Podcasts about when shakespeare

When Shakespeare asked, "What's in a name?", he clearly wasn't talking about financial accounts, because the way we title our accounts has great bearing over who controls them, the limits of that control, and their tax treatment. Nathan and Steve take us through some scenarios that highlight the importance of being intentional about the types of accounts you open, and how you choose to tile them. Also, on our MoneyTalk Moment in Financial History Nathan and Daniel tell the infamous story of one of the first major US railroads, the Eerie, and the war that ensued between Cornelius Vanderbilt, Daniel Drew, James Fisk and Jay Gould. Hosts: Nathan Beauvais CFP®, CIMA® & Steven Beauvais; Special Guest: Daniel Sowa; Air Date: 5/14/2025; Original Air Date: 1/8/2025. Have a question for the hosts? Visit sowafinancial.com/moneytalk to join the conversation!See omnystudio.com/listener for privacy information.

When Shakespeare wrote, "What's in a Name?", he clearly wasn't talking about financial accounts, because the way we title our accounts has great bearing over who controls them, the limits of that control, and their tax treatment. Nathan and Steve take us through some scenarios that highlight the importance of being intentional about the types of accounts you open, and how you choose to tile them. Also, on our MoneyTalk Moment in Financial History we tell the story of how the California Gold Rush fueled westward expansion at the turn of the century. Hosts: Nathan Beauvais CFP®, CIMA® & Steven Beauvais; Air Date: 1/8/2025. Have a question for the hosts? Visit sowafinancial.com/moneytalk to join the conversation!See omnystudio.com/listener for privacy information.

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.

When Shakespeare mentions ballads in his plays, he uses adjectives like odious and woeful, mentioning both the ballad makers in Coriolanus, and the people who sell them, known as the ballad mongers, in Henry IV Part 1. Shakespeare's has over 20 references to ballads throughout his works, all of which tell us that these songs were written in ink, published by printers, and performed in songs that not only rhymed, but that could be just as merry as it was painful, particularly if the ballad was sung out of tune, as Cleopatra complains in Antony and Cleopatra. Here today to share with us some of the exact ballads that were popular for Shakespeare's lifetime, as well as the history of how they were created, and performed, is our guests, and masterminds behind the 100 Ballads Project that seeks to recreate and preserve ballads from the 17th century, Angela McShane, Chris Marsh, and Andy Watts.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

When Shakespeare's Globe announced that Michelle Terry would play Richard III in an upcoming production of the play of the same name, backlash ensued. Terry, who is the venue's Artistic Director, is an able bodied actress, despite the character being disabled. In this episode Mickey-Jo explains what has happened, talking through statements and open letters and sharing his thoughts on this casting controversy... open letter from Disabled Artists Alliance: https://docs.google.com/document/d/1kHbz1gow_pC1IkRsdK9EwRAWJDuXYXd504Ev1LHSYow/ full statement from Shakespeare's Globe and Michelle Terry: https://cdn.shakespearesglobe.com/uploads/2024/01/Shakespeares-Globes-Response-to-Richard-III.pdf • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows both in New York, London, Hamburg, and Paris. He has also twice received accreditation from the world renowned Edinburgh Fringe Festival. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

In the 2nd installment in the emotionally charged "Randy is…" episode series, Randy welcomes superfriend Sue Schaffel to discuss the surprisingly hilarious topic of perplexion! Sue Schaffel is an award-winning actress based in Naples, FL, who has drawn uproarious laughter, tears and everything in between for over thirty years on the stage and screen. Theatre credits include a hilarious portrayal of Desdemona in "When Shakespeare's Ladies Meet," heart-wrenching turns as Polly in "Other Desert Cities" and Charlotte in "Beyond Therapy" as well as scenery-chewing calisthenics as Cajun sensation Velma in "Hush Up Sweet Charlotte" and close-up connoisseur Norma Desmond in "Sunset Boulevard." Her TV credits include numerous local and regional commercials, as well as episodes of "Evil Kin" and "America's Most Wanted." Her film work includes independent features "The Summer Before," "The Waiting Room," and "Ricardo."   She won Best Actress in a Feature (Sunnyside Up Film Festival and Reading Film Festival) for her performance in the independent feature "I Like Me."   "I Like Me" is streaming on multiple platforms nationally. JONES.SHOW is a weekly podcast featuring host Randall Kenneth Jones (author, speaker & creative communications consultant) and Susan C. Bennett (the original voice of Siri). JONES.SHOW is produced and edited by Kevin Randall Jones. SUE SCHAFFEL Online: Web: www.SueSchaffel.com  Web: www.ILikeMeMovie.com  JONES.SHOW Online:    Join us in the Jones.Show Lounge on Facebook. Twitter (Randy): https://twitter.com/randallkjones  Instagram (Randy): https://www.instagram.com/randallkennethjones/ Facebook (Randy): https://www.facebook.com/mindzoo/ Web:  RandallKennethJones.com Follow Randy on Clubhouse Twitter (Susan): https://twitter.com/SiriouslySusan Instagram (Susan): https://www.instagram.com/siriouslysusan/ Facebook (Susan): https://www.facebook.com/siriouslysusan/ Web: SusanCBennett.com Follow Susan on Clubhouse LinkedIn (Kevin): https://www.linkedin.com/in/kevin-randall-jones/  Web: KevinRandallJones.com  www.Jones.Show

Welcome to September 26th, 2022 on the National Day Calendar. Today we celebrate self awareness and a breakfast that's older than dirt. When singer songwriter Ellen Edwards began her music career she kicked up her heels with the best of them. Reaching new heights in 2020 she recorded a jazz album in the Big Apple with some of New York's finest. But even those who soar with eagles know, sometimes you find yourself grounded with too much responsibility. That's why Ellen wrote “Chicken Scratch.” Though her kids have all flown the coop this mother of three recently found life overwhelming and she turned to music for refuge. This time she found her flock in Nashville, TN. During National Chicken Month, you might be feeling like Ellen, with a thousand chickens on your back. Just don't forget that it's also Self-Care Awareness Month, and you can find your own patch of freedom far from the clucking crowds.   Listen here for Ellen's song Chicken Scratch. Today we celebrate a 30,000 year old breakfast food, the pancake. That's right, the Stone Age folks were eating pancakes. Though they are not exactly featured on the menu of any cave paintings, scientists did find pancakes in the stomach of Otzi the Iceman, who dates back 5,300 years! When Shakespeare wrote about pancakes, the tradition of Shrove Tuesday already existed. And apparently quality cakes mattered in Elizabethan England. In a quote from the play As You Like It, “...a certain knight that swore on his honor they were good pancakes…” turned out to be lying! We hope he didn't lose his head! Whether you call them hot cakes, crepes or johnnycakes, don't settle for anything ordinary. On National Pancake Day, I celebrate with a dash of vanilla in the batter!    I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

When Shakespeare performed scenes like the ocean waves of the Tempest, the flying acrobatics of ghosts, or had his characters change location from the streets of verona to the castles of Kings of England, there were technologies, machines, and specialty techniques used in the 16th century to accomplish these feats of nature and fantastic visual effects on stage.    Our guest this week is an expert in early modern performance illusions and the machines used to create them. We are delighted to welcome Frank Mohler, professor emeritus of the Department of Theater and Dance at Appalachian State University. He joins us today to share the history of 16th century flying machines, set changes, trap doors, and even elevators that were used in Shakespeare's lifetime.

When Shakespeare plays are performed on stage and the magic of witches dazzles us with lights, smoke, and mirrors, it's easy to think these spells and incantations are just folklore, designed to be nothing more than a theater spectacle. Archaeological evidence from Shakespeare's lifetime, however, indicates that when Shakespeare had the Second witch in Macbeth declare “Eye of newt and toe of frog, Wool of bat and tongue of dog, Adder's fork and blind-worm's sting, Lizard's leg and owlet's wing, For a charm of powerful trouble, Like a hell-broth boil and bubble” these items being listed in connection with a witches brew were more than just ingredients for a nasty smelling soup. Charms, and real life objects imbued with spells and magic were believed to be capable of causing not just harm but very real “double double toil and trouble.” To combat the evil spirits, and the rampant working of witches in the 16th century, your average man or woman in London would hide countermagic items such as witch bottles, cats, shoes, and even horse skulls in the walls of their home as good luck against very real evil spirits. Our guest this week is an expert in these charms, having written the journal article, The archaeology of counter-witchcraft and popular magic in which he set out to find the various surviving counter magic artifacts in the UK and cataloged a list of not only what kinds of items were kept to ward off evil like witches, but also where they were kept, and why. Here to share his findings with us and explain the details behind a few of the counter magic artifacts from Shakespeare's lifetime, is our guest, Brian Hoggard

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. 

When Shakespeare's Sister struck gold with their #1 hit "Stay" in 1992, what listeners may not have known is that singer Marcella Detroit had already put in 20 years of professional singing by then. Marcy Levy starts out in the early 70s singing with Bob Seger, then moves on to Leon Russell, and then Eric Clapton where she even co-wrote several of his songs including "Lay Down Sally". She eventually joins up with Bananarama's Siobhan Fahey for SS, but that's really a short chapter of her long career which includes several solo albums, session singing (Hall & Oates, Aretha Franklin, Alice Cooper) and songwriting (Al Jarreau, Chaka Khan, Philip Bailey). To celebrate her birthday, Marcella just released a new single, "Vicious Bitch" that is available on her website (www.marcelladetroit.rocks/music) . We get into all of this and hear the stories behind everything including Live Aid. Enjoy!  www.marcelladetroit.com www.patreon.com/thehustlepod

Sophie (age 7) and Ellie (age 5) tell the story of the Life of William Shakespeare.----more---- William Shakespeare was born into Tudor England 500 years ago. He wrote some of the most famous plays in history. We tell the story of Hamlet and Ellie points out that this the same story as Disney's The Lion King. We talk about how Shakespeare's plays are so famous that many people copy them and we watch them even today. William Shakespeare's father was a glove maker and also leant people money. He sent his son William to a local school. There he would have learned reading, writing, Latin and lots of history. Many of the things that were later in his plays are things he would have learned at school. When Shakespeare was 18 years old he met a girl called Anne. They got married and had a baby. Shakespeare then disappears for seven years from history. The girls explore the things which might have happened to him. Did he have to run away because he was caught poaching? Did he go on holiday to Italy? Did he go to London to learn how to write plays? By the time Shakespeare reappears, he is writing plays in London. We learn about what Tudor London was like – including some disgusting bits from our History of the Toilet episode.   The theatre is different then. All the parts are played by men – even women's parts. Rich people pay for groups of people to write and act in plays. Shakespeare's friends are called the Lord Chamberlains company because the Lord Chamberlain pays for them. Some people want the theatres to be shut down. They think God does want people to have so much fun. However, Queen Elizabeth like the theatre and she keeps the theatres open. Shakespeare and his friends even build their own amazing theatre called the Globe theatre.   Then the Queen dies. Luckily, the new King, King James, also likes the theatre. In fact he likes Shakespeare and his friends so much that he agrees to pay for their plays. Now they are called the Kings Company. King James is very interested in witches so Shakespeare makes a play about witches, called Macbeth.   However, Shakespeare wants to retire and go home to Anne. One of his last plays is called the Tempest and it is about a powerful magician who wants to stop being a magician. Ellie points out that this is like Shakespeare being an amazing writer of plays but wanting to stop.   Then there is an accident in one of his plays. The Globe Theatre burns down. At that point, Shakespeare really has had enough. He stops writing plays and goes back to Stratford to be with Anne. However, we still remember him and watch his plays today. BRITISH PODCAST AWARDS We have been shortlisted for the British Podcast Awards in the Kids and Family category. You can vote for us too for the Listeners Choice Award. We would love it if you could. You don't need to be in the UK to vote. Details are here: Listeners' Choice Award — British Podcast Awards, supported by Amazon Music PATRONS CLUB If you would like to join our patrons club you can join here: www.patreon.com/historystorytime We have exclusive episodes like our one on the History of Chocolate or on Napoleon and Josephine or you can choose an episode like one of our Patrons chose this episode.

When Shakespeare was 39 years old, in 1603, King James of Scotland succeeded Queen Elizabeth after her death, and he brought with him a famous repugnancy, and some call it outright fear, of witches during his reign. In Scotland, where James was dually King at this time, witchcraft had been considered a capital offense since 1563. The King brought this perspective to his management of witchcraft in England, as well. In 1604, just one year after his accession as King, James removed the mercy from Elizabeth’s Act by making it a certain death penalty without clergy for anyone who invoked evil spirits or communed with what were known then as “familiars” (a general term for supernatural spirits). Jacobean England saw the creation of an official position in the English government called the Witch-Finder General, whose job as you might expect from the title was to find witches and enforce the required punishment.  One of the first trials in England to test the new and broadened laws on witchcraft under James I was the mysterious case of Anne Gunter. In 1604, Anne Gunter became sick with an illness that confounded physicians. They concluded her illness must be the result of supernatural influence, and a trial ensued to try and find the suspected witchcraft. During the trial, Anne experienced a theatrical fit of vomiting and other convulsions during which she accused 3 local women of being witches. This caused a flurry of debate over whether Anne was suffering from real witchcraft, or if she was putting on a show to try and deceive the court. Our guest this week tested this theory himself in a college classroom when he, along with his students, decided to re-create the trial of Anne Gunter and the early modern experience of witch trials in a legal courtroom. We are delighted to welcome Todd Butler to the show this week to tell us about the trial of Anne Gunter and the results of his experiment. 

Star Crossed is a comedy at the expense of William Shakespeare. When Shakespeare is in a bind and needs to write a play as soon as possible to pay off his substantial debts, what lengths will he go to, to write the best play possible? Stay til the very end of the episode for a very special interview with the cast of W.L.Y.F! --- Send in a voice message: https://anchor.fm/we-liked-you-first/message

Season 1. Episode 34. "What's in a name? That which we call a rose by any other name would smell as sweet." When Shakespeare's Juliet is coming to terms with the fact that she is crushing hard on Romeo - her family's sworn enemy - she muses on the meaning and importance of names. Is what's true for roses also true for sake? This week John and Timothy dive into the word of "re-branded" or so called "white labelled" sake. That is, sake that is purchased from a brewery and sold under a different brand name. There are a couple of ways these sakes show up on the market. The above-board way is to truly partner with a sake brewery and be completely transparent about who the producer is when selling and promoting the re-branded sake. However, some brands buy sake to re-label and don't disclose the producer. This is a tricky situation as you can never really be sure of the source or quality of the sake. Because of this, we'll be focusing on a few re-branded sakes that put their brewers front and center where they belong.

• Success as an author often starts after the book is written • “You have the ability to control and adjust and tweak” When Shakespeare put down his quill after writing his first play, his work was only starting: He had to market “Henry VI.” It's no different for authors 500 years later. The writing of the book or the play is just the start. Then the author has to market his or her work. Publishers do that for their big name authors. And writers who also would rather write a check can hire excellent publicists. But for the new writer trying to get readers – and sell some of the books -- the real DIY work comes after the book is published. Central Valley rancher and former broadcaster Brent Gill has added book author to his resume, having written two books aimed at the pre-teen market, “Fire on Black Mountain” and its sequel, “Snow on Black Mountain.” He joins us today in this CVBT Audio Interview Podcast to talk about his “itch” to start writing and, just as importantly, the marketing of that writing.

Sue Schaffel is an award-winning actress based in Washington, DC, and Naples, FL, who has drawn uproarious laughter, tears and everything in between for over thirty years on the stage and screen. Theatre credits include a hilarious portrayal of Desdemona in “When Shakespeare’s Ladies Meet,” heart-wrenching turns as Polly in “Other Desert Cities” and Charlotte in “Beyond Therapy” and, most recently, she portrayed Cajun sensation Velma in “Hush Up Sweet Charlotte.”   Her TV credits include numerous local and regional commercials as well as episodes of “Evil Kin” and “America's Most Wanted.” Her film work includes independent features “The Summer Before,” “The Waiting Room” and “Ricardo.”  She won Best Actress in a Feature (Sunnyside Up Film Festival and Reading Film Festival) for her performance in the independent feature, “I Like Me.”   Beginning 7/9/19, “I Like Me” will be available on iTunes, Comcast, Dish Network, Verzon Fios, Frontier, Suddenlink, Mediacom, Armstrong, Wow!, Rogers & Shaw. “I Like Me” & Sue Schaffel’s Social Media Facebook:  www.facebook.com/Ilikemefilm/ Websites: SueSchaffel.com  ilikememovie.com Jones.Show’s Social Media: Twitter: @randallkjones @siriouslysusan Instagram: @RandallKennethJones @SiriouslySusan  Facebook: www.facebook.com/mindzoo/ www.facebook.com/siriouslysusan/ Join us in the Jones.Show Lounge on Facebook RandallKennethJones.com SusanCBennett.com

Are you being Christian or doing Christian? There's a huge difference between the two. When Shakespeare asked "the question", To Be or Not To Be ... he was asking to live (or exist) or not to live. Well a similar question applies to Christians To be a Christian or to do Christian. Listen in as we explore what is a Christian.

In 1921, T.S. Eliot wrote, “When Shakespeare borrowed from him, which was pretty often at the beginning, Shakespeare either made something inferior or something different.” He was talking about Shakespeare’s near-contemporary Christopher Marlowe (1564-1593), whose literary career was cut short by his murder at the age of 29, though not before he established himself as one of the most accomplished and innovative poets who ever lived. A scholar, a spy, a poet, a tragedian, a counterfeiter, an influencer of Shakespeare – wrestling with Marlowe’s interests and ambiguities could fill a hundred novels. Theories have long abounded: was his death ordered by the Crown? Or perhaps it was staged – paving the way for Marlowe, in hiding, to continue to write plays under the name William Shakespeare. But assuming that he did die in that tavern brawl, the questions are no less appealing: what would he have done, had he lived? How might he have continued to influence Shakespeare – and how might Shakespeare have influenced him? Host Jacke Wilson takes a look at the life and works of the extraordinary Christopher Marlowe. Learn more about the show at historyofliterature.com. Support the show at patreon.com/literature. Contact the host at jackewilsonauthor@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue." —HAMLET (3:2:1–2) When Shakespeare wrote his lines, and actors first spoke them, how did they say the words—and what does that tell us? Rebecca Sheir, host of the Shakespeare Unlimited series, talks "original pronunciation" (OP) with Shakespearean actor Ben Crystal and his father, linguist David Crystal, one of the world's foremost researchers on how English was spoken in Shakespeare's time. Filled with lively banter as well as familiar lines spoken in OP, the conversation offers a different perspective on the plays, from the puns and rhymes hidden by modern pronunciation to added meanings and the opportunity for quicker speech. Ben Crystal is a Shakespearean actor who has appeared through Great Britain and the United States. David Crystal, Ben Crystal's father, is a linguist, editor, lecturer, and author of more than 100 books, including "The Stories of English," "The Cambridge Encyclopedia of Language," and "The Cambridge Encyclopedia of the English Language." ---------------- From the Shakespeare Unlimited podcast series. © Folger Shakespeare Library. All rights reserved. Written and produced for the Folger Shakespeare Library by Richard Paul. Garland Scott is the associate producer. Edited by Gail Kern Paster and Esther Ferington. We had help from Esther French at the Folger Shakespeare Library, Geoff Oliver at the Sound Company in London, and Jonathan Charry at WAMU radio in Washington, DC.

“When Shakespeare arrives in time to save a community theatre from the world’s worst production of Romeo and Juliet, the Doctor and Amanda are not far behind. But with murder, missing treasure and a pandemic of pigeons, just how the … Continue reading →