Podcasts about ionian

Summer's here and it's time for la spiaggia (the beach)! Everyone knows the Amalfi Coast but if you're looking for sandy beaches and fewer crowds, head to the Adriatic and Ionian coastlines of the Puglia region where you'll find some of Europe's cleanest and most popular escapes.Read the full episode show notes here > untolditaly.com/277NEW! - the Untold Italy app - DOWNLOAD FOR iOS  •  DOWNLOAD FOR ANDROIDThe app is FREE to download and check out our Milan guide and general travel content. Upgrade to PREMIUM  for a one time fee to access Rome, Florence, Venice, Sorrento, Cinque Terre, Amalfi Coast, Capri, Ischia, Tuscany, Lake Como, Lake Garda, Veneto, Lombardy, Campania, Lazio, Puglia, Abruzzo, Calabria with much more to comeSupport the showJoin our mailing list and get our FREE Italy trip planning checklist - subscribe here | Join us on tour: Trip schedule | Discover our Trip Planning Services | Visit our online store | Follow: Instagram • Facebook • YouTube • Italy Travel Planning Community • Online travel assistantThe Untold Italy travel podcast is an independent production. Podcast Editing, Audio Production and Website Development by Mark Hatter. Production Assistance and Content Writing by the other Katie Clarke - yes there are two of us!

Okay so SOMEONE might have forgotten to tell their wife we were going to do an Ionian quiz. It doesn't matter who. Just someone. SO we got to do a quiz about The Void instead, which was honestly way more fun anyway. Please play along! You'll probably do much better than we did. ------ WE HAVE MERCH!bit.ly/loreheadmerch Twitter! twitter.com/loreheads Discord! https://t.co/o21E0W4C8z?amp=1 Twitch! twitch.tv/loreheads Patreon! https://www.patreon.com/leagueofloreheads Song Title | Dragon Trainer TristanaArtist | League of LegendsCourtesy of Riot Games https://na.leagueoflegends.com/en-us/news/community/riot-music-creator-safe-guidelines/Image by Yuri_B from Pixabay - book with sparkles 

We sail the Ionian Islands frompicturesque Corfu to the magic of Meganisi, with a plethora of tavernas, good people & stunning landscapes along the way.

Gem-Grandpa Bill's Developing Mnemonic example of -Short Story Incorporating Pegwords in Modal Order: The Greater Portland Crab CaperThe salty air of Portland, Maine, hung heavy as Detective Ray "The Hound" Howland, a grizzled dog with a nose for trouble, arrived at the scene. A giant ice sculpture, commissioned for the annual "Frozen Fest," had been mysteriously defaced, a single word etched into its crystalline surface: IONIAN.His partner, a nervous pig named Officer Percival, squealed, "It's the Modes Gang, Ray! They're hitting all the landmarks!"Howland sighed. The Modes Gang, a group of musically inclined vandals, was terrorizing the city. Their leader, known only as "The Lion," left cryptic clues at each site, each related to a different musical mode.Their second target was the Old Port district. A majestic lion statue, usually roaring defiance, was found serenely reclining, a tiny harp beside it. The word LYDIAN was painted on the base."They're getting bolder," Howland growled, surveying the scene. A trail of tiny footprints led away from the statue. "Looks like a mouse was here."The trail led them to the Portland Observatory, where they found an ape gazing sadly out at the harbor, a mournful ballad playing on a nearby antique radio. The word AEOLIAN was scrawled on the railing.Inside the observatory, a flickering lamp cast eerie shadows on a group of experimental musicians, playing dissonant music. The final word, LOCRIAN, was spray-painted on the wall.."This isn't just vandalism," Howland realized. "It's a musical message."Just then, a shadowy figure emerged from the darkness, a flamenco dancer. "Dorian," she purred, before her arrest.As the police led their suspect away, Howland finally understood the message. Each mode was a clue, leading to the gang's hidden concert hall, where they were about to unleash a sonic attack on the city.#MemoryPalace,#MusicalModes,#MagneticMemoryMethod,#PortlandMaine,#CrabCaper,#MnemonicFiction,#MusicMnemonics,#GrandpaBillPodcast,**************LISTEN TO THE MASTER OF THIS PROGRAM-Dr. Anthony Metivier!CLICK AT THE LINK BELOWhttps://www.magneticmemorymethod.com/pegword-method/?vgo_ee=%2FvBwlwra4sp74NsL%2FEWnl1mHDeiMEB3MkOnT4HSxyY5o8J2e1CI%3D%3AbzCrI4oaQpAfVKDXjmyvYDF%2B2EK%2BGlMWCreative Solutions for Holistic Healthcare

อีพีปิดซีซั่นของ AUTTA แลกเปลี่ยน ต่อจากเรื่องสเกล เราต่อด้วยเรื่อง โหมด (Mode) หรือวิธีการเล่นบันไดเสียงทั้ง 7 แบบ ที่มีชื่อหรูหราเหมือนเมืองเทพปกรณัมเช่น Ionian, Phrygian, Dorian เป็นต้น พร้อมสาธิตวิธีการเล่นให้ฟังสดๆ ด้วย https://linktr.ee/AUXAUTTA #SalmonPodcast #AUTTA #AUTTAแลกเปลี่ยน —-- ติดต่อโฆษณาได้ที่ podcast.salmon@gmail.com Follow AUTTA แลกเปลี่ยน on Instagram Salmon Podcast https://www.instagram.com/salmon_podcast AUTTA https://www.instagram.com/auttakornnn กาย ปฏิกาล https://www.instagram.com/patikal Learn more about your ad choices. Visit megaphone.fm/adchoices

We might talk about people other than Akali way more than we talk about Akali here. But hey, that's exactly what all her lore does too! So we're just following the pattern here. There's no way for us to predict where future TV shows will focus in when they do an Ionian season, but since that's where most of the lore seems to be coming from these days, it sure is fun to wildly speculate. ------- WE HAVE MERCH!bit.ly/loreheadmerch Twitter! twitter.com/loreheads Discord! https://t.co/o21E0W4C8z?amp=1 Twitch! twitch.tv/loreheads Patreon! https://www.patreon.com/leagueofloreheads Song Title | Akali, the Rogue AssassinArtist | League of LegendsCourtesy of Riot Games https://na.leagueoflegends.com/en-us/news/community/riot-music-creator-safe-guidelines/Image by Yuri_B from Pixabay - book with sparkles

00:00:00 Intro 00:15:57 Thor asks Alex about Batman and other references in Arcane 00:29:50 murderino asks about how the s2 OST was made 00:44:40 Khajeet asks if it was always the plan to have Piltover and Zaun join forces 00:58:30 KazKalur asks what skills the Arcane team had to develop during the process of making the show 01:08:40 BigNonsense asks if there was anything Alex did not expect to land as well as it did 01:19:45 Mongoose asks about Caitlyn's Ionian heritage and the traditional Asian mother-daughter relationship 01:37:40 ppdoc asks about the time it takes to make Arcane episodes 01:48:47 Travis asks if Alex has seen the Arcane memes 01:54:45 Outro

The great conflict that we know today as the Greco-Persian Wars between a few independent city-states of ancient Greece and mighty Achaemenid Persian Empire is, in my opinion, one of the most fascinating and consequential in all of history.  More than just battles for territory and glory - they were clashes of culture, ideology, and power between East and West. The war saw legendary figures such as Leonides, The Great King Xerxes, Themistocles, Darius the Great, Miltiades, Mardonius, Artemisia, Kleomenes, and countless others in action.  Since most accounts of the conflict available to us come from Greek and Roman historians and writers of antiquity such as Herodotus, Plutarch, Diodorus Siculus, Aeschylus, the traveler Pausanias, Justin and others, our modern perspective is often shaped by their portrayal of a struggle between the freedom-loving Greeks and the tyrannical rulers of Achaemenid Persia—a narrative further popularized by films like 300.  However, as we will explore, the reality was far more complex.  Drawing on historical sources and the latest archaeological research, this series will explore everything from the causes of the conflict to its key figures, the various phases of the war, and its aftermath. This is the first of a series of 5 or 6 podcasts that will be released over the next few months.  Stay tuned for future episodes.  Contents:00:00  Rise of Cyrus the Great and the Persian Achaemenid Empire05:27 Ionians and Greeks in the Persian Empire14:29 A bit about Herodotus16:49 Trouble in Athens23:52 Earth and Water 28:04 Sparta (almost) Attacks!36:25 Aristagoras' Plan44:21 The Ionian Revolt49:10 The Battle of Lade50:09 Aftermath57:10 Thank You and PatronsSpecial thanks to Farya Faraji for the following musical compositions featured throughout the program: "Spantodhata's Warning""To Phrygia""In Pythagoras' Mind""The Apadana's Shadows""Immortals""Mater""In Sappho's Mind""Spring in Persepolis""Aíma""Apranik's Charge""March of Achaemenes""Hyrcanian Lullaby"Check out more of his work that spans across many countries, cultures and time periods: https://www.youtube.com/@faryafarajiYou can also find them on the albums:*Songs of Old Iran Vols. I & II**Voices of the Ancients Vols. I & II* Additional Music:Epidemic Sound"Genie's Bane""Interstate 895""One with the Tribe""Pepper Seeds""Keeping up with the Tarahumaras""Blood in Water""The Golden Spiral""The Sewers""Deer Hunt""Zero Remorse"Support the show

In this episode of “Kimberly's Italy,” co-hosts Kimberly Holcombe and Tommaso Il Favoloso take listeners on a journey through the lesser-known yet captivating regions of Puglia, Basilicata, and Campania, uncovering their unique cultural and geographical features. Puglia: Geography and Features: Nestled between the Adriatic and Ionian seas, Puglia is known for its unique terra rosa soil, abundant olive trees, and renowned wines such as Primitivo and Negroamaro. Cuisine and Climate: The region boasts a vegetable-centric cuisine, diverse climate, and provides a refreshing alternative to the summer heat of Rome. Key Destinations: Highlights include the Gargano promontory, Bari, Ostuni, Lecce, and Santa Maria de Leuca. The iconic trulli houses are now popular accommodations. Basilicata: Historical Context and Terrain: Famous for its mountainous landscape, Basilicata has undergone several name changes, including Lucania under Mussolini. Cultural Highlights: Matera, recognized as a European Capital of Culture in 2019, is famed for its unique sassi cave dwellings. Visitor Tips: Despite lacking an airport, the region offers warm welcomes in its small villages. Potenza is noted for its narrow roads and parking challenges, while Maratea charms visitors with its scenic appeal. Local Wines and Cuisine: The region's wines, Malantrina and Aglianco, pair excellently with local meats and bread. Campania: Cultural Hub: Known for its stunning coastline, Campania is also home to Napoli, the birthplace of pizza and a gateway to Capri, Ischia, Procida, and the Amalfi Coast. Attractions and Planning: Notable sites include the Reggia di Caserta, Pompeii, and Herculaneum. The Amalfi Coast, with its picturesque villages such as Positano and Amalfi, requires careful planning to navigate high prices and crowds. Climate and History: The region benefits from a sunny climate, and south of Salerno you can visit the ancient ruins in Paestum. Coastal Challenges: The islands are full of rocky shores which make for somewhat challenging entries for non-local swimmers! Follow us on Social Media Instagram Facebook  Join Kimberly and Tommaso as they delve into these regions, providing travel tips and cultural insights for an enriching Italian adventure.

In Episode 21 of The Halloween Podcast, host Lyle Perez takes you on a ghostly journey through Massachusetts, where history and hauntings go hand in hand. Known for its pivotal role in the formation of America, Massachusetts is also home to some of the most chilling and haunted locations in the country. From the infamous Lizzie Borden House to the eerie streets of Salem, we'll uncover the spirits that still linger in the Bay State. Featured Haunted Locations: The Lizzie Borden House                                                                                                      Address: 230 2nd St, Fall River The site of the infamous 1892 murders of Andrew and Abby Borden, this house remains a chilling location where guests experience cold drafts, moving objects, and even apparitions of the Borden family. Open for tours and overnight stays. The Houghton Mansion Address: 172 Church St, North Adams, MA 01247 A tragic car accident claimed the lives of Albert Houghton's daughter and chauffeur, leaving the mansion haunted by restless spirits. Visitors report feelings of being watched and shadowy figures lurking in corners. The Witch House Address: 310 Essex St, Salem, MA 01970 Judge Jonathan Corwin's home, tied to the Salem Witch Trials, is haunted by the ghosts of the accused. Sudden temperature drops, eerie whispers, and ghostly apparitions are common here. The Hoosac Tunnel Address: Near Route 8, North Adams, MA 01247 Known as the "Bloody Pit," this railroad tunnel saw nearly 200 deaths during its construction. Ghostly cries and shadowy figures are often reported by visitors near its entrance. The USS Salem Address: 739 Washington St, Quincy, MA 02169 This retired naval ship turned museum is said to be haunted by the spirits of those who died aboard, particularly after the 1953 Ionian earthquake. Shadowy figures and phantom sounds of the ship still linger. The Hawthorne Hotel Address: 18 Washington Square W, Salem, MA 01970 Named after Nathaniel Hawthorne, this hotel is known for its ghostly activities, including mysterious whispers, elevators moving on their own, and sightings of a woman in a white gown. The Joshua Ward House Address: 148 Washington St, Salem, MA 01970 Built on the land once owned by Sheriff George Corwin, known for his role in the Salem Witch Trials, this house is haunted by figures of the accused witches and Corwin himself. Dogtown Address: Dogtown Common Road, Gloucester, MA 01930 An abandoned settlement known for its eerie atmosphere, where visitors encounter strange lights, ghostly figures, and the unsettling presence of a black dog guarding the land. The Danvers State Hospital Address: 1101 Kirkbride Dr, Danvers, MA 01923 Once a psychiatric hospital with a history of overcrowding and inhumane treatment, the spirits of former patients still roam its grounds. Visitors report hearing screams, seeing shadowy figures, and feeling intense cold spots. The House of the Seven Gables Address: 115 Derby St, Salem, MA 01970 Made famous by Nathaniel Hawthorne's novel, this colonial mansion is haunted by ghostly children's laughter, sightings of a boy in the attic, and shadowy figures in the parlor. Like Our Facebook page for more Halloween fun: www.Facebook.com/TheHalloweenPodcast ORDER PODCAST MERCH! Website: www.TheHalloweenPodcast.com Email: TheHalloweenPodcast@gmail.com X: @TheHalloweenPod Support the Show: www.patreon.com/TheHalloweenPod Get bonus Halloween content and more! Just for Patreon supporters! Check out my other show! Find it on iTunes - Amazing Advertising http://amazingadvertising.podomatic.com/ Keywords: Haunted Massachusetts, Massachusetts Ghost Stories, Haunted Locations, Paranormal Massachusetts, Haunted America, Lizzie Borden House, Houghton Mansion, Witch House, Hoosac Tunnel, USS Salem, Hawthorne Hotel, Joshua Ward House, Dogtown, Danvers State Hospital, House of the Seven Gables Tags: #HauntedAmerica #GhostStories #MassachusettsHaunts #ParanormalPodcast #HauntedLocations #SalemGhosts #StaySpooky

Send Steve a Text MessageEmbark on a journey through the harmonious realms of modal arpeggios as we unwrap the secrets of the G major scale's evocative power. Imagine the raised fourth of the Lydian or the soulful flat seventh of the Mixolydian coming alive under your fingertips; this episode is your guide to mastering these captivating sounds. We'll dissect the construction of seventh chords and their modal offspring - Ionian to Phrygian - and how recognizing and utilizing their distinct intervals can transform your musical expression. Whether it's the bright optimism of the Lydian mode or the exotic allure of Phrygian, get ready to add new depth to your playing with every strum.Gear up your guitar for an auditory adventure as we weave through the characteristic intervals of A Dorian, compare it to the natural minor scale, and even superimpose chords to foreshadow musical changes. Through hands-on demonstrations and insightful discussions, you'll learn to craft solos that resonate with the emotive quality of each mode and navigate chord progressions with newfound creativity. By the end of this episode, you'll not only have internalized the sound of each mode but also have the tools to make them sing through your strings, giving you an edge in your musical endeavors.Tune in now and learn more!Links:Steve's Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... . Check out Steve's Guitar Membership and Courses: https://bit.ly/3rbZ3He Links: Steve's Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... . Check out Steve's Guitar Membership and Courses: https://bit.ly/3rbZ3He

Tour guides from Athens recommend easy day trips from the capital into the historic Greek countryside, then let us in on some lesser-known island getaways in the Aegean and Ionian seas. Plus, British actress Dame Joanna Lumley shares her favorite highlights from exploring northern Greece for a TV special she filmed there. For more information on Travel with Rick Steves - including episode descriptions, program archives and related details - visit www.ricksteves.com.

Delve into Themistocles' efforts to keep the Hellenic League united and his strategic manoeuvres to drive a wedge between the Persians and their Ionian allies. We also shed light on Xerxes' propaganda machine that sought to maintain Persian morale by downplaying their losses at Thermopylae.As the Persian forces, guided by the Thessalian cavalry, sweep through Greece unopposed, we'll detail their ruthless destruction in Phocis and the legendary divine intervention that supposedly thwarted their attempt to sack Delphi. The narrative continues with the Persian advance into Boeotia and Attica, culminating in the brutal siege and destruction of Athens, fulfilling Xerxes' lust for vengeance. However, the campaign would continue and both sides now prepared for a maximum effort at sea.Support the Show.

Politicians, scientists and organizations from all over the world were in Athens this April as Greece hosted the 9th International Our Ocean Conference. Greece, the US, and all stakeholders made some 450 commitments totalling billions of dollars for the protection of the oceans and seas, including two new marine parks in the Aegean and the Ionian seas. The State Department's Deputy Assistant Secretary for Ocean, Fisheries and Polar Affairs Dr. Mahlet Mesfin joins Thanos Davelis to look back at the key takeaways from the Our Ocean conference in Athens, and explore how protecting the oceans is a space where the US and Greece can expand their already strong ties.Dr. Mahlet Mesfin serves as Deputy Assistant Secretary for Ocean, Fisheries and Polar Affairs in the Department of State's Bureau of Oceans and International Environmental and Scientific Affairs where she oversees the formulation and implementation of U.S. policy on a broad range of international issues concerning the ocean, the Arctic, the Antarctic, and marine conservation.You can read the articles we discuss on our podcast here:Greece to spend €780 mln to protect marine biodiversity, PM saysEnvironmental protection is blue, tooOur Ocean Conference in Athens, April 15-17, 2024USAID at Our Ocean Conference 2024Von der Leyen to unveil aid for Lebanon to stop refugee flows, says Cyprus‘Blue Homeland' doctrine to be taught at Turkish schools

Content warning for discussion of genocide. Hey, Hi, Hello, this is the History Wizard and welcome back for Day 7 of Have a Day w/ The History Wizard. Thank you to everyone who tuned in for Day 6 last week, and especially thank you to everyone who rated and/or reviewed the podcast. I hope you all learned something last week and I hope the same for this week. Speaking of weeks, we've finally hit our first week! Get it? This is episode 7, the episodes are called Days. There are 7 Days in a Week… I'm funny dammit! I've got something special for you starting at the end of Week 1. It's a new segment I'm going to call the Alchemist's Table. Every Day I'm going to be sharing with you a cocktail recipe that I have invented. If you enjoy a nice cocktail and you aren't driving to work feel free to make yourself one before sitting down for the rest of the episode. For Day 7 we're going to be enjoying the first cocktail I ever created. It's called A Taste of Spring. It starts with 2 oz of Gin, I prefer gunpowder gin, but a London Dry will work just fine. Followed by 1 oz of elderflower liquor, 1 oz of lavender syrup, stir for about 30 seconds in ice before straining into a rocks glass over ice. And that, my friends, is a Taste of Spring. Enjoy. Anyway, it's time to head back to the West, and for this episode we have to travel back in time to the 5th century BCE for the Siege of Melos during the Peloponnesian War. IN a modern historical context we look at the Peloponnesian War as being between Sparta and Athens, and while this isn't technically wrong, it's also not as right as it could be. The Peloponnesian War was fought between the Delian League, which was a confederacy of various Greek city-states with Atens in supreme control. The Delian League was created as a defensive alliance against the Persian Empire following the Second Persian Invasion of Greece (this is the invasion that included the famed Battle of Thermopylae). And the Peloponnesian League which was less a league and more an ancient world version of the Warsaw Pact, with Sparta (then called Lacadeamon) at the head with its various allied city states. See, around 550 BCE SParta got tired of having to conquer everyone and instead offered to NOT conquer them if they joined the League. The Delian League got its name from the island of Delos where they would meet and where their treasury was held before being moved to Athens in 454 BCE. The Peloponnesian League got IT'S name from the peninsula at the southern tip of Greece, which is known as the Peloponnese Peninsula. The Peloponnesian League is something of a misnomer as its membership was not limited to that area of Greece. But, I ramble, and so let us return to the Peloponnesian War. Why did Sparta and Athens, erstwhile allies against Xerxes I and the Persian Empire decide to go to war with each other? The period between the Second Persian Invasion of Greece and the Peloponnesian War is sometimes known as the Pentecontaetia, a term which means “a period of 50 years” which refers to the 48 year period between 479 and 431 BCE. The Pentecontaetia saw the rise of Athens as one of the most prominent Greek City States, it saw the rise of Athenian democracy, and it saw the rise of tensions between Sparta and Athens. You can look at this period as somewhat similar to the rising tensions between Rome and Carthage. Sparta HAD been the most powerful Greek city-state, and now suddenly they had a rival and didn't like that. Sparta was the Sasuke to Athens Naruto, the Vegeta to Athen's Goku. Following the flight of the Persian armies from Greece Athens began to rebuild the great walls around their city that had been lost to the Persian armies. Sparta, upon learning about this construction, asked them not to do that. But Athens rebuffed them, not wanting to put Athens effectively under the control of Sparta's massive army. Another way we can view Athens and Sparta through the lens of Carthage and Rome is that Athens was vastly superior at sea, and Sparta was vastly superior on land, just as Carthage and Rome were, respectively. I'm taking bets now on who is going to win this war, assuming you don't already know. These tensions, which were further exacerbated by a helot revolt within Sparta would explode, though not terribly violently, during a 15 year conflict known as the First Peloponnesian War. This first war would end with the signing of the Thirty Years Peace treaty. This treaty, which would only last for 15 years, would solidify the Athenian and Spartan Empires and would cement Athens as a true powerhouse in the Aegean Sea. Conflict between Athens and Corinth, a member of the Peloponnesian League, is what ultimately led to war. Athens and Corinth effectively fought a brief proxy war over control of the Corinthian colony of Potidea. Corinth, outraged that Athens had encouraged one of its colonies to rebel against their authority, urged Sparta to call a conclave to try and arbitrate peace as was stipulated under the Thirty Years Peace.  The Spartan King Archidamus II urged the Spartan magistrates (known as ephor) and the citizen assembly known as the ecclesia not to go to war, but in the end the assembly determined that Athens, in urging Potidea to rebel against one of their allies and then aiding them in the fight for the city had broken the Peace and war was officially declared in 431 BCE. The Second Peloponnesian War had begun. The Second Peloponnesian War, often known as just the Peloponnesian War, can be broken up into three distinct segments. The Archidamian War, The Sicilian Expedition, and the Decelean War. The first 10 years of the war are sometimes also called the Ten Years War. Sparta was, almost entirely, a land based empire. The Spartan Army was the most feared and one of the best trained armies of the ancient world. Their hoplites and their phalanxes were nearly invincible. Meanwhile Athens had the same prestige on the waves. The Battle of Salamis in 480 BCE, though discussed far less frequently than the concurrent Battle of Thermopylae, is no less impressive a feat of military genius. So the Spartan strategy during the beginning of the war was to march its armies to the land around the city state of Athens and seize them. This caused many Athenian farmers to abandon their farms and retreat behind Athens famous Long Walls. The Long Walls were fortified walls that connected Athens' main city to its ports at Piraeus and Phaleron. So despite the loss of farmland around Athens itself, this siege did basically nothing. Sparta was also only able to keep troops on the field for a few weeks at a time, as the hoplites were still needed to harvest their own fields and troops were always needed to keep the helots in line. The longest siege of the Ten Years War was only 40 days. Meanwhile Athens stayed in the Aegean Sea with their fleet, avoiding any open warfare with the Spartans who were unable to breach their walls anyway. The Athenians had great successes in their early naval battles, including the Battle of Naucaptus where 20 Athenian ships went up  against 77 Peloponnesian ships and emerged victorious. Of course, all of Athen's momentum would come to a screeching and screaming halt when th plague hit in 430 BCE. The Plague of Athens was an interesting facet of the war. While some Athenians believed that the Spartans were the cause of the plague, evidenced they said by the fact that the Spartans were unaffected by it, but Thucydides, author the the famous History of the Peloponnesian War was in the city when the plague hit. He even contracted it and survived his illness. Thucydides says that the plague came from Ethiopia as it appeared to have entered Athens along the Long Wall from the port of Piraeus. There's not much in the way of evidence regarding WHAT exactly the plague was, although Thucydides listed out a large number of symptoms that victims experienced including: Fever, Redness and inflammation in the eyes, Sore throats leading to bleeding and bad breath, Sneezing, Loss of voice, Coughing, Vomiting, Pustules and ulcers on the body, Extreme thirst, Insomnia, Diarrhea, Convulsions, and Gangrene. Modern epidemiologists and paleopathologists believe, based on extensive examination of all the available evidence that the plague was likely either smallpox or typhus, although it's unlikely that we'll ever know for certain. The plague had a massive impact on the course of the war. For one, it killed Pericles, the Athenian statesman and strategos of the Athenian military. It also killed over 30,000 people, made foreign mercenaries unwilling to aid Athens, no matter how much they were offered as they did not want to risk getting sick, the plague even halted any Spartan military action in Attica until it was finished as the Spartans also feared the disease. Even with the loss of Pericles Athens continued to have success on sea as well as on land through the efforts of their commanders Demosthenes and Cleon. They started to put cracks in the Spartan armies image of invincibility until the Spartans captured Amphipolis, a silver mine that supplied much of the Athenian war chest in 424 BCE. In 422 a great battle was fought at Amphipolis which saw both Cleon, and the Spartan general Brasidas killed. The loss of these military commanders would see Athens and Sparta sit down to try and negotiate peace.  The Peace of Nicias would be a failure from the very start. Despite it, nominally, declaring peace between Sparta and Athens, despite PoWs being exchanged and control over territories ceded back to those who originally owned them, the Peace of Nicias was something of a joke. Sparta and Athens entered something of a Cold War. They didn't fight against each other specifically, but Athens spent a LOT of time trying to stir up helot revolts and encourage Spartan allies to revolt against them in order to gain greater autonomy under Athenian democracy.  Something that is interesting to note, is that despite the single largest land battle of the Peloponnesian War taking place in 418 BCE, the Peace wasn't formally abandoned, and war declared again between Athens and Sparta until 214 BCE. The Battle of Mantinea was fought between Sparta and some of its Arcadian allies on one side, and the combined might of Argos, Athens, Mantinea and various Arcadian allies of Argos. The battle, which involved nearly 20,000 troops combined, ended with a Spartan victory and saw a reversal of previous trends. After the Spartan loss at the Battle of Pylos in 425 BCE many began to think of the Spartans as weak and cowardly, but Mantinea reversed that thinking very quickly. The Siege of Melos, the true subject of this episode, also took place during the Peace of Nicias. Athenian aggression against Melos began about 10 years before the Siege. Melos was a small island about 68 miles off the Eastern coast of Greece. Small islands, due to their reliance on navies, were generally allies of Athens who had uncontested control of the seas. Melos though, decided to remain neutral. They were ethnically Dorian, same as the Spartans (the Athenians were ethnically Ionian). In 425 Athens demanded that Melos pay them a 15 talents (about 390 kgs) of silver. Melos refused. They were determined to remain neutral (although there is pretty good evidence that they donated 20 minas (about 12.5 kgs) of silver to the Spartan war effort. In 216 BCE Athens once again went to Melos and demanded that Melos join the Delian League and pay tribute. Melos again refused. Thucydides wrote a dramatization of conversation between Athenian embassies and the leaders of Melos in his Histories (Book 5, Chapters 84–116). The Melian Dialogue is one of the earliest events I learned about during undergrad when I took a class on the History of Just War. I need to go off on a slight tangent here. When I took this class there was this one guy, whose name I never learned. He was jacked as hell and always showed up to class double fisting iced coffees from Starbucks. Now this class was built around a questionL “Is there such a thing as a Just War?”, but apparently this dude never read the syllabus because about 3 weeks into class he asks “When are we gonna get to the battles?” See, he thought it was History of Just War, just meaning only. He thought it was a military history class, not a class on moral philosophy seen through the context of war. I'm pretty sure he got an A though… Anyway, back to Melos. It's unlikely that the conversation Thucydides wrote out is how it played out in real life, though given the Athenian love of oration and speeches, he's probably not TOO far off the mark. I'm going to read you a part of the Melian Dialogue: Athenians. For ourselves, we shall not trouble you with specious pretences- either of how we have a right to our empire because we overthrew the Mede, or are now attacking you because of wrong that you have done us- and make a long speech which would not be believed; and in return we hope that you, instead of thinking to influence us by saying that you did not join the Lacedaemonians, although their colonists, or that you have done us no wrong, will aim at what is feasible, holding in view the real sentiments of us both; since you know as well as we do that right, as the world goes, is only in question between equals in power, while the strong do what they can and the weak suffer what they must. Melians. As we think, at any rate, it is expedient- we speak as we are obliged, since you enjoin us to let right alone and talk only of interest- that you should not destroy what is our common protection, the privilege of being allowed in danger to invoke what is fair and right, and even to profit by arguments not strictly valid if they can be got to pass current. And you are as much interested in this as any, as your fall would be a signal for the heaviest vengeance and an example for the world to meditate upon. Athenians. The end of our empire, if end it should, does not frighten us: a rival empire like Lacedaemon, even if Lacedaemon was our real antagonist, is not so terrible to the vanquished as subjects who by themselves attack and overpower their rulers. This, however, is a risk that we are content to take. We will now proceed to show you that we are come here in the interest of our empire, and that we shall say what we are now going to say, for the preservation of your country; as we would fain exercise that empire over you without trouble, and see you preserved for the good of us both. Melians. And how, pray, could it turn out as good for us to serve as for you to rule? Athenians. Because you would have the advantage of submitting before suffering the worst, and we should gain by not destroying you. Melians. So that you would not consent to our being neutral, friends instead of enemies, but allies of neither side. Athenians. No; for your hostility cannot so much hurt us as your friendship will be an argument to our subjects of our weakness, and your enmity of our power. Melians. Is that your subjects' idea of equity, to put those who have nothing to do with you in the same category with peoples that are most of them your own colonists, and some conquered rebels? Athenians. As far as right goes they think one has as much of it as the other, and that if any maintain their independence it is because they are strong, and that if we do not molest them it is because we are afraid; so that besides extending our empire we should gain in security by your subjection; the fact that you are islanders and weaker than others rendering it all the more important that you should not succeed in baffling the masters of the sea. See, Athens refused to allow Melos to remain neutral because they believed that, if they allowed this small, weak nation to live independent of their might that they would soon find themselves overrun with rebellion as all others would see Athens let Melos go free and see Athens as weak, as if they somehow feared fighting Melos. So, pragmatically, it would be better for them to kill all the Melians to maintain their image as strong than it would be for them to simply leave Melos be. Despite their claim to democracy, Athens was very much of the opinion that might made right. The strong take what they can and the weak suffer as they must. This was, more or less the beginning of Just War theory, as it was one of the first time that justice, fairness, and rightness was discusses in the context of war. Just War Theory, by the way, is generally made up of three elements. Jus ad bellum, do you have just reasons for going to war? Jus in bello, is your conduct during war just? And a more modern addition, jus post bellum, is your conduct after the war is over also just? Melos, ultimately, refused to surrender to Athens and, indeed, tried to fight against their armies and ultimately failed. The siege lasted from summer of 416 until the winter and ended with Melos surrendering. Athens, in a very Genghis Khan esque move decided to kill every adult man on Melos and sell all of the women and children into slavery. This form of genocide where one particular gender is targeted is common in old world genocides. Very often it is the men, those who could join opposing militaries who would be targeted for the slaughter although Shaka Zulu was infamous for killing all the women and folding the men into his armed forces during his conquests. The genocide of Melos wasn't an attempt to wipe out an ethnicity, Melians being Dorian just like the Spartans. It WAS, however, intended to destroy the people of Melos, and it succeeded. The Peloponnesian War would continue until 404 BCE and would end with a Spartan victory, partially through aid gained from the Achaemenid Dynasty from Persia and some from Alcibiades of Athens, but the war isn't the important part and so we will ignore the final 12 years of it. That's it for this week. No new reviews, so let's jump right into the outro. Have a Day! w/ The History Wizard is brought to you by me, The History Wizard. If you want to see/hear more of me you can find me on Tiktok @thehistorywizard or on Instagram @the_history_wizard. Please remember to rate, review, and subscribe to Have a Day! On your pod catcher of choice. The more you do, the more people will be able to listen and learn along with you. Thank you  for sticking around until the end and, as always, Have a Day.    

Many musicians find the modes scary. They have big names. Let's demystify them and share how they can (and do!) spice up pop music. Here are the names for reference: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian Click this discount link to sign up and receive 30% off your first year with DistroKid and share your music with the world: ⁠⁠⁠⁠DistroKid.com/vip/lovemusicmore⁠⁠⁠⁠⁠ To learn more about Minuendo and pick up a pair of their lossless earplugs visit: ⁠⁠⁠Minuendo.com⁠ Check out my real music at ScoobertDoobert.pizza The flavor notes. Fancy built on fancy. Feel fancy too. Podcast Produced by Beformer --- Send in a voice message: https://podcasters.spotify.com/pod/show/scoobertdoobert/message

Greece's government just announced the creation of two new marine parks – in the Ionian and Aegean seas. The move comes a week before Athens is set to host the 9th Our Ocean Conference on April 16 and 17, which will see key stakeholders not only put a spotlight on issues related to the protection of the seas, but also present a series of concrete proposals. Giorgos Lialios, a journalist at Kathimerini covering issues related to the environment, joins me to talk about the new marine parks Greece is creating, look into the upcoming Our Oceans Conference, and more.Read Giorgos Lalios' latest for Kathimerini: Greece commits to protection of its seasYou can read the articles we discuss on our podcast here:The losing battle against Greece's tumbling birthrateSakellaropoulou calls for ongoing support for UkraineZelensky warns of Russian aggression beyond Ukraine

Andonis Platis is the adult director for Orpheus Hellenic Folklore Society based out of Chicago, IL. A seasoned cardiac medical device professional, he began his career as a perfusionist and researcher in the field of heart failure while also teaching for the community of Saint Demetrios in Tucson, AZ; his hometown. His “καταγωγή” is from the Axaia region near Aigio and Kalavryta. Since college, Andoni found Greek dance as a passionate hobby with on-going research and field studies with particular attention to the Aegean and Ionian islands. His particular interests lie in the role of the female lead within song and dance as well as mentoring aspiring instructors through research guidance and leadership skills. He has attended numerous workshops in America, Canada and Greece, conducted field research and been a part of FDF/HDF since the age of 12. He is married to Elpida and has 3 children, Georgia, Yianni and Areti.

Rich Katz is on a roll - this is his 5th NYTimes crossword in just over a year, and it is a beaut. The theme is ingenious, and the cluing amusing. Cases in point: 37D, Less green, maybe, OLDER; 51D, It might be used while boxing, TWINE (

Song: Bend and Rebound Music by: Heidi Wilson ​Notes: Heidi is an incredible resource for songs connected with the natural world -- and this one turns to willows, with their ability to give and spring, bend and rebound. Next week, Heidi and I get to talk about how she accesses her own rebound during winter and other times. We ponder the urge to help, the balance of local and travel, and Heidi describes what she is "on a rampage" about... including a request for listeners regarding a cave! I hope you can join us... Songwriter Info: Heidi Wilson has a passion for sharing songs in service to community and the wild world; songs that celebrate the seasons, bring groups together, offer thanks, muster courage, and make room for healing. She is drawn to the potent and surprising journey of deep-listening and collaborative emergent music making. Heidi has been leading community singing groups in Vermont for the last 15 years and currently sings with the vocal trio Heartwood. Sharing Info: Heidi says: "I'm on an ongoing journey figuring out how to share songs (that feel like generous gifts from the world) while also making a living as a songweaver. I am happy for the songs coming through me to be shared! If people are singing them in informal, community, or ritual settings that's awesome, sing away! If people are sharing them in a setting where they are making a bunch of money or there is a budget for educational/repertoire materials and they are able to pass some of those resources my way I appreciate that. I would feel good about that reciprocity coming in the form of a one time donation, or by joining me on Patreon and supporting my songweaving work at any monthly level. And if you are interested in recording any of these songs let's talk! Looking for recordings of more songs? I mostly share music through Patreon, an online platform to support artists. On my Patreon site I've posted 80+ songs. Each post has downloadable practice recordings of the harmony parts. And through Patreon I also link to a spreadsheet where the songs are organized into categories, so you can listen through and find just the right song for Spring, or Gratitude, or Trees." ​ Song Learning Time Stamps: Start time of teaching: 00:03:38 Start time of reprise: 00:11:42 Links:  Heidi's Website: www.heidiannwilson.com Heidi's Patreon: www.patreon.com/HeidiWilson Heartwood Trio's Website: www.Heartwoodtrio.com Nuts & Bolts: 4:4, Ionian (major), 2-part round with harmony Join the A Breath of Song Mailing list (https://dashboard.mailerlite.com/forms/335811/81227018071442567/share)  to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (https://www.abreathofsong.com/gratitude-jar.html) (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

With his new advisor Craesus at his side, Cyrus the great ponders the problem with those devious Ionian greeks. This is a podcast by Dan Hörning and Bernie Maopolski.If you like what we do you can support the Fan of History project on https://www.patreon.com/fanofhistoryContact information:http://facebook.com/fanofhistoryhttps://twitter.com/danhorninghttps://www.instagram.com/dan_horning/Music: “Tudor Theme” by urmymuse.Used here under a commercial Creative Commons license. Find out more at http://ccmixter.org/files/urmymuse/40020 Support the show and listen ad-free to all of the episodes! Click here (remove the dot at the end for a working URL): https://plus.acast.com/s/history. Hosted on Acast. See acast.com/privacy for more information.

Notes: Even though I had a runny nose while recording, I practiced showing up with my voice where it is, feeling into the body, noticing the breath... it felt beautiful to be "calling us in," following Meg O'Dell's guidance "home to ourselves." I love the way this melody rocks and rolls through so many comforting words -- I come away with the sense of "true-ing" myself, "whole-ing." I wonder what you will notice as you sing? Make ample use of the rewind button to give yourself a chance to learn some things that I breeze through pretty quickly -- and you can easily find the words at abreathofsong.com if they aren't in front of you here! Enjoy... Songwriter Info: Meg loves helping people access their innate capacity for healing, connection, and joy. She is a somatic coach, supporting individuals and couples in growth, transformation, and healing. Because she's always found the voice, and especially singing in harmony with others, to be a particularly powerful pathway for connection with ourselves and the world around us, she delights in serving as a music teacher, song leader, and vocal mentor. She hosts an annual adult and family singing retreat on the coast of Maine called SongWeavers. In addition, Meg is an Adjunct Professor for Antioch University's Graduate Program for Waldorf Teachers and for the Center for Anthroposophy's Waldorf High School Teacher Education Program. Her sources of inspiration include the small, misty mountain that overlooks her home and singing with her children, Clancy and Celia. Links: Meg's Website: www.singwaldorf.com Song Learning Time Stamps: Start time of teaching: 00:03:45 Start time of reprise: 00:19:30 Nuts & Bolts: 4:4, Ionian, 3-part harmony Join the A Breath of Song Mailing list (https://dashboard.mailerlite.com/forms/335811/81227018071442567/share)  to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (https://www.abreathofsong.com/gratitude-jar.html) (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

Liam Gauci, curator at the Malta Maritime Museum, interviews Sakis Gekas, Associate Professor in the Department of History at York University. Dr Gekas is Hellenic Heritage Foundation Chair of Modern Greek History. Following their conversation about the establishment of the Septinsular Republic on April 2nd 1800, Liam and Sakis explore the subsequent story of the Ionian Islands under French and British rule; their strategic significance for the Royal Navy; and the role of 'King Tom', Lieutenant General Sir Thomas Maitland, who ruled both Malta and the Ionian Islands. Listen to the Hellenic Heritage Foundation's series on Greek independence here: https://open.spotify.com/show/0rZzkaIwLI53F2HCbQeHNx

Ben Gordon and Joe Lynch discuss getting Clarity in a Dangerous World. Ben is the Founder of Cambridge Capital (private equity), BGSA (M&A advice), and the Logistics Coalition (humanitarian aid). Ben is hosting the BGSA Supply Chain Conference that will be held January 24-26 in Palm Beach, Florida.  About Ben Gordon Benjamin Gordon is the Founder and Managing Partner of Cambridge Capital. He draws on a career building, advising, and investing in supply chain companies. Benjamin has led investments in outstanding firms including XPO, Grand Junction, Bringg, Liftit, and others. As CEO of BGSA Holdings, Benjamin has spent his career investing in and helping to build supply chain and technology companies. Benjamin led the firm's efforts, advising on over $1 billion worth of supply chain transactions. Benjamin has worked with firms such as UPS, DHL, Kuehne & Nagel, Agility Logistics, NFI Logistics, GENCO, Nations Express, Raytrans, Echo Global, Dixie, Wilpak, and others. Prior to BGSA Holdings, Ben founded 3PLex, the Internet solution enabling third-party logistics companies to automate their business. Benjamin raised $28 million from blue-chip investors including Morgan Stanley, Goldman Sachs, BancBoston Ventures, CNF, and Ionian. 3PLex was then purchased by Maersk. Prior to 3PLex, Benjamin advised transportation and logistics clients at Mercer Management Consulting. Prior to Mercer, Benjamin worked in his family's transportation business, AMI, where he helped the company expand its logistics operations. Benjamin received a Master's in Business Administration from Harvard Business School and a Bachelor of Arts degree from Yale College. About Cambridge Capital Cambridge Capital is a private equity firm investing in the applied supply chain. The firm provides private equity to finance the expansion, recapitalization or acquisition of growth companies in our sectors. Our philosophy is to invest in companies where our operating expertise and in-depth supply chain knowledge can help our portfolio companies achieve outstanding value. Cambridge Capital was founded in 2009 as the investment affiliate of BG Strategic Advisors (www.bgsa.com), the advisor of choice for a large, growing number of supply chain CEOs. Cambridge Capital leverages BGSA's unique approach to strategy-led investment banking for the supply chain. BGSA is known for its work helping companies achieve outsized returns via targeted acquisitions and premium sales processes, and has worked with category leaders such as UPS, DHL, Agility Logistics, New Breed, NFI, Genco, Nations Express, Raytrans, and others. Our relationship with BGSA gives us deep market expertise, access to outstanding deal flow and people flow, transactional capabilities, additional resources, and a powerful core competency in the supply chain sector. The Partners and Advisory Board members of Cambridge Capital have diverse backgrounds with complementary technical, operating, and financial expertise. The Cambridge Capital team has spent their careers building, growing, and advising outstanding companies in the supply chain sector. They include former leaders of UPS Logistics, Ryder Logistics, ATC Logistics, APL Logistics, Kuehne + Nagel, and other globally recognized firms. Cambridge Capital's professionals know what it takes to build great companies. Key Takeaways: Clarity in a Dangerous World Ben Gordon and Joe Lynch discuss the following topics:  Ukraine/Israel Logistics Coalition Down freight market Failure of Convoy  Future of tech-centric freight brokerages Technologies / Tactics / Partnerships that will give companies a competitive edge The BGSA Conference is the industry's only CEO-level conference focused on all segments of the supply chain. Over 300 of the top CEOs in the logistics and supply chain space attended this year's conference to discuss technology, strategy and deals. BGSA Holdings specializes in providing strategy-led M&A advisory services for leading CEOs in the supply chain and technology sector. BGSA has a track record of executing over 50 deals for clients, who rely on them for trusted and experienced transaction advice. Cambridge Capital is a private investment firm focused on investing in high-growth, tech-enabled supply chain companies, encompassing the logistics, transportation, distribution, and supply chain-related sectors. Learn More About Clarity in a Dangerous World Ben on LinkedIn Ben on Twitter Cambridge Capital on LinkedIn Cambridge Capital BGSA BGSA Supply Chain Conference Logistics Coalition The Logistics of Logistics Podcast If you enjoy the podcast, please leave a positive review, subscribe, and share it with your friends and colleagues. The Logistics of Logistics Podcast: Google, Apple, Castbox, Spotify, Stitcher, PlayerFM, Tunein, Podbean, Owltail, Libsyn, Overcast Check out The Logistics of Logistics on Youtube

In this epic episode, I'm joined by lifelong musician and InnerVersal acolyte, Sean Clarke, aka shaOne. Along for the ride is our favorite syncromystic sensei, Slick Dissident, as the three of us embark on an incredible esoteric exploration of the seven modes of music: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. To emphasize the character of each mode, Sean came equipped with his celestial Multiac guitar to improvise scales and riffs in each. Sit back and close your eyes for this auditory journey, and feel into the personality signature of each sonic touchstone! In the 2 hour Plus+ Extension, we continue with the modes we didn't get to in part one, and begin fleshing out the deeper pattern contained in this mystery, that reveals the created nature of this realm and the fractal micro/macrocosm contained within musical science. This unique and inspired episode is not one to miss! Support InnerVerse Rokfin and Patreon for extended episodes!https://rokfin.com/stream/39943https://www.patreon.com/posts/90669099 EPISODE LINKSVIDEO - https://youtu.be/dMAK9t-6VEcSean Clarke - https://shaone.com/Slick Dissident (Gabriel) on Youtube - https://www.youtube.com/channel/UCSSMh4fE7dAdhPcdtP0rW2ADonate to Slick via Cashapp: $SlickDissidenthttps://www.innerversepodcast.com/season-9/shaone-musical-modes TELEGRAM LINKShttps://t.me/innerversepodcasthttps://t.me/innerversepodcastchat GET TUNEDhttps://www.innerversepodcast.com/sound-healing SUPPORT INNERVERSEInnerVerse Merch - https://www.innerversemerch.comTippecanoe Herbs - Use INNERVERSE code at checkout - https://tippecanoeherbs.com/Spirit Whirled: July's End) - https://tinyurl.com/2dhsarasSpirit Whirled: The Holy Sailors - https://tinyurl.com/4wyd5ecsA Godsacre For Winds of the Soul - https://tinyurl.com/2p9xpdn3Buy from Clive de Carle with this link to support InnerVerse with your purchase - https://clivedecarle.ositracker.com/197164/11489The Aquacure AC50 (Use "innerverse" as a coupon code for a 15% discount) - https://eagle-research.com/product/ac50TT Hosted on Acast. See acast.com/privacy for more information.

The wars between the Persians and the Greeks have become a cornerstone of the idea of "Western Civilization," a defining moment when Greeks became Greeks in opposition to the outside world. But this series of conflicts was far more complicated than a simple civilizational clash; it was born of a particular world, and to properly understand the Persian Wars, we need to grasp the background that made them possible.Patrick's book is now available! Get The Verge: Reformation, Renaissance, and Forty Years that Shook the World in hardcopy, ebook, or audiobook (read by Patrick) here: https://bit.ly/PWverge. And check out Patrick's new podcast The Pursuit of Dadliness! It's all about “Dad Culture,” and Patrick will interview some fascinating guests about everything from tall wooden ships to smoked meats to comfortable sneakers to history, sports, culture, and politics. https://bit.ly/PWtPoDListen to new episodes 1 week early, to exclusive seasons 1 and 2, and to all episodes ad free with Wondery+. Join Wondery+ for exclusives, binges, early access, and ad free listening. Available in the Wondery App https://wondery.app.link/tidesofhistorySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Saturday, 16 September 2023   We sailed from there, and the next day came opposite Chios. The following day we arrived at Samos and stayed at Trogyllium. The next day we came to Miletus. Acts 20:15   The words are difficult to directly translate, but they can be more closely rendered as, “And thence having sailed the following day, we arrived opposite Chios. And the other day, we cast-aside at Samos, and having remained in Trogyllium, the adjoining day we came to Miletus” (CG).   In the previous verse, Paul was taken aboard. They then sailed to Mitylene. Now, the voyage continues, saying, “And thence having sailed the following day.” Here and in the final clause, Luke will use present participles to describe the passing of time. This time, it is from the verb epiousa, or next. Being a present participle, “following” gives the needed sense. From one day leading to the next, they have gone from Mitylene where Luke next says, “we arrived opposite Chios.”   Chios is about halfway between Lesbos and Samos. It is an island about five miles off the coast. They would have sailed through this narrow straight but stopped on the eastern side for the night, opposite Chios on the mainland.   The name Chios is found only here. Its meaning is uncertain. Also, the word antikrus, or opposite, is also found only here. It means opposite, over against, or off when used in a nautical sense. Luke next says, “And the other day, we cast-aside at Samos.”   Using a different word, heteros, or “other,” Luke describes the next day's travel where they neared Samos. This is an island south and east of Chios, also mentioned only this one time. Abarim says that most commentators state that the name means “high place” because it has Greece's fifth highest place, being 1434 meters high.   The word translated as “cast-aside” is paraballó. It is also a unique word found only this once. It is directly translated as “cast aside.” In other words, they neared there, merely bringing the ship alongside the island. From there, they crossed over to Trogyllium. As it says, “and having remained in Trogyllium.”   This clause is not found in some manuscripts, rather simply noting the journey going from Samos to Miletus. However, it is likely Trogyllium was included in Luke's original words. Trogyllium is “the rocky extremity of the ridge of Mycale, on the Ionian coast, between which and the southern extremity of Samos the channel is barely a mile wide” (Speaker's Commentary).   Of the name Trogyllium, Abarim says, “To an average Greek speaker, the name Trogyllium probably sounded like Place For Things To Nibble On or The Hole That Gobbles Up.” Of this location, Hastings Dictionary of the New Testament says –   “Trogyllium was a promontory formed by the western termination of Mt. Mycale, on the coast of Asia Minor, about equidistant from Ephesus and Miletus. It runs out into the sea just opposite the island of Samos, from which it is separated by a channel less than a mile wide (Strabo, XIV. i. 12, 13). Its present name is Santa Maria.”   Concerning which manuscript is right, Hastings continues, saying –   “This in itself is likely to have happened. ... The reason for their omission may have been either the mistaken idea in the mind of the copyists that the text located Trogyllium in Samos, or the difficulty of imagining two night-stoppages, one in the harbour of Samos and another at Trogyllium, which is only 4 or 5 miles from Samos. But a night spent at Samos is quite imaginary, for the nautical term παρεβάλομεν [parebalomen] does not mean ‘arrived at' (Authorized Version) or ‘touched at' (Revised Version). All that it implies is a crossing from one point to another; and, while Samos was merely sighted and passed, Trogyllium was the resting-place. An anchorage just to the east of the extreme point of Trogyllium now bears the name of ‘St. Paul's Port.'”   With this understood, Luke finishes the verse with, “the adjoining day we came to Miletus.” Luke again uses a present participle, coming from the verb echó, to describe the day. It means to have, hold, or possess. In this case, “adjoining” gets the point across. The days adjoin. Thus, they hold together.   Miletus is further south and east of Trogyllium. It is on a large promontory in modern Turkey. The area they landed at is now called Gundogan. The name Miletus is from an uncertain origin. Thus, it is not known what it means.   Life application: As has been seen, Luke has used a variety of terms in this one verse to describe the travels. It is inexcusable to not at least attempt to translate them in a variety of ways so that the reader can get the flavor of what is being said. However, the Pulpit commentary says the following concerning the King James Version's failure in this regard –   “The A.V., [meaning the King James Version] which often gives a varied English for the same Greek, has here for varying Greek given the same English [next] three times over.”   If translators are not going to at least attempt to rightly translate a verse, they shouldn't be translating. The word is so rich and varied, and yet so much is lost when the necessary time and effort is not put into giving the flavor of what is being conveyed. For this reason, be sure not to get captivated by a single translation. Refer to several or many. Also, be sure to read commentaries on the things that pique your interest. You will get out of your studies what you put into them.   Thank You, O God, for the wonderful detail and delight that is found in Your precious word. May we be careful to attend to it daily, reading it, studying it, and cherishing its contents. In doing so, we will be blessed in so many ways. Yes, Lord, thank You for this marvelous word! Amen.

Now you see him now you don't as Zed comes to town to fight noxus, kill his friend's dad and uproot the entire Ionian culture in one afternoon. This villain is beyond the point of no return and fully embraces the dark path he has chosen for himself and those who follow him. Credits: Zed Biography: https://universe.leagueoflegends.com/en_US/story/champion/zed/ Zed Voice Lines: https://www.101soundboards.com/boards/28339-zed-league-of-legends Zed Theme Music: https://www.youtube.com/watch?v=8kr6J2I-0qk&t=2s --- Support this podcast: https://podcasters.spotify.com/pod/show/leagueloreandmore/support

A Sassanid cataphract in Oxford–fortunately a re-enactor  From the Ionian revolt of the 490s, through the battles of Marathon, Thermopylae, Salamis, and Plataea, the vastAchaemenid Persian Empire was pitted against the pitifully small Greek states on its western periphery, until the astonishing successes of Alexander of Macedon decapitated it, placing him and his companions atop that imperial trunk. But Alexander's death, and the wars of his successors, gave an opportunity for a new power to rise in the far west and march eastward. In time imperial Rome would face new Persian dynasties; and for centuries Rome and Persia warred in the Caucuses and across Mesopotamia, until at the beginning of the seventh century an apocalyptic struggle resulted in the downfall of Persia, and the crippling of Rome, just as a new world-changing force emerged from the Arabian peninsula.  That is a pretty good analogue to a Chat GPT description of a millennia's worth of history, and while some of the facts are correct, nearly all of its interpretations are false. Such is Adrian Goldsworthy's argument in his new book Rome and Persia: The Seven Hundred Year Rivalry. While there were periods of warfare, they were given the length of the two empires coexistence very sporadic indeed. Moreover, both empires had a respect for each other that they offered no other polity, and the trade and commerce between them–not just in products, but also in cultural mores–was perhaps the most important feature of their relationship. This is Adrian's fourth appearance on the podcast. He was last on the podcast discussing his book Philip and Alexander: Kings and Conquerors; he has also explained how Hadrian's Wall worked, and why Julius Caesar needs to be taken seriously as a historian. For Further Investigation The Roman Eastern Frontier and the Persian Wars AD 226-363: A Documentary History, edited by Michael H. Dodgeon and Samuel N. C. Lieu, and The Roman Eastern Frontier and the Persian Wars AD 363-628, edited by Geoffrey Greatrex and Samuel N. C. Lieu–Adrian writes that "both very well done for the later periods with sources and comments" Ammianus Marcellinus, The Late Roman Empire (AD 354-378) Goldsworthy also recommends the Perseus Digital Library for all your classical reading and research needs For why battles aren't as important as you think they are, see my conversation with Cathal Nolan   Conversation with Adrian Goldsworthy Al: [00:00:00] Welcome to Historically Thinking, a podcast about history and how to think about history. For more on this episode, go to historically thinking.org, where you can find links and readings related to today's podcast. Comment on the conversation and sign up for our newsletter, and consider becoming a member of the Historically Thinking Common Room, a community of Patreon supporters. Hello, from the Ionian Revolt of the 490s, through the battles of Marathon, Thermopylae, Salamis, and Plataea, the vast Persian Empire of the Achaemenid Dynasty was pitted against the pitifully small Greek states on its western periphery, until the astonishing successes of Alexander of Macedon decapitated it, placing him and his companions atop that imperial trunk. But Alexander's death, and the wars of his successors, gave an opportunity to a new power to rise in the far west. In time Rome, first as republic and then as empire, would face new Persian dynasties. For centuries, Rome and Persia warred in the Caucasus and across [00:01:00] Mesopotamia, until at the beginning of the 7th century, an apocalyptic struggle resulted in the downfall of Persia, the crippling of Rome, just as a new world changing force emerged from out of the Arabian Peninsula. That is a pretty good analogue to a chat GPT description of a millennia's worth of history. And, like lots of chat GPT descriptions, while some of the facts are correct, nearly all of the interpretations are false. Such would be Adrian Goldsworthy's argument in...

This is a teaser of the bonus episode, Persia Moves West found over on Patreon.Coming out of the Ionian revolt, Persia would look to continue pushing campaigns north and west from Anatolia. This would see Persian forces march into Thrace and Macedon, while also seeing them campaign through the Aegean all the way to the Greek mainland. For the Greeks they had seen these campaigns of 492 BC and 490 BC as attempts at subjugating all Greek lands. In this bonus episode we take a look at these campaigns and see if this was the Persian objective, or were there more limited aims in mind for now.If you would like to hear more and support the series click on the Patreon link at the bottom of the page or you can head to my website to discover other ways to support the series, HereISupport the show

This is a teaser of the bonus episode, The Battle of Lade found over on Patreon.We have now reached the climax of the Ionian revolt where one last decisive battle would take place.The Greeks would prepare to defend their rebellion by putting all their effort in bringing together a combined navy. However, the coalition force would not remain united once battle was joined.We would then see the fall of Miletus, where the revolt had first developed. This would mark a point where the Ionian revolt had been defeated, though, Persian campaigns west would continue. We will be next turning to these in our bonus episodes, where we will first look at Persian motivations in these actions towards the Greek mainland. f you would like to hear more and support the series click on the Patreon link at the bottom of the page or you can head to my website to discover other ways to support the series, HereISupport the show

This is a teaser of the bonus episode, Persian Counter Attack found over on Patreon.After having looked at the reasons for the Ionian revolt breaking out, we now turn to the revolt itself. In the main series we had focused on the revolt in general with a large focus on the Greeks operations. This time around we take a closer look at the Persian response and the campaigns that they would launch against Cyprus, the Hellespont, Caria and Ionia. This will take us up to the final years of the revolt and the decisive naval battle of Lade which will be the focus of our next bonus episode along with the end of the revolt.If you would like to hear more and support the series click on the Patreon link at the bottom of the page or you can head to my website to discover other ways to support the series, HereISupport the show

On this episode, George and Maria will take you to one of the most popular islands to visit in the Ionian sea; the island of Lefkada.Tune in to hear all about the island, the top things to do, useful information to keep in mind for your visit, some tips and tricks and of course, as always, some verified MGI recommendations!Greek phrase shared on the podcast "I am going sailing in Lefkada": Tha páo gia istioploḯa sti Lefkáda (In Greek: Θα πάω για ιστιοπλοΐα στη Λευκάδα).Check out the My Greek Island website www.mygreekis.land where you can find blog posts to inspire your next trip, travel tips to download on your phone and more. Also give us a follow on instagram @mygreekisland to keep up to date with the My Greek Island adventures, and for those of you visiting Greece remember to tag us for a future feature.If you liked the episode, feel free to leave a rating and review, and to make sure you are notified as soon as future episodes are released, press the subscribe or follow button on the podcast platform of your choice. And if you have any requests for future episodes, feel free to drop us a DM.There are 227 inhabited Greek Islands, which one will YOU visit next?#MGIPODCAST Hosted on Acast. See acast.com/privacy for more information.

* As we have studied the book of Acts, we have seen how God Sovereignly oversaw the expansion of the church from Jerusalem into Asia Minor (which we refer to today as Eurasia) and then specifically toward the European continent by guiding Paul into Macedonia and then down into the Ionian peninsula - to Thessalonica and Berea - toward the epicenter of the world culture of the day - Athens. * In each place that they have gone, they have met both reception of the message and rejection of the message - some believed, some did not. * Today, as we consider Paul's engagements in the metropolis of Athens we will see how he varied his evangelistic approach - in the presentation of God's redemptive plan - to each of his specific audiences. * This message was presented on May 7, 2023 by Bob Corbin.

This is a teaser of the bonus episode, Behind the Ionian Revolt found over on Patreon.For this episode we turn to the Ionian Revolt and look to the causes behind the revolt breaking out.Our main source, Herodotus points to individual figures driving the revolt. But for them to do this there must have been more at play. We look to the Greeks experience in Ionia under Lydian and then Persian rule to try and understand what factors would see the populations dissatisfied and in a position where rebelling was a viable option. However it would also seem the Greeks themselves would also play their own part in this, with tyrants leading their cities.If you would like to hear more and support the series click on the Patreon link at the bottom of the page or you can head to my website to discover other ways to support the series, HereISupport the show

Notes: I sometimes find my body feels chaotic and overloaded with visual and audio stimulation. "Settle Like A Pebble" is a song that helps me drop in -- it feels almost like a psyche rinse! As I sing it, I feel a loosening and ease – the calm of the word "settle" – I am reminded of the feel of a pebble, round in my fingers, smooth in a riverbed – then the float and lightness of “drift like a feather” – and finally, the low release of “let go” and “close your eyes and be." Laura Walker's detailed stop-action videos & original songs on her Marnie Bee Mindful youtube channel create a unique visual & audio meditation -- here's one to explore -- Space: https://youtu.be/_E_DT6qiipM ​Songwriter Info: Laura Walker started writing short songs about a year ago as a creative outlet and a way to help her remember kind self care messages to access when she needs them. She found focus in making short films to accompany the songs and to help illustrate the words and began posting on YouTube under the name Marnie Bee Mindful as a way to share the things that work for her with others who may enjoy them. “Settle Like A Pebble” is about slowing down and taking a calm moment to let go of the stresses of the day to close your eyes and allow thoughts to drift. Spending time in nature, especially near water helps Laura achieve this mindful state but the song reminds her that calm peacefulness can also be found by closing her eyes and imagining somewhere beautiful too. It's her wish that by being extra kind and gentle to ourselves and connecting through music we can help find the strength to share and cultivate these things with those around us too. She hopes the song helps you settle into your day and soothes you a little. ​ Sharing Info: Yes the song is free to share for anyone who feels it may be help, please be kind enough to mention Laura as composer when doing so and the Marnie Bee Mindful YouTube Channel. It brings her such joy to know if a song has been of use to someone so if a song helped she'd love to hear from you!  Links: Laura's Instagram: https://www.instagram.com/marniebeemindful/ Laura's Facebook: https://www.facebook.com/profile.php?id=100084878260963 Laura's Website: https://marniebeemindful.com/ ​Laura's YouTube: https://youtube.com/@MarnieBeeMindful  Nuts & Bolts: ​4:4, major (Ionian), harmonized and a countermelody ​Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

On this episode, George and Maria will take you to probably the least know Ionian island called Kythera. This is part 2 of the series of two episodes on the island. So make sure you listen to part 1 first.Tune in to hear the top things to do in Kythera, useful information to keep in mind for your visit, some tips and tricks and of course, as always, some verified MGI recommendations! And also make sure to check out the stories saved on the highlights on the My Greek Island Instagram page @mygreekisland, to see more information on the My Greek Island visit to Kythera.Greek phrase shared on the podcast "Summer holidays?": Kalokairinés diakopés? (In Greek: Καλοκαιρινές διακοπές;)Check out the My Greek Island website www.mygreekis.land where you can find blog posts to inspire your next trip, travel tips to download on your phone and more. Also give us a follow on instagram @mygreekisland to keep up to date with the My Greek Island adventures, and for those of you visiting Greece remember to tag us for a future feature.If you liked the episode, feel free to leave a rating and review, and to make sure you are notified as soon as future episodes are released, press the subscribe or follow button on the podcast platform of your choice. And if you have any requests for future episodes, feel free to drop us a DM.There are 227 inhabited Greek Islands, which one will YOU visit next?#MGIPODCAST Hosted on Acast. See acast.com/privacy for more information.

Ben Gordon and Joe Lynch discuss highlights from the BGSA Conference, an annual event designed to bring together top industry leaders from all segments of the supply chain and provides an intimate and candid setting where CEOs and leaders can privately network and explore ideas with their peers. Ben Gordon, is the Founder of Cambridge Capital (private equity), BGSA (advice), and the Ukraine Logistics Coalition (humanitarian aid) [podcast src="https://play.libsyn.com/embed/episode/id/26171376/height/192/theme/modern/size/large/thumbnail/yes/custom-color/4c4ca4/time-start/00:00:00/playlist-height/200/direction/backward/download/yes" height="192" width="100%" scrolling="no" class="podcast-class" frameborder="0" placement="top" use_download_link="" download_link_text="" primary_content_url="https://chtbl.com/track/53D5B3/traffic.libsyn.com/thelolpodcast/The_Empty_Container_Marketplace_with_Sean_Bardon_mixdown.mp3" theme="custom" custom_color="4C4CA4" libsyn_item_id="26171376" /] About Ben Gordon Benjamin Gordon is the Founder and Managing Partner of Cambridge Capital. He draws on a career building, advising, and investing in supply chain companies. Benjamin has led investments in outstanding firms including XPO, Grand Junction, Bringg, Liftit, and others. As CEO of BGSA Holdings, Benjamin has spent his career investing in and helping to build supply chain and technology companies. Benjamin led the firm's efforts, advising on over $1 billion worth of supply chain transactions. Benjamin has worked with firms such as UPS, DHL, Kuehne & Nagel, Agility Logistics, NFI Logistics, GENCO, Nations Express, Raytrans, Echo Global, Dixie, Wilpak, and others. Prior to BGSA Holdings, Ben founded 3PLex, the Internet solution enabling third-party logistics companies to automate their business. Benjamin raised $28 million from blue-chip investors including Morgan Stanley, Goldman Sachs, BancBoston Ventures, CNF, and Ionian. 3PLex was then purchased by Maersk. Prior to 3PLex, Benjamin advised transportation and logistics clients at Mercer Management Consulting. Prior to Mercer, Benjamin worked in his family's transportation business, AMI, where he helped the company expand its logistics operations. Benjamin received a Master's in Business Administration from Harvard Business School and a Bachelor of Arts degree from Yale College. About Cambridge Capital Cambridge Capital is a private equity firm investing in the applied supply chain. The firm provides private equity to finance the expansion, recapitalization or acquisition of growth companies in our sectors. Our philosophy is to invest in companies where our operating expertise and in-depth supply chain knowledge can help our portfolio companies achieve outstanding value. Cambridge Capital was founded in 2009 as the investment affiliate of BG Strategic Advisors (www.bgsa.com), the advisor of choice for a large, growing number of supply chain CEOs. Cambridge Capital leverages BGSA's unique approach to strategy-led investment banking for the supply chain. BGSA is known for its work helping companies achieve outsized returns via targeted acquisitions and premium sales processes, and has worked with category leaders such as UPS, DHL, Agility Logistics, New Breed, NFI, Genco, Nations Express, Raytrans, and others. Our relationship with BGSA gives us deep market expertise, access to outstanding deal flow and people flow, transactional capabilities, additional resources, and a powerful core competency in the supply chain sector. The Partners and Advisory Board members of Cambridge Capital have diverse backgrounds with complementary technical, operating, and financial expertise. The Cambridge Capital team has spent their careers building, growing, and advising outstanding companies in the supply chain sector. They include former leaders of UPS Logistics, Ryder Logistics, ATC Logistics, APL Logistics, Kuehne + Nagel, and other globally recognized firms. Cambridge Capital's professionals know what it takes to build great companies. Key Takeaways: Highlights from the BGSA Conference Ben Gordon is the Founder of Cambridge Capital (private equity), BGSA (advice), and the Ukraine Logistics Coalition (humanitarian aid). In the podcast interview, Ben and Joe discuss highlights from the BGSA Conference. For the 17th year, Ben and his firm hosted the BGSA Holdings Supply Chain Conference at the Palm Beach Breakers hotel. The conference was held from January 19-21. The BGSA Conference is the industry's only CEO-level conference focused on all segments of the supply chain. Over 300 of the top CEOs in the logistics and supply chain space attended this year's conference to discuss technology, strategy and deals. BGSA Holdings specializes in providing strategy-led M&A advisory services for leading CEOs in the supply chain and technology sector. BGSA has a track record of executing over 50 deals for our clients, who rely on them for trusted and experienced transaction advice. Cambridge Capital is a private investment firm focused on investing in high-growth, tech-enabled supply chain companies, encompassing the logistics, transportation, distribution, and supply chain-related sectors. Learn More About Highlights from the BGSA Conference Ben on LinkedIn Ben on Twitter Cambridge Capital on LinkedIn Cambridge Capital BGSA BGSA Supply Chain Conference BGSA 2023 Conference: Vlad Bilanovsky BGSA 2023 Conference: Rick Murrell Ukraine Logistics Coalition Episode Sponsor: Greenscreens.ai Greenscreens.ai's dynamic pricing infrastructure built to grow and protect margins. The Greenscreens.ai solution combines aggregated market data and customer data with advanced machine learning techniques to deliver short-term predictive freight market pricing specific to a company's individual buy and sell behavior. Episode Sponsor: Tusk Logistics Tusk Logistics is a national network of the best regional parcel carriers that puts Shippers first, with lower costs, reliable service, and proactive support. Tusk save Shippers 40% or more on small parcel shipping. Tusk's technology connects your parcel operation to a national network of vetted regional carriers, all with pre-negotiated rates and reliable, predictable service. Integrating to your existing software takes minutes, and Tusk has your back with proactive shipper support on each parcel, in real time. The Logistics of Logistics Podcast If you enjoy the podcast, please leave a positive review, subscribe, and share it with your friends and colleagues. The Logistics of Logistics Podcast: Google, Apple, Castbox, Spotify, Stitcher, PlayerFM, Tunein, Podbean, Owltail, Libsyn, Overcast Check out The Logistics of Logistics on Youtube

On this episode, George and Maria will take you to probably the least know Ionian island called Kythera. This is part 1 of a series of two episodes on the island. So stay tuned and make sure not to miss part 2. Tune in to hear the top things to do in Kythera, useful information to keep in mind for your visit, some tips and tricks and of course, as always, some verified MGI recommendations! And also make sure to check out the stories saved on the highlights on the My Greek Island Instagram page @mygreekisland, to see more information on the My Greek Island visit to Kythera. Check out the My Greek Island website www.mygreekis.land where you can find blog posts to inspire your next trip, travel tips to download on your phone and more. Also give us a follow on instagram @mygreekisland to keep up to date with the My Greek Island adventures, and for those of you visiting Greece remember to tag us for a future feature.If you liked the episode, feel free to leave a rating and review, and to make sure you are notified as soon as future episodes are released, press the subscribe or follow button on the podcast platform of your choice. And if you have any requests for future episodes, feel free to drop us a DM.There are 227 inhabited Greek Islands, which one will YOU visit next?#MGIPODCAST Hosted on Acast. See acast.com/privacy for more information.

ffodpod.comCC-BY-SA"SCP-364" by Quikngruvn, from the SCP WikiSource: https://scp-wiki.wikidot.com/scp-364Licensed under CC-BY-SA

Welcome to Episode 1214 Stevie Kim moderates Clubhouse's Ambassadors Corner – In this episode Tommasella Perniciaro interviews Domenica and Caterina Malaspina. These sessions are recorded from Clubhouse and replayed here on the Italian Wine Podcast! Listen in on this series as Italian Wine Ambassadors all over the world chat with Stevie and their chosen wine producer. Which producer would you interview if you had your pick? More about today's Co-Moderator: Tommasella Perniciaro is the CEO of the Good Wine Habit, WSET Approved Program Provider and she has a wine consulting Company in Gothenburg (Sweden). WSET Diploma graduate and Certified Educator, she is also a VIA Ambassador and VIA Certified Educator, as well as a Valpolicella Wine Specialist for the Swedish market. To learn more visit: Facebook: https://www.facebook.com/thegoodwinehabit Instagram: https://www.instagram.com/thegoodwinehabit/ LinkedIn: https://www.linkedin.com/in/tommasellaperniciaro/ Website: https://thegoodwinehabit.com/ About today's guest producer: The Azienda Vinicola Malaspina is a family-owned winery, the Malaspina family, located in Melito di Porto Salvo, in the southernmost tip of Calabria. Vineyards are located on the Ionian coast (eastern side of the region) in the province of Reggio Calabria, between the villages of Pellaro and Palizzi. The focus on autochthonous wines is a passion shared by all the family members, who all cooperate to create wines full of character and personality, strongly linked to the territory. The winery was born in the 1967 and nowadays Consolato, his founder, together with his wife Francesca and their four daughters take care of the management and development of the company. Today we have two of the four daughters here with us, Caterina and Domenica Malaspina. Welcome and thanks a lot for being with us today. I am really happy you have accepted to share your story with us and to introduce us to your winery. To learn more visit: Facebook https://www.facebook.com/aziendavinicola.malaspina Instagram: https://www.instagram.com/malaspinavini/ Website: https://www.aziendavinicolamalaspina.com/ More about the moderator Stevie Kim: Stevie hosts Clubhouse sessions each week (visit Italian Wine Club & Wine Business on Clubhouse), these recorded sessions are then released on the podcast to immortalize them! She often also joins Professor Scienza in his shows to lend a hand keeping our Professor in check! You can also find her taking a hit for the team when she goes “On the Road”, all over the Italian countryside, visiting wineries and interviewing producers, enjoying their best food and wine – all in the name of bringing us great Pods! To find out more about Stevie Kim visit: Facebook: @steviekim222 Instagram: @steviekim222 Website: https://vinitalyinternational.com/wordpress/ Let's keep in touch! Follow us on our social media channels: Instagram @italianwinepodcast Facebook @ItalianWinePodcast Twitter @itawinepodcast Tiktok @MammaJumboShrimp LinkedIn @ItalianWinePodcast If you feel like helping us, donate here www.italianwinepodcast.com/donate-to-show/

Subscribe to listen to Techno music, Tech House music, Deep House, Acid Techno, and Minimal Techno for FREE.

Notes: I am thrilled to announce a 3-generations podcast!!! Our daughter, Rebecca Csuy (pronounced, "Soo-ee"), was kind enough to join me to record this lullaby I started singing to myself a few months ago.... and then Rebecca managed to catch Claire, their almost 3-year-old daughter, singing it to herself the next day! (If you want to skip ahead to that, it's at the very, very end of the podcast, as a bonus, and of course, I would completely understand!) Do you ever sing with someone who makes you feel better about your own voice just by the way they sing with you? That's how I feel about singing with Rebecca -- her voice is so true and released -- it helps me find the center in my own in some way. I wrote this song because I'm not always an easy sleeper... so one day after a rough night, I was trying to sing to myself to unwind and relax -- and this is what came. The white birds were seagulls, making a racket outside our apartment window... and just before I fall asleep, it feels like my thoughts turn white and begin to float -- and so the white thoughts. Songwriter Info: That would be me, so both of the websites below have stuff... Links:  abreathofsong.com juneberrymusic.com Song Learning Time Stamps: Start time of teaching: 00:02:43 Start time of reprise: 00:15:43 Nuts & Bolts: 3:4, Ionian, melody with harmony Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! This week, for example, I shared sheet music to the song. No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

Notes: This poignant song by Wendy Luella Perkins comes from early on in the pandemic -- a time of fear and grieving -- yet also, in the early mornings, the streets were so unusually quiet in the cities that birdsong was clearly audible.  You'll be able to hear the echo of a dove call in the melody, which I teach with extra care so you can feel comfortable and relaxed singing it. This song helps me notice what I'm hearing around me -- and when I notice the sounds around me, I drop into the present micro-second, where all is well. In the next episode, there's a songwriter conversation with Wendy Luella, which includes not one, not two, but four songs that can be personal assistants as we heal, adapt, and grow. Songwriter Info: Wendy Luella Perkins has been singing and making up songs since she was a very young child. When she was three years old, her older brother, Tim, took her to school as his Show+Tell item saying “this is my sister Wendy Lu, listen to her sing!” She's been going strong ever since. As a singer-songwriter, Unitarian Universalist community minister, and founder, in 2002 of Soulful Singing (singing meditation for all) Wendy Luella leverages the power of song to build authentic, healing and joyful communities. A prolific writer of folk songs and meditative chants and supportive guide who helps others to create their own songs, Wendy Luella's greatest joy is to bring friends and strangers together in the transformational circle of song. Wendy Luella has produced three CDs of original music, which you can find on her website. As a response to pandemic restrictions, and recognizing the need to keep on singing in community, especially in difficult times, Wendy Luella transitioned Soulful Singing to online sessions in March 2020. Soulful Singers from all over have been gathering online EVERY SINGLE DAY since then and once a week on THURSDAY evenings. Everyone is welcome to join Soulful Singing via Zoom. Singing daily over the last 875+ days with wonderful folks from Kingston and around the world has encouraged Wendy Luella to share her original songs more broadly in what she calls her “Song Liberation Project” (The SLiP). She has written hundreds of songs and with The SLiP is sharing them one by one on TikTok. Wendy Luella grew up in rural Nova Scotia, and has lived in Kingston Ontario for over 25 years with her sweetheart and fellow musician, Charlie Walker. She loves waking early, walking daily, eating communally, crafting publicly, sharing deeply, gardening bountifully, laughing abundantly and of course, singing soulfully! Links:  Wendy Luella's website: https://www.wendyluellaperkins.com and tiktok page: https://www.tiktok.com/@wendyluellaperkins To email Wendy Luella: info@wendyluellaperkins.com Nuts & Bolts: 4:4; Ionian (major), unison, harmonized Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

Notes: This is a vacation episode! I'm on vacation with my dear friend, Joy Truskowski... and what do you think we're doing together? We've been having such a good time singing, and on this episode (I think the shortest yet) you get to hear us together, singing a song I wrote just as a particularly difficult time was beginning. It helps me to not jump ahead to the future or gnash over the past -- that I can be right here, right now, and usually that's a pretty good moment. I asked the A Breath of Song listeners via the email list where they've experienced sanctuary, and they wrote the lyrics we sing... here are some of the other options that came up: in my swing, in this garden, in this choir, with this book, as I'm cooking, with this patient, with my cats, with my ponies, in my loved one's arms, in a canoe, while I'm painting, meditating. Songwriter Info: I'm bringing you this podcast, so you've already got a sense of me! You can find more about me at the juneberrymusic website, or pertaining specifically to this podcast here at abreathofsong.com. Links:  Find Joy at joytru.com -- all kinds of awesome things! Juneberry Music -- everything I'm doing professionally, and some less-than-professionally A Breath of Song -- lots of extras about this podcast, including a Year One art tile page, a tip jar, and songwriter collaboration information Song Learning Time Stamps: Start time of teaching (speaking): 00:00:59 Start time of teaching (singing): 00:03:29 Start time of reprise: 00:14:30 Nuts & Bolts: 4:4; Ionian (major), zipper song, unison Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

Notes: "Singing was never an option: it's like walking, breathing, eating... it's just one of the things that you do." It's a songwriter conversation with Lea Morris, who brings us not only her song, Just As You Are, but also gives us the very earliest possible sneak peek of what she might be writing for the NVN Black Lives Matter commission she has received. You can hear me stumble through learning a new-to-me song. We talk about how a song can transform a relationship or build self-forgiveness and self-acceptance. How singing with others is actually heaven. Lea shares her personal take on appropriateness versus appropriation and encourages us to follow our joy... "let yourself have that expression." This was my first in-the-same-room interview, and what a pleasure it was! Songwriter Info: Lea describes her sound blend of gospel, jazz, country & R&B as SoulFolk. She performs solo & with her band. Lea is one of the Black composers commissioned by the Natural Voices Network for their Black Lives Matter commissioning project, and she also writes music used by Unitarian-Universalist congregations. On our songwriter conversation (episode #60), she talks about the compositional process and shares a little of what's currently in process. Check out her website under "More" for full biographical info, and don't miss Lea's own recording of Just As You Are on the Singing Mama's youtube channel! Links:  Lea's website: www.thisislea.com Lea on youtube: www.YouTube.com/thisislea Good Morning Melodies by Lea Morris -- this link lets you buy either the songbook or the recordings of Lea's collection of acapella songs Lea's recommendations: Songs in the Key of Life by Stevie Wonder... here's a 1976 album review by Rolling Stone, which I thought was interesting to read, since it was from before everyone knew how this album would go on to become one of the definitive pieces of art from the 1970s. Title link to the Amazon listing. Fleur de Lis by Richard Julian... and here's a youtube video of a single from the album, Die in New Orleans Song Learning Time Stamps: Start time of teaching: 00:04:25 Start time of reprise: 00:52:10 Nuts & Bolts: 4:4; Ionian (major), harmonized with response Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

Have you ever wondered what it actually means to receive? You are invited to tune in and immerse yourself in a magical voyage with Veronica as she travels through Ionian islands in Greece and explores different possibilities with receiving. *Discover what questions to ask to change how much you receive *What is a POVAD? *What's the new clearing statement from Access Consciousness? *What else is possible for you and receiving that you never even considered before? *Sparkly magic vibes from Kefalonia For videos and pictures of this juicy journey, you can follow Veronica @ https://www.facebook.com/Veronicaparker44 And for more playtime with receiving you can access: https://www.facebook.com/groups/spaceofpossibilities https://linktr.ee/veronicaparker_44 How does it get any more fun than this?

Notes: Haven't we all been going through waves of change? Whether it looks like loss or shift or fear or opportunity -- whether intended or thrust upon us -- whether sudden or slowly gathered -- it's not always easy or clear to navigate. I believe in song as a tool, an intentional change-maker, a physic for the body and soul -- as a way of choosing the thoughts we want to carry in our brain. And sometimes for me, it's several voices in my head at once! What I love about this song is the way it has two parts of me talking to each other -- my wise mind, reminding and encouraging me to "keep your heart wide open, no matter what sweetheart, have faith, you'll be able to..." -- and my tiny gerbil self, scurrying around, singing fast & trying to be reassuring, "Okay, okay, I'm gonna keep, I'm gonna keep -- I'm gonna get this done, I can do it, I can do it!" Songwriter Info: Lea describes her sound blend of gospel, jazz, country & R&B as SoulFolk. She performs solo & with her band. Lea is one of the Black composers commissioned by the Natural Voices Network for their Black Lives Matter commissioning project, and she also writes music used by Unitarian-Universalist congregations. On our songwriter conversation (episode #60), she talks about the compositional process and shares a little of what's currently in process. Check out her website under "More" for full biographical info, and don't miss Lea's own recording of Heart Wide Open on her youtube channel! Links:  Lea's website: www.thisislea.com ​and on youtube: www.YouTube.com/thisislea Song Learning Time Stamps: Start time of teaching: 00:03:01 Start time of reprise: 00:14:06 Nuts & Bolts: 4:4, Ionian, call and harmonized response Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

Despite their defeat in Sicily, the tales of Athenian demise in 413 BCE were greatly exaggerated. In 411, Athens and Sparta began to clash again and protracted tug-of-war in the Aegean even as Athens itself was seized by political upheavals. Intelligent Speech Conference 2022! Buy tickets with promo code Persia Sign Up For The History Buffs at TheHistoryBuffs.com/HistoryOfPersia Patreon | Support Page Twitter | Facebook | Instagram --- Support this podcast: https://anchor.fm/history-of-perisa/support

Episode one hundred and thirty-nine of A History of Rock Music in Five Hundred Songs looks at “Eight Miles High” by the Byrds, and the influence of jazz and Indian music on psychedelic rock. This is a long one... Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Winchester Cathedral" by the New Vaudeville Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, as there were multiple artists with too many songs. Information on John Coltrane came from Coltrane by Ben Ratliffe, while information on Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This dissertation looks at the influence of Slonimsky on Coltrane. All Coltrane's music is worth getting, but this 5-CD set containing Impressions is the most relevant cheap selection of his material for these purposes. This collection has the Shankar material released in the West up to 1962. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This episode is the second part of a loose trilogy of episodes set in LA in 1966. We're going to be spending a *lot* of time around LA and Hollywood for the next few months -- seven of the next thirteen episodes are based there, and there'll be more after that. But it's going to take a while to get there. This is going to be an absurdly long episode, because in order to get to LA in 1966 again, we're going to have to start off in the 1940s in New York, and take a brief detour to India. Because in order to explain this: [Excerpt: The Byrds, "Eight Miles High"] We're first going to have to explain this: [Excerpt: John Coltrane, "India (#3)"] Before we begin this, I just want to say something. This episode runs long, and covers a *lot* of musical ground, and as part of that it covers several of the most important musicians of the twentieth century -- but musicians in the fields of jazz, which is a music I know something about, but am not an expert in, and Hindustani classical music, which is very much not even close to my area of expertise. It also contains a chunk of music theory, which again, I know a little about -- but only really enough to know how much I don't know. I am going to try to get the information about these musicians right, but I want to emphasise that at times I will be straying *vastly* out of my lane, in ways that may well seem like they're minimising these musicians. I am trying to give just enough information about them to tell the story, and I would urge anyone who becomes interested in the music I talk about in the early parts of this episode to go out and find more expert sources to fill in the gap. And conversely, if you know more about these musics than I do, please forgive any inaccuracies. I am going to do my best to get all of this right, because accuracy is important, but I suspect that every single sentence in the first hour or so of this episode could be footnoted with something pointing out all the places where what I've said is only somewhat true. Also, I apologise if I mispronounce any names or words in this episode, though I've tried my best to get it right -- I've been unable to find recordings of some words and names being spoken, while with others I've heard multiple versions. To tell today's story, we're going to have to go right back to some things we looked at in the first episode, on "Flying Home". For those of you who don't remember -- which is fair enough, since that episode was more than three years ago -- in that episode we looked at a jazz record by the Benny Goodman Sextet, which was one of the earliest popular recordings to feature electric guitar: [Excerpt: The Benny Goodman Sextet, "Flying Home"] Now, we talked about quite a lot of things in that episode which have played out in later episodes, but one thing we only mentioned in passing, there or later, was a style of music called bebop. We did talk about how Charlie Christian, the guitarist on that record, was one of the innovators of that style, but we didn't really go into what it was properly. Indeed, I deliberately did not mention in that episode something that I was saving until now, because we actually heard *two* hugely influential bebop musicians in that episode,  and I was leaving the other one to talk about here. In that episode we saw how Lionel Hampton, the Benny Goodman band's vibraphone player, went on to form his own band, and how that band became one of the foundational influences for the genres that became known as jump blues and R&B. And we especially noted the saxophone solo on Hampton's remake of "Flying Home", played by Illinois Jacquet: [Excerpt: Lionel Hampton, "Flying Home"] We mentioned in that episode how Illinois Jacquet's saxophone solo there set the template for all tenor sax playing in R&B and rock and roll music for decades to come -- his honking style became quite simply how you play rock and roll or R&B saxophone, and without that solo you don't have any of the records by Fats Domino, Little Richard, the Coasters, or a dozen other acts that we discussed. But what we didn't look at in that episode is that that is a big band record, so of course there is more than just one saxophone player on it. And one of the other saxophone players on that recording is Dexter Gordon, a musician who was originally from LA. Those of you with long memories will remember that back in the first year or so of the podcast we talked a lot about the music programme at Jefferson High School in LA, and about Samuel Browne, the music teacher whose music programme gave the world the Coasters, the Penguins, the Platters, Etta James, Art Farmer, Richard Berry, Big Jay McNeely, Barry White, and more other important musicians than I can possibly name here. Gordon was yet another of Browne's students -- one who Browne regularly gave detention to, just to make him practice his scales. Gordon didn't get much chance to shine in the Lionel Hampton band, because he was only second tenor, with Jacquet taking many of the solos. But he was learning from playing in a band with Jacquet, and while Gordon didn't ever develop a honk like Jacquet's, he did adopt some of Jacquet's full tone in his own sound. There aren't many recordings of Gordon playing solos in his early years, because they coincided with the American Federation of Musicians' recording strike that we talked about in those early episodes, but he did record a few sessions in 1943 for a label small enough not to be covered by the ban, and you can hear something of Jacquet's tone in those recordings, along with the influence of Lester Young, who influenced all tenor sax players at this time: [Excerpt: Nat "King" Cole with Dexter Gordon, "I've Found a New Baby"] The piano player on that session, incidentally, is Nat "King" Cole, when he was still one of the most respected jazz pianists on the scene, before he switched primarily to vocals. And Gordon took this Jacquet-influenced tone, and used it to become the second great saxophone hero of bebop music, after Charlie Parker -- and the first great tenor sax hero of the music. I've mentioned bebop before on several occasions, but never really got into it in detail. It was a style that developed in New York in the mid to late forties, and a lot of the earliest examples of it went unrecorded thanks to that musicians' strike, but the style emphasised small groups improvising together, and expanding their sense of melody and harmony. The music prized virtuosity and musical intelligence over everything else, and was fast and jittery-sounding. The musicians would go on long, extended, improvisations, incorporating ideas both from the blues and from the modern classical music of people like Bartok and Stravinsky, which challenged conventional tonality. In particular, one aspect which became prominent in bebop music was a type of scale known as the bebop scale. In most of the music we've looked at in this podcast to this point, the scales used have been seven-note scales -- do-re-mi-fa-so-la-ti- which make an octave with a second, higher, do tone. So in the scale of C major we have C, D, E, F, G, A, B, and then another C: [demonstrates] Bebop scales, on the other hand, would generally have an extra note in, making an eight-note scale, by adding in what is called a chromatic passing note. For example, a typical bebop C major scale might add in the note G#, so the scale would go C,D,E,F,G,G#, A, B, C: [demonstrates] You'd play this extra note for the most part, when moving between the two notes it's between, so in that scale you'd mostly use it when moving from G to A, or from A to G. Now I'm far from a bebop player, so this won't sound like bebop, but I can demonstrate the kind of thing if I first noodle a little scalar melody in the key of C major: [demonstrates] And then play the same thing, but adding in a G# every time I go between the G and the A in either direction: [demonstrates] That is not bebop music, but I hope you can see what a difference that chromatic passing tone makes to the melody. But again, that's not bebop, because I'm not a bebop player. Dexter Gordon, though, *was* a bebop player. He moved to New York while playing with Louis Armstrong's band, and soon became part of the bebop scene, which at the time centred around Charlie Christian, the trumpet player Dizzy Gillespie, and the alto sax player Charlie Parker, sometimes nicknamed "bird" or "Yardbird", who is often regarded as the greatest of them all. Gillespie, Parker, and Gordon also played in Billy Eckstine's big band, which gave many of the leading bebop musicians the opportunity to play in what was still the most popular idiom at the time -- you can hear Gordon have a saxophone battle with Gene Ammons on "Blowing the Blues Away" in a lineup of the band that also included Art Blakey on drums and Dizzy Gillespie on trumpet: [Excerpt: Billy Eckstine, "Blowing the Blues Away"] But Gordon was soon leading his own small band sessions, and making records for labels like Savoy, on which you can definitely hear the influence of Illinois Jacquet on his tone, even as he's playing music that's more melodically experimental by far than the jump band music of the Hampton band: [Excerpt: Dexter Gordon, "Dexter Digs In"] Basically, in the late 1940s, if you were wanting to play bebop on the saxophone, you had two models to follow -- Charlie Parker, the great alto saxophonist with his angular, atonal, melodic sense and fast, virtuosic, playing, or Dexter Gordon, the tenor saxophonist, whose style had more R&B grease and wit to it, who would quote popular melodies in his own improvisations. And John Coltrane followed both. Coltrane's first instrument was the alto sax, and when he was primarily an alto player he would copy Charlie Parker's style. When he switched to being primarily a tenor player -- though he would always continue playing both instruments, and later in his career would also play soprano sax -- he took up much of Gordon's mellower tone, though he was also influenced by other tenor players, like Lester Young, the great player with Count Basie's band, and Johnny Hodges, who played with Duke Ellington. Now, it is important to note here that John Coltrane is a very, very, big deal. Depending on your opinion of Ornette Coleman's playing, Coltrane is by most accounts either the last or penultimate truly great innovator in jazz saxophone, and arguably the single foremost figure in the music in the last half of the twentieth century. In this podcast I'm only able to tell you enough about him to give you the information you need to understand the material about the Byrds, but were I to do a similar history of jazz in five hundred songs, Coltrane would have a similar position to someone like the Beatles -- he's such a major figure that he is literally venerated as a saint by the African Orthodox Church, and a couple of other Episcopal churches have at least made the case for his sainthood. So anything I say here about him is not even beginning to scratch the surface of his towering importance to jazz music, but it will, I hope, give some idea of his importance to the development of the Byrds -- a group of whom he was almost certainly totally unaware. Coltrane started out playing as a teenager, and his earliest recordings were when he was nineteen and in the armed forces, just after the end of World War II. At that time, he was very much a beginner, although a talented one, and on his early amateur recordings you can hear him trying to imitate Parker without really knowing what it was that Parker was doing that made him so great. But as well as having some natural talent, he had one big attribute that made him stand out -- his utter devotion to his music. He was so uninterested in anything other than mastering his instrument that one day a friend was telling him about a baseball game he'd watched, and all Coltrane could do was ask in confusion "Who's Willie Mays?" Coltrane would regularly practice his saxophone until his reed was red with blood, but he would also study other musicians. And not just in jazz. He knew that Charlie Parker had intensely studied Stravinsky's Firebird Suite, and so Coltrane would study that too: [Excerpt: Stravinsky, "Firebird Suite"] Coltrane joined the band of Eddie "Cleanhead" Vinson, who was one of those figures like Johnny Otis, with whom Vinson would later perform for many years, who straddled the worlds of jazz and R&B. Vinson was a blues shouter in the style of Big Joe Turner, but he was also a bebop sax player, and what he wanted was a tenor sax player who could play tenor the way Charlie Parker played alto, but do it in an R&B setting. Coltrane switched from alto to tenor, and spent a year or so playing with Vinson's band. No recordings exist of Coltrane with Vinson that I'm aware of, but you can get an idea of what he sounded like from his next band. By this point, Dizzy Gillespie had graduated from small bebop groups to leading a big band, and he got Coltrane in as one of his alto players, though Coltrane would often also play tenor with Gillespie, as on this recording from 1951, which has Coltrane on tenor, Gillespie on trumpet, with Kenny Burrell and two of the future Modern Jazz Quartet, Milt Jackson and Percy Heath, showing that the roots of modern jazz were not very far at all from the roots of rock and roll: [Excerpt: Dizzy Gillespie, "We Love to Boogie"] After leaving Gillespie's band, Coltrane played with a lot of important musicians over the next four or five years, like Johnny Hodges, Earl Bostic, and Jimmy Smith, and occasionally sat in with Miles Davis, but at this point he was still not a major musician in the genre. He was a competent, working, sideman, but he was also struggling with alcohol and heroin, and hadn't really found his own voice. But then Miles Davis asked Coltrane to join his band full-time. Coltrane was actually Davis' second choice -- he really wanted Sonny Rollins, who was widely considered the best new tenor player around, but he was eventually persuaded to take Coltrane. During his first period with Davis, Coltrane grew rapidly as a musician, and also played on a *lot* of other people's sessions. In a three year period Coltrane went from Davis to Thelonius Monk's group then back to Davis' group, and also recorded as both a sideman and a band leader on a ton of sessions. You can get a box set of his recordings from May 1956 through December 1958 that comes to nineteen CDs -- and that's not counting the recordings with Miles Davis, which aren't included on that set. Unsurprisingly, just through playing this much, Coltrane had grown enormously as a player, and he was particularly fascinated by harmonics, playing with the notes of a chord, in arpeggios, and pushing music to its harmonic limits, as you can hear in his solo on Davis' "Straight, No Chaser", which pushes the limits of the jazz solo as far as they'd gone to that point: [Excerpt: Miles Davis, "Straight, No Chaser"] But on the same album as that, "Milestones", we also have the first appearance of a new style, modal jazz. Now, to explain this, we have to go back to the scales again. We looked at the normal Western scale, do-re-mi-fa-so-la-ti-do, but you can start a scale on any of those notes, and which note you start on creates what is called a different mode. The modes are given Greek names, and each mode has a different feel to it. If you start on do, we call this the major scale or the Ionian mode. This is the normal scale we heard before -- C,D,E,F,G,A,B,C: [demonstrates] Most music – about seventy percent of the melodies you're likely to have heard, uses that mode. If you start on re, it would go re-mi-fa-so-la-ti-do-re, or D,E,F,G,A,B,C,D, the Dorian mode: [demonstrates] Melodies with this mode tend to have a sort of wistful feel, like "Scarborough Fair": [Excerpt: Simon and Garfunkel, "Scarborough Fair"] or many of George Harrison's songs: [Excerpt: The Beatles, "I Me Mine"] Starting on mi, you have the Phrygian mode, mi-fa-so-la-ti-do-re-mi: [demonstrates] The Phrygian mode is not especially widely used, but does turn up in some popular works like Barber's Adagio for Strings: [Excerpt: Barber, "Adagio for Strings"] Then there's the Lydian mode, fa-so-la-ti-do-re-mi-fa: [demonstrates] This mode isn't used much at all in pop music -- the most prominent example I can think of is "Pretty Ballerina" by the Left Banke: [Excerpt: The Left Banke, "Pretty Ballerina"] Starting on so, we have so-la-ti-do-re-mi-fa-so -- the Mixolydian mode: [demonstrates] That mode has a sort of bluesy or folky tone to it, and you also find it in a lot of traditional tunes, like "She Moves Through the Fair": [Excerpt: Davey Graham, "She Moved Thru' The Bizarre/Blue Raga"] And in things like "Norwegian Wood" by the Beatles: [Excerpt: The Beatles, "Norwegian Wood"] Though that goes into Dorian for the middle section. Starting on la, we have the Aeolian mode, which is also known as the natural minor scale, and is often just talked about as “the minor scale”: [demonstrates] That's obviously used in innumerable songs, for example "Losing My Religion" by REM: [Excerpt: REM, "Losing My Religion"] And finally you have the Locrian mode ti-do-re-mi-fa-so-la-ti: [demonstrates] That basically doesn't get used, unless someone wants to show off that they know the Locrian mode. The only vaguely familiar example I can think of is "Army of Me" by Bjork: [Excerpt: Bjork, "Army of Me"] I hope that brief excursion through the seven most common modes in Western diatonic music gives you some idea of the difference that musical modes can make to a piece. Anyway, as I was saying, on the "Milestones" album, we get some of the first examples of a form that became known as modal jazz. Now, the ideas of modal jazz had been around for a few years at that point -- oddly, it seems to be one of the first types of popular music to have existed in theory before existing in practice. George Russell, an acquaintance of Davis who was a self-taught music theorist, had written a book in 1953 titled The Lydian Chromatic Concept of Tonal Organization. That book argues that rather than looking at the diatonic scale as the basis for music, one should instead look at a chord progression called the circle of fifths. The circle of fifths is exactly what it sounds like -- you change chords to one a fifth away from it, and then do that again and again, either going up, so you'd have chords with the roots C-G-D-A-E-B-F# and so on: [demonstrates] Or, more commonly, going down, though usually when going downwards you tend to cheat a bit and sharpen one of the notes so you can stay in one key, so you'd get chords with roots C-F-B-E-A-D-G, usually the chords C, F, B diminished, Em, Am, Dm, G: [demonstrates] That descending cycle of fifths is used in all sorts of music, everything from "You Never Give Me Your Money" by the Beatles: [Excerpt: The Beatles, "You Never Give Me Your Money"] to "I Will Survive" by Gloria Gaynor: [Excerpt: Gloria Gaynor, "I Will Survive"] But what Russell pointed out is that if you do the upwards cycle of fifths, and you *don't* change any of the notes, the first seven root notes you get are the same seven notes you'd find in the Lydian mode, just reordered -- C-D-E-F#-G-A-B . Russell then argued that much of the way harmony and melody work in jazz could be thought of as people experimenting with the way the Lydian mode works, and the way the cycle of fifths leads you further and further away from the tonal centre. Now, you could probably do an entire podcast series as long as this one on the implications of this, and I am honestly just trying to summarise enough information here that you can get a vague gist, but Russell's book had a profound effect on how jazz musicians started to think about harmony and melody. Instead of improvising around the chord changes to songs, they were now basing improvisations and compositions around modes and the notes in them. Rather than having a lot of chord changes, you might just play a single root note that stays the same throughout, or only changes a couple of times in the whole piece, and just imply changes with the clash between the root note and whatever modal note the solo instrument is playing. The track "Milestones" on the Milestones album shows this kind of thinking in full effect -- the song consists of a section in G Dorian, followed by a section in A Aeolian (or E Phrygian depending on how you look at it). Each section has only one implied chord -- a Gm7 for the G Dorian section, and an Am7(b13) for the A Aeolian section -- over which Davis, Cannonball Adderley on alto sax, and Coltrane on tenor, all solo: [Excerpt: Miles Davis, "Milestones"] (For the pedants among you, that track was originally titled "Miles" on the first pressings of the album, but it was retitled "Milestones" on subsequent pressings). The modal form would be taken even further on Davis' next album to be recorded, Porgy and Bess, which featured much fuller orchestrations and didn't have Coltrane on it. Davis later said that when the arranger Gil Evans wrote the arrangements for that album, he didn't write any chords at all, just a scale, which Davis could improvise around. But it was on the album after that, Kind of Blue, which again featured Coltrane on saxophone, that modal jazz made its big breakthrough to becoming the dominant form of jazz music. As with what Evans had done on Porgy and Bess, Davis gave the other instrumentalists modes to play, rather than a chord sequence to improvise over or a melody line to play with. He explained his thinking behind this in an interview with Nat Hentoff, saying "When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them." This style shows up in "So What", the opening track on the album, which is in some ways a very conventional song structure -- it's a thirty-two bar AABA structure. But instead of a chord sequence, it's based on modes in two keys -- the A section is in D Dorian, while the B section is in E-flat Dorian: [Excerpt: Miles Davis, "So What"] Kind of Blue would become one of the contenders for greatest jazz album of all time, and one of the most influential records ever made in any genre -- and it could be argued that that track we just heard, "So What", inspired a whole other genre we'll be looking at in a future episode -- but Coltrane still felt the need to explore more ideas, and to branch out on his own. In particular, while he was interested in modal music, he was also interested in exploring more kinds of scales than just modes, and to do this he had to, at least for the moment, reintroduce chord changes into what he was doing. He was inspired in particular by reading Nicolas Slonimsky's classic Thesaurus of Scales and Melodic Patterns. Coltrane had recently signed a new contract as a solo artist with Atlantic Records, and recorded what is generally considered his first true masterpiece album as a solo artist, Giant Steps, with several members of the Davis band, just two weeks after recording Kind of Blue. The title track to Giant Steps is the most prominent example of what are known in jazz as the Coltrane changes -- a cycle of thirds, similar to the cycle of fifths we talked about earlier. The track itself seems to have two sources. The first is the bridge of the old standard "Have You Met Miss Jones?", as famously played by Coleman Hawkins: [Excerpt: Coleman Hawkins, "Have You Met Miss Jones?" And the second is an exercise from Slonimsky's book: [Excerpt: Pattern #286 from Thesaurus of Scales and Melodic Patterns] Coltrane combined these ideas to come up with "Giant Steps", which is based entirely around these cycles of thirds, and Slonimsky's example: [Excerpt: John Coltrane, "Giant Steps"] Now, I realise that this is meant to be a history of rock music, not jazz musicology theory time, so I promise you I am just hitting the high points here. And only the points that affect Coltrane's development as far as it influenced the music we're looking at in this episode. And so we're actually going to skip over Coltrane's commercial high-point, My Favourite Things, and most of the rest of his work for Atlantic, even though that music is some of the most important jazz music ever recorded. Instead, I'm going to summarise a whole lot of very important music by simply saying that while Coltrane was very interested in this musical idea of the cycle of thirds, he did not like being tied to precise chord changes, and liked the freedom that modal jazz gave to him. By 1960, when his contract with Atlantic was ending and his contract with Impulse was beginning, and he recorded the two albums Olé and Africa/Brass pretty much back to back, he had hit on a new style with the help of Eric Dolphy, a flute, clarinet, and alto sax player who would become an important figure in Coltrane's life. Dolphy died far too young -- he went into a diabetic coma and doctors assumed that because he was a Black jazz musician he must have overdosed, even though he was actually a teetotal abstainer, so he didn't get the treatment he needed -- but he made such a profound influence on Coltrane's life that Coltrane would carry Dolphy's picture with him after his death. Dolphy was even more of a theorist than Coltrane, and another devotee of Slonimsky's book, and he was someone who had studied a great deal of twentieth-century classical music, particularly people like Bartok, Messiaen, Stravinsky, Charles Ives, and Edgard Varese. Dolphy even performed Varese's piece Density 21.5 in concert, an extremely demanding piece for solo flute. I don't know of a recording of Dolphy performing it, sadly, but this version should give some idea: [Excerpt: Edgard Varese, "Density 21.5"] Encouraged by Dolphy, Coltrane started making music based around no changes at all, with any changes being implied by the melody. The title song of Africa/Brass, "Africa", takes up an entire side of one album, and doesn't have a single actual chord change on it, with Dolphy and pianist McCoy Tyner coming up with a brass-heavy arrangement for Coltrane to improvise over a single chord: [Excerpt: The John Coltrane Quartet: "Africa"] This was a return to the idea of modal jazz, based on scales rather than chord changes, but by implying chord changes, often changes based on thirds, Coltrane was often using different scales than the modes that had been used in modal jazz. And while, as the title suggested, "Africa" was inspired by the music of Africa, the use of a single drone chord underneath solos based on a scale was inspired by the music of another continent altogether. Since at least the mid-1950s, both Coltrane and Dolphy had been interested in Indian music. They appear to have first become interested in a record released by Folkways, Music Of India, Morning And Evening Ragas by Ali Akbar Khan: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But the musician they ended up being most inspired by was a friend of Khan's, Ravi Shankar, who like Khan had been taught by the great sarod player Alauddin Khan, Ali Akbar Khan's father. The elder Khan, who was generally known as "Baba", meaning "father", was possibly *the* most influential Indian musician of the first half of the twentieth century, and was a big part of the revitalisation of Indian music that went hand in hand with the growth of Indian nationalism. He was an ascetic who lived for music and nothing else, and would write five to ten new compositions every day, telling Shankar "Do one thing well and you can achieve everything. Do everything and you achieve nothing". Alauddin Khan was a very religious Muslim, but one who saw music as the ultimate way to God and could find truths in other faiths. When Shankar first got to know him, they were both touring as musicians in a dance troupe run by Shankar's elder brother, which was promoting Indian arts in the West, and he talked about taking Khan to hear the organ playing at Notre Dame cathedral, and Khan bursting into tears and saying "here is God". Khan was not alone in this view. The classical music of Northern India, the music that Khan played and taught, had been very influenced by Sufism, which was for most of Muslim history the dominant intellectual and theological tradition in Islam. Now, I am going to sum up a thousand years of theology and practice, of a religion I don't belong to, in a couple of sentences here, so just assume that what I'm saying is wrong, and *please* don't take offence if you are Sufi yourself and believe I am misrepresenting you. But my understanding of Sufism is that Sufis are extremely devoted to attaining knowledge and understanding of God, and believe that strict adherence to Muslim law is the best way to attain that knowledge -- that it is the way that God himself has prescribed for humans to know him -- but that such knowledge can be reached by people of other faiths if they approach their own traditions with enough devotion. Sufi ideas infuse much of Northern Indian classical music, and so for example it has been considered acceptable for Muslims to sing Hindu religious music and Hindus to sing songs of praise to Allah. So while Ravi Shankar was Hindu and Alauddin Khan was Muslim, Khan was able to become Shankar's guru in what both men regarded as a religious observance, and even to marry Khan's daughter. Khan was a famously cruel disciplinarian -- once hospitalising a student after hitting him with a tuning hammer -- but he earned the devotion of his students by enforcing the same discipline on himself. He abstained from sex so he could put all his energies into music, and was known to tie his hair to the ceiling while he practiced, so he could not fall asleep no matter how long he kept playing. Both Khan and his son Ali Akhbar Khan played the sarod, while Shankar played the sitar, but they all played the same kind of music, which is based on the concept of the raga. Now, in some ways, a raga can be considered equivalent to a mode in Western music: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But a raga is not *just* a mode -- it sits somewhere between Western conceptions of a mode and a melody. It has a scale, like a mode, but it can have different scales going up or down, and rules about which notes can be moved to from which other notes. So for example (and using Western tones so as not to confuse things further), a raga might say that it's possible to move up from the note G to D, but not down from D to G. Ragas are essentially a very restrictive set of rules which allow the musician playing them to improvise freely within those rules. In the late 1940s and early 1950s, the violinist Yehudi Mehuin, at the time the most well-known classical musician in the world, had become fascinated by Indian music as part of a wider programme of his to learn more music outside what he regarded as the overly-constricting scope of the Western classical tradition in which he had been trained. He had become a particular fan of Shankar, and had invited him over to the US to perform. Shankar had refused to come at that point, sending his brother-in-law Ali Akbar Khan over, as he was in the middle of a difficult divorce, and that had been when Khan had recorded that album which had fascinated Coltrane and Dolphy. But Shankar soon followed himself, and made his own records: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] The music that both Khan and Shankar played was a particular style of Hindustani classical music, which has three elements -- there's a melody instrument, in Shankar's case the sitar and in Khan's the sarod, both of them fretted stringed instruments which have additional strings that resonate along with the main melody string, giving their unique sound. These are the most distinctive Indian instruments, but the melody can be played on all sorts of other instruments, whether Indian instruments like the bansuri and shehnai, which are very similar to the flute and oboe respectively, or Western instruments like the violin. Historically, the melody has also often been sung rather than played, but Indian instrumental music has had much more influence on Western popular music than Indian vocal music has, so we're mostly looking at that here. Along with the melody instrument there's a percussion instrument, usually the tabla, which is a pair of hand drums. Rather than keep a steady, simple, beat like the drum kit in rock music, the percussion has its own patterns and cycles, called talas, which like ragas are heavily formalised but leave a great amount of room for improvisation. The percussion and the melody are in a sort of dialogue with each other, and play off each other in a variety of ways. And finally there's the drone instrument, usually a stringed instrument called a tamboura. The drone is what it sounds like -- a single note, sustained and repeated throughout the piece, providing a harmonic grounding for the improvisations of the melody instrument. Sometimes, rather than just a single root note, it will be a root and fifth, providing a single chord to improvise over, but as often it will be just one note. Often that note will be doubled at the octave, so you might have a drone on both low E and high E. The result provides a very strict, precise, formal, structure for an infinitely varied form of expression, and Shankar was a master of it: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] Dolphy and, especially, Coltrane became fascinated by Indian music, and Coltrane desperately wanted to record with Shankar -- he even later named his son Ravi in honour of the great musician. It wasn't just the music as music, but music as spiritual practice, that Coltrane was engaged with. He was a deeply religious man but one who was open to multiple faith traditions -- he had been brought up as a Methodist, and both his grandfathers were ministers in the African Methodist Episcopal Zion Church, but his first wife, Naima, who inspired his personal favourite of his own compositions, was a Muslim, while his second wife, Swamini Turiyasangitananda (who he married after leaving Naima in 1963 and who continued to perform as Alice Coltrane even after she took that name, and was herself an extraordinarily accomplished jazz musician on both piano and harp), was a Hindu, and both of them profoundly influenced Coltrane's own spirituality. Some have even suggested that Coltrane's fascination with a cycle of thirds came from the idea that the third could represent both the Christian Trinity and the Hindu trimurti -- the three major forms of Brahman in Hinduism, Brahma, Vishnu, and Shiva. So a music which was a religious discipline for more than one religion, and which worked well with the harmonic and melodic ideas that Coltrane had been exploring in jazz and learning about through his studies of modern classical music, was bound to appeal to Coltrane, and he started using the idea of having two basses provide an octave drone similar to that of the tamboura, leading to tracks like "Africa" and "Olé": [Excerpt: John Coltrane, "Olé"] Several sources have stated that that song was an influence on "Light My Fire" by the Doors, and I can sort of see that, though most of the interviews I've seen with Ray Manzarek have him talking about Coltrane's earlier version of "My Favourite Things" as the main influence there. Coltrane finally managed to meet with Shankar in December 1961, and spent a lot of time with him -- the two discussed recording an album together with McCoy Tyner, though nothing came of it. Shankar said of their several meetings that month: "The music was fantastic. I was much impressed, but one thing distressed me. There was turbulence in the music that gave me a negative feeling at times, but I could not quite put my finger on the trouble … Here was a creative person who had become a vegetarian, who was studying yoga, and reading the Bhagavad-Gita, yet in whose music I still heard much turmoil. I could not understand it." Coltrane said in turn "I like Ravi Shankar very much. When I hear his music, I want to copy it – not note for note of course, but in his spirit. What brings me closest to Ravi is the modal aspect of his art. Currently, at the particular stage I find myself in, I seem to be going through a modal phase … There's a lot of modal music that is played every day throughout the world. It is particularly evident in Africa, but if you look at Spain or Scotland, India or China, you'll discover this again in each case … It's this universal aspect of music that interests me and attracts me; that's what I'm aiming for." And the month before Coltrane met Shankar, Coltrane had had a now-legendary residency at the Village Vanguard in New York with his band, including Dolphy, which had resulted not only in the famous Live at the Village Vanguard album, but in two tracks on Coltrane's studio album Impressions. Those shows were among the most controversial in the history of jazz, though the Village Vanguard album is now often included in lists of the most important records in jazz. Downbeat magazine, the leading magazine for jazz fans at the time, described those shows as "musical nonsense" and "a horrifying demonstration of what appears to be a growing anti-jazz trend" -- though by the time Impressions came out in 1963, that opinion had been revised somewhat. Harvey Pekar, the comic writer and jazz critic, also writing in DownBeat, gave Impressions five stars, saying "Not all the music on this album is excellent (which is what a five-star rating signifies,) but some is more than excellent". And while among Coltrane fans the piece from these Village Vanguard shows that is of most interest is the extended blues masterpiece "Chasin' the Trane" which takes up a whole side of the Village Vanguard LP, for our purposes we're most interested in one of the two tracks that was held over for Impressions. This was another of Coltrane's experiments in using the drones he'd found in Indian musical forms, like "Africa" and "Olé". This time it was also inspired by a specific piece of music, though not an instrumental one. Rather it was a vocal performance -- a recording on a Folkways album of Pandita Ramji Shastri Dravida chanting one of the Vedas, the religious texts which are among the oldest texts sacred to any surviving religion: [Excerpt: Pandita Ramji Shastri Dravida, "Vedic Chanting"] Coltrane took that basic melodic idea, and combined it with his own modal approach to jazz, and the inspiration he was taking from Shankar's music, and came up with a piece called "India": [Excerpt: John Coltrane, "India"] Which is where we came in, isn't it? [Excerpt: The Byrds, "Eight Miles High"] So now, finally, we get to the Byrds. Even before "Mr. Tambourine Man" went to number one in the charts, the Byrds were facing problems with their sound being co-opted as the latest hip thing. Their location in LA, at the centre of the entertainment world, was obviously a huge advantage to them in many ways, but it also made them incredibly visible to people who wanted to hop onto a bandwagon. The group built up much of their fanbase playing at Ciro's -- the nightclub on the Sunset Strip that we mentioned in the previous episode which later reopened as It's Boss -- and among those in the crowd were Sonny and Cher. And Sonny brought along his tape recorder. The Byrds' follow-up single to "Mr. Tambourine Man", released while that song was still going up the charts, was another Dylan song, "All I Really Want to Do". But it had to contend with this: [Excerpt: Cher, "All I Really Want to Do"] Cher's single, produced by Sonny, was her first solo single since the duo had become successful, and came out before the Byrds' version, and the Byrds were convinced that elements of the arrangement, especially the guitar part, came from the version they'd been performing live – though of course Sonny was no stranger to jangly guitars himself, having co-written “Needles and Pins”, the song that pretty much invented the jangle. Cher made number fifteen on the charts, while the Byrds only made number forty. Their version did beat Cher's in the UK charts, though. The record company was so worried about the competition that for a while they started promoting the B-side as the A-side. That B-side was an original by Gene Clark, though one that very clearly showed the group's debt to the Searchers: [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] While it was very obviously derived from the Searchers' version of "Needles and Pins", especially the riff, it was still a very strong, original, piece of work in its own right. It was the song that convinced the group's producer, Terry Melcher, that they were a serious proposition as artists in their own right, rather than just as performers of Dylan's material, and it was also a favourite of the group's co-manager, Jim Dickson, who picked out Clark's use of the word "probably" in the chorus as particularly telling -- the singer thinks he will feel better when the subject of the song is gone, but only probably. He's not certain. "I'll Feel a Whole Lot Better", after being promoted as the A-side for a short time, reached number one hundred and two on the charts, but the label quickly decided to re-flip it and concentrate on promoting the Dylan song as the single. The group themselves weren't too bothered about their thunder having been stolen by Sonny and Cher, but their new publicist was incandescent. Derek Taylor had been a journalist for the Daily Express, which at that time was a respectable enough newspaper (though that is very much no longer the case). He'd become involved in the music industry after writing an early profile on the Beatles, at which point he had been taken on by the Beatles' organisation first to ghostwrite George Harrison's newspaper column and Brian Epstein's autobiography, and then as their full-time publicist and liner-note writer. He'd left the organisation at the end of 1964, and had moved to the US, where he had set up as an independent music publicist, working for the Byrds, the Beach Boys, and various other acts in their overlapping social circles, such as Paul Revere and the Raiders. Taylor was absolutely furious on the group's behalf, saying "I was not only disappointed, I was disgusted. Sonny and Cher went to Ciro's and ripped off the Byrds and, being obsessive, I could not get this out of my mind that Sonny and Cher had done this terrible thing. I didn't know that much about the record business and, in my experience with the Beatles, cover versions didn't make any difference. But by covering the Byrds, it seemed that you could knock them off the perch. And Sonny and Cher, in my opinion, stole that song at Ciro's and interfered with the Byrds' career and very nearly blew them out of the game." But while the single was a comparative flop, the Mr. Tambourine Man album, which came out shortly after, was much more successful. It contained the A and B sides of both the group's first two singles, although a different vocal take of "All I Really Want to Do" was used from the single release, along with two more Dylan covers, and a couple more originals -- five of the twelve songs on the album were original in total, three of them Gene Clark solo compositions and the other two co-written by Clark and Roger McGuinn. To round it out there was a version of the 1939 song "We'll Meet Again", made famous by Vera Lynn, which you may remember us discussing in episode ninety as an example of early synthesiser use, but which had recently become popular in a rerecorded version from the 1950s, thanks to its use at the end of Dr. Strangelove; there was a song written by Jackie DeShannon; and "The Bells of Rhymney", a song in which Pete Seeger set a poem about a mining disaster in Wales to music. So a fairly standard repertoire for early folk-rock, though slightly heavier on Dylan than most. While the group's Hollywood notoriety caused them problems like the Sonny and Cher one, it did also give them advantages. For example, they got to play at the fourth of July party hosted by Jane Fonda, to guests including her father Henry and brother Peter, Louis Jordan, Steve McQueen, Warren Beatty, and Sidney Poitier. Derek Taylor, who was used to the Beatles' formal dress and politeness at important events, imposed on them by Brian Epstein, was shocked when the Byrds turned up informally dressed, and even more shocked when Vito Paulekas and Carl Franzoni showed up. Vito (who was always known by his first name) and Franzoni are both important but marginal figures in the LA scene. Neither were musicians, though Vito did make one record, produced by Kim Fowley: [Excerpt: Vito and the Hands, "Vito and the Hands"] Rather Vito was a sculptor in his fifties, who had become part of the rock and roll scene and had gathered around him a dance troupe consisting largely of much younger women, and also of himself and Franzoni. Their circle, which also included Arthur Lee and Bryan MacLean, who weren't part of their dance troupe but were definitely part of their crowd, will be talked about much more in future episodes, but for now we'll just say that they are often considered proto-hippies, though they would have disputed that characterisation themselves quite vigorously; that they were regular dancers at Ciro's and became regular parts of the act of both the Byrds and the Mothers of Invention; and we'll give this rather explicit description of their performances from Frank Zappa: "The high point of the performance was Carl Franzoni, our 'go-go boy.' He was wearing ballet tights, frugging violently. Carl has testicles which are bigger than a breadbox. Much bigger than a breadbox. The looks on the faces of the Baptist teens experiencing their grandeur is a treasured memory." Paints a vivid picture, doesn't it? So you can possibly imagine why Derek Taylor later said "When Carl Franzoni and Vito came, I got into a terrible panic". But Jim Dickson explained to him that it was Hollywood and people were used to that kind of thing, and even though Taylor described seeing Henry Fonda and his wife pinned against the wall by the writhing Franzoni and the other dancers, apparently everyone had a good time. And then the next month, the group went on their first UK tour. On which nobody had a good time: [Excerpt: The Byrds, "Eight Miles High"] Even before the tour, Derek Taylor had reservations. Obviously the Byrds should tour the UK -- London, in particular, was the centre of the cultural world at that time, and Taylor wanted the group to meet his old friends the Beatles and visit Carnaby Street. But at the same time, there seemed to be something a little... off... about the promoters they were dealing with, Joe Collins, the father of Joan and Jackie Collins, and a man named Mervyn Conn. As Taylor said later "All I did know was that the correspondence from Mervyn Conn didn't assure me. I kept expressing doubts about the contents of the letters. There was something about the grammar. You know, 'I'll give you a deal', and 'We'll get you some good gigs'. The whole thing was very much showbusiness. Almost pantomime showbusiness." But still, it seemed like it was worth making the trip, even when Musicians Union problems nearly derailed the whole thing. We've talked previously about how disagreements between the unions in the US and UK meant that musicians from one country couldn't tour the other for decades, and about how that slightly changed in the late fifties. But the new system required a one-in, one-out system where tours had to be set up as exchanges so nobody was taking anyone's job, and nobody had bothered to find a five-piece group of equivalent popularity to the Byrds to tour America in return. Luckily, the Dave Clark Five stepped into the breach, and were able to do a US tour on short notice, so that problem was solved. And then, as soon as they landed, the group were confronted with a lawsuit. From the Birds: [Excerpt: The Birds, "No Good Without You Baby"] These Birds, spelled with an "i", not a "y", were a Mod group from London, who had started out as the Thunderbirds, but had had to shorten their name when the London R&B singer Chris Farlowe and his band the Thunderbirds had started to have some success. They'd become the Birds, and released a couple of unsuccessful singles, but had slowly built up a reasonable following and had a couple of TV appearances. Then they'd started to receive complaints from their fans that when they went into the record shops to ask for the new record by the Birds, they were being sold some jangly folky stuff about tambourines, rather than Bo Diddley inspired R&B. So the first thing the American Byrds saw in England, after a long and difficult flight which had left them very tired and depressed, especially Gene Clark, who hated flying, was someone suing them for loss of earnings. The lawsuit never progressed any further, and the British group changed their name to Birds Birds, and quickly disappeared from music history -- apart from their guitarist, Ronnie Wood, who we'll be hearing from again. But the experience was not exactly the welcome the group had been hoping for, and is reflected in one of the lines that Gene Clark wrote in the song he later came up with about the trip -- "Nowhere is there love to be found among those afraid of losing their ground". And the rest of the tour was not much of an improvement. Chris Hillman came down with bronchitis on the first night, David Crosby kept turning his amp up too high, resulting in the other members copying him and the sound in the venues they were playing seeming distorted, and most of all they just seemed, to the British crowds, to be unprofessional. British audiences were used to groups running on, seeming excited, talking to the crowd between songs, and generally putting on a show. The Byrds, on the other hand, sauntered on stage, and didn't even look at the audience, much less talk to them. What seemed to the LA audience as studied cool seemed to the UK audience like the group were rude, unprofessional, and big-headed. At one show, towards the end of the set, one girl in the audience cried out "Aren't you even going to say anything?", to which Crosby responded "Goodbye" and the group walked off, without any of them having said another word. When they played the Flamingo Club, the biggest cheer of the night came when their short set ended and the manager said that the club was now going to play records for dancing until the support act, Geno Washington and the Ramjam Band, were ready to do another set. Michael Clarke and Roger McGuinn also came down with bronchitis, the group were miserable and sick, and they were getting absolutely panned in the reviews. The closest thing they got to a positive review was when Paul Jones of Manfred Mann was asked about them, and he praised some of their act -- perceptively pointing to their version of "We'll Meet Again" as being in the Pop Art tradition of recontextualising something familiar so it could be looked at freshly -- but even he ended up also criticising several aspects of the show and ended by saying "I think they're going to be a lot better in the future". And then, just to rub salt in the wound, Sonny and Cher turned up in the UK. The Byrds' version of "All I Really Want to Do" massively outsold theirs in the UK, but their big hit became omnipresent: [Excerpt: Sonny and Cher, "I Got You Babe"] And the press seemed to think that Sonny and Cher, rather than the Byrds, were the true representatives of the American youth culture. The Byrds were already yesterday's news. The tour wasn't all bad -- it did boost sales of the group's records, and they became friendly with the Beatles, Stones, and Donovan. So much so that when later in the month the Beatles returned to the US, the Byrds were invited to join them at a party they were holding in Benedict Canyon, and it was thanks to the Byrds attending that party that two things happened to influence the Beatles' songwriting. The first was that Crosby brought his Hollywood friend Peter Fonda along. Fonda kept insisting on telling people that he knew what it was like to actually be dead, in a misguided attempt to reassure George Harrison, who he wrongly believed was scared of dying, and insisted on showing them his self-inflicted bullet wounds. This did not go down well with John Lennon and George Harrison, both of whom were on acid at the time. As Lennon later said, "We didn't want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful and Sixties, and this guy – who I really didn't know; he hadn't made Easy Rider or anything – kept coming over, wearing shades, saying, "I know what it's like to be dead," and we kept leaving him because he was so boring! ... It was scary. You know ... when you're flying high and [whispers] "I know what it's like to be dead, man" Eventually they asked Fonda to get out, and the experience later inspired Lennon to write this: [Excerpt: The Beatles, "She Said, She Said"] Incidentally, like all the Beatles songs of that period, that was adapted for the cartoon TV series based on the group, in this case as a follow-the-bouncing-ball animation. There are few things which sum up the oddness of mid-sixties culture more vividly than the fact that there was a massively popular kids' cartoon with a cheery singalong version of a song about a bad acid trip and knowing what it's like to be dead. But there was another, more positive, influence on the Beatles to come out of them having invited the Byrds to the party. Once Fonda had been kicked out, Crosby and Harrison became chatty, and started talking about the sitar, an instrument that Harrison had recently become interested in. Crosby showed Harrison some ragas on the guitar, and suggested he start listening to Ravi Shankar, who Crosby had recently become a fan of. And we'll be tracking Shankar's influence on Harrison, and through him the Beatles, and through them the whole course of twentieth century culture, in future episodes. Crosby's admiration both of Ravi Shankar and of John Coltrane was soon to show in the Byrds' records, but first they needed a new single. They'd made attempts at a version of "The Times They Are A-Changin'", and had even tried to get both George Harrison and Paul McCartney to add harmonica to that track, but that didn't work out. Then just before the UK tour, Terry Melcher had got Jack Nitzsche to come up with an arrangement of Dylan's "It's All Over Now, Baby Blue": [Excerpt: The Byrds, "It's All Over Now, Baby Blue (version 1)"] Nitzsche's arrangement was designed to sound as much like a Sonny and Cher record as possible, and at first the intention was just to overdub McGuinn's guitar and vocals onto a track by the Wrecking Crew. The group weren't happy at this, and even McGuinn, who was the friendliest of the group with Melcher and who the record was meant to spotlight, disliked it. The eventual track was cut by the group, with Jim Dickson producing, to show they could do a good job of the song by themselves, with the intention that Melcher would then polish it and finish it in the studio, but Melcher dropped the idea of doing the song at all. There was a growing factionalism in the group by this point, with McGuinn and to a lesser extent Michael Clarke being friendly with Melcher. Crosby disliked Melcher and was pushing for Jim Dickson to replace him as producer, largely because he thought that Melcher was vetoing Crosby's songs and giving Gene Clark and Roger McGuinn free run of the songwriting. Dickson on the other hand was friendliest with Crosby, but wasn't much keener on Crosby's songwriting than Melcher was, thinking Gene Clark was the real writing talent in the group. It didn't help that Crosby's songs tended to be things like harmonically complex pieces based on science fiction novels -- Crosby was a big fan of the writer Robert Heinlein, and in particular of the novel Stranger in a Strange Land, and brought in at least two songs inspired by that novel, which were left off albums -- his song "Stranger in a Strange Land" was eventually recorded by the San Francisco group Blackburn & Snow: [Excerpt: Blackburn & Snow, "Stranger in a Strange Land"] Oddly, Jim Dickson objected to what became the Byrds' next single for reasons that come from the same roots as the Heinlein novel. A short while earlier, McGuinn had worked as a guitarist and arranger on an album by the folk singer Judy Collins, and one of the songs she had recorded on that album was a song written by Pete Seeger, setting the first eight verses of chapter three of the Biblical book of Ecclesiastes to music: [Excerpt: Judy Collins, "Turn Turn Turn (To Everything There is a Season"] McGuinn wanted to do an electric version of that song as the Byrds' next single, and Melcher sided with him, but Dickson was against the idea, citing the philosopher Alfred Korzybski, who was a big influence both on the counterculture and on Heinlein. Korzybski, in his book Science and Sanity, argued that many of the problems with the world are caused by the practice in Aristotelean logic of excluding the middle and only talking about things and their opposites, saying that things could be either A or Not-A, which in his view excluded most of actual reality. Dickson's argument was that the lyrics to “Turn! Turn! Turn!” with their inflexible Aristotelianism, were hopelessly outmoded and would make the group a laughing stock among anyone who had paid attention to the intellectual revolutions of the previous few decades. "A time of love, a time of hate"? What about all the times that are neither for loving or hating, and all the emotions that are complex mixtures of love and hate? In his eyes, this was going to make the group look like lightweights. Terry Melcher disagreed, and forced the group through take after take, until they got what became the group's second number one hit: [Excerpt: The Byrds, "Turn! Turn! Turn!"] After the single was released and became a hit, the battle lines in the group hardened. It was McGuinn and Melcher on one side, Crosby and Dickson on the other, with Chris Hillman, Michael Clarke, and Gene Clark more or less neutral in the middle, but tending to side more and more with the two Ms largely because of Crosby's ability to rub everyone up the wrong way. At one point during the sessions for the next album, tempers flared so much that Michael Clarke actually got up, went over to Crosby, and punched Crosby so hard that he fell off his seat. Crosby, being Hollywood to the bone, yelled at Clarke "You'll never work in this town again!", but the others tended to agree that on that occasion Crosby had it coming. Clarke, when asked about it later, said "I slapped him because he was being an asshole. He wasn't productive. It was necessary." Things came to a head in the filming for a video for the next single, Gene Clark's "Set You Free This Time". Michael Clarke was taller than the other Byrds, and to get the shot right, so the angles would line up, he had to stand further from the camera than the rest of them. David Crosby -- the member with most knowledge of the film industry, whose father was an Academy Award-winning cinematographer, so who definitely understood the reasoning for this -- was sulking that once again a Gene Clark song had been chosen for promotion rather than one of his songs, and started manipulating Michael Clarke, telling him that he was being moved backwards because the others were jealous of his good looks, and that he needed to move forward to be with the rest of them. Multiple takes were ruined because Clarke listened to Crosby, and eventually Jim Dickson got furious at Clarke and went over and slapped him on the face. All hell broke loose. Michael Clarke wasn't particularly bothered by being slapped by Dickson, but Crosby took that as an excuse to leave, walking off before the first shot of the day had been completed. Dickson ran after Crosby, who turned round and punched Dickson in the mouth. Dickson grabbed hold of Crosby and held him in a chokehold. Gene Clark came up and pulled Dickson off Crosby, trying to break up the fight, and then Crosby yelled "Yeah, that's right, Gene! Hold him so I can hit him again!" At this point if Clark let Dickson go, Dickson would have attacked Crosby again. If he held Dickson, Crosby would have taken it as an invitation to hit him more. Clark's dilemma was eventually relieved by Barry Feinstein, the cameraman, who came in and broke everything up. It may seem odd that Crosby and Dickson, who were on the same side, were the ones who got into a fight, while Michael Clarke, who had previously hit Crosby, was listening to Crosby over Dickson, but that's indicative of how everyone felt about Crosby. As Dickson later put it, "People have stronger feelings about David Crosby. I love David more than the rest and I hate him more than the rest. I love McGuinn the least, and I hate him the least, because he doesn't give you emotional feedback. You don't get a chance. The hate is in equal proportion to how much you love them." McGuinn was finding all this deeply distressing -- Dickson and Crosby were violent men, and Michael Clarke and Hillman could be provoked to violence, but McGuinn was a pacifist both by conviction and temperament. Everything was conspiring to push the camps further apart. For example, Gene Clark made more money than the rest because of his songwriting royalties, and so got himself a good car. McGuinn had problems with his car, and knowing that the other members were jealous of Clark, Melcher offered to lend McGuinn one of his own Cadillacs, partly in an attempt to be friendly, and partly to make sure the jealousy over Clark's car didn't cause further problems in the group. But, of course, now Gene Clark had a Ferrarri and Roger McGuinn had a Cadillac, where was David Crosby's car? He stormed into Dickson's office and told him that if by the end of the tour the group were going on, Crosby didn't have a Bentley, he was quitting the group. There was only one thing for it. Terry Melcher had to go. The group had recorded their second album, and if they couldn't fix the problems within the band, they would have to deal with the problems from outside. While the group were on tour, Jim Dickson told Melcher they would no longer be working with him as their producer. On the tour bus, the group listened over and over to a tape McGuinn had made of Crosby's favourite music. On one side was a collection of recordings of Ravi Shankar, and on the other was two Coltrane albums -- Africa/Brass and Impressions: [Excerpt: John Coltrane, "India"] The group listened to this, and basically no other music, on the tour, and while they were touring Gene Clark was working on what he hoped would be the group's next single -- an impressionistic song about their trip to the UK, which started "Six miles high and when you touch down, you'll find that it's stranger than known". After he had it half complete, he showed it to Crosby, who helped him out with the lyrics, coming up with lines like "Rain, grey town, known for its sound" to describe London. The song talked about the crowds that followed them, about the music -- namechecking the Small Faces, who at the time had only released two single