gendered casting. 128 00:22:38.760 --> 00:22:45.000 Maggie Monteverde: None of these things are really all that authentic to Shakespeare stage what I have on the screen here is Edwardian not elizabethan. 129 00:22:45.930 --> 00:22:52.200 Maggie Monteverde: But, more importantly, they flirt with the same exclusivity that so worries me about the history of American attitudes towards Shakespeare. 130 00:22:52.950 --> 00:22:57.810 Maggie Monteverde: I don't want to suggest that these audience Members are racist or classes, but they are unaware. 131 00:22:58.200 --> 00:23:08.940 Maggie Monteverde: Of the historical alliances between racism and classism that underwrite our elevation of a more traditional Shakespeare over our license to dialogue with Shakespeare through adaptation and appropriation. 132 00:23:09.780 --> 00:23:15.540 Maggie Monteverde: i'm also not trying to throw shade on historical staging practices or England, I like both. 133 00:23:16.350 --> 00:23:26.130 Maggie Monteverde: companies like the globe that try to recreate staging practices, provide a tremendous amount of knowledge and fun and it's important when staging Shakespeare to understand the text. 134 00:23:26.700 --> 00:23:36.360 Maggie Monteverde: and be clear about the kinds of choices you're making but, as with our veneration of St Shakespeare, we need to take care not to venerate Shakespearean condition staging conditions. 135 00:23:36.720 --> 00:23:42.120 Maggie Monteverde: And, in so doing, put up gates to his work through claiming that only certain versions of Shakespeare are more authentic. 136 00:23:43.980 --> 00:23:51.510 Maggie Monteverde: The story of Shakespeare in the South is not merely the story of St Shakespeare, in fact, most of the southern connections with Shakespeare happen in popular culture. 137 00:23:52.110 --> 00:23:56.730 Maggie Monteverde: beginning in the theaters of the 19th century and expanding into southern music, including jazz and country. 138 00:23:57.720 --> 00:24:06.390 Maggie Monteverde: This version of Shakespeare involves a more diverse dialogue, including, especially through jazz and country the voices of African Americans working class whites and women. 139 00:24:06.990 --> 00:24:10.500 Maggie Monteverde: This doesn't mean the popular Shakespeare is always inclusive it most certainly is not. 140 00:24:11.070 --> 00:24:19.680 Maggie Monteverde: But what i'm trying to argue here is that in the popular dialogue we see a struggle towards an American artistic identity that interacts with shakespeare's work in new ways. 141 00:24:20.040 --> 00:24:26.880 Maggie Monteverde: revitalizes the past and uses art, not as an iconic status symbol but as a means of connecting to our world today. 142 00:24:27.840 --> 00:24:35.040 Maggie Monteverde: These two shakespeare's, although they do different cultural work are often intertwined and the same people who perpetuated the notion of an elitist Shakespeare. 143 00:24:35.400 --> 00:24:40.680 Maggie Monteverde: also help to inform popular southern Shakespeare remember this guy Robert pen Warren. 144 00:24:41.370 --> 00:24:49.530 Maggie Monteverde: who wrote all the king's men this book is loosely inspired by the assassination of Louisiana Senator huey long and it also contains echoes of Julius Caesar. 145 00:24:50.370 --> 00:25:01.170 Maggie Monteverde: or in himself meditates on this connection in an op ED that he wrote for the New York Times, in which he describes teaching Shakespeare in Louisiana months before Senator long's assassination in the state Capitol. 146 00:25:02.220 --> 00:25:10.170 Maggie Monteverde: He writes, I remember when we came to Julius Caesar and the day I lectured no doubt in a bumbling fashion on the fall of the Roman Republic and the rise of Caesar ISM. 147 00:25:10.650 --> 00:25:23.730 Maggie Monteverde: For once, in my life I had an audience spellbound and breathless that was in early 1935 the height of violent commotion in the state and with huey long very rambunctious Lee alive and his daughter rose discreetly in the back row of my class. 148 00:25:24.450 --> 00:25:33.420 Maggie Monteverde: The dulles dillard could see certain parallels with shakespeare's play, but there was much more of Shakespeare than that in my mind is Rome gradually became a mirror for Louisiana. 149 00:25:34.020 --> 00:25:40.470 Maggie Monteverde: Shakespeare had dealt with the question of power, its various justifications ethical and otherwise, and its dangers. 150 00:25:41.130 --> 00:25:49.230 Maggie Monteverde: Here we have a Shakespeare on the ground who's commentary on the weeds the anna's power dynamics would wind its way into all the king's men written 10 years later. 151 00:25:50.160 --> 00:26:00.660 Maggie Monteverde: Shakespeare becomes a voice in the artistic construction of southern identity carrying into popular art and culture where his work itself becomes transformed and reimagined as a distinctly American art form. 152 00:26:01.350 --> 00:26:10.710 Maggie Monteverde: Look at two ways that this happens, the first is like this through appropriating Shakespeare into new art forms, and the second is through adapting shakespeare's work on the stage. 153 00:26:11.790 --> 00:26:18.630 Maggie Monteverde: So I want to start by discussing jazz and country Western music to southern music genres associated with racial and economic minorities. 154 00:26:19.140 --> 00:26:30.240 Maggie Monteverde: which began to speak back speak with to St Shakespeare in the 20th century and along the way, inform the development of a more popular not populist Shakespeare. 155 00:26:31.440 --> 00:26:39.930 Maggie Monteverde: In America Shakespeare and music are intimately related here's the announcement, for the first professional production of Shakespeare in nashville that i've been able to find. 156 00:26:40.380 --> 00:26:50.880 Maggie Monteverde: It happened in 1820 at the vendome theater and it's a performance penalty, the fourth part one or the humours of Sir john false stuff followed by singing and a to act comedy. 157 00:26:51.780 --> 00:27:04.350 Maggie Monteverde: And not sure if you can read this or not, but the playbill announces that there will be between the play and farce, the favorite ballad of oh cruel ballad singer i'm assuming oh cool ballad singer with a group and the ballad was a song that I have no idea. 158 00:27:05.730 --> 00:27:14.520 Maggie Monteverde: And a comic dance so accrual ballad singer comic dance, and then, of course, in the 19th century, it was common to have this kind of production Shakespeare than music then comedy. 159 00:27:15.000 --> 00:27:20.430 Maggie Monteverde: and often Shakespeare plays were cut down to about an hour or so, to make room for the dancing in the laughing which is really what everyone wanted. 160 00:27:21.390 --> 00:27:30.360 Maggie Monteverde: By the 20th century Shakespeare was no longer offered next to music in productions, but the century retained echoes of these music in their productions. 161 00:27:30.930 --> 00:27:38.610 Maggie Monteverde: broadway saw the first major jazz Shakespeare production in 1935 a reimagining of midsummer night's dream titled swing in the dream. 162 00:27:39.330 --> 00:27:44.910 Maggie Monteverde: The show featured an all star racially integrated musical tasks, including benny Goodman and louie Armstrong. 163 00:27:45.600 --> 00:28:01.770 Maggie Monteverde: And to underscore the connections with southern jazz the entire show was set in the birthplace of jazz 1890s New Orleans, by all accounts, it should have been wildly successful, and yet the show was an instant flop only playing for 13 performances before closing all together. 164 00:28:02.940 --> 00:28:08.430 Maggie Monteverde: Douglas linear points to the minstrel roots of jazz as the culprit for the show's demise. 165 00:28:09.150 --> 00:28:24.780 Maggie Monteverde: He argues that, as with minstrel shows white audiences simply could not reconcile Shakespeare with African American art by the 1930s, I do want to say African American Shakespearean actors were just being accepted on mainstream stages. 166 00:28:36.120 --> 00:28:37.530 Maggie Monteverde: technical difficulties. 167 00:28:39.480 --> 00:28:39.930 Maggie Monteverde: There we go. 168 00:28:41.670 --> 00:28:42.330 Maggie Monteverde: um. 169 00:28:46.050 --> 00:29:01.350 Maggie Monteverde: This is the popular voodoo Macbeth which was staged in Harlem it featured in all African American cast directed by Orson Welles and just four years later, Paul robeson would be the first African American to play a fellow with an integrated cast on broadway. 170 00:29:02.640 --> 00:29:07.500 Maggie Monteverde: The problem then wasn't that white audiences weren't ready to accept and take seriously. 171 00:29:07.980 --> 00:29:15.030 Maggie Monteverde: African American Shakespearean actors, it was that they weren't able to reconcile their understanding of an elitist Shakespeare. 172 00:29:15.360 --> 00:29:26.580 Maggie Monteverde: To a black art form represented by jazz it says if jazz transposed into its birthplace in the deep self is simply not English or educated enough to code onto Shakespeare. 173 00:29:28.440 --> 00:29:35.610 Maggie Monteverde: What broadway couldn't accomplish in 1939 Duke ellington did masterfully in 1957. 174 00:29:42.900 --> 00:29:46.140 Maggie Monteverde: gonna let this go, while I talk over it, this is from his albums such. 175 00:29:49.530 --> 00:29:50.460 Maggie Monteverde: Such sweet thunder. 176 00:29:51.570 --> 00:30:06.660 Maggie Monteverde: was a Shakespeare inspired album with this album jazz finally gets an opportunity to have it say with Shakespeare each song on the album is inspired by a Shakespeare character, with the album beginning and ending with portraits of to of shakespeare's African. 177 00:30:07.740 --> 00:30:10.980 Maggie Monteverde: A fellow and Cleopatra the song is called feel. 178 00:30:12.180 --> 00:30:24.060 Maggie Monteverde: Douglas linear argues that this move centers African identities in shakespeare's work and I ellington's musical complexity and sophistication match the linguistic bit of shakespeare's plays. 179 00:30:25.020 --> 00:30:33.540 Maggie Monteverde: The album is all together and image to artistic integration, past and present, music and theatre Shakespeare and jazz. 180 00:30:46.260 --> 00:30:53.190 Maggie Monteverde: Part of why the album was so well received may have been because by this time jazz was itself a bit of an elitist pastime. 181 00:30:54.240 --> 00:31:04.020 Maggie Monteverde: ellington comments on this and his notes to the album with me notes, but he has greatest sympathy with Shakespeare, because it seems that strong similarities can be established between jobs and Shakespeare. 182 00:31:04.710 --> 00:31:14.610 Maggie Monteverde: ellington bemoans the misconception that the major supports of both of these artistic manifestations Shakespeare and jazz are the people who have invested time and money and becoming experts. 183 00:31:15.090 --> 00:31:22.950 Maggie Monteverde: But ellington wants to push against that, with this album arguing that somehow if Shakespeare were alive today he might be a jazz fan himself. 184 00:31:25.050 --> 00:31:25.860 Maggie Monteverde: What we see. 185 00:31:28.860 --> 00:31:32.340 Maggie Monteverde: With Shakespeare and jazz I can get to the. 186 00:31:33.510 --> 00:31:35.040 Maggie Monteverde: Okay, I see what i'm doing here. 187 00:31:37.230 --> 00:31:45.930 Maggie Monteverde: What we see what Shakespeare in jazz is a move in which popular culture gradually claims and affinity with Shakespeare and rewrites his plays for an American context. 188 00:31:46.380 --> 00:31:50.880 Maggie Monteverde: This phenomenon of speaking back to Shakespeare can also be witnessed in country Western music. 189 00:31:51.300 --> 00:32:02.370 Maggie Monteverde: The connection runs as far back as hank Williams, known as the hillbilly Shakespeare, but maybe it's because I grew up in the 90s singing, along with the sweet sounds of should I have Twain that my sights are set to that decade. 190 00:32:02.790 --> 00:32:15.390 Maggie Monteverde: In which country Western music was still embracing it's working class roots here in nashville Steve Earle was planning to start a theater company tentatively named Shakespeare for white trash I can't make this up. 191 00:32:16.500 --> 00:32:24.450 Maggie Monteverde: In an interview Earl said he wanted to quote take all the seeds out sell hot dogs and beer, if you can't make the average person understand Shakespeare you're not staging right. 192 00:32:25.110 --> 00:32:40.860 Maggie Monteverde: The company remarkably never materialized but Shakespeare seems to be in the air, during this decade, you could not throw a brick at country billboard's top 10 without hitting a reference to Romeo and Juliet diamond Rio croons this Romeo and Juliet get it. 193 00:32:41.910 --> 00:32:46.290 Maggie Monteverde: And patty loveless complains that her man has never read Romeo and Juliet just probably offer the best. 194 00:32:47.670 --> 00:32:56.850 Maggie Monteverde: We can credit, the incomparable Dolly parton with this fad and the release of her hit single Romeo the song depicts in Roberts lawyers words a slightly deep fried Romeo. 195 00:32:58.800 --> 00:33:09.510 Maggie Monteverde: Research awaiting the scene from verona's artistic grand halls to the two stepping dance floor of a southern honky tonk so let's take a look, just at the first verse or so. 196 00:33:47.610 --> 00:33:47.970 Forget. 197 00:33:55.980 --> 00:33:56.100 So. 198 00:33:59.460 --> 00:34:00.690 Maggie Monteverde: I could listen to that all day. 199 00:34:06.030 --> 00:34:18.600 Maggie Monteverde: Okay, rather than you shakespeare's language as the inspiration will for musical complexity as ellington does partner here claims and rewrite shakespeare's words for herself where art thou i'll show you where for. 200 00:34:19.830 --> 00:34:26.490 Maggie Monteverde: For country Western music of the 1990s, at the height of working class rejections of high culture pretension. 201 00:34:26.940 --> 00:34:41.040 Maggie Monteverde: Shakespeare serves as the perfect stand in for rejecting cultural elitism through paradoxically appropriating the icon of that elite ISM Shakespeare himself to the music and identity of working class life. 202 00:34:42.030 --> 00:34:50.640 Maggie Monteverde: These appropriations wine their way into southern productions of Shakespeare as well, where Shakespeare becomes a mirror for nashville's own history. 203 00:34:52.080 --> 00:35:04.590 Maggie Monteverde: In 2016 the nashville Shakespeare festival stage diversion of the comedy of errors sets in an imagined nashville in the 1960s, with flavors of the country Western variety shows the dominated the airwaves during that decade. 204 00:35:05.190 --> 00:35:16.620 Maggie Monteverde: In her directors note Denise hicks knows that she wanted to explore what happened when quote the conservative ISM of nashville met with the liberality of folk music dear, oh that's the issue okay. 205 00:35:21.120 --> 00:35:30.630 Maggie Monteverde: What stood out to me as I watched and reflected on this play was its commentary on the struggles women faced as they balanced family obligations and desire for self fulfillment. 206 00:35:31.230 --> 00:35:44.160 Maggie Monteverde: The play drew on nashville's participation in 1960s feminism when singers like tammy why net Patsy cline and Dolly parton saying about female disempowerment and spousal abuse alongside songs of independence and love. 207 00:35:45.030 --> 00:35:53.550 Maggie Monteverde: I couldn't help but think about these songs as I listened to tanya Pew it in Jordan Scott planes sisters Adriana and Luciano sing about those of married woman. 208 00:35:54.240 --> 00:36:02.820 Maggie Monteverde: And shakespeare's texts, then married Adriana is complaining about her quote wretched soul bruised with adversity, because of her husband's apparent philandering. 209 00:36:03.570 --> 00:36:10.050 Maggie Monteverde: In the version here, Adrian is unhappiness explodes into the song you can't shoot them by laurie white. 210 00:36:10.620 --> 00:36:24.450 Maggie Monteverde: The song draws unflinchingly from the themes of female singer songwriters in countries golden age Adriana complains when you're married and miserable wondering where is he your hogtied to the kitchen, while he's out getting busy, but you can't shoot them. 211 00:36:25.890 --> 00:36:38.550 Maggie Monteverde: These lyrics recall the feminism that took shape in and through the early careers of female artists in nashville stitching the plight of Adriana to a local woman's history caught just beneath the surface of the performance. 212 00:36:39.810 --> 00:36:45.660 Maggie Monteverde: Similarly, the character of tiny the quarters on herself embody to submerged women's history. 213 00:36:46.320 --> 00:36:59.910 Maggie Monteverde: The character was based on how to Louise best the matriarchal entrepreneur who bought the honky tonk that would eventually become tootsies orchid lounge and you see here in the background, a poster for Chinese world famous painting to live lounge. 214 00:37:01.320 --> 00:37:11.790 Maggie Monteverde: This highlights the economics of female independence, both in shakespeare's play and in women's history in nashville something else that was unusual about this performance was it was four or five. 215 00:37:12.210 --> 00:37:24.630 Maggie Monteverde: Female actors, always in the background, doing work they were waiting tables, they were carrying laundry I think it's just another sort of slight statement of of female Labor in this period. 216 00:37:26.100 --> 00:37:36.180 Maggie Monteverde: This year the nashville Shakespeare festival is extending its cultural commentary, and then a collaboration that might help move the city's theatre scene towards a space of justice. 217 00:37:36.630 --> 00:37:44.730 Maggie Monteverde: They have partnered with Kenny playhouse theatre a black theater in the company in the city to produce black theater alongside Shakespeare during their summer seasons. 218 00:37:45.510 --> 00:37:58.650 Maggie Monteverde: The companies are hoping to foster more inclusive audiences and casts and in doing so, to begin answering the problem raised all the way back in the 20th century in that op ED by fest and in August Wilson speech. 219 00:37:59.490 --> 00:38:10.080 Maggie Monteverde: Instead of a landscape in which classical and black theater compete for resources and audiences, why not create partnerships and see what these two art forms have to say to each other. 220 00:38:11.130 --> 00:38:17.370 Maggie Monteverde: It is fitting that, in this first season, the company produced August wilson's jitney alongside shakespeare's 12th night. 221 00:38:18.240 --> 00:38:24.420 Maggie Monteverde: This partnership is forming pathways that raise opportunities for artistic dialogue and innovation that are frankly exciting. 222 00:38:24.810 --> 00:38:35.130 Maggie Monteverde: watching the two shows back to back, I found myself wondering how both playwrights conceive of love tragedy and community in ways that seem to talk to each other. 223 00:38:35.850 --> 00:38:53.250 Maggie Monteverde: Can this partnership amplify marginalized voices and bring more inclusion to nashville's theater scene, I hope so, because the space of intersection we're past dialogues with presence is the space of generative creativity, a legacy that both companies might be able to give to nashville. 224 00:38:55.020 --> 00:39:00.630 Maggie Monteverde: For Shakespeare to remain relevant for us, for his work, to have any real echoes and reflections in our world today. 225 00:39:01.140 --> 00:39:09.630 Maggie Monteverde: We must be willing to play an experiment with his work to allow adaptations and appropriations alongside our historical knowledge. 226 00:39:10.260 --> 00:39:21.600 Maggie Monteverde: to guide our thoughts on his art and its place in our world today, this translation and appropriation is how the self made Shakespeare, and this is how Shakespeare made the self Thank you. 227 00:39:30.600 --> 00:39:32.460 Maggie Monteverde: We have some time for questions. 228 00:39:33.630 --> 00:39:36.270 Maggie Monteverde: Where we can stare at each other blankly for 10 minutes. 229 00:39:45.240 --> 00:39:46.920 Maggie Monteverde: Thanks there's 10 minutes. 230 00:39:49.980 --> 00:39:50.400 Maybe. 231 00:40:15.600 --> 00:40:17.340 struggle often people. 232 00:40:18.750 --> 00:40:21.270 were trying to use this. 233 00:40:22.350 --> 00:40:23.910 Maggie Monteverde: yeah obviously. 234 00:40:26.160 --> 00:40:28.050 Maggie Monteverde: Then break stretch. 235 00:40:29.220 --> 00:40:29.430 But. 236 00:40:30.870 --> 00:40:36.060 Maggie Monteverde: Like not presenting please in ways that are strictly for. 237 00:40:37.770 --> 00:40:38.220 You. 238 00:40:41.970 --> 00:40:42.300 and 239 00:40:45.570 --> 00:40:45.780 I. 240 00:40:46.920 --> 00:40:49.320 Get the one idea. 241 00:41:18.960 --> 00:41:20.580 Maggie Monteverde: Why certain place. 242 00:41:30.810 --> 00:41:31.290 Maggie Monteverde: yeah. 243 00:41:39.150 --> 00:41:47.880 Maggie Monteverde: yeah I mean there's a whole book to be read written on certain why certain plays capture the cultural imagination at certain moments. 244 00:41:48.300 --> 00:41:57.960 Maggie Monteverde: In the early years of you know, American colonization during the colonial America and just after the revolutionary war, the most popular play in America. 245 00:41:58.470 --> 00:42:06.480 Maggie Monteverde: Was not Hamlet it was not midsummer night's dream, it was none of the plays it was Richard the third everybody loved Richard the third they were performing it everywhere, is the one thing you had to perform. 246 00:42:07.230 --> 00:42:15.930 Maggie Monteverde: And we can only make a guess right and something to do with sovereignty, so, but there was so much of that in shakespeare's plays why that particular one right no idea. 247 00:42:16.320 --> 00:42:24.540 Maggie Monteverde: So that's a that's a long winded way of saying I don't know the direct answer to your question why Romeo and Juliet Maggie is wondering why Romeo and Juliet in country music. 248 00:42:25.560 --> 00:42:30.750 Maggie Monteverde: which I would add, why Romeo and Juliet in country music at this particular moment and in the 90s. 249 00:42:31.890 --> 00:42:43.470 Maggie Monteverde: You know, I think that that I had a joke in here, which I had taken out but it's the old adage that you know if you play if you play a country music song backwards, you get your dog back and your wife back in your car back in your House. 250 00:42:44.160 --> 00:43:00.150 Maggie Monteverde: And, in some ways, if you play a Shakespearean tragedy backwards, the same thing happens, you know you get your kids back and your kingdom back and your wife back and all of that, so I think there's like some resonances between the tragedies there, but of course the love story itself and. 251 00:43:01.350 --> 00:43:10.260 Maggie Monteverde: You know, again from the 16th all the way up through the 90s, especially with females women in country music you do get a lot of songs about how disappointed, they are in love. 252 00:43:10.800 --> 00:43:22.110 Maggie Monteverde: And Romeo and Juliet does stand in as the grand disappointment in love the grand failure of love and so there might be something there in that as well, thank you for the question. 253 00:43:24.180 --> 00:43:26.250 Maggie Monteverde: Did you want to start another one somewhere. 254 00:43:28.140 --> 00:43:28.410 yeah. 255 00:43:47.520 --> 00:43:48.030 Maggie Monteverde: Yes. 256 00:43:53.400 --> 00:44:05.520 Maggie Monteverde: Right yeah Romeo and Juliet is when I often don't put it on my syllabi because I figured students have already read it, and they need exposure to something else, and so you're right it's a very ubiquitous play to. 257 00:44:07.830 --> 00:44:08.940 Maggie Monteverde: me any other questions. 258 00:44:11.130 --> 00:44:22.890 Maggie Monteverde: Maggie we have a few minutes and you mentioned wanting to to say one quick thing before we close out so i'll go ahead and leave that here i'll be available for the next few minutes after the talk Thank you guys. 259 00:44:32.010 --> 00:44:40.440 Maggie Monteverde: I do just want to say, for those of you who are here, I recommend that you spread yourself out across these boards, rather than everybody going to the same one. 260 00:44:40.980 --> 00:44:50.280 Maggie Monteverde: And for those of you who are online, some of you may have joined us late so just as a reminder for the well core credit for those people who are online. 261 00:44:51.450 --> 00:45:00.300 Maggie Monteverde: The you need to go to the wealth core course in blackboard if by chance, you do not have such a thing which I just encountered a student who didn't. 262 00:45:01.350 --> 00:45:14.790 Maggie Monteverde: you send either send me an email or two well core@belmont.edu and they will sort it out, I would just be forwarding it to them and then, once you open this up. 263 00:45:15.360 --> 00:45:24.420 Maggie Monteverde: And this is, to me, the biggest challenge on blackboard right now my left menu always has a way of disappearing, when I open up blackboard my left hand menu was never showing. 264 00:45:24.810 --> 00:45:30.270 Maggie Monteverde: So just make sure that you run the cursor down the side and it'll show up and pick the appropriate category. 265 00:45:30.660 --> 00:45:37.260 Maggie Monteverde: The quiz will not be there until later today, possibly tomorrow morning because we have sessions going all day to day. 266 00:45:37.950 --> 00:45:49.860 Maggie Monteverde: Indeed, we have a session coming in at at one o'clock or one o'clock session it Oh, this is the one o'clock session This just goes i've been in this room content I basically slept in the room. 267 00:45:50.910 --> 00:46:09.000 Maggie Monteverde: I look like it anyway, the at two o'clock we have a coming up very shortly we're going to have a session from Kim Kirsch from the nashville adult literacy council which we're very excited about, but I want to ask you one more time, would you please join me in thanking. 268 00:46:10.230 --> 00:46:20.160 Maggie Monteverde: Dr Jamie yo for a wonderful really wonderful and fun and I now need to go find some of this these things are presentation, thank you very much.