Podcasts about Macbeth

Roll on another month and another Three Ravens Live Show release - and of not just one but two performances recorded at Gloucester History Festival at the end of September 2025!As we explain in the episode, first comes our Forgotten Melodies Live show, performed on Sunday 21st September in the Great Hall at Gloucester's Blackfriars as part of Witch Night, followed by a retelling of Martin's Gloucester story first heard in Series 3 Episode 2 about Gloucestershire, "The Torbarrow Guardian" as recorded that afternoon in the Scriptorium Buttery.We really hope you enjoy both recordings, speak to you tomorrow for an all-new episode of Three Ravens Haunting Season, and if you would like details of the Forgotten Melodies Live set list then it's as follows:The Earth, The Air, The Fire, The Water (Trad)On Matthew Hopkins by Samuel Butler (c.1663)Ring Down Below (Trad)Hecate's Speech from Macbeth by William Shakespeare (c.1606)Old Pendle (Trad)Very Wicked People (spoken word)Witches Reel (Trad)Witch Burning by Sylvia Plath (1959)Sovay (Trad)The White Witch by James Weldon Johnson (1915)Hare Spell (Trad)Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcastProud members of the Dark Cast Network.Visit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

Adam Keller, co-host of the Valley Labor Report and member of the North Alabama Area Labor Council, joined the America's Work Force Union Podcast to discuss recent labor organizing efforts in the South.   Chris Baumann, Southern Region Director for Workers United, and Maribel MacBeth, an SEIU 32BJ member and cabin cleaner at Charlotte Douglas International Airport, discussed the ongoing struggle for better working conditions and fair wages on the America's Work Force Union Podcast. 

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you. In this episode, we begin by exploring how Prospero's magic in The Tempest reflects early modern grimoire traditions—a form of ritual magic rooted in books, incantations, and precise ceremonial practice, especailly as compared to the types of magic we discussed in our Macbeth episodes. We examine how Shakespeare's depiction of Prospero's art, Prospero's relationship with Ariel, and the creation and disappearance of the masque parallel descriptions of grimoire magical practices found in a grimoire manuscript from the late 1500s. From there, we examine how The Tempest itself mirrors the alchemical process, moving through symbolic stages of separation, purification, and reconciliation. By tracing how the structure of the play parallels the alchemist's pursuit of transformation, we uncover how Shakespeare weaves together the worlds of science, faith, and magic to create a story of power, renewal, and artful creation. Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. For updates: join our email list, follow us on Instagram at @shakespeareanyonepod or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, buying us coffee, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod (we earn a small commission when you use our link and shop bookshop.org). Find additional links mentioned in the episode in our Linktree. Works referenced: Folger Shakesepeare Library. “Book of Magic, with Instructions for Invoking Spirits, Etc, ca. 1577-1583. [Manuscript].” Digital Collections, Folger Shakepeare Library, digitalcollections.folger.edu/bib228887-238418. Accessed 5 Oct. 2025. Simonds, Peggy Muñoz. “‘My Charms Crack Not': The Alchemical Structure of ‘The Tempest.'” Comparative Drama, vol. 31, no. 4, 1997, pp. 538–70. JSTOR, http://www.jstor.org/stable/41153887. Accessed 5 Oct. 2025.   Tribble, Evelyn. “'A Strange, Hollow, and Confused Noise': Prospero's 'Start' and Early Modern Magical Practices." Shakespeare Quarterly, Volume 72, Issue 3-4, Fall-Winter 2021, Pages 229–253, https://doi.org/10.1093/sq/quac016

durée : 01:31:16 - Les Nuits de France Culture - par : Albane Penaranda - Dès son plus jeune âge, Orson Welles adorait Shakespeare. Il l'adapte plusieurs fois à la radio et lui consacre trois longs métrages : Macbeth, Othello, Falstaff. Ce numéro des Mardis du cinéma évoque avec plusieurs spécialistes les nombreuses similitudes entre les univers de Welles et Shakespeare. - réalisation : Emily Vallat - invités : Jean-Pierre Berthomé Critique, historien et enseignant (cinéma); François Thomas Historien du cinéma, collaborateur de la revue Positif et professeur à la Sorbonne Nouvelle

Gunilla Kindstrand, Åsa Melldahl och Björn Johansson talar om ”Macbeth”. I år spelas minst fyra uppsättningar av den över 400 år gamla pjäsen på svenska scener. Samtidigt kommer ”Färga skräcken röd”, en nyutgåva av Shakespearetragedier i översättning av Ulf Peter Hallberg. Varför dras vi till detta drama om en krigare som tror sig vara utvald av högre makt till att bli kung? Och kan Tiktokhjärnor botas av blankvers?

For the latest Whisper in the Wings from Stage Whisper, we are thrilled to welcome back on the company Thinkery & Verse. This time we were joined by adaptor Karen Alvarado and adaptor/director J.M. Meyer to talk about their latest production of The Tragedy of Macbeth. This is a brilliant reimagining of this classic tale that is perfect for spooky season. So make sure that you tune in and get your tickets today!Thinkery & Verse PresentsThe Tragedy of MacbethOctober 9th-25th @ The Assembly Hall at the Church of Saint John the EvangelistTickets and more information are available at eventbrite.com And be sure to follow our guests to stay up to date on all their upcoming projects and productions: thinkeryandverse.orgthinkeryandverse@gmail.com

In this episode of The Tiberius Show, theater director, producer, and founder of the Reveller's Hour Theatre Company, Halie Smith, shares how she turned a childhood love of musicals into a career bringing stories to life on stage. She explains why she chose the nonprofit route, the real challenges of funding and sponsorships, and what makes theater such a rewarding (and sometimes unpredictable) path. From cabarets and Shakespeare to original works, Hailey gives us a behind-the-scenes look at the art, business, and heart of running a theater company.What you'll hear:    Origin story: from her grandmother showing The Sound of Music to launching her own theater company in 2023    Nonprofit path: why many theater companies go nonprofit and how education plays a central role    Resourceful producing: deciding shows based on budget, rights, and available cast/designers    Performing vs. backstage: how she transitioned from acting to sound, lighting, and leadership    Business challenges: fundraising, sponsorships, and turning passion into sustainable work    Live theater lessons: when fire alarms interrupt Macbeth and why imperfection is part of the magic    Adapting to COVID: shifting into online/Zoom theater and podcasting to stay connected    Kid-friendly shows: current performances, cabarets, and her future plans for youth programmingBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-tiberius-show--3352195/support.

What is fringe theater? A better question might be what isn't it. The annual Theatre Crude festival is returning to Oklahoma City this week, bringing dozens of small-scale, non-traditional productions to the community. Want to hear from a misanthropic goldfish? Or maybe a MacBeth musical with lightsabers is more your speed. Theatre Crude co-founder Jenny Brand joins the podcast from The 4801, one of the festival's three venues, to talk about what fans can expect.  Also on this week's episode, the editors discuss what they're looking forward to this Oklahoma fall, and podvents takes a moment to pay tribute to our "deer" friends. You won't want to miss it!

Did you know that C-Section birth is referenced in Shakespeare's Macbeth? Cesarean Section is the most common laparotomy in the world, and yest we are still learning surprising facts about it. This episode we will summarize 2publications which have recently been released. One is from the American Journal of Perinatology (September 2025 ) and the other is from the AJOG (August 2025 ). Does a primary C-section on a laboring uterus have a different risk of PAS in the subsequent pregnancy compared to a non-labored uterus? And what is the percentage of patients who experience “pain” at time of C-section? Listen in for the surprising data.1. Kashani Ligumsky L, Lopian M, Jeong A, Desmond A, Elmalech A, Many A, Martinez G, Krakow D, Afshar Y. Impact of Labor in Primary Cesarean Delivery on Subsequent Risk of Placenta Accreta. Am J Perinatol. 2025 Sep 16. doi: 10.1055/a-2693-8599. Epub ahead of print. PMID: 40957594.2. Somerstein, Rachel. I feel pain, not pressure: a personal and methodological reflection on pain during cesarean delivery. American Journal of Obstetrics & Gynecology, Volume 0, Issue 0 (EPub Ahead of Print)

Deux spectacles romands remettent au goût du jour les accents. Présenté au Théâtre de lʹOrangerie cet été, " Macbeth on air " de Liona Lutz passe du suisse allemand à lʹécossais et jongle avec les traductions. En tournée actuellement, " Toute intention de nuire ", signé Adrien Barazzone, présente un procès littéraire avec accent arménien et français. A découvrir à Rolle, les 25 et 26 septembre. Martigny, Les Alambics, le 31 octobre. Sion, le Spot, le 6 novembre. Villars-sur-Glâne, Nuithonie, du 13 au 15 novembre. Neuchâtel, Le Passage, le 19 novembre. Puis en 2026 : Vevey, le Reflet, le 5 mai. Meyrin, le Forum les 21 et 22 mai. Delémont, Théâtre du Jura, le 30 mai. Explication des artistes Alain Borek et Liona Lutz au micro de Thierry Sartoretti.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you. In this mini-episode, we sit down with actor ML Roberts and co-playwrights Sean Patrick Nill and Elyse Sharp to talk about NEVER FEAR, SHAKESPEARE—a brand new Theatre for Young Audiences (TYA) play premiering at Sacramento's B Street Theatre.  B Street is well known for its Theatre for Young Audiences (TYA) programming, which brings high-quality, professional productions to children, families, and schools, making theatre accessible to the next generation. We dive into B Street's philosophy of theatre for young audiences and how NEVER FEAR, SHAKESPEARE fits into that mission. Along the way, we discuss the theatre's history with Shakespeare, what makes this new play different from other Shakespeare-for-kids or Shakespeare-adjacent productions, and why introducing Shakespeare to young people matters in today's cultural landscape. ML Roberts shares his perspective on embodying a central role in the play, while Nill and Sharp reflect on the process of adapting Shakespeare's world for youth audiences—balancing humor, clarity, and creativity to keep the material engaging. At Shakespeare Anyone?, we strive to contextualize Shakespeare and make his works accessible. This episode highlights how NEVER FEAR, SHAKESPEARE carries that same mission into the world of young audiences. ML Roberts is the son of a Navy veteran and descendant of the Gullah Geechee of the Carolinas. As a member of Actor's Equity Association, he has performed with Seattle Children's Theater, Folger Shakespeare, Unicorn Theatre (UK), The Williams Project, and Santa Cruz Shakespeare, among others. As a playwright, his debut production Riverside premiered at Indy Shakes. His work has been developed with New Harmony Project, SPACE on Ryder Farm, and GTG's Speaker's Corner. As a screenwriter, he co-wrote a Lifetime movie and has developed work with Hulu. He is a member of the Dramatists Guild of America, a Broadway Advocacy Coalition Fellow, Co-Artistic Director of Yale Cabaret Season 57: Phoenix, and inaugural Core Company Member at ACT Theatre (Seattle). MFA Playwriting from the Yale School of Drama; BFA Acting from North Carolina School of the Arts marceselorenzo.com Sean Patrick Nill is Artistic and General Manager at the B Street Theatre. B Street Writing Credits include: Tiny Trailblazers: Kids Who Changed the World, Winnie-the-Pooh, ‘Tis the Season, Fantasy Festival XXXI-XXXVI, Mind Boggling Mysteries of the World, and Mathematical Madness. Directing Credits include: Tiny Trailblazers: Kids Who Changed the World, Cosmo St. Charles is Dead and Someone in This Room Killed Him, The Prince of Lightning, The Play That Goes Wrong, The Last Wide Open, A Year with Frog & Toad, Proclivity for Kiting, and Fantasy Festival XXXI-XXXVI. His plays have been produced by the Sacramento Theatre Company, B Street Theatre, Children's Museum & Theatre of Maine, Rover Dramawerks, Theatre InspiraTO festival, Watermelon One Act Festival, M.T. Pockets Theatre, Torent Theatre, and the Manhattan Repertory Theatre. His play Kings of America was a finalist for the Davey Foundation Theatre Grant given by the Salt Lake Acting Company, his play An Ordinary Woman was published in Stage It! Ten Minute Plays: 2017 Edition, and his play Brynlee & the Bull won the Audience Choice Award at the InspiroTO 10 Minute Play Festival in Canada. His adaptation of Winnie-the-Pooh, which premiered here at the B Street Theatre, is now published and can be purchased through Theatrical Rights Worldwide (https://www.theatricalrights.com/). And, you know her as one half of Shakespeare Anyone?…Elyse Sharp is a member of Actor's Equity Association and the Shakespeare Association of America, as well as a director, podcaster, dramaturg, and teaching artist. At the age of 9, and inspired by an episode of the PBS series Wishbone, she rewrote Romeo and Juliet for a fourth grade class assignment, and she's been passionate about Shakespeare (and helping others understand his work) ever since. Previously with B Street Theatre, she has been an Associate Producer of the New Comedies Festival, an actor in Prince of Lightning, Mind-Boggling Mysteries of the World, and Fantasy Festivals 32 & 33, an understudy for Dance Nation and Winnie the Pooh. As an actor, she has performed in 17 of Shakespeare's plays. Keep up with her at @elysesharp on all social media or at elysesharp.com B Street Theatre is Sacramento's premiere new works theatre for both children and adults. Founded in 1986 as Fantasy Theatre, a traveling children's theatre troupe, B Street has premiered more than 135 plays across its School Tour, Family Series, and Mainstage Series. Located at the Sofia Tsakopoulos Center for the Arts in Midtown Sacramento, B Street is California's only year-round professional theatre for young audiences. Known for championing bold new voices and creating theatre that is both accessible and adventurous, B Street has been named Sacramento Magazine's Top Sacramento Theatre numerous times. In 2025, it was honored with the National Theatre Conference's Theatre of the Year Award, recognizing its outstanding contributions to American theatre. To learn more, visit B Street Theatre's website, bstreettheatre.org.  NEVER FEAR, SHAKESPEARE follows one shoemaker's son on his journey to become an actor alongside The Lord Chamberlain's Men, stepping right into some of Shakespeare's greatest hits. From Romeo and Juliet's balcony to the witches of Macbeth and the drama of Hamlet, it's Shakespeare reimagined with a wink and a laugh. For fans of Shakespeare in Love and Book of Will, this family-friendly comedy isn't just a history lesson—it's pure theatre magic, showing kids (and grown-ups!) that the Bard's words are still buzzing with life, laughter, and big imagination. Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. For updates: join our email list, follow us on Instagram at @shakespeareanyonepod or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, buying us coffee, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod (we earn a small commission when you use our link and shop bookshop.org). Find additional links mentioned in the episode in our Linktree.

Luis Antonio Muñoz, nuestro experto en música misteriosa, regresa a DÍAS EXTRAÑOS para sumergirnos en el fascinante mundo donde las notas musicales se entrelazan con lo paranormal. Desde las óperas malditas como Macbeth de Verdi —esa "tragedia escocesa" que los cantantes ni se atreven a nombrar— hasta la legendaria teoría conspirativa de "Paul is Dead", exploramos cómo el mundo de la música está plagado de supersticiones, maldiciones y apariciones espectrales. Descubrimos la presencia del fantasma "Bartolo" en el mismísimo Auditorio Nacional de Madrid, analizamos el enigmático Club de los 27 y desentrañamos los mensajes ocultos en las portadas de los Beatles. Un viaje sonoro por teatros embrujados, compositores atormentados y leyendas urbanas que demuestran que, en la música, lo inexplicable siempre encuentra su propia partitura. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

To celebrate not one but TWO exciting Shakespeare productions in Dublin Theatre Festival this year, I've teamed up with DTF to bring you a sneak preview of the delights that await. This time: Druid Theatre Company presents Macbeth, introduced by festival artistic director Róise Goan. Macbeth is at the Gaiety Theatre from September 25 - October 05, at tickets are available from Ticketmaster. The Making of Pinocchio is at the Samuel Beckett Theatre and tickets are available from dublintheatrefestival . ie

After the last three weeks with Dante, we jump to another three-week series with Shakespeare and NINE plays!Shakespeare can be daunting, so I offer a few thoughts on how to approach him: Watch a movie FIRSTGet a good edition (hello, Folger Shakespeare Library)Keep a one-line-per-scene summary as you readEnjoy!! It will get easier and the plays are so very worthwhile.Hamlet dazzles with layered characters and razor-sharp language. Prince Hamlet wrestles with grief, revenge, and perhaps madness, while Claudius broods over the cost of his own sin. My own final note: “Everyone dies except Horatio.”Macbeth feels darker and almost Greek. The witches act as oracles, but Macbeth isn't their puppet—he chooses evil. Lady Macbeth is more accelerant than mastermind, and the play pulses with ominous energy.King Lear hit me hardest. Lear is not villainous, just weary and reckless, longing to lay down his burdens—yet no one gets that choice. Dividing his kingdom invites betrayal from his elder daughters and the scheming Edmund, while steadfast Cordelia stands tragically apart. The repeated “nothing” captures the emptiness of abdicated duty.Together they reveal Shakespeare's trademarks: sudden madness, clever disguises, and language that still crackles, showing three kinds of downfall—the victim (Hamlet), the villain (Macbeth), and the feckless ruler (Lear).LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)My Hamlet Movie ChoiceMy MacBeth Movie ChoiceMy King Lear Movie Choice (Not actually that good but I still think about it)CONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

Episode 187:This episode is both an ending and a beginning. An ending because it is the last of the recent run of consecutive guest episodes – next time we will be returning to Shakespeare, Jonson and their plays – but it is also the first of what I hope will be a series of guest episodes attached to each of the very significant Shakespeare plays that are coming up soon. With the very well-known and arguably greatest of Shakespeare's plays the task of providing some meaningful commentary is, I have found, very daunting, so I thought it would be a good idea to have another view on these plays to bring another perspective to them besides my own. I am also keen for those views to be born from the practical experience of producing the plays and understanding them from an actor's perspective and therefore as a result of close exploration of the text. Ricky Dukes is an award-winning Director, Practitioner and Teacher based in the West Midlands and London. In 2007 he founded Lazarus Theatre Company and is the company's current Artistic Director for which he won Best Artistic Director in the 2012 Fringe Report Awards. His work is ensemble led with actor detail at its heart creating large scale visual, visceral, and vibrant theatrical experiences. Ricky has gone on to direct over 40 productions for Lazarus Theatre Company including: The Changeling, Hamlet, Doctor Faustus, Oscar Wilde's Salomé, Macbeth, Marlowe's Edward II, The Caucasian Chalk Circle, Tis Pity She's A Whore, and Dido, Queen of Carthage. Ricky also runs workshops for actors under the ‘Lazarus Gym' banner, and I have put links in the show notes to his activities so you can follow that up further if you wish.The photos used on social media posts for this episode are from the 2015 production of 'Henry V' with Colette O'Rourke as the king at the Union Theatre. Photo credit: Adam Trigg.Check out Lazarus Theatre here: https://www.lazarustheatrecompany.co.ukSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Send us a textAfter graduating from RADA, James McArdle became a darling of the National Theatre appearing in landmark productions of Platonov, James I and Angels in America, all in a relatively short span of time. Since then, James McArdle has established himself as one of the most compelling actors on stage and screen. Now, he returns to the Olivier stage for the first time since 2019 for newly appointed Artistic Director Indhu Rubasingham's inaugural show: a new adaptation of Euripides' Bacchae by Nima Taleghani. In the show, James takes on the role of Pentheus in a show which has been radically revamped for modern audiences. Taleghani's version includes rap verses and a thumping beat which helps build the tension of the piece that leads viscerally into the ultimate tragedy of the piece.In this brand new interview, James McArdle reflects on his numerous successes at the National Theatre and why it feels so fitting returning to the Olivier stage after a few years away. Indeed his last National Theatre project saw him taking on the title role in Peter Gynt, a thrilling update on Ibsen's original text where audiences saw James lead a 4 hour show with immense energy. Throughout our conversation, he also pays homage to Jonathan Kent who he describes as mentor who has helped shape him into the actor he is today. In our interview, we also touched on his critically acclaimed performances in Angels in America, Platonov and The Tragedy of Macbeth at the Almeida where he shares insights into his working relationship with Saoirse Ronan and also fight director Kate Waters who he reunited with on Bacchae. It's a fascinating conversation with one of the most exciting actors on stage and screen working today and it seems there's still more that we can look forward to.Bacchae runs in the Olivier Theatre, National Theatre until Saturday 1st November 2025.Support the show

In Episode 181 of The Alan Sanders Show, Alan explores the human condition through the lens of history, literature, and modern politics, revealing how oppression sparks rebellion. From Spartacus' uprising against Rome to the French Revolution's guillotines, the repressed have always risen against their oppressors. Drawing parallels to Shakespeare's Macbeth and Princess Leia's defiance in Star Wars, Alan shows how dehumanization fuels resistance. In the wake of Charlie Kirk's tragic assassination on September 10, 2025, conservatives are pushing back against the Left's censorship and cancel culture, ushering in an era of accountability culture. Join Alan as he honors Kirk's legacy and examines why the tighter the grip, the fiercer the rebellion. Tune in for a powerful reflection on freedom, justice, and the unyielding spirit of those who refuse to be silenced. Please take a moment to rate and review the show and then share the episode on social media. You can find me on Facebook, X, Instagram, GETTR,  TRUTH Social and YouTube by searching for The Alan Sanders Show. And, consider becoming a sponsor of the show by visiting my Patreon page!

AMDG. Literature teachers John Turrentine and James Endres want you to love Shakespeare as much as they do. The duo dives deeply into the classic works you've heard of before, giving a fresh perspective on well-known plays, and introduces some of Shakespeare's plays that you may never have heard of before. With their combined 25 years of experience, John and James address Shakespeare readers of all levels. Whether you are picking up a play for the first time or re-reading an old favorite for the thousandth time, this conversation will have something to teach you.  Links mentioned & relevant:  Medieval Shakespeare Study Guide Set Shakespeare The Sonnets Books in Kolbe's Roman Literature course, including Julius Caesar Books in Kolbe's Era of Christendom course, including Richard III,  Macbeth, and The Tempest  Related Kolbecast episodes:  266 New Voice, Handy Catalog with Gwynith DeMonte 177 Tabletop Theology with Alexi Sargeant 3 Dramatic Arts with Dolores Ann Mihaliak  Have questions or suggestions for future episodes or a story of your own experience that you'd like to share? We'd love to hear from you! Send your thoughts to podcast@kolbe.org and be a part of the Kolbecast odyssey.   We'd be grateful for your feedback! Please share your thoughts with us via this Kolbecast survey!  The Kolbecast is available on Apple Podcasts, Spotify, and most podcast apps. By leaving a rating and review in your podcast app of choice, you can help the Kolbecast reach more listeners. The Kolbecast is also on Kolbe's YouTube channel (audio only with subtitles).  Using the filters on our website, you can sort through the episodes to find just what you're looking for. However you listen, spread the word about the Kolbecast! 

Eddie Bazil explores advanced vocal processing techniques to achieve a clean, professional vocal track. He demonstrates how to control sibilance, tame resonances and apply quick corrective steps that enhance vocal clarity and ensure the performance sits perfectly in the track.Chapters00:00 - Introduction00:30 - Common Vocal Track Issues01:04 - Example 1: De-essing Sibilance08:57 - Example 2: Taming Resonance With EQ16:13 - Example 3: Reverb Ducking25:22 - Example 4: Frequency DuckingTrack CreditsExample 1 - written and performed by David Plummer and Becky Bremner - https://www.smokinggoats.co.ukExamples 2, 3 and 4 - ‘Puppet' written, performed and recorded by John Walden, vocals by Yvonne McKeown#SSLVocalStrip #FabFilterProDS #FabFilterProQ3 #FabFilterMBC #FabFilterProC #UnfilteredAudioTails #TokyoDawnNovaGEEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.https://eddiebazil.co.uk/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Broadcasting Legend John McBeth catches up with Smithy to chat World Athletics Championships 2025, Geordie Beamish gold medal run this morning after the crazy semifinal & more Learn more about your ad choices. Visit megaphone.fm/adchoices

We Review: Highest 2 Lowest, Flight, Crimson Tide, Remember the Titans, Training Day, The Tragedy of Macbeth, PhiladelphiaDenzel is back in a new take on the film "High and Low" from director Spike Lee. We give our review of that film and then go into our top 3s from Denzel Washington. You will enjoy this episode...we "can guarantee you that!" Subscribe on YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.youtube.com/@moviesshapedpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠follow us:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/moviesshapedpod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chapters:00:00:00 Intro00:01:15 Denzel Washington Thoughts00:13:08 Highest 2 Lowest00:31:40 Remember the Titans00:48:50 Crimson Tide01:04:23 Philadelphia01:22:36 Training Day01:38:31 Flight01:55:17 The Tragedy of Macbeth02:13:22 What Should He Do Next?02:16:06 Next Episode Preview & Outro

'Macbeth' es una de las tragedias más oscuras y poderosas de William Shakespeare, sumergiendo al espectador en un mundo de ambición, brujería, locura y traición. La obra se centra en Macbeth, un valiente guerrero escocés, y su esposa Lady Macbeth, quienes, consumidos por la ambición y las profecías de tres brujas, trazan un plan para asesinar al rey Duncan y tomar el trono de Escocia. La trama se desenreda en un espiral de violencia y paranoia, con Macbeth asesinando a aquellos que sospecha que amenazan su poder, incluyendo a su amigo Banquo y la familia de su rival Macduff. A medida que el derramamiento de sangre aumenta, Macbeth se ve acosado por la culpa y las visiones, mientras que Lady Macbeth, igualmente atormentada, desciende a la locura. WILLIAM SHAKESPEARE (Stratford-upon-Avon, Warwickshire, Reino de Inglaterra, 23 de abril de 1564 - ib., 23 de abril/3 de mayo de 1616) ha sido considerado unánimemente el escritor más importante de la literatura universal. Se mantiene que nació el 23 de abril de 1564 y que fue bautizado, al día siguiente, en Stratford-upon-Avon, Warwickshire. Su llegada a Londres se ha fechado hacia 1588. Cuatro años después de su llegada a la metrópoli, ya había logrado un notable éxito como dramaturgo y actor teatral, éxito que pronto le valió el mecenazgo de Henry Wriothesley, tercer conde de Southampton. Con solo haberse dedicado a la poesía, Shakespeare ya habría pasado a la historia por poemas como Venus y Adonis, La violación de Lucrecia o los sonetos. Sin embargo, si hay un campo en el que Shakespeare realizó grandes y trascendentales logros fue en el teatro; no en vano es el responsable principal del florecimiento del teatro isabelino, uno de los mascarones de proa de la incipiente hegemonía mundial de Inglaterra. A lo largo de su carrera escribió, modificó o colaboró en decenas de obras teatrales, de las cuales podemos atribuirle plenamente treinta y ocho, que perviven en nuestros días gracias a su genio y su talento. Cuento extraído de Tragedias de Shakespeare, de 451Editores, autorizado por el autor Andrés Barba para su publicación en Historias para ser leídas. Andrés Barba, Licenciado en Filología Hispánica, es autor de la novelas 'La hermana de Katia', finalista del premio Herralde de Novela, 'Ahora tocad música del baile' y 'Versiones de Teresa', premio Torrente Ballester, así como el libro de relatos 'La recta intención'. Coautor junto a Javier Montes de 'La ceremonia del porno', premio Anagrama de ensayo, ha publicado la novela infantil 'Historia de nadas', y el poemario en prosa 'Libro de las caídas'. Ilustración by Scott McKowen Narración y sonido Olga Paraíso https://instabio.cc/Hleidas Apertura Las tres brujas La Tragedia de Shakespeare, ACTO 1. Música Epidemic Sound con licencia premium para este podcast Cierre opera Verdi, Eva Rydén swedish soprano sing "Ambizioso spirto...Vienni t´affretta" from the opera Macbeth - Verdi. Hay nombres que no conviene pronunciar en voz alta. Nombres que cargan con siglos de sombras y supersticiones. Entre ellos, uno en particular: Macbeth. Shakespeare escribió esta tragedia hacia 1606, y con ella puso en escena no solo la ambición y la sangre de un noble escocés, sino también los susurros de tres brujas que, dicen, hablaban con un lenguaje demasiado verdadero. Hechizos reales, robados a quienes no perdonan la profanación. Desde entonces, la obra arrastra un halo maldito. Se cuenta que cada vez que alguien osa pronunciar su título dentro de un teatro, la desgracia acecha. Para evitarlo, existe un ritual: salir, girar tres veces sobre sí mismo, escupir al suelo, lanzar una blasfemia y pedir permiso para volver a entrar. ¿Exageración? Quizá. Pero en los pasillos oscuros del teatro, donde la ficción y la realidad se rozan, más de un actor prefiere no tentar al destino. Y ahora, abramos el telón de esta tragedia… ¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!!🚀 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Send us a textWelcome to Celebrate Creativity - Episode 458 - The Greatest of Them All, Part Two“In Episode 1, we followed Shakespeare from Stratford-upon-Avon to the bustling streets and theatres of London, watching him experiment with history, tragedy, and love. But the story doesn't stop there. From these early works, Shakespeare climbed higher, perfecting his craft and tackling the deepest questions of humanity.Take Hamlet, for instance. Here is a prince torn between revenge, morality, and his own inaction. With the simple, yet profound, words ‘To be, or not to be…,' Shakespeare captures a question that has haunted humans for centuries: what does it mean to act, and what does it mean to live? In King Lear, he explores family, power, and madness, peeling back the layers of human pride and vulnerability. In Othello, we watch jealousy and manipulation destroy trust, while Macbeth examines ambition, guilt, and the blurred lines between fate and choice. In each play, characters are no longer symbols or types—they are fully human, with thoughts, fears, and contradictions that mirror our own.That's like a musician dropping three platinum albums in twelve months. Shakespeare wasn't just producing — he was redefining what theater could be.This is the run that still leaves critics gasping: the great tragedies. Between about 1600 and 1608, he wrote Hamlet, Othello, King Lear, and Macbeth. It's the Shakespeare equivalent of The Beatles going from Help! to Sgt. Pepper in a handful of years.Support the showThank you for experiencing Celebrate Creativity.

Since posting a tribute to German heldentenor Ernst Kozub last year, I have continued combing through both his live and studio output and I have concluded that his work in Verdi is at least as good as his work in Wagner. And that's saying something! I have a wonderful setlist here which features the great Heldentenor singing everything from the lyric tenor parts of Alfredo in La Traviata and the Duke (or should I say the Herzog?!) in Rigoletto to the dramatic roles of Manrico in Der Troubadour, Radames in Aida and the title role of Otello. Between these two extremes, arias from Luisa Miller, Macbeth, and Ein Maskenball ring out with vigor and even some occasional subtlety! Excerpts from live performances of Don Carlos and La forza del destino (the only Verdi heard here in Italian) from the stage of the Hamburg Opera (where Kozub was fest between 1962 and his premature death in 1971) are a special treat, especially with in duet with phenomenal (though nearly forgotten) colleagues Norman Mittelmann, Vladimir Ruždjak, and Edith Lang (who will be featured next week in an upcoming episode). Legendary German stars Rita Streich and Franz Crass are also heard opposite Kozub in the recording studio. The episode opens with George London singing an excerpt from Mendelssohn's Elias under the baton of the late Christoph von Dohnányi, who died over the weekend two days before his 96th birthday. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

This week RNIB Connect Radio's Toby Davey is joined by both Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands along with Alan Russell, presenter of ‘The Daily Connect Show' to review and discuss the audio described performance of Shakespeare's ‘the Winter's Tale' at the Royal Shakespeare Company in Stratford-upon-Avon which Vidar and Allan saw a few weeks ago.  About ‘The Winter's Tale' Wild worlds, fractured loves, and second chances.  When a king's obsessive jealousy leads to a devastating series of acts, the journey toward healing must begin, led by time, truth, and the hope of forgiveness. From the shadowy dystopia of Sicilia to the untamed beauty of Bohemia, immerse yourself in Shakespeare's most mysterious play. Directed by Yaël Farber (King Lear, Olivier-nominated Macbeth for the Almeida), and featuring double Olivier and Tony Award-winner Bertie Carvel (Matilda The Musical), Madeline Appiah, Aïcha Kossoko and John Light this reimagined tale is brought vividly to life through Soutra Gilmour's elemental set and costume design, and striking lighting design by Tim Lutkin. In a time of darkness and uncertainty, hope endures in The Winter's Tale. For more about access at the Royal Shakespeare Company including details of audio described performances of their productions do visit - https://www.rsc.org.uk/your-visit/access  (Image shows the RNIB Connect Radio logo. On a white background ‘RNIB' written in bold black capital letters and underline with a bold pink line. Underneath the line: ‘Connect Radio' is written in black in a smaller font)

It's Rosebud's second birthday, and we're celebrating with another conversation with our very first guest: Dame Judi Dench. This time, it's been recorded in front of an audience, at the Concert Artists' Association in Covent Garden, London. Dame Judi treats us to some more stories from her amazing career. She tells Gyles about working with Tommy Steele, Johnny Depp and Clint Eastwood. She tells Gyles about having Eric Morecambe over for lunch. She talks about Macbeth and Twelfth Night and gives us some speeches from those plays - which will stop you in your tracks. We're extremely lucky to hear from this legendary actress once more. And we're extremely lucky to have been able to give you Rosebud for the past two years! Enjoy this. Hosted on Acast. See acast.com/privacy for more information.

With Ghost of Yōtei launching October 2nd, Nerd Legion is diving into the films and anime that inspired the game's haunted world. We begin with Akira Kurosawa's Throne of Blood (1957), a chilling reimagining of Macbeth that blends Noh theatre, samurai tragedy, and supernatural ghosts. In this episode, MonteCristo and DoA discuss:⚔️How Throne of Blood's fog, wind, and black-and-white style shaped Kurosawa Mode in Ghost of Tsushima (returning in Ghost of Yōtei)⚔️The fusion of Shakespearean tragedy with Japanese Noh theatre and its symbolism (Lady Asaji's mask-like stillness, the centipede banners, spinning horses)⚔️Kurosawa's legendary use of atmosphere and the unforgettable real-arrow death scene with Toshiro Mifune⚔️How the film's themes of cursed destiny and supernatural hauntings echo the mythic tone of Ghost of Yōtei

Finalist #9 in the Review Contest [This is one of the finalists in the 2025 review contest, written by an ACX reader who will remain anonymous until after voting is done. I'll be posting about one of these a week for several months. When you've read them all, I'll ask you to vote for a favorite, so remember which ones you liked] Ollantay is a three-act play written in Quechua, an indigenous language of the South American Andes. It was first performed in Peru around 1775. Since the mid-1800s it's been performed more often, and nowadays it's pretty easy to find some company in Peru doing it. If nothing else, it's popular in Peruvian high schools as a way to get students to connect with Quechua history. It's not a particularly long play; a full performance of Ollantay takes around an hour.1 Also, nobody knows where Ollantay was written, when it was written, or who wrote it. And its first documented performance led directly to upwards of a hundred thousand deaths. Macbeth has killed at most fifty people,2 and yet it routinely tops listicles of “deadliest plays”. I'm here to propose that Ollantay take its place. https://www.astralcodexten.com/p/your-review-ollantay

Kim and Alice discuss the intense, spooky and downright wonderful Macbeth adaptation; Throne of Blood. Enjoy this Kurasawa classic with us and remember, as you're warming up your sake in a baby bottle warmer, that we're all just skeletons waiting for our dust mound.Sound Engineer: Keith NagleEditor: Keith NagleProducer: Helen HamiltonIf you enjoy this podcast, come with us on a romp through the Regency era with our sister podcast, Austen After Dark. Listen to the trailer now. Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Menopause and Cancer Podcast, I'm joined once again by the incredible Dr Alison Macbeth – a top menopause specialist supporting breast cancer patients, and one of the key medical contributors to my book Navigating Menopause After Cancer.This time, we're diving deep into the topic of vaginal oestrogen after breast cancer — and what you'll hear is the most up-to-date and comprehensive guidance out there.We explore what's happening across the world when it comes to access, safety, and prescribing practices — and zoom in on the current situation in the UK. We talk about the real barriers that cancer survivors face when trying to get treatment for vaginal dryness and genitourinary symptoms, and we unpack the science behind the risks and benefits.If you've been told you can't have vaginal oestrogen, this episode is especially for you. The landscape is shifting — and I want you to feel informed, empowered, and ready to explore your options.This conversation and Dr Macbeth's work, are a true gift to our community. I can't wait for you to listen.Episode Highlights:00:00 Intro08:06 Menopausal Urinary and Vaginal Issues11:30 Breast Cancer's Impact on Women's Health16:09 Vaginal Care: Tips and Products17:29 Lubricant vs Moisturiser in Healthcare24:40 Menopause Hormone Guidance Update27:56 Aromatase Inhibitors and Vaginal Oestrogen35:16 Vaginal Oestrogen and Cancer Risk37:29 Medication Non-Compliance in Medical Studies42:26 Menopause Care and GP OptionsGet your copy of Navigating Menopause After Cancer here: https://www.amazon.co.uk/Navigating-Menopause-After-Cancer-comprehensive/dp/1068499907Find out more about Dr Macbeth here: https://healthinmenopause.co.uk/meet-the-team/Connect with us:For more information and resources visit our website: www.menopauseandcancer.org Or follow us on Instagram @menopause_and_cancerJoin our Facebook group: www.facebook.com/groups/menopauseandcancerchathub

From Lucifer's rebellion to Adam and Eve's expulsion, from Lancelot's betrayal to Macbeth's downfall, stories of greatness undone have gripped audiences for centuries. For America's Revolutionaries, the cautionary examples of Julius Caesar and Oliver Cromwell warned of leaders who turned against the people.No figure embodies this tragic arc in American history more than General Benedict Arnold. Once a brilliant and passionate commander whose daring made him one of the Revolution's most effective leaders, Arnold's defection to the Crown became a devastating blow to the patriot cause—and forever branded him the nation's most infamous traitor.Historian Joyce Lee Malcolm joins us to explore Arnold's rise, fall, covered in her acclaimed book  The Tragedy of Benedict Arnold: An American Life.Tell us what you think! Send us a text message!

Today on What's My Frame I'm joined by Casting Professional and Actor, Andrew Dahreddine. Andrew is based between Los Angeles and New York. He is currently casting Lauren Minnerath's debut feature film, CLARE (which has been supported by Sundance, Tribeca, and SXSW); Stacey Maltin and Jay DeYonker's feature film, C-SIDE (working title); and Rebecca Louisell's film, THE TRIP, which is one segment of the upcoming anthology feature film, THROUGH THE BLINDS. Andrew previously worked with Barden/Schnee Casting on television shows for Apple TV+ (the breakout series, PALM ROYALE), Paramount+ (SCHOOL SPIRITS), and ABC (ALASKA DAILY), as well as many films including the upcoming feature, CODE 3 (Rainn Wilson, Lil Rel Howery, and Aimee Carrero); and EZRA (Robert De Niro, Bobby Cannavale, Rose Byrne).Additional selected casting credits include: the FX limited series, THE PATIENT (starring Steve Carell & Domhnall Gleeson); Aaron Sorkin's Oscar-nominated Netflix feature film, THE TRIAL OF THE CHICAGO 7; and the first season of the Emmy-nominated Hulu series, RAMY. Andrew has also been the casting director for many short films that have competed at festivals including SXSW, BFI, SIFF, Palm Springs ShortFest, HollyShorts, Vienna Shorts, and many others.As an actor, Andrew was a series regular on the comedy series, 86'd, for BRIC TV. He also has appeared in many national commercials, and was the lead role in the second season premiere of Homicide City on Investigation Discovery.A BFA graduate of NYU's Tisch School of the Arts and the Stella Adler Studio of Acting, Andrew has performed in many stage productions, as well. Selected credits include: Kenneth Branagh and Rob Ashford's epic Macbeth at the Park Avenue Armory; the Lincoln Center Festival's Russian-language adaptation of Miss Julie (dir. Thomas Ostermeier) at NY City Center. He also appeared in several productions with The Drilling Company, and received praise in the New York Times for his performance in their version of As You Like It. Regionally, he spent a season with the Alabama Shakespeare Festival, as well as one summer at Boston's Commonwealth Shakespeare Company, in their production of Coriolanus. Andrew is a fierce union advocate, and a proud member of SAG-AFTRA; the Hollywood Teamsters Local 399 - Casting Shop; and Actors Equity Association. #UnionStrongFor more follow Andrew on Instagram @Dramaddine or visit www.andrewdahreddine.com -What's My Frame, hosted by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Laura Linda Bradley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the WMF creative community now!Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

On the latest episode of The OnStage Blog Theatre Podcast, Rachel and Jacklyn recap the festival, including the Shakespeare shows they saw (Macbeth, As You Like It, Antony, and Cleopatra). They also discuss Shakespeare's most popular plays, why he remains relevant in 2025, and more. Subscribe on your favorite podcast platform or YouTube for all the latest episodes!onstageblog.comfacebook.com/onstageblogtwitter.com/onstagebloginstagram.com/onstagebloghttps://www.youtube.com/@onstageblog8213

Immortalised by Shakespeare, Scottish king Macbeth was killed in battle near Lumphanan, Aberdeenshire on 15th August 1057; a demise that brought significant changes to Scotland's monarchy. But the real Macbeth, contrary to his portrayal in the play, ruled for 17 relatively peaceful years and displayed generosity toward the church. That said, his relationship with the real Lady Macbeth - Gruogh, widow of Gilear, the previous king - was, let's agree, rather complicated.  In this episode, Arion, Rebecca and Olly explain why witches were included in the script to satisfy King James I; offer a pragmatic explanation for the superstition that actors must never speak the name "Macbeth" in a theatre; and reveal the, er, creative way the Danish minister for finance once escaped responsibility for a nasty shipwreck… Further Reading: • ‘The Real Macbeth: King of Scots, 1040-1054' (History Today, 1957): https://www.historytoday.com/archive/real-macbeth-king-scots-1040-1054 • ‘Macbeth (r. 1040-1057)' (The Royal Family): https://www.royal.uk/macbeth-r-1040-1057 • ‘Who Was The Real King MacBeth?' (Timeline, 2018): https://www.youtube.com/watch?v=xq75Cl_osxk This episode first aired in 2023 Love the show? Support us!  Join 

Moody Movies: Vamps (2012), Throne of Blood (1957), Sing Street (2016), The Naked Gun: From the Files of Police Squad! (1988) Kylie & Elliott have a silly bonkers time, lament that no Macbeth adaptation will ever be perfect (yet!), warm their musical hearts, and praise smart-dumb cinema.Follow along onInstagram: @moodymovie.clubLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

Giuseppe Verdis erste Shakespeare-Vertonung "Macbeth" ist ein echter Opern-Thriller, das Psychogramm eines machtgeilen Mörderpaars. Am Wochenende gab's ein Remake der Salzburger Erfolgsproduktion von 2023 - mit Salzburg-Star Asmik Grigorian als eiskalter Lady in Krzysztof Warlikowskis bildgewaltiger Inszenierung. Am Pult der Wiener Philharmoniker stand wieder Philippe Jordan.

On this episode of Currently Reading, Meredith and Kaytee are discussing: Bookish Moments: devoting unexpected extra time on morning reading + journaling and embracing chaotic reading with reader roulette Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: we circle back to the summer reads we assigned to each other  The Fountain: we visit our perfect fountain to make wishes about our reading lives Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) .  .  .  .  01:28 - Our Bookish Moments Of The Week 10:18 - Our Current Reads 10:34 - Hide and Seek by Andrea Mara [Amazon link] (Meredith) 15:57 - I'm Traveling Alone by Samuel Bjørk 16:05 - You Could Make This Place Beautiful by Maggie Smith (Kaytee) 20:09 - A Little Daylight Left by Sarah Kay (Meredith) 24:30 - The Unbecoming of Margaret Wolf by Isa Arsén (Kaytee) 24:38 - Shoot the Moon by Isa Arsén 27:01 - Tom Lake by Ann Patchett 27:03 - Macbeth by William Shakespeare 29:18 - Razorblade Tears by S. A. Cosby (Meredith) 31:35 - All the Sinners Bleed by S. A. Cosby  34:46 - Fourth Wing by Rebecca Yarros (Kaytee) 39:12 - Throne of Glass by Sarah J. Maas 39:15 - A Court of Thorns and Roses by Sarah J. Maas 44:22 - Deep Dive: Our Assigned Summer Reading Experiences 45:16 - The Song of Achilles by Madeline Miller 45:27 - Chain-Gang All-Stars by Nana Kwame Adjei-Brenyah 55:07 - Meet Us At The Fountain 55:11 - I wish we would all consider having a little bookish pet project (Meredith) 57:18 - I wish I could create a bookish focus chamber (Kaytee)  Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. August's IPL comes to us from our founding Indie Press List store: Fabled Bookshop in Waco, TX! Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business.  All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!

Nebel, Hexen, Mord und Finsternis: Giuseppe Verdi's Macbeth verzaubert erneut die Salzburger Festspiele. Mit Wladyslaw Solimski und Asmik Grigorian in den Hauptrollen verspricht die Produktion von Krzysztof Warlikowski düstere Magie.

A version of this essay has been published by firstpost.com at https://www.firstpost.com/opinion/shadow-warrior-from-crisis-to-advantage-how-india-can-outplay-the-trump-tariff-gambit-13923031.htmlA simple summary of the recent brouhaha about President Trump's imposition of 25% tariffs on India as well as his comment on India's ‘dead economy' is the following from Shakespeare's Macbeth: “full of sound and fury, signifying nothing”. Trump further imposed punitive tariffs totalling 50% on August 6th allegedly for India funding Russia's war machine via buying oil.As any negotiator knows, a good opening gambit is intended to set the stage for further parleys, so that you could arrive at a negotiated settlement that is acceptable to both parties. The opening gambit could well be a maximalist statement, or one's ‘dream outcome', the opposite of which is ‘the walkway point' beyond which you are simply not willing to make concessions. The usual outcome is somewhere in between these two positions or postures.Trump is both a tough negotiator, and prone to making broad statements from which he has no problem retreating later. It's down-and-dirty boardroom tactics that he's bringing to international trade. Therefore I think Indians don't need to get rattled. It's not the end of the world, and there will be climbdowns and adjustments. Think hard about the long term.I was on a panel discussion on this topic on TV just hours after Trump made his initial 25% announcement, and I mentioned an interplay between geo-politics and geo-economics. Trump is annoyed that his Ukraine-Russia play is not making much headway, and also that BRICS is making progress towards de-dollarization. India is caught in this crossfire (‘collateral damage') but the geo-economic facts on the ground are not favorable to Trump.I am in general agreement with Trump on his objectives of bringing manufacturing and investment back to the US, but I am not sure that he will succeed, and anyway his strong-arm tactics may backfire. I consider below what India should be prepared to do to turn adversity into opportunity.The anti-Thucydides Trap and the baleful influence of Whitehall on Deep StateWhat is remarkable, though, is that Trump 2.0 seems to be indistinguishable from the Deep State: I wondered last month if the Deep State had ‘turned' Trump. The main reason many people supported Trump in the first place was the damage the Deep State was wreaking on the US under the Obama-Biden regime. But it appears that the resourceful Deep State has now co-opted Trump for its agenda, and I can only speculate how.The net result is that there is the anti-Thucydides Trap: here is the incumbent power, the US, actively supporting the insurgent power, China, instead of suppressing it, as Graham Allison suggested as the historical pattern. It, in all fairness, did not start with Trump, but with Nixon in China in 1971. In 1985, the US trade deficit with China was $6 million. In 1986, $1.78 billion. In 1995, $35 billion.But it ballooned after China entered the WTO in 2001. $202 billion in 2005; $386 billion in 2022.In 2025, after threatening China with 150% tariffs, Trump retreated by postponing them; besides he has caved in to Chinese demands for Nvidia chips and for exemptions from Iran oil sanctions if I am not mistaken.All this can be explained by one word: leverage. China lured the US with the siren-song of the cost-leader ‘China price', tempting CEOs and Wall Street, who sleepwalked into surrender to the heft of the Chinese supply chain.Now China has cornered Trump via its monopoly over various things, the most obvious of which is rare earths. Trump really has no option but to give in to Chinese blackmail. That must make him furious: in addition to his inability to get Putin to listen to him, Xi is also ignoring him. Therefore, he will take out his frustrations on others, such as India, the EU, Japan, etc. Never mind that he's burning bridges with them.There's a Malayalam proverb that's relevant here: “angadiyil thottathinu ammayodu”. Meaning, you were humiliated in the marketplace, so you come home and take it out on your mother. This is quite likely what Trump is doing, because he believes India et al will not retaliate. In fact Japan and the EU did not retaliate, but gave in, also promising to invest large sums in the US. India could consider a different path: not active conflict, but not giving in either, because its equations with the US are different from those of the EU or Japan.Even the normally docile Japanese are beginning to notice.Beyond that, I suggested a couple of years ago that Deep State has a plan to enter into a condominium agreement with China, so that China gets Asia, and the US gets the Americas and the Pacific/Atlantic. This is exactly like the Vatican-brokered medieval division of the world between Spain and Portugal, and it probably will be equally bad for everyone else. And incidentally it makes the Quad infructuous, and deepens distrust of American motives.The Chinese are sure that they have achieved the condominium, or rather forced the Americans into it. Here is a headline from the Financial Express about their reaction to the tariffs: they are delighted that the principal obstacle in their quest for hegemony, a US-India military and economic alliance, is being blown up by Trump, and they lose no opportunity to deride India as not quite up to the mark, whereas they and the US have achieved a G2 detente.Two birds with one stone: gloat about the breakdown in the US-India relationship, and exhibit their racist disdain for India yet again.They laugh, but I bet India can do an end-run around them. As noted above, the G2 is a lot like the division of the world into Spanish and Portuguese spheres of influence in 1494. Well, that didn't end too well for either of them. They had their empires, which they looted for gold and slaves, but it made them fat, dumb and happy. The Dutch, English, and French capitalized on more dynamic economies, flexible colonial systems, and aggressive competition, overtaking the Iberian powers in global influence by the 17th century. This is a salutary historical parallel.I have long suspected that the US Deep State is being led by the nose by the malign Whitehall (the British Deep State): I call it the ‘master-blaster' syndrome. On August 6th, there was indirect confirmation of this in ex-British PM Boris Johnson's tweet about India. Let us remember he single-handedly ruined the chances of a peaceful resolution of the Ukraine War in 2022. Whitehall's mischief and meddling all over, if you read between the lines.Did I mention the British Special Force's views? Ah, Whitehall is getting a bit sloppy in its propaganda.Wait, so is India important (according to Whitehall) or unimportant (according to Trump)?Since I am very pro-American, I have a word of warning to Trump: you trust perfidious Albion at your peril. Their country is ruined, and they will not rest until they ruin yours too.I also wonder if there are British paw-prints in a recent and sudden spate of racist attacks on Indians in Ireland. A 6-year old girl was assaulted and kicked in the private parts. A nurse was gang-raped by a bunch of teenagers. Ireland has never been so racist against Indians (yes, I do remember the sad case of Savita Halappanavar, but that was religious bigotry more than racism). And I remember sudden spikes in anti-Indian attacks in Australia and Canada, both British vassals.There is no point in Indians whining about how the EU and America itself are buying more oil, palladium, rare earths, uranium etc. from Russia than India is. I am sorry to say this, but Western nations are known for hypocrisy. For example, exactly 80 years ago they dropped atomic bombs on Hiroshima and Nagasaki in Japan, but not on Germany or Italy. Why? The answer is uncomfortable. Lovely post-facto rationalization, isn't it?Remember the late lamented British East India Company that raped and pillaged India?Applying the three winning strategies to geo-economicsAs a professor of business strategy and innovation, I emphasize to my students that there are three broad ways of gaining an advantage over others: 1. Be the cost leader, 2. Be the most customer-intimate player, 3. Innovate. The US as a nation is patently not playing the cost leader; it does have some customer intimacy, but it is shrinking; its strength is in innovation.If you look at comparative advantage, the US at one time had strengths in all three of the above. Because it had the scale of a large market (and its most obvious competitors in Europe were decimated by world wars) America did enjoy an ability to be cost-competitive, especially as the dollar is the global default reserve currency. It demonstrated this by pushing through the Plaza Accords, forcing the Japanese yen to appreciate, destroying their cost advantage.In terms of customer intimacy, the US is losing its edge. Take cars for example: Americans practically invented them, and dominated the business, but they are in headlong retreat now because they simply don't make cars that people want outside the US: Japanese, Koreans, Germans and now Chinese do. Why were Ford and GM forced to leave the India market? Their “world cars” are no good in value-conscious India and other emerging markets.Innovation, yes, has been an American strength. Iconic Americans like Thomas Edison, Henry Ford, and Steve Jobs led the way in product and process innovation. US universities have produced idea after idea, and startups have ignited Silicon Valley. In fact Big Tech and aerospace/armaments are the biggest areas where the US leads these days.The armaments and aerospace tradeThat is pertinent because of two reasons: one is Trump's peevishness at India's purchase of weapons from Russia (even though that has come down from 70+% of imports to 36% according to SIPRI); two is the fact that there are significant services and intangible imports by India from the US, of for instance Big Tech services, even some routed through third countries like Ireland.Armaments and aerospace purchases from the US by India have gone up a lot: for example the Apache helicopters that arrived recently, the GE 404 engines ordered for India's indigenous fighter aircraft, Predator drones and P8-i Poseidon maritime surveillance aircraft. I suspect Trump is intent on pushing India to buy F-35s, the $110-million dollar 5th generation fighters.Unfortunately, the F-35 has a spotty track record. There were two crashes recently, one in Albuquerque in May, and the other on July 31 in Fresno, and that's $220 million dollars gone. Besides, the spectacle of a hapless British-owned F-35B sitting, forlorn, in the rain, in Trivandrum airport for weeks, lent itself to trolls, who made it the butt of jokes. I suspect India has firmly rebuffed Trump on this front, which has led to his focus on Russian arms.There might be other pushbacks too. Personally, I think India does need more P-8i submarine hunter-killer aircraft to patrol the Bay of Bengal, but India is exerting its buyer power. There are rumors of pauses in orders for Javelin and Stryker missiles as well.On the civilian aerospace front, I am astonished that all the media stories about Air India 171 and the suspicion that Boeing and/or General Electric are at fault have disappeared without a trace. Why? There had been the big narrative push to blame the poor pilots, and now that there is more than reasonable doubt that these US MNCs are to blame, there is a media blackout?Allegations about poor manufacturing practices by Boeing in North Charleston, South Carolina by whistleblowers have been damaging for the company's brand: this is where the 787 Dreamliners are put together. It would not be surprising if there is a slew of cancellations of orders for Boeing aircraft, with customers moving to Airbus. Let us note Air India and Indigo have placed some very large, multi-billion dollar orders with Boeing that may be in jeopardy.India as a consuming economy, and the services trade is hugely in the US' favorMany observers have pointed out the obvious fact that India is not an export-oriented economy, unlike, say, Japan or China. It is more of a consuming economy with a large, growing and increasingly less frugal population, and therefore it is a target for exporters rather than a competitor for exporting countries. As such, the impact of these US tariffs on India will be somewhat muted, and there are alternative destinations for India's exports, if need be.While Trump has focused on merchandise trade and India's modest surplus there, it is likely that there is a massive services trade, which is in the US' favor. All those Big Tech firms, such as Microsoft, Meta, Google and so on run a surplus in the US' favor, which may not be immediately evident because they route their sales through third countries, e.g. Ireland.These are the figures from the US Trade Representative, and quite frankly I don't believe them: there are a lot of invisible services being sold to India, and the value of Indian data is ignored.In addition to the financial implications, there are national security concerns. Take the case of Microsoft's cloud offering, Azure, which arbitrarily turned off services to Indian oil retailer Nayara on the flimsy grounds that the latter had substantial investment from Russia's Rosneft. This is an example of jurisdictional over-reach by US companies, which has dire consequences. India has been lax about controlling Big Tech, and this has to change.India is Meta's largest customer base. Whatsapp is used for practically everything. Which means that Meta has access to enormous amounts of Indian customer data, for which India is not even enforcing local storage. This is true of all other Big Tech (see OpenAI's Sam Altman below): they are playing fast and loose with Indian data, which is not in India's interest at all.Data is the new oil, says The Economist magazine. So how much should Meta, OpenAI et al be paying for Indian data? Meta is worth trillions of dollars, OpenAI half a trillion. How much of that can be attributed to Indian data?There is at least one example of how India too can play the digital game: UPI. Despite ham-handed efforts to now handicap UPI with a fee (thank you, brilliant government bureaucrats, yes, go ahead and kill the goose that lays the golden eggs), it has become a contender in a field that has long been dominated by the American duopoly of Visa and Mastercard. In other words, India can scale up and compete.It is unfortunate that India has not built up its own Big Tech behind a firewall as has been done behind the Great Firewall of China. But it is not too late. Is it possible for India-based cloud service providers to replace US Big Tech like Amazon Web Services and Microsoft Azure? Yes, there is at least one player in that market: Zoho.Second, what are the tariffs on Big Tech exports to India these days? What if India were to decide to impose a 50% tax on revenue generated in India through advertisement or through sales of services, mirroring the US's punitive taxes on Indian goods exports? Let me hasten to add that I am not suggesting this, it is merely a hypothetical argument.There could also be non-tariff barriers as China has implemented, but not India: data locality laws, forced use of local partners, data privacy laws like the EU's GDPR, anti-monopoly laws like the EU's Digital Markets Act, strict application of IPR laws like 3(k) that absolutely prohibits the patenting of software, and so on. India too can play legalistic games. This is a reason US agri-products do not pass muster: genetically modified seeds, and milk from cows fed with cattle feed from blood, offal and ground-up body parts.Similarly, in the ‘information' industry, India is likely to become the largest English-reading country in the world. I keep getting come-hither emails from the New York Times offering me $1 a month deals on their product: they want Indian customers. There are all these American media companies present in India, untrammelled by content controls or taxes. What if India were to give a choice to Bloomberg, Reuters, NYTimes, WaPo, NPR et al: 50% tax, or exit?This attack on peddlers of fake information and manufacturing consent I do suggest, and I have been suggesting for years. It would make no difference whatsoever to India if these media outlets were ejected, and they surely could cover India (well, basically what they do is to demean India) just as well from abroad. Out with them: good riddance to bad rubbish.What India needs to doI believe India needs to play the long game. It has to use its shatrubodha to realize that the US is not its enemy: in Chanakyan terms, the US is the Far Emperor. The enemy is China, or more precisely the Chinese Empire. Han China is just a rump on their south-eastern coast, but it is their conquered (and restive) colonies such as Tibet, Xinjiang, Manchuria and Inner Mongolia, that give them their current heft.But the historical trends are against China. It has in the past had stable governments for long periods, based on strong (and brutal) imperial power. Then comes the inevitable collapse, when the center falls apart, and there is absolute chaos. It is quite possible, given various trends, including demographic changes, that this may happen to China by 2050.On the other hand, (mostly thanks, I acknowledge, to China's manufacturing growth), the center of gravity of the world economy has been steadily shifting towards Asia. The momentum might swing towards India if China stumbles, but in any case the era of Atlantic dominance is probably gone for good. That was, of course, only a historical anomaly. Asia has always dominated: see Angus Maddison's magisterial history of the world economy, referred to below as well.I am reminded of the old story of the king berating his court poet for calling him “the new moon” and the emperor “the full moon”. The poet escaped being punished by pointing out that the new moon is waxing and the full moon is waning.This is the long game India has to keep in mind. Things are coming together for India to a great extent: in particular the demographic dividend, improved infrastructure, fiscal prudence, and the increasing centrality of the Indian Ocean as the locus of trade and commerce.India can attempt to gain competitive advantage in all three ways outlined above:* Cost-leadership. With a large market (assuming companies are willing to invest at scale), a low-cost labor force, and with a proven track-record of frugal innovation, India could well aim to be a cost-leader in selected areas of manufacturing. But this requires government intervention in loosening monetary policy and in reducing barriers to ease of doing business* Customer-intimacy. What works in highly value-conscious India could well work in other developing countries. For instance, the economic environment in ASEAN is largely similar to India's, and so Indian products should appeal to their residents; similarly with East Africa. Thus the Indian Ocean Rim with its huge (and in Africa's case, rapidly growing) population should be a natural fit for Indian products* Innovation. This is the hardest part, and it requires a new mindset in education and industry, to take risks and work at the bleeding edge of technology. In general, Indians have been content to replicate others' innovations at lower cost or do jugaad (which cannot scale up). To do real, disruptive innovation, first of all the services mindset should transition to a product mindset (sorry, Raghuram Rajan). Second, the quality of human capital must be improved. Third, there should be patient risk capital. Fourth, there should be entrepreneurs willing to try risky things. All of these are difficult, but doable.And what is the end point of this game? Leverage. The ability to compel others to buy from you.China has demonstrated this through its skill at being a cost-leader in industry after industry, often hollowing out entire nations through means both fair and foul. These means include far-sighted industrial policy including the acquisition of skills, technology, and raw materials, as well as hidden subsidies that support massive scaling, which ends up driving competing firms elsewhere out of business. India can learn a few lessons from them. One possible lesson is building capabilities, as David Teece of UC Berkeley suggested in 1997, that can span multiple products, sectors and even industries: the classic example is that of Nikon, whose optics strength helps it span industries such as photography, printing, and photolithography for chip manufacturing. Here is an interesting snapshot of China's capabilities today.2025 is, in a sense, a point of inflection for India just as the crisis in 1991 was. India had been content to plod along at the Nehruvian Rate of Growth of 2-3%, believing this was all it could achieve, as a ‘wounded civilization'. From that to a 6-7% growth rate is a leap, but it is not enough, nor is it testing the boundaries of what India can accomplish.1991 was the crisis that turned into an opportunity by accident. 2025 is a crisis that can be carefully and thoughtfully turned into an opportunity.The Idi Amin syndrome and the 1000 Talents program with AIThere is a key area where an American error may well be a windfall for India. This is based on the currently fashionable H1-B bashing which is really a race-bashing of Indians, and which has been taken up with gusto by certain MAGA folks. Once again, I suspect the baleful influence of Whitehall behind it, but whatever the reason, it looks like Indians are going to have a hard time settling down in the US.There are over a million Indians on H1-Bs, a large number of them software engineers, let us assume for convenience there are 250,000 of them. Given country caps of exactly 9800 a year, they have no realistic chance of getting a Green Card in the near future, and given the increasingly fraught nature of life there for brown people, they may leave the US, and possibly return to India..I call this the Idi Amin syndrome. In 1972, the dictator of Uganda went on a rampage against Indian-origin people in his country, and forcibly expelled 80,000 of them, because they were dominating the economy. There were unintended consequences: those who were ejected mostly went to the US and UK, and they have in many cases done well. But Uganda's economy virtually collapsed.That's a salutary experience. I am by no means saying that the US economy would collapse, but am pointing to the resilience of the Indians who were expelled. If, similarly, Trump forces a large number of Indians to return to India, that might well be a case of short-term pain and long-term gain: urvashi-shapam upakaram, as in the Malayalam phrase.Their return would be akin to what happened in China and Taiwan with their successful effort to attract their diaspora back. The Chinese program was called 1000 Talents, and they scoured the globe for academics and researchers of Chinese origin, and brought them back with attractive incentives and large budgets. They had a major role in energizing the Chinese economy.Similarly, Taiwan with Hsinchu University attracted high-quality talent, among which was the founder of TSMC, the globally dominant chip giant.And here is Trump offering to India on a platter at least 100,000 software engineers, especially at a time when generativeAI is decimating low-end jobs everywhere. They can work on some very compelling projects that could revolutionize Indian education, up-skilling and so on, and I am not at liberty to discuss them. Suffice to say that these could turbo-charge the Indian software industry and get it away from mundane, routine body-shopping type jobs.ConclusionThe Trump tariff tantrum is definitely a short-term problem for India, but it can be turned around, and turned into an opportunity, if only the country plays its cards right and focuses on building long-term comparative advantages and accepting the gift of a mis-step by Trump in geo-economics.In geo-politics, India and the US need each other to contain China, and so that part, being so obvious, will be taken care of more or less by default.Thus, overall, the old SWOT analysis: strengths, weaknesses, opportunities and threats. On balance, I am of the opinion that the threats contain in them the germs of opportunities. It is up to Indians to figure out how to take advantage of them. This is your game to win or lose, India!4150 words, 9 Aug 2025 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com/subscribe

Send us a textWelcome to Celebrate Creativity - Episode 427 - Hear the Hungry LionWhen we left the previous episode I was working with Gemini to make my Master thesis about interpreting Shakespeare's place for the deaf more understandable.  And Gemini said -Okay, here's the next section, revised for a seventh-grade reading level. I've broken down the longer paragraphs and used simpler language to explain the concepts of ASL grammar and the different styles of interpreting.      And then Gemini continued withASL Grammar: A Different Way to TalkASL has a unique sentence structure that is sometimes called "topic/comment." This means you often say the main idea first, then add more details. By the way that is a very good way, of stating a rather complicated concept. For example, instead of "Is this a dagger I see before me?" from Shakespeare's Macbeth, a translation in ASL might be "dagger, do I see?"Thank you for experiencing Celebrate Creativity.

In Episode 148, we dissect the media's role in gaslighting, rewriting, or ignoring the Russia collusion narrative, once touted as fact but now unraveling. Former CIA Director John Ratcliffe reveals more disclosures are imminent from the CIA and FBI, exposing the narrative's cracks. We then explore Shakespeare's timeless insights into human emotions and ambitions, mirrored in today's news: Othello reflects Russiagate's deceit, The Tempest echoes Project Mockingbird's control, Julius Caesar exposes media manipulation of public sentiment, and Macbeth warns of ambition justifying unethical means. The episode concludes with the fiery Texas redistricting showdown, where political lines fuel debate, CNN's Abby Phillip clashing over a debunked NYTimes photo hoax, and Senator Elizabeth Warren's support for Mamdani's socialist agenda. Join us for a deep dive into how media, literature, and politics intertwine, revealing truths about power and deception in today's world. Tune in for Episode 148! Please take a moment to rate and review the show and then share the episode on social media. You can find me on Facebook, X, Instagram, GETTR,  TRUTH Social and YouTube by searching for The Alan Sanders Show. And, consider becoming a sponsor of the show by visiting my Patreon page!!

Today I'm joined by the brilliant Dr Alison Macbeth, one of the most incredible menopause doctors of our generation, who supports our cancer community. Alison has been instrumental in shaping some of the most important chapters in my new book, Navigating Menopause After Cancer — especially those on vaginal oestrogen and the many non-hormonal treatment options available to cancer survivors.But during the process of helping me with the book, Alison herself was diagnosed with breast cancer.We talk about what it's like to cross over — from being the doctor, to becoming the patient. We explore how her diagnosis shifted her perspective and what it's taught her.We also talk about the importance of friendship, support systems, and what really matters when you're on the receiving end of care.It's an honour to share this conversation with you — and I hope it reminds you, like it reminded me, that none of us are alone in this.Thank you for listening — and as always, please share this episode with someone who needs it.Episode Highlights:00:00 Intro04:34 Breast Cancer Screening Anxiety10:53 Women's Support Crucial in Struggles15:13 Emotional Struggles and Recovery Journey26:41 "Informed Consent Lacking for Women"28:47 Choosing Endocrine Treatment Wisely30:37 "Mental Struggles in Treatment"34:28 "Understanding Personal Impact Varieties"Order the book: https://www.amazon.co.uk/Navigating-Menopause-After-Cancer-comprehensive/dp/1068499907 Dr Alison Macbeth's Instagram: https://www.instagram.com/dr_alison_macbeth/?hl=enJoin Alison for the Kilt Walk 14th Sept: https://fundraiseformenopauseandcancer.raiselysite.com/edinburghkiltwalkConnect with us:For more information and resources visit our website: www.menopauseandcancer.org Or follow us on Instagram @menopause_and_cancerJoin our Facebook group: www.facebook.com/groups/menopauseandcancerchathub

Aaron Bartz brings a grounded, thoughtful energy to the role of Draco Malfoy in Harry Potter and the Cursed Child, and in this conversation, he shares just how much life and imagination go into keeping the magic alive night after night. From flying and fire to illusions and high-stakes contingencies, Aaron walks us through what it's like to debut on Broadway in one of the most technically demanding plays out there—and why so many actors in the production come from classical Shakespeare backgrounds. We also explore Aaron's journey from Great Falls, Montana to the Lyric Theatre in NYC, including a pivotal classroom moment that set him on the path to acting, and how a love of storytelling (and a little persistence) helped him land gigs that ultimately led to an MFA from Yale. Now a father of two, Aaron reflects on how playing Draco as a parent has shifted his own understanding of growth, vulnerability, and legacy. Aaron Bartz is an actor and writer currently starring as Draco Malfoy in Harry Potter and the Cursed Child on Broadway. He earned his MFA from the Yale School of Drama and began his career with regional Shakespeare productions across the country. He toured nationally with the Montana Repertory Theatre in To Kill a Mockingbird, and his previous work includes Loves Labour's Lost, Macbeth, and other classical works. This episode is brought to you by WelcomeToTimesSquare.com, the billboard where you can be a star for a day. Connect with Aaron: Instagram: @aaronbartz Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter & Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Vanguardistas have more fun—so if you don't already subscribe to the podcast, join the Vanguard today via Apple Podcasts or extratakes.com for non-fruit-related devices. In return you'll get a whole extra Take 2 alongside Take 1 every week, with bonus reviews, more viewing recommendations from the Good Doctors and whole bonus episodes just for you. And if you're already a Vanguardista, we salute you.  Could we have found the film of the year already? ‘Bring Her Back' looks like it's got a fighting chance. Mark reviews this brilliantly unsettling new horror from The Philippou brothers, who last freaked us all out with ‘Talk To Me' in 2022. We've got the Good Doctor's verdict on ‘Fantastic Four: First Steps' too—plus the box office top 10 and all your top-quality correspondence.   Our guest this week is the fascinating Justin Kurzel. You know him as director of 2015's ‘Macbeth' with Michael Fassbender, 2021's ‘Nitram', and last year's Nazi-hunting thriller ‘The Order'--and now of his first TV project, ‘The Narrow Road To The Deep North', which hits British screens this week. He chats to Mark and Simon all about the visceral new series, which follows a group of Australian prisoners of war working on the Burma railway in the 1940s, and stars Jacob Elordi and Ciarán Hinds. Plus there's a bit of chat about Nina Simone's chewing gum, and a little teaser for his next project with the guardian of this strange and sticky piece of music ephemera, Warren Ellis.    Timecodes (for Vanguardistas listening ad-free):  Bring Her Back Review: 08:36  BO10: 15:50  Justin Kurzel Interview: 21:55  The Narrow Road to the Deep North Review: 38:20  The Fantastic Four: First Steps Review: 51:16    You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo  Please take our survey and help shape the future of our show: https://www.kermodeandmayo.com/survey   EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee!  A Sony Music Entertainment production.      Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts    To advertise on this show contact: podcastadsales@sonymusic.com  Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're back with the short sketch series from Dream Realm Enterprises. Sketches written by Jonithan Patrick Russell and this week it's "Forgetful Macbeth"! Learn more about your ad choices. Visit megaphone.fm/adchoices

ACOFAE Podcast Presents: A Far Better Thing: “2025 - it was the worst of times, it was the worst of times” When was the last time you picked up a one of the "classic" books for fun? Has it been a while? Was it required reading that you were tested on at the end? Keep those answers in mind as you join Laura Marie and Jessica Marie in discussing A Far Better Thing by H.G. Parry. A reimagining of A Tale of Two Cities, this story sees the reader encountering now only the classic characters like Sydney and Lucie but also fairies, goblins, and kings. Meeting your Changeling is something that is not done, but when Sydney meets not only his Changeling but his childhood loves as well, plots are revealed and past crimes must be paid for with blood. ACOFAE also touches on accessibility, required reading, retellings, and movies that borrow from the classics. "I don't know this man." TW / CW: none to our awareness For additional TW/CW information for your future reads, head to this site for more: https://triggerwarningdatabase.com/ Spoilers: A Far Better Thing by H.G. Parry, A Tale of Two Cities by Charles Dickens, (loose spoilers) The Infernal Devices by Cassandra "Cassie" Clare Mentions: Shadowhunters, Romeo and Juliet, The Lion King, Hamlet, MacBeth, Cinderella is Dead, Shadowhunters, Loney Tunes, The Lunar Chronicles, The Scandelous Confessions of Lydia Bennett Witch, 10 Things I Hate About You *Thank you for listening to us! Please subscribe and leave a 5-star review and follow us on Instagram (https://www.instagram.com/acofaepodcast/) at @ACOFAEpodcast and on our TikToks! TikTok: ACOFAELaura : Laura Marie (https://www.tiktok.com/@acofaelaura?) ( https://www.tiktok.com/@acofaelaura) ACOFAEJessica : Jessica Marie (https://www.tiktok.com/@acofaejessica?) (https://www.tiktok.com/@acofaejessica) Instagram: @ACOFAEpodcast (https://www.instagram.com/acofaepodcast/) https://www.instagram.com/acofaepodcast/ @ACOFAELaura (https://www.instagram.com/acofaelaura/) https://www.instagram.com/acofaelaura/

The Fates of Classical Antiquity not only survived in the form of related fairy-tale figures but also as the object of superstitions and rituals associated with newborns. In South Slavic and Balkan regions particularly, these customs represent a surprisingly long-lived and genuine case of pagan survival. We begin our episode examining the fairy godmothers of "Sleeping Beauty" as embodiments of the Fates.  Mrs. Karswell reads a few key passages from the definitive version of the story included in Charles Perrault's 1697 collection, Histoires ou contes du temps passé ("stories of times gone by.") We learn how the fairies fulfill the historical role of godparents at the newborn's christening. We also note the peculiar emphasis on the quality of what's set before the fairies at the christening banquet, observing how a failure there leads the wicked fairy to curse the Sleeping Beauty. 1874 illustration by František Doucha for a Czech edition of Sleeping Beauty We then explore antecedents to Perrault's tale, beginning with the 14th-century French chivalric romance, Perceforest.  A peripheral story in this 8-volume work is that of Troylus and Zeelandine, in which the role of Sleeping Beauty's fairy godmothers are played by Greek and Roman deities, with Venus as supporter of Princess Zeelandine (and her suitor Troylus) and Themis cursing Zeelandine to sleep in a manner similar to Perrault's princess.  A failure to correctly lay out Themis' required items at the christening banquet is again again responsible for the curse, though the awakening of Zeelandine by Troylus awakens is surprisingly different and a notorious example of medieval bawdiness. Preceding Perceforest, there was the late 13th-century French historical romance Huon of Bordeaux, in which we hear of the newborn fairy king Oberon being both cursed and blessed by fairies attending his birth.  From around the same time, French poet and composer Adam de la Halle's Play of the Bower describes a banquet at which fairy guests pronounce a curses and blessings on those in attendance prompted again by their pleasure or displeasure at what's set before them at a banquet. We also  hear of the Danish King King Fridlevus (Fridlef II) bringing his newborn son to a temple of "three maidens" to ascertain the  destiny pf the child in Gesta Danorum ("Deeds of the Danes").written around 1200 by Saxo Grammaticus. And lest listeners think such appeals to the Fates were strictly a literary motif, we hear Burchard of Worms, in his early-11th-century Decretum, condemning the not uncommon among the Germans of his region of setting up offering tables for the Fates.  By this point, the connection between how fairy godmother types are served at a banquet and offerings made to the Fates to ensure a cild's fortune should be clear. We then turn back to the Greek Fates, the Moirai (Clotho, Lachesis, and Atropos) and the Roman Parcae (Nona, Decuma, and Morta). Particularly in the case of the Parcae, we hear examples of their connection to the newborn's destiny in the celebration nine or ten days after the birth of the dies lustricus, during which offerings were made to the Fates. The Three Fates by Bernardo Strozzi, late 17th c We make a brief side-trip to discuss the Norns (Urðr, Verðandi and Skuld), the Germanic equivalent of the Fates.  These are more distant cousins, not strongly associated with the newborn and his destiny, though we do hear a passage from the Poetic Edda, in which the Norns are  present birth of the hero Helgi. We also hear a gruesome passage from the 13th-century Njáls Saga, in which the Valkyries weave out the fate of those who will die in the Battle of Clontarf. The Anglo-Saxon equivalent of the Fates, the Wyrds, are also discussed, and we hear how the  witches in Macbeth partook in this identity as the "Weird Sisters," an association Shakespeare inherited from his source material, the 1587 history of Great Britain, known as Holinshed's Chronicles.

UNLOCK FULL EPISODE (and HUNDREDS of other BONUS shows): Patreon.com/IlluminatiWatcherOn today's episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast BONUS episode for supporters- we continue our journey into James Shelby Downard's King Kill 33! We'll talk about Set 4: Kennedy, Beale and Bouvier: the Scarlet Woman Miss Chudleigh, Marilyn Monroe's Shriner husband Bob Slatzer, divine and sacred names connecting JFK to Baal, Jackie Onassis' Bouvier bloodline and Radzvil royals. In Set 5 we talk Mystical Toponomy with the 32nd degree of latitude connecting through Tres Hermanas, Macbeth and the Great Whore. Set 6 The Lone Pentagram State looks at symbolism of the color red, Houston's history, Shakespeare's Macbeth, Texas' masonic control system, Kabbalah principles, psycho-sexual rituals and the alchemical detonation of primordial matter!NOW UP AD-FREE ON SUPPORTER FEEDS! Free feed gets a preview!Links:SUPPORTER FEEDS: Go ad-free with HUNDREDS of bonus episodes, early access and books!Patreon.com/IlluminatiWatcher,VIP Section (*with comparsion of Apple vs Patreon vs VIP): https://wp.me/P2ijVF-aRLApple Podcasts Premium! You can now go ad-free with ALL the bonus episodes on the Apple app- just open up the podcast and subscribe!More from Isaac- links and special offers:*BREAKING SOCIAL NORMS podcast, Index of EVERY episode (back to 2014), Signed paperbacks, shirts, & other merch, Substack, YouTube links, appearances & more: https://allmylinks.com/isaacw*STATEMENT: This show is full of Isaac's useless opinions and presented for entertainment purposes. Audio clips used in Fair Use and taken from YouTube videos.

UNLOCK FULL 3-PART SERIES AND GO AD-FREE! (Video version on Tier 2): Patreon.com/IlluminatiWatcherOn today's episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast we have a PREVIEW of a BONUS episode where we'll start a deep dive "Conspiracy Classics" series for the supporter feeds! In Part 1 we'll look at who James Shelby Downard was and what this King Kill 33 is all about! We'll then start exploring the essay: secret governments, the Freemason Grand Architect god and Americans not having the truth! In Set 1 The Hellfire Club we'll start with where it all began- satanic sexy time parties with Ben Franklin! In Set II Sexual Geometry we'll talk about how mathematics and Egyptian history, Set III Macbeth and Scotland connects Carl Jung into the Crossroads of sex magick, cross-dressing rituals, LBJ's bloodlines, Shakespeare's Macbeth at the White House, The Black Watch and the Holy House of Heredom symbolism! Find out the REAL conspiracy behind JFK's assassination!NOW UP AD-FREE ON SUPPORTER FEEDS! Free feed gets a preview!Links:SUPPORTER FEEDS: Go ad-free with HUNDREDS of bonus episodes, early access and books!Patreon.com/IlluminatiWatcher,VIP Section (*with comparsion of Apple vs Patreon vs VIP): https://wp.me/P2ijVF-aRLApple Podcasts Premium! You can now go ad-free with ALL the bonus episodes on the Apple app- just open up the podcast and subscribe!

Called “the finest actor of his generation,” Sir Simon Russell Beale has played just about everyone in Shakespeare's canon—Hamlet, Lear, Macbeth, Falstaff, Malvolio, Iago—and most recently, Titus Andronicus, for the Royal Shakespeare Company. In this episode, Beale reflects on the Shakespearean roles that have shaped his career and how his approach to them has evolved over time. He shares what drew him to Titus, and how he found surprising tenderness in Shakespeare's brutal tragedy. The actor revisits past performances, exploring grief in Hamlet, aging and dementia in King Lear, and how time has deepened his connection to the plays and the characters. Beale's memoir, A Piece of Work: Playing Shakespeare & Other Stories, is a moving and often humorous reflection on acting, Shakespeare, and the power of performance to reveal something essential about being human. Sir Simon Russell Beale studied at Cambridge before joining the RSC. Described by the Daily Telegraph as “the finest actor of his generation,” he has been lauded for both his stage and TV work, winning many awards including the Olivier Award for Best Supporting Actor, the Evening Standard Best Actor Award, and the BAFTA Best Actor Award. From the Shakespeare Unlimited podcast. Published June 17, 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. Final mixing services are provided by Clean Cuts at Three Seas, Inc.