Podcasts about that shakespeare life

In Shakespeare's play, Antony and Cleopatra, Cleopatra declares “It is my birth-day: I had thought to have held it poor: but, since my lord Is Antony again, I will be Cleopatra.” Indicating that she was relieved to be marking the occasion in a better way. Julius Ceasar, similarly declares in Act V, “This is my birth-day; as this very day was Cassius born.” In Pericles, the First Fisherman says “he hath a fair daughter, and to-morrow is her birth-day;” (Act II).  In Shakespeare's Hamlet, Marcellus talks about celebrating our Savior's birth with singing. Other references to the day of one's birth show up in Henry VI Part II the Earl of Suffolk talks about having a cunning old man calculate the day of his birth (Act IV), and later in that same act, Jack Cade talks about how his father was ignorant of both his birth and parentage. All of these mentions of birth days, their calculations, and their celebrations, has me wondering what exactly birthdays were like for Shakespeare's England. We always celebrate Shakespeare's birthday in style in around here, but would the bard have celebrated his own day of birth? To find out, we've invited one of the authors of the article “Debating the Birthday: Innovation and Resistance in Celebrating Children” Peter Stearns, to the show to day, to help us explore the history of marking a birthday with cakes, gifts, and a gathering of friends. Would this have occurred for Shakespeare's lifetime? Let's find out right now, on That Shakespeare Life.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week, we have a special opportunity here on the show to explore the Historic home of Shakespeare's eldest daughter, Susanna Shakespeare Hall, that has been brought to life in a beautiful digital 3Dformat thanks to a pioneering new digital archive that has created an augmented reality exhibition that lets visitors like you and me, visit and virtually walk through Susanna's home known as Hall's Croft, from anywhere in the world. The 3D component allows users to bring 17th-century early modern objects into their own spaces using the AR feature, while the digital archive allows users to explore 3 rooms from Hall's Croft from the comfort of their own homes. This week we are delighted to welcome Ailsa Grant Ferguson, the lead on this digital project, back to That Shakespeare Life, to tell us about the research that went into this program, what they learned about Hall's Croft, and about Susanna Shakespeare through their research, and to share the details on how you can explore this 3D model for yourself.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

On previous episodes of That Shakespeare Life, we have talked about the numerous early modern card games that show up in Shakespeare's plays, and even that Ferdinand and Miranda are playing the game of Chess in the Tempest. What you may be surprised to learn is that another form of early modern game playing—the game of dice—comes up over half a dozen times across Shakespeare's works, with references to playing the game, using them to predict the future, and of course, losing at the game of dice. Dice was a huge sport for Elizabethan, and later Jacobean, England and here today to share with us about this history, what games were played, and some specifics on the history of the playing pieces themselves is Historic Games expert, Charles Knutson.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome to Episode #126 of the TalkinGolf History Podcast - or better said welcome to That Shakespeare Life with your host Cassidy Cash. Today on our/her show we dive into the game of golf, as it was played during the lifetime of William Shakespeare. I joined Cassidy on her show and I have since added it to my list of regular podcasts. On That Shakespeare Life you get an amazing glimpse into what life was truly like during Shakespeare's life (1582-1616) from making beer or mead to how people brushed their teeth. It is all the things you never knew that you wanted to know about.

When Shakespeare was writing plays in the 16th to early 17th century, he was participating in an industry that was both established, as well as rapidly evolving. Shakespeare himself ushered in innovation for the theater industry, while the bard, along with his contemporaries, equally embraced long held traditions that included shamelessly copying one another's work. Acknowledging that copying someone's work was industry standard for Renaissance England raises some questions about plagiarism, as well as who should get the credit for writing a particular story. Our guest this week, Darren Freebury Jones, has visited with us before to look at the influences of Thomas Kyd and even Robert Greene on the works of William Shakespeare, and Darren is back again this week to share with us the theater industry he has uncovered for his latest book, Borrowed Feathers, where he uses you'll remember we called “textual sleuthing” in an earlier episode, to examine production, influence, authorship, and collaboration amongst playwrights such as Lyly, Kyd, Fletcher, and of course, Shakespeare. We are delighted to welcome Darren back to That Shakespeare Life again this week to talk with us about what it looked like to be a colleague in the theater industry for the 16th century, what constituted industry standard when you were writing plays, and how much influence a modern lens looking backwards at history has had on what we think we know about how Shakespeare produced his works.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Bonus Episode 35:A conversation with Cassidy Cash, producer and host of 'That Shakespeare Life', the podcast that interviews expert historians to explore people, events, and objects that were living or happening in Shakespeare's lifetime.Cassidy Cash is a Shakespeare historian, historical map illustrator, and host of That Shakespeare Life, That Shakespeare Life is currently ranked the #2 Shakespeare history podcast in the world. In addition to podcasting, Cassidy creates independent films about 16-17th century history and illustrated history maps that diagram life in turn of the 17th century England. Her documentary shorts and animated films about Shakespeare's history have won international film awards for both history and animation. Cassidy is a member of the National Council on Public History, The American Historical Association, the Renaissance Society of America, the Shakespeare Association of America, and most recently she was elected Associate Fellow at the Royal Historical Society for her contributions to history. Her work and historical map ilustrations have been published in multiple academic journals and on major history platforms including History Magazine, HistoryHit, Tudor Places Magazine, and Shakespeare Birthplace Trust. Connect with Cassidy and hear current episodes of That Shakespeare Life at www.cassidycash.com This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Before William Shakespeare was the great playwright of the age, he was “just Will” fromStratford Upon Avon. The one person in the world who not only loved him before he wasfamous, but walkedbeside him for the entire journey from young man with nothing but relentlessoptimism to successful playwright patronized by the monarchy of England, was his wife, AnneHathaway. Anne married William in 1582, and by the time Shakespeare was skyrocketing tofame in the 1590s with plays like his Henry VI series, Two Gentlemen of Verona, and Romeoand Juliet, the couple were parents to three children, including one set of twins. In honor of theperson who quite literally kept the home fires burning so that theman who conquered the worldwith his work would have somewhere, and someone, to come home to, our guests this weekhave compiled a poetic tribute to Anne Hathaway called the Anne-thology. The collectionfeatures poetry and sonnets by modern scholars of Anne Hathaway as well as a few written byAnne's children. In our first ever group interview here on That Shakespeare Life, we are pleasedto welcome our friends Chris Laoutaris, Katherine Scheil, Aaron Kent, and Paul Edmondson tothe show to tell us more about Anne Hathaway and the making of this memorial poetrycollection Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome to this edited version of our live discussion of The Theatrical Legacy of Thomas Middleton It was an online event celebrating the publication of The Theatrical Legacy of Thomas Middleton, 1624-2024 Featuring Drs Will Green, Anna L. Hegland, Sam Jermy; with host Robert Crighton. You can purchase the book online at... https://www.routledge.com/The-Theatrical-Legacy-of-Thomas-Middleton-1624-2024/Green-Hegland-Jermy/p/book/9781032556093 You can also sign up for Early Bird Tickets for our Live Recording of A Game at Chess on the 11th of August at the White Bear - tickets will go to our early sign ups and patrons first. If you can't make it to our live show, then there will be online readings of the play from the 5th August, mirroring the original performance dates of A Game at Chess 400 years ago. Sign up to read along with us! For more info on all our events this year, go to our Game at Chess webpage. The Theatrical Legacy of Thomas Middleton, 1624-2024 marks the 400th anniversary of Middleton's final and most contentious work for the public theatres, A Game at Chess (1624), presenting readers with a celebration of the impact and lasting salience of Middleton's body of dramatic works from 1624 up to the present day. This live event brings the editors of this collection together to discuss Middleton, and the book they have produced. The Theatrical Legacy of Thomas Middleton, 1624-2024 marks the 400th anniversary of Middleton's final and most contentious work for the public theatres, A Game at Chess (1624), presenting readers with a celebration of the impact and lasting salience of Middleton's body of dramatic works from 1624 up to the present day. The collection is divided into three sections: ‘Critical and Textual Reception', ‘Afterlives and Legacies', and ‘Practice and Performance'. This division reflects the book's holistic approach to Middleton's dramatic canon, and its emphasis on the continuing significance of Middleton's writing to the study of early modern English drama. The book offers an assessment of the place of Middleton's drama in culture, criticism, and education today, through a variety of critical approaches. Featuring work from a range of voices (from early career, independent, and seasoned academics and practitioners), this collection will be of interest to specialists in early modern literature and drama who are interested in both theory and practice, and students or scholars researching Middleton's historical significance to the study of early theatre. Dr. Will Green is a postdoctoral research fellow at the University of Nottingham, and an associate tutor in Medieval and Renaissance Literature at the University of Warwick. He received his PhD from the University of Birmingham's Shakespeare Institute in 2021, and his work has appeared in journals including Exchanges, Theatre Notebook, and Critical Survey. Dr Anna L. Hegland is an advisor in The Aspire Center and adjunct professor at Carthage College in Kenosha, Wisconsin. She earned a PhD in Medieval and Early Modern Studies from the University of Kent in 2022. Her research examines the intertwining of rhetoric and action in early modern English theatre during moments of staged violence, combining textual and practice-based methods to think about enactment and embodiment then and now. Her work is published in the British Shakespeare Association's Teaching Shakespeare magazine, Shakespeare Bulletin, and Symbolism, and a chapter on Middleton appears in the recent edited collection Boundaries of Violence (Routledge, 2023). Dr. Sam Jermy is an independent researcher whose research explores the ways that masculinities are imagined, staged, articulated, and problematised across Thomas Middleton's body of work. They have published reviews in Shakespeare Bulletin and Urban History, and appeared as a guest on several podcasts including That Shakespeare Life and The International Anthony Burgess Foundation Podcast. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to www.patreon.com/beyondshakespeare - or if you'd like to buy us a coffee at ko-fi https://ko-fi.com/beyondshakespeare - or if you want to give us some feedback, email us at admin@beyondshakespeare.org, follow us on Twitter, Facebook & Instagram @BeyondShakes or go to our website: https://beyondshakespeare.org You can also subscribe to our YouTube channel where (most of) our exploring sessions live - https://www.youtube.com/channel/UCLa4pXxGZFwTX4QSaB5XNdQ The Beyond Shakespeare Podcast is hosted and produced by Robert Crighton.

In the play, The Merry Wives of Windsor, as well as Hamlet and Richard III, the phrase “declension of pronouns” that comes up as a description of language. That's not a phrase that I remember being taught in English class, and instead relates to Latin, the language of education for Shakespeare's lifetime, and indeed across Europe. Here today to explain for us exactly what a “declension” might be, how to use them, and what it helps to understand about things like nouns, pronouns, and spelling for 16th century English when you explore Shakespeare's plays, is our friend, and returning guest here to That Shakespeare Life, Professor David Crystal Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

After we published our episode here on That Shakespeare Life about the Duncan portrait of William Shakespeare, I received an email from Steve Wadlow, telling me about the history of a portrait that had been hanging in his family home for years that a visiting Shakespeare scholar indicated might be William Shakespeare, and suggested Steve look into the provenance further. With no prior experience in Shakespeare history or indeed even the art world, Steve dove headlong into finding out where this painting had come from originally and exactly who the person in the picture was, since the image was strikingly similar to the Cobbe portrait of William Shakespeare. Here today to tell us what he found out and whether or not this painting is of William Shakespeare is our guest, and newly minted art historian, Steve Wadlow.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Steven welcomes popular Shakespeare podcast host, Cassidy Cash, to this episode to discuss the origins and history of her "That Shakespeare Life" podcast and her positions on the Authorship Mystery. Support the show by picking up official Don't Quill the Messenger merchandise at www.dontquillthepodcast.com and becoming a Patron at http://www.patreon.com/dontquillthemessenger  Made possible by Patrons: Brent Evans & Patty Henson, Cathaleen Riley-Bishop, Clare Jaget, Daniel Cowan, David Neufer, David R Klausmeyer, Dean Bradley, Edward Henke, Ellen Swanson, Frank Lawler, James Gutierrez, Jaymie, Jen S, John Creider, John Eddings, John Guarnaccia, Jon Foss, Jonathan Batailles, Luís S, Ray Matthews, Rosemary O'Loughlin, Ruth Tupper, Sandi Boney, Sandi Paulus, Sara Gerard, Sheila Kethley, Tim Norman, Tim Price, Vanessa Lops, Yvonne Don't Quill the Messenger is a part of the Dragon Wagon Radio independent podcast network. For more great podcasts visit www.dragonwagonradio.com

To celebrate the 400th anniversary of Shakespeare's First Folio, Cassidy Cash joins us to chat about a couple of our favorite plays: The Tempest and Macbeth!Show Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydCassidy Cash, That Shakespeare Lifecassidycash.comResources for The Tempest and other Shakespeare experiences:patreon.com/thatshakespearelifecassidycash.com/stephen-hopkins-with-andrew-buckley/cassidycas.com/did-shakespeare-think-unicorns-were-real/cassidycash.com/ep-145-cleire-water-with-vaughn-scribner/cassidycash.com/pregnancy-at-sea-with-katarzyan-burzynska-ep-203/cassidycash.com/david-ingramCreative Director: Lindsey LindstromMusic: History by Andy_Grey via Audio Jungle, Music Broadcast LicenseLet's shake up history together!@shakeuphistory

The works and plays of William Shakespeare have endured for centuries. But what is it about Shakespeare that has made his works such a mainstay in our culture for so long? Are his works truly as transcendent as one would think, or are there other reasons that explain his enduring legacy? Cassidy Cash, a historical map illustrator and host of That Shakespeare Life, the #2 Shakespeare history podcast in the world, joins the podcast. Learn more about Cassidy at www.cassidycash.com

In today's mini-episode, we'll be talking about the touring theatre companies of Shakespeare's time. Did companies like the Players in Hamlet actually exist (and is Shakespeare's depiction of them accurate)? What do we know about them? Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Cash, Cassidy, host. “Ep 25: Sally Beth MacLean & 16th Century English Travelling Playing Companies.” That Shakespeare Life, episode 25, Publisher, 8 October 2018, https://html5-player.libsyn.com/embed/episode/id/7137029/height/90/theme/custom/autoplay/no/autonext/no/thumbnail/yes/preload/no/no_addthis/no/direction/backward/render-playlist/no/custom-color/cc0014/. The Medievalists. (2020). Medieval Drama. YouTube. YouTube. Retrieved September 7, 2022, from https://www.youtube.com/watch?v=HExBbaIJWfw. 

When I'm not recording That Shakespeare Life, I'm usually researching for DIY History, my YouTube channel where I look into games, recipes, and crafts for Shakespeare's lifetime that you can do at home. In preparing a new episode, I was going through Hugh Plat's Good Housewives Jewel, a cookbook that was written in 1596-1597. One recipe that caught my eye called for "sweet bread." I ambitiously decided to try and make this recipe, thinking I would be diving into a cake, or perhaps some version of loaf bread. However, as I started to research the ingredients, I was surprised to discover this "sweet bread" wasn't bread at all but instead “sweet bread” was actually the 16th century phrase for the pancreas of a cow. Discovering that sweet bread was not at all a bread, but instead an organ meat, was the moment I decided we definitely needed to know more about this surprising food, and to do that, we needed to bring in an expert, which is why I reached out to our friend and returning guest to That Shakespeare Life,  expert food historian, Neil Buttery,Neil joins us today to share the history and a few recipes for how to cook 16th century sweet bread. 

Today's episode is brought to you by our Patreon Patrons at the Gentry, Noble, and Royal Patron levels! They voted on today's topic: Shakespearean Woodcuts!  Woodcuts were a popular Early Modern print-making method used to add illustrations to printed publications and were kind of like an Early Modern meme.  Check out some of our favorites below: Hans Holbein's The Dance of Death series Works by Albrecht Durer The Beggar's Delight (a Broadside Ballad) The English Broadside Ballad Archive Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Cash, Cassidy, host. “Ep 79: James Knapp and Elizabethan Woodcuts.” That Shakespeare Life, episode 79, Publisher, 21 October 2019, https://www.cassidycash.com/ep-79-james-knapp-elizabethan-woodcuts/. Toledo Museum of Art. (2020, July 27). The History of the Woodcut and Printmaking's Collaborative Process [Video]. Youtube. From 1:30 to 17:30. https://www.youtube.com/watch?v=IKyC4DcDu1E&t=254s

Welcome to episode one of the new fourth season of The British Food History Podcast. Kicking us off is Neil's guest Felicity Cloake. Neil & Felicity talk all things breakfast and Felicity's new book Red Sauce, Brown Sauce, a celebration of the breakfast in all four home nations of the UK. We talk about how breakfast might be the only thing uniting all 4 countries that make up the UK, the complexities of planning a nation-wide breakfast tour, injuries, why it's okay to like both red and brown sauce, as well as neither, the importance of pudding on a fried breakfast, regional specialities and recipe writing.   Felicity's book Red Sauce, Brown Sauce is published by Harper Collins: https://harpercollins.co.uk/products/red-sauce-brown-sauce-a-british-breakfast-odyssey-felicity-cloake?variant=39584484687950 (https://harpercollins.co.uk/products/red-sauce-brown-sauce-a-british-breakfast-odyssey-felicity-cloake?variant=39584484687950) Felicity will be appearing at the Abergavenny Food Festival 17 & 18 September 2022 (https://www.abergavennyfoodfestival.com/ (https://www.abergavennyfoodfestival.com/)), Divizes Food Festival 24 Sept to 2 Oct 2022 (https://www.devizesfoodanddrinkfestival.info/category/events/ (https://www.devizesfoodanddrinkfestival.info/category/events/)) and the Dartmouth Food Festival 21 Oct to 23 Oct 2022 (https://www.dartmouthfoodfestival.com/ (https://www.dartmouthfoodfestival.com/)).   Follow Felicity on twitter and Insta @felicitycloake. Neil's recent podcast appearances: Season's Eatings: https://open.spotify.com/episode/4GJlffoU9dVYCdGyJGOvDX?si=90285119f6644271 (https://open.spotify.com/episode/4GJlffoU9dVYCdGyJGOvDX?si=90285119f6644271) The Well-Seasoned Librarian: https://open.spotify.com/episode/5wps3FiGdVDynPQVl62G4M?si=b0e53ab4fe1c4c1b (https://open.spotify.com/episode/5wps3FiGdVDynPQVl62G4M?si=b0e53ab4fe1c4c1b) That Shakespeare Life: https://open.spotify.com/episode/2w7xGGBye93jvO39IuntTO?si=e5bf9543b9794eaf (https://open.spotify.com/episode/2w7xGGBye93jvO39IuntTO?si=e5bf9543b9794eaf) Neil's book A Dark History of Sugar is available now from all bookshops as well as from the publisher Pen & Sword: https://www.pen-and-sword.co.uk/A-Dark-History-of-Sugar-Hardback/p/20481 (https://www.pen-and-sword.co.uk/A-Dark-History-of-Sugar-Hardback/p/20481) If you want to buy a signed copy directly from Neil for £18 + postage (£2.85 if within the UK, the going rate if outside!). Contact him via email or social media if you fancy it (see below). Also, don't forget if you have any questions or queries about today's episode, or indeed any episode, or have a question about the history of British food please email me at neil@britishfoodhistory.com, or find me on twitter @neilbuttery, or Instagram dr_neil_buttery my DMs are open. If you like my blog posts and podcast episodes, please consider a monthly subscription or buying me a virtual coffee or a pint? Go to https://britishfoodhistory.com/support-the-blog-podcast/ (https://britishfoodhistory.com/support-the-blog-podcast/) for more details. This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

*GoFundMe for families of Uvalde victims and survivors: https://www.gofundme.com/f/robb-elementary-school-shooting Cassidy Cash joins host Stephanie Crugnola on this week's episode to chat which of five Shakespearean deaths are the least to most historically accurate.  Through the episode Cassidy covers Lil Macduff, Cleopatra, Clarence, Caesar, and Arthur.  Let us know your thoughts and which surprised you most on Facebook, instagram, Twitter, and TikTok! Make sure to follow Cassidy on twitter and through her website, and listen to her podcast: That Shakespeare Life! Please check out our Patreon for bonus materials and extra content - including my picks for each of the months' episodes, and some new audition monologue content! Special thanks to our new network: Serious Business for bringing us on board and giving us the space to discuss such an important element of Shakespearean Theatre. Check out their other two shows Adventure Incorporated (an actual play DnD 5e podcast) and Ask The Pokedexpert (a highly academic question and answer podcast/stream about Pokemon)!

Shakespeare features food all over his plays--he even names characters after food! Today, we are diving into the culinary landscape of Early Modern England and learning more about the foods (and foodies) of the time.  Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Brears, Peter. Cooking and Dining in Tudor and Early Stuart England. Prospect Books, 2015. . Cash, Cassidy, and Brigitte Webster. “ Shakespeare's Daily Diet with Brigitte Webster.” That Shakespeare Life, performance by Cassidy Cash, season 1, episode 42, 4 Feb. 2019, https://www.cassidycash.com/shakespeare-daily-diet/. Accessed 10 May 2022. Hughes, Glyn. “Foods of England Cheat.” Foods of England - Cheat, 1 Mar. 2022, http://www.foodsofengland.co.uk/cheat.htm. Paul, Richard. “You Will Hie You Home to Dinner: The Food of Shakespeare's World.” Shakespeare Unlimited, performance by Wendy Wall, and Barbara Bogaev, season 1, episode 53, 26 July 2016, https://www.folger.edu/shakespeare-unlimited/food-wendy-wall. Accessed 10 May 2022. Tufts, John. Fat Rascals: Dining at Shakespeare's Table. John Tufts, 2020.  Tufts, John. Performance by John Tufts, Fat Rascals: Dining at Shakespeare's Table, Episode 1: Chewets, Youtube, 7 Apr. 2020, https://www.youtube.com/watch?v=tIVBetm29ck. Accessed 10 May 2022.

Late Night Living and That Shakespeare LifeShow Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydCassidy Cash, That Shakespeare Life@thatshakespearelifewww.cassidycash.comwww.cassidycash.com/where-to-watch-every-shakespeare-play-online-for-freeCreative Director: Lindsey LindstromMusic: Inspiring Dramatic Pack by Smart Sounds via Audio Jungle; Music Broadcast License

Sean is joined by Cassidy Cash from ‘That Shakespeare Life' podcast to discuss ‘How to behave in Britain' (1943). Whilst discussing this training film for United States Armed Forces in the Second World War, they navigate pub etiquette in Britain, Shove Ha'penny, and Pounds, Shillings and Pennies. Although a nostalgic film, there is a section when the narrator of the film discusses the differences between British and American's treatment of black soldiers in their respective countries. This societal difference is broached in the film and discussed in this podcast. The section contains the use of the term ‘coloured people'. This is quoted purely as part of a historical discussion and review of the film. A film which is a heavy slice of nostalgia but which is tinged with the whole situation around race relations. Guest Biography: Cassidy Cash is a historical map illustrator and Shakespeare historian. She is the host of That Shakespeare Life, the #2 Shakespeare history podcast in the world as ranked by Welp Magazine and host of the YouTube series DIY History where she introduces you to games, recipes, and crafts from Shakespeare's lifetime that you can try out for yourself at home. Cassidy's documentary short films and animated plays about Shakespeare's history have won international film awards for history and animation. Find out more about Cassidy and explore the life of William Shakespeare at www.cassidycash.com Thanks for listening!

Show Notes:Credits:Host: Carol Ann LloydGuest: Cassidy Cashwww.carolannlloyd.comCreative Director: Lindsey LindstromMusic: Historical Documentary licensed through Audio Jungle/Envato MarketsLinks:www.cassidycash.com https://www.cassidycash.com/macbeth-saved-shakespeare-gunpowder-plot/ Summary:Shakespeare was writing in a time when people believed in witches. So when the witches appear in Macbeth, it would have been a terrifying moment. Cassidy Cash of That Shakespeare Life podcast helps us understand the play, the witches, and all the things Shakespeare was trying to accomplish.Shakespeare's Macbeth was first performed early in the reign of King James. It was a tumultuous time and most people were on edge. The witches represented a real and present danger to the people. Cassidy explains how Shakespeare used these creatures and the particulars of their play to grab the attention of the audience that mattered most to him: the King himself.From Shakespeare's day to our, Macbeth and the witches continue to capture our imagination.

Portraits of ladies and gentlemen from the late 16th century show men and women adorned in all manner of finery, including everything from flowing gowns, to magnificent swords, and even those infamous Tudor ruff collars,but what exactly did it take to get into all those fine outfits? When Shakespeare surveyed his closet in the morning before he got dressed for the day, were there certain items he needed like an undershirt or socks? This week, we are diving into the world of early modern clothing to look at what Shakespeare, his contemporaries, and his female counterparts would have worn under their clothes. Our guest this week is Tudor clothier and historical costumer, Bess Chilvers, who joins us to answer questions (some of which have been submitted by our members here at That Shakespeare Life), about what kind of underwear there would have been for people in turn of the 17th century England, including underwear, support garments, apparati needed for wigs, socks, and more. 

We sit down to a properly set table and expect to see at minimum a fork, knife, and a spoon. More elaborate settings may have more utensils, but for William Shakespeare, his lifetime was the first moment in England’s history when dining habits were caught somewhere between the age of eating with one’s hands, and the advent of proper utensils at the dining table. While the invention of the fork happened centuries prior to Shakespeare, the fashion of using them to eat with at a table for meals did not arrive in Europe until the youth of Shakespeare’s parents, when in 1533 Catherine de Medici of France travelled from Italy to France to marry Henry II. Across Europe the couple held festivals to demonstrate their power, including the showcase of Catherine’s unique eating methods, namely--the use of a fork. As the custom of eating with a fork made its’ way across Europe, the fork was met with a mixed reception, and even morphed into a political symbol. By the time William Shakespeare was taking the world by storm, the fork was a novel eating instrument in England, fascinating some, and infuriating others. Here to help us explore what the experience of eating at a table, and using a fork, would have been like for William Shakespeare is our guest, now three time a visitor here at That Shakespeare Life, Tudor enthusiasts, expert culinary historian, and my friend, Brigitte Webster.

This show was produced by Claire Martin and Jeremy Fiebig. Our interviewed guest was Cassie Jo Fastabend. soundcloud.com/cassie-jo-fastabend John Donne's sonnet was read by Cassidy Cash of That Shakespeare Life. cassidycash.com Our theme song and transitional music was written by Owen Eddy. www.oweneddy.com Our General Manager is Ashanti Bennett. This project is supported by the Arts Council in part by contributions from businesses and individuals, and through grants from the City of Fayetteville, Cumberland County and the North Carolina Arts Council, a division of the Department of Natural & Cultural Resources. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/sweetteashakes/message Support this podcast: https://anchor.fm/sweetteashakes/support

Ready to grow your own company of one. Since the title of this podcast is Company of One, many of you are asking lately, "What do I mean by the "company of one?" So today, I want to help you understand this concept and grow your own Company of One. Why? It will help you see some of the misconceptions about the work we have been taught. It will bring your freedom. It will help you make more money. Grow Your Own Company of One To explain the company of one, we will look at a company we all know. The Business Model Let me us Walmart to help depict this model. We all know of Walmart. But have you ever thought about the critical thing that happens in Wallmart? In fact, the only thing Walmart focuses on. It happens as a relationship. When you hand over money in return for goods/services. This exchange of money for goods and services is what we call doing business. This model is typically called the business model. In this model, the person who hands over the cash is the customer, and the one that takes the money and provides a good or service is the business or company. We are all very familiar with this model - especially from the customer side.   The Business Model   The Employee Model Now let's looks at a model we are also very familiar with. I will call this the employee model. In this model, you go to work for an employer. You are called the employee. Let's assume you work as a project manager for AT&T. So you go to work and provide a service managing multiple projects. I will assume that means you help them get work done on-time and on budget while not missing anything critical.   The Employee Model   Now even the untrained eye can see that these two models are pretty much the same thing. They are identical except for one feature. Notice who hands over the money now. In my example, it is the company or AT&T. And the employee provides the service. So, since AT&T hands over cash, they are the customer. That makes the employee the company or the business. A good depiction of that is below, as drawn by my daughter Cassidy Cash - also known as Cassidy Cash, host of That Shakespeare Life.   We are all a Company of One The point is that the employee model is a lie. We are not employees; we are small one-person companies providing a service to larger companies. We are all companies. Now you might get that immediately, but I know some of us need to process this. It is very critical that you understand. Why? If you understand this, you will have more power, more freedom, and can learn to make more money. Sound like a bold promise? It is. But yet, it is the truth. You see, most of us play one of three roles. First is the victim. Second is the rule follower. The third is the entrepreneur. It is the third role that gets the spark. Entrepreneurs are not just the ones starting companies; they are the ones making things happen even inside of the big companies while they operate as an "employee." It is the entrepreneur who will have the most impact and the most joy. They are the ones who operate like a company of one. Four Key Roles of any Company To see what I am getting at, let's analyze how a company works. It as Earl Nightingale, who I first heard describe the four key roles of a company. They are operations, marketing, finance, and research. When I started teaching entrepreneurship at UAB, I used this simple model of a company to communicate ideas to those who were used to working in large companies like AT&T, Wells Fargo, Lockheed, Boeing, Mercedes, IBM, and many other companies. These students of mine were very smart, but the businesses they worked for were so complex that they had a hard time moving their thinking from big business to a simple model. So Earl's model worked well. As I broke this down for them, I would explain to them how they were this Company of One and that they all had these roles in their own company.

One of the greatest mysteries about the life of William Shakespeare is where, precisely did the bard first encounter theater. Was it the roving theater companies which speckled the countryside with their pop up performances for which Shakespeare’s father was the town alderman, and therefore would have had to approve the players when they appeared in Stratford? Or was it at Grammar School, where students used theater to learn their Latin, English, and transcription? Well, for many one of the most tantalizing suggestions about where Shakespeare first saw a large scale theater production was when he was just 11 years old. That year, in 1575, Robert Dudley used an elaborate theatrical display as part of his presentation to Elizabeth I where he tried to woo, and propose to the queen. Though his efforts ultimately proved in vain, the fact that many of the features of the performance that day show up in Shakespeare’s plays later in life, lead many historians to speculate that the Shakespeare family, and young William in particular, just might have made the relatively short journey from Stratford to Kenilworth Castle, being drawn in by the promise of a grand display and the potential for a glimpse of the Queen.  Here today to help us explore the story of Kenilworth Castle, Robert Dudley’s proposal, and how likely it might be for Shakespeare to have attended, is our guest, Philippa Brewell. Philippa visited with us for our very first episode of That Shakespeare Life and we are simply delighted to welcome her back to the show. 

In Elizabethan England, much of what we know about how theaters were operated comes from the diary of a man who ran dozens of theaters during Shakespeare’s lifetime: Philip Henslowe. Henslowe was enterprising and ambitious, setting up the Bear Garden for bear baiting, and establishing the Rose, the Fortune, and the Hope theaters, among others. Throughout his dealings with numerous playing companies including Shakespeare’s The Lord Chamberlain’s Men, Henslowe kept a diary about who he paid to perform, what productions were done, and even what props and costumes were used. The result is a fascinating tale of bits and pieces that give a real insider's look into the daily operations of what it meant to hire actors, collaborate across playing companies, and even part of how Henslowe was able to achieve a royal office in the court of James I as a theater owner in Shakespeare’s lifetime. Since we do not have a similar diary of Shakespeare’s dealings at The Globe, Henslowe’s records help us see into the world of Shakespeare’s theater to get an idea of what it was like to build dragons, stage the Battle of Shrewsbury, and where exactly the resources came from to pull off the grand feats of performance these theaters have gone down in history as having accomplished.  Our guest this week, Amy Lidster, returns to the podcast for her second visit here at That Shakespeare Life to talk with us about Henslowe and his diaries.

William Shakespeare uses Tudor Knot Gardens in his plays, most notably in Love’s Labour’s Lost, but also with a mention in Richard II. These iconic symbols of Tudor history are as intricate in design as they are in their history and folklore. Here to help us explore exactly why Shakespeare would have invoked the reputation of a Tudor Knot Garden for his plays, as well as the history of the design, purpose, and flowers inside these specialty gardens is our guest, returning to visit with us for the second time here at That Shakespeare Life, the delightful Brigitte Webster.

On today’s show I’m discussing a topic I feel I know very little about...William Shakespeare, but thankfully I’ll have a little help from an expert on the subject and we’ll have her answer some of your questions at the end as well. William Shakespeare is arguably the most well-known playwright of all time - to learn more about him today I have special guest, Cassidy Cash from That Shakespeare Life podcast on to educate me, and maybe you too, on the life of William Shakespeare. But, before we get started, here’s a little bit about Cassidy: Cassidy Cash is an award winning filmmaker, artist, and host of the podcast That Shakespeare Life. Cassidy believes that in order to take Shakespeare’s work from page to performance, understanding the history of the man who wrote them is essential. Her work focuses on exploring the real life and history of William Shakespeare and using art to help her fellow Shakespearean's learn something new about the bard. -- Written by: Rebecca Larson Voiced by: Rebecca Larson & Cassidy Cash Produced by: Rebecca Larson Imaging by: Troy Larson Music Credits:  Suonatore di Liuto Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/ 

We are celebrating Shakespeare’s birthday this week by taking a look at how Shakespeare became a gentleman. One of the ways William Shakespeare achieved the status of a gentleman was in the procurement of the family Coat of Arms. This process was something of a mystery because history shows us that Shakespeare’s father had been eligible for a coat of arms, but never received it. Later, his son William would successfully acquire the arms for the family, presumably a source of pride for his father, as well as a firm establishment of respect and status in the community. This week we are happy to welcome back to the show for his second time as a guest here at That Shakespeare Life, the distinguished Dr. Paul Edmondson, Head of Research and Knowledge at Shakespeare Birthplace Trust, who joins us to be our guide into the history of Shakespeare’s coat of arms, heraldry, and the Shakespeare family.

I'm excited to announce a new feature of the Blogging Your Passion podcast! Every other week, we will be releasing a "real story" of a blogger from the Blogging Your Passion Community who is building their platform in the trenches as we speak. This week you will hear from Cassidy Cash. That Shakespeare Girl was established in July 2017 by Cassidy Cash as a way to connect Shakespeare's plays with the history of William Shakespeare himself. Cassidy has a passion for Shakespeare, knowledge, and good coffee, Cassidy is the host of That Shakespeare Life, a podcast that takes you into the life of William Shakespeare, produces a weekly video series on YouTube called Did Shakespeare, and regularly contributes to several digital publications.