Archive for the 'Music' Category

A Good Pairing

Sunday, February 9th, 2014

Last week, I was working with a Shakespeare teacher who was looking for ways to help students better appreciate the language. He liked the idea of using song lyrics, and Usher’s “More” in particular. For easy reference, I reprint the excerpt and devices from the earlier post.

From “More” as performed by Usher
Written by Hinshaw, Khayat, and Raymond

Watch me as I dance under the spotlight-
Listen to the people screaming out more and more,
‘Coz I create the feeling that keep ‘em coming back,
Yeah, I create the feeling that keep ‘em coming back,
So captivating when I get it on the floor.

Know y’all been patiently waiting, I know you need me, I can feel it,
I’m a beast, I’m an animal, I’m that monster in the mirror,
The headliner, finisher, I’m the closer, winner.
Best when under pressure with seconds left I show up.

If you really want more, scream it out louder,
Get it on the floor, bring out the fire,
And light it up, take it up higher,
Gonna push it to the limit, give it more.

Literary devices

Repetition: “more and more,” “I create the feeling that keep ‘em coming back”

Rhyme: more/floor, fire/higher

Alliteration: “monster in the mirror,” create/coming/captivating

Assonance: “patiently waiting,” finisher/winner, Best/pressure/seconds, “limit/give it”

Lists: “I’m a beast, I’m an animal, I’m that monster in the mirror, the headliner, finisher, I’m the closer, winner.”

Antithesis: Get it on the floor/take it up higher

But then the question arose as to which passage from Shakespeare to use. When I used to do this activity using “Mosh,” I’d have students compare Eminem’s use of literary devices in the song to Shakespeare use of the same devices in the Prologue from Romeo and Juliet. But that text doesn’t use the same literary devices as “More,” so we needed another choice.

Et voilà!

Sonnet 130
by William Shakespeare

My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask’d, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.

Literary devices

Repetition: red, wires, roses

Rhyme: sun/dun, red/head, etc.

Alliteration: “I grant I never saw a goddess go,” “when she walks”

Assonance: “nothing like the sun,” “then her breasts,” “and yet, by heaven”

Lists: The whole poem, basically

Antithesis: The whole poem, basically

What’s nice about this selection is that many of the poetic devices are actually easier to identify in the Shakespeare, making the activity more likely to succeed in helping students connect with the language.

Shakespeare Teacher: your sonnet sommelier.

Conundrum: An Eventful 52

Sunday, January 5th, 2014

The following recap of 2013 has been redacted by overzealous Internet censors! Can you fill in the blanks to restore our memories of the year?

Here’s the catch: all of the missing words are in alphabetical order. Enjoy!

Was it only 52 weeks __(01)__ that we celebrated the arrival of 2013? A lot has happened since then. __(02)__ __(03)__ was __(04)__ from the same network as Mr. __(05)__ later would be. The __(06)__ story of the past 365 days might be that terrible __(07)__ in __(08)__. The __(09)__ of a mayoral __(10)__ ended when he was revealed to be using the name __(11)__ __(12)__. This may have been the most __(13)__ incident of 2013, unless you wish to give that __(14)__ honor to the family of __(15)__ __(16)__, whose __(17)__ member __(18)__ many by __(19)__ his more __(20)__ views, which many felt went too __(21)__. At the movies, the latest __(22)__ & __(23)__ film had a __(24)__ showing at the box office, though it did not __(25)__ as much __(26)__ as the latest __(27)__ __(28)__ film. In music, the artist born __(29)__ __(30)__ released a second LP with that name. Internationally, __(31)__ __(32)__ was removed from power, while domestically, we fought __(33)__ over __(34)__, the __(35)__ signature __(36)__. The __(37)__ __(38)__ it fiercely, and the __(39)__ itself certainly had some __(40)__ spots. In fact, the worst __(41)__ of 2013 may have been the __(42)__ it triggered, though just as __(43)__ was when Mr. __(44)__ __(45)__ out about the government’s __(46)__ on Americans as part of a secret __(47)__ program. In sports, we once again saw that nobody could __(48)__ from the __(49)__ like __(50)__ __(51)__. All in all, it was an eventful __(52)__.

Theatre: Twelfth Night at the Belasco

Sunday, December 8th, 2013

At a good production of Shakespeare, you may be impressed by the production values. The innovative choices made by the director may, at a good production of Shakespeare, impress you. At a good production of Shakespeare, you will likely be impressed by the actors.

At a great production of Shakespeare, you will be impressed by the Shakespeare.

Tim Carroll’s production of Twelfth Night, currently playing at the Belasco Theatre, is a great production, precisely because its component elements all come together to articulate, embody, and enhance the creative genius of the play itself. All of the comic bits and stage business of this production found all of those fun moments and built on them to create a cascade of joy for the production’s entire length.

Mark Rylance is the standout in the all-male cast. He manages to create an Olivia who is able to display a wide range of emotions without ever descending into camp. With one notable exception, none of the humor of his outrageously funny performance comes from the fact that he is male. His Olivia is vain; she’s not interested in Orsino’s advances, but can’t help but be flattered by them. And when she does fall in love, she can no longer maintain her practiced detachment. We laugh at the character, and not the actor playing her.

The one exception is that Rylance affects a very funny gait that makes it seem like he’s gliding beneath his flowing dress. This is probably funnier because we know it’s a man, but for the most part, Rylance creates a comic performance that’s true to his character and not at all about cross-dressing. In fact, I would say the same about the compelling performances of Viola (Samuel Barnett) and Maria (Paul Chahidi) as well; they created believable realistic characters that brought out the humor of the moments and not the drag.

I thought the cast was amazing across the board, but a few more of the actors are worthy of highlighting. Peter Hamilton Dyer was riviting as an edgy Feste. Angus Wright created a very funny Sir Andrew. And Stephen Fry was outstanding as Malvolio, as you knew he would be. In the early scenes, he was less prissy and arrogant than most Malvolii that I’ve seen, and so his innocent glee at reading the letter becomes heartbreaking. We actually feel sorry for Fry’s Malvolio, and making this character sympathetic is no easy task.

Everything was designed to look as it had looked in the Globe, with sets, costumes, and music carefully calibrated for authenticity. An all-male cast talked to audience members on stage. But for me, the best part was the raw theatrical moment of being part of a shared experience with the rest of audience. The performance I saw got more instances of spontaneous applause than a State of the Union address. And when the curtain call came, we didn’t want it to end.

The actors did the curtain call as a dance. The audience started clapping and cheering while the actors danced. Gradually, some of the clapping fell into the rhythm of the music, and soon we were all clapping to the beat. When the music stopped, the dance ended, and the audience exploded once again into a cheering applause. I left with a new respect for the play, and for the power of what great theatre can do.

You may note that I loved this production, but not the other production by the same creative team. How can this be? Well, I think a collaborative artistic creation is more than the sum of its parts. There needs to be a chemical reaction that takes place, and the play has to be a part of that equation. One performance worked with the play it was interpreting, and the other worked in opposition to it. The results of those decisions were two very different evenings at the theatre, at least for me.

Twelfth Night will be running until February 16, but Stephen Fry’s last performance will be on February 13, so that’s probably the end date you want to use. If you enjoy a great production of Shakespeare, you won’t want to miss this one.

Theatre: Richard III at the Belasco

Sunday, December 1st, 2013

In a NYC Shakespeare season filled with a Macbeth here and a Midsummer there, with two productions of Romeo and Juliet running and another two Kings Lear on the horizon, it would be hard for a single production to stand out as the fairest of them all. Nevertheless, I was looking forward to seeing Mark Rylance play Richard III in the currently running production at the Belasco Theatre with a higher degree of anticipation than any of the others. Richard III is my favorite play, and I love Rylance as an actor. I first saw him about 20 years ago playing Henry V in New York and then Benedick in London shortly after. He and I may not agree on who wrote these words, but I’m always glad to hear him speak them.

My anticipation had some extra time to build, as the actors do their pre-show preparations in full view of the audience. Some audience members were seated on the stage, which evoked the feeling of the Globe. The actors changed into costumes from Shakespeare’s time (not Richard’s) and the musical entertainment seemed Elizabethan as well. So when the show began, and Richard’s opening monologue was given in a presentational style, it seemed to fit with the concept they were going for.

Once Rylance began his winter-of-our-discontenting, I was hit by a sense of deja vu, before realizing that I had seen Rylance give this speech before. He delivers the same monologue playing Burbage in Anonymous. But this was a very different delivery than the one he gave in the film. Here, Rylance delivers Richard’s speech in broadly comical tones and with full interaction of the audience. When we laughed at his lines, he’d stop and laugh along with us, appreciative that we found the humor. He chummed it up with the audience members in the on-stage rows. And he was having so much fun, that we almost forgot that he was about to set up his brother to be murdered.

Can you play Richard III as a comedy? Sure. Many of Richard’s antics, as written, are way over the top, and his chutzpah in several scenes is absolutely breathtaking. I think you have to laugh at some of the more outrageous moments. And the choice allowed Rylance to truly revel in the most delicious moments of Richard’s glory, which provides some of the fun of the play. Richard becomes a Puck figure, that trickster devil who tempts mortals to their doom for his own increase. The play does work on that level, and elements of it can be found in any production.

The problem is that if you only play it as a broad presentational comedy, then it becomes a different play, potentially a good play, but one vastly inferior to the one that Shakespeare wrote. Rylance plays a very jocular casual-sounding Richard, and it doesn’t work. It’s not like the natural-sounding language of Joss Whedon’s Much Ado, but rather a presentation of the play as a shared joke with the audience. So, Richard isn’t Richard, but an actor playing a role. In the beginning, he knows the plots he’s laid are going to work – it’s in the script – so he barely needs to put any effort into getting there. And so, the inductions are not so dangerous. Later in the play, when he knows he’s going to lose, the presentation of the lines is more serious, but the outcome is just as sure and there still are no stakes. We end up watching a pageant, and not a play. It is merely a shadow puppet production of Richard.

And this matters, because the fact that Shakespeare’s Richard finds his own cutthroat machinations so funny is part of the evil of his character. And when I watch a good production of this play, I have the experience of a charismatic villain seducing me with his charm by making me feel like I’m on the inside of a momentous historical moment. Shakespeare makes me root for the bad guy. Who do I get to root for in this production? An actor playing a role, mugging for the audience, and not really seeming to care about how the plot progresses? I end up rooting for intermission.

So we get a stammering, mumbling Richard, with his back to the audience half the time, throwing his lines away and uttering his best asides under his breath. Actors meander about the stage with no sense of purpose, and Richard himself seems like he’s barely paying attention.

It was an all-male cast, which put the actors playing women in a very tight spot. If they played up the humor too much, it would play as a drag show, but if they played their parts too seriously, they’d be mismatched with the lead. Instead, they all ended up playing a kind of introspective sadness that plays as feminine without being too Monty Python.

It was disappointing that so much effort went into the costumes, music, set, and marketing for the show, and so little attention was paid to the direction. But Tim Carroll’s flat production felt more like an amateur reading group or high school production than Shakespeare on Broadway. Put simply, the play was not well articulated, and that’s the worst thing I can say about a production.

On the positive side, the lines played for comedy were actually funny. Kurt Egyiawan was a standout doubling as the Duchess of York and Richmond. I liked the final fight concept, and the dance at the end. And I always enjoy hearing Shakespeare’s words spoken out loud. But none of these are enough for me to recommend this show to you.

The same company is concurrently performing Twelfth Night, and I actually have much higher hopes for that production. Rylance will be playing Olivia. Stephen Fry, grievously underused in this production as an audience member sitting five rows ahead of me, will be playing Malvolio. Some of the elements that didn’t work for me in this production may be better suited to that play. In fact, I kind of got the sense that it was Twelfth Night where all of the attention was focused, and Richard III was merely slapped together as an afterthought.

May I live in hope? Watch this space.

Shakespeare Song Parody: We Love the Plays of Shakespeare

Friday, June 28th, 2013

This is the last in a series of 40 pop-music parodies for Shakespeare fans.

So far, we’ve had one parody for each of Shakespeare’s 38 plays and one for the sonnets. We finish the Shakespeare Top 40 with a tribute to all of the plays, one last time.

Enjoy!

We Love the Plays of Shakespeare
sung to the tune of “We Didn’t Start the Fire” by Billy Joel

(With appreciation to everyone who has followed along on the journey…)

Harry, Suffolk, Somerset,
Richard Plantagenet;
Warwick, Edward, Margaret, Rutland,
Younger Lord Clifford;
Lord John Talbot, Tony Woodeville,
Duke of Bedford, Joan La Pucelle;
Duke of Clarence, Tower Princes,
Richard the Third…

Antipholus, Dromio,
Balthazar, Angelo;
Titus gets Tamora by
Baking her kids in a pie;
Tranio, Petruchio,
Katharina, Widow;
Proteus and Valentine have
Bid Verona goodbye…

We love the plays of Shakespeare,
Jumping off the pages,
Burning up the stages.
We love the plays of Shakespeare.
First, we learned to read them.
Now, we go to see them.

Don Armado, French Princess,
Costard and Holofernes;
Romeo’s Apothecary,
Juliet’s Nurse;
Gaunt John, he passed on,
Henry’s back and Dick’s gone;
Quince, Flute, Snout, Snug,
Bottom’s got a curse…

King John, Pope, France,
Bastard’s got a second chance;
Shylock and Antonio,
Portia and Bassanio;
Bardolph, Boar’s Head,
Prince Hal, Hotspur dead;
Tavern Hostess, Lord Chief Justice,
Henry on his deathbed…

We love the plays of Shakespeare,
Jumping off the pages,
Burning up the stages.
We love the plays of Shakespeare.
First, we learned to read them.
Now, we go to see them.

Benedick, Beatrice,
Dogberry and Verges;
Cambridge, Scroop and Grey,
Fight on St. Crispin’s Day;
Cassius, Cicero,
Julius Caesar, Cato;
Duke Senior, Jacques,
Poems posted on the trees…

O, O, O…

Olivia, Antonio,
Toby Belch, Malvolio;
Ophelia, Claudius,
Hamlet kills Polonius;
Falstaff once adored
Mistress Page and Mistress Ford;
Agamemnon, Pandarus,
Cressida and Troilus…

We love the plays of Shakespeare,
Jumping off the pages,
Burning up the stages.
We love the plays of Shakespeare.
First, we learned to read them.
Now, we go to see them.

Helena for Bertram fell,
All’s Well that Ends Well;
Angelo, Claudio,
“Friar” Duke Vincentio;
Desdemona, Othello,
Duke, Iago, Cassio;
Kent’s stand, Lear’s Fool,
Edmund’s death, Edgar’s rule;
Three Witches, two Macbeths,
Scottish spirits come unsex;
Antony, Cleo P.,
Who else would you want to see?

We love the plays of Shakespeare,
Jumping off the pages,
Burning up the stages.
We love the plays of Shakespeare.
First, we learned to read them.
Now, we go to see them.

Marcius, Cominius,
Volumnia, Aufidius;
Cupid, Lucius,
Timon, Flavius;
Gower, Thaliard, Pericles,
Antiochus, Simonides;
Posthumous is shipped to Rome,
Iachimo’s gone to his home…

Autolycus, Leontes,
Perdita, Polixenes;
Stephano, Trinculo,
Ship, wreck, Prospero;
Henry starts a second life,
Anne Boleyn’s his second wife;
Kinsmen our guy partnered for;
May have helped with Thomas More…

We love the plays of Shakespeare,
Jumping off the pages,
Burning up the stages.
We love the plays of Shakespeare.
And where we have gone,
The play will start anon,
Anon, anon, anon, anon, anon, anon, anon…

We love the plays of Shakespeare,
Jumping off the pages,
Burning up the stages.
We love the plays of Shakespeare.
First, we learned to read them.
Now, we go to see them.

We love the plays of Shakespeare!

Hat tip to Shakespeare Online for the chronology.

You can click to read all 40 song parodies here.

Shakespeare Song Parody: I Have Won

Friday, June 21st, 2013

This is the 39th in a series of 40 pop-music parodies for Shakespeare fans.

Enjoy!

I Have Won
sung to the tune of “We Are Young”

(With apologies to Fun and Janelle Monáe)

Give me a second, I
I need to get my vengeance straight:
The steward and the fool have
Drunk more wine than they have body weight,
My brother he is washed ashore
With others just as bad,
The kid is being led by Ariel
Singing about his dad, and
I know they all betrayed me years ago.
I can forgive but not forget.
So I made a storm and food transform
With magical technologies, you know,
It’s not so hard to pay them back.
But by six in the evening
When the sun is going down,
I’ll let it all go.

This fight
I have won,
For the crime that was my brother’s,
And for the others;
What they’ve done!

This fight
I have won,
For the crime that was my brother’s,
And for the others;
What they’ve done!

Now, don’t tell me you’d not
Deserve more than you got.
I guess that I, I just thought
Maybe I could show you how to have a heart.
Though I paid you back,
I showed mercy most,
And now it’s time to let it all go.

This fight
I have won,
For the crime that was my brother’s,
And for the others;
What they’ve done!

This fight
I have won,
For the crime that was my brother’s,
And for the others;
What they’ve done!

But by six in the evening
When the sun is going down,
I’ll let it all go: this fight.

Shakespeare Song Parody: Blood Lines

Friday, June 14th, 2013

This is the 38th in a series of 40 pop-music parodies for Shakespeare fans.

Enjoy!

Blood Lines
sung to the tune of “Blurred Lines”

(With apologies to Robin Thicke, T.I., and Pharrell)

Come hither, Harry…

Hey, hey, hey!
Hey, hey, hey!
Hey, hey, hey!

You took that crown
Before it was your time,
But you will find that
It was a minor crime.
In just a half an hour,
You’ll have that regal power,
Because I’m going to die.

Okay, that Jack Falstaff
Tried to contaminate you,
But you’re of royal blood.
It isn’t in your nature.

Just let me educate you (hey, hey, hey).
You don’t owe him favors (hey, hey, hey).
That man is not your greater (hey, hey, hey),
And that’s because your claim is…

Rightful.
You know you’ve got it.
You know you’ve got it.
You know you’ve got it.
Your claim is rightful.
You want details.
You’re the Prince of Wales,
And that here prevails.

You’ve got the blood lines.
You know you’ve got it.
You know you’ve got it.
You know you’ve got it.
Your claim is rightful.
I was King Harry;
Now you’re King Harry.
That name you’ll carry.

When you’re there aberrant,
It can scare a parent
Of the heir apparent;
You’re the next in line for the throne!
Your friend is poison (hey, hey, hey).
You can’t be loyal (hey, hey, hey).
What rhymes with loyal (hey, hey, hey)?

Okay, that Jack Falstaff
Tried to contaminate you,
But you’re of royal blood.
It isn’t in your nature.

Just let me educate you (hey, hey, hey).
You don’t owe him favors (hey, hey, hey).
That man is not your greater (hey, hey, hey),
And that’s because your claim is,,,

Rightful.
You know you’ve got it.
You know you’ve got it.
You know you’ve got it.
Your claim is rightful.
You want details.
You’re the Prince of Wales,
And that here prevails.

You’ve got the blood lines.
You know you’ve got it.
You know you’ve got it.
You know you’ve got it.
Your claim is rightful.
I was King Harry;
Now you’re King Harry.
That name you’ll carry.

One thing I ask of you:
That my final counsel you listen to,
From a dying king to his offspring.
I stole this crown, but here’s the thing:
I have to say as I pass it down,
My son, uneasy lies the head that wears a crown.
With you, it will descend more quiet.
I mean, it’s still not easy, you try it.
Then, you must make my friends your friends.
Be it thy course to busy giddy minds
With foreign quarrels, that action hence bourne
Out, may waste the memory of the former days.
More would I, but my lungs are wasted so.
O, the Holy Land!
I won’t be going there as I had planned.
But this room is named Jerusalem, where I’ll meet my end.

Change the king, from Fourth to Fifth.
Do it quite forthwith, quite forthwith.
Now you’ll create a myth, hey!

Harry, can you lead?
I know that this is sudden.
You’re now the crowned monarch,
From Manchester to London, uh huh.
No more schooling (hey, hey, hey),
‘Cause now you’re ruling (hey, hey, hey),
And that’s no fooling (hey, hey, hey).

You know your claim is rightful.
You know you’ve got it.
You know you’ve got it.
You know you’ve got it.
Your claim is rightful.
You want details.
You’re the Prince of Wales,
And that here prevails.

You’ve got the blood lines.
You know you’ve got it.
You know you’ve got it.
You know you’ve got it.
Your claim is rightful.
I was King Harry;
Now you’re King Harry.
That name you’ll carry.

Now here I lie,
And here I die.
Hey, hey, hey!
Hey, hey, hey!
Hey, hey, hey!

Shakespeare Song Parody: Timon

Friday, June 7th, 2013

This is the 37th in a series of 40 pop-music parodies for Shakespeare fans.

Enjoy!

Timon
sung to the tune of “Diamonds”

(With apologies to Rihanna, and those planning to read Timon of Athens… SPOILERS!)

Pass by, cursed by Timon.
Pass by, cursed by Timon.

With joy, I would generous be,
Back when I was wealthy.
I ran dry, I ran dry,
I am Timon, here lie I.

I gave away my money,
A pathway to bankruptcy,
A wretched soul, while alive,
I am Timon, here lie I.

My money gone, my friends fled right away,
Oh, right away!
When I asked them to help me with my creditors,
Every one of them refused my pleas.

A plague consume you wicked caitiffs!
My epitaph: I’m Timon, here lie I.
A wretched soul, while alive,
My epitaph: I’m Timon, here lie I.

Pass by, cursed by Timon.
Pass by, cursed by Timon.
Pass by, cursed by Timon.
My epitaph: I’m Timon, here lie I.

Pass by, cursed by Timon.
Pass by, cursed by Timon.
Pass by, cursed by Timon.
My epitaph: I’m Timon, here lie I.

Shakespeare Song Parody: Courtships

Friday, May 17th, 2013

This is the 36th in a series of 40 pop-music parodies for Shakespeare fans.

Enjoy!

Courtships
sung to the tune of “Starships”

(With apologies to Nicki Minaj – she knows why…)

Touchtone
Went into the wood, could
Woo his Audrey,
And he said, they would wed, if she’d agree.
It was a nervous service, led by a vicar,
Which is unofficial, so he could leave her quicker.
But at least a priest wed them with us;
A contract is a fact, nothing to discuss.
As it turned out, they got along;
Three years gone by, and they’re still going strong.

Phebe’d abhor, abhor
Her would-be man:
A shepherd poor, poor,
She could not stand.
But she fell for, for,
My little scam,
Did what she swore, swore,
Now look at them!

Courtships, based on a lie,
You’d think would quickly die,
But may be worth a try;
It happens all the time.

Courtships, based on a lie,
You’d think would quickly die,
It happens all the time.
Worth a try…

A liar makes a lively lover!
A liar makes a lively lover!
A liar makes a lively lover!

Your brother met a shepherd girl;
He thought that.
Her simple manners won his heart;
He knew that.
But she was a princess; he didn’t get mad.
If you think it through, it isn’t so bad.
Blow, blow, thou winter wind.

Every honest lover has to say, say, say,
The complete truth and today’s that day,
Finally explain that resemblance uncanny,
My name was Rosalind, as you called me Gany.

So you fell for, for,
My little scam,
Did what you swore, swore,
And here I am!

Courtships, based on a lie,
You’d think would quickly die,
But may be worth a try;
It happens all the time.

Courtships, based on a lie,
You’d think would quickly die,
It happens all the time.
Worth a try…

A liar makes a lively lover!

Shakespeare Song Parody: Legionnaire

Friday, May 10th, 2013

This is the 35th in a series of 40 pop-music parodies for Shakespeare fans.

Enjoy!

Legionnaire
sung to the tune of “Billionaire”

(With apologies to Travie McCoy and… Bruno Mars, again?)

You know I’ve been a legionnaire so very long.
A well-trained army keeps the empire strong.
I’ve fought in armed conflict for my native Rome,
Keeping all our people safe at home.

Oh, every time I close my eyes
I feel consumed with battle cries.
I’m always ready for a fight, alright.
I swear, my foes better prepare,
‘Cause I’m a legionnaire!

Yeah, I went against the Volscians,
Fighting alongside Cominius.
A fine Roman he is.
At Corioles, I took the lead on an attack.
At first, the enemy was able to beat us back.
Then I managed to break open the city gates,
Which as you would think sealed the Volscian’s fates.
I got a title for playing a heroic role.
You can call me Marcius, minus the Coriol.
Ha, ha, get it? I’d probably see if I could make a run
For a public office, like consul, imagine if I’d won.
Yeah, I’d be a big deal once I’m elected.
Everywhere I go I’d be feared and respected.

Oh, every time I close my eyes
I feel consumed with battle cries.
I’m always ready for a fight, alright.
I swear, my foes better prepare,
‘Cause I’m a legionnaire!

I’ll get the support of the Roman Senate,
Whipping up the delegates.
Then I’ll ask the plebes, only in the name of etiquette.
They’re not too important, but just for the heck of it.
The plebes and the patricians should be completely separate.
For crows to peck at eagles, I can’t really back it.
I’ve earned my accession, it’s too bad if you balk at it.
I see you take offense at this. I don’t really care,
And you want to banish me which is really unfair,
When I fought in your wars. Who are you to judge me,
Eating good, sleeping soundly?
And you think you can banish me?
I banish you, you’ll no longer have
Coriolanus to kick around.

You know I’ve been a legionnaire so very long.
A well-trained army keeps the empire strong.
I’ve fought in armed conflict for my native Rome,
Keeping all our people safe at home.

Oh, every time I close my eyes
I feel consumed with battle cries.
I’m always ready for a fight, alright.
I swear, Rome better prepare,
‘Cause I’m a legionnaire!

You know I’ve been a legionnaire so very long.