Podcasts about elizabethan

There is a Catholic saint whose actual job, canonized and everything, is patron of magic tricks. Escapologists. Illusionists. And he earned it the hard way: by spending nearly twenty years building hiding places so good that people still can't find them today, standing right next to them, with a guidebook in hand. Nicholas Owen was a small, injured, entirely unremarkable-looking carpenter. He was also the most important man in Elizabethan and Jacobean England's Catholic underground, a one-man counter-surveillance operation who broke a priest out of the Tower of London, built hides that beat the hunters' own measuring tricks, and kept every single location locked in his head so it could never be tortured out of anyone else. This is his story, the arms race he ran against the state, the night at Hindlip Hall when the escape artist chose to appear instead of vanish, and what happened to him in the Tower afterward. Plus: a heads up on a free live illumination workshop I'm doing tomorrow with the wonderful Julia Bangert, teaching you to paint a Tudor rose in true medieval style. Link below.

Nicole Dyer and Diana Elder explore Leo, a powerful handwritten text recognition platform designed specifically for researchers. Nicole interviews the creator, Jon Cooper, a PhD candidate at Stanford who developed the tool with a machine learning expert to address the difficulty of transcribing complex Elizabethan manuscripts. Listeners learn how Leo differs from general AI models by prioritizing faithful, accurate transcriptions of handwritten text rather than guessing words. The platform offers specialized features for genealogists, including the ability to recognize tabular data, crop and rotate document images, and refine transcriptions using multiple model inputs. Diana shares her own experience testing the tool on a two-page 1830s deed, finding it to be a user-friendly and accurate resource. The episode also highlights Leo's "Transformations" feature, which helps users move beyond basic transcription. Listeners discover how this tool summarizes content, identifies key people and places, and translates non-English sources. While the platform is advanced, the hosts discuss important limitations, such as challenges with tiny marginalia, double-page spreads, and predicting rare proper names. Ultimately, this episode demonstrates how Leo serves as a force multiplier for genealogists, helping them turn raw digital images into searchable, summarized, and interpreted research assets. This summary was generated by Google Gemini. Links Meet Leo: The Handwritten Text Recognition Platform Built for Researchers – Family Locket -https://familylocket.com/meet-leo-the-handwritten-text-recognition-platform-built-for-researchers/ Learn more about Leo and to set up your free account, go to https://www.tryleo.ai/ Leo Demonstration with Nicole and Jon Cooper on YouTube: https://youtu.be/mR8KOH97Rf0  Sponsor – Newspapers.com For listeners of this podcast, Newspapers.com is offering new subscribers 20% off a Publisher Extra subscription so you can start exploring today. Just use the code "FamilyLocket" at checkout.   Research Like a Pro Resources Airtable Universe - Nicole's Airtable Templates - https://www.airtable.com/universe/creator/usrsBSDhwHyLNnP4O/nicole-dyer Airtable Research Logs Quick Reference - by Nicole Dyer - https://familylocket.com/product-tag/airtable/ Research Like a Pro: A Genealogist's Guide book by Diana Elder with Nicole Dyer on Amazon.com - https://amzn.to/2x0ku3d Research Like a Pro with AI Workbook – Second Edition (eBook) - https://familylocket.com/product/research-like-a-pro-with-ai-workbook-second-edition-ebook/ 14-Day Research Like a Pro Challenge Workbook - digital - https://familylocket.com/product/14-day-research-like-a-pro-challenge-workbook-digital-only/ and spiral bound - https://familylocket.com/product/14-day-research-like-a-pro-challenge-workbook-spiral-bound/ Research Like a Pro Webinar Series - monthly case study webinars including documentary evidence and many with DNA evidence - https://familylocket.com/product-category/webinars/ Research Like a Pro eCourse - independent study course -  https://familylocket.com/product/research-like-a-pro-e-course/ RLP Study Group - upcoming group and email notification list - https://familylocket.com/services/research-like-a-pro-study-group/ Research Like a Pro Institute Courses - https://familylocket.com/product-category/institute-course/ Research Like a Pro with DNA Resources Research Like a Pro with DNA: A Genealogist's Guide to Finding and Confirming Ancestors with DNA Evidence book by Diana Elder, Nicole Dyer, and Robin Wirthlin - https://amzn.to/3gn0hKx Research Like a Pro with DNA eCourse - independent study course -  https://familylocket.com/product/research-like-a-pro-with-dna-ecourse/ RLP with DNA Study Group - upcoming group and email notification list - https://familylocket.com/services/research-like-a-pro-with-dna-study-group/ Thank you Thanks for listening! We hope that you will share your thoughts about our podcast and help us out by doing the following: Write a review on iTunes or Apple Podcasts. If you leave a review, we will read it on the podcast and answer any questions that you bring up in your review. Thank you! Leave a comment in the comment or question in the comment section below. Share the episode on Twitter, Facebook, or Pinterest. Subscribe on iTunes or your favorite podcast app. Sign up for our newsletter to receive notifications of new episodes - https://familylocket.com/sign-up/ Check out this list of genealogy podcasts from Feedspot: Best Genealogy Podcasts - https://blog.feedspot.com/genealogy_podcasts/

What happens to your creativity when you're in pain or sick, and can you ever get it back? How can you find and sharpen your author voice? J. Daniel Sawyer talks about voice mastery, writing with chronic pain, and building an eclectic author business. In the intro, leaning into your Strengths and deciding what you want to achieve by the end of the year; and Bones of the Deep by J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book for authors is The Pitch-Perfect Author: Voice Mastery for Writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Writing fiction through chronic pain and re-emerging into health after surgery How your physical health shapes (and darkens) your fiction Rebooting an author business around a weekly Substack column What author voice really is, and why it's fundamentally about sound The building blocks of voice: functional vocabulary, dialect, and musicality The “crossing the line twice” trick for hearing your own voice objectively You can find Dan at JDsawyer.net or on Substack. Transcript of the interview with J. Daniel Sawyer Jo: J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book for authors is The Pitch-Perfect Author: Voice Mastery for Writers. So welcome back to the show, Dan. Dan: Hello, Joanna. It's good to be back. Jo: Goodness me, you have been on the podcast a few times, but actually, the last time was April 2017, which is crazy. It's nine years ago. When I saw your book, I was like, “I can't believe we haven't talked for that long.” For anyone who doesn't know you, tell us a bit more about— What does your creative and author business look like these days? Dan: Oh, well, these days it's in a state of recovery because it basically ground to a halt while I was dying a few years ago. It turned out I had an organ disease from the time I was a kid that I didn't know about, and it just progressively got worse and worse, putting me in more and more pain. I hit a point around about 2020 or so where I was in so much pain that I couldn't write fiction. I continued to write nonfiction, but when you're carrying around a lot of physical pain, there comes a point where so much of your brain's activity goes into coping with it that you actually lose the ability to model other people's emotional states—or at least well enough to write fiction. So I was very frustrated, and I was despairing that I was ever going to be a novelist again. Then suddenly, what I was sick with went acute. I went to the emergency room, and they're like, “Oh, if you don't have surgery in the next 24 hours, you're going to die.” So I went and got surgery, and there was one bed in the whole state. There was a three-hour drive to get to the one that was available in the time window. I get there. They wheel me into the OR. I wake up afterwards, and I realise that I'm not in pain, and that I had never felt that before in my adult life. Jo: Wow. Dan: Just the walls of my whole reality came caving in. Two weeks later, I was back up and working, and since then I've been slowly reacquiring my ability to write fiction. So now I've got four novels going again, like I used to have going all the time, as well as doing a weekly column and all sorts of other stuff. Jo: I think a lot of people will be interested in this. A lot of writers have chronic pain issues or chronic health issues, and yours sounds like it was a sort of down, down, down, down—and then more of a sudden up. Maybe just talk a bit more, because I feel like a lot of the time people are too hard on themselves about, “Oh my goodness, if I can't write fiction, is it the end of everything?” So how did you adapt to that, with the mental health aspect of dealing with that change in circumstance? Dan: Well, it was happening so gradually, and it happened at the same time that a whole bunch of other weirdly stressful things happened, like COVID and a couple of family emergencies that derailed my whole life for a couple of years. I assumed it was just really bad stress that would pass with time. So I had the despairing feeling, because when you write fiction, it tends to occupy a central place in your self-concept. I'd also been through very tough times before, so I was like, “Well, got through that then, maybe I'll get through this now.” I just made sure to keep writing something, because at least you keep the discipline of the words flowing. There was still thought going on, so I would have ideas for novels and write them down. There were good days and bad days. Occasionally I would sit down and be like, “I feel like fiction today,” and I would write a couple thousand words, and then it would be 10 months before I could do that again. When you work with your mind, it is really easy to develop or sink into the delusion that your mind is not your body. Now, if you're paralysed or you're missing limbs, you can still write—but your mind and your body are a single system, and eventually, if something terrible is wrong with your body, it's going to affect your cognition, your emotive abilities, and all the things that we depend on for creativity. That doesn't necessarily mean that if you're sick or injured, or you've got chronic health problems from birth, that you can't write. It just means that it really is one of the factors that goes into shaping your experience of the world, that goes into shaping the way you process things and they come out on paper. When there's a massive change in your health, it's going to show up in your fiction somehow. If your health goes way down, especially if you get into a lot of pain or you have a terminal illness, your fiction's going to get darker. One of the reasons—I discovered this after I got my surgery—one of the reasons is that the sense of impending doom is actually a medical symptom of organ death. Jo: Well, don't say that to a dark writer like me. I have a sense of impending doom the entire time. Dan: Well, there's a cognitive sense of impending doom that you get if you're modelling systems and you see how things can go wrong. But the sense that you feel the claws of demons grasping at your heart all the time—that can be a medical symptom. So pay attention to that. I didn't know that until afterwards, or I'd have gotten looked at a lot sooner. Jo: That is really interesting. You mentioned there you are reacquiring the ability to write fiction, or that's what you've been focusing on. You also talked about having to reboot the business. So what are some of the concrete things you're doing to rebuild? Dan: Well, the first thing I did is I allowed myself to get talked into doing a weekly Substack column a couple of years ago, and that's worked out really well. Pay is pretty decent. I've been posting most everything for free except for some previews of upcoming books, but I'm now learning the art of paywalling, so that also helps. Getting paid for the weekly column is quite nice, and a side effect is that it does drive people occasionally to the fiction, even though I'm writing nonfiction. It more frequently drives people to the nonfiction books, but it gives me a good place to announce new releases, to promote book bundles, Kickstarters, and all that sort of thing. It's a very good place for that because the people who are subscribing there—especially the people who are subscribing and supporting—are interested enough in what I'm saying that they want my email every week. So it's a good filtering mechanism for building the email list as well. Jo: You used to do a lot of audio. That's how we connected way back, like 17 years ago, I think, when we first connected. So are you still doing a lot of audio? Dan: I am not at the moment. It's not because of a decision to drop the audio. It's because I am now building my house, and I don't have a place that's quiet enough to record dependably. I'm living in a little RV at the moment while I build the house. In the deep winter, everything is quiet enough in the forest to record some things, and so I do audiobooks for clients, and I work on audiobooks of my own that are coming out. It's not quiet enough to podcast, and it's not quiet enough to be recording any other time than when the whole world is asleep. Hopefully by next year I will have the recording studio building built, and then I'll be back at it. Because boy, I miss it. Jo: I know. So you mentioned there bundles and Kickstarters and things, and we reconnected because I bought a StoryBundle, and your new book, The Pitch-Perfect Author, was in the StoryBundle, which was part of why I bought it anyway. So let's get into the book and what's useful. Let's start with— What is author voice anyway, and why is it important? Dan: Author voice. Everything about the way that you write is part of your author voice. The themes that you gravitate to, the way that you turn a phrase, the way that you tell a joke, the way that you handle dramatic tension. When all of that combines, it creates in the reader's mind an emotional fingerprint, a gestalt that says, “This is a Joanna Penn book. This is a Dan Sawyer book,” or whoever. When you bring the focus down further, author voice is fundamentally an auditory phenomenon. You can see this if you look at the careers of writers who had major worldview shifts during their career, or who shifted genres. If you read an Isaac Asimov mystery, and you read Asimov's Guide to the Bible, and you read Isaac Asimov's The Robots of Dawn, they're all Asimov. You can hear him talking to you through all of those different venues. So author voice is not a genre thing. It's not dependent on content. It has to do fundamentally with how your brain processes language and how it comes out of your mouth. That, in turn, is based on patterns that were laid down when you were pre-verbal as an infant. You learned language by mapping the music of the conversations around you, and then gradually learning that the sing-song you were hearing corresponded to ideas. That's how the brain bootstraps itself into language. So when you start writing, just like when you start speaking, you wind up imitating a lot—unconsciously—the people you've read and heard, because that's how you develop your voice. There comes a point at which all the various influences on you, and who you are, and how they pass through you, crystallises into something definite. By the time you're a moderately competent writer, and you're finishing novels and short stories well, your author voice is pretty well established. But that doesn't mean it's sharp, because most people don't actually concentrate on learning to hear their author voice, so they can't tell when it's off. This is why new writers who revise a lot tend to revise their voice right out. When they write, they're using language as feels right to them, but when they read, they're reading it like an English teacher, or through the lens of someone who has very definite ideas about how grammar should work in all circumstances. So they tend to smooth the quirkiness out of their voice, and what you get is something flat. It doesn't feel alive. It may convey information, it may tell a good story, but it doesn't feel like you're entering something that's living. Jo: I think this is so difficult, especially for people who are new to writing. Because I remember very much spending the first few years going along to writers' conferences, and there were always sessions on “you must find your writer's voice.” You must find your author's voice, and we publish books because of the voice, and all this. It was very, very confusing to me. As you say, it has to emerge somehow, and yet that emergence seems to be very hard to accept. So what are some of the ways we can perhaps think about voice? You mentioned there some patterns. You talk about music. So what are some of those angles? In the book, you have different chapters on all of these things, but maybe just talk more about some of the elements. Dan: The first and most obvious is functional vocabulary. This is not the number of words that you know. These are the words that you can reach for in the moment. You can expand your functional vocabulary by deliberately using more words—burnish your inner thesaurus. The greater your functional vocabulary is, the more your personality is going to come out through your voice. When you've got more options to do something that's just the way that you want to do it, the closer it's going to be to the way you want to do it. So there's functional vocabulary. There's your native dialect and accent. You, being British, have a different set of preferred terms for everything than I, being a West Coast American, do. One of the great differences that's always visible between an English writer and an American writer is that you guys have a different way of speaking. When you speak of a difference between one thing and another, you talk about how this car is different to that car. And Americans say this car is different from that car. It always marks out a British writer versus an American writer. There are 100 little things like that. They happen not just between major countries, but within regions in every country. You could tell on paper the difference between someone from Yorkshire and someone from London, just as I can tell on paper the difference between someone from the West Coast and someone from Mississippi. Even if they're highly educated, the idiom, the preferred turns of phrase, the preferred imagery—all of that is going to be a little bit different, and it conveys that regionality. There's also the musicality of the language. This is the actual rhythm of the words with which you speak. When you learn to analyse poetry or to write poetry, you learn something called scansion. How a poem scans is—what are the beats of the lines, how are the beats of the lines related to each other, and how does the rhyme move in and out of that? A Shakespearean sonnet, or a sonnet from the Elizabethan era, has a specific metre, a specific number of lines, and a specific rhyme scheme, and the metre is iambic pentameter. An iamb is “bum-bum,” if I remember right. It's the rhythm of the heartbeat. It's “bum-bum, bum-bum, bum-bum.” And you can hear it in the name of the metre, the iamb. The iambic pentameter is where the stressed syllable is the second syllable and the unstressed syllable is the first syllable. All of Shakespeare is written in blank verse, which is unrhymed iambic pentameter. The pentameter is five feet per line, so one iamb is “bum-bum”—that's one foot—and five of those makes one line of Shakespeare. We all have inherent rhythms like that in the way we naturally speak, but we can also tweak those rhythms on purpose to achieve dramatic effect. The iamb has the sound of the heartbeat. It's a very reassuring speech rhythm. The trochaic is a much more rapid one—it mirrors the rhythm of a rapidly beating heart. So you see this a lot in Edgar Allan Poe, especially in his frenetic poems like “The Bells,” how they jingle, jingle, jangle on a hoary moonless night. There's a rushing sound to that metre. You're going to find that you will automatically do a little bit of this, just the way that you'll automatically have picked up the convention of breaking sentences up into shorter lengths during really exciting or suspense-filled parts of your book. Once you know what it is, you can start to use it on purpose. Quite a lot of developing your voice is learning to recognise these latent, existing qualities in the way you communicate, and sharpening them up and making them conscious tools that you can pull in whenever you want. Jo: On the one hand, there are a lot of technical words there that are really interesting, and maybe poets know a lot more of those words than most other writers. The book is really interesting in that way—kind of learning about these different things. I guess I want to reassure people as well that, as you said, some of this can be unconscious. So often when I'm self-editing and I'm reading a sentence to myself, there's something that doesn't feel right about it. So I will rewrite that sentence so that it feels right. Sometimes we do something that might be grammatically less correct, but it sounds better than it did before. So many of these things we almost know instinctively, just from reading so much. Dan: Oh, yes. From reading so much and talking so much, and again, from the way you acquire language. That gives you a template in your head of what sounds right. Language is inherently musical. So if you've ever listened to a song—especially one that wasn't recorded by a professional, but someone singing in a church choir, or your kid practising for a recital, or you practising for a recital—you know that feeling that happens when someone hits a wrong note. There's that little wince down in the core of your being, and then the song carries on and you forget about it, unless there are too many of them, in which case you just sort of cower and ooze out of the room. That feeling of “Ooh, someone just hit a wrong note”—that's exactly the feeling you get when you're reading through to edit your work and something is off in the technical layer of your voice. You should pay attention to that and rewrite so that it feels good, or feels great, which is even better. You've got the opposite of the wince, which is that sense of rapture and joy if you're listening to a professional musician and they go on an amazing guitar solo, or a flautist does an incredible trill that just sends shivers up your spine. That sense of excitement and joy—that's what happens when you're reading and the author does something with the language that makes the whole piece fly. So you want to be paying attention for those too, because those you'll commit without intending to. When you're reading back and you find those, you want to make note of them, because that's you seeing where you are at your strongest with your voice. By learning both where you're making mistakes and where you're being brilliant—just like with anything else—you can start to advance towards being brilliant more often and making fewer mistakes. Jo: Then there's a difficulty around where the line is, especially when you're an early-stage writer. Many people work with editors, and you mentioned the problem of revising your voice away, and that may also happen if you're working with an editor. Like you said, as a Brit, I work with an American editor, Kristen, and she's excellent. She's very, very good at letting my voice be my voice, and then fixing things that make it better. But a lot of people don't feel that way about their editors. So how can people understand where those lines are between being well-edited and becoming a better writer, and then needing to hold the line on their voice? Dan: It really helps if you understand where you are weak. Why are you hiring the editor in the first place? I'm a big believer in the utility of having other eyes on the manuscript, but it's really important to know what you're looking for from them. You and I have both been to the Oregon Coast writing seminars, back when that was a thing. Jo: Mm. Dan: One of the things they would talk about with editors is when you've got a story editor or a beta reader who says, “Hey, something here didn't work in the story for me,” you usually don't want to look at that point. You want to trace back from that point to figure out where you set the wrong expectation. Any editorial feedback is going to have a gap between what they notice and what really needs to be fixed. As a writer, learning to interpret the feedback properly so that you actually elevate the material, instead of interpreting the feedback like you're trying to do customer service for an employer, where you just want to make the customer happy, is a really important skill to develop. That's regardless of whether the feedback has to do with voice or plot or characterisation or whatever. Some editors are really good at back-tracing and actually spotting the real problem. Editors make their money, or get hired, or get picked by you to volunteer, because they're good at being an audience—not because they're good at being a writer. So learning to interpret the editorial feedback is a really important step in that maturation journey. Jo: Yes. I think “maturation journey” is a good way to put it. Personally, I think it was around book five when I really felt, “Okay, now I see what my voice actually is.” Like, it had to be five novels, and then I was like, “Okay, now I know.” I just didn't get it before then, and then finally—I don't know—a penny dropped or something. Maybe I grew into it, grew more confident, that kind of thing. Dan: Yes, and that's actually about right. If you look at writers with a big catalogue, five books in is usually where they start really sounding like them. So that's a pretty normal maturation curve. There is a way to speed it up, which is to read your books aloud—or even better, make audiobooks and then listen to them a thousand times. Listen to them until you are sick of them, and then listen to them until you start to like them again. Jo: That's a lot. Dan: It's a lot, but there's a really specific neurological mechanism at work. You're familiar with the comedy term “crossing the line twice,” right? Jo: Not really. Dan: Okay. Have you seen the Monty Python Spam sketch? Jo: Yes. Dan: Okay. So for those of you who have not seen this—in the Monty Python Spam sketch, there's a couple, they're in a diner, and everything on the menu has spam in it. They say the word “spam” so much that you just want to shoot your television. But they keep it up, and then suddenly, at some point—it's a different point for everybody watching—they keep it going on long enough that everybody gets there. At some point, the word “spam” itself becomes hilarious, and you can't stop laughing, and you don't know why, because it shouldn't work, but goddammit it really does. It's so funny that we named junk email “spam” after this sketch, because it's a whole bunch of stuff that you don't want, but it keeps showing up anyway. That's crossing the line twice. What's going on is that your brain is getting accustomed to a sound. It has extracted all of the meaning it can, and so it's doing what it does with all sensory input. When it thinks it's got it mapped out, it's trying to filter it. Unless you are going to sit and concentrate on it, you can't feel the texture of the fabric of your clothing on the back of your legs, because your brain—despite the fact that it's getting that input all the time—is filtering that out, because it needs you to have your resources free for thinking. When you experience something over and over and over, no matter what it is or how complex it is, the brain habituates like that. But if that signal refuses to be filtered, and the input keeps coming, and it keeps getting more intense, or it stays persistent and it's too complex to filter easily, your brain starts to think, “Oh, maybe I shouldn't be filtering this out.” “Maybe there's meaning here that's important for my survival that I hadn't extracted.” And so suddenly it starts searching for meaning to associate with that sensation—and that's the point at which the joke becomes funny again, or you start to experience your voice as if it's somebody else's. When you begin to experience your author voice as if it's somebody else's, you can hear it as a distinct, objective style, rather than just as an echo of the voices that are in your head. That's why music students practise over and over and over, even on a piece they know cold. They're doing the same trick that I'm advocating with listening to your audiobooks until you're not sick of them anymore. Jo: I mean, I think that's terrifying, because I just don't want to listen to my books over and over again. I think it's very interesting that you think it could shortcut that voice process. Staying on audio—since we last spoke, I have done a lot of my own audiobook narration, mainly for nonfiction, but also my short stories. I haven't done my full-length fiction. What I discovered in doing this is that what read fine to me when I was self-editing my own work on the page—and obviously I'm hearing it in my head—when I perform the audiobook, I actually have to edit things again. So what are some of your tips for how we can bridge that gap? Because that's kind of strange. Dan: So what's happening is that there's a much wider latitude of things that work on the page than what works with voice. The reason is that with voice, all of those rhythmic elements I was talking about before are really pronounced, as well as all the sensual elements. Basically every word and sound has a mouth shape. The mouth shape affects the emotional valence of the sound. Stuff that's unpleasant tends to have a really close-in feel—I'm trying to scrunch my face up—where you would grit your teeth and scrunch up your face if something is unpleasant. And if something is really pleasant, it tends to have a rounded feel, and our language reflects it. In fact, all languages reflect this, because language is a physical thing that's based on the sensuality of the body. So, like, in all cultures “mama” is the word for mother that babies first say, regardless of what it is. It has a round feel, because babies associate their mother with roundness. A lot of language is built up that way, from baseline sensual cues. When you're working just in text, that aspect is not nearly as obvious to you. When you're reading, it's not as obvious to you. It's still at play, but when you go to do something verbally, and you go to read a text, all of those sensual cues come in at the same time. Then the rhythm comes in hard, and you suddenly realise that—hey, that conveys the thought, but it doesn't feel right. So you wind up retooling a bit. There's also occasionally tongue twisters, which you have to work your way around. So that's why that happens. Jo: Then I guess another thing—I hear quite often, people say, “Oh, I don't like my voice.” And they mean, “I don't like speaking out loud. I don't want to be on video. I don't want to be on audio.” I wonder— Does that sort of resistance potentially affect their writing voice? Are there ways people can get over that feeling? Dan: Yes, for sure. There are a few things that go into that. One is basic self-loathing. A lot of people carry it around. Most people learn to make a decent life even though they kind of secretly suspect that they're not worth anything, or they secretly find themselves revolting. That kind of thing you can't really fix with exercises. That's something you fix with — Jo: Therapy. Dan: Psychological work, or spiritual work, or that kind of thing. Jo: Yes. Dan: But the not liking the sound of your own voice—that's easy to fix. Here's why it happens. When you're listening to your voice as you speak, the bones in your head are amplifying the bass signals and attenuating the treble. It's kind of like if you were to shout in another room and your spouse hears you, but they can't make out the consonants. That's because all the consonants are being filtered out by the wall in between, but the bass is being resonated through. The same thing happens in your head. So when you get on a microphone—especially if it's an accurate microphone—you're suddenly hearing what everybody else hears when you speak, and it sounds thin and tinny and unpleasant compared to what you're used to hearing. The really easy way to get around this is to get a microphone that is tuned for singers. The condenser mic that I have isn't made anymore, so I can't really recommend a good condenser mic. If you're on a dynamic mic, the Shure SM58 is the one to use. I podcasted with that for years before I could afford an upgrade. It is tuned for singers to sound as good as possible without any other help from the sound engineer, which means that the baseline sound for that microphone is what you're hearing in your head. If you use the right equipment, you get around that problem really quickly, to the extent that you can technically. Then after that, it's just a matter of crossing the line twice. You listen to yourself enough that you stop hearing, “Oh my God, I'm talking,” and you start hearing, “Oh, that voice is making this sound.” And once you hear, “Oh, it's that voice making this sound,” you don't have that problem anymore, ever again. Jo: Oh, good. Well, hopefully that's fixed it for people. And of course, there are lots of brilliant things in the book, The Pitch-Perfect Author. Before we finish up, I did want to return to your Substack. I was having a look at it, and it includes some really interesting things. Like, you're doing this metalwork, which is really cool. It felt coherent to me, because I know you, and you're a polymath, and you're interested in so many things. So your Substack kind of stood out to me as quite eclectic, compared to, say, other writers who are going on Substack to try and sell specific books. So is this a deliberate marketing choice, or is it just be an interesting person and you will attract people who are interested more generally? Dan: Well, I suppose it kind of winds up being the latter, but basically it's that I get bored easily. If I'm going to be writing every week, I need to stay interested in it. One of the books I wrote when I was really sick—that's not out on the market yet, but it is serialised on Substack—is a guide to self-education. It'll be coming out later this year on the general market. It's called Reclaiming Your Mind: An Autodidact's Bible. I talk in there quite a bit about the illusion of discrete areas of knowledge. There is a level of learning at which the silos of information start to collapse together. Woodworking and writing have a lot to do with each other. A lot of the terminology we use in writing is pulled from the trades—especially woodworking, and metalworking, and gunsmithing. As you begin to spot these connections between different areas of knowledge, it becomes really easy to slide between them for your hobbies, for your writing, for just your personal gratification. As I've gotten older—and also as I've gotten access to a little space that's not contained within a teeny little apartment—I have just gone with it. As I've discovered, “Hey, this thing is tangentially connected to this other thing over here,” I'm like, “Oh, well, I'm going to go over to this other thing and see what's over there.” It's tremendously creatively fertile. Since a lot of the things that our language connects us to have to do with trades and crafts and nature, it gets you out in the open air, which is really good for any writer—because sitting at a desk all day is worse than smoking three packs of cigarettes a day for 40 years. Jo: I love that. Dan: My curiosity is the chief feature of my Substack, and it kind of works for me as a writer, because it's also one of the chief features of my fiction. Jo: Me too, and I was actually quite inspired by your Substack. Because I think this happens when you've been in the writing industry long enough. Substack has become the sort of trendy place to be now. People are going into specific niches, very much like blogging did, and then podcasting had to be on a specific niche, and all this. Of course, we know logically that, marketing a book—you know, if you had just a Substack on voice mastery, then for sure that would be a better marketing vehicle. But, as you say, how boring. Dan: Well, it depends a lot on what you're trying to cultivate as an author. If you're a single-genre author with a very narrow niche, and you're really happy writing that kind of stuff, then a narrow column supporting it is not a bad idea. Especially when you serialise old novels, once you've got 20 or 30 under your belt. That's not a bad idea, because you're trying to attract people who want one thing and want it regularly. If I were to get a reader who wants one thing and wants it regularly, and finds it, say, in my Clarke Lantham mysteries, and then they hop over to my science fiction—oh boy, are they going to be pissed. If they're not there for my voice, and they're just there for the way I write a mystery plot, then not only are they not going to get what they're looking for—but they're going to start to doubt whether they can trust that they're going to get what they're looking for in my next mystery. Whereas if they're coming to me through something where the multiplicity of what I'm doing is on display—whether that's this Substack, or whether that's what I used to do on The Every Day Novelist when I was podcasting that, or whether it's what I did with all the after-shows on my fiction podcast when I was doing that—then they kind of know what they're in for. The people who stick with me are more likely to be people who are in it for the experience of my voice. And for my bibliography, that's what I've got to offer, because I'm all over the place in terms of genre and subject matter. Jo: Yes, which is why I find you interesting. Dan: Oh, why thank you. Jo: So where can people find you and your books online? Dan: Well, you can find pretty much everything at JDsawyer.net. I've got the weekly column at jdanielsawyer.substack.com. At jdsawyer.net there's a page with all of my podcasts on it, and there's also a store with all of my books on it. Of course, everything is also available on Amazon and just about everywhere that the distributors take you. Jo: Brilliant. Well, thanks so much for your time, Dan. That was great. Dan: Thank you, Joanna. It was great to talk to you again.The post Author Voice Mastery, And Rebooting an Author Business With J. Daniel Sawyer first appeared on The Creative Penn.

How did one woman scandalise sixteenth century London by refusing to live by its rules?Mary Frith - aka Moll Cutpurse - rejected the expectations of respectable womanhood, wore men's clothes, smoked a pipe, carried weapons, and frequented London's taverns, theatres, prisons and courtrooms.Professor Suzannah Lipscomb and Dr. Holly Marsden explore the extraordinary life and afterlife of Moll - pickpocket, performer, and notorious Roaring Girl of Elizabethan and Jacobean England.MOREMurderous WomenListen on AppleListen on SpotifyTrue Crime: Europe's First Female Serial Killer?Listen on AppleListen on SpotifyPresented by Professor Suzannah Lipscomb. The researcher is Max Wintle, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcastSign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe Hosted on Acast. See acast.com/privacy for more information.

Christopher Marlowe is one of the most fascinating—and mysterious—figures of Shakespeare's lifetime. A university-educated playwright at a time when that alone set him apart, Marlowe rose quickly through London's theater world, dazzling audiences with bold language, ambitious characters, and stories that pushed the boundaries of what the stage could do.  But Marlowe's life wasn't confined to poetry and playhouses. Evidence suggests he was also moving in far more dangerous circles—working as a government agent in the shadowy world of Elizabethan espionage, where loyalty, religion, and politics were matters of life and death.  And then, just as suddenly as he rose to fame, his life came to a violent end—killed in a Deptford lodging house under circumstances that remain deeply suspicious. Officially, it was a dispute over a bill. But for a man entangled in secrets, intrigue, and power, that explanation has never quite been wholly satisfying, nor completely accepted.   Today, we're diving deep into the underworld to look inside the extraordinary life and abrupt death of Christopher Marlowe—from the university halls of Cambridge to the murky underworld of espionage, and onto the stages that helped shape the future of English drama.  Our guest is Stephen Greenblatt, author of Dark Renaissance a book that portrays Marlowe as the father of Renaissance theater and as innovative as he was intriguing. Stephen's work brings together history, literature, and the hidden forces that shaped the Renaissance world Marlowe inhabited, and we're delighted to have him be our guide this week as we step into the brilliant, dangerous, and ultimately tragic life of Christopher Marlowe. 

Natalie Grueninger interviews Cait Murphy-Hurrell about Edmund Spenser's 'The Faerie Queene', exploring the poem's rich allegory, its portrayal of villainous women and otherness, and how Spenser reflects Elizabethan politics, religion, and his experiences in Ireland. Check out Cait's Substack! https://caitmurphyhurrell.substack.com/ Visit 'The Renaissance Academy' https://therenaissanceacademic.com/group-events JOIN 365 DAYS IN ELIZABETHAN ENGLAND https://www.nataliegrueninger.com/2026/05/17/365-days-in-elizabethan-england/ Learn more about your host: https://www.nataliegrueninger.com Support Talking Tudors on Patreon!

When Thomas Platter, a Swiss tourist, went to see ‘Julius Caesar' at the Globe Theatre in 1599, it wasn't Shakespeare's language that attracted his attention but the ready availability of refreshments and the high quality of the players' clothes. The revolution in playmaking that he witnessed on the south bank of the Thames reflected widespread innovations in London's cultural life in the reign of Elizabeth I. For the first time, we can see the city clearly, in the panoramas and maps inspired by Dutch artists. New ideas about history are emerging in the works of Stow and Holinshed. And the growth of trade through piracy, with a new centre of commerce in Thomas Gresham's Royal Exchange, marks the beginning of England's imperial expansion. In this episode, Rosemary is joined again by Vanessa Harding to discuss this extraordinary moment in London's history and some of the reasons behind it, from Elizabeth's genius for survival to the city's lack of a university. Reading by Duncan Wilkins Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up: Apple Podcasts: ⁠https://lrb.me/applesignuplr⁠ Other podcast apps: ⁠https://lrb.me/scsignuplr⁠ Read more in the LRB: Charles Nicholl on Elizabethan true crime: ⁠https://lrb.me/lrep601⁠ Michael Dobson on Shakespeare's life: ⁠https://lrb.me/lrep603⁠ Colin Burrow on Walter Raleigh: ⁠https://lrb.me/lrep02⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

WORT 89.9FM Madison · “Edward IV” Brings Elizabethan Drama to the Playground Sarah Z. Johnson (photo courtesy Linked In) Kia Karlen (photo courtesy Madison Children’s Museum) For every kid who's ever run around a playground pretending to be a pirate getting in swordfights, Madison Shakespeare Company and Madison Children's Museum have the play for you.  This month, MSC will mount a production of “Edward IV” by Elizabethan playwright Thomas Heywood, performing on the Madison Children's Museum's elaborate wonderground playground.  Kia Karlen, co-CEO of the Madison Children's Museum and Sarah Z. Johnson from Madison Shakespeare Company joined Monday Buzz host on June 15, 2026. Featured image: Wonderground playground (photo courtesy Madison Children’s Museum). Did you enjoy this story? Your funding makes great, local journalism like this possible. Donate hereThe post “Edward IV” Brings Elizabethan Drama to the Playground appeared first on WORT-FM 89.9.

Liv and I team up to talk about the newest target in our quest to play indie games, The Killing Stone! A baroque, complex, and, yes, messy deck builder-cum-Elizabethan revenge tragedy. Quintessentially an early access game, but something that is a lovely peek into something that could grow into something new and special -- check it out here! Learn more about your ad choices. Visit megaphone.fm/adchoices

Shakespeare is famous for his costume changes in his plays, including characters that swap genders and seemingly fool the world as their true identity simply by a change of clothes. Since Shakespeare's playing companies were all male, and still manage to portray some of the most powerful women characters ever created on the stage, we have to think there was indeed great power in costume. What was it about women's clothes versus men's designs that made them instantly recognizable on stage for the Elizabethan era? During this time, women were seeing their fashions change rapidly in the design and function of everything from bum rolls to chin clouts, and even the acceptable necklines of this period. Of course, men were seeing similar transitions in their fashions, with the French introducing English men to the famous poofy shorts that Shakespeare is so famous for wearing. The clothes, along with the sumptuary laws of this period, landed men and women on the wrong side of the law when it came to what they chose to get dressed in each morning. Here today to help us unpack the world of clothing and the laws that regulated them, along with how Shakespeare was able to portray all levels of society on stage without getting into legal trouble, is our guest, and author of the book Fashion in the Time of William Shakewsspeare, SarahJane Downing.

In this episode of the Anglotopia Podcast, Jonathan Thomas is joined by Brendan Dowd — West Point graduate, Iraq War veteran, government consultant, and host of History Nerds United, one of the most respected history book podcasts in the business with over 220 episodes — for a pure, unfiltered book nerd conversation. Both hosts came with a stack of their favorite British history books and took turns sharing their picks, debating the merits, going gloriously off-topic about Darkest Hour, the new Wuthering Heights film, Bridgerton, and Dan Jones's upcoming castles book, and building what amounts to a British history reading list that will keep you busy for years. Between them, Jonathan and Brendan recommend over 20 books spanning Alfred the Great, the Tudors, the Regency, Victorian London, World War II, Thatcher, the Iranian Embassy Siege, and the hidden history of English wolves — plus a peek at what's sitting on each of their TBR piles right now. Links History Nerds United ~History Nerds United Podcast~ ~History Nerds United on YouTube~ ~Brendan's Top Episode: Helen Castor on Joan of Arc~ (update with direct episode link) ⠀Jonathan's Picks ~Notes from a Small Island by Bill Bryson~ ~The Road to Little Dribbling by Bill Bryson~ ~Churchill: Walking with Destiny by Andrew Roberts~ ~My Early Life by Winston Churchill~ ~A Very English Scandal by John Preston~ ~London: The Biography by Peter Ackroyd~ ~Citizens of London by Lynne Olson~ ~Empireland by Sathnam Sanghera~ ~Empireworld by Sathnam Sanghera~ ~The Iron Lady by John Campbell~ ~The Last Wolf by Robert Winder~ ~The Decline and Fall of the British Aristocracy by David Cannadine~ ~Brideshead Revisited by Evelyn Waugh~ ~The Regency Years by Robert Morrison~ ~Churchill's Citadel by Katherine Carter~ ⠀Brendan's Picks ~Alfred the Great by Justin Pollard~ ~The Six Loves of James I by Gareth Russell~ ~Battle for the Island Kingdom by Don Hollway~ ~Once a King: The Lost Memoir of Edward VIII by Jane Marguerite Tippett~ ~The Greatest Knight by Thomas Asbridge~ ~Henry V by Dan Jones~ ~Thomas More: A Life by Joanne Paul~ ~The Stolen Crown by Tracy Borman~ ~The Crown's Silence by Brooke Newman~ ~The Eagle and the Hart by Helen Castor~ ~The Invention of Charlotte Brontë by Graham Watson~ ~London Falling by Patrick Radden Keefe~ ~The Siege by Ben Macintyre~ ⠀Also Mentioned ~Say Nothing by Patrick Radden Keefe~ ~Empire of Pain by Patrick Radden Keefe~ ~Secrets of Great British Castles with Dan Jones on Netflix~ ~Darkest Hour (2017)~ ~Young Winston (1972)~ ⠀Anglotopia ~101 Oxford Travel Tips and Tricks by Jonathan Thomas~ (update with direct product link) ~Anglotopia Guide to the World of Bridgerton~ (update with direct product link) ~Friends of Anglotopia Club~ (update with correct URL) ⠀ Takeaways Both Jonathan and Brendan started their podcasts for exactly the same reason — frustration at the quality of existing coverage in their field — and both were shocked to discover how generous, enthusiastic, and collegial the history author community turned out to be. Brendan's gateway into British history was Alfred the Great by Justin Pollard — a compact, accessible biography of the only English monarch to earn the title "the Great," which he recommends as the perfect gateway drug for readers who think history books are intimidating. Jonathan's most-reread British book is Bill Bryson's Notes from a Small Island — a definitive outsider's portrait of British culture from the early 1990s that remains beloved by British readers themselves, and the book that most shaped his vision for Anglotopia. Andrew Roberts's one-volume Churchill biography is both Jonathan and Brendan's recommended starting point for anyone wanting a modern, comprehensive, and myth-busting account of Churchill — and Roberts's Napoleon biography is equally essential. Helen Castor is independently named by Brendan as one of his very favorite history writers — her Eagle and the Hart on Richard II and Henry IV, and her Joan of Arc episode of his podcast, are both highlighted as exceptional examples of humanizing complex historical figures without sanitizing them. Both hosts agree that the best history books share a quality: they humanize their subjects — showing the positive and the negative — rather than either condemning or canonizing them. The books they admire most leave the reader to make their own moral judgments. Empireland by Sathnam Sanghera and The Crown's Silence by Brooke Newman both generated significant controversy — particularly in British publications — but both Jonathan and Brendan recommend them as essential, rigorously evidenced correctives to popular myths about the British Empire and the monarchy's role in the slave trade. Ben Macintyre's The Siege — on the 1980 Iranian Embassy siege in London that made the SAS famous — is Brendan's pick for best recent true British history read, praised for building unbearable tension over hundreds of pages before releasing it all in a single extended final chapter. The new Wuthering Heights film gets a thumbs-down from both hosts — "it looks beautiful but just didn't land" — while Darkest Hour generates a spirited debate about the Underground scene that ends with both agreeing it's historically wrong but emotionally right. Both hosts are currently working through books about the interwar period, Cold War espionage, and upcoming releases from Dan Jones and Thomas Asbridge — and both agree that the single greatest problem with loving history books is that the TBR pile never gets shorter. ⠀ Soundbites "I lost it. I said, there's gotta be a better way. I don't want to continually torture my family with all my rants about books. So I started the blog." — Brendan on the one-star Amazon review that launched History Nerds United. "I sent 10 emails on the first day thinking if I get one back I'll be ecstatic. I got eight back within three days. And I've now sat on a boat with Dan Jones having drinks, overlooking Omaha Beach. Nobody tell me it didn't happen." — Brendan on the unexpected magic of the history community. "I have yet to interview a jerk. Everyone has been unfailingly nice and so excited to be there and just so game to talk about whatever." — Brendan on 220+ episodes of History Nerds United. "My long-term goal is to be like Bill Bryson. I've actually met him. He's a very nice chap. I can only hope to be 10% as good as him one day." — Jonathan on Notes from a Small Island and his writing ambitions. *"If you want to understand why everything is happening in Downton Abbey, read *The Decline and Fall of the British Aristocracy. I read it as research for a novel I was writing in college and it has never left me." — Jonathan on David Cannadine's masterwork. "Churchill wouldn't have done that. He was not that type of person. But you put Churchill in a period tube carriage, surrounded by Londoners during the Blitz, and it captures the essence of what the story is trying to tell. Was it real? Heck no." — Jonathan and Brendan on the Underground scene in Darkest Hour. "Helen Castor is constantly teaching you, but you feel like you're just having a conversation within the book. At the end of it, you hear Helen get emotional talking about this teenager burned at the stake — how scared she must have been, even with all her faith. She makes her human instead of an icon." — Brendan on his favorite episode of History Nerds United. "The thesis is that because Britain hunted wolves to extinction, it unleashed the economic powerhouse of sheep farming and wool — and as a consequence of that led to so much of what we know as Britain. I read it and I wanted to read it all over again immediately." — Jonathan on The Last Wolf by Robert Winder. "She stayed laser focused on the Elizabethan succession and somehow it's still interesting all the way through. She mentions the Spanish Armada for about three sentences. I said in my review: this book has been written. We don't need any more on this subject." — Brendan on Tracy Borman's The Stolen Crown. "No author has ever made me feel more lazy than Catherine Grace Katz — she wrote *Daughters of Yalta* while she was in law school. If you told me that I would one day be sitting there with Marsha Clark from the OJ Simpson trial, I would have called you a liar. But that's what this world does." — Brendan on the surreal privilege of the history podcast community. ⠀ Chapters 00:00 Introduction — Jonathan sets up the book conversation episode and introduces Brendan Dowd 01:41 How a Tank Platoon Leader Got a 220-Episode History Podcast — Long commutes, bad Amazon reviews, and one unexpected email 05:58 The History Author Community — Why everybody wants you to win, and the generosity of historians 08:10 Dan Jones on a River Cruise — Brendan's honeymoon, Omaha Beach, and a surreal life moment 09:01 What History Nerds United Is — The format, the philosophy, and why Brendan calls himself the laziest podcaster 10:26 BOOK PICKS BEGIN 10:39 Brendan Pick #1: Alfred the Great by Justin Pollard — The George Washington of England and the perfect gateway drug 12:18 Jonathan Pick #1: Notes from a Small Island by Bill Bryson — The definitive outsider's portrait of British culture and Jonathan's most-reread book 14:28 Brendan Pick #2: The Six Loves of James I by Gareth Russell — A party animal king, Scottish trauma, and the most uncomfortable compliment Gareth ever received 16:58 Jonathan Pick #2: Churchill: Walking with Destiny by Andrew Roberts — The one-volume biography that settles the argument 18:15 Andrew Roberts's Napoleon — A brief but enthusiastic detour to France 18:56 Brendan Pick #3: Battle for the Island Kingdom by Don Hollway — 1000 to 1066, the most disgusting assassination in history, and setting up everything 20:05 Jonathan Pick #3: My Early Life by Winston Churchill — The only autobiography, the Boer War escape, and the Gary Stiles connection 21:50 Darkest Hour Debate — The Underground scene: historically wrong, emotionally right, and why it works anyway 23:18 The Perfect WWII Double Bill — Darkest Hour followed by Dunkirk as a single evening 23:50 Brendan Pick #4: Henry V by Dan Jones — Present tense biography, the greatest medieval king, and writing something when you feel ready for it 25:29 Jonathan Pick #4: A Very English Scandal by John Preston — Jeremy Thorpe, a murder plot, a dead dog, and the British establishment 26:57 John Preston's Robert Maxwell Book — And a certain imprisoned daughter 27:26 Brendan Pick #5: Thomas More: A Life by Joanne Paul — Saints, hair shirts, comedy gold, and debunking 500-year-old myths 29:24 Jonathan Pick #5: London: The Biography by Peter Ackroyd — The definitive history of London and the gateway to a great corpus 30:25 Brendan Pick #6: Once a King: The Lost Memoir of Edward VIII by Jane Marguerite Tippett — He wasn't a Nazi, and the documentation proves it 32:03 Jonathan Pick #6: Citizens of London by Lynne Olson — Americans in London during the Blitz and how they helped save Britain 33:24 Brendan Pick #7: The Stolen Crown by Tracy Borman — The Elizabethan succession, new evidence, and calling Henry VIII a few four-letter words 34:56 Tracy Borman on Inside the Tower of London — And Dan Jones's upcoming Castles book 36:03 Jonathan Pick #7: Empireland by Sathnam Sanghera — Deconstructing myths of the British Empire and why the author quit social media 37:32 Brendan Pick #8: The Crown's Silence by Brooke Newman — The monarchy's direct financial involvement in the slave trade and British publications' predictable response 39:34 Jonathan Pick #8: The Iron Lady by John Campbell — The definitive Thatcher biography and why she's Churchill's true successor 41:45 Brendan Pick #9: The Greatest Knight by Thomas Asbridge — William Marshal, four kings, King John, and a life that reads like a Hollywood script 43:22 Jonathan Pick #9: The Decline and Fall of the British Aristocracy by David Cannadine — The book that explains Downton Abbey and everything behind it 44:29 Brendan Pick #10: The Eagle and the Hart by Helen Castor — Richard II, Henry IV, and why taking the crown makes you a marked man 46:48 Jonathan Pick #10: Brideshead Revisited by Evelyn Waugh — Fiction that illuminates aristocratic decline and the companion read to Cannadine 48:18 Brendan Pick #11: The Invention of Charlotte Brontë by Graham Watson — Jane Eyre as a gateway, the weird genius of the Brontë family, and more autobiography than you realized 50:18 Wuthering Heights Film Discussion — Brendan defers, Jonathan gives a verdict: beautiful but it didn't land 51:43 Jonathan Pick #11: The Last Wolf by Robert Winder — No wolves, lots of sheep, and the surprising hidden springs of Englishness 53:10 Brendan Pick #12: London Falling by Patrick Radden Keefe — A body off a balcony opposite MI5, true crime that leaves you profoundly uneasy 54:54 Jonathan buys London Falling at Barnes & Noble — And finds it in the fiction section 55:24 Jonathan Pick #12: The Regency Years by Robert Morrison — What Bridgerton gets wrong, what Jane Austen's world actually was, and the Anglotopia Bridgerton guide 56:23 Bridgerton vs. The Patriot — Two hosts agree: know your genre, leave accuracy at the door 58:15 Brendan Pick #13: The Siege by Ben Macintyre — The Iranian Embassy siege, the SAS, and a final chapter that takes an hour to read 1:00:06 Jonathan Pick #13: Churchill's Citadel by Katherine Carter — Chartwell as weapon, the wilderness years, and the best first book Jonathan has read in years 1:01:31 What's on the TBR Right Now — Ike and Winston, Three Weeks in July, A Shellshocked Nation, the Nord Stream conspiracy, Dan Jones's Castles, and more 1:07:37 The Book Neither Host Can Find Anyone to Write — Brendan's gap in the market involving Joan of Arc's most disturbing companion 1:10:24 The Book Jonathan Should Write — Brendan makes his pitch; Jonathan firmly declines 1:11:06 Jonathan's Gap in the Market — Churchill's second term as Prime Minister: underexplored, fascinating, partially covered by The Crown 1:12:29 John Lithgow as Churchill — Too tall, earned it on The Crown, also very scary in Dexter 1:12:36 Brendan's Proudest Episode — Helen Castor on Joan of Arc, two hours that felt like twenty minutes 1:16:52 Wrap-Up — Where to find History Nerds United, the full book list in the show notes, and promises of a return visit Video Version

Episode 543 Nick the Rat crawls out of the Brooklyn sewer for Episode 543 with a deep dive into the oldest obsession in human history — demonology. From ancient Mesopotamian clay tablets and King Solomon's grimoire to Elizabethan spirit mediums and the Loudun possessions, Nick traces 5,000 years of humans trying to make contact with something they don't fully understand. Then he asks the question nobody else is asking: is firing up your AI chatbot really all that different from summoning a demon? Also on tonight's episode — Nick returns from Charlotte, NC with strong opinions about sidewalks and Wells Fargo, roasts the TSA over a $45 Real ID shakedown, and breaks down the United Airlines flight that turned around because someone named their Bluetooth speaker "bomb." Special guest Lilith the demon summoner calls in to share her craft, Mystery Man delivers a truly unhinged Bigfoot story from 1847, Zindu absolutely loses it over professional sports, and Jane Hanoi reports live from the Dark Sewer Network News. Donations, voicemails, and a late-night AI bubble rant round out one of the wildest episodes yet. Welcome to the sewer. #sewerchat #NickTheRatRadio #Demonology #AIConspiracy #Demons #Paranormal #ConspiracyTheory #DarkSewerNetwork #MysteryMan #JaneHanoi #Occult #Grimoire #KingSolomon #SleepParalysis #ArtificialIntelligence #AIBubble #Underground #Brooklyn #PodcastEpisode #LateNightRadio #WeirdPodcast #TrueParanormal #SpiderNoir #TSARant #DemonSummoning #CultPodcast A paranoid rat discusses conspiracies, secret agendas, and things they don't want you to know — while playing hand-picked underground music. Call in live: 1-917-719-5923 Originally aired: 06/10/26 All music is Attribution 3.0 Unported (CC BY 3.0). All artists are credited during the episode. For more info: www.nicktherat.com

In Shakespeare's plays, there are over 150 references to the word "hair" across which Shakespeare talks about a barber fixing someone's hair, about hair being dyed, about losing your hair being a natural product of old age, combing your hair, and even the weight of someone's hair. Clearly, there was a significant cultural focus on the care and maintenance of one's carefully selected coif. But exactly what did it look like for someone to care for their hair? Was there such a thing as soap, or dare we guess—Shampoo—that might have been used to keep your hair clean in the Tudor period? To find out more about what one would use in the 16-17th century if you decided to wash your hair, we are meeting with our guest, Julia Martins.   Julia is here this week to tell us all about products used to cleanse, care, and manage a head full of hair in Shakespeare's lifetime, as well as the manuals and advice that was given in the 16-17th century for the best hair care methods of the Elizabethan era.  

This episode draws on experimental and review literature on mirror-gazing, strange-face illusions, anomalous self-experience, dissociation, agency, face pareidolia, and face-distortion disorders, especially the work of Giovanni B. Caputo, Caputo/Lynn/Houran, Mash et al., Bregman-Hai and Soffer-Dudek, Derome et al., Palmer and Clifford, and Blom et al. Historical and occult context comes from research on catoptromancy, John Dee's angelic scrying records, the British Museum's “Dr Dee's Magical Mirror,” Campbell et al.'s Antiquity study on the mirror's Mexican/Aztec obsidian origin, and Mesoamerican material on Tezcatlipoca and the “Smoking Mirror.”Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Cash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsCore Scientific Sources: Mirror-Gazing, Strange Faces, and Altered Self-ExperienceCaputo, Giovanni B. “Strange-Face-in-the-Mirror Illusion.” Perception 39, no. 7, 2010, 1007–1008.Key use: This is the main science anchor for the episode. Caputo showed that prolonged mirror-gazing under low illumination can produce strange-face apparitions, including distortions, unknown faces, monstrous faces, animal-like faces, archetypal faces, and faces of relatives or deceased people.Caputo, Giovanni B., Steven Jay Lynn, and James Houran. “Mirror- and Eye-Gazing: An Integrative Review of Induced Altered and Anomalous Experiences.” Imagination, Cognition and Personality 40, no. 4, 2021, 418–457.Key use: This is one of the strongest overview sources. It reviews empirical studies on mirror-gazing, psychomanteum work, and eye-to-eye gazing, especially in relation to altered perception, anomalous experiences, bodily experience, and self-identity.Mash, Joanna, Paul M. Jenkinson, Charlotte E. Dean, and Keith R. Laws. “Strange Face Illusions: A Systematic Review and Quality Analysis.” Consciousness and Cognition 109, 2023, article 103480.Key use: Newer review source. Useful because it supports strange-face illusions as a reliable phenomenon in both mirror-gazing and interpersonal gazing, while also warning that stronger research is still needed on mechanisms and prevalence.Bregman-Hai, Noa, and Nirit Soffer-Dudek. “Mirror-Gazing-Induced Dissociation Impairs Self-Reported and Implicit Sense of Agency: A Causal Investigation of Dissociation and Agency Under Controlled Laboratory Conditions.” PLOS ONE 21, no. 2, 2026, e0341316.Key use: Excellent source for the agency section. This connects mirror-gazing-induced dissociation with weakened sense of agency, which pairs well with mediumship, possession, automatic writing, and the feeling that “something else” is present.Derome, Mélodie, Eduardo Fonseca-Pedrero, Giovanni Battista Caputo, and Martin Debbané. “A Developmental Study of Mirror-Gazing-Induced Anomalous Self-Experiences and Self-Reported Schizotypy from 7 to 28 Years of Age.” Psychopathology 55, no. 1, 2022, 49–61.Key use: Useful developmental source. It connects mirror-gazing-induced anomalous self-experiences with age, self-perception, and schizotypal traits.Caputo, Giovanni B. “Visual Perception During Mirror-Gazing at One's Own Face in Patients with Depression.” The Scientific World Journal, 2014.Key use: Useful for the emotion/self-face relationship section. Caputo found that strange-face apparitions were reduced in patients with depression compared with healthy controls, including shorter duration, fewer strange faces, weaker intensity, and lower emotional response.Tramacere, Antonella. “Face Yourself: The Social Neuroscience of Mirror Gazing.” Frontiers in Psychology 13, 2022, article 949211.Key use: Strong support for the idea that mirror-gazing is like seeing yourself as another. It connects self-face perception with social neuroscience and the overlap between how we perceive our own face and the faces of others.Chakraborty, Anya C., and Bhismadev Chakrabarti. “Looking at My Own Face: Visual Processing Strategies in Self–Other Face Recognition.” Frontiers in Psychology 9, 2018.Key use: Useful for the self-face recognition section. This study looks at how people process their own face compared with other faces.Conty, Laurence, Nathalie George, and Jari K. Hietanen. “Watching Eyes Effects: When Others Meet the Self.” Consciousness and Cognition 45, 2016, 184–197.Key use: Best support for the gaze/presence section. It argues that direct gaze captures attention and triggers self-referential processing, which helps explain why a mirror can make the viewer feel watched.Face Perception, Pareidolia, and Monstrous DistortionPalmer, Colin J., and Colin W. G. Clifford. “Face Pareidolia Recruits Mechanisms for Detecting Human Social Attention.” Psychological Science 31, no. 8, 2020, 1001–1012.Key use: Best source for the “face-making brain” section. It supports the idea that illusory faces are not treated as meaningless noise; they can recruit mechanisms involved in social attention.Blom, Jan Dirk, Bastiaan C. ter Meulen, Jitze Dool, and Dominic H. ffytche. “A Century of Prosopometamorphopsia Studies.” Cortex 139, 2021, 298–308.Key use: Use carefully as a comparison source, not as a direct explanation for all scrying. Prosopometamorphopsia is a rare condition where faces appear distorted, showing that face-processing systems can produce frightening facial distortions under certain conditions.Psychomanteum, Grief, and Seeing the DeadHastings, Arthur, Michael Hutton, William Braud, et al. “Psychomanteum Research: Experiences and Effects on Bereavement.” OMEGA: Journal of Death and Dying 45, no. 3, 2002, 211–228.Key use: Main grief / dead-in-the-mirror source. Use carefully. It does not prove afterlife contact, but it supports the idea that mirror-gazing, darkness, memory, and grief can produce powerful experiences interpreted as contact.Moody, Raymond A. Reunions: Visionary Encounters with Departed Loved Ones. New York: Villard, 1993.Key use: Main modern popular source for the psychomanteum as a grief-contact chamber. Use as practitioner/popular context, not as the strongest academic evidence.Terhune, Devin B., and Matthew D. Smith. “The Induction of Anomalous Experiences in a Mirror-Gazing Facility: Suggestion, Cognitive Perceptual Personality Traits and Phenomenological State Effects.” The Journal of Nervous and Mental Disease 194, no. 6, 2006, 415–421.Key use: Good supporting source for anomalous experiences in a mirror-gazing facility. Pairs well with Hastings and the Caputo review.Kamp, K. S., Evgenia Steffen, Louis A. Kasket, and others. “Sensory and Quasi-Sensory Experiences of the Deceased in Bereavement: An Interdisciplinary and Integrative Review.” Schizophrenia Bulletin 46, no. 6, 2020, 1367–1381.Key use: Strong source for the grief section. It supports the point that bereaved people often report sensory or quasi-sensory experiences of the deceased, including feeling a presence, seeing, hearing, smelling, or sensing the dead.Hewson, Helen, and colleagues. “The Impact of Continuing Bonds Following Bereavement: A Systematic Review.” Death Studies, 2024.Key use: Useful for continuing bonds. It helps frame ongoing inner relationships with the dead as part of bereavement rather than automatically pathological.Historical, Religious, and Occult Mirror DivinationJohnston, Sarah Iles. Ancient Greek Divination. Wiley-Blackwell, 2008.Key use: Broad academic background for ancient divination systems. Not only mirror scrying, but very useful for framing divination as a serious religious and cultural practice.“Technical Divination and Mechanics of Sacred Space.” In Technologies of the Marvellous in Ancient Greek Religion. Cambridge University Press.Key use: Useful for ancient catoptromancy. This chapter discusses mirror divination as a technical mode of ancient divination involving reflective/catoptric knowledge and assumptions about divine intervention in human knowledge.Lee, Mireille M. “The Gendered Economics of Greek Bronze Mirrors.” Hesperia 86, no. 1, 2017.Key use: Useful for Greek bronze mirrors as social, gendered, material, and possibly magical/divinatory objects.Pitt Rivers Museum. “Mirrors.” Body Arts Collection Resource.Key use: Good museum-level source for folklore around mirrors and catoptromancy. Useful for basic show-note support on the traditional belief that mirrors could reveal the future.John Dee, Black Mirrors, and ObsidianBritish Museum. “Dr Dee's Magical Mirror / Dr Dee's Magical Speculum.” Collection object 1966,1001.1.Key use: Essential object source. The British Museum identifies the object as Dr. Dee's magical mirror or magical speculum, made of obsidian, catalogued as Aztec, and broadly dated to the 14th–16th century.Campbell, Stuart, Elizabeth Healey, Jago Cooper, Naomi Speakman, and others. “The Mirror, the Magus and More: Reflections on John Dee's Obsidian Mirror.” Antiquity 95, 2021.Key use: Essential academic source for Dee's mirror. The study uses geochemical analysis to show that the British Museum obsidian mirrors are Mexican in origin, with Dee's mirror matching the Pachuca obsidian source.Nature. “A ‘Spirit Mirror' Used in Elizabeth I's Court Had Aztec Roots.” 2021.Key use: Short science-news summary of the Antiquity findings. Useful for quickly explaining that Dee's mirror was traced to a source near Pachuca, Mexico.Smithsonian Magazine. “Obsidian ‘Spirit Mirror' Used by Elizabeth I's Court Astrologer Has Aztec Origins.” 2021.Key use: Useful public-facing summary of Dee's mirror, its Aztec/Mexican origin, and its connection to Elizabethan occult culture.Dee, John, and Meric Casaubon, ed. A True & Faithful Relation of What Passed for Many YeaAlso want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. A

Host Natalie Grueninger interviews Dr Wyn Derbyshire about the remarkable life of Bess of Hardwick — her uncertain origins, four marriages, sharp business sense, and rise to becoming the second-richest woman in England. The episode explores her building projects (Hardwick and Chatsworth), estate management, and relationships with Queen Elizabeth I and Mary, Queen of Scots. Learn more about Dr Derbyshire https://spiramus.com/wyn-derbyshire Learn more about your host: https://www.nataliegrueninger.com Support Talking Tudors on Patreon!

In Romeo and Juliet, Juliet declares "Thou know'st the mask of night is on my face, Else would a maiden blush bepaint my cheek" Katharina in Taming of the SHrew talks about painting your face, and Timon of Athens makes a connection between painting and your face saying "wear them, betray with them: whore still; Paint till a horse may mire upon your face, A pox of wrinkles!" And of course, Hamlet has the most famous facial disguise quote when he says "God has given you one face but you make yourself another." All of these references underpin what we know about cosmetics and facial care in Shakespeare's England. Famously, Queen Elizabeth herself kept her face quite decadently forever striving after that porcelain skinned ideal that was a hallmark of the Elizabethan Era. But what did women use to take care of their faces in the Elizabethan era, and in a. Culture where people like Hamlet were suspicious of women who disguised their true form, how was makeup received? Was it something normal and every day, or were there instances when applying makeup, or perhaps even the wrong makeup, could get someone into trouble? To find out more and explore the intricate and complex world of makeup, cosmetics, and facial care for women of Shakespeare's lifetime, we're delighted to welcome historian and author of Beauty and Cosmetics, 1550–1950, Sarah Jane Downing to the show this week. She's here to take us behind the makeup counters of Tudor women and share with us what we might there.

Joshua Kane please dress us! Amy Phillips and Emily Dorezas comedically recap Ladies of London, riffing on the cast endlessly “yelling across the garden,” Kimmy's allegedly raw Longleat omelet, and the show's mean-spirited “British way” of mocking outfits. They joke through Margo's villain arc and her disastrous confrontation with Mark—describing his sudden gentle tone as creepy and performative—while clocking how she torpedoes her own case with harsh insults. The conversation detours into Joshua Kane's runway suits (including “detached collars” and a very specific fit critique), Lottie's melodramatic runway panic, and a Christopher Guest-style parody fantasy. They spiral into bits about hormones, progesterone at Costco, cheddar cheese origins, demanding royal titles for Emma, tiara shopping, and Micah's confusing “Art of Showing Up” launch—then cap it with Mark's dramatic, posture-perfect crying and a final reminder: don't yell in the garden.BLISSY Wake up with clearer skin, smoother hair, and cooler sleep. Use code DRAMA for an extra 30% off at blissy.com/DRAMA BORN SHOES Go to https://www.bornshoes.com/  today for a 15% discount plus free ground shipping on all full-price shoes when you use my promo code DRAMA for 15% off and free shipping available exclusively to our listeners for just a limited timeFor more Drama, Darling, and exclusive content, subscribe to: http://Patreon.com/dramadarling Follow Amy Phillips on Instagram: Instagram.com/meetamyphillips Follow Drama, Darling on Instagram: Instagram.com/dramadarlingshow Amy on TikTok tiktok.com/@realamyphillips Email Drama, Darling with YOUR comments, questions and drama:  DramaDarlingz@gmail.com Drama Darling Shop https://drama-darling-shop.printify.me/

Episode 214:For today's guest episode I was pleased to get the chance to talk to Rob Eastaway, author of a book all about Shakespeare and his relationship to numbers and mathematics. Rob's book ‘Much Ado About Numbers' is a very entertaining read, whatever your level of understanding maths might be and quite an eye opener when considering how much maths permeates into Shakespeare's plays. This is not just about hard numbers and number crunching, but touches to the Elizabethan attitude towards descriptive scales, astrology, astronomy, music and optics. Rob does a great job in the book of condensing these very broad and often technical subjects into a book that is a mixture of popular science, mathematics, history and, of course, literature, so it was great to chat to Rob about just some of those concepts.Rob Eastaway is author of several bestselling books connecting maths with everyday life, including "Why do Buses Come in Threes?" and "How Many Socks Make a Pair?". His first book "What is a googly?", an introduction to cricket, was famously presented by British Prime Minister John Major to President Bush (snr) at Camp David in 1992, and was published in the USA under the title "Cricket Explained". With Mike Askew, he wrote "Maths for Mums & Dads", a book that helps parents to understand the new methods being used to teach maths, and offers ideas for how to make maths more engaging and fun at home. An American edition was published in 2010 entitled "Old Dogs, New Math". Rob appears regularly on radio in the UK and is a regular speaker. An activity that has taken him to the Usa and Australia. He was President of the Mathematical Association from 2007-8.Links to 'Much Ado About Numbers:Amazon UK: https://www.amazon.co.uk/Much-Ado-About-Numbers-Eastaway/dp/1805460293/ref=sr_1_1?Amazon US: https://www.amazon.com/Much-Ado-About-Numbers-Shakespeares/dp/B0CWD3SNXP/ref=sr_1_1?Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp You can find an advertisement free version of the latest podcast episodes by joining on Patreon at the lowest paid tier level – that's for just £1 per month. Hosted on Acast. See acast.com/privacy for more information.

This is for Terry Illikainen. No commentar.y As an experiment, I will do the commentary as a separate post. In a sombre Elizabethan pile above Lake Windermere, the air is thick with more than just decay. Miss Prunella Pendleham, the last of a long line, watches her companion, Amelia, wither into a gaunt and listless shadow. Amelia is the sixth companion; three before her never left these walls alive. Amidst the rattle of mountain rain, thin, high screams echo through the stone-vaulted halls. Is it the onset of madness, or is the house reclaiming a brutal, hidden history? As the light fades, the only certainty is the tightening grip of a terror that will have its say. The Triumph of Death first appeared in The Arkham Sampler, Autumn 1949. It was later collected in Strayers from Sheol (1961) and The Best Ghost Stories of H. Russell Wakefield (1978). H. Russell Wakefield (1888--1964) was an English writer best known for his unsettling ghost stories. Drawing on clerical, military, and publishing-world experience, he brought a sharp psychological edge to the classic British supernatural tale.

Sissinghurst is one of the country's crowning gems of National Trust gardens, and a place in which Adam was brought up, around the beauty curated by his grandparents.This week on ‘grow, cook, eat, arrange', we're delving into the centuries of legacy which led to a spot perfect for Vita Sackville-West and Harold Nicolson to create the poetic space we know and adore today, and how their vision is being revived today for generations to come.In this episode, discover:The remarkable story of how Vita Sackville-West turned a ruined Elizabethan courtyard house into one of the world's most celebrated gardensHow Sissinghurst evolved through centuries – from Renaissance palace to poetic family home and garden, and all in betweenThe creative partnership between Vita and Harold NicolsonWhat makes the white garden so magical, from its glowing night-time palette to its scented, moth-pollinated plantsHow the newly reimagined Delos garden brings a Greek hillside to Kent, blending historical inspiration with modern designProducts mentioned:Ammi majus: sarahraven.com/products/ammi-majusAmmi visnaga: sarahraven.com/products/ammi-visnagaAgrostemma githago 'Milas Snow Queen':sarahraven.com/products/agrostemma-githago-milas-snow-queenSee our events: https://www.sarahraven.com/courses-eventsGet in touch: info@sarahraven.comShop on the Sarah Raven Website: https://www.sarahraven.com/Follow us on Instagram: https://www.instagram.com/sarahravensgarden/Follow Sarah: https://www.instagram.com/sarahravenperchhill/Order Sarah's latest books: https://www.sarahraven.com/gifts/gardening-books?sort=newest

In this week's episode of The Learning Curve, co-hosts Prof. Albert Cheng of the University of Arkansas and Center for Strong Public Schools' Alisha Searcy speak with Stephen Greenblatt, Cogan University Professor of the Humanities at Harvard University and one of the world's foremost scholars of Renaissance literature. Greenblatt discusses his acclaimed book, Dark Renaissance: The Dangerous […]

In this week's episode of The Learning Curve, co-hosts Prof. Albert Cheng of the University of Arkansas and Center for Strong Public Schools' Alisha Searcy speak with Stephen Greenblatt, Cogan University Professor of the Humanities at Harvard University and one of the world's foremost scholars of Renaissance literature. Greenblatt discusses his acclaimed book, Dark Renaissance: The Dangerous Times and Fatal Genius of Shakespeare's Greatest Rival, and explores the remarkable life, work, and legacy of Christopher Marlowe. He explains how Marlowe, the son of a cobbler from Canterbury, rose through England's demanding classical education system to become one of the boldest playwrights of the Elizabethan era. Prof. Greenblatt examines the political and cultural climate of Elizabethan England, shaped by censorship, religious conflict, and surveillance, and how those pressures influenced Marlowe's daring artistic voice. Greenblatt also unpacks enduring mysteries surrounding Marlowe's life, including theories that he served as a secret agent for Sir Francis Walsingham, Queen Elizabeth I's spymaster. He also discusses Marlowe's landmark plays Tamburlaine and Doctor Faustus, his celebrated poetry, and the dramatic innovations that transformed English theater. Additionally, he also reflects on Marlowe's rivalry with Shakespeare, mysterious death, and enduring influence on literature today. In closing, Prof. Greenblatt reads a passage from his book, Dark Renaissance: The Dangerous Times and Fatal Genius of Shakespeare's Greatest Rival.

In this episode, Gail Eichenthal interviews the acclaimed opera director Shawna Lucey who helms LA Opera's "Falstaff." Shawna shares how she came to opera from theater, her long love affair with "Falstaff," and her formative training in Moscow. Experience Shawna's feminist perspective on Elizabethan society and find out why she says that "Falstaff" teaches us to love ourselves. "Falstaff" is playing now through May 10 at the Dorothy Chandler Pavilion. Get your tickets at LAOpera.org.

The story of how a respected Elizabethan botanist looked at a tomato, applied perfectly logical medical reasoning, and concluded that English people shouldn't eat one, and why it took two hundred years for anyone to prove him wrong. Learn more about your ad choices. Visit megaphone.fm/adchoices

English statesman, author, soldier, explorer, and a favorite courtier of England's Tudor Queen Elizabeth the First, Sir Walter Raleigh (1552-1618) was one of the most notable figures of the Elizabethan era. He played a leading part in English colonization of North America and helped defend England against the Spanish Armada. He was the younger half-brother of North American explorer Sir Humphrey Gilbert and a cousin of adventurer Sir Richard Grenville. In 1594, Raleigh heard of a "City of Gold" in the New World and sailed across the Atlantic Ocean to find it, publishing an account of his experiences in a book that contributed to the legend of "El Dorado". Check out the YouTube version of this episode at https://youtu.be/lRgdVlZte24 which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Walter Raleigh books available at https://amzn.to/3MqX10V El Dorado books available at https://amzn.to/3IAWmc4 ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM LibriVox: Historical Tales by C. Morris, read by Kalynda See omnystudio.com/listener for privacy information.

David Smalling portrait © Stefen Pompee Born in 1987 in Kingston, Jamaica, David Smalling lives and works in New York City. He studied Mathematics at Yale University, where he also trained at the Yale School of Art, and holds a Ph.D. from Harvard University. Drawing from the tradition of Mannerism and the Dutch Golden Age, Smalling's paintings examine how contemporary social codes and gender norms shape identity and behavior. Through carefully constructed domestic and ceremonial scenes, he explores themes of belonging, aspiration, and restraint, questioning the roles we inherit and perform. The exhibition of all new paintings on wood panels takes its title from the Elizabethan collar, the veterinary device colloquially known as the “cone of shame”—a protective apparatus designed to prevent an animal from tearing at its own sutures. The collar, as depicted in Cone of Shame, becomes a metaphor for conditional belonging: entry into a space that promises safety and prestige while quietly limiting autonomy. David Smalling, Party Favor, 2026 Oil on panel 61 × 91.5 cm — 24 × 36 in. Courtesy of the artist and Templon, Paris – Brussels – New York. Photo © Charles Roussel. David Smalling, Cremaster, 2025 Oil on panel 51 × 61 cm — 20 × 24 in. Courtesy of the artist and Templon, Paris – Brussels – New York; Photo © Charles Roussel. David Smalling, Follicular, 2025 Oil on panel 91 × 61 cm — 36 × 24 in. Courtesy of the artist and Templon, Paris – Brussels – New York. Photo © Charles Roussel.

Elizabethan ‘Sea Dog’ Sir Richard Grenville (1542-91) was Walter Raleigh’s cousin and an English privateers who was authorised by Queen Elizabeth I to raid England's enemies, even during times of peace. Carrying letters of marque issued by the English Crown, the Sea Dogs frequently attacked both enemy shipping at sea and enemy outposts on land... frequently targeting the Spanish in North American waters and ports. Check out the YouTube version of this episode at https://youtu.be/jsHtkKEUkPs which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Books about Pirates available at https://amzn.to/4aMr1ld Pirate mystery novel (Seeking Sasha) at https://amzn.to/4oqp7Ku Roanoke Colony books available at https://amzn.to/45tKBy6 ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 X (Twitter): https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: LibriVox—A Book of American Explorers by T.W. Higginson, read by D. Gines; Yo Ho Ho and a Bottle of Rum by Los Pirates www.youtube.com/@lospirates2409. Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting. See omnystudio.com/listener for privacy information.

She cut off her hair to sail the seas. She divorced her husband by locking him out of his own castle. And when her son was killed by the occupying English, she sailed straight up the Thames to plead for help from Elizabeth I. Or did she?Gráinne Ní Mháille, or Grace O'Malley, the legendary "Pirate Queen" of Ireland, was the head of a seafaring dynasty, while the Tudors tightened their grip, she commanded fleets, forged alliances, waged war, survived imprisonment, and outwitted some of the most ruthless men of her age.Professor Suzannah Lipscomb is joined by Dr Gillian Kenny to debunk some of the myths about one of the most remarkable women of the Elizabethan age.MOREWomen Pirates of the CaribbeanListen on AppleListen on SpotifyIreland's Witchcraft TrialsListen on AppleListen on SpotifyPresented by Professor Suzannah Lipscomb. The researcher is Max Wintle, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcastSign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe.  Hosted on Acast. See acast.com/privacy for more information.

Why were Shakespeare's greatest heroines played by teenage boys? How did they learn their craft? On the Elizabethan stage, highly trained young men progressed from minor parts to play some of the Bard's most famous heroines, including Juliet and Cleopatra.Professor Suzannah Lipscomb is joined by Professor Roberta Barker to uncover how these cross-dressing apprentices brought some of the Renaissance theatre's most memorable characters to life.MOREShakespeare's First PlayhouseListen on AppleListen on SpotifyGirls on Stage and Page in the Elizabethan AgeListen on AppleListen on SpotifyPresented by Professor Suzannah Lipscomb. The researcher is Max Wintle, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcastSign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe.  Hosted on Acast. See acast.com/privacy for more information.

Join us as we explore outdoor recreation, conservation, and local adventures with Matthew Moore, owner of Hellbender Outfitters in Elizabethan. Discover how this store fosters community, promotes conservation, and equips outdoor enthusiasts of all levels. key  topicsOutdoor recreation access in East TennesseeConservation of the eastern hellbender and ecosystem healthCommunity building through outdoor education and gearConnect with Hellbender Outfitters: https://hellbenderoutfittersetn.com/Buy your next home, or list your current home with us!https://www.thecolinandcarlygroup.com/Be a guest on the Johnson City Living Podcast: https://www.johnsoncityliving.com/guests?fbclid=PAZXh0bgNhZW0CMTEAAaf_qLsH2l73s8fTV40Oebx8kSAGlIFS_y50ij7CRneeNX3I6NzzfQMUKP-7hw_aem_xHCpTZ5r_cOfc22X1DNvmw

Elizabethan seaman, adventure, privateer, and explorer Sir Martin Frobisher (1535-94) made three voyages (1576-77-78) to the New World looking for the Northwest Passage to Asia. Check out the YouTube version of this episode at https://youtu.be/8ge_Neg3zKE which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Martin Frobisher book at https://amzn.to/4iVCIab England History books available at https://amzn.to/4526W5n British Kings & Queens books available at https://amzn.to/430VOo0 Age of Discovery books available at https://amzn.to/3ZYOhnK Age of Exploration books available at https://amzn.to/403Wcjx ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 X (Twitter): https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: LibriVox Historical Tales by C. Morris, read by Kalynda See omnystudio.com/listener for privacy information.

Englishman Sir Francis Drake (1540-96) was one of the many Buccaneers that roamed the shores of North America on behalf of Queen Elizabeth I in the late 1570s. He was an explorer, sea captain, privateer, slave trader, Elizabethan naval officer, and politician. He is best known for his circumnavigation of the world in a single expedition, from 1577-80. This included his incursion into the Pacific Ocean, until then an area of exclusive Spanish interest, and his claim to Nova or New Albion for England, an area in what is now the U.S. state of California. Check out the YouTube version of this episode at https://youtu.be/jCKbhdmFBbY which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. Books about Francis Drake at https://amzn.to/3S1xC0W England History books available at https://amzn.to/4526W5n Age of Discovery books available at https://amzn.to/3ZYOhnK Age of Exploration books available at https://amzn.to/403Wcjx ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 X (Twitter): https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: LibriVox Historical Tales by C. Morris, read by KalyndaSee omnystudio.com/listener for privacy information.

Katherine Parr survived Henry VIII -- no small feat -- only to die in childbirth at 36 after rushing into a marriage with Thomas Seymour, the charming, reckless, deeply ambitious man she'd wanted before Henry got in the way. The obvious "what if" is that she lives longer. But the more interesting question is what her survival means for Elizabeth Tudor -- the teenager living in that household, experiencing things no teenager should experience, and then losing the closest thing she had to a mother, all before her sixteenth birthday. In this alternate history episode we look at who Tom Seymour really was, what actually happened at Chelsea, and what a different outcome might have meant -- for Katherine's intellectual and religious work, for the Elizabethan religious settlement, and for whether the woman who became Elizabeth I might have carried a little less armor into her reign. Learn more about your ad choices. Visit megaphone.fm/adchoices

The much anticipated, Emmy and Golden Globe Award-winning medical drama The Pitt finally hits HBO max screens in the UK this week. Samira talks to lead actor Noah Wyle who plays Dr ‘Robby' Robinavitch, about being back in a high octane emergency department drama decades after making his name as Dr Carter in ER.The Elizabethan composer John Dowland died 400 years ago this month. Next weekend there will be a celebratory Weekend of his music performed at London's Wigmore Hall. We speak with two musicians who will be celebrating Dowland's music: Counter tenor Iestyn Davies and lutenist Elizabeth Kenny.Does opera need to be telling new stories? The ENO's former artistic director John Berry, and playwright Mark Ravenhill join us to discuss. Presenter: Samira Ahmed

Episode 207:It was just about this time last year I talked to Roberta Barker about her work on the boy actors of the Elizabethan period and she mentioned at the time that she was then working on a new edition of ‘Measure for Measure' for Cambridge University Press and I'm pleased to say that she agreed to carve some time out of her busy schedule to discuss the play with us today. Having been immersed in the play for a long time there is no one better placed at the moment than Roberta to discuss the play so I was particularly pleased when she agreed to come back onto the podcast at this point.Roberta Barker is a member of the Joint Faculty of King's College, London, where she is Professor of Theatre teaching in the Foundation Year and Early Modern Studies programs, and Dalhousie University, Halifax Nova Scotia, where she teaches Theatre in the Fountain School of Performing Arts. Her research interests centre upon the relationship between performance and the social construction of identity and has explored such topics as the representation of gender and class in early modern tragedy, the early modern careers and modern afterlives of Shakespeare's boy players, and the role played by the performance of illness on the nineteenth-century stage in the evolution of realist style. She is also a theatre and opera director.Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

We follow the adventures and the atrocities of the English “sea dogs,” from raiding ports in West Africa and Spanish mule trains in Central America to scrounging for gold in the Canadian tundra, as the Tudor regime exploited England's expertise in sailing and navigation to undermine the Spanish empire and try to turn the Atlantic into a massive free-trade zone. We uncover why Elizabethan England never created lasing colonies of their own, until the accession of the first Stuart king in 1603 led to a profound shift in policy, paving the way for the first English colonies beyond Ireland and the extension of the “British empire” to America. Patrons: comment on this post to let us know which country or state you are in: https://www.patreon.com/posts/tell-me-where-153392904 Please become a patron to hear all patron-only lectures: https://www.patreon.com/c/u5530632 My previous lecture on England in the Tudor Age: https://soundcloud.com/historiansplaining/age-of-absolutism-2-tudor-england-1485-1603 My interview with historian Melissa Morris on the early European colonies in Guiana, South America: https://soundcloud.com/historiansplaining/before-jamestown-when-england-colonized-the-amazon-a-conversation-with-melissa-morris Image: the “Armada Portrait” of Queen Elizbeth I, version probably commissioned by Francis Drake; notice English & Spanish ships seen over queen's shoulders, & queen's hand resting on North America on the globe, representing her purported claim to that land Suggested further reading: Armitage, “Ideological Origins of the British Empire”; Kupperman, “The Jamestown Project”

An Elizabethan shipbuilder, naval administrator & commander, merchant, navigator, privateer & slave trader—Admiral Sir John Hawkins (1532–95) was one of the foremost seamen of 16th-century England, he was the chief architect of the Elizabethan navy and was one of the many Buccaneers that roamed the shores of North America on behalf of Queen Elizabeth the First in the 1560s. Check out the YouTube version of this episode at https://youtu.be/5ABe6xFqnkM which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams. John Hawkins book at https://amzn.to/47I8owL Books about Pirates available at https://amzn.to/4aMr1ld Pirate mystery novel (Seeking Sasha) at https://amzn.to/4oqp7Ku ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's HISTORICAL JESUS podcast at https://parthenonpodcast.com/historical-jesus Mark's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 X (Twitter): https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM See omnystudio.com/listener for privacy information.

Join me (Anna Stone) and guest host Emilio Tostado of Sleepless Cinematic Podcast as we break down William Shakespeare's Romeo and Juliet and the 1996 Baz Luhrman film adaptation. In this episode, Emilio discusses the use of water throughout the film, we talk about this amazing cast, and we both struggle to pronounce the word "Elizabethan". Follow on Instagram @stonestoptens and @sleeplesscinematicpodEmail stonestoptens@gmail.comSleepless Cinematic Podcast episode on Shakespeare In Love keywordsRomeo and Juliet, Baz Luhrmann, classic literature, film adaptation, themes, iconic scenes, character analysis, modern adaptations, cultural impact, Shakespeare Romeo and Juliet, modern adaptations, character dynamics, dystopian aesthetics, visual storytelling, sound design, casting choices, timelessness, aging characters, memorable scenes Romeo and Juliet, Baz Luhrmann, character analysis, film critique, performance review, costume design, modern adaptation, Shakespeare, cinematic choices, character dynamics Romeo and Juliet, film adaptation, costume design, soundtrack, modern casting, Baz Luhrmann, Shakespeare, movie critique, character analysis, 90s nostalgia

The 98th Academy Awards will air live on ABC and stream on Hulu this Sunday, March 15 at 7 p.m. ‘Hamnet,' directed by Chloé Zhao, based the novel by Maggie O'Farrell, and starring Jesse Buckley and Paul Mescal, is nominated for eight Academy Awards – including Costume Design. For her work on ‘Hamnet,' Malgosia Turzanska became fully enveloped in Tudor style and the Elizabethan era. She and her team designed and built gowns, bodices, doublets, and breeches out of sustainable and period correct fabrics and colors.

Episode 205:Last time Ben Jonson's retelling of a slice of Roman Imperial history failed to impress at the Globe theatre. As an actor in that play Shakespeare had first-hand experience of the way the audience in the theatre could turn on the poet and the players alike, but it is difficult to think that his confidence in his own work was much dented by the experience. His next play ‘The Tragedy of Othello, The Moor of Venice' is, I would say, brim full of the confidence of an experienced playwright who knew that his play would both entertain on several levels and provoke much thought in the audience.The dating and first performance of the playThe early publication history of the playDetails from a performance in 1610The source material for the playThe structure of the playThe significance of Venice and CyprusThe structural balances in the playThe poetry and imagery in the playThe use of language as a dramatic techniqueThe urgency of the opening of the playThe character of Iago and how he manipulates his victimsThe character of BrabantioWhat the Elizabethan audience might have thought of a ‘moor'Queen Elizabeth's attitude to immigrants from AfricaHow Shakespeare handled the racial aspects of the playThe character of Micheal CassioSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

We think of the Tudor period as velvet and poetry and dramatic executions. We do not think of it as siege warfare. That's a mistake. In this episode I'm looking at three Tudor sieges that completely wrecked my assumptions about this era: - Henry VIII personally showing up to besiege a French city (and having to be hoisted onto his horse to get there), - a Protestant reformer who ended up as a galley slave after one of the most dramatic castle standoffs in Scottish history, - and a massacre on an Irish headland that the Elizabethan golden age narrative tends to skip past. Gunpowder was changing everything in this period. The Tudors were living in a world of constant violence and instability that the pretty portraits don't show us. And some of the most consequential moments of the 16th century happened not in a court or a council chamber, but outside a set of walls. Learn more about your ad choices. Visit megaphone.fm/adchoices

Danny L Harle returns to Line Noise for a record-breaking fourth time as we celebrate the release of his "debut" (ish) album Cerulean. Mar Vallverdú and Ben Cardew grill him on his greatest melody, working with his daughters, Dua Lipa's tea, Elizabethan composers, Ibiza and much more. Line Noise comes with the support of Cupra.

You might have recently seen Hamnet at the cinema, but did you read the book along with the Happy Place Book Club in January?In this chat, Fearne and author Maggie O'Farrell talk about how Jessie Buckley's award-winning performance brought Agnes to life in the film, why it's vital to remember women's place in history, and why Maggie chose not to name Shakespeare in the book.Maggie uses her intuition when she's writing, and talks about why she doesn't really plan what voice or tense to style she's going to write in.Plus, Maggie reveals some of the Elizabethan pursuits she took up during her research phase, including flying Kestrels and making herbal cold remedies... And Fearne reads out what she reckons is "the sexiest paragraph ever written"!Thank you to Tinder Press for use of the Hamnet audiobook, narrated by Jessie Buckley.If you liked this episode of Happy Place, you might also like:Book Club Meets: Nussaibah YounisBook Club Meets: Elizabeth DayBook Club Meets: Elizabeth Gilbert Hosted on Acast. See acast.com/privacy for more information.

A few months ago, Puerto Rican rapper Bad Bunny guest hosted an episode of “Saturday Night Live” where he appeared in a skit as a Spanish nobleman from the Middle Ages wearing an inky blue robe with gold threading on the collar and sleeves. The costume he wore didn’t come from the show’s wardrobe department. Instead, it was shipped overnight by the Oregon Shakespeare Festival Costume Rentals department in Talent.    As profiled in a recent article in Oregon ArtsWatch, for more than 20 years, OSF Costume Rentals has been making costumes and accessories that were created for its productions available to rent by local theater companies, academic institutions, film and photo shoots and TV shows like “SNL.” The vast digital inventory is searchable online and spans more than 30,000 costumes and accessories, from elaborate Elizabethan gowns and silky Regency dresses to velour smoking jackets and butterfly-collared shirts.    OSF Costume Rentals supervisor Celina Gigliello-Pretto and OSF Director of Productions Malia Argüello share how OSF is preserving its costumes and helping other productions reimagine their possibilities.  

Episode 203: We now stay in the world of the Elizabethan interpretation of classical history and myth with Ben Jonson's next play ‘Sejanus His Fall'. Rooted more firmly in history than myth Jonson's play uses the story of a power struggle motivated by personal ambition to look at the nature of power, justice and politics. This was quite evidently dangerous ground for a playwright already known for his clashes with the authorities, but it was not just that commentary of contemporary politics that got Jonson into trouble with this play. A brief word on the unfinished tragedy ‘Mortimer His Fall'The ‘argument' of the play and some thoughts on what the play might have beenThe early performance history of ‘Sejanus His Fall'The possible co-author of the playThe early reception of the playThe background to the poor reception of the playA synopsis of the playThe ban on satires and historiesThe translations of Tacitus and complications with EssexHow John Heyward's problems with censorship influence the playThe play as a commentary on Elizabethan societyQuestions of the control of power in the playQuestions of the application of justice in the playThe motivations of SejanusThe aesthetic issues with the playHow Jonson mixed comedy and tragedy in the playThe influence of Marlowe on the verse in the playJonson censured for the playThe later performance history of the playSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

• Explores in depth the medicinal and magical properties of the many herbs, barks, and berries associated with the Christmas and Yuletide season• Looks at the origins of the Christmas tree and Santa Claus, as well as female gift bringers, holiday Spirits, and Yuletide animals• Shares crafts such as how to make a Yule Log, practices such as Winter Solstice divinations, and recipes for traditional foods and drinksFor millennia cultures have taken time out to honor the darkest days of the year with lights, foods, and festivities.In ancient Egypt, people decorated their homes with greenery at the festival of the rebirth of the God Horus. The ancient Romans shared gifts, especially candles, at the midwinter festival of Saturnalia. In Scandinavian and Germanic cultures, the Yule Log was burned in the hearth, fruit orchards were wassailed, and sheaves of wheat were displayed to carry luck into the New Year. In Celtic cultures, mummers and guisers went door to door, and European mistletoe (Viscum album) was gathered by Druids as a medicinal and magical aid.Ellen Evert Hopman shares folklore, recipes, rituals, and crafts to enliven your Yuletide observance. She explores the origins of the Christmas tree and Santa Claus as well as holiday Spirits and Yuletide animals. She explains how to perform Winter Solstice divinations and make traditional foods and drinks such as Elizabethan gingerbread cookies and Wassail. And she looks in depth at the medicinal and magical properties of the many herbs, barks, and berries associated with the Christmas and Yuletide season such as Frankincense and Myrrh, Cinnamon, Nutmeg, Hibiscus, Bayberry, and many more. This guide offers practical and magical ways to celebrate and honor the darkest days of the year.Ellen Evert Hopman is a master herbalist and lay homeopath, who has been a Druidic initiate since 1984. She is a founding member of the Order of the White Oak, the Archdruidess and founder of Tribe of the Oak, a former professor at the Grey School of Wizardry, and a member of the Grey Council of Mages and Sages. She is the author of Celtic herbals and Druid novels, including Secret Medicines from Your Garden, The Sacred Herbs of Samhain, and Once Around the Sun: Stories, Crafts, and Recipes to Celebrate the Sacred Earth Year. She lives in Massachusetts.https://elleneverthopman.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.

Did you know that Elizabethan Londoners were good kissers? That medieval drinkers used beer to fight off the flames of a raging inferno? And that Jane Austen doesn't paint an entirely accurate picture of the early 19th century? These are just some of the facts served up in Ian Mortimer's new book, Mortimer's A to Zs of English History. Here, in conversation with Spencer Mizen, Ian takes us on an immersive tour of the nation in four periods: the 14th century, the Elizabethan age, the Restoration and the Regency. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1602, Elizabeth I wrote a formal letter to the Emperor of China, hoping to open peaceful trade between their two realms. The letter was sent with an English explorer attempting to reach China via the Northwest Passage. He never made it. The minicast stayed in England for centuries, was once used to line a farm's bran bin, and was not finally delivered to China until 1984. This episode tells the story of that extraordinary diplomatic misfire, and what it reveals about Elizabethan ambition, global trade, and how history sometimes survives by accident. Hosted on Acast. See acast.com/privacy for more information.

What did people really eat in Shakespeare's England? In her new book, Much Ado About Cooking, food historian Sam Bilton uncovers the vibrant and surprising world of early modern cuisine—where sugar was locked away like treasure, fresh salads were everyday fare, and a “banquet” meant a “post-feast after party” dessert course. Bilton brings to life the flavors behind Shakespeare's food references: mince pies, herb-packed green sauces, saffron-brightened tarts, and even whimsical dishes crafted to look like something else entirely. These foods reveal a world shaped by global trade, humoral medicine, and a delight in spectacle. In this episode, Bilton discusses how cooking, dining, and food imagery can open a new window onto Shakespeare's plays and the people who lived, ate, and celebrated in his time. From the Shakespeare Unlimited podcast. Published December 16, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. We had technical help from Hamish Brown in Stirling, Scotland, and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc. Sam Bilton is a food historian, author and presenter of the award-winning “Comfortably Hungry” and “A is for Apple” podcasts. She has written books on the history of gingerbread, saffron and chocolate, and writes articles on food history for a variety of print and online publications. Sam has also hosted several Shakespeare-themed supper clubs over the years. You can find out more details about Sam on her website: sambilton.com.

From his possible espionage work for the Elizabethan state to his open flirtations with atheism and subversive sexual themes, the brief life of playwright Christopher Marlowe tells us much about the shadowy edges of 16th-century England. Stephen Greenblatt joins Elinor Evans to discuss the subversive, dangerous life of 'Kit', who became both a collaborator and rival of his contemporary, William Shakespeare. (Ad) Stephen Greenblatt is the author of Dark Renaissance: The Dangerous Times and Fatal Genius of Shakespeare's Greatest Rival, Christopher Marlowe (Bodley Head, 2025). Buy it now from Amazon: https://www.amazon.co.uk/Dark-Renaissance-Dangerous-Shakespeares-Christopher/dp/1847927130/?tag=bbchistory045-21&ascsubtag=historyextra-social-histboty. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices