Podcasts about Baroque

Hola, amigos Loopers!Welcome back to Spanish Loops, where we roll through the sounds of Spanish music and culture. This week, we are informing about some spectacular, soul stirring world of musical organs in Spain. Majestic pipe organ marvels that have been singing with centuries of history, artistry, and regional flair.Across the country, these instruments stand out thanks to unique features like the horizontal battle trumpets, (trompetería de batalla), divided registers, and vivid reed rich tonal palettes. All powered by subtle, low pressure windsystems that give them an agile, expressive voice.Some of the most remarkable examples include the Toledo Cathedral organ, a Baroque masterpiece with twin facades and echoing dramatic effects, the monumental Palauof Music in Barcelona, (World Heritage), the Basilica Santa María la Real in Azkoitia (Basque Country), home to a gorgeous Cavaillé-Coll romantic organ that's perfect for Franck yet still resonates with Spanish Baroque sensibility,the one In Santiago's Cathedral at the end of the Camino, and the modern Grenzing organ in Madrid's Almudena Cathedral, blending neo-Gothic visuals with the precision of tracker action.These aren't just large instruments: they're vibrant, living voices of Spain's musical heritage. Each one is a monument of craftsmanship and emotion, inviting listeners to experience their grandeur in person.That's our sneak peek into this week's chapter: “Musical Organs in Spain, their origins, curves, and soul.” Stay tuned, subscribe, and let the pipes speak!

Title: The unfortunate David Rizzio Track: Geminiani: Sleepy Body Artist: Palladian Ensemble Publisher: Linn Records, 1993

Tunes: Patrick MacDonald: Coma Leam, coma leam cogadh no sithAlike to me peace or War, The Gathering of the Clans, William Ross: Loudon's Bonnie Woods and Braes, J&R Glen: Louden's bonny Woods and Braes, Robertson & Ramsay: Loudon's Bonnie Woods and Braes, Matthew Betham: Earl Moira's Welcome to Scotland, David Glen: Loudon's Bonnie Woods and Braes “Old Gaelic Air” Roddy Cannon/Keith Sanger: The Mother, Ailean Domhnullach (Allan MacDonald): The Harlaw Brosnachadh, Donald MacDonald: Cogadh na Sith Simon Chadwick: Cogadh no Sith – War or Peace C.A. Malcolm: The Piper in Peace and War Articles Read or Referenced: Keith Sanger's 2015 Post about War or Peace from Pibroch.net: https://pibroch.net/learning/cogadh-no-sith-or-war-or-peace/ Listen to the George Moss and Peter Cooke interview here: https://www.tobarandualchais.co.uk/track/65235?l=en Special thanks to Alan MacDonald and Bonnie Rideout for the Use of Alan's Performance on the Harlaw Album: https://youtu.be/3blkFtU0x9E?si=xtuSb06Iyoa8Lwr4 Check out Allan's Work here: https://allanmacdonald.com/ And Bonnie Rideout's work here: http://www.bonnierideout.com/ For the Translation I used for the Battle of Harlaw Poem is here: https://mastodon.scot/@scotlit/112841104994359938 Simon Chadwick's excellent post about his work preparing for his performance of War or Peace is here: https://simonchadwick.net/2016/07/cogadh-no-sith-war-peace.html To Watch Simon's Performance look here: https://youtu.be/eXZDTefKrFI?si=9S4man2MW0Id6R8b 1927: Excerpt from The Piper In Peace And War By C. A. Malcolm, M.A., Ph.D. https://electricscotland.com/history/scotreg/peaseandwar15.htm Sound effects at the beginning from BBC Sound Effects Archive: https://sound-effects.bbcrewind.co.uk/ Sources: Loudon's Bonny Woods and Braes 1869: Loudon's Bonnie Woods and Braes from William Ross's Collection of Pipe Tunes: https://web.archive.org/web/20210728140711/http://www.ceolsean.net/content/WRoss/Book08/Book08%206.pdf +X+X+ 1870: Loudon's Bonnie Woods and Braes from J & R Glen's Collection for the Great Highland Bagpipe Book Three https://web.archive.org/web/20211017230720/https://ceolsean.net/content/JRGlen/Book03/Book03%2017.pdf +X+X+ “Sixty Years Ago”: Loudon's Bonnie Woods and Braes from Robertson and Ramsay's Master Method for the Highland Bagpipes: https://web.archive.org/web/20211017213952/https://ceolsean.net/content/RobRam/Book02/Book02%2014.pdf +X+X+ 1815: Earl Moira's Welcome to Scotland (Loudon's Bonnie Banks and Braes from Matthew Betham MS: https://tunearch.org/wiki/EarlofMoira%27sWelcometoScotland(The) +X+X+X+X+ 1880s: Loudon's Bonnie Woods and Braes “Old Gaelic Air” from David Glen's Collection of Highland Bagpipe Music, Book 4 https://web.archive.org/web/20211017213952/https://ceolsean.net/content/RobRam/Book02/Book02%2014.pdf +X+X+ War or Peace 1784: Coma Leam, coma leam cogadh no sith_Alike to me peace or War, The Gathering of the Clans from Patrick MacDonald's Collection of Highland Vocal Airs: https://www.google.com/books/edition/ACollectionofHighlandVocalAirsTow/XCvLHYWLkFcC?hl=en&gbpv=1&pg=RA1-PA43&printsec=frontcover +X+X+ 1820s: Cogadh na Sith from Donald MacDonald Manuscript https://www.cl.cam.ac.uk/archive/rja14/musicfiles/manuscripts/macdonald/ +X+X+ 1890s: War or Peace from David Glen's Collection of Ancient Piobaireachd Book 5 https://web.archive.org/web/20240813223119/https://ceolsean.net/content/GlenPio/Book05/Book05%2014a.pdf +X+X+ Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

It might at first sound like it would be nice to be the lover of the king of the Olympian gods, attended by divine spirits, and living in a luxurious palace among the clouds.  But this happily-ever-after turns sour after Princess Semele asks Jupiter for the gift of immortality.  After a bit of intrigue amongst the gods–not least among them Jupiter's resourceful and ruthless wife Juno–disaster strikes the princess Semele and her dreams are reduced to ashes. An “English opera” from the later career of Baroque master, George Frideric Handel, Semele teems with engaging arias as well as sumptuous choral pieces. Inspired by a tale told by Ovid, Handel and his librettist, William Congreve crafted a work of art that beguiles and entertains supremely. Hosted by Pat and Kathleen For more cultural and arts commentary by Kathleen Van De Wille, visit Constructive Criticism on Substack.

In this weekend edition of Czechia in 30 Minutes, Vít Pohanka speaks with Julia Kňažková, a Slovak who has made her home in the picturesque South Bohemian village of Holašovice. A UNESCO World Heritage Site, it is famed for its perfectly preserved Baroque farmhouses and centuries-old village layout — and for the everyday life that continues behind its painted façades.

In this weekend edition of Czechia in 30 Minutes, Vít Pohanka speaks with Julia Kňažková, a Slovak who has made her home in the picturesque South Bohemian village of Holašovice. A UNESCO World Heritage Site, it is famed for its perfectly preserved Baroque farmhouses and centuries-old village layout — and for the everyday life that continues behind its painted façades.

How a fire reduced this 18th century Palladian house to a mere shell... and the questions that it raises.This week, Geoff and Rory are joined by Cornelia Van Der Poll - an Oxford academic and co-founder of Restore Trust - a lobbying group that encourages the National Trust to focus on its founding principles to safeguard our nation's heritage for all to enjoy.In this fascinating episode, we discuss Clandon Park in Surrey - from the architectural and social history of this wonderful Palladian-come-Baroque house (the former seat of the Earls of Onslow) to its current status as one of the most controversial country houses of recent times; after a devastating fire in 2015 reduced the house to a shell, debate continues to rage over whether to restore the house fully or do something 'alternative' with the insurance pay-out.What are your thoughts on the future of Clandon Park? Please leave comments!

For this summer's latest episode of the A is for Architecture Podcast, I spoke to the writer Michael Euade to discuss his 2023 book, Antoni Gaudi, part of Reaktion Books' Critical Lives series. Gaudi has recently been beatified by the Catholic Church, making him one step short of being declared a saint. But for what? Gaudi is unquestionably a monumental figure in the pantheon of named architects, but saintly? That's a bit different.  Antoni Gaudí, a revered Art Nouveau architect whose visionary designs reshaped Barcelona's skyline, was a man of what some see as contrasts—devoutly religious, politically conservative, and boldly innovative. Michael and I discuss this in the context of Gaudi's home in Catalonia and through his large body of work - including the iconic Sagrada Família - which blended Gothic, Baroque, and Orientalist elements with great sensitivity and style. From humble beginnings in Reus through transformations in Barcelona, Gaudi's life was marked by personal trial and artistic evolution and Michael's book – and our conversation - opens up the architect in new ways: as political, social, cultural and spiritual figure.   Michael can be found on his personal website here, and the book is on the Reaktion website, linked above.Visca Catalunya lliure! Well, maybe…+Music credits: ⁠Bruno Gillick 

David Mayernik is an architect, artist, writer, educator and most of all, he is a life-long student. David grew up in Allentown Pennsylvania. As he tells us during this episode, even at a young age of two he already loved to draw. He says he always had a pencil and paper with him and he used them constantly. His mother kept many of his drawings and he still has many of them to this day.   After graduating from University of Notre Dame David held several positions with various architectural firms. He always believed that he learned more by teaching himself, however, and eventually he decided to leave the professional world of architecture and took teaching positions at Notre Dame. He recently retired and is now Professor Emeritus at Notre Dame.   Our conversation is far ranging including discussions of life, the importance of learning and growing by listening to your inner self. David offers us many wonderful and insightful lessons and thoughts we all can use. We even talk some about about how technology such as Computer Aided Design systems, (CAD), are affecting the world of Architecture. I know you will enjoy what David has to say. Please let me know your thoughts through email at michaelhi@accessibe.com.     About the Guest:   David Mayernik is an architect, artist, writer, and educator. He was born in 1960 in Allentown, Pennsylvania; his parents were children of immigrants from Slovakia and Italy. He is a Fellow of the American Academy in Rome and the British Royal Society for the Encouragement of Arts, Manufactures, and Commerce, and has won numerous grants, awards and competitions, including the Gabriel Prize for research in France, the Steedman Competition, and the Minnesota State Capitol Grounds competition (with then partner Thomas N. Rajkovich). In 1995 he was named to the decennial list of the top forty architects in the United States under forty. In the fall of 2022, he was a resident at the Bogliasco Foundation in Liguria and the Cini foundation in Venice.   His design work for the TASIS campus in Switzerland over twenty-eight years has been recognized with a Palladio Award from Traditional Building magazine, an honorable mention in the INTBAU Excellence Awards, and a jury prize from the Prix Européen d'Architecture Philippe Rotthier. TASIS Switzerland was named one of the nine most beautiful boarding schools in the world by AD Magazine in March 2024. For ten years he also designed a series of new buildings for TASIS England in Surrey.   David Mayernik studied fresco painting with the renowned restorer Leonetto Tintori, and he has painted frescoes for the American Academy in Rome, churches in the Mugello and Ticino, and various buildings on the TASIS campus in Switzerland. He designed stage sets for the Haymarket Opera company of Chicago for four seasons between 2012 and 2014. He won the competition to paint the Palio for his adopted home of Lucca in 2013. His paintings and drawings have been exhibited in New York, Chicago, London, Innsbruck, Rome, and Padova and featured in various magazines, including American Artist and Fine Art Connoisseur.   David Mayernik is Professor Emeritus with the University of Notre Dame, where for twenty years he taught in the School of Architecture. He is the author of two books, The Challenge of Emulation in Art and Architecture (Routledge, UK) and Timeless Cities: An Architect's Reflections on Renaissance Italy, (Basic Books), and numerous essays and book chapters, including “The Baroque City” for the Oxford Handbook of the Baroque. In 2016 he created the online course The Meaning of Rome for Notre Dame, hosted on the edX platform, which had an audience of six thousand followers. Ways to connect with David:   Website: www.davidmayernik.com Instagram: davidmayernik LinkedIn: davidmayernik EdX: The Meaning of Rome https://www.edx.org/learn/humanities/university-of-notre-dame-the-meaning-of-rome-the-renaissance-and-baroque-city     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:17 Well, hi and welcome once again. Wherever you happen to be, to another episode of unstoppable mindset. Today, we get to chat with David Mayernik, unless you're in Europe, and then it's David Mayernik, but either way, we're glad to have him. He is an architect. He is an award winning architect. He's an author. He's done a number of things in his life, and we're going to talk about all of those, and it's kind of more fun to let him be the one to talk more about it, and then I can just pick up and ask questions as we go, and that's what we'll do. But we're really glad that he's here. So David, welcome to unstoppable mindset.   David Mayernik ** 01:57 Oh, thanks so much. Michael, thanks for the invitation. I'm looking forward to it.   Michael Hingson ** 02:02 Well, I know we've been working on getting this set up, and David actually happens to be in Italy today, as opposed to being in the US. He was a professor at Notre Dame for 20 years, but he has spent a lot of time in Europe and elsewhere, and I'm sure he's going to talk about that. But why don't we start, as I mentioned earlier, as I love to do, tell us kind of about the early David growing up.   David Mayernik ** 02:25 Well, so my both of my parents passed away several years ago, and when I was at my mom's funeral, one of our next door neighbors was telling my wife what I was like when I was a kid, and she said he was very quiet and very intense. And I suppose that's how I was perceived. I'm not sure I perceived myself that way I did. The thing about me is I've always drawn my mom. I mean, lots of kids draw, but I drew like credibly, well, when I was, you know, two and three years old. And of course, my mother saved everything. But the best thing about it was that I always had paper and pencil available. You know, we were terribly well off. We weren't poor, but we weren't, you know, well to do, but I never lacked for paper and pencils, and that just allowed me to just draw as much as I possibly could.   Michael Hingson ** 03:16 And so I guess the other question is, of course, do you still have all those old drawings since your mom kept   David Mayernik ** 03:23 them? Well, you know? Yeah, actually, after she passed, I did get her, Well, her collection of them. I don't know that all of them. My father had a penchant for throwing things away, unfortunately. So some of the archive is no longer with us, but no but enough of it. Just odds and bits from different areas of my life. And the thing is, you know, I was encouraged enough. I mean, all kids get encouraged. I think when they're young, everything they do is fabulous, but I had enough encouragement from people who seem to take it seriously that I thought maybe I had something and and it was the kind of thing that allowed me to have enough confidence in myself that I actually enjoyed doing it and and mostly, my parents were just impressed. You know, it just was impressive to them. And so I just happily went along my own way. The thing about it was that I really wanted to find my own path as somebody who drew and had a chance in high school for a scholarship to a local art school. I won a competition for a local art school scholarship, and I went for a couple of lessons, and I thought, you know, they're just teaching me to draw like them. I want to draw like me. So for better or worse, I'm one of those autodidacts who tries to find my own way, and, you know, it has its ups and downs. I mean, the downside of it is it's a slower learning process. Is a lot more trial and error. But the upside of it is, is that it's your own. I mean, essentially, I had enough of an ego that, you know, I really wanted to do. Things my way.   Michael Hingson ** 05:02 Well, you illustrate something that I've believed and articulate now I didn't used to, but I do now a lot more, which is I'm my own best teacher. And the reality is that you you learn by doing, and people can can give you information. And, yeah, you're right. Probably they wanted you to mostly just draw like them. But the bottom line is, you already knew from years of drawing as a child, you wanted to perhaps go a slightly different way, and you worked at it, and it may have taken longer, but look at what you learned.   David Mayernik ** 05:37 Yeah, I think it's, I mean, for me, it's, it's important that whatever you do, you do because you feel like you're being true to yourself somehow. I mean, I think that at least that's always been important to me, is that I don't, I don't like doing things for the sake of doing them. I like doing them because I think they matter. And I like, you know, I think essentially pursuing my own way of doing it meant that it always was, I mean, beyond just personal, it was something I was really committed to. And you know, the thing about it, eventually, for my parents was they thought it was fabulous, you know, loved great that you draw, but surely you don't intend to be an artist, because, you know, you want to have a job and make a living. And so I eventually realized that in high school, that while they, well, they probably would have supported anything I did that, you know, I was being nudged towards something a little bit more practical, which I think happens to a lot of kids who choose architecture like I did. It's a way, it's a practical way of being an artist and and that's we could talk about that. But I think that's not always true.   Michael Hingson ** 06:41 Bill, go ahead, talk about that. Well, I think that the   David Mayernik ** 06:44 thing about architecture is that it's become, well, one it became a profession in America, really, in the 20th century. I mean, it's in the sense that there was a licensing exam and all the requirements of what we think of as, you know, a professional service that, you know, like being a lawyer or a doctor, that architecture was sort of professionalized in the 20th century, at least in the United States. And, and it's a business, you know, ostensibly, I mean, you're, you know, you're doing what you do for a fee. And, and so architecture tries to balance the art part of it, or the creative side, the professional side of it, and the business side. And usually it's some rather imperfect version of all of those things. And the hard part, I think the hardest part to keep alive is the art part, because the business stuff and the professional stuff can really kind of take over. And that's been my trial. Challenge is to try to have it all three ways, essentially.   Michael Hingson ** 07:39 Do you think that Frank Lloyd Wright had a lot to do with bringing architecture more to the forefront of mindsets, mindsets, and also, of course, from an art standpoint, clearly, he had his own way of doing things.   David Mayernik ** 07:54 Yeah, absolutely he comes from, I mean, I wouldn't call it a rebellious tradition, but there was a streak of chafing at East Coast European classicism that happened in Chicago. Louis Sullivan, you know, is mostly responsible for that. And I but, but Right, had this, you know, kind of heroic sense of himself and and I think that his ability to draw, which was phenomenal. His sense that he wanted to do something different, and his sense that he wanted to do something American, made him a kind of a hero. Eventually, I think it coincided with America's growing sense of itself. And so for me, like lot of kids in America, my from my day, if you told somebody in high school you wanted to be an architect, they would give you a book on Frank Lloyd Wright. I mean, that's just, you know, part of the package.   Michael Hingson ** 08:47 Yeah, of course, there are others as well, but still, he brought a lot into it. And of course there, there are now more architects that we hear about and designers and so on the people what, I m Pei, who designed the world, original World Trade Center and other things like that. Clearly, there are a number of people who have made major impacts on the way we design and think of Building and Construction today,   David Mayernik ** 09:17 you know, I mean America's, you know, be kind of, it really was a leader in the development of architecture in the 20th century. I mean, in the 19th century was very much, you know, following what was happening in Europe. But essentially, by the 20th century, the America had a sense of itself that didn't always mean that it rejected the European tradition. Sometimes it tried to do it, just bigger and better, but, but it also felt like it had its, you know, almost a responsibility to find its own way, like me and, you know, come up with an American kind of architecture and and so it's always been in a kind of dialog with architecture from around the world. I mean, especially in Europe, at Frank Lloyd Wright was heavily influenced by Japanese architecture and. And so we've always seen ourselves, I think, in relationship to the world. And it's just the question of whether we were master or pupil to a certain extent,   Michael Hingson ** 10:07 and in reality, probably a little bit of both.   David Mayernik ** 10:12 Yeah, and we are, and I think, you know, acknowledging who we are, the fact that we didn't just, you know, spring from the earth in the United States, where we're all, I mean, essentially all immigrants, mostly, and essentially we, you know, essentially bring, we have baggage, essentially, as a culture, from lots of other places. And that's actually an advantage. I mean, I think it's actually what makes us a rich culture, is the diversity. I mean, even me, my father's family was Slovak, my mother's family Italian. And, you know from when I tell you know Europeans that they think that's just quintessentially American. That's what makes you an American, is that you're not a purebred of some kind.   Michael Hingson ** 10:49 Yeah, yeah. Pure purebred American is, is really sort of nebulous and and not necessarily overly accurate, because you are probably immigrants or part other kinds of races or nationalities as well. And that's, that's okay.   David Mayernik ** 11:08 It's, it's rich, you know, I think it's, it's a richer. It's the extent to which you want to engage with it. And the interesting thing about my parents was that they were both children of first generation immigrants. My mom's parents had been older Italian, and they were already married, and when they came to the States, my father's parents were younger and Slovak, and they met in the United States. And my father really wasn't that interested in his Slovak heritage. I mean, just, you know, he could speak some of the language, you know, really feel like it was something he wanted to hold on to or pass along, was my mom was, I mean, she loved her parents. She, you know, spoke with him in Italian, or actually not even Italian, the dialect from where her parents came from, which is north of Venice. And so she, I think she kind of, whether consciously or unconsciously, passed that on to me, that sense that I wanted to be. I was interested in where I came from, where the origins of my where my roots were, and it's something that had an appeal for me that wasn't just it wasn't front brain, it was really kind of built into who I was, which is why, you know, one of the reasons I chose to go to Notre Dame to study where I also wound up teaching like, welcome back Carter, is that I we had a Rome program, and so I've been teaching in the Rome program for our school, but we, I was there 44 years ago as a student.   Michael Hingson ** 12:28 Yeah. So quite a while, needless to say. And you know, I think, well, my grandmother on my mother's side was Polish, but I I never did get much in the way of information about the culture and so on from her and and my mom never really dealt with it much, because she was totally from The Bronx in New York, and was always just American, so I never really got a lot of that. But very frankly, in talking to so many people on this podcast over almost the last four years, talking to a number of people whose parents and grandparents all came to this country and how that affected them. It makes me really appreciate the kind of people who we all are, and we all are, are a conglomerate of so many different cultures, and that's okay, yeah? I mean,   David Mayernik ** 13:31 I think it's more than okay, and I think we need to just be honest about it, yeah. And, you know, kind of celebrate it, because the Italians brought with them, you know, tremendous skills. For example, a lot of my grandfather was a stone mason. You know, during the Depression, he worked, you know, the for the WPA essentially sponsored a whole series of public works projects in the parks in the town I grew up in Allentown, Pennsylvania. And Allentown has a fabulous park system. And my grandfather built a lot of stone walls in the parks in the 1930s and, you know, all these cultures that came to the states often brought, you know, specialized skills. You know, from where they they came from, and, and they enriched the American, you know, skill set, essentially, and, and that's, you know, again, that's we are, who we are because of that, you know, I celebrated I, you know, I'm especially connected to my Italian heritage. I feel like, in part because my grandfather, the stone mason, was a bit of jack of all trades. He could paint and draw. And my mom, you know, wrote poetry and painted. And even though she mostly, you know, in my life, was a was a housewife, but before she met my father, and they got married relatively late for their day, she had a professional life in World War Two, my mom actually went to Penn State for a couple of years in the start of at the start of the war, and then parents wanted her to come home, and so she did two years of engineering. Penn State. When she came back to Allentown, she actually got a job at the local airplane manufacturing plant that was making fighter planes for the United States called company called volte, and she did drafting for them. And then after World War Two, she got a job for the local power company drafting modern electrical kitchens and and so I've inherited all my mom's drafting equipment. And, you know, she's, she's very much a kind of a child of the culture that she came from, and in the sense that it was a, you know, artistic culture, a creative culture. And, you know, I definitely happy and proud of   Michael Hingson ** 15:37 that. You know, one of the things that impresses me, and I think about a lot in talking to so many people whose parents and grandparents immigrated to this country and so on, is not just the skill sets that they brought, but the work ethic that they had, that they imparted to people. And I think people who have had a number of generations here have not always kept that, and I think they've lost something very valuable, because that work ethic is what made those people who they were   David Mayernik ** 16:08 absolutely I mean, my Yeah, I mean my father. I mean absolutely true is, I mean tireless worker, capable of tremendous self sacrifice and and, you know, and that whole generation, I mean, he fought in World War Two. He actually joined, joined the Navy underage. He lied about his age to get in the Navy and that. But they were capable of self, tremendous self sacrifice and tremendous effort. And, you know, I think, you know, we're always, you know, these days, we always talk about work life balance. And I have to say, being an architect, most architects don't have a great work life balance. Mostly it's, it's a lot of work and a little bit of life. And that's, I don't, you know. I think not everybody survives that. Not every architects marriage survives that mine has. But I think it's, you know, that the idea that you're, you're sort of defined by what you do. I think there's a lot of talk these days about that's not a good thing. I I'm sort of okay with that. I'm sort of okay with being defined by what I do.   Michael Hingson ** 17:13 Yeah, and, and that that's, that's okay, especially if you're okay with it. That's good. Well, you So you went to Notre Dame, and obviously dealt with architecture. There some,   David Mayernik ** 17:28 yeah. I mean, the thing, the great thing about Notre Dame is to have the Rome program, and that was the idea of actually a Sicilian immigrant to the States in the early 20th century who became a professor at Notre Dame. And he had, he won the Paris prize. A guy named Frank Montana who won the Paris prize in the 1930s went to Harvard and was a professor at Notre Dame. And he had the good idea that, you know, maybe sending kids to five years of architecture education in Indiana, maybe wasn't the best, well rounded education possible, and maybe they should get out of South Bend for a year, and he, on his own initiative, without even support from the university, started a Rome program, and then said to the university, hey, we have a Rome program now. And so that was, that was his instinct to do that. And while I got, I think, a great education there, especially after Rome, the professor, one professor I had after Rome, was exceptional for me. But you know, Rome was just the opportunity to see great architecture. I mean, I had seen some. I mean, I, you know, my parents would go to Philadelphia, New York and, you know, we I saw some things. But, you know, I wasn't really bowled over by architecture until I went to Rome. And just the experience of that really changed my life, and it gave me a direction,   Michael Hingson ** 18:41 essentially. So the Rome program would send you to Rome for a year.   David Mayernik ** 18:46 Yeah, which is unusual too, because a lot of overseas programs do a semester. We were unusual in that the third year out of a five year undergraduate degree in architecture, the whole year is spent in Rome. And you know, when you're 20 ish, you know, 20 I turned 21 when I was over there. It's a real transition time in your life. I mean, it's, it was really transformative. And for all of us, small of my classmates, I mean, we're all kind of grew up. We all became a bit, you know, European. We stopped going to football games when we went back on campus, because it wasn't cool anymore, but, but we, we definitely were transformed by it personally, but, it really opened our eyes to what architecture was capable of, and that once you've, once you've kind of seen that, you know, once you've been to the top of the mountain, kind of thing, it can really get under your skin. And, you know, kind of sponsor whatever you do for the rest of your life. At least for me, it   Michael Hingson ** 19:35 did, yeah, yeah. So what did you do after you graduated?   David Mayernik ** 19:40 Well, I graduated, and I think also a lot of our students lately have had a pretty reasonably good economy over the last couple of decades, that where it's been pretty easy for our students to get a job. I graduated in a recession. I pounded the pavements a lot. I went, you know, staying with my parents and. Allentown, went back and forth to New York, knocking on doors. There was actually a woman who worked at the unemployment agency in New York who specialized in architects, and she would arrange interviews with firms. And, you know, I just got something for the summer, essentially, and then finally, got a job in the in the fall for somebody I wanted to work with in Philadelphia and and that guy left that firm after about three months because he won a competition. He didn't take me with him, and I was in a firm that really didn't want to be with. I wanted to be with him, not with the firm. And so I then I picked up stakes and moved to Chicago and worked for an architect who'd been a visiting professor at Notre Dame eventually became dean at Yale Tom Beebe, and it was a great learning experience, but it was also a lot of hours at low pay. You know, I don't think, I don't think my students, I can't even tell my students what I used to make an hour as a young architect. I don't think they would understand, yeah, I mean, I really don't, but it was, it was a it was the sense that you were, that your early years was a kind of, I mean an apprenticeship. I mean almost an unpaid apprenticeship at some level. I mean, I needed to make enough money to pay the rent and eat, but that was about it. And and so I did that, but I bounced around a lot, you know, and a lot of kids, I think a lot of our students, when they graduate, they think that getting a job is like a marriage, like they're going to be in it forever. And, you know, I, for better or worse, I moved around a lot. I mean, I moved every time I hit what I felt was like a point of diminishing returns. When I felt like I was putting more in and getting less out, I thought it was time to go and try something else. And I don't know that's always good advice. I mean, it can make you look flighty or unstable, but I kind of always followed my my instinct on that.   Michael Hingson ** 21:57 I don't remember how old I was. You're talking about wages. But I remember it was a Sunday, and my parents were reading the newspaper, and they got into a discussion just about the fact that the minimum wage had just been changed to be $1.50 an hour. I had no concept of all of that. But of course, now looking back on it, $1.50 an hour, and looking at it now, it's pretty amazing. And in a sense, $1.50 an hour, and now we're talking about $15 and $16 an hour, and I had to be, I'm sure, under 10. So it was sometime between 1958 and 1960 or so, or maybe 61 I don't remember exactly when, but in a sense, looking at it now, I'm not sure that the minimum wage has gone up all that much. Yes, 10 times what it was. But so many other things are a whole lot more than 10 times what they were back then,   David Mayernik ** 23:01 absolutely, yeah. I mean, I mean, in some ways also, my father was a, my father was a factory worker. I mean, he tried to have lots of other businesses of his own. He, you're, you're obviously a great salesman. And the one skill my father didn't have is he could, he could, like, for example, he had a home building business. He could build a great house. He just couldn't sell it. And so, you know, I think he was a factory worker, but he was able to send my sister and I to private college simultaneously on a factory worker salary, you know, with, with, I mean, I had some student loan debt, but not a lot. And that's, that's not possible today.   Michael Hingson ** 23:42 No, he saved and put money aside so that you could do that, yeah, and,   David Mayernik ** 23:47 and he made enough. I mean, essentially, the cost of college was not that much. And he was, you know, right, yeah. And he had a union job. It was, you know, reasonably well paid. I mean, we lived in a, you know, a nice middle class neighborhood, and, you know, we, we had a nice life growing up, and he was able to again, send us to college. And I that's just not possible for without tremendous amount of debt. It's not possible today. So the whole scale of our economy shifted tremendously. What I was making when I was a young architect. I mean, it was not a lot then, but I survived. Fact, actually saved money in Chicago for a two month summer in Europe after that. So, you know, essentially, the cost of living was, it didn't take a lot to cover your your expenses, right? The advantage of that for me was that it allowed me time when I had free time when I after that experience, and I traveled to Europe, I came back and I worked in Philadelphia for the same guy who had left the old firm in Philadelphia and went off on his own, started his own business. I worked for him for about nine months, but I had time in the evenings, because I didn't have to work 80 hours a week to do other things. I taught myself how to paint. And do things that I was interested in, and I could experiment and try things and and, you know, because surviving wasn't all that hard. I mean, it was easy to pay your bills and, and I think that's one of the things that's, I think, become more onerous, is that, I think for a lot of young people just kind of dealing with both college debt and then, you know, essentially the cost of living. They don't have a lot of time or energy to do anything else. And you know, for me, that was, I had the luxury of having time and energy to invest in my own growth, let's say as a more career, as a creative person. And you know, I also, I also tell students that, you know, there are a lot of hours in the day, you know, and whatever you're doing in an office. There are a lot of hours after that, you could be doing something else, and that I used every one of those hours as best I could.   Michael Hingson ** 25:50 Yeah. Well, you know, we're all born with challenges in life. What kind of challenges, real challenges did you have growing up as you look back on it?   David Mayernik ** 26:01 Yeah, my, I mean, my, I mean, there was some, there was some, a few rocky times when my father was trying to have his own business. And, you know, I'm not saying we grew up. We didn't struggle, but it wasn't, you know, always smooth sailing. But I think one of the things I learned about being an architect, which I didn't realize, and only kind of has been brought home to me later. Right now, I have somebody who's told me not that long ago, you know? You know, the problem is, architecture is a gentleman's profession. You know that IT architecture, historically was practiced by people from a social class, who knew, essentially, they grew up with the people who would become their clients, right? And so the way a lot of architects built their practice was essentially on, you know, family connections and personal connections, college connections. And I didn't have that advantage. So, you know, I've, I've essentially had to define myself or establish myself based on what I'm capable of doing. And you know, it's not always a level playing field. The great breakthrough for me, in a lot of ways, was that one of the one of my classmates and I entered a big international competition when we were essentially 25 years old. I think we entered. I turned 26 and it was an open competition. So, you know, no professional requirements. You know, virtually no entry fee to redesign the state capitol grounds of Minnesota, and it was international, and we, and we actually were selected as one of the top five teams that were allowed to proceed onto the second phase, and at which point we we weren't licensed architects. We didn't have a lot of professional sense or business sense, so we had to associate with a local firm in Minnesota and and we competed for the final phase. We did most of the work. The firm supported us, but they gave us basically professional credibility and and we won. We were the architects of the state capitol grounds in Minnesota, 26 years old, and that's because the that system of competition was basically a level playing field. It was, you know, ostensibly anonymous, at least the first phase, and it was just basically who had the best design. And you know, a lot of the way architecture gets architects get chosen. The way architecture gets distributed is connections, reputation, things like that, but, but you know, when you find those avenues where it's kind of a level playing field and you get to show your stuff. It doesn't matter where you grew up or who you are, it just matters how good you are, yeah,   Michael Hingson ** 28:47 well, and do you think it's still that way today?   David Mayernik ** 28:51 There are a lot fewer open professional competitions. They're just a lot fewer of them. It was the and, you know, maybe they learned a lesson. I mean, maybe people like me shouldn't have been winning competitions. I mean, at some level, we were out of our league. I wouldn't say, I wouldn't say, from a design point of view. I mean, we were very capable of doing what the project involved, but we were not ready for the hardball of collaborating with a big firm and and the and the politics of what we were doing and the business side of it, we got kind of crushed, and, and, and eventually they never had the money to build the project, so the project just kind of evaporated. And the guy I used to work with in Philadelphia told me, after I won the competition, he said, you know, because he won a competition. He said, You know, the second project is the hardest one to get, you know, because you might get lucky one time and you win a competition, the question is, how do you build practice out of that?   Michael Hingson ** 29:52 Yeah, and it's a good point, yeah, yeah.   David Mayernik ** 29:55 I mean, developing some kind of continuity is hard. I mean, I. Have a longer, more discontinuous practice after that, but it's that's the hard part.   Michael Hingson ** 30:07 Well, you know, I mentioned challenges before, and we all, we all face challenges and so on. How do we overcome the challenges, our inherited challenges, or the perceived challenges that we have? How do we overcome those and work to move forward, to be our best? Because that's clearly kind of what you're talking about here.   David Mayernik ** 30:26 Yeah, well, the true I mean, so the challenges that we're born with, and I think there are also some challenges that, you know, we impose on ourselves, right? I mean, in this, in the best sense, I mean the ways that we challenge ourselves. And for me, I'm a bit of an idealist, and you know, the world doesn't look kindly on idealist. If you know, from a business, professional point of view, idealism is often, I'm not saying it's frowned upon, but it's hardly encouraged and rewarded and but I think that for me, I've learned over time that it's you really just beating your head against the wall is not the best. A little bit of navigating your way around problems rather than trying to run through them or knock them over is a smarter strategy. And so you have to be a little nimble. You have to be a little creative about how you find work and essentially, how you keep yourself afloat and and if you're if you're open to possibilities, and if you take some risks, you can, you can actually navigate yourself through a series of obstacles and actually have a rich, interesting life, but it may not follow the path that you thought you were starting out on at the beginning. And that's the, I think that's the skill that not everybody has.   Michael Hingson ** 31:43 The other part about that, though, is that all too often, we don't really give thought to what we're going to do, or we we maybe even get nudges about what we ought to do, but we discount them because we think, Oh, that's just not the way to do it. Rather than stepping back and really analyzing what we're seeing, what we're hearing. And I, for 1am, a firm believer in the fact that our inner self, our inner voice, will guide us if we give it the opportunity to do that.   David Mayernik ** 32:15 You know, I absolutely agree. I think a lot of people, you know, I was, I for, I have, for better or worse, I've always had a good sense of what I wanted to do with my life, even if architecture was a you know, conscious way to do something that was not exactly maybe what I dreamed of doing, it was a, you know, as a more rational choice. But, but I've, but I've basically followed my heart, more or less, and I've done the things that I always believed in it was true too. And when I meet people, especially when I have students who don't really know what they love, or, you know, really can't tell you what they really are passionate about, but my sense of it is, this is just my I might be completely wrong, but my sense of it is, they either can't admit it to themselves, or they can't admit it to somebody else that they that, either, in the first case, they're not prepared to listen to themselves and actually really deep, dig deep and think about what really matters to them, or if they do know what that is, they're embarrassed to admit it, or they're embarrassed to tell somebody else. I think most of us have some drive, or some internal, you know, impetus towards something and, and you're right. I mean, learning to listen to that is, is a, I mean, it's rewarding. I mean, essentially, you become yourself. You become more, or the best possible self you can be, I guess.   Michael Hingson ** 33:42 Yeah, I agree. And I guess that that kind of answers the question I was was thinking of, and that is, basically, as you're doing things in life, should you follow your dreams?   David Mayernik ** 33:53 You know, there's a lot, a lot of people are writing these days, if you read, if you're just, you know, on the, on the internet, reading the, you know, advice that you get on, you know, the new services, from the BBC to, you know, any other form of information that's out there, there's a lot of back and forth by between the follow your dreams camp and the don't follow your dreams camp. And the argument of the don't follow your dreams camp seems to be that it's going to be hard and you'll be frustrated, and you know, and that's true, but it doesn't mean you're going to fail, and I don't think anybody should expect life to be easy. So I think if you understand going in, and maybe that's part of my Eastern European heritage that you basically expect life to be hard, not, not that it has to be unpleasant, but you know it's going to be a struggle, but, but if you are true to yourself or follow your dreams, you're probably not going to wake up in the middle of your life with a crisis. You know, because I think a lot of times when you suppress your dreams, they. Stay suppressed forever, and the frustrations come out later, and it's better to just take them on board and try to again, navigate your way through life with those aspirations that you have, that you know are really they're built in like you were saying. They're kind of hardwired to be that person, and it's best to listen to that person.   Michael Hingson ** 35:20 There's nothing wrong with having real convictions, and I think it's important to to step back and make sure that you're really hearing what your convictions are and feeling what your convictions are. But that is what people should do, because otherwise, you're just not going to be happy.   David Mayernik ** 35:36 You're not and you're you're at one level, allowing yourself to manipulate yourself. I mean, essentially, you're, you know, kind of essentially deterring yourself from being who you are. You're probably also susceptible to other people doing that to you, that if you don't have enough sense of yourself, a lot of other people can manipulate you, push you around. And, you know, the thing about having a good sense of yourself is you also know how to stand up for yourself, or at least you know that you're a self that's worth standing up for. And that's you know. That's that, that thing that you know the kids learn in the school yard when you confront the bully, you know you have to, you know, the parents always tell you, you know, stand up to the bully. And at some level, life is going to bully you unless you really are prepared to stand up for something.   Michael Hingson ** 36:25 Yeah, and there's so many examples of that I know as a as a blind person, I've been involved in taking on some pretty major tasks in life. For example, it used to be that anyone with a so called Disability couldn't buy life insurance, and eventually, we took on the insurance industry and won to get the laws passed in every state that now mandate that you can't discriminate against people with disabilities in providing life insurance unless you really have evidence To prove that it's appropriate to do that, and since the laws were passed, there hasn't been any evidence. And the reason is, of course, there never has been evidence, and insurance companies kept claiming they had it, but then when they were challenged to produce it, they couldn't. But the reality is that you can take on major tasks and major challenges and win as long as you really understand that that is what your life is steering you to do,   David Mayernik ** 37:27 yeah, like you said, and also too, having a sense of your your self worth beyond whatever that disability is, that you know what you're capable of, apart from that, you know that's all about what you can't do, but all the things that you can do are the things that should allow you to do anything. And, yeah, I think we're, I think it's a lot of times people will try to define you by what you can't do, you   Michael Hingson ** 37:51 know? And the reality is that those are traditionally misconceptions and inaccurate anyway, as I point out to people, disability does not mean a lack of ability. Although a lot of people say, Well, of course it, it is because it starts with dis. And my response is, what do you then? How do you deal with the words disciple, discern and discrete? For example, you know the fact of the matter is, we all have a disability. Most of you are light dependent. You don't do well with out light in your life, and that's okay. We love you anyway, even though you you have to have light but. But the reality is, in a sense, that's as much a disability is not being light dependent or being light independent. The difference is that light on demand has caused so much focus that it's real easy to get, but it doesn't change the fact that your disability is covered up, but it's still there.   David Mayernik ** 38:47 No, it's true. I mean, I think actually, yeah, knowing. I mean, you're, we're talking about knowing who you are, and, you know, listening to your inner voice and even listening to your aspirations. But also, I mean being pretty honest about where your liabilities are, like what the things are that you struggle with and just recognizing them, and not not to dwell on them, but to just recognize how they may be getting in the way and how you can work around them. You know, one of the things I tell students is that it's really important to be self critical, but, but it's, it's not good to be self deprecating, you know. And I think being self critical if you're going to be a self taught person like I am, in a lot of ways, you you have to be aware of where you're not getting it right. Because I think the problem is sometimes you can satisfy yourself too easily. You're too happy with your own progress. You know, the advantage of having somebody outside teaching you is they're going to tell you when you're doing it wrong, and most people are kind of loath do that for themselves, but, but the other end of that is the people who are so self deprecating, constantly putting themselves down, that they never are able to move beyond it, because they're only aware of what they can't do. And you know, I think balancing self criticism with a sense of your self worth is, you know, one of the great balancing acts of life. You.   Michael Hingson ** 40:00 Well, that's why I've adopted the concept of I'm my own best teacher, because rather than being critical and approaching anything in a negative way, if I realize that I'm going to be my own best teacher, and people will tell me things, I can look at them, and I should look at them, analyze them, step back, internalize them or not, but use that information to grow, then that's what I really should do, and I would much prefer the positive approach of I'm my own best teacher over anything else.   David Mayernik ** 40:31 Yeah, well, I mean, the last kind of teachers, and I, you know, a lot of my students have thought of me as a critical teacher. One of the things I think my students have misunderstood about that is, it's not that I have a low opinion of them. It's actually that I have such a high opinion that I always think they're capable of doing better. Yeah, I think one of the problems in our educational system now is that it's so it's so ratifying and validating. There's so we're so low to criticize and so and the students are so fragile with criticism that they they don't take the criticism well, yeah, we don't give it and, and you without some degree of what you're not quite getting right, you really don't know what you're capable of, right? And, and I think you know. But being but again, being critical is not that's not where you start. I think you start from the aspiration and the hope and the, you know, the actually, the joy of doing something. And then, you know, you take a step back and maybe take a little you know, artists historically had various techniques for judging their own work. Titian used to take one of his paintings and turn it away, turn it facing the wall so that he couldn't see it, and he would come back to it a month later. And, you know, because when he first painted, he thought it was the greatest thing ever painted, he would come back to it a month later and think, you know, I could have done some of those parts better, and you would work on it and fix it. And so, you know, the self criticism comes from this capacity to distance yourself from yourself, look at yourself almost as as hard as it is from the outside, yeah, try to see yourself as other people see you. Because I think in your own mind, you can kind of become completely self referential. And you know, that's that. These are all life skills. You know, I had to say this to somebody recently, but, you know, I think the thing you should get out of your education is learning how to learn and like you're talking about, essentially, how do you approach something new or challenging or different? Is has to do with essentially, how do you how do you know? Do you know how to grow and learn on your own?   Michael Hingson ** 42:44 Yeah, exactly, well, being an architect and so on. How did you end up going off and becoming a professor and and teaching? Yeah, a   David Mayernik ** 42:52 lot of architects do it. I have to say. I mean, there's always a lot of the people who are the kind of heroes when I was a student, were practicing architects who also taught and and they had a kind of, let's say, intellectual approach to what they did. They were conceptual. It wasn't just the mundane aspects of getting a building built, but they had some sense of where they fit, with respect to the culture, with respect to history and issues outside of architecture, the extent to which they were tied into other aspects of culture. And so I always had the idea that, you know, to be a full, you know, a fully, you know, engaged architect. You should have an academic, intellectual side to your life. And teaching would be an opportunity to do that. The only thing is, I didn't feel like I knew enough until I was older, in my 40s, to feel like I actually knew enough about what I was doing to be able to teach somebody else. A lot of architects get into teaching early, I think, before they're actually fully formed to have their own identities. And I think it's been good for me that I waited a while until I had a sense of myself before I felt like I could teach somebody else. And so there was, there was that, I mean, the other side of it, and it's not to say that it was just a day job, but one of the things I decided from the point of your practice is a lot of architects have to do a lot of work that they're not proud of to keep the lights on and keep the business operating. And I have decided for myself, I only really want to do work that I'm proud of, and in order to do that, because clients that you can work for and be you know feel proud of, are rather rare, and so I balanced teaching and practice, because teaching allowed me to ostensibly, theoretically be involved with the life of the mind and only work for people and projects that interested me and that I thought could offer me the chance to do something good and interesting and important. And so one I had the sense that I had something to convey I learned. Enough that I felt like I could teach somebody else. But it was also, for me, an opportunity to have a kind of a balanced life in which practice was compensated. You know that a lot of practice, even interesting practice, has a banal, you know, mundane side. And I like being intellectually stimulated, so I wanted that. Not everybody wants   Michael Hingson ** 45:24 that. Yeah, so you think that the teaching brings you that, or it put you in a position where you needed to deal with that?   David Mayernik ** 45:32 You know, having just retired, I wish there had been more of that. I really had this romantic idea that academics, being involved in academics, would be an opportunity to live in a world of ideas. You know? I mean, because when I was a student, I have to say we, after we came back from Rome, I got at least half of my education for my classmates, because we were deeply engaged. We debated stuff. We, you know, we we challenged each other. We were competitive in a healthy way and and I remember academics my the best part of my academic formation is being immensely intellectually rich. In fact, I really missed it. For about the first five years I was out of college, I really missed the intellectual side of architecture, and I thought going back as a teacher, I would reconnect with that, and I realized not necessarily, there's a lot about academics that's just as mundane and bureaucratic as practice can be so if you really want to have a satisfying intellectual life, unfortunately, you can't look to any institution or other people for it. You got to find it on your own.   46:51 Paperwork, paperwork,   David Mayernik ** 46:55 committee meetings, just stuff. Yeah, yeah,   Michael Hingson ** 47:00 yeah. Yeah, which never, which never. Well, I won't say they never help, but there's probably, there's probably some valuable stuff that you can get, even from writing and doing, doing paperwork, because it helps you learn to write. I suppose you can look at it that way.   David Mayernik ** 47:16 No, it's true. I mean, you're, you're definitely a glass half full guy. Michael, I appreciate that's good. No. I mean, I, obviously, I always try to make get the most out of whatever experience I have. But, I mean, in the sense that there wasn't as much intellectual discourse, yeah, you know, as my I would have liked, yeah, and I, you know, in the practice or in the more academic side of architecture. Several years ago, somebody said we were in a post critical phase like that. Ideas weren't really what was driving architecture. It was going to be driven by issues of sustainability, issues of social structure, you know, essentially how people live together, issues that have to do with things that weren't really about, let's call it design in the esthetic sense, and all that stuff is super important. And I'm super interested in, you know, the social impact of my architecture, the sustainable impact of it, but the the kind of intellectual society side of the design part of it, we're in a weird phase where it that's just not in my world, we just it's not talked about a lot. You know,   Michael Hingson ** 48:33 it's not what it what it used to be. Something tells me you may be retired, but you're not going to stop searching for intellectual and various kinds of stimulation to help keep your mind active.   David Mayernik ** 48:47 Oh, gosh, no, no. I mean, effectively. I mean, I just stopped one particular job. I describe it now as quitting with benefits. That's my idea of what I retired from. I retired from a particular position in a particular place, but, but I haven't stopped. I mean, I'm certainly going to keep working. I have a very interesting design project in Switzerland. I've been working on for almost 29 years, and it's got a number of years left in it. I paint, I write, I give lectures, I you know, and you obviously have a rich life. You know, not being at a job. Doesn't mean that the that your engagement with the world and with ideas goes away. I mean, unless you wanted to, my wife's my wife had three great uncles who were great jazz musicians. I mean, some quite well known jazz musicians. And one of them was asked, you know, was he ever going to retire? And he said, retire to what? Because, you know, he was a musician. I mean, you can't stop being a musician, you know, you know, if, some level, if you're really engaged with what you do, you You never stop, really,   Michael Hingson ** 49:51 if you enjoy it, why would you? No, I   David Mayernik ** 49:54 mean, the best thing is that your work is your fun. I mean, you know, talking about, we talked about it. I. You that You know you're kind of defined by your work, but if your work is really what you enjoy, I mean, actually it's fulfilling, rich, enriching, interesting, you don't want to stop doing that. I mean, essentially, you want to do it as long as you possibly can. Yeah,   Michael Hingson ** 50:13 and it's and it's really important to do that. And I think, in reality, when you retire from a job, you're not really retiring from a job. You're retiring, as you said, from one particular thing. But the job isn't a negative thing at all. It is what you like to do.   David Mayernik ** 50:31 Yeah. I mean, there's, yeah, there's the things that you do that. I mean, I guess the job is the, if you like, the thing that is the, you know, the institution or the entity that you know, pays your bills and that kind of stuff, but the career or the thing that you're invested in that had the way you define yourself is you never stop being that person, that person. And in some ways, you know, what I'm looking forward to is a richer opportunity to pursue my own avenue of inquiry, and, you know, do things on my own terms, without some of the obligations I had   Michael Hingson ** 51:03 as a teacher, and where's your wife and all that.   David Mayernik ** 51:06 So she's with me here in LUCA, and she's she's had a super interesting life, because she she she studied. We, when we were together in New York, she was getting a degree in art history, Medieval and Renaissance studies in art history at NYU, and then she decided she really wanted to be a chef, and she went to cooking school in New York and then worked in a variety of food businesses in New York, and then got into food writing and well, food styling for magazines, making food for photographs, and then eventually writing. And through a strange series of connections and experiences. She got an opportunity to cook at an Art Foundation in the south of France, and I was in New York, and I was freelancing. I was I'd quit a job I'd been at for five years, and I was freelancing around, doing some of my own stuff and working with other architects, and I had work I could take with me. And you know, it was there was there was, we didn't really have the internet so much, but we had FedEx. And I thought I could do drawings in the south of France. I could do them in Brooklyn. So, so I went to the south of France, and it just happens to be that my current client from Switzerland was there at that place at that time, scouting it out for some other purpose. And she said, I hear you're architect. I said, Yeah. And I said, Well, you know, she said, I like, you know, classical architecture, and I like, you know, traditional villages, and we have a campus, and we need a master plan architect. And I was doing a master plan back in Delaware at that time, and my wife's you know, career trajectory actually enabled me to meet a client who's basically given me an opportunity to build, you know, really interesting stuff, both in Switzerland and in England for the last, you know, again, almost 29 years. And so my wife's been a partner in this, and she's been, you know, because she's pursued her own parallel interest. But, but our interests overlap enough and we share enough that we our interests are kind of mutually reinforcing. It's, it's been like an ongoing conversation between us, which has been alive and rich and wonderful.   Michael Hingson ** 53:08 You know, with everything going on in architecture and in the world in general, we see more and more technology in various arenas and so on. How do you think that the whole concept of CAD has made a difference, or in any way affected architecture. And where do you think CAD systems really fit into all of that?   David Mayernik ** 53:33 Well, so I mean this, you know, CAD came along. I mean, it already was, even when I was early in my apprenticeship, yeah, I was in Chicago, and there was a big for som in Chicago, had one of the first, you know, big computers that was doing some drawing work for them. And one of my, a friend of mine, you know, went to spend some time and figure out what they were capable of. And, but, you know, never really came into my world until kind of the late night, mid, mid to late 90s and, and, and I kind of resisted it, because I, the reason I got into architecture is because I like to draw by hand, and CAD just seemed to be, you know, the last thing I'd want to do. But at the same time, you, some of you, can't avoid it. I mean, it has sort of taken over the profession that, essentially, you either have people doing it for you, or you have to do it yourself, and and so the interesting thing is, I guess that I, at some point with Switzerland, I had to, basically, I had people helping me and doing drawing for me, but I eventually taught myself. And I actually, I jumped over CAD and I went to a 3d software called ArchiCAD, which is a parametric design thing where you're essentially building a 3d model. Because I thought, Look, if I'm going to do drawing on the computer, I want the computer to do something more than just make lines, because I can make lines on my own. But so the computer now was able to help me build a 3d model understand buildings in space and construction. And so I've taught myself to be reasonably, you know, dangerous with ArchiCAD and but the. Same time, the creative side of it, I still, I still think, and a lot of people think, is still tied to the intuitive hand drawing aspect and and so a lot of schools that gave up on hand drawing have brought it back, at least in the early years of formation of architects only for the the conceptual side of architecture, the the part where you are doodling out your first ideas, because CAD drawing is essentially mechanical and methodical and sort of not really intuitive, whereas the intuitive marking of paper With a pencil is much more directly connected to the mind's capacity to kind of speculate and imagine and daydream a little bit, or wander a little bit your mind wanders, and it actually is time when some things can kind of emerge on the page that you didn't even intend. And so, you know, the other thing about the computer is now on my iPad, I can actually do hand drawing on my iPad, and that's allowed me to travel with it, show it to clients. And so I still obviously do a lot of drawing on paper. I paint by hand, obviously with real paints and real materials. But I also have found also I can do free hand drawing on my iPad. I think the real challenge now is artificial intelligence, which is not really about drawing, it's about somebody else or the machine doing the creative side of it. And that's the big existential crisis that I think the profession is facing right now.   Michael Hingson ** 56:36 Yeah, I think I agree with that. I've always understood that you could do free hand drawing with with CAD systems. And I know that when I couldn't find a job in the mid 1980s I formed a company, and we sold PC based CAD systems to architects and engineers. And you know, a number of them said, well, but when we do designs, we charge by the time that we put into drawing, and we can't do that with a CAD system, because it'll do it in a fraction of the time. And my response always was, you're looking at it all wrong. You don't change how much you charge a customer, but now you're not charging for your time, you're charging for your expertise, and you do the same thing. The architects who got that were pretty successful using CAD systems, and felt that it wasn't really stifling their creativity to use a CAD system to enhance and speed up what they did, because it also allowed them to find more jobs more quickly.   David Mayernik ** 57:35 Yeah, one of the things it did was actually allow smaller firms to compete with bigger firms, because you just didn't need as many bodies to produce a set of drawings to get a project built or to make a presentation. So I mean, it has at one level, and I think it still is a kind of a leveler of, in a way, the scale side of architecture, that a lot of small creative firms can actually compete for big projects and do them successfully. There's also, it's also facilitated collaboration, because of the ability to exchange files and have people in different offices, even around the world, working on the same drawing. So, you know, I'm working in Switzerland. You know, one of the reasons to be on CAD is that I'm, you know, sharing drawings with local architects there engineers, and that you know that that collaborative sharing process is definitely facilitated by the computer.   Michael Hingson ** 58:27 Yeah, information exchange is always valuable, especially if you have a number of people who are committed to the same thing. It really helps. Collaboration is always a good thing,   David Mayernik ** 58:39 yeah? I mean, I think a lot of, I mean, there's always the challenge between the ego side of architecture, you know, creative genius, genius, the Howard Roark Fountainhead, you know, romantic idea. And the reality is that it takes a lot of people to get a building built, and one person really can't do it by themselves. And So collaboration is kind of built into it at the same time, you know, for any kind of coherence, or some any kind of, let's say, anything, that brings a kind of an artistic integrity to a work of architecture, mostly, that's got to come from one person, or at least people with enough shared vision that that there's a kind of coherence to it, you know. And so there still is space for the individual creative person. It's just that it's inevitably a collaborative process to get, you know, it's the it's the 1% inspiration, 99% perspiration. Side architecture is very much that there's a lot of heavy lifting that goes into getting a set of drawings done to get

Title: Searching for the bassline Track: Vilsmaÿr: Violin Partita No. 5 in G Minor: I. Prelude Artist: Vaughan Jones Publisher: ℗ 2015 First Hand Records

durée : 00:24:56 - Antonio Vivaldi, Concerto n°4 en fa mineur op.8 " L'Hiver " - par : Anne-Charlotte Rémond - Tout le monde, ou presque, connaît les concertos des ''Quatre saisons'' de Vivaldi, mais que savons-nous des circonstances de leur composition ? Dans Musicopolis, Anne-Charlotte Rémond mène l'enquête sur la piste de ''L'Hiver''… - réalisé par : Claire Lagarde Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

アーティスト/DJの真鍋大度が様々なジャンルのイノベーターをお迎えするトークセッション「FROM THE NEXT ERA」。対話の中からイノベーションの種を導き出します。今回は、Widescreen Baroqueから、真部脩一さん、Hinanoさんをお迎えして、ユニット結成の背景、テクノロジーを活用した新しいライブ体験についてなど お話伺います。See omnystudio.com/listener for privacy information.

Hear Tunes from: Dick Hensold & Rosalind Buda, Tracy Jenkins and Ian Kinnear as well as tunes from me and many other Pipers' Gathering attendees at the sessions. Details coming soon: Register for Pipers Gathering Here: https://www.pipersgathering.org/ To attend the next LBPS Tune Share session follow this link: (Thursday August 7) https://www.facebook.com/share/15yYkiAVJQ/ Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

durée : 00:04:27 - Les Epopées : un festival de musique baroque en ce moment dans le nord de l'Yonne. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Tunes: Jeremy Kingsbury: Patrick MacDonald Wizard Set, Tripping Mermaid Set Sean Reidy: Burrito on the Floor You can hear tracks from my new and upcoming albums Nill and Humours of Toddy on this episode. You can also hear a track from Sean Reidy's Debut album "Tunes for the Soul" Check out Tunes for the Soul Here: https://seanpatrickreidy.bandcamp.com/album/tunes-for-the-soul And Check out my new "album" Nill Here: https://jeremykingsbury.bandcamp.com/album/nill-album-graveyard-and-alternate-takes Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Join host Erin Helyard as he takes us on a sweeping exploration of the origins of Maid Made Boss, the tradition of the intermezzo, the political and philosophical tensions of mid-century Paris, and how one clever servant girl helped change the course of operatic history. Musical excerpt 1 - Taryn Fiebig as Erighetta and Richard Anderson as Don Chilone in Pinchgut Opera's "Erighetta e Don Chilone by Vinci (2017 Triple Bill). Conducted by Erin Helyard with Orchestra of the Antipodes Musical cxcerpt 2 - Taryn Fiebig as Erighetta in Pinchgut Opera's "Erighetta e Don Chilone by Vinci (2017 Triple Bill). Conducted by Erin Helyard with Orchestra of the Antipodes Musical excerpt 3 - Christian Immler as Uberto, "Aspettare e non venire" from La Serva Padrona - permission for use granted by Boston Early Music Festival Chamber Ensemble - Paul O'Dette and Stephen Stubbs Musical excerpt 4 - Amanda Forsythe as Serpina "A serpina penserete qualche" volta from La Serva Padrona - permission for use granted by Boston Early Music Festival Chamber Ensemble - Paul O'Dette and Stephen Stubbs Musical excerpt 5 - Christian Immler as Uberto "Son imbrogliato io già" from La Serva Padrona - permission for use granted by Boston Early Music Festival Chamber Ensemble - Paul O'Dette and Stephen Stubbs Musical excerpt 6 - from Pinchgut Opera's performance of Platée by Rameau, conducted by Erin Helyard with Orchestra of the Antipodes (2017) Musical excerpt 7 - from Pinchgut Opera's performance of Platée by Rameau, conducted by Erin Helyard with Orchestra of the Anitpodes. (2017) Closing excerpt from the Overture of Erighetta e Don Chilone by Vinci. Conducted by Erin Helyard with Orchestra of the Antipodes (Pinchgut Opera 2017) Music credits: Pergolesi: La serva padrona & Livietta e Tracollo ℗ 2023 CPO Released on: 2023-12-05 Orchestra: Boston Early Music Festival Chamber Ensemble Conductor: Paul O'Dette Conductor: Stephen Stubbs Lyricist: Genarro Antonio Federico Composer: Giovanni Battista Pergolesi

Title: Forging Paradis Track: Carl Maria von Weber: Larghetto Artist: Daniel Hope and Jacques Ammon Publisher: ℗ 2020 Daniel Hope, under exclusive license to Deutsche Grammophon GmbH, Berlin

Four hunters head to the dunes, where racing means life and limb are on the line. The starting line. Get it? 'Cause racing?Portions of the materials are the copyrights and trademarks of Paradox Interactive AB, and are used with permission. All rights reserved. For more information please visit worldofdarkness.com.

In Istanbul, there is a mosque on every hill. Cruising along the Bosphorus, either for pleasure, or like the majority of Istanbul's denizens, for transit, you cannot help but notice that the city's landscape would be dramatically altered without the mosques of the city. In Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul (Princeton University Press, 2019), Ünver Rüstem takes a stab of a slice of that history, arguing that we should see the eighteenth-century Baroque period in Ottoman mosque architecture as innovative and not derivative in how Ottoman mosque architecture integrated Baroque elements. By doing so, he pushes back effectively against notions of Ottoman decline and demonstrates that such architecture, praised in the contemporary writings of both Ottoman and Western viewers, successfully rebranded the Ottoman capital for a changing world. He also draws our eyes to the complex social process by which mosque design develops, bringing in a cast of characters that includes non-Muslims as much as non-Muslims. On this New Books interview, we walk you through the book, Rüstem's process, what Baroque means in different contexts and mosque architecture in Istanbul today. Ünver Rüstem is Assistant Professor of Islamic Art and Architecture at Johns Hopkins University. Nadirah Mansour is a graduate student at Princeton University's Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Istanbul, there is a mosque on every hill. Cruising along the Bosphorus, either for pleasure, or like the majority of Istanbul's denizens, for transit, you cannot help but notice that the city's landscape would be dramatically altered without the mosques of the city. In Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul (Princeton University Press, 2019), Ünver Rüstem takes a stab of a slice of that history, arguing that we should see the eighteenth-century Baroque period in Ottoman mosque architecture as innovative and not derivative in how Ottoman mosque architecture integrated Baroque elements. By doing so, he pushes back effectively against notions of Ottoman decline and demonstrates that such architecture, praised in the contemporary writings of both Ottoman and Western viewers, successfully rebranded the Ottoman capital for a changing world. He also draws our eyes to the complex social process by which mosque design develops, bringing in a cast of characters that includes non-Muslims as much as non-Muslims. On this New Books interview, we walk you through the book, Rüstem's process, what Baroque means in different contexts and mosque architecture in Istanbul today. Ünver Rüstem is Assistant Professor of Islamic Art and Architecture at Johns Hopkins University. Nadirah Mansour is a graduate student at Princeton University's Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

In Istanbul, there is a mosque on every hill. Cruising along the Bosphorus, either for pleasure, or like the majority of Istanbul's denizens, for transit, you cannot help but notice that the city's landscape would be dramatically altered without the mosques of the city. In Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul (Princeton University Press, 2019), Ünver Rüstem takes a stab of a slice of that history, arguing that we should see the eighteenth-century Baroque period in Ottoman mosque architecture as innovative and not derivative in how Ottoman mosque architecture integrated Baroque elements. By doing so, he pushes back effectively against notions of Ottoman decline and demonstrates that such architecture, praised in the contemporary writings of both Ottoman and Western viewers, successfully rebranded the Ottoman capital for a changing world. He also draws our eyes to the complex social process by which mosque design develops, bringing in a cast of characters that includes non-Muslims as much as non-Muslims. On this New Books interview, we walk you through the book, Rüstem's process, what Baroque means in different contexts and mosque architecture in Istanbul today. Ünver Rüstem is Assistant Professor of Islamic Art and Architecture at Johns Hopkins University. Nadirah Mansour is a graduate student at Princeton University's Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Istanbul, there is a mosque on every hill. Cruising along the Bosphorus, either for pleasure, or like the majority of Istanbul's denizens, for transit, you cannot help but notice that the city's landscape would be dramatically altered without the mosques of the city. In Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul (Princeton University Press, 2019), Ünver Rüstem takes a stab of a slice of that history, arguing that we should see the eighteenth-century Baroque period in Ottoman mosque architecture as innovative and not derivative in how Ottoman mosque architecture integrated Baroque elements. By doing so, he pushes back effectively against notions of Ottoman decline and demonstrates that such architecture, praised in the contemporary writings of both Ottoman and Western viewers, successfully rebranded the Ottoman capital for a changing world. He also draws our eyes to the complex social process by which mosque design develops, bringing in a cast of characters that includes non-Muslims as much as non-Muslims. On this New Books interview, we walk you through the book, Rüstem's process, what Baroque means in different contexts and mosque architecture in Istanbul today. Ünver Rüstem is Assistant Professor of Islamic Art and Architecture at Johns Hopkins University. Nadirah Mansour is a graduate student at Princeton University's Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Istanbul, there is a mosque on every hill. Cruising along the Bosphorus, either for pleasure, or like the majority of Istanbul's denizens, for transit, you cannot help but notice that the city's landscape would be dramatically altered without the mosques of the city. In Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul (Princeton University Press, 2019), Ünver Rüstem takes a stab of a slice of that history, arguing that we should see the eighteenth-century Baroque period in Ottoman mosque architecture as innovative and not derivative in how Ottoman mosque architecture integrated Baroque elements. By doing so, he pushes back effectively against notions of Ottoman decline and demonstrates that such architecture, praised in the contemporary writings of both Ottoman and Western viewers, successfully rebranded the Ottoman capital for a changing world. He also draws our eyes to the complex social process by which mosque design develops, bringing in a cast of characters that includes non-Muslims as much as non-Muslims. On this New Books interview, we walk you through the book, Rüstem's process, what Baroque means in different contexts and mosque architecture in Istanbul today. Ünver Rüstem is Assistant Professor of Islamic Art and Architecture at Johns Hopkins University. Nadirah Mansour is a graduate student at Princeton University's Department of Near Eastern Studies working on the global intellectual history of the Arabic-language press. She tweets @NAMansour26 and produces another Middle-East and North Africa-related podcast: Reintroducing.

Tunes: You can hear several session sets from Pipers' Gathering Attendees and instructors as well as solo performances from Elliot Grasso Chris Gray, Jim Gray and Heather MacLeod Mike and Shannon Heaton John Charles Bauschatz and pretty clear performances from Session attendees including, Colleen Shanks, Ian Crane, Andy May, Patrick Hutchinson, Dan Houghton, Arbo R. Doughty, Rod Nevin, Benjamin Elzerman, Rachel Clemente and many more Come hang out with me at the Pipers' Gathering! https://www.pipersgathering.org/ And before then you should come to the LBPS Tune Share session: https://www.facebook.com/share/1JCtTfZz3r/ Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Poet and essayist Ross Gay (Catalog of Unabashed Gratitude) dissects privilege, pain, and skateboarding, all themes from his newest book Inciting Joy; Michelin Star chef Lane Regan outlines their journey from farmer's markets to foraging, while creating a new dining experience in the wilds of Michigan; and singer-songwriter Baroque Betty, accompanied by Mood Area 52, performs the title track off her album Sobering Up. 

[Summer of Epics]Far from being round and regular, “baroque pearls” have strange and unique shapes. Long considered wonders of nature, they inspired goldsmiths throughout the Renaissance and into the Baroque and Neo-Classical periods. Anna Maria Luisa de' Medici, known as the last descendent of the House of Medici, had a passion for such pearls.Voice of Jewels, a podcast from L'ÉCOLE, School of Jewelry Arts supported by Van Cleef & Arpels. Unveiling the stories and secrets behind History's most fascinating jewels.With Inezita Gay-Eckel, Jewelry Historian and Lecturer at L'ÉCOLE, School of Jewelry Arts, and Léonard Pouy, Art Historian and Content and Transmission Manager at L'ÉCOLE, School of Jewelry Arts.Written by Martin Quenehen and Aram Kebabdjian, performed by Edoardo Ballerini and produced by Bababam. Hosted on Acast. See acast.com/privacy for more information.

In this 100th episode of the Blue Rain Gallery Podcast, host Leroy Garcia welcomes acclaimed Santero Andrew Montoya, a master of devotional art rooted in New Mexico's rich cultural traditions. Join us for an intimate conversation that explores Montoya's deep familial ties to Santa Fe, his creative evolution from reluctant student to prolific carver and painter, and his unique blend of traditional Spanish Colonial imagery with contemporary technique.Montoya shares how a childhood spent painting under the guidance of his aunt blossomed into a lifelong devotion to sacred art—especially the three-dimensional form of the bulto. He discusses his inspirations, from Baroque sculptor Bernini to Native American design motifs, and gives insight into the process behind his vibrant, gravity-defying sculptures of saints, archangels, and biblical figures.Listeners will hear stories behind specific works, including a shadowbox Noah's Ark, a radiant San Rafael honoring healthcare workers, and a colorful interpretation of Saint Kateri Tekakwitha. Montoya also reflects on his dual calling as a full-time nurse and artist, and his commitment to nurturing the next generation of santeros through youth mentorship.Whether you're an art collector, culture enthusiast, or simply inspired by the enduring spirit of devotional art, this episode celebrates the passion, precision, and heritage that define Andrew Montoya's growing legacy.View Andrew's work at Blue Rain Gallery: https://blueraingallery.com/ar...This episode was hosted by gallery owner and founder Leroy Garcia, produced and edited by Leah Garcia, with original music by Mozart Gabriel Abeyta.Discover curated home goods and fine art prints by Blue Rain Gallery artists — only at BlueRainPrintShop.com. Bring the art you love into your everyday life.

Title: A cultured tax collector Track: “La Poupliniere” from Rameau's 3rd concert Artist: Christophe Rousset and the Talents Lyriques. Publisher: Decca 2003

No tunes, just a track of a thunder storm I recorded one night on May of 2025 on an Island in North Carolina. Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

In his second appearance on Anthony Plog on Music, celebrated biographer and composer Jan Swafford returns for an expansive two-part conversation that dives deep into the very soul of classical music. In his previous interview from 2021, Jan discussed his monumental biographies of Mozart, Beethoven, Brahms, and Ives. But his intellectual and creative output extends far beyond those volumes, and this new set of interviews explores more of his wide-ranging contributions to the world of music.In Part 1, the focus turns to Jan's book Language of the Spirit: An Introduction to Classical Music, a refreshingly vivid and often personal guide to the history of Western music. The discussion begins with a few select quotes that set the tone for Swafford's engaging style—an approach that never shies away from humor, insight, or imagination. Along the way, Tony and Jan take an unexpected detour into a blog post imagining a conversation between Mozart and Picasso's Guernica. As the conversation returns to the content of Language of the Spirit, the two explore key aspects of the Baroque period, including figured bass and the challenges of intonation. The episode concludes with a discussion of three of Jan's own compositions—They That Mourn, Late August, First Snow, and River—offering a glimpse into his creative voice as a composer.Part 2 picks up right where they left off, continuing the discussion of the Baroque with special attention to the genius of Bach and the dramatic flair of Händel. This naturally leads into a thoughtful debate on performance practice, particularly the tension between historically informed performances (HIP) and modern approaches. Jan brings his signature candor and wit to the conversation, questioning what authenticity really means and whether the HIP movement sometimes overreaches. The episode closes on a memorable note, as Jan describes the extraordinary experience of holding the original manuscripts of Mozart's Marriage of Figaro and Brahms's German Requiem in his hands. And in true Swafford fashion, he promises to return again—next time, to tackle the Classical era through to the present day.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Tunes: James Aird: The Miller's Rant, Quickstep of the 37th Regiment, The Wrights Rant William Dixon (Seattle): The Stool of Repentance William Vickers: Parth Inch, A Mile to Ride, John Peacock* Note that I say Francis Peacock in te : A Mile to Ride, Bonny Lad, Welcome to the Town Again Bruce and Stoke: Dorrington Lads Jeremy Kingsbury ? Maybe?: The Generous Fox, Come share some tunes and chat, July 31 at 6:30 PM US Central time: https://www.facebook.com/share/1DC1oAhTHt/ +X++X++X+ Quick note to say that Iain Allen made the reed I used on the previous episode in Zexuan Qiao's Border Chanter. Check out Iain Allen's Website here: https://www.bagpipereeds.co.uk/ JAMES AIRD 1782: The Millers Rant from Aird Vol I https://archive.org/details/selectionofscotc02rugg/page/n25/mode/1up?view=theater +X+ 1782: Quickstep 37th Regt from James Aird's Collection vol 1 https://archive.org/details/selectionofscotc02rugg/page/n39/mode/1up?view=theater- +X+ 1782: The Wright's Rant from James Aird's Collection vol 1 https://archive.org/details/selectionofscotc02rugg/page/n71/mode/1up +X+ 1733: The Stool of Repentance from William Dixon from Matt Seattle's Setting from William Dixon's Manuscript available here: https://www.mattseattle.scot/product-page/the-master-piper-new-edition +X+ WILLIAM VICKERS 1776: Parth Inch From William Vickers (NOTE G#) http://www.farnearchive.com/farneimages/jpgs/R0301100.jpg +X+ 1776: A Mile to Ride From William Vickers http://www.farnearchive.com/farneimages/jpgs/R0301800.jpg +X+X+ JOHN PEACOCK 1810: Welcome to the Town Again, Bonny Lad, Welcome to the Town Again, From John Peacock's “A Favourite Collection of Tunes with Variations adapted for the Northumberland Small Pipes Violin or Flute http://www.cl.cam.ac.uk/~rja14/musicfiles/manuscripts/peacock.pdf +X+ Here is a Link to the Francis Peacock Collection I was excited by: https://archive.org/details/Shand3/page/n50/mode/1up +X+X 1882: Dorrington Lads From Northumbrian Minstrelsly from Bruce and Stoke https://archive.org/details/ACollectionOfTheBalladsMelodiesAndSmall-pipeTunesOfNorthumbria/page/n92/mode/1up +X+X+X+ FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

This Day in Legal History: Narcotic Control ActOn July 18, 1956, the Narcotic Control Act was signed into law, marking a significant escalation in the United States' punitive approach to drug policy. The act built upon earlier federal narcotics legislation but went much further in increasing criminal penalties and tightening government control over narcotic drugs and marijuana. Under the new law, first-time offenders faced mandatory minimum sentences, and judges were stripped of discretion in sentencing for many drug crimes. Notably, the act introduced the possibility of the death penalty for those convicted of selling heroin to minors.The legislation was part of a broader postwar shift toward strict federal enforcement and reflected growing political and public fears about drug use, particularly in urban centers. It was championed by figures who saw narcotics as a moral and social threat, linking drug control to national security and public order. The law also expanded the jurisdiction of federal agencies, giving the federal government more authority to investigate and prosecute drug crimes that had previously been handled at the state level.Critics at the time and in later decades argued that the Narcotic Control Act laid the groundwork for mass incarceration and racial disparities in drug enforcement. The harsh penalties disproportionately impacted Black and Latino communities and did little to address the root causes of addiction. Nonetheless, the act stood as a turning point in the federal government's approach to narcotics—a hardline stance that would culminate decades later in the “War on Drugs.”A federal judge in Boston, Leo Sorokin, is considering whether to uphold a nationwide injunction against President Donald Trump's executive order limiting birthright citizenship. The order, issued in February, would deny U.S. citizenship to children born in the U.S. after February 19 unless at least one parent is a U.S. citizen or lawful permanent resident. The case is being brought by attorneys general from 18 states and D.C., who argue the order violates the 14th Amendment and would disrupt federal benefit programs like Medicaid and SNAP.The legal challenge has gained new relevance following a June 27 Supreme Court ruling that discouraged lower courts from issuing broad, nationwide injunctions. However, the Court allowed for exceptions, including in class actions or when needed to provide “complete relief.” The states argue that a nationwide block remains necessary due to the wide-reaching impact of the order and the need for consistency across state lines. They also contend that the Supreme Court's recent decision does not apply in this instance.If Judge Sorokin rules in favor of the states, it would mark the second time this month a federal judge has blocked Trump's order. On July 10, Judge Joseph Laplante issued a similar injunction in New Hampshire after finding that children affected by the policy could proceed as a class. The Justice Department maintains that the original injunction was overly broad and asserts that individuals should contest their citizenship status individually.US judge weighs putting new block on Trump's birthright citizenship order | ReutersPresident Donald Trump is calling for the release of grand jury testimony related to Jeffrey Epstein, following backlash from some of his supporters over a recent Justice Department report. The report found no evidence supporting long-standing conspiracy theories about Epstein's death or alleged connections to powerful individuals. In response, Trump labeled the investigation a "scam" and urged Attorney General Pam Bondi to release all relevant grand jury material, pending court approval.Bondi confirmed shortly afterward that the Justice Department is prepared to ask the court to unseal the documents as early as Friday. Her earlier promises to disclose "a lot of names" and "flight logs" related to Epstein had generated anticipation among Trump's base, some of whom now express frustration over the lack of new revelations. Trump has dismissed concerns as politically motivated fabrications.The renewed focus on Epstein, who died in jail in 2019 while facing sex trafficking charges, has caused a divide among Trump supporters—some of whom feel betrayed by the lack of transparency, while others back Trump's framing of the issue as a partisan hoax. The legal effort to unseal the grand jury materials could reignite public scrutiny over Epstein's connections and the broader handling of his case.Trump asks for release of grand jury documents in Epstein case | ReutersA U.S. appeals court appears likely to lift a temporary block on a Trump executive order that limits collective bargaining rights for federal workers in national security-related agencies. The 9th Circuit panel, composed of two Trump appointees and one Obama appointee, questioned whether they had authority to override the president's determination that union activities could interfere with national security functions.The order, issued by President Trump, applies to major departments like Justice, Treasury, Veterans Affairs, and parts of Health and Human Services. It greatly expands existing national security exemptions by stripping union rights from a much larger group of federal employees. Judge James Donato had previously blocked the order for 21 agencies, citing potential violations of free speech protections for federal unions.During oral arguments, judges expressed skepticism toward union claims that the order was retaliatory and aimed at silencing opposition. The government's lawyer argued that the president has wide discretion in matters of national security, making his decisions largely immune from judicial review. However, one judge questioned whether there are any real limits to this power.The case could significantly impact how workplace conditions are set across the federal government and whether unions can continue to challenge executive policies in court. A ruling in favor of Trump's position would allow agencies to more easily change employment terms and sideline union input. A related lawsuit challenging union contracts is also pending in Texas.US court seem poised to lift block on Trump curbing union bargaining for federal workers | ReutersThis week's closing theme is by Georg Friedrich HandelThis week's closing theme comes from the grand, imaginative world of Georg Friedrich Handel, one of the towering figures of the Baroque era. Born in 1685 in Halle, Germany, Handel made his mark across Europe, eventually becoming a naturalized British citizen and composing some of the most enduring works in Western music. Known for his operas, oratorios, and instrumental compositions, Handel blended German precision, Italian lyricism, and English choral tradition into a distinctive style that was both dramatic and deeply human.Among his lesser-known but richly rewarding operas is Xerxes (HWV 40), premiered in London in 1738. Loosely based on the Persian king Xerxes I, the opera mixes romantic entanglements, comedic elements, and royal intrigue—a blend that puzzled its first audiences but has found appreciation in modern revivals. Its opening aria, “Ombra mai fu”, sung by the title character in praise of a plane tree, is a moment of serene beauty that has outlived the opera's initial failure. Often referred to as Handel's Largo, this aria became wildly popular in the 19th century and is frequently performed at weddings, memorials, and ceremonial events.Xerxes was ahead of its time in its use of shorter arias and flexible structure, which some scholars view as anticipating later developments in operatic form. The character of Xerxes himself—proud, impulsive, and absurdly fixated on love—offered Handel the opportunity to explore both satire and sincerity within the same role. Though the opera was pulled from the stage after only five performances, its revival centuries later has secured its place in the canon.For all his dramatic genius, it is perhaps this simple ode to shade and stillness—Ombra mai fu—that captures Handel at his most tender. This week, we close with that brief moment of musical tranquility, a Baroque lullaby to a tree, sung by a king, composed by a master.Without further ado, Georg Friedrich Handel's  Xerxes, overture. Enjoy!  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Pippa speaks to organist Stefan Steyn who will be playing South Africa’s only baroque organ in a special concert on Sunday in Kommetjie. Lunch with Pippa Hudson is CapeTalk’s mid-afternoon show. This 2-hour respite from hard news encourages the audience to take the time to explore, taste, read and reflect. The show - presented by former journalist, baker and water sports enthusiast Pippa Hudson - is unashamedly lifestyle driven. Popular features include a daily profile interview #OnTheCouch at 1:10pm. Consumer issues are in the spotlight every Wednesday while the team also unpacks all things related to health, wealth & the environment. Thank you for listening to a podcast from Lunch with Pippa Hudson Listen live on Primedia+ weekdays between 13:00 and 15:00 (SA Time) to Lunch with Pippa Hudson broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/MdSlWEs or find all the catch-up podcasts here https://buff.ly/fDJWe69 Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

This week, Geoff and Rory are joined by countertenor, arranger of classical music and co-founder of 'Vache Baroque', Jonathan Darbourne, to discuss the storied history of the The Vache - an elegant, privately owned Elizabethan country house nestled in the gently rolling Chiltern Hills - and the Baroque music festival he directs every summer in its grounds.Every year in late August and early September, the discreet and immensely private gardens of The Vache are to be found buzzing with people immersed in music and surrounded by beauty, as Vache Baroque celebrates baroque music in all its splendour. The festival transforms this magical Grade II‑listed country house setting into a vibrant, multi-sensory stage with pop‑up performances, art installations and opera under the trees, all designed to captivate both novice aficionado alike.With a keen vision for community outreach and engaging audiences who aren't usually exposed to baroque (or classical) music, Vache Baroque succeeds both in reaching new audiences with music and championing the history and importance of country houses and their place in our nation's history. Critics have lauded its 'astonishing acoustics' and 'thrilling performance', while audiences delight in the relaxed, picnic‑style ambience as evening opera unfolds beneath the Chiltern sky.Please join us for this fun episode celebrating music, the country house and their enduring relationship with each other. If you like this episode please like it and write us a review. Please also send in questions for our soon-to-be-resurrected Q&A episodes!

Title: Revolution! (what happened to 3 composers connected Marie Antoinette) Track: Dussek: The Sufferings of the Queen of France Artist: David Kadouch Publisher: ℗ 2019 Mirare

Local youth musicians are taking part in a four-day workshop with the Boise Baroque Orchestra and will showcase their work in an upcoming summer concert.

Tunes: William Litten: Patrick's Hill, Nymph, Wild Irish Man, Ashley's Ride, “James Aird”: Rise Lazy Lubber, The Ranting Highlandman, I'll Touzle your Kurchy, The Lady's Play Thing or Gen Howe's March, The Oyster Wives Rant, The Moon and Seven Stars, The Corporal, A Rondo, McFarlane's Strathspey Colin Melville: The Lowland & Border Pipers' Society, Williiam Vickers: Old Waggan Way, John Watlen (Miss C.D.): Miss Watson's Favorite, Eliza Ross: Miss Mary ___, Unnamed Jig, William Dixon (Matt Seattle): Golden Locks, Come and hang out for a Session on Zoom at 6:30 PM https://www.facebook.com/share/16w3ijYUpP/ Links to sources coming soon. Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Jeff Bezos drops a cool $50 million on a Venice wedding that makes Versailles look modest, complete with foam parties and enough champagne to fill the canals. Meanwhile, Trump's first six months delivered Supreme Court wins, NATO compliance, and DeSantis building Alligator Alcatraz in the Everglades. Plus, Secretary Noem's radio PSA has a very different tone than the previous administration.From Somali flags in Minneapolis to Von Bülow documentaries, this episode proves the 70s and 80s were the last time America made sense – when wrestling was real, neighbors weren't narcs, and nobody had to explain what a woman was.

Title: Forging Bach Track: Casadesus: Concerto for Viola in C Minor: III. Allegro molto energico Artist: Nemanja Radulović & Double Sens Publisher: ℗ 2016 Deutsche Grammophon GmbH, Berlin

Tunes: Jason Rouse: Napoleon's Grand March Stables: Napoleon's Grand March Angus MacKay: Up and Waur them A' Willie, The Haughs of Cromdale, Robert Miller: The Highland Brigade at Waterloo, Lochiel's March (Pibroch of Donald Dhu) John Gow: The Highland Brigade at Waterloo Donald MacLeod: The Highland Brigade at Waterloo John McLachlan: The Highland Brigade at Waterloo David Glen: The Highland Brigade at Waterloo, The Highland Brigade at Waterloo (2nd setting), Pibroch of Donald Dhu, Donald MacDonald: Piobaireachd Dhomnuill Duibh (Black Donald Balloch of the Isles), John Grant: The Gathering of the Clans, Readings: Henry John Thoroton Hildyard: Historical record of the 71st regiment Highland light infantry, from its formation in 1777, under the title of the 73rd, or McLeod's highlanders, up to the year 1876 C.A. Malcolm: The Piper in Peace and War Allan MacDonald Thesis: The Relationship Between Pibroch and Gaelic Song: Its Implications on the Performance Style of the Pibroch Urlar +X+ Checkout Jason's Album Heavy Metal on Bandcamp: https://pipingrouse.bandcamp.com/album/miotal-trom-heavy-metal Be sure to come check out the Zoom Tune Session Thursday at 6:30 PM US Central time: https://und.zoom.us/j/95809246209 Here is the Facebook Even for the Session: https://www.facebook.com/share/1EHr9pYUKD/ Sources: +X+X+X+ Late 19thc: Napoleon's March From Henry Stables Cumbria Manuscript by way of Chris Partington and Traditional Tune Archive: https://tunearch.org/wiki/Napoleon%27s_March +X+X+ 1854: Up and Waur Them A' Willie from Angus MacKay's The Pipers' Assistant https://digital.nls.uk/special-collections-of-printed-music/archive/105007223 +X+X+ The Highland Brigade at Waterloo 1858: The Highland Brigade at Waterloo From Miller Manuscript +X+ 1817: The Highland Brigade at Waterloo from Gow's 4th Repository https://imslp.org/wiki/Gow%27sRepositoryoftheDanceMusicofScotland(Gow%2C_Niel) +X+ 1854: The Highland Brigade at Waterloo from John McLachlan's The Piper's Assistant https://digital.nls.uk/special-collections-of-printed-music/archive/105010534 +X+ 1870s: The Highland Brigade at Waterloo from the Glen Edinburgh Collection (Book 2) https://ceolsean.net/content/EdinColl/EdinColl_TOC.html +X+ 1890s: The Highland Brigade at Waterloo from David Glen's Collection of Highland Pipe Music (Book 9) https://ceolsean.net/content/Dglen/Dglen_TOC.html +X+X+X+ Pibroch of Donald Dbhu 1821: Pibroch of Donald Dbhu from Donald MacDonald https://books.google.co.uk/books?id=hdpWAAAAcAAJ&pg=RA1-PA106#v=onepage&q&f=false Check out Alasdair Boyd's Singing on Tobar an Dualchais: https://www.tobarandualchais.co.uk/track/44689?l=en +X+ 1858: Lochiel's March From Robert Miller's Manuscript +X+ 1880s: Pibroch of Donald Dhu from book five of David Glen's Collection of Highland Bagpipe Music https://ceolsean.net/content/Dglen/Dglen_TOC.html +X+ 1840: Donald Dhu, or Lochiel's March from Davie's Caledonian Repository I didn't play this on the episode https://digital.nls.uk/special-collections-of-printed-music/archive/104999413 +X+ 1816: Pibroch of Donald Dubh from Alexander Campbell's Albyn's Anthology (Lyrics by Walter Scott) I didn't play this on the episode https://archive.org/details/albynsanthologyo00camp_0/page/82/mode/2up?view=theater +X+X+X+X+ 1828: The Haughs of Cromdale From Donald MacDonald I didn't play this on the episode https://ceolsean.net/content/McDlight/Book02/Book02%2020.pdf +X+ 1844: The Haughs of Cromdale From Angus MacKay's The Pipers' Assistant https://ceolsean.net/content/PipeAsst/Book02/Book02%209a.pdf +X+X+ 1920: The Gathering of the Clans by PM John Grant from “The Pipes of War” a Collection of Original Pipe Tunes Compose during the Great War 1914-1918 https://ceolsean.net/content/Pwar/Book01/Book01%2014a.pdf +X+X+X+X+X+ Readings: George Clarke: 1876: Excerpt from Historical record of the 71st regiment Highland light infantry, from its formation in 1777, under the title of the 73rd, or McLeod's highlanders, up to the year 1876 by Henry John Thornton Hildyard https://archive.org/details/historicalrecord00hildiala 'Anecdote of the bravery of the Scotch piper of the 71st Highland Regiment, at the Battle of Vimiero', 1808 https://collection.nam.ac.uk/detail.php?acc=1971-02-33-533-12 Music Division, The New York Public Library. "The Highland Piper, George Clarke" New York Public Library Digital Collections. Accessed July 5, 2025. https://digitalcollections.nypl.org/items/510d47dc-9cac-a3d9-e040-e00a18064a99 +X+ Pipe Major Cameron: 1927: Excerpt from The Piper In Peace And War By C. A. Malcolm, M.A., Ph.D. https://electricscotland.com/history/scotreg/peaseandwar15.htm +X+ 1995: Thesis: The Relationship Between Pibroch and Gaelic Song: Its Implications on the Performance Style of the Pibroch Urlar by Allan MacDonald's https://www.cl.cam.ac.uk/archive/rja14/musicfiles/manuscripts/allanmacdonald/ +X+X+ FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Eine CD von Hamburger Ratsmusik und Neoclassical Ensemble of Tehran - vorgestellt auf NDR Kultur.

In Biber's time, harmony was something cosmic, vibrating in a God-given resonance between human, instrumental, and celestial bodies. After all, the string instrument in early modern Europe was configured as a human body – with a neck, belly, and ribs to match. The Sonatas were therefore not only designed to delight, but also potentially to balm and heal; Biber described the sonatas as a kind of prayer for his patron's longevity and good health.

Title: Franz Benda Track: Franz Benda: Violin Sonata in G Major, LeeB 3.86: III. Scherzando Artist: Evgeny Sviridov with Ludus Instrumentalis. Publisher: ℗ 2023 CPO

Tunes: O'Farrell: Delvin House, Major Graham, Love & Whiskey or Bob and Joan with Variations, Contented I am, The White Cockade, One Bottle More, Morgiana in Ireland, I had a Horse I had Nae Mair, Dunkeld Hermitage, Why Should Old Acquaintance be forgot, The Humours of Cork, A Man's a man for a that, Jackson's Bottle of Punch, We all take a sup in out turn, The Soldier Laddie, The Humours of Passage, Cumbernauld House, The Pausteen Feaun or the Fair Child, Special Appearance from National Park Service Lawnmower at Fort Necessity National Battlefield Sources and Links: Checkout LBPS's Weekend of Pipe Music at Dunkeld Scotland, there is a great lineup of musicians and presentations and we'll get to hang out in Scotland. For more information checkout https://lbps.net/j3site/index.php or the Facebook event here: https://www.facebook.com/share/19iAqm73vV/ +X+X+ Send me a tune to bagpipehistory@gmail.com for me to use on the listener submitted episode! Tunes: X++X 1808ish: Delvin House, Major Graham, Love & Whiskey or Bob and Joan with Variations, Contented I am, The White Cockade, One Bottle More, Morgiana in Ireland, I had a Horse I had Nae Mair, Dunkeld Hermitage, Why Should Old Acquaintance be forgot, The Humours of Cork, A Man's a man for a that, Jackson's Bottle of Punch, We all take a sup in out turn, The Soldier Laddie, The Humours of Passage, Cumbernauld House, The Pausteen Feaun or the Fair Child, All of the tunes from this episode come from O'Farrell's Pocket Companion Volume 3. You can download a PDF from Ross's Music page: https://www.cl.cam.ac.uk/archive/rja14/Papers/ofarrellspc3.pdf +X+X+X+ FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

Title: Georg Benda Track: Georg Benda: harpsichord concerto in F Minor. 3. Allegro Molto Artist: Francesco Corti performs with Il Pomo d'Oro. Publisher: ℗ 2025 Outhere Music France

Summer's heating up—and so is Epcot! This week, Project Manager Kaity leads the charge as the Idiots head to South America to dream up a long-awaited addition to World Showcase: a brand-new Brazil pavilion! Complete with Baroque-inspired architecture, vibrant street markets, a churrascaria with sunset views, and an interactive attraction starring a mythical forest protector (and yes—giant flying capybaras), this proposal brings Brazil's food, folklore, and festive spirit to life like never before.From Samba dance lessons and caipirinhas to a high-tech, eco-forward ride through the Amazon, Kaity's immersive vision is both imaginative and grounded in real-world possibilities.If you've ever wished for more feijoada and folklore in your Disney day, this episode is for you. Plus, the team drops hints about next week's milestone 100th episode!Send us a textSupport the showDon't forget to check us out on Instagram!

Tunes: John Gow: Lamentation for the Fallen Heroes of Waterloo William Gunn: 71st Highlander's quick step, Johnny Cope, Robert Miller: Johny Cope (or Fly to the Hills in the Morning) Thomas Glen: Johnny Cope, Angus MacKay: Johnny Cope, David Glen: Johnny Cope, DG setting for Johnny Cope, O'Farrell: Johnny Cope, Margaret Barry: Johnny Cope, Patrick MacDonald: A Lament (I'm wounded), Readings: Thomas Pockocke, Sergeant-Major Dickson, Victor Hugo, Sources: Episode Cover Art: 'Anecdote of the bravery of the Scotch piper of the 71st Highland Regiment, at the Battle of Vimiero', 1808 https://collection.nam.ac.uk/detail.php?acc=1971-02-33-533-12 +X+X+ 1817: Lamentation for the Fallen Heroes of Waterloo (Eb) https://imslp.org/wiki/Gow%27sRepositoryoftheDanceMusicofScotland(Gow%2C_Niel) +X+X+ 1848: 71st Highlander's Quick Step From William Gunn's Caledonian Repository of Music Adapted for the Bagpipes https://ceolsean.net/content/Gunn/Gunn_TOC.html +X+X+ 1838: Johnny Cope (or Fly to the Hills in the Morning) From Robert Miller Manuscript +X+X+ 1843: Johnny Cope From Thomas Glen's “A New and Complete Tutor for the Highland Bagpipe” https://ceolsean.net/content/TGlen/TGlen_TOC.html +X+X+ 1843: Johnny Cope From Angus MacKay's The Piper's Assistant https://ceolsean.net/content/PipeAsst/PipeAsst_TOC.html +X+X+ 1848: Johnny Cope From William Gunn's Caledonian Repository of Music Adapted for the Bagpipes https://ceolsean.net/content/Gunn/Gunn_TOC.html +X+X+ 1870s: Johnny Cope From David Glen's Collection of Highland Bagpipe Music Book 2 https://ceolsean.net/content/Dglen/Dglen_TOC.html +X+X+ 1880s?: Johnny Cope From David Glen's Collection of Highland Bagpipe Music Book 6 https://ceolsean.net/content/Dglen/Dglen_TOC.html +X+X+ 1810: Johnny Cope From O'Farrell's Pocket Companion vol 3 https://www.cl.cam.ac.uk/archive/rja14/Papers/ofarrellspc3.pdf +X+X+ 2002: Johnny Cope from Margaret Barry: https://www.rogermillington.com/tunetoc/johnnycopebarrynf.html +X+X+ 1784: I'm Wounded (A Lament) from Patrick MacDonald's Vocal Airs: (From Perthshire section) https://books.google.com/books?id=XCvLHYWLkFcC&newbks=0&pg=RA1-PA14#v=onepage&q&f=false +X+X+ Written Accounts Thomas Pococke Journal of a soldier of the 71st, or Glasgow regiment, Highland Light Infantry, from 1806 to 1815 (Edinburgh: 1819). https://babel.hathitrust.org/cgi/pt?id=mdp.39015039571487&seq=5 +X+X+ Seargant Major Dickson, “The Greys at Waterloo: Reminiscences of the Last Survivor of the Famous Charge” Mackenzie MacBride Ed., With Napoleon at Waterloo and Other Unpublished Documents of the Waterloo and Peninsular Campaigns (Francis Griffiths, London: 1911). https://archive.org/details/withnapoleonatwa00macbuoft/page/136/mode/2up +X+X+ Victor Hugo, “The Battle of Waterloo” Rossiter Johnson Ed. The Great Events by Famous Historians, (The National Alumni, 1905). https://archive.org/details/in.ernet.dli.2015.41048/page/n389/mode/2up +X+X+ FIN Here are some ways you can support the show: You can support the Podcast by joining the Patreon page at https://www.patreon.com/wetootwaag You can also take a minute to leave a review of the podcast if you listen on Itunes! Tell your piping and history friends about the podcast! Checkout my Merch Store on Bagpipeswag: https://www.bagpipeswag.com/wetootwaag You can also support me by Buying my Albums on Bandcamp: https://jeremykingsbury.bandcamp.com/ You can now buy physical CDs of my albums using this Kunaki link: https://kunaki.com/msales.asp?PublisherId=166528&pp=1 You can just send me an email at wetootwaag@gmail.com letting me know what you thought of the episode! Listener mail keeps me going! Finally I have some other support options here: https://www.wetootwaag.com/support Thanks! Listen on Itunes/Apple Podcasts: https://podcasts.apple.com/us/podcast/wetootwaags-bagpipe-and-history-podcast/id129776677 Listen on Spotify: https://open.spotify.com/show/5QxzqrSm0pu6v8y8pLsv5j?si=QLiG0L1pT1eu7B5_FDmgGA

[@ 5 min] Alright, this week…we go Inside the Huddle with Julia Bullock (!!!). The distinctive soprano and muse of John Adams just wrapped the Met premiere production of Antony and Cleopatra and is sticking around Lincoln Center with her collaborators at American Modern Opera Company for the upcoming Run AMOC Festival. Somehow, she agreed to spend her only 30 minutes of downtime with us! [@ 29 min] And then, in “Home Team,” we bring you a second exclusive interview with Elijah McCormack. The male soprano, who is set to star in Haymarket Opera's production of Artaserse, helps us celebrate Pride Month and the totally queer excesses of Italian opera seria during the high Baroque! [@ 52 min] Plus, in the ‘Two Minute Drill'…Donald Trump earns rave reviews in a Cantonese Opera, but his ticket sales at home are tanking at the Kennedy Center… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

The United States has gone, in less than six months, from being seen by many as a defender of democracy and human rights, to being the latest – and most powerful - administration to embrace authoritarianism.  Amid a head-spinning flood of presidential orders and harsh policies - towards women, immigrants, the poor, the disabled and the sick, it's hard to know where to focus. In this episode, veteran Turkish journalist and human rights activist Murat Celikkan tells host Akwe Amosu what he has been paying attention to, and reflects on how Turkey's human rights  movement has been trying to strengthen its own work.And in the Coda, why a dose of Baroque music might ease your mind. Contact us at pod@strengthandsolidarity.org We are now publishing our newsletter on Substack, if youwould like to subscribe: ⁠https://substack.com/@strengthsolidarity⁠Quick LinksInterviewBio: Murat Celikkan: https://hakikatadalethafiza.org/en/teamLitHub: Murat Celikkan: Another Turkish Journalist in Prison for ‘Unspecified Reasons' https://lithub.com/murat-celikkan-another-turkish-journalist-in-prison-for-unspecified-reasons/StrengthandSolidarity.org: Murat Celikkan reads Ariel Dorfman: https://strengthandsolidarity.org/podcast/rebuilding-a-movements-culture-after-crisis/Hafiza Merkezi: https://hakikatadalethafiza.org/en/en/why-hafiza-merkeziChatham House: The future of the Trukish opposition after Imamoglu's arrest https://www.chathamhouse.org/2025/05/future-turkish-opposition-after-imamoglus-arrestHRW: Turkey Events of o2024 https://www.hrw.org/world-report/2025/country-chapters/turkiyeWikipedia: Gezi Park protests https://en.wikipedia.org/wiki/Gezi_Park_protestsWikipedia: Saturday mothers https://en.wikipedia.org/wiki/Saturday_MothersCodaFrancoise Girard: https://www.fmus.org/aboutFeminism Makes Us Smarter (FMUS): https://www.fmus.org/Wikipedia: Baroque Music https://en.wikipedia.org/wiki/Baroque_musicFMUS podcast: https://www.fmus.org/fmus-podcastMusic credits:Juditha triumphans, RV 644: Air "Veni, veni me sequere fida" by Antonio Vivaldi, performed by Lea Desandre, Jupiter Ensemble, Thomas DunfordJuditha triumphans, RV 644: “Air Armatae face et anguibus” by Antonio Vivaldi, performed by Jupiter EnsembleAriodante, HWV 33, Act 2: Aria. "Se l'inganno sortisce felice" (Polinesso) by George Frideric Handel, performed by·Marie-Nicole Lemieux, Alan Curtis, Il Complesso Barocco“Forêts paisibles” from Les Indes Galantes by Jean-Philippe Rameau, performed by Les Arts FlorissantsStrength&Solidarity podcast:Episodes 1-50 shows and transcripts:Episodes 51 onwards, shows and transcripts

When the jazz singer Cécile McLorin Salvant was profiled in The New Yorker, Wynton Marsalis described her as the kind of talent who comes along only “once in a generation or two.” Salvant's work is rooted in jazz—in the tradition of Ella Fitzgerald and Sarah Vaughan and Abbey Lincoln—and she has won three Grammy Awards for Best Jazz Vocal Album. But her interests and her repertoire reach across eras and continents. She studied Baroque music and jazz at conservatory, and performs songs in French, Occitan, and Haitian Kreyòl. “I think I have the spirit of a kind of a radio d.j. slash curator,” she tells David Remnick. “It's almost like making a mixtape for someone and only putting deep cuts.” And even when singing the standards, she aims “to find the gems that haven't been sung and sung and sung over and over again.” During a summer tour, she visited the studio at WNYC to perform “Don't Rain on My Parade,” made famous by Barbra Streisand; “Can She Excuse My Wrongs,” by John Dowland, the English composer of the Elizabethan era; and “Moon Song,” an original from Salvant's album “Ghost Song.”This segment originally aired on May 31, 2024.