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As you watch each video, consider the following question and provide your answer in a comment below the video.
To what extent do the story, setting, visuals, and sounds reflect your interpretation of the meaning or theme of the sonnet?

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What is Accutane >> Accutane for acne * The Sonnet Project NYC " Play Sonnet 29

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When in the chronicle of wasted time
I see descriptions of the fairest wights,
And beauty making beautiful old rhyme,
In praise of ladies dead and lovely knights,
Then, in the blazon of sweet beauty's best,
Of hand, of foot, of lip, of eye, of brow,
I see their antique pen would have expressed
Even such a beauty as you master now.
So all their praises are but prophecies
Of this our time, all you prefiguring;
And for they looked but with divining eyes,
They had not skill enough your worth to sing:
For we, which now behold these present days,
Have eyes to wonder, but lack tongues to praise.

Sonnet 106 expresses the poet's belief that all beauty praised in poetry before this day was presentient praise of the beloved.

Will remembers accounts of historic times, and descriptions of very beautiful people, and the beautiful poems inspired by them, in praise of ladies and knights now dead. When he sees the poems catalog their beauty he realizes that these ancient writers were trying to describe the same kind of beauty that the youth possesses now. So all the praises of these writers are actually prophecies; all of them prefigure the young man's beauty. If the writers hadn't been divinely inspired with this gift of prophecy, they wouldn't have had the skill to describe his worth. Those who live now can see it firsthand but lack the poetic skill to describe it.

Will's Wordplay
"wights" is a word referring to any groups of sentient beings (here men and women) that was archaic even in Shakespeare's time. Throwback theme!

Coney Island, Brooklyn
Welcome to America's Playground! Coney Island is a beach on the Atlantic Ocean in southwestern Brooklyn. The site was formerly an outer barrier island, but became partially connected to the mainland by landfill. It is well known as the site of amusement parks and a seaside resort. The attractions reached their peak during the first half of the 20th century, declining in popularity after World War II and years of neglect. In recent years, the area has seen a new renaissance of new amusements, upholding of tradition by the Coney Island USA museum and Freak Show, the opening of MCU Park, and the Brooklyn Cyclones minor league baseball team.

Etymology
The Native American inhabitants of the region, the Lenape, called the island Narrioch -meaning "land without shadows"-because, as with other south shore Long Island beaches, its orientation means the beach remains in sunlight all day. [1]

Following European settlement, New York was originally a Dutch settlement. The Dutch name for the island - originally Conyne Eylandt, or Konijneneiland - precedes the similar English name and translates as "Rabbit Island". [2] As on other Long Island barrier islands, Coney Island had many and diverse rabbits, and rabbit hunting prospered until resort development eliminated their habitat. The Dutch name is found on the New Netherland map of 1639 by Johannes Vingboon, which is before any known English records. [3] The word "coney" was popular in English at the time as an alternative for rabbit; a later adaptation, "bunny", is now in common use

Due to Coney Island's location-easily reached from Manhattan and other boroughs of New York City, yet distant enough to suggest a proper vacation-it began attracting holidaymakers in the 1830s and 1840s, when carriage roads and steamship services reduced travel time from a half-day journey to just two hours.

The original Coney Island Hotel was constructed in 1829, with The Brighton Hotel, Manhattan Beach Hotel, and Oriental Hotel opening soon after, with each trying to provide an increasing level of elegance. Coney Island became a major resort destination after the American Civil War, as excursion railroads and the Coney Island & Brooklyn Railroad streetcar line reached the area in the 1860s, and the Iron steamboat company arrived in 1881. The two Iron Piers served as docks for the steamboats until they were destroyed in the 1911 Dreamland fire. In 1915 the Sea Beach Line was upgraded to a subway line. This was followed by upgrades to the other former excursion roads, and the opening of the New West End Terminal in 1919, thus ushering in Coney Island's busiest era. [4]

From 1885 to 1896, the Coney Island Elephant Hotel was the first sight to greet immigrants arriving in New York, who would see it before the Statue of Liberty became visible.

Nathan's Famous original hot dog stand opened on Coney Island in 1916 and quickly became a landmark. An annual Nathan's Hot Dog Eating Contest has been held there annually on July 4 since its opening.

After World War II, air conditioning in movie theaters and homes, along with the advent of automobiles which provided access to the less crowded Long Island state parks, lessened the attractions of Coney's beaches. Luna Park closed in 1946 after a series of fires, and the New York street gang problems of the 1950s spilled into Coney Island. The presence of threatening youths did not impact the beach-goers, but discouraged visitors to the rides and concessions which were staples of the Coney Island economy. The local economy was dealt a severe blow by the 1964 closing of Steeplechase Park, the last of the major amusement parks.

Zoned For Fun!
Since the 1920s, all property north of the boardwalk and south of Surf Avenue was zoned for amusement and recreational use only, with some large lots of property north of Surf also zoned for amusements only.

In 1944, Luna Park was damaged by fire, and sold to a company who announced they were going to tear down what was left of Luna Park and build apartments. Robert Moses had the land rezoned for residential use with the proviso that the apartment complex include low-income housing.

In 1949, Moses moved the boardwalk back from the beach several yards, demolishing many structures, including the city's municipal bath house. He would later demolish several blocks of amusements to clear land for both the New York Aquarium and the Abe Stark ice skating rink. Critics complained that Moses took three times more land than each structure needed, surrounding each with vacant lots that were of no use to the city.

In 1953, Moses had the entire island rezoned for residential use only and announced plans to demolish the amusements to make room for public housing. After many public complaints, the Estimate Board reinstated the area between West 22 Streets and The Cyclone as amusement only and threw in 100 feet of property north of Surf Ave. between these streets. It has since then been protected for amusement use only, which has led to many public land battles.

Amusement Parks
Between about 1880 and World War II, Coney Island was the largest amusement area in the United States, attracting several million visitors per year. At its height it contained three competing major amusement parks, Luna Park, Dreamland, and Steeplechase Park, as well as many independent amusements.

Charles I. D. Looff, a Danish woodcarver, built the first carousel at Coney Island in 1876. It was installed at Vandeveer's bath-house complex at West 6th Street and Surf Avenue, which later became known as Balmer's Pavilion. The carousel consisted of hand-carved horses and other animals standing two abreast, with a drummer and a flute player providing the music. A tent-top provided protection from the weather. The fare was five cents.

Astroland served as a major amusement park from 1962 to 2008, and was replaced by a new incarnation of Dreamland in 2009 and of Luna Park in 2010. The other parks and attractions include Deno's Wonder Wheel Amusement Park, 12th Street Amusements, and Kiddie Park, while the Eldorado Arcade has an indoor bumper car ride. The Zipper and Spider on 12th Street were closed permanently on September 4, 2007, and dismantling began after its owner lost his lease. [5]

On April 20, 2011, the first new roller coasters to be built at Coney Island in eighty years were opened as part of efforts to reverse the decline of the amusement area. [6]

Rides
The amusement area currently contains various rides, games such as skeeball and ball tossing, and a sideshow including games of shooting, throwing, and tossing skills.
The rides and other amusements at Coney Island are owned and managed by several different companies, and operate independently of each other. It is not possible to purchase season tickets to the attractions in the area. Three rides at Coney Island are protected as designated New York City landmarks and are listed in the National Register of Historic Places. These three rides are:

- Wonder Wheel - built in 1918 and opened in 1920, this steel Ferris wheel has both stationary cars and rocking cars that slide along a track. It holds 144 riders, stands 150 ft tall, and weighs over 200 tons. At night the Wonder Wheel's steel frame is outlined and illuminated by neon tubes. [7] It is located at Deno's Wonder Wheel Amusement Park.

-The Cyclone roller coaster - built in 1927, it is one of the United States's oldest wooden coasters still in operation. Popular with roller coaster aficionados, the Cyclone includes an 85 ft, sixty degree drop. It is owned by the City of New York, and was operated by Astroland, under a franchise agreement. It is now located in and operated by Luna Park.

-Parachute Jump - originally built as the Life Savers Parachute Jump at the 1939 New York World's Fair, this was the first ride of its kind. Patrons were hoisted 190 ft in the air before being allowed to drop using guy-wired parachutes. Although the ride has been closed since 1968, it remains a Coney Island landmark, and is sometimes referred to as Brooklyn's Eiffel Tower. Between 2002 and 2004, it was completely dismantled, cleaned, painted and restored, but remains inactive.

Beach
Coney Island maintains a broad sandy beach from West 37th Street at Sea Gate, through the central Coney Island area and Brighton Beach, to the beginning of the community of Manhattan Beach, a distance of approximately 2.5 mi. The beach is continuous, and is served for its entire length by the broad Riegelmann Boardwalk. A number of amusements are directly accessible from the land-side of the boardwalk, as is the aquarium, and a variety of food shops and arcades. The beach is groomed and replenished on a regular basis by the city. The position of the beach and lack of significant obstructions means virtually the entire beach is in sunlight all day. The beach is open to all without restriction, and there is no charge for use. The beach area is divided into "bays", areas of beach delineated by rock jetties, which moderate erosion and the force of ocean waves.

The Coney Island Polar Bear Club consists of a group of people who swim at Coney Island throughout the winter months, most notably on New Year's Day, when additional participants join them to swim in the frigid waters.[8]

Coney Island beach serves as the training grounds for the Coney Island Brighton Beach Open Water Swimmers (CIBBOWS), [9] a group dedicated to promoting open water swimming for individuals of all levels. CIBBOWS hosts several open water swim races each year, such as Grimaldo's Mile and the New York Aquarium 5k, as well as regular weekend training swims.

References
1. http://www.professorsolomon.com/graphics/coneyisland.pdf
2. Library of Congress New Netherland website lists Conyne Eylandt as Dutch name for Coney Island.
3. "De Nieu Nederlandse Marcurius", Volume 16, No. 1: February 2000. This is the newsletter of the New Netherland Project. Cites New Netherland map labeling "Conyne Eylandt" in 1639 Johannes Vingboon map
4. Matus, Paul. "The New BMT Coney Island Terminal". The Third Rail Online.
5. Calder, Rich (September 5, 2007). "Ride Over for Coney Classics". New York Post.
6. Coney Island gets first new roller coasters in 80 years
7. Deno's Wonder Wheel
8. Coney Island Polar Bear Club official site
9. Coney Island Brighton Beach Open Water Swimmers (CIBBOWS)

ACTOR - Danny Rivera
Danny Rivera is an actor living and working in New York City. Danny first began acting in 2007 at Georgetown University, where he later graduated with honors and degrees in English and Theater in May of 2011. He moved back to his native New York in August of that year to pursue a career in acting, joining the Flea Theater as a Bat (a member of their resident acting company) a month later. Over the next twelve months, Danny bounced back and forth between the Flea, Columbia University, and the New York Shakespeare Exchange, among others, performing in readings, workshops, mainstage productions, and everything else he could get his hands on. In the fall of 2012, Danny had the opportunity to appear in the world premiere of A.R. Gurney's Heresy (at the Flea), allowing him to join the Actors' Equity Association. In his short time as an actor, Danny has had the opportunity to work with artists such as Jim Simpson, David Muse, Timberlake Wertenbaker, Ellen McLaughlin, Kathleen Chalfant, Theodore Bikel, Heather Raffo, Thomas Bradshaw, Moisés Kaufman, and Ian McKellen (when he says "worked with Ian McKellen," he means Sir Ian once forgot a line from Hamlet and Danny helped him out-it's a great story and you should have him tell it to you sometime, maybe if you buy him a beer). Danny is very excited to be a part of the Sonnet Project, and he hopes you enjoy the sound of him reciting Shakespeare as much as he does.

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When in the chronicle of wasted time I see descriptions of the fairest wights, And beauty making beautiful old rhyme, In praise of ladies dead and lovely knights, Then, in the blazon of sweet beauty's best, Of hand, of foot, of lip, of eye, of brow, I see their antique pen would have expressed Even such a beauty as you master now.

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Sildenafil

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What is Sildenafil " Sildenafil side effects! The Sonnet Project NYC " Play Sonnet 116

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Play Sonnet 130

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 damasked, 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.
Analysis

In Sonnet 130, the poet mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress.

Will decided to have a bit of fun with this one, comparing all of his lady's parts to beautiful objects like the sun, coral, snow and roses, and finding he likes the objects better. He even compares her hair to wires (???). While some poets would call a woman's voice music or her walk that of a deity, Will his far more of a realist. He loves music separately from her conversation, and knows she walks here among mortals. But! This does not mean he doesn't love her, only that his comparisons of her are not false, like the other guys' poems.

Will's Wordplay

Comparisons like those in this sonnet, to nature and flowers and music, were a bit of a trend when Willy wrote this. His audience would have recognized them immediately. Sort of like how pop songs all sound the same?

Scholar's Corner

"This sonnet plays with poetic conventions in which, for example, the mistress's eyes are compared with the sun, her lips with coral, and her cheeks with roses. His mistress, says the poet, is nothing like this conventional image, but is as lovely as any woman".[1] Here, Barbara Mowat offers her opinion of the meaning behind Sonnet 130; this work breaks the mold to which Sonnets had come to conform. Shakespeare composed a sonnet which seems to parody a great many sonnets of the time. Poets like Thomas Watson, Michael Drayton, and Barnabe Barnes were all part of this sonnet craze and each wrote sonnets proclaiming love for an almost unimaginable figure;[2] Patrick Crutwell posits that Sonnet 130 could actually be a satire of the Thomas Watson poem "Passionate Century of Love", pointing out that the Watson poem contains all but one of the platitudes that Shakespeare is making fun of in Sonnet 130.[3] However, E.G. Rogers points out the similarities between Watson's "Passionate Century of Love," Sonnet 130, and Richard Linche's Poem collection entitled "Diella."[4] There is a great deal of similarity between sections of the Diella poem collection and Shakespeare's "Sonnet 130", for example in "130" we see, "If hairs be wires, black wires grow on her head," where in "Diella" we see "Her hayre exceeds fold forced in the smallest wire." Each work uses a comparison of hairs to wires; while in modern sense this may seem unflattering, one could argue that Linche's work draws upon the beauty of weaving gold and that Shakespeare mocks this with harsh comparison. This, along with other similarities in textual content, lead, as E.G. Rodgers points out, the critic to believe that Diella may have been the source of inspiration for both homage, by Watson's "Passionate Century of Love," and satire by Shakespeare's "Sonnet 130." The idea of Satire is further enforced by final couplet of "130" in which the speaker delivers his most expositional line: "And yet, by heaven, I think my love as rare, as any she belied with false compare." This line projects the message behind this work, demeaning the false comparisons made by many poets of the time.[5]

The Falconer, W 72nd St Central Park

"This elegant bronze statue is the work of British sculptor George Blackall Simonds (1844-1929). Born in Reading, England, Simonds's family had a partnership in the prosperous brewery, Simonds and Courage. He attended Saint Andrew's College (later Bradfield College), and, demonstrating early promise as a sculptor, studied art in Dresden, Germany, and Brussels, Belgium, before residing for 12 years in Rome, Italy.

While in Italy, Simonds learned much about the tradition of lost-wax bronze casting. Simonds's The Falconer statue, cast by Clemente Papi (1802-1875), a founder in Florence, Italy, weds several of his interests. The statue depicts a young falconer in Elizabethan garb, holding aloft a falcon poised for release. It is installed on a cylindrical granite pedestal perched on a natural rock outcropping south of the 72nd Street transverse road, and east of the park's West Drive.

Simonds himself was an avid falconer, and was later depicted with a falcon in an official portrait made of him as chairman of the family brewery by Sir Oswald Brimley. The original sculpture of The Falconer was created for Trieste, Italy, and was shown at the Royal Academy exhibition of 1875. It appears that George Kemp (1826-1893), a wealthy merchant born in Ireland, who later lived in New York City, admired the sculpture so much that he commissioned a full-scale replica for Central Park, where it was dedicated on May 31, 1875.

A second casting of The Falconer stands today in Lynch Park in Beverly, Massachusetts, reportedly a gift of Robert Evans, a Beverly native who had admired the sculpture while convalescing in a hospital near Central Park, and subsequently received permission to make a bronze replica.

Since its installation, The Falconer has suffered extensive damage from weathering and vandals. The monument was in danger of toppling in 1937 until it was shored up and repainted by Parks. In 1957, a new bronze falcon was fashioned and reattached. Further vandalism later compelled the City to remove the sculpture to storage for safekeeping, and in 1982, a new arm and falcon were modeled, cast, and reattached, and the statue reset in Central Park. In 1995, the Central Park Conservancy conserved and repatined the statue, and today the sculpture embodies the rich sculptural collection Central Park inherited in the 19th century, as well as the abundant bird species, including peregrine falcons and red-tailed hawks, which populate the park." [1]

References

1. http://www.nycgovparks.org/parks/central-park/monuments/461

ACTOR - Cliff Saunders

Cliff Saunders has received critical acclaim for his current portrayal of "Thenardier" in the new Broadway production of Les Miserables. He also co-starred in the critically-acclaimed, Tony Award®-nominated hit The 39 Steps (Roundabout Theatre, Cort Theatre and Huntington Theatre in Boston) (IRNE Award -Best Supporting Actor). Other theater credits include - Spamalot (Citadel Theatre), The Real World? (Tarragon), Lord of the Rings, Beauty and The Beast (Princess of Wales Theatre), two seasons at the Stratford Festival, as well as working at Soulpepper, Canstage, Elgin, Winter Garden, The Grand, Aquarius, Royal Alexandra, YPT, Crows Videocab, Blythe and many more. Film and TV credits include - Louis Cyr, Lost Girl, Murdoch Mysteries, Cracked, Outlander, Please Kill Mr Know It All, Roxy Hunter, Open Range, Midwives, Joan of Arc, Monk and Ron James Show, to name just a few.

FEATURING - Bryan Fitzgerald

Bryan wrote, produced and starred in " Under Water," which hits festivals next Spring ( www.underwaterthefilm.com) Credits include off-Broadway in " The Bus" (NYC & Kansas, 2011); " Law & Order" (CBS), and award-winning shorts " Hypebeasts", " Pablo on Wheels", and " Out of the Ash" (Scotland, UK).
www.bryanpmfitzgerald.com

DIRECTOR - Ryan Blackwell

I love storytelling and everything that goes into it - and I'll be a part of it in whatever way I can. Sometimes that means acting, sometimes writing, editing, or visual effects artist... ing. I'm happy, now, to once again be directing with the fine people of the Sonnet Project.
www.ryanblackwell.com
https://vimeo.com/114447137

SECOND CAMERA - Jason Whitaker

Jason Whitaker is a graduate of Vancouver Film School's Film Production program, is a freelance Director of Photography, Videographer, and Editor. His varied film and video production work has taken him to Nickelodeon and Syfy channel movie shoots in British Columbia, the sets of All My Children and One Life to Live in Stamford, CT, and corporate video shoots for many well known brands. He also has spent many summers teaching video production to kids at Creative Summer at the Mead School in Stamford, CT. Having completed his duties as Director of Photography on the first season of the comedy web series With Friends Like These, he is now the Director of photography for the new comedy web series Gemma and the Bear currently in production. His camera reel and film resume can be found on his website at www.jasonrw.com

TEXT COACH - Colin Ryan

Colin Ryan Broadway: Waiting for Godot (u/s Pozzo/Lucky), No Man's Land (u/s Briggs/Foster) New York: Macbeth (Macbeth), Othello (Iago), This Lime Tree Bower (Frank), Bill & Lenny (Shatner), Protest (Staněk), Troilus & Cressida (Achilles), Brecht on Brecht. Regional: A Streetcar Named Desire (Stanley), The Malcontent (Malevole), Pride & Prejudice (Wickham), Disney's Beauty & the Beast (Gaston), US Premiere of A Laughing Matter (David Garrick), She Stoops to Conquer (Tony Lumpkin), Complete Works...(Abridged), The Winter's Tale (Autolycus), Romeo & Juliet (Mercutio/Capulet), Twelfth Night (Orsino). MFA from The Academy for Classical Acting. Colin lives in Hoboken with his wife, Elizabeth, and a large brown bear.
colinryan.info

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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.