WebQuest Shakespeare

An Interview with William Shakespeare


Shakespeare has been dead for over 400 years, but in this assignment you will be asked to interview him.You may ask, "How can you interview a dead guy?" Using research skills you will sift through links and put together a historical puzzle discovering all the different aspects of Shakespeare's time and his works.

Introduction




William Shakespeare has been dead for over 400 years, but in this assignment you will be asked to interview him. You may be scratching your head right now. How can you be expected to interview a dead guy? Well, that is the fun part! In the following pages you will find a list of resources that will help you with this task.

Using research skills you will sift through these links and put together pieces of a historical puzzle. By learning about different aspects of Shakespeare, his life, times, and era you will create a clear portrait of this man.

Task


You are a research and interview based journalist. Your editor has asked you to interview William Shakespeare. He has given you a list of leads and some ideas as to what information may help you with your news story. Research the information and create your story for the paper.

As your editor, I must note that the rough draft of this article is due in one week. I will review your rough draft and give you suggestions on how you can better your paper.Upon the review you will have one more week to submit your paper to be published in the morning paper. Remember to utilize proper mechanics and spelling in your submission. You are a professional and your article must be reflective of your position.

Process






You are a research and interview based journalist. Your editor has asked you to interview William Shakespeare. He has given you a list of leads and some ideas as to what information may help you with your news story. Research the information and create your story for the paper.

Read through the list of resources and topic suggestions, and start to compile information that may help you create your news article.

Use the following check list to help you creating your article:

Read through the Shakespeare biographical overview links.

Choose an area of Shakespeare's life to explore from the focus areas.

Create some questions to help guide your article research and exploration.

Read through linked resources that are relevant to the focus area you choose.

Collect information and notes on the focus area chosen and relate it to Shakespeare.

Create your news article interview for submission to your editor.









Focus Areas



Choose a focus area from the list below. Please note that these focus areas are to be related back to Shakespeare and are to be used as information for your final submitted article.



The Globe Theater- This is where Shakespeare premiered many of his plays. What is important about his venue? What are the things Shakespeare might say about it? What memories might Shakespeare have from this theater?



His Works- Shakespeare wrote many pieces; some of which were comedies, dramas, and historical pieces. What works did Shakespeare produce? What were they about? Were they all his, or did he borrow ideas from others? What information might Shakespeare share about his works in an interview?



Nightlife and Leisure- In Shakespeare's time there were different forms of entertainment, leisure and nightlife. These events helped define aspects of the culture that existed at this time. How did this effect Shakespeare? What are some of the ways that the culture of the area affected the plays presented?



Fashion- When we look at pictures of Shakespeare, we notice his clothes are very different from what we are use to today. In that time clothes indicated a lot about a person, ranging from where they were from to social class. What did Shakespeare wear? Did his style change as he evolved in respect to his success? What can be said by Shakespeare about fashion?



Focus Area Links

Here are some interview question examples that may help you with your article. Consider the questions and come up with some of your own. These may help guide your research and exploration of the links for this assignment.

What was your life like as a child?

What clothes did you wear?

What was your education like?

Where were you raised?

What are the things you did for entertainment?

Where did you get your education?

Were you married, have children?

Why are you called "Bard of Avon"

What would you say to the students of today that have a problem understanding your plays?

Did you really write your plays?

You must read through these links in order to develop a basic understanding of Shakespeare's life. These articles are the foundation for your interview. It is from these articles that you will construct questions and link that knowledge to information from your chosen focus area links.

Shakespeare
http://en.wikipedia.org/wiki/William_Shakespeare
http://absoluteshakespeare.com/trivia/biography/shakespeare_biography.htm
http://people.brandeis.edu/~teuber/shakespearebio.html
http://www.balletmet.org/Notes/Shakespeare.html
http://www.shakespeare-online.com/biography/index.html
http://shakespeare.palomar.edu/
http://gouk.about.com/cs/culturehistory/a/wshakespeare.htm

The Globe Theater

http://www.shakespeares-globe.org/navigation/frameset.htm
http://www.wfu.edu/~tedforrl/shakespeare/inpics.htm
http://www.wfu.edu/~tedforrl/shakespeare/globe.htm
http://www.geocities.com/Athens/Thebes/1623/shakespeare/globe.html
http://www.enotes.com/william-shakespeare/shakespeares-globe-theater
http://en.wikipedia.org/wiki/Globe_Theatre
http://www.ualberta.ca/~sreimer/shakespr/glob-qt.htm

Hamlet
http://www.balletmet.org/Notes/Hamlet.html
http://www.compusmart.ab.ca/hamlet/
http://www-tech.mit.edu/Shakespeare/hamlet/
http://www.pathguy.com/hamlet.htm


Romeo and Juliet
http://www.balletmet.org/Notes/ROMEOAND.HTM
http://www.clicknotes.com/romeo/
http://en.wikipedia.org/wiki/Romeo_and_Juliet
http://www.lausd.k12.ca.us/lausd/resources/shakespeare/webguide.html


A Midnights summer dream
http://www.balletmet.org/Notes/Midsummer.html

A Comedy of errors
http://www.shakespeare-online.com/plays/comedyscenes.html
http://www-tech.mit.edu/Shakespeare/comedy_errors/
http://www.theoldglobe.com/the_globe/show_production.asp?pPK=411

Macbeth
http://www.enotes.com/macbeth/
http://www-tech.mit.edu/Shakespeare/macbeth/
http://www.clicknotes.com/macbeth/
http://en.wikipedia.org/wiki/Macbeth

Elizabethian Fashion http://www.springfield.k12.il.us/schools/springfield/eliz/womensfashion.html
http://www.costume.dm.net/
http://www.springfield.k12.il.us/schools/springfield/eliz/fashionwm.html
http://renaissance.dm.net/compendium/36.html
http://www.alphalink.com.au/~okayb/page4.html
http://costume.dm.net/influence.html
http://en.wikipedia.org/wiki/Elizabethan_era
http://www.springfield.k12.il.us/schools/springfield/eliz/mensfashion.html

Night Life
http://www.twingroves.district96.k12.il.us/Renaissance/Town/Children.html
http://renaissance.dm.net/compendium/index.html
http://renaissance.dm.net/compendium/home.html
http://www.springfield.k12.il.us/schools/springfield/eliz/elizabethanengland.html
http://www.springfield.k12.il.us/schools/springfield/eliz/everylife.html
http://www.likesnail.org.uk/welcome-es.htm
http://falcon.jmu.edu/~ramseyil/england.htm

Do or Make

The two verbs 'do' and 'make' are often confused. The meanings are similar, but there are differences.

'Do' for Activities

Use the verb 'do' to express daily activities or jobs. Notice that these are usually activities that produce no physical object.'Do' is often used when referring to work of any kind.

do your work
do your job
do homework
do housework
do the ironing
do the dishes
do a job
do your hair
do an exam
do a crossword
do the ironing
do the laundry
do the washing


'Do' for General Ideas

Use the verb 'do' when speaking about things in general. In other words, when we do not exactly name an activity. This form is often used with the words 'something, nothing, anything, everything, etc.'

I'm not doing anything today.
He does everything for his mother.
She's doing nothing at the moment.

Important Expressions with 'Do'

There are a number of standard expressions that take the verb 'do'. These are standard collocations (verb + noun combinations) that are used in English.

do one's best
do good
do harm
do a favour
do business
do well
do your nails
do business

'Make' for Constructing, Buildining , Creating

Use 'make' to express an activity that creates something that you can touch.

make food
make a cup of tea / coffee
make a mess

Important Expressions with 'Make'

There are a number of standard expressions that take the verb 'make'. In a number of cases the verb 'do' seems more appropriate. These are standard collocations (verb + noun combinations) that are used in English.


make an exception
make a telephone call
make amends
make arrangements
make believe - (to pretend)
make a choice
make a comment
make a decision
make a difference
make an effort
make an enquiry
make an excuse
make a fool of yourself
make a fortune
make friends
make a fuss
make a journey
make love
make a mess
make a mistake
make money
make a move
make a noise
make a phone call
make a plan
make a point
make a profit
make a promise
make a remark
make a sound
make a speech
make a suggestion
make time
make a visit
make your bed - (to prepare the bed for sleeping in)

Make or Do Activity - Vocabulary Quiz

1.If you want to buy that car, I'm sure we can _____ a deal.
2.Let's go out tonight and _____ the town!
3.I _____ an appointment to visit my doctor yesterday.
4.Excuse me, could you _____ me a favor and watch my bags for a moment?
5.Timmy! I told you to not _____ a mess in the living room!
6.I'm afraid I can't come. I'm going to _____ my homework after school.
7.How much money does your father _____?
8.Tom's _____ a phone call at the moment, he'll be back shortly.
9.He really doesn't want to _____ that decision.
10.I like _____ business with Jack.
11.I usually _____ the cleaning on Saturday Morning.
12.Do you ____ your bed every morning?
13.Sue cooks but I _____ the dishes.
14.I usually _____ about 50 sit ups in the morning.
15.I usually _____ about 50 sit ups in the morning.
16.I'd be happy if you would _____ the honors.
17.John _____ everything by hand - he is amazing!
18.How much profit did your company _____ last quarter?
19.You don't need to _____ a face if you don't like my cooking!
20.Please, _____ yourselves at home. I'll only be a minute.
21.I don't think you _____ any harm.
22.I was _____ 100 mph when the policeman stopped me.
23.OK, I'll _____ an exception this time. But ONLY this time!
24.I think his help _____ a lot of good for the children.
25._____ peace not war.
26.Have you _____ any progress on that report yet?
27.The soldier _____ his duty to his country.
28.All that matters is that you _____ your best on the test.
29.I don't want you to _____ an excuse. I want you to explain your actions.
30.He _____ all the arrangements for his trip to Europe last weekend.

Grammar Glossary

Grammar Glossary
This glossary provides definitions and discussions of grammatical and grammar-related terms. Examples are enclosed in angle brackets.
abbreviation A shortened form of a written word or phrase used in place of the whole (such as amt. for amount, or c/o for care of). See also acronym.
absolute adjective An adjective that normally cannot be used comparatively .
Many absolute adjectives can be modified by adverbs such as almost or near . Many adjectives considered to be absolute are in fact often preceded by comparative adverbs . In such cases, more means "more nearly" and less "less nearly."


acronym (initialism) A word or abbreviation formed from the initial letter or letters of each of the major parts of a compound term, whether or not it is pronounceable as a word (such as TQM for Total Quality Management, or UNPROFOR for United Nations Protection Force).

active voice A verb form indicating that the subject of a sentence is performing the action ; compare passive voice.

adjective A word that describes or modifies a noun .
An adjective can follow a noun as a complement . It can also modify noun phrases and noun clauses .

An indefinite adjective designates unidentified persons or things .

An interrogative adjective is used in asking questions .

A possessive adjective is the possessive form of a personal pronoun .

A relative adjective (which, that, who, whom, whose, where) introduces an adjectival clause or a clause that functions as a noun .

Adjectives used together can be described as coordinate adjectives when they share equal relationships to the nouns they modify , and as noncoordinate adjectives when the first of two adjectives modifies the second adjective and the noun together . See also absolute adjective; attributive; demonstrative adjective; predicate adjective.


adverb A word that modifies a verb, adjective, adverb, preposition, phrase, clause, or sentence.
Adverbs usually indicate time, place, or manner . They can connect statements and can tell the reader what the writer thinks about what is being said . They can modify verbs , adjectives , participles , adverbs , particles , indefinite pronouns , cardinal numbers , and prepositional phrases . Occasionally they modify a preceding noun , and some adverbs of place and time can serve as the objects of prepositions . See also auxiliary verb; sentence adverb; split infinitive.


agreement A grammatical relationship that involves the correspondence in number either between the subject and verb of a sentence or between a pronoun and its antecedent.
When a subject is composed of two or more singular nouns joined by and, the plural verb is usually used .

When singular nouns are joined by or, the singular verb is usually used . When the negative neither . . . nor is used with singular nouns, it usually takes a singular verb . But when neither . . . nor is used with nouns of differing number, the noun closest to the verb usually determines its number . Similar rules apply to either . . . or.

Insertions set off by commas, dashes, or parentheses should not affect agreement .

In constructions like "A bunch of the boys were throwing around a basketball" or "Only a fraction of the deposits are insured," the verb is usually plural. See also collective noun.

When an amount of money, a period of time, or some other plural noun phrase of quantity or measure forms the subject, a singular verb is used .

Singular nouns joined by or can use either a singular or a plural pronoun, whichever sounds best .

The indefinite pronouns anybody, anyone, each, either, everybody, everyone, neither, nobody, none, no one, somebody, and someone are used with singular verbs , but are commonly referred to by they, their, them, or themselves .


antecedent A word, phrase, or clause to which a subsequent pronoun refers .

appositive A word, phrase, or clause that is equivalent to an adjacent noun .
Restrictive and nonrestrictive appositives play different roles in a sentence and are traditionally distinguished by their punctuation. A nonrestrictive appositive is generally set off with commas. A restrictive appositive uses no commas and indicates that one out of a group is being identified (in this case, one daughter from among two or more). See also nonrestrictive clause; restrictive clause.


article One of three words (a, an, the) used with a noun to indicate definiteness or indefiniteness .

attributive A modifier that immediately precedes the word it modifies .
Nouns have functioned like adjectives in this position for many centuries. Even plural attributives such as physics laboratory, Civil Liberties Union, mathematics book, weapons system, communications technology, and singles bar are common.


auxiliary verb A verb (such as be, have, can, do) that accompanies another verb and typically expresses person, number, mood, or tense . See also verb.

cardinal number A number of the kind used in simple counting ; compare ordinal number.

case In English, a form of a noun or pronoun indicating its grammatical relation to other words in a sentence. See nominative; objective; possessive. See also genitive.

clause A group of words having its own subject and predicate but forming only part of a compound or complex sentence.
A main (or independent) clause could stand alone as a sentence . A subordinate (or dependent clause) requires a main clause .

An adjective clause modifies a noun or pronoun . An adverb clause modifies a verb, an adjective, or another adverb . A noun clause can be a subject, object, or complement . See also sentence; subordinate clause.


collective noun A singular noun that stands for a number of persons or things considered as a group (such as group, company, army).
Collective nouns have been used with both singular and plural verbs. When the group is considered as a unit, the singular verb is used . When the group is thought of as a collection of individuals, the plural verb is sometimes used . Singular verbs are more common in American English and plural verbs more common in British English. See also agreement; notional agreement.

A collective noun followed by of and a plural noun follows the same rule as collective nouns in general .

Writers should take care to match their pronouns and verbs: singular with singular , and plural with plural .

The names of companies and other organizations are generally treated as singular .


comma fault (comma splice, comma error) The use of a comma instead of a semicolon to link two independent clauses (as in "I won't talk about myself, it's not a healthy topic"). Though fairly common in casual writing, comma splices are not seen in edited prose.

comparison Modification of an adjective or adverb to show different levels of quality, quantity, or relation. The comparative form shows relation between two items, usually by adding -er or more or less . The superlative form expresses an extreme among three or more items, usually by adding -est or most or least . See also absolute adjective.

complement A word or expression by which a predicate is made complete .

compound A combination of words or word elements that work together in various ways .
Compounds are written in one of three ways: solid , hyphenated , or open . The choice among these styles for a given compound represents one of the most common of all style issues. A dictionary will list many compounds, but will usually omit those whose meanings are obvious. New compounds can be patterned on similar compounds that do appear in dictionaries.


compound subject Two or more nouns or pronouns usually joined by and that function as the subject of a clause or sentence . See also agreement; collective noun.

conjunction A word or phrase that joins together words, phrases, clauses, or sentences.
Coordinating conjunctions (such as and, because, but, or, nor, since, so) join elements of equal importance, to show similarity , to exclude or contrast , to offer alternatives , to propose reasons or grounds , or to specify a result .

Correlative conjunctions (such as either . . . or, neither . . . nor) are used in pairs and link alternatives or equal elements .

Subordinating conjunctions (such as unless, whether) join subordinate clauses to main clauses and are used to express cause , condition , manner , purpose , time , place , or possibility .


conjunctive adverb A transitional adverb (such as also, however, therefore) that expresses the relationship between two independent clauses, sentences, or paragraphs.
Conjunctive adverbs are used to express addition , emphasis , contrast , elaboration , conclusion , or priority .


contact clause A dependent clause attached to its antecedent without a relative pronoun such as that, which, or who .
The predicate noun clause not introduced by that is more common after some verbs (such as believe, hope, say, think) than others (such as assert, calculate, hold, intend).


contraction A shortened form of a word or words in which an apostrophe usually replaces the omitted letter or letters (such as dep't, don't, could've, o'clock, we'll).
Contractions involving verbs used to be avoided, but today they are often recommended to help writers avoid sounding too formal.


count noun A noun that identifies things that can be counted ; compare mass noun.

dangling modifier A modifying phrase that lacks a normally expected grammatical relation to the rest of the sentence (as in "After years lying under the dust, he discovered the stack of old photographs").
The common participial phrase usually begins with a participle; in "Happening to meet them there, I invited them to sit with us," the subject, "I," is understood to be present in the preceding phrase, which modifies it. But a writer may accidentally let a participial phrase modify a subject or some other noun in the sentence it was not intended to modify; the result is a dangling participle. Thus in "Turning the corner, a large red building appeared," it is the building that may seem to be turning the corner.

Dangling participles are usually hardly noticeable except to someone looking for them. The important thing to avoid is creating an unintended humorous effect (as in "Opening up the cupboard, a cockroach ran for the corner").


dangling participle See dangling modifier.

demonstrative adjective One of four adjectives—this, that, these, and those—which points to what it modifies in order to distinguish it from others ; compare demonstrative pronoun.

demonstrative pronoun One of four words—this, that, these, and those—that are classified as pronouns when they function as nouns ; compare demonstrative adjective.

direct object A word, phrase, or clause denoting the goal or result of the action of the verb <"Do it now," he said>; compare indirect object.

direct question A question quoted exactly as spoken, written, or imagined ; compare indirect question.

direct quotation Text quoted exactly as spoken or written ; compare indirect quotation.

double genitive A construction in which possession is marked both by the preposition of and a noun or pronoun in the possessive case.
In expressions like "that song of Ella Fitzgerald's" or "a good friend of ours," the possessive relationship is indicated by both of and the genitive inflection (Fitzgerald's, ours), even though only one or the other is strictly necessary. However, this construction is standard in all kinds of writing. See also genitive.


double negative A clause or sentence containing two negatives and having a negative meaning.
Today the double negative (as in "They didn't have no children" or "I can't get no satisfaction") is associated with uneducated speech and is generally avoided.


gender A characteristic of certain nouns and pronouns that indicates sex (masculine, feminine, neuter) .

genitive A form, or case, of a noun or pronoun that typically shows possession or source .
The genitive is usually produced by adding -'s or a phrase beginning with of.

The genitive has other similar functions as well; these include the subjective , objective , descriptive , and appositive genitives. See also double genitive; possessive.


gerund (verbal noun) A verb form having the characteristics of both verb and noun and ending in -ing .
A gerund can be preceded by a possessive noun or pronoun . See also possessive; possessive with gerund.


idiom A common expression that is grammatically unusual or that cannot be understood from the meanings of its separate words .

imperative The form, or mood, of a verb that expresses a command or makes a request ; compare indicative; subjunctive.

indefinite pronoun A pronoun (such as something, anyone, everybody) that designates an unidentified person or thing . See also agreement; notional agreement; pronoun.

indicative The form, or mood, of a verb that states a fact or asks a question ; compare imperative; subjunctive.

indirect object A grammatical object representing the secondary goal of the action of its verb ; compare direct object.

indirect question A statement of the substance of a question without using the speaker's exact words or word order ; compare direct question.

indirect quotation A statement of the substance of a quotation without using the speaker's exact words ; compare direct quotation.

infinitive A verb form that may behave like both a verb and a noun and is usually used with to . See also split infinitive.

infinitive phrase A phrase that includes an infinitive and its modifiers and complements .

inflection The change in form that words undergo to mark case, gender, number, tense, person, mood, voice, or comparison . See also case; comparison; gender; mood; number; person; tense; voice.

initialism See acronym.

intensifier A linguistic element used to give emphasis or additional strength to another word or statement .

interjection An exclamatory or interrupting word or phrase .

interrogative pronoun One of the pronouns what, which, who, whom, and whose, used to introduce direct and indirect questions .
Who is often substituted for whom to introduce a question, even when it is the object of a preposition .


intransitive verb A verb not having a direct object ; compare transitive verb.

linking verb A verb that links a subject with its predicate (such as is, feel, look, become, seem) .

main clause See clause.

mass noun A noun that denotes a thing or concept without subdivisions ; compare count noun.

modifier A word or phrase that qualifies, limits, or restricts the meaning of another word or phrase. See adjective; adverb.

mood The form of a verb that shows whether the action or state it denotes is conceived as a fact or something else (e.g., a command, possibility, or wish). See indicative; imperative; subjunctive.

nominative A form, or case, of a noun or pronoun indicating its use as the subject of a verb ; compare objective; possessive.

nonrestrictive clause (nonessential clause) A subordinate or dependent clause, enclosed by commas, that could be omitted without changing the meaning of the main clause ; compare restrictive clause. See also appositive.

noun A word that can serve as the subject of a verb, can be singular or plural, can be replaced by a pronoun, and can refer to an entity, quality, state, action, or concept >.
Nouns are used as subjects , direct objects , objects of prepositions , indirect objects , retained objects , predicate nouns , objective complements , and appositives . See also collective noun; count noun; mass noun; proper noun.


noun phrase A phrase formed by a noun and its modifiers .

number A characteristic of a noun, pronoun, or verb that signifies whether it is singular or plural. See singular; plural.

object A noun, noun phrase or clause, or pronoun that directly or indirectly receives the action of a verb or follows a preposition . See direct object; indirect object.

objective A form, or case, of a pronoun indicating its use as the object of a verb or preposition ; compare nominative; possessive.

parallelism Repeated syntactical similarities within a sentence, such as adjacent phrases and clauses that are equivalent, similar, or opposed in meaning and identical in construction .
Faulty parallelism occurs when different constructions are used within a sentence where you would ordinarily expect to find similar constructions. It often involves the words and, or, either, or neither. In the sentence "To allow kids to roam the streets at night and failing to provide organized activities have been harmful," an infinitive phrase (To allow kids to roam . . . ) and a participial phrase (failing to provide . . . ) are treated as parallel when they are not. Replacing the infinitive with a participle achieves this parallelism (Allowing kids to roam . . . and failing to provide . . . ).


participial phrase A participle with its complements and modifiers, functioning as an adjective .

participle A verb form having the characteristics of both verb and adjective . The present participle ends in -ing ; the past participle usually ends in -ed ; the perfect participle combines having with the past participle . See also auxiliary verb; dangling modifier; possessive.

parts of speech The classes into which words are grouped according to their function in a sentence. See adjective; adverb; conjunction; interjection; noun; preposition; pronoun; verb.

passive voice A verb form indicating that the subject of a sentence is being acted upon.
Though often considered a weaker form of expression than the active voice, the passive nevertheless has important uses—for example, when the receiver of the action is more important than the doer , when the doer is unknown or is understood , or when the speaker or writer wants the doer to remain anonymous ; compare active voice.


person A characteristic of a verb or pronoun that indicates whether a person is speaking (first person) , is spoken to (second person) , or is spoken about (third person) . See also number.

personal pronoun A pronoun that refers to beings and objects and reflects person, number, and often gender.
A personal pronoun's function within a sentence determines its case. The nominative case (I, we, you, he, she, it, they) is used for pronouns that act as subjects of sentences .

The possessive case (my, mine, our, ours, your, yours, his, her, hers, its, their, theirs) is used for pronouns that express possession or a similar relationship .

The objective case (me, us, you, him, her, it, them) is used for pronouns that are direct objects, indirect objects, retained objects, or objects of prepositions . See also indefinite pronoun; pronoun.


phrase A group of two or more words that does not contain both a subject and a verb and that functions as a noun, adjective, adverb, preposition, conjunction, or verb .
There are seven basic types of phrases. An absolute phrase consists of a noun followed by a modifier (such as a participial phrase) and acts independently within a sentence without modifying a particular element .

A gerund phrase includes a gerund and its modifiers, and it functions as a noun .

An infinitive phrase includes an infinitive and may function as a noun, adjective, or adverb .

A participial phrase includes a participle and functions as an adjective .

A verb phrase consists of a verb and any other terms that either modify it or complete its meaning . See also noun phrase; participial phrase.


possessive A form, or case, of a noun or pronoun that usually indicates ownership ; compare nominative; objective. See also double genitive; genitive; possessive with gerund.

possessive with gerund Use of a possessive form before a gerund.
In "the reason for everyone['s] wanting to join," either the possessive or the common form of everyone can be used. The possessive is required only when the -ing word is clearly a noun . The possessive is quite common with proper nouns but rare with plurals .


predicate The part of a sentence or clause that expresses what is said of the subject .

predicate adjective An adjective that follows a linking verb (such as be, become, feel, taste, smell, seem) and modifies the subject .

prefix An affix attached to the beginning of a word to change its meaning ; compare suffix.

preposition A word or phrase that combines with a noun, pronoun, adverb, or prepositional phrase for use as a modifier .
Sentences may end with a preposition; in fact, many sentences almost require the preposition at the end .


prepositional phrase A group of words consisting of a preposition and its complement .

pronoun Any of a small set of words that are used as substitutes for nouns, phrases, or clauses and refer to someone or something named or understood in the context. See demonstrative pronoun; indefinite pronoun; interrogative pronoun; personal pronoun; reciprocal pronoun; reflexive pronoun; relative pronoun. See also agreement.

proper adjective An adjective that is derived from a proper noun and is usually capitalized .

proper noun A noun that names a particular being or thing and is usually capitalized .

reflexive pronoun A pronoun that refers to the subject of the sentence, clause, or phrase in which it stands, and is formed by compounding the personal pronouns him, her, it, my, our, them, and your with -self or -selves .

relative pronoun One of the pronouns (that, which, who, whom, and whose) that introduce a subordinate clause which qualifies an antecedent .
The relative pronoun who typically refers to persons and some animals ; which refers to things and animals ; and that refers to persons, animals, and things .

Whom is commonly used as the object of a preposition in a clause that it introduces . However, who is commonly used to introduce a question even when it is the object of a preposition .


restrictive clause (essential clause) A subordinate clause that is not set off by commas and that cannot be omitted without changing the meaning of the main clause . See also appositive; nonrestrictive clause.

sentence A group of words that usually contains a subject and a verb, and, as written, ends with a period, question mark, or exclamation point. A simple sentence consists of one main or independent clause . A compound sentence consists of two or more main clauses . A complex sentence consists of a main clause and one or more subordinate clauses . See also clause; subordinate clause.
A declarative sentence makes a statement . An exclamatory sentence expresses strong feeling . An interrogative sentence asks a question . An imperative sentence expresses a command or request .


sentence adverb An adverb that modifies an entire sentence, rather than a specific word or phrase within the sentence .

split infinitive An infinitive in which an adverb or adverbial phrase comes between to and the verb .
Grammarians used to disapprove of the split infinitive, but they rarely do so today. It is useful when a writer wants to emphasize the adverb. See also infinitive.


subject A word or group of words representing the entity about which something is said .

subject-verb agreement See agreement.

subjunctive The form, or mood, of a verb that expresses a condition contrary to fact or follows clauses of necessity, demand, or wishing ; compare imperative; indicative.

subordinate clause A clause that is attached to a main clause and functions as a noun, adjective, or adverb . See also clause; sentence.

suffix An affix attached to the end of a word to modify its meaning ; compare prefix.

superlative See comparison.

tense The characteristic of a verb that expresses time present , past , or future .
Auxiliary verbs (be, have) are used to indicate time relations other than the simple present, past, and future tenses. The progressive tenses express action either in progress , in the past , or in the future . The perfect tenses may express action that began in the past and continues in the present , that was completed before another past action , or that will be completed before some future action .


transitive verb A verb that acts upon a direct object ; compare intransitive verb.

verb A word or phrase that is used to express action, occurrence, or state of being . See also auxiliary verb; linking verb; mood; tense; voice.

voice The property of a verb that indicates whether the subject acts or is acted upon. See active voice; passive voice.

How to start school again?

15 Days 15 Everyday Solutions To Start School

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Amazing photos

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Sentence transformation activities 1

Sentence Transformation #1
The ability to rewrite sentences so that they have the same meaning as the original is often required for many English ESL EFL Exams such as Cambridge's First Certificate, CAE and Proficiency. This skill can also help you prepare for the TOEFL examination (Test of English as a Foreign Language). It is also an important skill which can help you improve your understanding of similar English expressions and vocabulary.

Rewrite the second sentence so that it has a similar meaning to the first. Use no more than 5 words.

You must never take your helmet off while you are riding a motorcycle.

all

Helmets must be worn -- at all times when riding a motorcycle.

They wanted to apologize for their behavior: that's why they paid for dinner.

order

They paid for dinner -- in order to apologize for their behavior.

It isn't necessary to bring skis as they are included in the package.

have

You -- don't have to bring skis as they are included in the package.

I thought parking was allowed here.

under the impression

I -- was under the impression that parking was allowed here.

Tom said, "I will be playing tennis when you arrive."

he

Tom said -- he would be playing tennis when I arrived.

When I was a child, we would go to the local park every Saturday afternoon.

used

When I was a child, -- we used to go the park every Saturday.

His daughter continued to cry until he could not be seen any longer.

sight

She continued to cry until he -- was out of sight.

I'm afraid that car is just too expensive.

means

That car is -- beyond my means.

They moved to this suburb in 1997.

lived

They -- have lived in this suburb since 1997.

One other thing before I forget - Jack is coming to visit next weekend.

by

-- By the way, Jack is coming to visit next weekend.

Penelope's new movie

Vicky, Cristina, Barcelona: Penelope shines
The word is out that Penelope Cruz's performance in the latest Woody Allen film could merit an Oscar nomination
Vicky Cristina Barcelona
Cast: Javier Bardem, Penélope Cruz, Scarlett Johansson, Chris Messina
Director: Woody Allen
Screenplay: Woody Allen
Rating: PG-13
Grade: A

Penélope Cruz was born to play dysfunctional characters and to act in Spanish. Correction: Or to act in English but playing a Spaniard. Particularly, a grumpy Spaniard who refuses at all cost to speak English in front of Scarlett Johansson, Bardem’s most recent conquest in the plot of Vicky Cristina Barcelona

Vicky Cristina Barcelona–the title couldn’t be worse– will be the first film in English that will show audiences outside of Spain why Penélope is a real actress.

Her presence in the film –long after story takes off– is enough to leave you with a dumb smile from ear to ear, and she is irresistibly charming for all of her character's craziness: a possessive, manic-depressive ex-girlfriend with suicidal and criminal inclinations but with a great sense of humor.

The Spanish actress hooks up for the fourth time with Javier Bardem (as a couple this is their second adventure together since Jamón, Jamón) to give life to María Elena, the ex of Juan Antonio (Bardem is also irresistible) who will bring misery to the life of this bon-viveur whose desire, at any cost, is to sleep with two American tourists in Barcelona: Vicky (Hall) and Cristina (Johansson).

It’s a relief that, despite its title, Vicky Cristina Barcelona is Woody Allen’s best comedy since Everyone Says I Love You, and his best achievement since the thriller Match Point.

With keen humor and amusing sexual situations, Allen succeeds in reviving the spark of his glorious era with Diane Keaton (Annie Hall), to the point that there is no doubt that after Mia Farrow, Keaton and his brief stint with Diane Wiest, Woody Allen has found his new inspirational muse in Scarlett Johansson.

The fact that Allen is leaving behind his jazz, and is traveling to Spain to film another movie (after another brief soiree with London) is proof that the filmmaker, 72, seems to be relishing in a new style as he makes his usual one movie every year.

Legend says that Allen makes one good film and then two bad ones. This may be true, but after Match Point and two unforgettable films in between (Scoop and Cassandra's Dream), Vicky Cristina Barcelona is one of the best films in this extremely lackluster year in film.

And who plays Allen’s alter ego in this movie? ...Yep. Yes indeed. None other than Penélope, ¡olé!.

Harry Potter Fans Are Crazy People

http://www.youtube.com/watch?v=Jm8lkjj-eig

Last week, Warner Bros. announced that they were pushing back the release of the new Harry Potter movie to summer 2009, despite a teaser trailer that announced the movie for this fall, and also that embarrassing Entertainment Weekly cover that is so embarrassing for them. But as Wired is now reporting, many Harry Potter fans are upset about this. Sure. But like crazy upset. Petitions have been created, and at least one outraged fan is planning on staging a protest at the Warner corporate offices in New York:
Fans such as 25-year-old Brooklyn resident Patrick Allen promised marches on the corporate offices of Warner. "They are doing this for no other reason than to make more money," he wrote in an e-mail to The Times. "This is ridiculous, and I assure you that the millions of Harry Potter fans who have been looking forward to this release will not stand for it. We don't want to be pacified. We want the movie, as promised, this November."

50 Amazing and Essential Novels to Enrich Your Library

King Lear, by Shakespeare. This list of novels starts with a couple of non-novels, so you might say it’s cheating. But it’s Shakespeare! And I’m not going to do a list of amazing plays, so I’m including Shakespeare here. King Lear is my favorite — it was so ahead of its time that it’s amazing.
Hamlet, by Shakespeare. If Lear is my favorite, Hamlet just barely lost that title. Some of Shakespeare’s most amazing writing is in this play. I also like Othello and Macbeth, among others.
The Great Gatsby, by F. Scott Fitzgerald. Just an absolutely poetic writer. There’s a lot of power and beauty in this short book.
Tender Is the Night, by F. Scott Fitzgerald. Gatsby is better known, but Tender is written so beautifully that you have to read it if you haven’t. It’s poetry in prose.
A Portrait of the Artist As a Young Man, by James Joyce. A great introduction to this unmatched of modern writers, Portrait is notable for the development of its language as the narrator’s skill with language improves.
Ulysses, by James Joyce. An absolute masterpiece. Joyce puts the entire scale of human drama and English literature within the span of 24 hours, plotted within one square mile, told through the lives of ordinary people. Also see Joyce’s outstanding book of short stories, Dubliners.
Cat’s Cradle, by Kurt Vonnegut. I just can’t get enough of Vonnegut, and I was devastated that he died last year. Until then, he held the title of my absolute favorite living writer. And Cat’s Cradle is my favorite of all his books. I think Vonnegut is in my granfalloon.
Slaughterhouse-Five, by Kurt Vonnegut. Anything by Vonnegut is excellent reading, but this is one of his best, and is considered a classic. A more humorous and raging commentary against war has rarely been written. Also see Bluebeard, Slapstick, Welcome to the Monkey House, Breakfast of Champions, among others, if you like the two listed here.
Neuromancer, by William Gibson. Perhaps my favorite sci-fi writer of all time, Gibson is gritty, dreamy, and ultra-cool all at the same time. Neuromancer was his first, and is the start of the Span trilogy. Oh, btw, Gibson, if you happen by the remotest chance to read this blog, drop me a line! I’m a ridiculously huge fan.
All Tomorrow’s Parties, by William Gibson. This tale of the near future features a Zen-like assassin, among other cool characters, who is one of my favorites in Gibson lore. ATP is the third in the Bridge trilogy.
Pattern Recognition, by William Gibson. With this book, Gibson starts a new series, set in the present day. In fact, it’s so much like his futuristic sci-fi that it’s eerie. Gibson has a unique way of looking at our world. I named my youngest daughter (Noelle Cayce, now 2 years old) after the main character of this book, Cayce Pollard, who is in turn a tribute to Edgar Cayce.
Slow Man, by J.M. Coetzee. One of the greatest living writers of the English language, you could pick up any of his titles (Disgrace would be my other recommendation) and get an excellent book. Slow Man plays with the boundaries of fiction.
The Big Sleep, by Raymond Chandler. The best of the detective novelists, Chandler took the genre to new heights that generations of writers have tried to reach. He’s the best, and his writing is just as relevant today as it was when it was written.
Motherless Brooklyn, by Jonathan Lethem. If you like Chandler and similar tough detective novels, you’ll love Lethem’s brilliant take on the genre. An excellent story featuring a protagonist with Tourette Syndrome, a killer giant and a Zen crime syndicate.
Gun, with Occasional Music, by Jonathan Lethem. Another excellent detective novel, this one combines the genre with sci-fi. Features talking kangaroos working for the mob and other cool stuff.
Never Let Me Go, by Kazuo Ishiguro. It’s hard to describe Ishiguro’s writing, except that he really plays with whether the narrator of a story is objective or not. He plays with traditional plot devices and uses the reader’s curiosity of the unfolding story drive the book forward. Never Let Me Go might technically be sci-fi, as it seems to be set in the future, but really there’s not much sci-fi about it.
When We Were Orphans, by Kazuo Ishiguro. Ostensibly a detective novel, it leaves you wondering about a lot of things, including what others really think of the narrator.
Kafka on the Shore, by Haruki Murakami. This guy is such an imaginative writer. Very different from most of the fiction you’ll read, anything can happen in a Murakami book.
Bel Canto, by Ann Patchett. One of the most beautiful books I’ve ever read, a must-read if you haven’t yet. Hostages and hostage takers trapped by seige, and some surprising things unfold.
Run, by Ann Patchett. I just love her writing. This is a moving story full of magic. Also see Patchett’s excellent The Magician’s Assistant
The Hitchhiker’s Guide to the Galaxy series, by Douglas Adams. The best comedy books ever, you’ll laugh out loud at every book. Adams is simply brilliant.
The Discworld Series, by Terry Pratchett. Starts with The Color of Magic, but there are well over 20 in the series now. You can just jump in and read any of them, and they’re all pretty much incredible. Second-funniest writer, after Adams.
The Stand, by Stephen King. Anything by Stephen King will be a good read, but The Stand is my favorite and if you’re going to just read one book by him, read this one. A master storyteller.
Harry Potter series, by J.K. Rowling. A classic series, from book one. Sure, it’s supposedly a kid’s series, but so is LOTR (next entry, below) and host of other wonderful works. Harry Potter made reading come alive for my children, and I actually cried numerous times while reading these books with them.
The Hobbit and the Lord of the Rings series, by J.R.R. Tolkein. Absolute classics. The Hobbit by itself is a great little book, but the LOTR series adds epic drama to the world of the Hobbits.
High Fidelity, by Nick Hornby. Made into an excellent movie by John Cusack (who I also love), High Fidelity is as much about music as it is about relationships. Just a cool book.
About a Boy, by Nick Hornby. Better than the movie, which was pretty decent. The main characters — a do-nothing rich shallow bachelor and a son of a depressed and suicidal mom — are transformed by each other. Also see Hornby’s excellent How to Be Good.
Water for Elephants, by Sara Gruen. I didn’t think I’d like this book, as it’s a historical book about circuses. But it’s a compelling story, and the well-researched facts really bring the story and characters alive.
The Unbearable Lightness of Being, by Milan Kundera. A classic, and a great read. Set in Czechoslovakia in the late 60s, it explores the insignificance of our actions and existence, in beautiful language.
Anna Karenina, by Leo Tolstoy. One of the greatest novels of all time, Anna is a tragic heroine brought down by her desire to live and be loved, while Levin is a wonderful character looking for a satisfactory answer to the only important question to Tolstoy: that of death. Incredibly interwoven stories presided over by a roving omniscient narrator.
Crime and Punishment, and The Brothers Karamazov, by Dostoyevsky. These two classics are fascinating for their explorations of the human psyche under extreme conditions. An existentialist before his time, Dostoyevsky is a powerful writer.
The Broker, by John Grisham. I simply devour Grisham stories. He’s such a good storyteller that you can’t put down his books. I’ve read and enjoyed all of his books but the Broker is one of my favorites. Also see The Runaway Jury and The Testament.
The Catcher in the Rye, by J.D. Salinger. A classic from when I was an adolescent, Catcher withstands multiple readings over the years. The main character is just someone you root for, who you want to be friends with. Also see Salinger’s Franny and Zooey.
Aztec, by Gary Jennings. Amazing historical fiction, so detailed and thoroughly researched and fascinating. You won’t believe this book, or any of its sequels. Also see his wonderful story of Marco Polo — so rich in detail: Journeyer
Creation, by Gore Vidal. Another master of historical fiction, Vidal follows a fictional Persion diplomat who meets major philosophers of the time, from Socrates to Zoroaster and Buddha and Lao Tsu and Confucius. Also see Lincoln, another example of Vidal’s best historical fiction, and the best insight into Lincoln you’ll ever find.
To Kill a Mockingbird, by Harper Lee. Another one I enjoyed as an adolescent, it’s a gripping story set in a small southern town with memorable characters. You’ve probably read it already — but it’s worth another visit.
Shibumi, by Trevanian. Not exactly a classic, but a hidden treasure of the spy genre. Compelling story with a main character you’ll wish you could be, especially if you’re a guy.
Me Talk Pretty One Day, by David Sedaris. Absolutely hilarious and brilliant social commentary in the guise of a memoir. OK, this isn’t exactly a novel, but the stories are so exaggerated as to be almost fictional, so I included it. Also read his others, including Naked and Dress Your Family in Corduroy and Denim.
The Grapes of Wrath, by John Steinbeck. A monumental classic by a master, explores the plight of the poor who are exploited by modern corporations in an epic tale of struggling sharecroppers.
Deep Blue Good-by, by John D. MacDonald. The first of the incredible Travis McGee series, I actually highly recommend all of them. McGee is a hard-nosed “salvage expert” — actually a private eye who lives on a boat (called The Busted Flush) and is one of the most memorable detective characters since Sherlock Holmes.
Watership Down, by Richard Adams. Yet another book I read repeatedly as a teen-ager. I don’t know why I love this story about rabbits so much, but you just find yourself moved by the characters and rooted in the story (so to speak) as they struggle to overcome tyranny.
Lolita, by Vladamir Nobokov. This controversial book will test your moral boundaries, and at the same time push the boundaries of the language. Unmatchable in many ways.
Sometimes a Great Notion, by Ken Kesey. He’s better known for One Flew Over the Cuckoo’s Nest, but for some reason I loved this book more, and I think it’s the better book. It’s a masterpiece, really, with intricately interwoven narratives (which can be a bit confusing) telling the story of a hard-nosed logging family in Oregon. A must read.
Life of Pi, by Yann Martel. A charming story of an Indian boy lost in the middle of the ocean with a tiger. A great read.
The Curious Incident of the Dog in the Night-Time, by Mark Haddon. A touching story about a 15-year-old autistic boy who is very intelligent, who uses his dedicated detective skills to solve more mysteries than he set out to solve.
The Corrections, by Jonathan Franzen. At first, I didn’t like this book much, as the author seems to dislike and make fun of the main characters. But the deeper you go into the novel, the more you begin to understand and sympathize with the characters. And beyond an intricately woven tale, it’s also an interesting critique of modern consumerism society.
The Time Traveler’s Wife, by Audrey Niffenegger. A beautiful love story, told with a unique twist of time travel.
Cold Mountain, by Charles Frazier. I couldn’t put this book down. The movie disappointed, but you’ll fall in love with these characters.
Noble House, by James Clavell. Incredibly intriguing historical fiction, in this case set in Hong Kong. Extremely compelling stories. Clavell has a whole series of can’t-put-down books set in Asia, including Tai-Pan and Shogun, among others
Don Quixote, by Cervantes. Another of the greatest novels of all time, the tales of Quixote and the amazing Sancho Panza will delight you with their humor and wit. Much of Western literature is indebted to this book, and Cervantes is the only writer who comes close to standing with Shakespeare.

Jonas Brothers SOS (Teaching Unit)

Introduction:

The song presented in this unit is related to our students' interests, since the group is a well-known one among teenagers. The level for this song will be for the last courses of secondary education, (Spain: 4th ESO and 1st Bachillerato). We will provide a brief description of the group and song and ask our students their knowledge about them. We will use the music video of the song instead of the cd song because following this methodology, we will provide an extra helpto the learners showing the paralingual elements of language such as: gestures, eye contact... and they can find out more meaning.

Procedures:

1. Activity:

The students will read the lyrics of the song and try to find out the missing words in the blanks. , In that way, we'll reinforce their vocabulary.

2. Activity:

We will listen/ watch the song twice. The first time for fun and enjoy the song and the video. The second time, when they're more familiar with the song will be the moment to fill in the blanks.

The teacher will check the missing words with the students and check the meaning of the new terms.

3. Activity:

Translation of the lyrics of the song in pairs, we try to group together fast finishers and slowlearners in the class, so they can help each other.

4. Activity:

Reading activity. We will read the Biography of the group and translate it with the students in class. We check their understanding with some specific questions about the text.

5. Activity:

Learners will write a brief passage about another favourite singer, using at least three of new expressions learned in with this song.
6. Final Activity: Debate
We will discuss about the main topics shown in the song by the group: love, relationships, drugs...

7. Evaluation:
The teacher will check at the end of the term or in any following test the acquisition of the new vocabulary including the new words seen in this song in a final test.
We wi




Jonas Brothers - S.O.S. lyrics
Artist: Jonas Brothers lyrics
Album: Jonas Brothers
Year: 2007
Title: S.O.S.

Lyrics to S.O.S :

Told you I made dinner plans
For you and me and no one else
That don't include your crazy friends
Well I'm done
With awkward situation's empty
conversations

Oohh This is an S.O.S.
Don't wanna second guess
This is the bottom line
It's true
I gave my all for you
Now my heart's in two
And I can't find the other half
It's like I'm walking on broken glass
Better believe I bled
It's a call I'll never get

So this is where the story ends
A conversation on IM
Well I'm done with texting
Sorry for the miscommunication

Oohh This is an S.O.S.
Don't wanna second guess
This is the bottom line
It's true
I gave my all for you
Now my heart's in two
And I can't find the other half
It's like I'm walking on broken glass
Better believe I bled
It's a call I'll never get

Next time I see you
I'm giving you a high five
Cuz hugs are overrated just FYI

Oohh This is an S.O.S.
Don't wanna second guess
This is the bottom line
It's true
I gave my all for you
now my heart's in two
Oohh This is an S.O.S.

Don't wanna second guess
This is the bottom line
It's you
I gave my all for you
now my heart's in two
And I can't find the other half
It's like I'm walking on broken glass
better believe I bled
It's a call I'll never get

Biography"Music on Red Bull." Without hesitating, that's how 17-year-old Kevin Jonas describes the hyper-adrenalized sounds he's created with his two brothers, 13-year-old Nicholas and 16-year-old Joseph, on the Jonas Brothers' debut album, It's About Time. And it's no wonder since the boys' influences include an eclectic mix of artists ranging from the Ramones to the Jackson 5 to the Modern Lovers--all purveyors of tight, catchy anthems. After recently wrapping up a summer tour with Jesse McCartney, the Backstreet Boys and the Click Five, the Jonas boys got hooked on the rush of bringing a crowd to its feet (and didn't mind signing autographs for the throngs of excited fans waiting for them after each show). One thing is for sure, the Jonas Brothers are all ready to keep the momentum going strong. "We go crazy on stage!," says Kevin. "It's so much fun!"

Music always played a major part in the brothers' lives growing up in Wyckoff, New Jersey. Their parents are both musicians, so gathering around the piano for sing-alongs was an essential part of regular family bonding, yet each brother found his own musical calling in a different way.

The oldest, Kevin, who plays guitar and sings backing vocals, was home sick one day when he found a guitar and a "Teach Yourself Guitar" book lying around the house. "I spent the next three days learning how to play the basic chords," Kevin remembers. "That was about four years ago."

Nicholas, who shares lead vocals with Joseph in the group, began singing as soon as he could talk. "From the time I was two years old, I would wake up in the morning and start singing all the time, every second of the day," he says. Nicholas, whose voice has been compared to that of previous prodigies Stevie Wonder and Taylor Hanson, was "discovered" singing while getting his hair cut in a local barbershop. His poignant voice caught the attention of a woman in the shop who immediately referred him to a professional show business manager. Before long, Nicholas was performing on Broadway in shows like "Annie Get Your Gun," "Beauty and the Beast" and "Les Misérables.

Joseph's original plan, however, was slightly different than his brothers. He first dreamed of becoming a comedian and wanted to audition for sketch comedy shows. "But I was always attached to music and loved listening to different kinds of music, especially rock," he says. "And then I watched Nick on Broadway and I decided I wanted to sing and perform too." Following in his younger brother's footsteps, it didn't long for Joseph to land a role in Baz Luhrmann's Broadway production of "La Bohème."

Before forming their band, the Jonas Brothers had appeared together in a series of commercials for Burger King, LEGOS, Battle Bots and Clorox--to name just a few. But as time went on, they found themselves spending more and more time down in their basement, writing songs and practicing together as a band.

Meanwhile, Daylight/Columbia Records, after hearing Nicholas' incredible voice, began planning a solo record with him. And then fate intervened….

Nicholas and his brothers began submitting songs that they'd written together with the intention of having them appear on Nicholas' solo album. When the label became aware that Nicholas had musically talented siblings, a group performance was arranged. After a spectacular group audition was held for the label, the direction was clear. "All three of us were signed pretty much on the spot as the Jonas Brothers," Kevin says.

For the Jonas boys, the real fun began as they combined their musical abilities to write and record their debut album together, quickly realizing how lucky they were to have each other for both personal and professional inspiration. "It's awesome to have my brothers on stage and in the studio with me," explains Nicholas. "You have a security that everything is going to be okay, even when you mess up."

As Kevin puts it, "It feels like the most natural thing we could be doing. When we write a song we get in a triangle. I start playing the chords that we've chosen over and over and then we'll keep going around in a circle until we have figured out the lyrics for our song."

They're all particularly proud of their vocal chemistry as well. "Nicholas is the powerhouse vocal," says Joseph. "He's just got this young, soulful voice that catches everyone's ear."

"Joseph just has this really cool, smooth rock voice," Nicholas points out. "He really knows how to get the crowd going. Kevin is the one that holds us all together. Joseph and I are the singers and we take turns on keyboards, and percussion, but Kevin mostly plays the guitar and that's the part of the group that we need--he's the glue that keeps it together."

Joseph sees them all collaborating for years to come. "We're brothers so it's not like if we got upset at each other that we can be like, 'Well I quit.' They're still my brothers. We love to do this and we know we're going to keep doing for a very long time."

For It's About Time, the brothers had the chance to learn from the best by collaborating with some of the most accomplished writers in the industry including Adam Schlesinger (Fountains of Wayne), Michael Mangini (Joss Stone), Desmond Child (Aerosmith, Bon Jovi), Billy Mann (Jessica Simpson, Destiny's Child) and Steve Greenberg (Joss Stone, Hanson). The Grammy-winning duo of Greenberg and Mangini, fresh off their success with Joss Stone's two acclaimed albums, produced It's About Time, drawing on the Jonas Brothers' unpretentious garage rock sound and affinity for hooky 70's British punk records.

Inspiration for the group's songs comes directly from the boys' personal experiences--from the highs and lows of dating to being on the road to having been given the opportunity to follow their dreams at such a young age. "A lot of it is about typical teenage love stuff like 'Oh, what am I going to do if I can't see her today?' It's not stuff that we don't know about," says Nicholas.

"There's been heartbreaks and there's been crushes so we know how it feels and can write about it," explains Kevin, but overall, the songs of the Jonas Brothers celebrate the joy of living and encourage people to feel good. "The album is meant to get people up and have fun and raise their energy," says Joseph.

"We decided to call the album It's About Time," Nicholas reveals, "because so many of our songs seem to deal with different aspects of time." Kevin continues the explanation of the concept, "There's '6 Minutes,' which is about how quickly you can run through the full range of emotions when you feel strongly about someone you just met. There's '7:05,' about etching in your memory the exact time a relationship ended, and, well, the list goes on."

Songs on the album that stand out for the boys include their tune "Time For Me to Fly," a catchy, fast track that is about "following our dream of making music" according to Kevin. "The song is about us working hard, playing music every night and trying to make things happen."

One of the more personal tracks on the record is the first single, "Mandy," which is about a girl that their mother, a sign language teacher, taught to sign so that she could pursue her dream of working with the hearing impaired. Nicholas, Joseph and Kevin each formed a special friendship with Mandy. "We were writing songs one day and decided we wanted to write about something really nice--so we wrote a song about Mandy," recalls Nicholas. "She's the nicest girl you will ever meet. She knows what you're thinking all the time."

"Don't Tell Anyone," one of the more emotional songs on the record, is about liking someone but not being able to admit it. "One Day At A Time" talks about how minutes seem like days after you find yourself on the wrong end of a breakup. "That's probably the darkest song on the album," says Kevin.

For now the brothers are just relishing in the experience of having other people hear their music live and making new fans one city at a time while they are on the road. "We've known for a while how it felt to be on stage, but we never knew how it would feel to have people love music that we've written and which we both play and sing. It's very gratifying when fans come up to us after shows and tell us how much they relate to our songs," says Joseph.

"We all have such passion for what we do and for our band," explains Kevin.

Nicholas adds, "It's crazy that one day I was singing Backstreet Boys songs in my basement--and just last week there I was onstage with them!! Our dreams have really come true and we're just so lucky."