Jimmy Kay here, Metal Voice. Look at us. The Metal Voice shirts are now on sale. Just go to the video description to find out on how you can purchase one. Metal! Alan, once again. Once again. Once again. Udo. Yeah. Kirk Schneider. There you go. We know we're your two favorite Canadians here at the Metal Voice and we're happy to have you back. It just seems like every six months we got you on. You always have something going on. Yeah. Sorry. Sorry. No, we're glad. Great album. Great album. Game over. Yeah. And hopefully it's not game over for you. I mean. No. Yeah. A lot of people were thinking, you know, who game over? Last album? Last tour? No. I mean, the title of the album came during the recording session. You know, a pandemic and a lot of things that was game over. We couldn't work like we want. And there was a different recording session going on, you know, and then in the meanwhile, I don't know who it was in the end.  I mean, a lot of things are game over, you know, during the pandemic. And yeah, then we said, well, great title for the album. Let's do it. October 22nd via AFM records. That's when it's going to be released. You know what? You don't stop cranking out the music and not just cranking out the music, but good music.  What's your secret? Paul, I don't know.  And also on this album, I mean, that was really bent working, you know, but it was like the beginning was the same, the collecting ideas. And then, then we normally start working together in one room, arranging with the producer in one room, face to face, but pandemic, that was not possible.  And it took a little bit more time, you know, but in the end, of course, you had more time. And we were not in the hurry. So, and I mean, the whole thing is like, there is a band album for me, you know, so all to these two new members, D-Dammers and Cheating Hoodrafter came up with really good ideas. The first time I wrote all the lyrics together with my son. And also Sven was also involved in some melodies, you know, vocalizing. He said, yeah, maybe you can sing it in this direction, this direction. And of course, Andre, I'm together with him now for 10 years. There was not a lot of talking, you know, he knows what, what, when he comes up with some ideas.  And the result is game over 16 songs. Yeah, 16. I know that we were just talking about that before you joined us. How long the album is. Yeah. Some people said, in the beginning, also the record company said, whoa, there's a lot of songs that I said, yeah, so what, it's a value for money.  And yeah, so I think I hope the people will enjoy the whole album, you know, I'm really happy with it. Did Peter Balthas contribute to the, like, I didn't see his name there. I'm not sure if he did or he didn't. Did Peter Balthas contribute to the album? Peter? No. No, okay, all right. That's the old gang. That's the old gang. That's the old gang. You got so much music coming at you. I want to confirm that. That's all. No, no, no, we was working together on the old gang. This is the new gang. This is the new gang. So it's okay. Yeah, that was the new gang old gang. Yeah, but, you know, that was more a charity thing, you know, I made for, Stephen Kaufman came up with this idea and said, hey, come on, you know, your crew of UDO and also the band members think they need some money. And then we said, okay, we have this song over where the angels fly. And then we had also not finished song, but two more songs. There was normally planned for the Rear One album. And then we said, okay, come on, let's do it. Everybody did it for free. And then AFM said, oh, we're also very good idea. They was making a contract for this small EP. Yeah, so we were lucky to give the band and the crew some money. And the reaction, of course, was nearly the old accept stuff going on, you know, like, and yeah, and then the people said, oh, it's an album coming. Definitely not at the moment. I would say, if we have time, if we have enough ideas, and we can do something in between, I would say, maybe one day we can do an album together, you know, but it's more a project. It's like, we have what we say, it's like fun to make music, you know, so there is no really a new band is coming up or something like that. It's anyway not possible to go with this lineup or tour. It was nice to hear Peter singing again. You know, we haven't heard him since the old accept album. So that was nice. And then the female vocalist you have was outstanding on that. So yeah, I mean, also had my old guitar player, my old guitar player, Matthias Dietz, you know, we've been always over the years in contact. And then he said, yeah, why not? I didn't play the guitar for 15 years. Let's try it, you know, yeah. So and it worked. It was a lot of fun, good songs and the people really liked it. So why not? And this game over in the UDO catalogue, what do we look at album number 1920? Oh, geez. No, 17. 17. I was close. I was close. Close, very close. So it's amazing that you're still referred to as the ex vocalist of the Cult Band Accept is the marketing literature we got. You know, 17 albums in that's a whole career on its own. Yeah, I mean, yeah, what can I say? I mean, in a way, I'm lucky that I can do it, you know, of course, my voice is still working. And yeah, I'm healthy enough. Everything is fine.  And so I mean, you know, people, a lot of people was asking me, oh, maybe you want to retire or something like that. I said, no, come on, this is like purchase. No, I mean, you know, I always say, as long I'm healthy, as long my voice is working soon, we can still touring all over the world. It's no reason to stay home and drink coffee and watch the news. You know, no. So in other words, you're going to keep going until I don't know until you feel that, okay, I can't do this anymore. You know, yeah, definitely. I mean, that will be, I think I will be the first person that they know that we're going to say maybe okay, that's it. But I don't know, maybe another 10 years, I have no idea. The first interview we did with you asked you, what's the secret of your voice? And you said, I don't know, I guess I'm lucky. Is that still the case or? I don't know.  And then he said to me, this is a miracle, this voice.  And he said, it's amazing. After all these years, now you can sing higher than a couple of years ago, you're nearly like higher as we did on Breaker album, you know. And he said to me, this is a miracle. I don't know, I said, yeah, what can I say? I have no idea. I can do it. That's it, you know, where I got a question that too much. Okay, some song, some ideas for the songs this time around like a song like Holy Invaders, what's what's fast? To me, it sounds like something off faceless world. What was the idea behind that song, Holy Invaders, the lyrics? Holy Invaders, it's like, you know, it's at a moment very, yeah, if you look to Afghanistan, maybe it's a good example at the moment, you know, they are the people, what kind of religion they have to do, you know, or to do, yeah.  And that's the whole meeting behind Holy Invaders. Okay, Alan, what do you got? Which one? I just want to know, is it really game over for the earth here? I mean, some of these songs, we got to start questioning what's going on.  I mean, we had a big flat here in Germany, in Netherlands, Belgium, Italy, Switzerland, and also all this fire was going on in the south of Europe, in California, in Tiberia and Russia, you know, it's like, if we are not, I think if we are not taking care of a lot of things, then we have a big game over, you know. So I mean, marching tank, is that you? Is that you? Are you the marching tank? That's me. Yeah, of course.  So why are they not writing some lyrics about this?  And that's the idea. And then don't want to say goodbye. That's always what I look for it on the UDO albums, that ballad that you're adding more and more. There's at least one in every album, and here's another.  You had winter. Yeah, it was winter dreams. Yeah, winter dreams. Yeah, yeah, you've always loved the ballads.  It's on one hand a very personal thing.  Yeah, you know, I would find like, I listened to this whole album, it really has classic audio, it has classic accept, there's a lot of classic accept moments there too, right, Alan? Would you, would you, would you say there's a accept, I hear accept sound, you know, like the music sounds very except, and it also sounds like classic audio too.  I mean, definitely, Andre is also very much into that, and it was also interesting, also the, the, the dinners, you know, he was also like, yeah, it's great, you know, I love that. And so, I mean, the whole thing is a really good mix up, you know, there's a lot of different stuff going on, fast song, mid-tempo song, up-tempo song, ballads and so the whole, the whole thing, you know, and yeah, that's also that's why I like the album, you know, a lot of melodies on there and really good guitar work. And yeah, but cannot say, I'm happy. What about Sven and the younger generations of musicians, because I hear a lot of like, it's trying to keep the classic sound, but it's a whole new generation of playing that comes, that's what came across for me on this album, not only is the high standard of every UDO album, the consistency of every UDO album, but it's got this whole new kind of younger generation feel to it. That said that I feel the same, you know, this is like, you know, that was also why I was really open-minded to let them work, you know, let them do, and but I was, it would, there was not going too far away from the typical UDO stuff or etc, whatever. I mean, but they're interesting, they do little things, different arranging, different coming up with different ideas, you know, and then if you put everything together, that's the feeling, that is something fresh, you know, it's really fresh and young blood, and yeah, that's why I'm really, really happy with everything. You know, it's amazing, did you, when you first did Animal House, the first UDO album, did you think you're going to do 17 albums after that or 16 albums after that? Not really. It's like such a lot, so many albums ago, right? It's amazing. It's just like, I mean, now a real studio album, it's now 27 together with except albums, you know, just studio albums, so many things, other things around, you know, it's a huge catalog, I mean, really huge one. I think I was speaking to David Reese, he told me that, but you were recording the Animal House album at the same time they were writing Eat the Heat. Was that in the same studio or was that at the same time? No, that was on the album when we did Mean Machine. Mean Machine. That was on, they've been in the same studio, we're on Studio 3 and they're Studio 1. There you go. That was really funny, yeah. Isn't it weird? Was it awkward back then? No, it was not really weird, you know, I mean, we said hello once we were sitting together drinking wine and stuff like that, it was really easy, easy going, you know, nobody was really like angry or whatever. It was like, yeah, okay. And then we did also on Turn, but the song turned the wheel or something like that of Eat the Heat, with the whole gang of UDO the chorus, you know, I was singing in the studio. So I mean, no, that was at this time, that was in a way easy, I mean, easy going, you know, I was satisfied and I think they was also satisfied with what they're doing, you know, so here we go. Yeah, yeah, yeah. I mean, when you think about it over that, like you said, that whole career, you know, going through grunge and the new metal and then the death metal and everything that's in between and even you guys have always, you know, done such consistent work and high quality work throughout that time. Yeah, but I think the fans appreciate it, you know, safe for what you are. And I think this is also an important thing, you know, that was happened. I go back a little bit to accept I was not really, or not, I'm not was not really agree what we did on death row. That was, you know, they tried to be really modern. I said, come on, just this is wrong, you know, or to only one guitar player. No. And in the end, I was right. So, but anyway, there are some good songs on death row like Sodom and Gomorrah. Yeah, I agree. I know what you're saying, you know, there was missing something, the second guitar, I agree with that, but there are some really good songs on that. That's true. They're really good songs, but there wasn't a sound anymore. There was something missing, you know, especially when we was going on tour with death row with only one guitar. Everybody said, poor, no, please. But anyway, talking about the future. What about touring? Okay, so. Touring. Another live stream like you did. Yeah, yeah. What is that touring? I forgot. Everybody forgot. You're getting comfortable now. You're getting comfortable. Yeah, but I mean, so it was not normally on tour in Russia at the moment, but also they moved it now to next year, February. And it looked like that you also have to cancel the European tour now. It's, you know, it makes no sense. So that means we move everything to next year. And I think in Europe it's getting better and better, you know, everything getting more and more normal. And yeah. So touring, yeah, touring the plan is the beginning of the year. We go to South America and Tripoli, Russia. And then after Russia, we do the whole European tour until, I don't know, middle of May, then coming up a lot of festivals. And so at the moment, I just get a schedule for next year. In September, we are coming to the West and Canada. That's the plan. All right. Okay. Good. Good. Good.  What do you think the appeal is for Russians to that they love your music so much? That's a good question. Andre told me once I was asking Andre, you know, of course he's Russian. And I mean, he was watching the first tour in Russia when he was a young guy, he was standing in the front of the stage, you know, and he said, the meaning for you, the whole atmosphere is like you have something, a Russian soul in your music. Don't ask me what it is.  They appreciate you very much. Okay. Of course, I was singing in Russian, blah, blah, blah. I mean, it helps. It helps. It helps also. Yeah. And yeah. So, I mean, Russia is a very important country for us. That's cool. That's cool. Alan. No, again, it's a great album and, you know, like we just spoke six months ago, but that live album that you did and, you know, you are such a high during that interview. Guys, you know, this is the feeling of playing live finally. And now, now we're live in Bulgaria. Alan, live in Bulgaria and we are one, right? Those are the two albums that like just, and now this one, are you ready to get another album now? Like maybe since as you're waiting for the next tour, I don't know. No, I mean, yeah, live in Bulgaria, there was also something special for us, you know, I mean, the promoter of Bulgaria, that he came up and said, yeah, I would love to do a show with UDO. And we said, yeah, yeah, okay. You know that we have pandemic and stuff like that. Yeah, we will, you will see. And then in the end, he came up, okay, everything is prepared, everything is fine. We have a, everything is secured, you know, in hygienic stuff and blah, blah, blah. Yeah. And then they showed us some pictures of the venue. And that was like, wow, that looks great, you know. And then we said, okay, come on, if you have the chance, we want to record this and film this, you know. So, and then he came up and said, yeah, no problem. We have a team in Bulgaria, they do this, they film this, we're recording we did it on our own. Yeah. And then, I don't know, I mean, we were thinking, okay, maybe 500, 800 people. And there was nearly 3000 coming, you know, it was like, wow, what is this, you know. And then we was asking them a couple of weeks later, what does something happen with some infections? And they said nothing, you know. Oh, good, good. So, I mean, so your next tour will be, come see Udo, you won't get COVID. 100% guaranteed. 100% guaranteed. Fine and tested. But I think, but you know, I think next year, I mean, it will be more, more normal, you know, and, I mean, of course, at the moment, there's a lot of bands are touring in America. Not in Canada. Not really, not much. I had a concert that just got moved back from November. I think it's gone to May of next year. So that is in a way, you know, sometimes we're also playing doing something here in Europe and cancel, cancel, cancel. And I think also we have to cancel and put all to everything on next year. So that means next year, everybody is on tour. Everybody's on tour. The last time we interviewed, we were lucky enough to have Sven with you. So how's that dynamic? He sees the one, hey, come on, let's go dad, we've got to get more and more stuff out. Or you're the one saying, hey, Sven, get on board with me. And he, you know, put down the X box, put down the X box. Yeah, I mean, but with Sven, I mean, of course, but he has a big problem at the moment about the flat, you know, his house is completely gone, the studio is gone. He cannot live in the house at the moment. And so they have to renovate everything. And it takes some time. Maybe he can move back next year in March or April, you know, yeah, this is completely. That's because of the flight? That was a flight? Yeah, unbelievable. You know, I mean, so and yeah, and I mean, yeah, with Sven, yeah, sorry, at the moment that we cannot work together, you know, normally I go sometimes to the studio in his house and do something, you know, like walking on some stuff, but at the moment also gone. And yeah, with Sven, Sven is really into everything, you know, it's like, oh, they like to do this and this and this. But, you know, it's also, that's also a good thing about the young people, especially the Dammers and my son, they are really into all that, and to old fashioned, but also in this social media stuff, you know, what we have to do and this and this and this, and this is also good, you know, for me, it's like, okay, what I have to do, tell me, you know, yeah, it's good to have young people, you know, so they really know exactly how that works and yeah, good. All right. Here's my last question. Your memories of singing, I just heard this the other day, born to be wild with a raven, yeah, yeah, wow, your memory, your quick memory with that, that's where you were singing really high. That was like the highs. If I remember correctly, there was alcohol involved. You told us there's lots of alcohol involved in that. There was a lot of alcohol involved, yeah. There was also a plan to do this, you know, we was in a studio and just Jimmy and Michael, Michael, well, you know, he was pushing the button, you know, record. And then he said, yeah, sound is great. And then raven, raven said, yeah, can we put it all in the air? Come on, why not, you know, that was really one take, of course. Oh, wow, that's pretty amazing. All right, that's pretty much it. Unless you have something you want to add, tell everybody about the new album. Yeah, but can I say the new album? I mean, I think it's a value for money, first, you know, I think, or I hope that the people like the new album, you know, and it's, I think it shows as the whole thing of UDO, you know, different stuff. And yeah, that's the only thing I can say, hope the people like it. And so we will see then what's going on with touring, and then definitely we play a couple of songs or also a new game over album. Perfect. So October 22nd on AFM Records. Yes. It's in a weekend a little bit or like 10 days. Yeah, nine days, nine days. Yeah, yeah. Well, thank you so much UDO for jumping on once again. I am right behind you.   There was also a Superman thing in there. It was midnight stranger. Yeah.  All right. Yeah. Yep. All right, thanks UDO. Thank you so much. Have us a wonderful day and we'll talk very soon, I'm sure. Yeah, well, you know, when you release your next thing in three months or four months. Yeah, maybe you'll never know.  Okay, yeah, it's always nice, okay. All right, thanks UDO. Okay, take care. Bye bye. Bye bye. Bye bye.


Russian troops are advancing in five directions in Donetsk. Ukrainian defence forces prevented more than 20 attacks by Russian troops on Bakhmut, Donetsk region. The enemy continues its attacks on the city. This was reported by the general staff of the armed forces of Ukraine. The information states that Russian forces are already advancing in five directions. The enemy focused its main efforts on conducting offensive operations in the directions of Kupyan, Liman, Bakhmut, Avdiv and Marin. Units of the Ukrainian army repelled more than 80 enemy attacks in these directions. Bilogorivka, Bakhmut, Avdiv and Marin remain at the epicentre of the military operations. The offensive operations of the Russians in the direction of Kupyan and Liman ended in failure. The attack on the city of Bakhmut continues. Ukrainians prevented 22 attacks in this direction during the day. In addition, Russian troops also conducted unsuccessful offensive operations in Orykovo Vasilyevka district of Donetsk region. The attack on the number of residential areas of Avdiv and Marin did not yield any results.


Maybe.  Yeah, we're gonna get demonetized for sure after that one. That's one of the best lines Castiel's ever said in this whole show. Ooh, that's a hot mug, guys. Hey guys, this is my review for the third episode of Supernatural Season 5. Free to be you and me. This one has Sam and Dean going on separate paths. Another classic line of Dean saying, eat at twilight before he cuts off the head of a vampire, whereas Sam goes to work at a bar. And that's kind of it. But at the same time, there's a lot of development between the two of them in this episode, as well as the overall plot. And technically speaking, you could almost call this a filler episode. Almost. But the amount of inner development between the characters, not only Sam and Dean, but also Castiel and even Lucifer, is so well done in this episode that it's actually the best episode of the season so far. We see Sam having flashbacks or what we assume to be flashbacks or some sort of dream of Jessica. Oh, God, the microphone's been over here this whole time. We see Sam dealing with sort of hallucinations of Jessica. Kind of giving him the hard truth about his choices in life, what he's done, and how he's being viewed by other people. And eventually, as the episode progresses and we get towards the end, it's actually Lucifer trying to manipulate him. And that's one thing about this season that probably made Lucifer such an intriguing character and would eventually just be completely worn out by the end of his lineage in season 13 is that the character had sympathetic compassion. He had some reason for you to almost care about him. Whether it was truthful or not, kind of was on the side is more so that they actually made you sympathize or they were trying to make you sympathize with literal Satan. While that might be a little bit odd to try and do, that does make you care more about the character. That makes you more interested in him. Villains that have compassion and are even sometimes, in some cases, understandable anger, understandable wants and desires, makes it a lot more relatable to any kind of audience and that's something that was really well done with Lucifer in this season. You cared, you felt his pain, you kind of understood where he was coming from even if he did want to kind of destroy the whole world. But at the same time, too, you know that there's something else underneath but the whole performance is so well done. Nick does a fantastic job just really pulling you in and he's only in this episode, literally at the last minute. It's still enough to set the boundaries of what we're going to expect from the character especially since he is looking at Sam as his main vessel, his main partner in the means of destroying the world. On the other hand, we have Dean kind of just going his own way, killing vampires and being happy that he doesn't have to worry about Sam but then Castiel comes and says, I need help with something and you're the only one who can help me because I have no more friends. He's still on this quest to try and find God but he believes that maybe he can do so by talking to Raphael, the archangel who obliterated him at the end of season 4. And there was a kind of a little cool mystery trying to capture Raphael. They were trying to find him. They found his previous vessel in a psych ward because the guy had completely been lobotomized and he even made the joke. Yeah, that's what happened to him. Michael will do far worse to you when he's done with you. Well, that was kind of like just his nonchalantness and again, Castiel in this, it's a character that I remember now. I remember this very cool.  That part was very odd and I love it where he's like, I just told her that your father leaving you wasn't your fault. It's like, man, this is a whole place that's full of daddy issues. I do like Castiel in this episode because he is trying to take charge of a situation that he wasn't prepared to be put in and then when they go and talk to Raphael and Raphael again, a sympathetic character. We see that he is tired. They are all tired. They just want paradise. They've been directionless for so long because God just totally left the building. He thinks God's dead. Castiel is kind of unconvinced but he obviously has a lot of baggage on him now considering literally one of the archangels has told him that his quest is kind of pointless. As we know, he's not going to find him but I'm still interested in this because I actually can't remember when Castiel just kind of gives up on the quest so while this is going on and I know that it's fruitless I'm still interested in seeing how it progresses and then we see Castiel deliver the line to Raphael.  And Dean says, yeah, what he said. It's a great episode all around actually for a filler episode, technically speaking. The only negative I would almost say is the hunters that go and talk to Sam. I don't understand how this show always made hunters look like backwards hillbillies except Sam and Dean. The most backward hillbilly they got was all the plaid that they would wear. Every time hunters appeared in the show I was like, okay, Sam and Dean are getting on their bad side somehow. And in this episode, Sam refused to help them because he's just not ready, he doesn't want to.   I understand his friend died but at the same time I've never liked this bit with hunters.  This is season five, it gets worse later on in the show. But yeah, this was the negative bit for me in this episode. Just this whole bit was just so, I don't know, kind of badly written in my opinion. I just thought, again, it's just too excessive. But otherwise though, really well put together episode. Really good base building, really good structure building. We're getting a lot of kind of necessary background, especially with what's going to happen in the next episode, the end. Which is actually probably going to be a seven. I'm guessing that now, but I'm probably going to give that one a seven, but we'll see. Either way, I'm going to give Free to Be You and Me a six out of seven. This is a great episode, I like it, it's fun. And it's got a lot of cool little bits in it that I really didn't remember until re-watching it. Anyways guys, I asked you in the last episode to give me your thoughts on this episode. So let's read those off now. Free to Be You and Me is a really entertaining episode. It was a really great idea from the writers to keep the brothers this time apart from each other for a longer time. For Sam and Dean to be apart means more screen time for Dean and Castiel. And the pair share such an amazing chemistry that there is no less than Sam and Dean on screen chemistry. Jensen and Misha have an amazing comic timing that results in some of the funniest scenes on Supernatural. There's also the very serious dramatic scenes that balance everything out on this episode. Like for example, when Dean admits that he had more fun with Castiel in the past 24 hours than he has with Sam in years. This is kind of sad, especially considering that as Dean said, Castiel isn't that much fun. I'm glad we got a scene between Sam and Jessica in a dream, I think, with him admitting that he loves her but how much he misses her. I felt really bad for Sam in this moment. Jessica, who morphs into Lucifer, was a really neat effect. Lucifer admitting that Nick is just an improvisation plan B and that Nick can barely contain him without spontaneously combusting was a nice reveal. They managed to get to the top with the revelation that Sam is Lucifer's true vessel.  Overall, I'd give Free to Be You and Me a 6 out of 7. Yeah, well, we agree on that. Yeah, no, you point out all the points that I liked about this episode. I love Free to Be You and Me. It's a great episode. I love Castiel in this episode, especially in the scene with Raphael where he throws shade and seeing the beginning friendship of Castiel and Dean in this episode. Yeah, no, this episode stands out a lot for what Castiel says and, again, that comment. I think I love his diss that he throws at Raphael in this episode. Free to Be You and Me is a really good setup of how the season is set up for Sam's redemption arc. Although this episode can feel almost like it's preaching to the choir the whole time about Sam needing to go back to Dean and stop in the apocalypse, my favorite parts of this episode, however, was with Lucifer disguising as Jess. Even though Lucifer claims he would never lie to Sam, he outright made Sam think he was talking to his dead lover. Sam kissing Lucifer disguised as Jess on the neck makes me shudder every time upon rewatching. Also, the dialogue of how powerful arcangels are is something sorely missed when the arcangels return in latter seasons. Yes, I definitely agree with that. Sure, they can carry Wade, but not the same way to season 5. The episode definitely has its funny moments, but it also made me feel sorry for Sam because the big reveal of him being the vessel for Lucifer after the first episode of the season, learning that Dean is the vessel for Michael, really set up a lot of tension for the season, even though we would have to wait 19 more episodes to go through. Yeah, no, they're already setting up the stakes, right? And they do it very well. They have a great establishment for us to work with right at the beginning of the show of this season. And finally, free to you be you and me, at first it might be filler, but then they reintroduced the arcangels and holy hell they are freaking awesome. Raphael's introduction is one of the most badass moments of the show. I can agree with that. I love his effect every time. You can feel the power present on the screen, something that Eric Kripke and Jeremy Carver did right with their villains. And even though Sam and Dean are not together on screen, this episode is very important for Castiel. Building his camaraderie with Dean, as well as his overall mentality throughout the series.  Yeah, no, he's... It's cool to see Mark as an actual villain, rather than like a child, which is what he's going to turn into in the end of the season. Or sorry, in the end of the show. Like, that's what they did with him. They childized Lucifer, I guess you would say. They turned him into a whining crying baby. Okay, those are your thoughts. Now we're going into the end. The episode where Dean gets a vision of the future and... Oh, I can't wait. This is actually one of my favorite episodes of this season. Anyways, guys, give me your thoughts about that in the comments below and I'll make sure to read those off in the next review. Otherwise, if you guys liked the video, leave a like, and if you're interested in more, subscribe. See you guys next time. To see any and all updates about the upcoming Undergrads movie, be sure to check out and like the Bring Back Undergrads Facebook page. And with any luck, we'll see you guys soon.


Hello everyone and welcome back to another tutorial in today's video We're going to be touching our subject We looked at our previous video and if you haven't seen the previous video We'll put a link on the screen now because that's a again using what we're going to be using dynamic ranges Very useful video as I say, so I'll put a link to that previous video on the screen now So you can go check that out as well, but what we're going to be using dynamic Rangers for in this video is for populating our drop-down lists So many of you would have seen our previous videos are quite a while back now of how we can use drop-down lists in our data to enforce the values that people select So as a quick recap, let's say In this column here in column D. We simply want to do a yes or no response And obviously take this our context obviously it says review at the top there And this would not probably want a yes no in here, but we'll just do that for example purposes So what we can simply do is we just let you go into our data We go to data validation And then we can select a list option and then in here we could either select a static list Or we can simply type in yes, so no like these are options And then that gives us this drop down in that range to select either yes or no And if someone tried to put something else other than that so the spell yes wrong or no, obviously it's not going to allow them to do it and The other way you can do it as I just saw briefly touched on there is you could also have your values here In an actual range and then we can actually go into Reference that range. So let's go about data validation And this time we're going to select that range there And you can see it does the same result It just means that if we wanted to change our values we could simply do it here Rather than having to go into the actual settings for it The limitation with obviously entering your values whether you do it Into the actual pop-up self or creating the list as I've done in this second example here Is that if you add new values or you want more values to be available? So maybe like the option of maybe What you'd have to do is go back into your settings back into the data validation and In the wrong air range So you'd have to go back into everything And reset your ranges so that you're now looking at the new range So for us it's going to be now these three rather than just the two For that new value to pull in well again It's not too much work that you have to do but if you're sending this This spreadsheet out for other people to populate or Any other numerous examples of where this is called fall over? It just means that values might get updated or added to your list But they're not actually getting pulled into your drop down so it can just cause confusion basically So the way to get around that is to have a dynamic list And that being as soon as a new value is added to that list It's automatically picked up by our data validation and it's going to be available for the user to select In order to do this and again like in the previous video We're going to be using tables in order to give us this dynamic range All I'm going to do is just get rid of the data validation. We've got here at the moment Let's get a clear rule. I'm okay. You can see that drop down is now gone And just for tidiness, let's just get rid of these values that we've got here as well Perfect so you can start fresh What I'm going to do is go into our second sheet here. I've called it values, but it really doesn't matter what you call it And we'll just call um, let me give it a heading of let's say Yes No, it's just really it makes it easy to identify what this one's relating to and then we can just type our two values So we've got yes and no It's worth noting that whatever one you put on top is going to be the first value that appears um Might be of importance to you, but it just sometimes helps when you're using If you want to enforce a default value a suck So what we're going to do once we've got our initial values there We're just going to select those three rows and we're going to select the table And table is found under the insert tab if you've not already on that sheet And you can see that it's picked up our range and we just need to make sure that if this is unticked We just need to tick this just so it's aware that the first row is actually your headers So we don't want to actually use that as values. It's the headers for that table and go okay And you can see there's some formatting for us so we can now see it as a table And for us we can just see that obviously the yes or no The header is in that nice dark blue and that just stands out and be different from the actual values below it And from selecting in there, we can see that it's called the table name is table two By default if you've not put any tables into your spreadsheet to start off with it'll default to table one But for us, you can see we've obviously been playing around with other tables. Therefore, it's automatically Gone up in iteration. So it's now coordinate table two So that's our values there If we go back to our review sheet and we now want to enter this data validation All we can need to do is select our desired range. So for us, it's just these five rows that contain names And then we go into data data validation And we want to select the list and this time we click into our source And navigate to our value sheet And you can see that we've got our table in here. So What you might think is we're just going to select the range, but actually we can't do that We actually have to use another formula. So all we're going to do is type in here in directs open brackets And do a quotation And then we know it's I was going to say we need to know what this table is called. I know it's called table two We're then going to do a bracket. So the square bracket And then we need to put in the column Header or column title for for that particular column that we want to source values from So for us, we know it's table two and the column we want to source for our values is yes or no So you can just type in here. Yes or no Close our brackets do another quotation and then close our curve brackets And then select okay, and you can see we get taken back to our review sheet And now what will happen is when we go to our drop-down, you can see we've got the yes or no options So it's pulling our table or our desired values as required The real benefit now comes if we go to our value sheet and we say we'll actually what another option of maybe Then we can then come back into here and we can see that maybe is now automatically picked up as one of our values So it's a real dynamic way of working and straight away the opposite is if we go to values and we get rid of maybe We can see that it's been automatically updated. So we now we've only got a yes or a no in there So again a real great dynamic solution The reason we put review here is I was actually going to do a different example here rather than yes or no So we could just go through that and that would be let's say Low Medium and high So again, you can see another way never great use of this as we suddenly change in mind Do you want something else? We can go into here and we can now see we've got the lot options of low medium and high And what my intention was to do is to say, oh, we're going to give each one of these people a review and we can give them a medium Low or high review obviously based on maybe what their performance or how they've been working is Like this and you obviously they have a benefit or not the other benefit And then the example is going to then mention that if we wanted to change this and then maybe have Let's say very low low medium High very high Like that And then you can see that we can now got these selections in here as well And I did touch on I think earlier But obviously the order that they appear in the drop down is the order that you type them in your table list So that's just one thing to mention because you might want this sort of Presentation in terms of obviously lowest to highest if you're doing this or drop down When the person has the selection So I hope you enjoyed that video and it's gave you insight of obviously how you can make the feed for your data validation dynamic Again as we touched on it just makes it a lot simpler for when it has been multiple people multiple people updating this Or if you just to make sure that all your information has one central point Because what you can do is obviously the more drop downs you have the more tables that you can add to your values sheet Often as a practice what I often do is we'll do a separate table For each value. So let's say in this one. You did just want your let yes or no what we could do is table No I'm just trying to think of a unique title header. Yes No All we need to do is go into here Table table has headers. Okay That's called table three So what we could then do is if we then wanted this one to be a yes or no Let's go data. I can't remember where it was then data validation We want a list And our source for this one is then going to be After we go back in here, just make sure you've got the right name right So we want to do indirect Open quotations table three They for now have our brackets table new and again, don't use these column headers as examples For you to use it's just examples for the purpose of this tutorial because they're not very well named Go, okay, and you can see now. We've got a yes or no drop down here as well. So we can put yes No That was an option so that you can now see how it would look if you're going to add more Tables to your data so you can see each Each drop down or each drop down list is its own unique table. So what table two and table three Leave them separated by one column obviously So there's no confusion But then this is how I would build out a sheet of multiple drop downs to make sure it is more clear So we can see obviously a dedicated sheet for where all our values reside And then there's no it's not too messy and we know exactly where you need to go to update those values So I hope you enjoyed that video if you did please do give the video a like It not only shows me the videos and the content that you want to see more of it also does help out with that youtube algorithm And lastly if you're not done so already Please do subscribe to the channel got lots more videos coming out at the moment we post weekly But I really want to try and increase that frequency But by subscribing and hit that bell notification you'll be notified as soon as our new videos do come out So thank you very much for watching and you should see you in the next video Before you go, don't forget to check out the other videos on our channel You'll see everything from other functions and formulas through to tips and tricks We've also created some playlist so you can see these categorized together So make sure you check those out and get all those useful information And obviously as always don't forget to subscribe and hit that bell notification button


Act 4 of The Taming of the Shrew by William Shakespeare This is a LibriVox recording. All LibriVox recordings are in the public domain.   Oh, I, Curtis, I And therefore fire Fire Cast no water Is she so hot as shrew as she reported? She was, good Curtis, before this frost But thou knowest winter tames Man, woman, and beast For it hath tamed my old master And my new mistress and myself Fellow, Curtis Hey, you three-inch fool, I am no beast Am I but three inches? Why, thy horn is a foot And so long am I at the least But wilt thou make a fire Or shall I complain on thee to our mistress Whose hand, she being now at hand Thou shalt soon feel to thy cold comfort For being so slow in thy hot office I pretty, good Grumio, tell me, how goes the world? A cold world, Curtis, in every office but thine And therefore fire Do thy duty and have thy duty For my master and mistress are almost frozen to death There's fire ready, and therefore, good Grumio, the news? Jack-boy, whole-boy, and as much news as thou wilt Come, you are so full of Coney-catching Why, therefore, fire, for I have caught extreme cold Where's the cook? Is supper ready? The house trimmed, rushes strewed Cobwebs swept, the serving men and their new fustion Their white stockings And every officer his wedding garment on Be the jacks fair within The jills fair without And carpets laid and everything in order Already, and therefore I pray the news? First, know my horse is tired My master and mistress fallen out How? Out of their saddles into the dirt And thereby hangs a tail Let's hot, good Grumio Lend thine ear Here There This tears to fill a tale, not to hear a tale And, therefore, is called a sensible tale And this cuff was but to knock at your car And be siege, listening Now, I begin Imprimus became down a foul hill My master riding behind my mistress Both of one horse? What's that to thee? Why a horse?   They are Call them forth You hear, whole, you must be my master To countenance my mistress Why, she hath a face of her own Who knows not that? Thou, it seems, that calls for company to countenance her I call them forth to credit her Why, she comes to borrow nothing of them Enter several servants Welcome home, Grumio How now, Grumio? Fellow, Grumio How now, old lad?  Aim that hand, alighted by this And therefore be not Cocks, passion, silence I hear my master Enter Petruccio and Caterina Where be these nays? What, no man at door To hold my stirrup nor to take my horse? Where is Nathaniel, Gregory, Philip?  Where is the foolish nave I sent before?  Nathaniel's coat, sir Was not fully made And Gabriel's pumps Were all unpinked in the heel There was no link To color Peter's hat And Walter's dagger Was not come from sheathing There was none fine But Adam, Ralph and Gregory The rest were ragged old and beckerly Yet as they are Here are they come to meet you Go, rascals, go And fetch my supper in Exit some of the servants Where is the life that late I led? Where are those Sit down, Kate, and welcome Soad, soad, soad, soad Re-enter servants with supper Why, when I say Nay, good sweet Kate, be merry Off with my boots, you rogues You villains, when? It was the friar of order's gray As he forth walked on his way Out, you rogue, you pluck my foot awry Take that, and mend the plucking off the other Be merry, Kate, some otter here What ho? Where's my spaniel-trollots? Sirah, get you hence, and bid my cousin Ferdinand Come hither Exit, servant One, Kate, that you must kiss and be acquainted with Where are my slippers? Shall I have some water? Come, Kate, and wash, and welcome heartily Servant, let's do you a fall Petruchio strikes him You horse-unvillain, will you let it fall?  I Who brought it? I Tis burnt, and so is all the meat What dogs are these? Where is the rascal cook? How durst you villains, bring it from the dresser And serve it thus to me, that love it not? Throws the meat, etc. at them There, take it to you Trenchers, cups and all You heedless jolt heads and unmannered slaves What, do you grumble? I'll be with you straight I pray you, husband, be not so disquiet The meat was well if you were so contented I tell thee, Kate, twas burnt and dried away And I expressly am forbid to touch it For it engenders collar, planteth anger And better to her that both of us did fast Sense of ourselves, ourselves are choleric Then feed it with such overroasted flesh Be patient, Tamara should be mended And for this night we'll fast for company Come, I will bring thee to thy bridal chamber Excellent Petruccio, Caterina and Curtis Peter, didst ever see the like? He kills her in her own humor Re-enter, Curtis Where is he? In her chamber, making a sermon of contentancy to her And rails and swears and rates that she, poor soul Knows not which way to stand, to look, to speak And sits as one new risen from a dream Away, away, for he is coming hither Excellent Re-enter, Petruccio Thus have I politically begun my reign And tis my hope to end successfully My falcon now is sharp and passing empty Until she's stoop she must not be vulgarged For then she never looks upon her lure Another way I have to man my haggard To make her come and know her keeper's call That is to watch her as we watch these kites That bait and beat and will not be obedient She eats no meat to-day, nor none shall eat Last night she slept not, nor to-night she shall not As with the meat some undeserved fault I'll find about the making of the bed And here I'll fling the pillow there, the bolster This way the coverlet, another way the sheets I, and amid this hurly I intend That all is done in reverent care of her And in conclusion she shall watch all night And if she chants to nod I'll rail and brawl And with the clamour keep her still awake This is a way to kill a wife with kindness And thus I'll curb her mad and headstrong humour He that knows better how to tame a shrew Now let him speak, tis charity to show Exit Scene 2 Padua Before Baptista's house Enter Tranio and Hortensio It's possible, friend Licio, that Mistress Bianca Doth fancy any other but Luchensio I tell you, sir, she bears me fair in hand Sir, to satisfy you in what I have said Stand by and mark the manner of his teaching They stand aside Enter Bianca in Luchensio Now, Mistress, profit you in what you read? What master read you? First resolve me that I read that I profess The art to love And may you prove, sir, master of your art While you, sweet dear, prove Mistress of my heart They retire Quick procedures, Mary Now tell me, I pray, you that Durst swear That your Mistress Bianca Loved none in the world so well as Luchensio Oh, despiteful love, Unconstant womankind I tell thee, Luchio, this is wonderful Make no mistake, I am not Luchio Nor a musician as I seem to be But one that's scorn to live in this disguise For such a one as leaves a gentleman And makes a god of such a cullian Know, sir, that I am called Hortensio Signor Hortensio, I have often heard Of your entire affection to Bianca And since my eyes are witness of her lightness I will with you, if you be so contented For swear Bianca and her love for ever See how they kiss in court Signor Luchensio, here is my hand And here I firmly vow never to woo her more But do for swear her as one unworthy All the former favours that I Have fondly flattered her with all And here I take the like on feynid oath Never to marry with her though she would entreat Fie on her, see how beastly she doth court him Would all the world but he had quite foresworn For me that I may surely keep mine oath I will be married to a wealthy widow There three days pass Which hath as long loved me as I Have loved this proud, disdainful haggard And so farewell, Signor Luchensio Kindness in women, not their Beautyous looks shall win my love And so I take my leave in resolution As I swore before Exit Hortensio, Luchensio and Bianca advance Mistress Bianca, bless you with such grace As longeth to a lover's blessed case Nay, I have tain you napping gentle love And have foresworn you with Hortensio Tronio, you chast! But have you both foresworn me? Mistress, we have Then we are rid of Luchensio If Faith Hill have a lusty widow now That shall be wooed and wedded in a day God give him joy Aye, and he'll tame her He says so, Tronio Faith, he has gone unto the taming school The taming school? What, is there such a place? Aye, Mistress, and Petruccio is the master That teacheth tricks eleven and twenty long To tame a shrew and charm her chattering tongue Enter Biondello, running Oh, master, master I have watched so long that I am dog-weary But at last I spied an ancient angel Coming down the hill will serve the turn What is he, Biondello? Master, a mercantante, or a pedant I know not what, but formal in apparel In gate and countenance surely like a father And what of him, Tronio? If he be credulous and trust my tale I'll make him glad to seem Vincencio And give assurance to Baptiste Minola As if he were the right Vincencio Take in your love, and then let me alone Exeunt Lucencio and Bianca Enter a pedant God save you, sir And you, sir, you are welcome Travel you far on, or are you with the farthest? Sir, at the farthest hole we go to But then a father, and as far as Rome And so to Tripoli, if God lend me life What countrymen I pray? Of Mantua Of Mantua, sir Marry God forbid And come to Padua, careless of your life My life, sir, how I pray That goes hard To his death for anyone in Mantua To come to Padua Know you not the cause Your ships are stayed at Venice And the Duke, for private, quarrel-twixed Your Duke and him, hath published And proclaimed it openly His marvel, but that you are but newly come You might have heard it else proclaimed about Alas, sir, it is worse for me than so For I have bills for money by exchange from Florence And must hear deliver them Well, sir, to do you courtesy this will I do And this I will advise you First tell me, have you ever been at Pisa? Aye, sir, in Pisa have I often been Pisa renowned for grave citizens Among them know you one Vincencio I know him not, but I have heard of him Merchant of incomparable wealth He is my father, sir, and sooth to say In countenance somewhat doth resemble you Viandello, aside As much as an apple doth an oyster, and all one To save your life in this extremity This favour will I do you for his sake And think it not the worst of all your fortunes That you are like to serve Vincencio His name and credit shall you undertake And in my house you shall be friendly-larged Look that you take upon you as you should You understand me, sir So shall you stay till you have done your business in the city If this be courtesy, sir, accept of it Oh, sir, I do, and will repute you ever The patron of my life and liberty Then go with me to make the matter good This, by the way, I let you understand My father is here looked for every day To pass assurance of a dour in marriage Twixed me in one Baptista's daughter here In all these circumstances I'll instruct you Go with me to clothe you as becomes you Excellent Sin three A room in Petruccio's house Enter Caterina and Crumio No, no for sooth I dare not for my life The more my wrong the more his spite appears What did he marry me to famish me? Beggars that come unto my father's door One and treaty have a present alms If not, elsewhere they meet with charity But I, who never knew how to entreat Nor never needed that I should entreat Am starved from me to giddy for lack of sleep With oaths kept waking and with brawling fed And that which spites me more than all these wants He does it under name of perfect love As who should say if I should sleep or eat For a deadly sickness or else present death I'd prithee go and get me some repast I care not what so it be wholesome food What say you to a neat's foot?  Nay, then thou lovest not And all my pains is sorted, to no proof Here, take away this dish I pray you let it stand The poorest service is repaid with thanks And so shall mine before you touch the meat I thank you, sir Signor Petruchio, fie, you are to blame Come, Mistress Kate, I'll bear you company Petruchio, aside Eat it all up, Hortensio, if thou lovest me Much could do it unto thy gentle heart Kate, eat a pace, and now my honey love Will we return unto thy father's house And revel it as bravely as the best With soaken coats and caps and golden rings With ruffs and cuffs and farthing-gales and things With scarps and fans and double-change of bravery With amber bracelets, beads, and all this navery What, hast thou dined? The tailor stays thy leisure To duck thy body with his ruffling treasure Enter, tailor Come, tailor, let us see these ornaments Blay forth the gown Enter, habitation What news with you, sir? Here is the cap your worship did bespeak Why, this was molded on a poringer, a velvet dish Fie, fie, tis lewd and filthy Why, tis a cockle or a walnut shell A knack, a toy, a trick, a baby's cap Away with it, come, let me have a bigger I'll have no bigger, the stuff fit the time And gentle women wear such caps as these When you are gentle, you shall have one too And not till then Hortensio, aside That will not be in haste Why, sir, I trust I may have left to speak And speak I will I am no child, no babe Your betters have endured me, say my mind And if you cannot, best you stop your ears My tongue will tell the anger of my heart Or else my heart concealing it will break And rather than it shall I will be free even to the utmost As I please in words Why, thou sayest true, it is a paltry cap A custard coffin, a bobble, a soaken pie I love thee well in that thou likeest not Love me or love me not, I like the cap And it I will have, or I will have none Exit, haberdasher Thy gown, why, come, Taylor Let us see it Oh, mercy, God, what masking stuff is here What's this, a sleeve, tis like a demicanon What, up and down, carved like an apple-tart Here snip and nip and cut and slish and slash Like to a censor in a barbershop Why, what in devil's name, Taylor, calls thou this Hortensio, aside I see she's like to have neither cap nor gown You bid me make it orderly and well According to the fashion and the time Mary and did, but if you be remembered I did not bid you marred to the time Go hop me over every kennel home For you shall hop without my custom, sir I own none of it, hence make your best of it I never saw a better-fashioned gown More quaint, more pleasing, nor more commendable Be like you mean to make a puppet of me Why, true, he means to make a puppet of thee She says your worship means to make a puppet of her O monstrous arrogance, thou liest, thou thread, thou thimble Thou yard three quarters, half yard, quarter nail Thou fleen, thou knit, thou winter cricket, thou Braved in mine own house with a skein of thread Away, thou rag, thou quantity, thou remnant Or I shall so be meet thee with thy yard As thou shall think on preting whilst thou liest I tell thee, I, that thou hast marred her gown Your worship is deceived, the gown is made just as my master had direction Grumio gave order how it should be done I gave him no order, I gave him the stuff But how did you desire it should be made Mary, sir, with needle and thread But did you not request to have it cut Thou hast faced many things I have Face not me, thou hast braved many men Brave not me, I will neither be faced nor braved I say unto thee, I bid thy master cut out the gown But I did not bid him cut it to pieces Ergo, thou liest Why, here's the note of the fashion to testify Read it The note lies in throat, if he say I said so Imprimus, a loose-bodied gown Master, if ever I said loose-bodied gown So me, in the skirts of it And beat me to death with a bottom of brown thread I said a gown Proceed With a small, compassed cape I confess the cape With a trunk sleeve I confess two sleeves The sleeves curiously cut Aye, there's the billoning Error in the bill, sir Error in the bill I commanded the sleeves should be cut out And sewed up again And that I'll prove upon thee Though thy little finger be armed in a thimble This is true, that I say And I had thee in place, but I should know it I am for thee straight Take thou the bill, give me thy meat-yard And spare not me God, a mercy, Grumio Then he shall have no odds Well, sir, in brief, the gown is not for me You are the right, sir Tis for my mistress Go, take it up unto thy master's use Villain, not for thy life Take up my mistress's gown For thy master's use Why, sir, what's your conceit in that? Oh, sir, the conceit is deeper Than you think for Take up my mistress's gown To his master's use Oh, fie, fie, fie Petruchio, aside Hortensio, say thou wilt see the tailor paid To tailor Go take it hence, begone, and say no more Hortensio, aside to tailor Taylor, I'll pay thee for thy gown tomorrow Take no unkindness of his hasty words May I say commend me to thy master Exit, Taylor Well, come, my Kate, we will unto your fathers Even in these honest mean habillaments Our purses shall be proud, our garments poor Fortis the mind that makes the body rich And as the sun breaks through the darkest clouds So honor pyrrhus in the meanest habit What, is the jay more precious than the lark Because his feathers are more beautiful Or is the adder better than the eel Because his painted skin contends the eye Oh, no good Kate, neither art thou the worse For this poor furniture and mean array If thou accountest its shame, lay it on me And therefore, frolic, we will hence forthwith To feast and sport us at thy father's house Go call my men, and let us straight to him And bring our horses unto long-lane end There we will mount and dither walk on foot Let's see, I think tis now some seven o'clock And well we may come there by dinnertime I dare assure you, sir, it is almost two And it will be supper time ere you come there It shall be seven ere I go to horse Look what I speak, or do, or think to do You are still crossing it, sirs, let alone I will not go to day, and ere I do It shall be what o'clock I say it is Why, so this galant will command the sun Excellent Scene four Padua, before Baptista's house Enter Tranio and the pedant dressed like Vincenzo Sir, this is the house, please it you that I call Aye, what else, and, but I be deceived Señor Baptista may remember me, near twenty years ago in Genoa Where we were lodges at the Pegasus Tis well, and hold your own in any case With such austerity as longeth to a father I warrant you, but, sir, here comes your boy To a good he was schooled Enter Biondello Fear you not him, Sirabiendello Now do your duty thoroughly, I advise you Imagine where the right Vincenzo Tut, fear not me But hast thou done thy errand to Baptista I told him that your father was at Venice And that you looked for him this day in Padua Thou art a tall fellow Hold thee that to drink Here comes Baptista, set your countenance, sir Enter Baptista and Lucencio Señor Baptista, you are happily met To the pedant Sir, this is the gentleman I told you of I pray you stand good father to me now Give me Bianca for my patrimony Soft, son Sir, by your leave, having come to Padua To gather in some debts My son Lucencio may be acquainted With a weighty cause of love Between your daughter and himself And, for the good report I hear of you And for the love he beareth to your daughter And she to him, to stay him not too long I am content in a good father's care To have him matched And, if you pleased a like No worse than I, upon some agreement Me shall you find ready and willing With one consent to have her so bestowed For curious I cannot be with you Señor Baptista, of whom I hear so well Sir, pardon me in what I have to say Your plainness and your shortness please me well Right through it is your son Lucencio here Doth love my daughter, and she loveeth him For both resemble deeply their affections And therefore, if you say no more than this That, like a father, you will deal with him And pass my daughter a sufficient dower The match is made, and all is done Your son shall have my daughter with consent I thank you, sir Where, then, do you know best we beified And such assurance tain as shall With either parts agreement stand Not in my house, Lucencio For you know, pictures have ears And I have many servants Besides, a grame you is harkening still And happily we might be interrupted Then at my lodging, an' it like you There doth my father lie And there this night will pass the business Privately and well Send for your daughter by your servant here My boy shall fetch the Scribner presently The worst is this, that hath so slender warning You are like to have a thin and slender pittance It lacks me well Come, you, are you home And bid Bianca make her ready straight And, if you will, tell what hath happened Lucencio's father is arriving, Padua And how she's like to be Lucencio's wife I pray the gods she may, with all my heart Dally not with the gods, but get thee gone Signor Baptista, shall I lead the way? Welcome, one mess is like to be your cheer Come, sir, we will better it in Pisa I follow you Exeunt Tranio, pedant and Baptista Cambio What sayest thou, Biondello?  Faith, nothing, but hath left me here behind To expound the meaning or moral of his signs and tokens I pray thee, moralize them Then, thus, Baptista is safe Talking with the deceiving father of a deceitful son And what of him? His daughter is to be brought by you to the supper And then? The old priest at St. Luke's church is at your command at all hours And what of this? I cannot tell, except they are busied about a counterfeit assurance Take your assurance of her, com privilegio Add imprimandum solemn To the church, take the priest, clerk And some sufficient, honest witnesses If this be not that you look for, I have more to say But bid Bianca farewell forever and a day Here's thou, Biondello I cannot tarry I knew a wench married in an afternoon As she went to the garden for parsley to stoff a rabbit And so may you, sir, and so adieu, sir My master hath appointed me to go to St. Luke's Did the priest be ready to come against you, come with your appendix? Exit I may and will, if she be so contented She will be pleased Then wherefore should I doubt? Hap what hap may, oh, roundly go about her It shall be hard, if can be all go without her Exit Scene five A public road Enter Petruccio, Caterina, Hortensio, and Servants The moon, in God's name, once more towards our fathers Good Lord, how bright and goodly shines the moon The moon, the sun, it is not moonlight now I say it is the moon that shines so bright I know it is the sun that shines so bright Now by my mother's son, and that's myself It shall be moon, or star, or what I list Or ere I journey to your father's house Go on and fetch our horses back again Evermore crossed and crossed, nothing but crossed Say as he says or wish I'll never go For would I pray since we have come so far And be it moon or sun or what you please And if you please to call it a rush candle Henceforth I vow it shall be so for me I say it is the moon I know it is the moon Nathan, you lie, it is the blessed sun Then God be blessed, it is the blessed sun But sun it is not when you say it is not And the moon changes even as your mind What you will have it named, even that it is And so it shall be so for Catherine Petruchio, go thy ways, the field is won Well forward, forward, thus the bull should run And not unluckily against the bias But soft, company is coming here Enter Vincenzo in a travelling dress To Vincenzo Good morrow, gentle mistress, wear away Tell me, sweet Kate, and tell me truly too Has Thou beheld a fresher gentlewoman Such war of white and red within her cheeks What stars do spangled heaven with such beauty As those two eyes become that heavenly face Fair, lovely maid, once more good day to thee Sweet Kate, embrace her for her beauty's sake We'll make the man mad to make a woman of him Young budding virgin, fair and fresh and sweet Wither away, or where is thy abode Happy the parents of so fair a child Happier the man whom favourable stars allot thee For his lovely bed-fellow Why, how now, Kate, I hope thou art not mad This is a man, old, wrinkled, faded, withered And not a maiden, as thou sayest he is Pardon, old father, my mistaking eyes You've been so bedazzled with the sun That everything I look on seemeth green Now I perceive thou art a reverent father Pardon, I pray thee, for my mad mistaking Do good, old grandsire, and with all make known Which way thou travelest, if along with us We shall be joyful of thy company Fair, sir, and you, my merry mistress That with your strange encounter much amazed me My name is called Vincencio, my dwelling Pisa And bound I am to Padua there to visit a son of mine Which long I have not seen What is his name? Lucencio, gentle sir Happily met, the happier for thy son And now by law, as well as reverent age I may entitle thee, my loving father The sister to my wife, this gentle woman Thy son by this hath married And or not, nor be not grieved She is of good esteem Her dowry wealthy, and of worthy birth Beside, and so qualified as may be seen The spouse of any noble gentleman Let me embrace with old Vincencio And wonder we to see thy honest son Who will of thy arrival be full and joyous But is this true? Or is it else your pleasure, like pleasant travelers To break a jest upon the company you overtake? I do assure thee, father, so it is Come, go along, and see the truth hereof For our first merriment hath made thee jealous Excent all, but hath tensio Well, Petruchio, this has put me in heart Have to my widow, and if she be fraught Then thou hast taught Hortensio to be untoward Exit End of Act 4 Act 5 of The Taming of the Shrew by William Shakespeare This is a LibriVox recording All LibriVox recordings are in the public domain For more information or to volunteer Please visit LibriVox.org Act 5 Scene 1 Padua, before Lucencio's house Enter on one side Biondello, Lucencio, and Bianca Gremio walking on other side Softly and swiftly, sir, for the priest is ready I fly, Biondello! But they may chance to need thee at home Therefore leave us Nay, Faith, I'll see the church, or your back And then come back to my masters as soon as I can Excent Lucencio, Bianca, and Biondello I marvel, Cambio comes not all this while Enter Petruchio, Caterina, Vincencio, and the tendons Sir, here's the door This is Lucencio's house My father's bears more toward the marketplace Thither must I, and here I leave you, sir You shall not choose but drink before you go I think I shall command your welcome here And by all likelihood some cheer is toward Nox They're busy within You were best knock louder Enter Pedant above, at the window What's he that knocks as he would beat down the gate? Is Signor Lucentio within, sir? He's within, sir, but not to be spoken with all What if a man bring him a hundred pound or two To make merry with all? Keep your hundred pounds to yourself He shall need none so long as I live Nay, I told you your son was well-beloved in Padua Do you hear, sir, to leave frivolous circumstances I pray you tell Signor Lucentio That his father is come from Pisa Here at the door to speak with him Thou liest, his father is come from Padua And here looking out at the window Art thou his father? Aye, sir, so his mother says if I may believe her Why, how now, gentlemen? Why, this is flat navery to take upon you Another man's name Lay hands on the villain I believe her means to cousin somebody in this city Under my countenance Re-enter Piondello I have seen them in the church together God send them good shipping But who is here? Mine old master, Vincencio Now we are undone and brought to nothing Vincencio, seeing Piondello Come hither, crack-hemp I hope I may choose, sir Come hither, you rogue What, have you forgot me? Forgot you? No, sir, I could not forget you For I never saw you before in all my life What, you notorious villain? Didst thou never see thy master's father, Vincencio? What, my old worship, poor old master? Yes, marry, sir, see where he looks out of the window Is it so, indeed? He beats Piondello Help, help, help Here's a madman will murder me Exit Help, son, help, senior baptista! Exit from the window Prithikate, let's stand aside and see the end of this controversy They retire, re-entaped and below Baptista, trannio and servants Sir, what are you that offer to beat my servant? What am I, sir? Nay, what are you, sir? Oh, immortal gods! Oh, fine villain! A sukin doublet, a velvet hose, a scarlet cloak, and a cupatin hat Oh, I am undone, I am undone! While I play the good husband at home My son and my servant spend all at the university How now, what's the matter? What is the man lunatic? Sir, you seem a sober, ancient gentleman by your habit But your words show you a madman Why, sir, what cerns it you if I wear pearl and gold? I thank my good father, I am able to maintain it Thy father? Oh, villain! He is a sailmaker in Bergamo You mistake, sir, you mistake, sir, pray What do you think is his name? His name is if I knew not his name I have brought him up ever since he was three years old And his name is trannio Away, away, mad ass!  Tell me, thou villain, where is my son, Lucentio? Call forth an officer Enter one with an officer Carry this mad knave to the jail Father Baptista, I charge you, see that he be forthcoming Carry me to the jail Stay, officer, he shall not go to prison Talk not, senor Grimew, I say he shall go to prison Take heed, senor Baptista, lest you be cony-cached in this business I dare swear this is the right Vicentio Swear, if thou darest Nay, I dare not swear it Then thou art best say that I am not Lucentio Yes, I know thee to be senor Lucentio Away with the daughter to the jail with him The strangers may be hailed and abused, oh monstrous villain Re-enter beyond the law with Lucentio and Bianca Oh, we are spoiled and yonder he is Deny him, forswear him, or else we are all undone Lucentio, kneeling Pardon, sweet father Lives my sweetest son Biandello, Traneo and Perrant run out Bianca, kneeling Pardon, dear father How hast thou offended? Where is Lucentio? Here's Lucentio, right son to the right Vicentio That have by marriage made thy daughter mine While counterfeit supposes bleared thy nine Here's packing with a witness to deceive us all Where is that damned villain, Traneo That faced and brave me in this matter so Why tell me, is not this my cameo? Cambio is changed into Lucentio Love wrought these miracles Bianca's love made me exchange my state with Traneo While he did bear my countenance in the town And happily I have arrived at the last Unto the wished haven of my bliss What Traneo did, myself enforced him to Then pardon him, sweet father, for my sake I slit the villain's nose that would have sent me to the jail Baptista, to Lucentio But do you hear, sir Have you married my daughter without asking my good will? Fear not, Baptista We will content you, go too But I will in to be revenged for this villainy Exit And I to sound the depth of this navery Exit Look not pale, Bianca Thy father will not frown Exit, Lucentio and Bianca My cake is dough, but I'll in among the rest Out of hope of all by my share of the feast Exit Petruccio and Caterina advance Husband, let us follow to see the end of this adieu First, kiss me, Kate, and we will What, in the midst of the street? What, art thou ashamed of me?  Come, my sweet Kate, better once than never For never too late Exit Scene two A room in Lucentio's house Enter Baptista, Vincencio, Gremio, the pedant Lucentio, Bianca, Petruccio, Caterina, Hortensio and widow Taranio, Biondello and Crumio and others attending At last, though long, our jarring notes agree And time it is when raging war is done To smile at scapes and perils overblown My fair Bianca, bid my father welcome While I with self-same kindness welcome thine Brother Petruccio, sister Caterina, and thou Hortensio, with thy loving widow Feast with the best, and welcome to my house My banquet is to close our stomachs up After all great good cheer Pray you sit down, for now we sit to chat as well as eat They sit at table Nothing but sit and sit, and eat and eat Padua affords this kindness on Petruccio Padua affords nothing but what is kind For both our sakes I would that word were true Now for my life, Hortensio fears his widow Then never trust me if I be a feared You are very sensible, and yet you miss mine sense I mean Hortensio is a feared of you He that is giddy thinks the world turns round Roundly replied Mistress, how mean you that Thus I conceive by him Conceives by me? How likes Hortensio that? My widow says thus she conceives her tale Very well mended, kiss him for that good widow He that is giddy thinks the world turns round? I pray you tell me what you meant by that Your husband, being troubled with a shrew Measures my husband sorrow by his woe And now you know my meaning A very mean meaning Right, I mean you And I am mean indeed respecting you To her Kate To her widow A hundred marks my Kate does put her down That's my office Spoke like an officer Hey to thee, lad Drinks to Hortensio How likes Grimio these quick-witted folks?  Aye, but not frighted me Therefore I'll sleep again Nay, that you shall not Since you have begun Have at you for a bitter just or two Am I your bird?  Aye, has a little galled me I confess, and as the jest did glance away from me Tis ten to one, it maimed you two outright Now, in good sadness on Petruccio I think thou hast the various true of all Well, I say no, and therefore for assurance Let's each one send unto his wife And he whose wife is most obedient To come at first when he doth send for her Shall win the wager which we will propose Content, what's the wager? Twenty crowns Twenty crowns?   What news? Sir, my mistress sends you word that she is busy And she cannot come How? She's busy and she cannot come? Is that an answer? Aye, and a kind one, too Pray God, sir, your wife sent you not a worse I hope, better Sir, I'll, Biondello Go and entreat my wife to come to me forthwith Exit, Biondello Oh, oh, entreat her, nay, then she must needs come I am afraid, sir, do what you can Yours will not be entreated Riente, Biondello Now, where's my wife?  She will not The fowler fortune mine, and there an end Riente, Catherina Now, by my holy name, here comes Catherina What is your will, sir, that you send for me? Where is your sister and Hortensio's wife? They sit conferring by the parlour fire They will fetch them hither, if they deny to come Swing me them soundly forth unto their husbands Away, I say, and bring them hither straight Exit, Catherina Here is a wonder if you talk of a wonder And so it is, and wonder when it bodes Mary, peace it bodes, and love and quiet life And awful rule, and right supremacy And to be short, what not, that's sweet and happy Now, fair before thee, good Petruccio The hast one, and I will add unto their losses Twenty thousand crowns, another dowry to another daughter For she is changed, as she had never been Nay, I will win my wager better yet And show more sign of her obedience Her new-built virtue and obedience See where she comes, and brings your fro-route wives As prisoners to her womanly persuasion Riente, Catherina, with Bianca and Widow Catherine, that cap of yours becomes you not Off with that bobble, throw it under foot Catherina pulls off her cap, and throws it down Lord, let me never have a cause to sigh Till I be brought to such a silly pass Bye, what a foolish duty calling you this I would your duty were as foolish too The wisdom of your duty, fair Bianca Have cost me a hundred crowns in supper time More fool you for laying on my duty Catherine, I charge thee Tell these headstrong women What duty they do owe their lords and husbands Come, come, you're mocking We will have no telling Come on, I say, and first begin with her She shall not I say she shall, and first begin with her Thigh, thigh Unit that threatening, unkind brow And dart not scornful glances From those eyes to wound thy lord Thy king, thy governor It blots thy beauty as frosts To bite the meads Confounds thy fame as whirlwind Shake fair buds, and in no sense His meat or amiable A woman moved is like a fountain troubled Muddy, ill-seeming, thick, bereft of beauty And while it is so, none so dry Or thirsty, will dain to sip Or touch one drop of it Thy husband is thy lord, thy life Thy keeper, thy head, thy sovereign One that cares for thee And for thy maintenance commits his body To painful labour both by sea and land To watch the night in storms, the day in cold Whilst thou liest warm at home Secure and safe And craves no other tribute at thy hands But love, fair looks and true obedience Too little payment for so great a debt Such duty as the subject owes the prince Even such a woman o'eth to her husband And when she is forward, peevish, sullen, sour And not obedient to his honest will What is she but a foul contending rebel And graceless traitor to her loving lord I am ashamed that women are so simple To offer war where they should kneel for peace Or seek for rule, supremacy and sway When they are bound to serve, love and obey Why are our bodies soft and weak and smooth Unapt to toil and trouble in the world But that our soft conditions and our hearts Should well agree with our external parts Come, come, you fro'ward and unable worms My mind hath been as big as one of yours My heart is great, my reason haply more To bandy word for word and frown for frown But now I see our lances are but straws Our strength is weak, our weakness past compare That seeming to be most which we indeed least are Then veil your stomachs, for it is no boot And place your hands below your husband's foot In token of which duty, if he please My hand is ready, may it do him ease Why, there's a wench, come on and kiss me, Kate Well, go thy ways, old lad, for thou shalt have it It is a good hearing when children are to word But harsh hearing when women are fro'ward Come, Kate, and will to bed We three are married, but you two are sped Twas I won the wager, though you hit the white And being a winner, God give you good night Accent Petruccio and Caterina Now go thy ways, thou hast tamed a cursed shrew Tis I'll wonder by your leave, she will be tamed so Accent End of Act V End of The Taming of the Shrew by William Shakespeare Transcribed by ESO, translated by —


I am ready to become Muslim. Thank you. So this is the, you're going to say this word to me, which is, as Tarani said, there is no guidance of one. There is no guidance of one. Allah is the final messenger. So we're going to send it in Arabic. Okay, come close to me. Maybe you can hear me well. So everyone is ready. What's your name again? Brian. So what can you call you? Brian. What is my name in Arabic? Brian, I don't know. But there is a very close one. Brian, which is the prophet Abraham. Okay. He's our father. Okay, Bismillah. Okay, give me your right hand. Okay, Nia. So you're ready to say the word to become Muslim? Yes. Send this word. I'll show you. Perfect. Let's do it two more times. Okay. Allah. Allah. Allah. Explain to me what you just said. Prophet Muhammad is the last messenger of God. That's what you said. And that's what you believe in your heart. Yes. Welcome to Islam. Thank you. Welcome to Islam. Islam is beautiful. Definitely. In Friday here, you're going to have 500 people. If they heard your story, they will be all crying and laughing. Okay. So please, we want you to help us also. Okay. So just come to the masjid. I'm not saying learn everything in one day. You look perfect. You look clean. You look good. This is just come. We'll make dua for you. We'll make prayer for you. We'll help you. We'll have a lot of beautiful youth in here. We'll have a lot of friends. We're the people who go out and play basketball and play football and have dinner at the restaurant. The only thing we don't do is haram. Okay. God forbid, we don't drink wine. Yes. We don't eat pork. We don't eat any pork. We stop right away eating pork. We don't drink wine. We don't smoke. We have a family. We can be nice to the humanity. That's Islam. You look perfect. You have to change anything. Your hair is perfect. Your clothes is perfect. So we will see many good things. Trust God. And know that God is your connection to the God 24 hours. God doesn't slipped. Because nothing can hide from God. You cannot go inside the room and say, he's not going to see me. He will see you. see you anywhere, but he's a great God and you will have good life in here and there is better life after you die. Okay. You believe you're going to die, right?  Yes, I'm sure. Sure? Did anybody that didn't die? No. No, we're all going to die. Yes, we're all going to die. So, better life is after death. Yes. Jannah. Yes. Paradise. Paradise. Yeah, paradise. Yeah. And we don't say that just because we haven't answered from the Qur'an. There are 100% it's like we never saw it, but like I'm seeing it, it's there are 100% Okay. Okay. Okay. So, you guys, I don't eat dairy. Well, I was in meat. I don't eat dairy though. Do you guys eat dairy? We do eat dairy. Okay. What's it? Milk and eggs. Oh, I mean, if you don't want to eat it, that's fine, but it's not forbidden. Okay. If you have some... Yeah, but there is nothing wrong with it. That's good thing. So, for now and after you have any questions, bring it here.


So, we have looked at convolutions in some detail so far in this course and in particular we have looked at discrete time convolutions. So, convolutions where the independent variable is a discrete variable. So, here is another way to look at discrete convolutions. I mean let us define two sequences let us say a of n and b of n where n goes from where n is takes integral values or let us say whole number values just to keep things simple n takes these values. So, to further simplify it let us assume that a of n and b of n are both nonzero up to some point after which they are 0. So, n does not go up to infinity, but it goes up to some finite value and after that the both of these sequences are 0. So, we need to find the convolution of these two sequences. So, let us define these polynomials let us define p 1 of x equal to a naught a of 0 plus a 1 x plus a 2 times x square and so on and let us define p 2 of x as b 0 plus plus. So, now let us look at what happens when you multiply these two polynomials. So, a thing to note here is that a subtle point here is that p 1 of x even though the series that we are concerned with our a n and b n p 1 of x is not really a function of n. So, the independent variable here is if you really want to look at it is x. So, these are just some functions that we have defined just as a tool to simplify this convolution. So, x is not really the variable that we are concerned about, but it is the independent variable in these two definitions. So, now let us multiply these two polynomials let q x equal to p 1 x into p 2 x. So, this is a simple multiplication of two functions. So, this is not a convolution, but let us see what happens when you do it. So, this we can expand it as now let us look at the coefficient of the term let us say x raise to 5. So, we are looking at the coefficient of x raise to 5 term. So, what are the different ways to get x raise to 5? So, to get x raise to 5 you can take the constant term from here and the x raise to 5 term from here or you can take the linear term from here and the x raise to 4 x to the power 4th term here. So, there are 6 possible combinations in which you can end up with x raise to 5. So, let us look at the c. So, what is that going to look like? So, let us call the coefficient c of 5 times x raise to 5 and that is going to look like this. So, this is a of 0 times b of 5 into x raise to 5 plus a of 1 times x times b of 4 times x raise to 4 plus a of 2 x square times b of 3 x cube plus a of 3 x cube times b of 2 x square plus these are the only ways in which you can end up with x raise to 5. If you write it in a more readable format. So, these are these are 6 terms. So, these can be represented by this summation like this. So, you have i equal to 0 to 5. So, i is essentially the parameter passed to a. So, I can expand I can write the same thing as a of i times b of 5 minus i and the whole thing multiplied by x raise to 5. So, essentially what we have done is. So, we have defined c of 5 to be the summation going from i equal to 0 to 5 a of i into b of 5 minus i. So, in general if you look at the coefficient of x raise to n it looks like something like this. So, if you if you look at this expression carefully you will realize that this is precisely the convolution of the two sequences a n and b n. So, if you are worried about this i the index going from 0 to n and not minus infinity to infinity you can check that if this i is negative a i which we defined only for positive terms. You can redefine it to be 0 for when n is negative and if you do if you do that you will you will see that this is just the convolution and the other terms the terms which are not here they are just ignored. Very good yes that is indeed very correct. In fact, you know you will now you will realize that is a very good point that Siddhant has brought out because what he shown is that what we do so frequently in high school math multiplying two polynomials is essentially an instance of discrete convolution. This is a very beautiful observation I am sure all of you must have enjoyed this. In fact, you know take it further when you multiply two numbers written to a certain base you see for example suppose I wrote two numbers say 461.52 let us say and 37.6 what is this theory this is 4 into 10 squared plus 6 into 10 plus 1 into 10 to the power 1 here 10 to the power 0 plus 5 into 10 raised to the minus 1 plus 2 10 raised to the power minus 2 and this is 3 10 raised to the 1 and so on. And now when you are multiplying these this is an instance of the polynomial multiplication which Siddhant talked about. So, in effect you know now to get the so-called coefficients of the different powers of 10 you would actually be carrying out a convolution of these digits the only problem is now in addition to convolution you would then have to carry over you know so this is an instance where you multiply two numbers to a given base you first need to do a convolution of the digits and then you need to carry over because some of those products would give you a quantity more than 10 or more than 10 and then you need to carry you know so that is a very interesting observation. In fact Siddhant has in some sense already given you an exposure to what we are going to do in module 4 there we are going to talk about the Z transform and the Z transform we are actually you will see now remember you know if some of you do module 4 if you do the second course you should try and keep this observation of Siddhant in mind and try and relate it to what we are doing in the Z transform there. So, it is very interesting, but for now even the observation in its own right that polynomial multiplication is essentially an instance of convolution is very useful to understand convolution and we must definitely appreciate Siddhant for having done a very good job in bringing this up. Thank you Siddhant. Are there any other points that you want to discuss now? So, for those of you who are interested in computer science. So, there is an algorithm which can do convolution in less time than it takes to actually find evaluate these points. So, there are algorithms for so if you want to multiply it to n two sequences of length n. So, there are algorithms that can do it in time n log n instead of the usual way which would take n square. So, this is really interesting and so you would expect that if you have to multiply two numbers each of length n each having n digits you would take n square time right. So, you have to multiply each digit by each digit in one number by every pair of digits. So, you do not actually have to do this. So, there are algorithms to do that and we would not study those algorithms, but we will I mean you will get a flavor of how the algorithm perhaps you know if some of you look at something called the fast Fourier transform it will give you a flavor of this and you know you can do the first of course this is a little beyond the scope of this discussion, but I am just mentioning it for those of you who might have some interest very good. That is a very good observation. So, you could have efficient algorithms for convolution that is a well studied theme very good. So, I think we will conclude the discussion here. We look forward to your reactions on this the whole idea of these discussions is to evoke reactions from you as well. Thank you so much.