run young lovers

Shimada Coucilman: It’s come to our attention that your son is intending on running away with his young lover.

Sojiro Shimada: Oh dear- how should I approach him about this?

Councilman: How about we cut off his legs to instill that any idea of leaving will result in deathly punishment? And we have our guardsmen do it- so that he will be further traumatized by having to rely on his assaulters for protection in the future?

Sojiro Shimada: how about you get the fuck out of my house???

The Count of Monte Cristo musical: (Leo’s scenes)

ACT II:

Albert is celebrating Carnival with his friends in Rome. He is lured away from the festivities by a beautiful young woman, and captured by bandits. Dantès is there as well, pretending to have been captured also. When Albert tells him he was captured due to a woman, the two men talk of the power women hold over men. Albert reveals he is in love with Villefort’s daughter, Valentine. When the bandits return, Dantès breaks free of his bonds and fights them while Albert hides. The bandits are revealed to be Louisa Vampa and her band of pirates, now working for Dantès. This was all Dantès’ plan to become acquainted with Albert in order to gain access to Mondego. Dantès pays the pirates for their service and they disperse. Albert thanks his “savior” and asks who he is. Dantès introduces himself as the Count of Monte Cristo, and invites Albert, and his parents, to a ball he will be holding at his mansion. All the upper class of France attend Dantès’ ball and gossip about their mysterious host. Dantès arrives and dazzles all present with his charm and seemingly endless wealth. Jacopo presents Danglars and Villefort, while Albert presents his father, Mondego. (…)

When the news breaks of what the Count has done, Albert considers his family disgraced and arranges a duel with him. Mercédès tries to talk her son out of it, but Albert refuses to relent. Valentine privately muses on her father, whom she thought was a good man, only to see him revealed as a scoundrel. Mercédès goes to the Count and begs him to spare Albert’s life, revealing her knowledge of his true identity. (…)

The duel between Dantès and Albert commences and the two draw pistols. Albert misses his shot, leaving Dantès the victor. As Dantès prepares to kill Albert, Valentine jumps between them and implores that Albert be spared, declaring her love for him. Valentine is pulled away, leaving Albert open once again. However, Dantès simply shoots into the air, sparing his opponent’s life. The duel ends and the young lovers run off. Touched by the love Valentine showed for Albert, Dantès (…)

Source: Wikipedia: The Count of Monte Cristo (musical)

The Count of Monte Cristo is a musical based on the famed novel of the same name, with influences from the 2002 film adaptation of the book. The music is written by Frank Wildhorn and the lyrics and book are by Jack Murphy.

On Romeo and Juliet

A while ago, shakespeareismyjam posted or reblogged something discussing whether Romeo and Juliet should be read as a tragedy or a condemnation of the recklessness of love. It was a fascinating question and one I’ve been chewing over for a while.

Personally, I think the play is a tragedy - or more precisely, a thwarted comedy. Look, we have a hell of a setup for the first two, three acts - similar to Jessica and Lorenzo in Merchant of Venice, actually. Families that hate each other, oh look young love - we know this story. Elizabethan playgoers especially know this story (see also: commedia dell’arte, which often has a similar setup). We know how it’s supposed to end, but we also know that it doesn’t end that way - thanks Prologue. You know the old thing about how you tell a story? You put your characters in a tree, you throw stones at them, you get them down. Shakespeare puts Romeo and Juliet and hell, all of Verona in a tree, throws stones at them, and then chops the fucking tree down.

Anyway. Do I think R+J has some interesting things to say about how bloody stupid teenagers can be when they’re in love? Of course, but I don’t really think that’s the point. The point is the feud. All the stupid, reckless things our inamoratae do would turn out just fine in any other play - except for the feud. That is the tragedy of this play, not that Romeo and Juliet die, which is sad, but the larger point is that prejudice and blind loathing made that outcome inevitable. Without the feud - well, you know that, you’ve seen that play. The Nurse and Friar Laurence help our young lovers run circles around their silly families, there are comic misunderstandings that almost ruin everything but get resolved just in time, probably someone crossdresses, and many dick jokes are had by all. The feud frustrates what would otherwise be inevitable, and substitute it with something fucking terrible. That is the tragedy, the frustration, and the genius of this play.

TL;dr: Romeo and Juliet is not a story where love conquers all. It’s a story where hate spoils everything.

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I recently played with this band. They are called Run Young Lovers. Ignoring the romanticism in their self appointed epithet, upon first listen to their exceptionally consistent records you find yourself fit snugly between them, their music and (what you imagine would be) their imagined listeners. 

This is a brilliant video, to a brilliant song, by a brilliant band. The best thing about all these ‘brilliance’s' is their unpaid dues in an industry swirling, hectically, out of control. How exciting to see a band carelessly and consciously perfect a genre out of touch with the 'trends’ of a non existent mass… before any 'fame’ or 'deal' !!! I can’t wait for their next moves.

Right here, in the centre of a storm, is a band with a lot of love, melody, passion and bold future. 

@lordhighowl
@reallystudio