Podcasts about Lombardy

Full Text of ReadingsSaturday of the Fourth Week of Lent Lectionary: 249The Saint of the day is Saint Vincent FerrerSaint Vincent Ferrer's Story The polarization in the Church today is a mild breeze compared with the tornado that ripped the Church apart during the lifetime of this saint. If any saint is a patron of reconciliation, Vincent Ferrer is. Despite parental opposition, he entered the Dominican Order in his native Spain at 19. After brilliant studies, he was ordained a priest by Cardinal Peter de Luna—who would figure tragically in his life. Of a very ardent nature, Vincent practiced the austerities of his Order with great energy. He was chosen prior of the Dominican house in Valencia shortly after his ordination. The Western schism divided Christianity first between two, then three, popes. Clement VII lived at Avignon in France, Urban VI in Rome. Vincent was convinced the election of Urban was invalid, though Catherine of Siena was just as devoted a supporter of the Roman pope. In the service of Cardinal de Luna, Vincent worked to persuade Spaniards to follow Clement. When Clement died, Cardinal de Luna was elected at Avignon and became Benedict XIII. Vincent worked for him as apostolic penitentiary and Master of the Sacred Palace. But the new pope did not resign as all candidates in the conclave had sworn to do. He remained stubborn, despite being deserted by the French king and nearly all of the cardinals. Vincent became disillusioned and very ill, but finally took up the work of simply “going through the world preaching Christ,” though he felt that any renewal in the Church depended on healing the schism. An eloquent and fiery preacher, he spent the last 20 years of his life spreading the Good News in Spain, France, Switzerland, the Low Countries and Lombardy, stressing the need of repentance and the fear of coming judgment. He became known as the “Angel of the Judgment.” Vincent tried unsuccessfully, in 1408 and 1415, to persuade his former friend to resign. He finally concluded that Benedict was not the true pope. Though very ill, he mounted the pulpit before an assembly over which Benedict himself was presiding, and thundered his denunciation of the man who had ordained him a priest. Benedict fled for his life, abandoned by those who had formerly supported him. Strangely, Vincent had no part in the Council of Constance, which ended the schism. Reflection The split in the Church at the time of Vincent Ferrer should have been fatal—36 long years of having two “heads.” We cannot imagine what condition the Church today would be in if, for that length of time, half the world had followed a succession of popes in Rome, and half an equally “official” number of popes in say, Rio de Janeiro. It is an ongoing miracle that the Church has not long since been shipwrecked on the rocks of pride and ignorance, greed and ambition. Contrary to Lowell's words, “Truth forever on the scaffold, wrong forever on the throne,” we believe that “truth is mighty, and it shall prevail”—but it sometimes takes a long time. Saint Vincent Ferrer is the Patron Saint of: BuildersBusinessmenReconciliation Saint of the Day, Copyright Franciscan Media

Saturday of the Fourth Week of Lent Commemoration of St. Vincent Ferrer, 1350-1419; entered the Dominicans in his native Spain at age 19; ordained a priest by Cardinal Peter de Luna, who later became an antipope at Avignon; Vincent spent the last 20 years of his life spreading the Good News in Spain, France, Switzerland, the Low Countries and Lombardy, stressing the need of repentance and the fear of coming judgment; Vincent had no part in the Council of Constance, which ended the Western schism Office of Readings and Morning Prayer for 4/5/25 Gospel: John 7:40-53

fWotD Episode 2889: Aston Martin Vanquish (2012) Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 2 April 2025 is Aston Martin Vanquish (2012).The second generation of the Aston Martin Vanquish, a grand touring car, was produced between 2012 and 2018 by the British carmaker Aston Martin. It succeeded the DBS, resurrected the name of the 2001–2007 model, and was available as both a coupe and a convertible, the latter known as the Volante.Designed by Marek Reichman, a concept car called the Project AM310 was unveiled at the 2012 edition of the Concorso d'Eleganza Villa d'Este in Lombardy, Italy. The production version was showcased at several events in 2012: a sneak preview at the Goodwood Festival of Speed in July, a presentation to a group of guests at the London Film Museum also in July, and an appearance at the Monterey Car Week in August. The Vanquish, which is based upon the DB9's architecture, namely the vertical/horizontal platform, extensively incorporates aluminium throughout its construction. The Vanquish was produced in Gaydon, a village in Warwickshire, England.Aston Martin unveiled the Vanquish Volante at the 2013 Pebble Beach Concours d'Elegance, with deliveries starting in late 2013. In 2014, the company implemented minor modifications to the Vanquish's engine performance. A more significantly modified version, called the Vanquish S, was launched in 2016; its Volante version was released the following year. The Vanquish S introduced such updates as increased horsepower and torque, and a new body kit. Aston Martin produced the Vanquish Zagato—a special edition—in various body styles, including a coupe, convertible, shooting brake, and a roadster, the latter dubbed the Speedster.This recording reflects the Wikipedia text as of 00:30 UTC on Wednesday, 2 April 2025.For the full current version of the article, see Aston Martin Vanquish (2012) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Ruth.

Over 50 foreign nationals have escaped from an alleged human trafficking house in Lombardy East, Johannesburg. Africa Melane speaks to Criminologist and National Coordinator at Missing Children South Africa, Bianca van Aswegen about the rise of human trafficking in South AfricaSee omnystudio.com/listener for privacy information.

The bluntly brothers talk about the wild week of news stories. They talking about OKC Thunder and the Super Bowl and who we would like to see get the Lombardy trophy. They finish the show making their forUFC 312.

Step into the enchanting streets of Bergamo, Italy, with Travel Italia! Your ultimate audio guide to one of Italy's most underrated treasures. From the medieval charm of Città Alta to the vibrant energy of Città Bassa, we explore the history, culture, food, and hidden spots that make this city unforgettable. Whether you're planning a trip or just dreaming of la dolce vita, join us for expert tips, and insider recommendations that will bring Bergamo to life. Pack your bags (or just your earbuds) and get ready to fall in love with Bergamo, one episode at a time!Notes: Bergamo Regional Tourist office: https://www.visitbergamo.net/public/it/My top places to visit: Città Alta – Start with the Upper City, accessible via a scenic funicular ride. Stroll through cobblestone streets and visit landmarks like Piazza Vecchia, a picturesque square framed by Renaissance buildings, or take a leisurely stroll down its main street to enjoy the architecture and visit some unique shops and cafes.Basilica di Santa Maria Maggiore – This stunning church is a masterpiece of Romanesque and Baroque architecture, featuring intricate frescoes and a breathtaking interior.Museo delle Storie di Bergamo  - a museum dedicated to the history of Bergamo which also has a 12th-century clock tower you can climb (or take a lift up to) to enjoy one of the best views of the city. From the clock tower, you get a bird's eye view of the city, stunning views of the foothills, and a view of the plain all the way to Milan. Rocca di Bergamo – For panoramic views of the city and surrounding countryside, climb to the top of this historic 14th-century fortress.Accademia Carrara – Art lovers should head to this museum, home to works by Botticelli, Raphael, and Titian.Venetian Walls – Walk along these historic fortifications for incredible views and a dose of history.Archeological museum Local foods to try: Casoncelli alla Bergamasca – A local pasta dish filled with breadcrumbs, cheese, meat, and herbs, served with a buttery sage sauce.Polenta e Osei – Polenta is a staple here, often served as a savory dish with meats or cheese. For a sweet treat, try Polenta e Osei, a dessert shaped like the classic dish but made with marzipan and chocolate.Taleggio Cheese – This creamy, aromatic cheese hails from the nearby Taleggio Valley. Perfect on bread or melted over polenta.Local Wines – Pair your meal with a glass of Valcalepio Rosso or Moscato di Scanzo, a sweet red wine unique to the region.Stracciatella Gelato: Invented in Bergamo, this creamy vanilla-based gelato with chocolate shavings is a must-try!

The discussion explores the current landscape of healthcare digitalization in Italy, emphasizing the fragmented regional approach, challenges with interoperability, and the recent strides toward a unified electronic health record (EHR). The guest, Marco Foracchia, CIO of Local Health Unit in Emilia Region, IRCCS sheds light on regional disparities, opportunities for improvement, and strategies for vendors seeking to enter the Italian healthcare market. Challenges in Digitalization: Regional Fragmentation: Northern regions like Lombardy are advanced, while southern areas lag behind. Interoperability Issues: Patients face hurdles when seeking care across regions due to inconsistent systems and processes. Resource and Capacity Gaps: Many organizations lack the expertise to implement complex projects despite funding. Vendor Role: Vendors often sell solutions without assessing if organizations are ready for implementation, leading to underutilized technology. Opportunities and Progress: The EU's Resilience and Reconstruction Program (PNRR) has driven funding and deadlines for nationwide EHR implementation. Introduction of a second version of the national EHR aims to achieve interoperability across regions. Measurement initiatives like HIMSS EMRAM models are guiding digital maturity. Cultural Transformation: Digital transformation requires a shift in mindset alongside technological upgrades. Building clinician buy-in involves demonstrating clear value and benefits of digital solutions. Advice for Vendors Entering the Italian Market: Partner with established Italian companies due to centralized procurement processes favoring local players. Focus on long-term partnerships and delivering measurable results, not just installations. fodh.substack.com facesofdigitalhealth.com

Join Oliver and Anthony as they recap the frustrating draw against Cagliari and preview the away games against Como and Juventus. This week's topics include…↳ A crash landing in Conceicao's home debut ↳ Missed chances come back to bite ↳ Lombardy derby and Juve trip ↳ Kyle Walker links This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sempremilan.substack.com/subscribe

This is the weekly columThis column runs on Wednesdays in most markets—Christmas Day in 2024. If you have not secured your wine before now, no chance today. We can, however, look forward to New Year's Eve and New Year's Day.Sparkling wines are stars of New Year celebrations. Statistics indicate roughly 25 percent of all Champagne is sold between Christmas and New Year's Eve. Something like 360 million glasses of sparkling wine are consumed on New Year's Eve.People who don't usually drink sparkling, drink sparkling around the New Year celebrations. On a more sobering and serious note, New Year's Eve statistically is the most drunken night of the year, with sparkling wine playing a major role. The unfortunate quip is “New Year's Eve is amateur drunk night.”Enjoy wine in moderation so you can be around for the next annual celebration. With that in mind, a primer on the types of sparkling wine:• Champagne. Produced exclusively in the Champagne region of northeastern France (no matter what some rogue labels claim) using the traditional method (méthode champenoise) with secondary fermentation in the bottle. Three primary grapes—pinot noir, chardonnay, and pinot meunier.• Crémant. French sparkling made outside the Champagne region, using grape varieties typical to their regions using traditional method.• Cava. Spanish sparkling, primarily produced in Catalonia. Made using traditional method using Spanish grapes xarel·lo, macabeo, and parellada; also chardonnay and pinot noir.• Prosecco. Italian sparkling from the Veneto and Friuli-Venezia Giulia regions using the Charmat method where secondary fermentation occurs in large tanks. Glera is the prime grape.• Franciacorta. High-quality Italian sparkling from Lombardy primarily made with chardonnay and pinot noir using traditional method.• Asti and Moscato d'Asti. Sweet sparklings made in the Piedmont region of northwestern Italy using the moscato bianco grape. Asti is fully sparkling (spumante). Moscato d'Asti is semi-sparkling (frizzante).• Sekt. German sparkling made with various grapes, some using traditional method, others Charmat.• New World Sparklings. Made in U.S., Australia, New Zealand and some other countries using traditional grapes and traditional method.• Cap Classique. Sparkling in South Africa using various grapes, primarily chardonnay and pinot noir, using traditional method.• Junk Sparkling. My term for very cheap wine infused with CO2 in the same way as soda pop. Guzzle this dreck at the close of 2024 and it is unlikely you will enjoy the dawn of 2025.Last roundMan walking home after too much sparkling at a New Year's party. Policeman sees him weaving and asks where he is going. Man: “To a lecture.” Policeman: “Who gives lectures this late on New Year's Eve?” Man: “My wife.”Email: wine@cwadv.comNewsletter: gusclemens.substack.comWebsite: Gus Clemens on Wine websiteFacebook: facebook.com/GusClemensOnWine/posts/Twitter (X): @gusclemensLong form wine stories on Vocal: Gus Clemens on VocalLinks worth exploringDiary of a Serial Hostess Ins and outs of entertaining; witty anecdotes of life in the stylish lane.As We Eat Multi-platform storytelling explores how food connects, defines, inspires. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit gusclemens.substack.com/subscribe

The Frankish king, Charlemagne the Great, is one of the titanic figures of European history, simultaneously renowned and shadowy. His rise to supreme power is a staggering story of warring religious empires, betrayal, battle, blindings and brutal conquest. How, then, did this one time Frankish interloper become the father of Europe, progenitor of a Holy Roman Empire whose descendants would rule right up until the time of Napoleon, and Emperor of the West? It begins in 741 AD when, following the death of the Frankish leader Charles Martel - ‘The Hammer' - his two sons, Carloman and the pious by ruthless Pepin were forced to look to the Pope in Rome, then a subsidiary to the Byzantine empire, to buttress their authority. The Pope too was increasingly embattled at that time, struggling against invasions by the ferocious Germanic Lombards from the north of Italy. Desperate, he called upon Pepin for aid. So it was that, after his brother's abdication, Pepin was officially anointed by the Pope as the sole King of the Franks, before crossing the Alps and smashing Lombardy. After his death, he would leave his kingdom the foremost power in Western Europe, and in the hands of to his own two sons: Carloman and Charles, later known as Charlemagne. A terrible power struggle would ensue… Join Tom and Dominic for this next instalment of their mighty series on the Franks and the rise of Charlemagne. How would Charles' and Carloman's battle for power play out? _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Editor: Aaliyah Akude Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Virgil offers his third discourse on love at the middle of PURGATORIO to 1) show his work about ethics derived from Aristotle's notions of substance and cause and 2) to make sure the pilgrim understands that his actions are his own fault.This is a complicated passage with lots of historical resonances, particularly from Aristotle and Plato (as understood through Aquinas). It'll take us some work to unpack it, but we'll get very close to our modern understanding of ethics.Join me, Mark Scarbrough, as we work through the last of Virgil's major discourses.If you'd like to help underwrite the many fees associated with this podcast, you can do so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[02:13] My English translation of the passage: PURGATORIO, Canto XVIII, lines 49 - 75. If you'd like to read along or continue the conversation with me, please find this episode on my website, markscarbrough.com.[05:12] The various notions of Aristotelean causality in the passage: material and necessary causes, as well as the nature of "substance."[11:59] Material causes and substantial forms.[14:59] A misinterpretation of the substance and material in the passage that has infected the commentary on COMEDY for centuries.[17:44] The desire for primary things and Virgil's misunderstanding.[23:24] Virgil's (and Dante's) definition of reason and our understanding of ethics from it.[28:35] Reason's results: ethics.[29:41] A logic flaw in Virgil's argument.[33:13] Marco of Lombardy vs. Virgil.[36:19] Rereading the passage: PURGATORIO, Canto XVIII, lines 49 - 75.

With the holidays coming, I thought it would be a good time to do a show on a different kind of sparkling wine, so this time I cover Italy's premier traditional method sparkling wine, Franciacorta. Map: Consorzio per la tutela del Franciacorta   Franciacorta is a high quality Italian sparkling wine made in the area of Brescia in Lombardy (the Italian region where Milan is located).  Franciacorta, as a sparkling wine, came into being in the 1960s but it didn't take long for it to gain a favorable reputation, which still holds today. With very distinctive geographical features and a unique microclimate, the wines here are marked by a balance of excellent acidity and lovely aromas of fruit, flowers, nuts and more.   The thing that makes Franciacorta stand out among other sparklers from Italy is that wines from this region can only be produced using the traditional method (like Champagne, unlike Prosecco) and must be made primarily from the French grapes – Chardonnay, Pinot nero (Pinot noir), and Pinot bianco (Pinot blanc). Photo: Consorzio per la tutela del Franciacorta   Despite the similarities with their French counterpart, the terroir in Franciacorta presents weather patterns that include a lake effect, Alpine breezes, and ample wind. The entire area was formed by glacial movement – no by a small sea receding and leaving a bed of chalky limestone as was the case in Champagne.       Priced at a premium, these wines are ideal if you love Champagne or sparkling wine but want something fruitier, fuller, and with less piercing acidity. Photo: Consorzio per la tutela del Franciacorta   In this show I cover the history, terroir, grapes, winemaking, and the three types of Franciacorta: nonvintage, rosé, and saten and the overlying classifications of millesimato and riserva. Photo: Colline della Stella ________________________________________ Main information sources: https://franciacorta.wine/en/ Franciacorta DOCG Regulatory document   Full show notes and all back episodes are on Patreon. Become a member today! https://www.patreon.com/winefornormalpeople _______________________________________________________________   Check out my exclusive sponsor, Wine Access.  They have an amazing selection -- once you get hooked on their wines, they will be your go-to! Make sure you join the Wine Access-Wine For Normal People wine club for wines I select delivered to you four times a year!    To register for an AWESOME, LIVE WFNP class with Elizabeth or get a class gift certificate for the wine lover in your life go to: www.winefornormalpeople.com/classes    

In this week's episode of The Cycling Podcast, Daniel Friebe is on Fran Reyes's home turf - Granada in southern Spain - and that pair is joined by Richard Abraham for another week of analysis and reflection on, yes, yet another Tadej Pogačar masterpiece, this time at the Tour of Lombardy. The build-up to the final Monument of the season had been enlivened or overshadowed - depending on your viewpoint - by Tom Pidcock's shock exclusion from the INEOS line-up. We examine the likely consequences of that - and the possible reasons. It's then time for another attempt to contextualise arguably the finest cycling season of all time by a male rider, and certainly the most extraordinary since Eddy Merckx's ‘cannibalistic' reign. Follow us on social media: Twitter @cycling_podcast Instagram @thecyclingpodcast The 11.01 Cappuccino Our regular email newsletter is now on Substack. Subscribe here for frothy, full-fat updates to enjoy any time (as long as it's after 11am). MAAP The Cycling Podcast x MAAP collection is available now. Go to maap.cc to see the full MAAP range. Indeed If you are looking to hire someone for your company, maybe the best way isn't to search for a candidate but to match with Indeed. Go to indeed.com/cycle now to get a £100 sponsored job credit and get matched with the perfect candidate fast. Friends of the Podcast Sign up as a Friend of the Podcast at thecyclingpodcast.com to listen to more than 100 exclusive episodes. Our latest KM0 specials, ‘How to Become a Pro Cyclist' and ‘How to Become an Ex-Pro Cyclist' are available on the Kilometre 0 for Friends of The Cycling Podcast feed now.  The Cycling Podcast is on Strava The Cycling Podcast was founded in 2013 by Richard Moore, Daniel Friebe and Lionel Birnie.

Randy and Dean Warren talk about the latest in professional bicycle racing.  Dean traveled to Italy to see the finish of the Tour of Lombardy which took place on Saturday, October 12th in Como.  Dean took photos and interviewed three of the Americans who raced including Neilson Powless, Kevin Vermaerke and Larry Warbasse.  The Warren brothers talk about the remarkable number of wins for US riders this season. 

Brothers Randy and Dean Warren talk about the latest in professional cycling. The professional road season is rapidly winding down with the last of the Monument races this weekend, the Tour of Lombardy. Randy and Dean survive the hurricanes although are not back to normal. Is Tadej Pogacar developing into the patron of the peloton? The Dutch win at Gravel Worlds, and the Hincapie Gran Fondo takes place to raise money for hurricane relief in the area. Randy advertises Warren Cycling's 2025 camps.

Mixologist, and self proclaimed "nerdy bartender type," Joey Joyce joins Brian, Matthew Thornton and Steff Koeppen for an Amaro tasting. What is Amaro? What makes Amaros delicious? After a brief history of the spirit, we taste, describe, and rate several tasty Amaros. I hope you find this discussion valuable and now, go get yourself some Amaros. Tasting in order:1: Amaro Montenegro, Bologna, Italy2: Averna, Sicily3: Vecchio Amaro Del Capo, Calabria, Italy4: Ischia Sapori Rucolino, Ischia Sapori, Italy5: Ramazzotti, Milan, Italy6: Cynar, Milan, Italy7: Bràulio, Lombardy, Italy8: Amaro Alta Verde, Triveneto, Italy9: Fernet Branca, Milan, Italy10: Becherovka, Karlovy Vary, Czechia11: Amargo-Vallet, Hidalgo, Mexico

We visit Northern Italy, stopping first in Murano to learn about the island's glass production today, then across to Lombardy to reflect on the outstanding works on show at the Lake Como Design Festival. Plus, what are the challenges of designing bespoke interiors fit for the sky? We meet the founder of a luxury brand, Unique Aircraft.See omnystudio.com/listener for privacy information.

Exploring Lombardia, Piemonte, and Valdosta In this captivating episode of Kimberly's Italy, hosts Kimberly Holcombe and Tommaso invite listeners on a journey through the enchanting regions of Lombardia, Piemonte, and Val d'Aosta. Their mission is to spotlight the unique characteristics of Italy's 20 regions, with a particular focus on promoting lesser-known travel destinations. Lombardia: Diversity and Cultural Richness Kimberly and Tommaso begin by exploring Lombardia, a region renowned for its varied landscapes and significant economic contributions. Milan, the cultural and economic hub, takes center stage as Kimberly shares her personal experiences from living in this vibrant city. She candidly discusses the allure of Milan alongside the challenges posed by increased tourism. The hosts also highlight other noteworthy cities in Lombardy, such as Brescia, celebrated for its rich art and food culture, and Bergamo, known for its well-preserved medieval center. Their reminiscences of trips around the picturesque Lake Como and Lake Lugano, including an unforgettable encounter with Ferraris, add a personal touch to the episode. Piemonte: A Land of Culinary Delights and Natural Beauty The journey continues to Piemonte, a region distinguished by its geographical diversity. Kimberly and Tommaso delve into the world of Barolo wine and truffles, key highlights of Piemonte's culinary scene. They discuss the vibrant city of Torino and the lesser-known gem of Vercelli, famous for its expansive rice fields that attract cyclists and offer exciting river sports. This segment is a treat for food and wine enthusiasts as well as nature lovers. Val d'Aosta: Italy's Smallest Region with Grand Scenery Finally, the hosts turn their attention to Val d'Aosta, Italy's smallest region, celebrated for its pristine air and natural beauty—a stark contrast to the urban hustle of Milan. Kimberly and Tomasso share exhilarating skiing experiences at the Matterhorn and Cervinia, and explore the region's impressive wine production and breathtaking scenery, especially around Courmayeur. This segment promises to inspire outdoor adventurers and those seeking tranquility. Follow us on Social Media Instagram Facebook  Looking Ahead Stay tuned as Kimberly and Tommaso continue their biweekly journey through Italy's regions, providing invaluable insights and travel tips. Thank you for joining us on Kimberly's Italy, where every episode brings you closer to the heart of this magnificent country. Happy travels!

Dante the pilgrim leaves Marco of Lombardy behind, but Dante the poet is not yet done with fundamental questions for his poem--particularly, how does he know what he knows? The answer lies in the imagination, the shaky ground that Dante posits is the basis of revelation.If you'd like to help underwrite the fees for this podcast, please consider donating a small monthly stipend or a one-time gift using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:54] My English translation of the passage: PURGATORIO, Canto XVII, lines 1 - 18. If you'd like to read along or continue the conversation with me, please find the entry for this podcast episode on my website, markscarbrough.com.[03:26] The first canto in COMEDY that opens with a direct address to the reader may help us understand the reader that Dante has in mind for his poem.[05:50] The smoke of anger becomes a fog and mist, which then becomes clouds, all of which happens as poetic space overlays poetic space in a metaphoric tour de force.[10:08] Aristotle (and Aquinas) argued that the imagination is only based on sensory input.[13:09] Dante may well disagree, offering the imagination as a mechanism of revelation.[17:51] Dante begins to claim that his own poem is divinely inspired.[20:58] Rereading the passage: PURGATORIO, Canto XVII, lines 1 - 18.

We've finished Marco of Lombardy's central discourse about free will, the soul's maturation, and the systemic problems with the world. Now let's look back at the whole speech and talk through some of the larger issues it raises.Join me, Mark Scarbrough, as we look at Marco's speech in PURGATORIO in its entirety.If you'd like to donate to underwrite the many costs of this podcast, whether by a small monthly stipend or a one-time gift, please use this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:28] Rereading all of Marco of Lombardy's speech in my English translation: PURGATORIO, Canto XVI, lines 46 - 145. The separate passages of this speech can be found among the former episodes of this podcast.[07:09] Why is Marco's speech so heavily cribbed?[09:47] Why is Marco himself an opaque historical figure?[13:01] Why does Marco's discourse move from personal space to metaphoric space and back to personal space?[15:16] Is Marco's speech really theological?[19:43] Who "convened" the laws and leader that Marco wants?[22:52] Is the point of Marco's speech to give Dante permission to preach about corruption?

Marco of Lombardy's time in COMEDY comes to an end with a chatty back-and-forth between him and the pilgrim Dante. Dante wants to compliment Marco on creating such a great argument (the one, that is, that Dante the poet created!) but Marco's only answer seems to be irritation and an abrupt dismissal.Join me, Mark Scarbrough, for a fascinating deep dive into the end of PURGATORIO, Canto XVI.If you'd like to help underwrite the many fees associated with this podcast, please consider donating a one-time gift or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:33] My English translation of the passage: PURGATORIO, Canto XVI, Lines 130 - 145. If you'd like to read along or continue the conversation with me, please find this episode on my website, markscarbrough.com.[03:10] The pilgrim Dante disallows land holdings for the papacy, based on Marco's reasoning.[05:45] PURGATORIO, Canto XVI returns to Torah at its end, offering the argument deep, long-standing ballast.[08:00] Gaia, Gherardo's daughter, has long been a troubling figure in commentary.[10:45] What does this conversational coda to Marco's disquisition on free will do for the poem COMEDY as a whole?[13:23] Why do the penitents work through anger in a lightless smoke?[16:14] Rereading the passage: PURGATORIO, Canto XVI, lines 130 - 145.

Marco of Lombardy, the angry penitent, continues his diagnosis of the world's problems. It's got only one sun, not two, as Rome had. And that one sun, the papacy, is not kosher. In fact, perhaps cannot be kosher under any circumstances.Join me, Mark Scarbrough, as we explore a big chunk of Marco's reasoning about the world's ills. He said it was in us. But he seems to claim it's more systemic than personal.Consider donating a one-time gift or perhaps a small monthly stipend to cover the costs of this podcast. You can do so at this PayPal link right here.Here are the segments of this episode of WALKING WITH DANTE:[01:45] My English translation of the passage: PURGATORIO, Canto XVI, lines 97 - 129. If you'd like to read along or continue the conversation with me, find the entry for this episode on my website, markscarbrough.com.[04:29] The papacy is not--or cannot be--kosher.[07:36] Pastoral metaphoric space unifies the passage.[09:30] Our nature is NOT corrupted?[12:46] The papacy v. the empire: Dante's dilemma.[18:26] The papacy v. the empire: the dilemma of Dante's age.[21:17] Marco's argument moves back into personal space: his own Lombardy.[22:48] Three good men are left on the Italian peninsula.[26:10] These three good men are in contrast to the gluten Ciacco's two witnesses in INFERNO, Canto VI.[29:36] The church of Rome isn't in Rome anymore![31:44] Rereading the passage: PURGATORIO, Canto XVI, lines 97 - 129.

Marco of Lombardy continues his discourse on free will, deep in the pitch-black smoke of the third terrace of Purgatory where the angry penitents confront their sin.His discussion takes a wild turn: a developmental hypothesis of the soul as a little girl, a scheme that may or may not nix original sin from Christian theology.Join me, Mark Scarbrough, as we explore this complicated passage at almost the very heart of COMEDY.If you'd like to help underwrite the many fees for this podcast, either with a one-time donation or with a little bit each month as a stipend, please consider doing so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:38] My English translation of the passage: PURGATORIO, Canto XVI, lines 85 - 96. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:04] A passage from Dante's CONVIVIO that is the basis for some of this passage in COMEDY (CONVIVIO, Book IV, chapter xii, lines 14 - 17.)[10:37] Dante's developmental hypothesis about the soul.[15:35] Dante's understanding of the soul as a little girl, to confirm the heteronormative desire that is the basis of creation/being.[20:02] Answers to whether Dante jettisons the notion of original sin: 1) yes, 2) no, 3) only here, or 4) Dante's doesn't but Marco does.[26:42] Rereading the passage: PURGATORIO, Canto XVI, lines 85 - 96.

Dante the pilgrim has asked the angry Marco of Lombardy the cause of the world's ills. Marco responds with both exasperation and affection before turning to the root of the matter: The cause is in all of you.Join me, Mark Scarbrough, as we look at this central passage in COMEDY, a grand statement of the Christian paradox of free will.If you'd like to help underwrite this podcast through a one-time donation or via a small monthly stipend, please consider doing so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:49] My English translation of PURGATORIO, Canto XVI, lines 64 - 84. If you'd like to read along or continue the conversation, please find this podcast entry on my website, markscarbrough.com.[04:15] A justification for how this episode works.[06:00] The conflation of anger and affection in the texture of the passage.[08:49] Marco's teamwork with Guido del Duca, back among the envious.[10:02] Human feelings as the proof for free will.[13:27] One impetus to behavior (the zodiac signs) with two initial gifts (light and free will).[15:22] Two outs for free will: the battles against those astrological signs and proper nourishment. (But not Satan or the demons!)[19:48] Free will and God's control: the breadth of Dante's pasture.[28:03] The cause of evil: humans. The truth of God: transcendence.[31:17] Rereading the passage: PURGATORIO, Canto XVI, lines 64 - 84.

Dante's on the verge of exploding with doubt. Marco of Lombardy's snark about the loss of valor in the bows of this world has done little more than leave the pilgrim in a theological puzzle: How did the world get so bad?Join me, Mark Scarbrough, as we explore Dante's question to Marco before we turn to Marco's central discourse, the very middle of the great masterwork COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:48] My English translation of the passage: PURGATORIO, Canto XVI, lines 52 - 63. If you'd like to read along or continue the conversation with me, please find this specific episode on my website, markscarbrough.com.[03:21] Dante's question assumes the values of chivalry.[08:34] Can the redeemed instigate doubt?[10:36] Dante ties Marco's snark back to Guido del Duca's nostalgia.[13:19] COMEDY's new motivation is to bring back the answers.[14:36] Dante's quandary is astrological, not truly theological (per se).[17:00] Rereading the passage: PURGATORIO, Canto XVI, lines 52 -63.

Wrapped in the dark, acrid smoke, Dante encounters one of the angry penitents and one of the most seminal figures in COMEDY, here at almost the exact center of the entire poem.Join me, Mark Scarbrough, as we work through the pilgrim's flatteries, the penitent's abrupt nature, and the questions of beauty that begin to dominate COMEDY itself.Here are the segments for this episode of WALKING WITH DANTE:[02:10] My English translation of the passage: PURGATORIO, Canto XVI, lines 25 - 51. If you'd like to read along or continue the discussion with me, please find this episode on my website, markscarbrough.com.[04:35] Is Marco still angry? Abrupt? What his deal with cutting and segmenting?[08:21] Virgil is all about the destination in a canticle all about process.[10:31] Dante the pilgrim is becoming the wonder of the poem. And he's beginning to connect beauty with ethics.[14:57] At first, Marco probably is walking toward (not with) Dante and Virgil.[17:19] Dante's answer to Marco seems to indicate that he now is indeed Aeneas and Paul (as opposed to how he felt in INFERNO, Canto II).[21:20] The erratic plotting of PURGATORIO positions this canticle between INFERNO and PARADISO.[25:05] Who is Marco of Lombardy? And is that even his name?[27:06] Marco of Lombardy is connected to Ulysses (from INFERNO, Canto XXVI).[29:28] Marco asks Dante the pilgrim to pray for him, a distinct change from those who've come before.[31:14] Rereading the passage: PURGATORIO, Canto XVI, lines 25 - 51.

#ITALY: Giorgia Meloni trade embassy to PRC. Lorenzo Fiori, Ansaldo Foundation. https://www.yahoo.com/news/italys-meloni-chinas-support-russian-051211304.html 1908 Lombardy

On this week's episode the OAS team goes all in and tries to recreate your favorite dishes from Anime. Notably the team worked on an appetizer/snack dish, and a full meal. Listen in on each dish's significance in anime and Japenese culture, as well as thr process on bringing these dishes from 2D to real life! Mitarashi Dango Description: Rice flour dumplings that are skewered onto sticks in groups of 3–5 and covered with a sweet soy sauce glaze. Preparation: Form glutinous rice flour and water into balls, then drop them into boiling water until they float. Dress/cover with desired toppings. Anime Reference: Toriko: In this anime, Toriko, a Gourmet Hunter, searches for rare and diverse foods to complete a full-course meal. The Mitarashi Dango Planet (みたらし団子星 Mitarashi Dango Boshi) is a collection of edible skewered planets resembling mitarashi dango, seen as they leave Earth. Demon Slayer: ⁠Mitarashi Dango in Demon Slayer⁠. History: Originally, dumplings were used as offerings for gods in shrines. During the 13th - 14th century, the Japanese emperor visualized dango while purifying himself and used this image to create offerings for the gods. Earliest written record dates back to the Heian period (794-1185). Cultural Significance: Hanami: During the sakura (cherry blossom) season, people enjoy picnics under the trees, often serving dango. Hinamatsuri: Also known as Girls' Day or Doll's Day, celebrated on March 3rd in Japan, where dango is a popular treat. Anpan Description: A Japanese pastry filled with sweet red bean paste. History: First created by Yasubei Kimura, a former samurai turned baker, who founded Bun'eido bakery in 1871. Considered one of the “seven tools for the opening of civilization” in Japan, alongside newspapers, postal service, and gas lamps. Japanese Style Curry Description: Curry served over rice, udon noodles, or as curry bread. Ingredients: Basic vegetables: onions, carrots, and potatoes. Popular meats: beef, pork, and chicken. Preparation: Curry sauce is made by frying curry powder, flour, and oil to make roux, then adding it to stewed meat and vegetables, simmering until thickened. Recipe: Japanese Curry Recipe. History: Introduced to Japan by the British from India during the Meiji Restoration (1868–1889). Became popular in Japanese households in the early 20th century. Additional References: Japanese Curry on Wikipedia. Curry in Anime Culinary. Apple Risotto History: Originated in the 16th century in northern Italy (regions like Lombardy, Piedmont, and Veneto). Tied to the history of rice in Italy, introduced by the Arabs during the Middle Ages. The Mediterranean's humidity was ideal for growing shorter-grained rices. Created as "Risotto alla Milanese" using slow-cooking techniques combined with local rice. Episode Reference: Season 1, Episode 16: Soma vs. his father.

The fall of Inter Milan President Steven Zhang. Zhang Kangyang, known as Steven Zhang, is a Chinese businessman and the chairman of Italian football club Inter Milan. Football Club Internazionale Milano, commonly referred to as Internazionale or simply Inter, and colloquially known as Inter Milan in English-speaking countries, is an Italian professional football club based in Milan, Lombardy.

Forrest, Conan Neutron, J. Andrew World, Kristina Oakes and Matt Strackbein AKA the Letterhack talk about Luca Guadagnino's Call Me By Your Name It's officially Pride Month! For Pride Month, we are covering all LGBTQ Related movies. Queer Cinema. Call Me By Your Name stars Timothee Chalamet and Armie Hammer as a 17 year old and 24 year old grad student who become romantically involved during a summer in Lombardy, Italy. #lucaguadagnino #timotheechalamet #armiehammer #challengers #dune2 #callmebyyourname #italian Join our discord: discord.gg/ZHU8W55pnhConan Neutron has music available from Conan Neutron & The Secret Friends and could use music sales now more than ever.. https://neutronfriends.bandcamp.com OR if you want to become a Protonic Reversal patron: patreon.com/protonicreversal We are also now going to be sponsored by Yebiga, a Traditional Balkan Rakija, Serbian Plum Brandy. Go to Yebiga.com to see where it's available near you.

Welcome to the Instant Trivia podcast episode 1170, where we ask the best trivia on the Internet. Round 1. Category: At The Bookstore 1: Kathryn Glasgow's first novel, "Another Song About the King", features a mom obsessed with this singer. Elvis Presley. 2: 2 men travel America with this man's brain in a Tupperware bowl in the true story "Driving Mr. Albert". Albert Einstein. 3: This prolific novelist proved her "metal" once again with her 2000 bestseller "The House on Hope Street". Danielle Steel. 4: "Dark Eagle" by historian John Ensor Harr is called "A Novel Of" this traitor "And the American Revolution". Benedict Arnold. 5: The front cover of "Hooking Up" by this "Bonfire of the Vanities" author shows his name but not the book's title. Tom Wolfe. Round 2. Category: Ends In Ola. With Ola in quotation marks 1: It's what you ride along the canals of Venice. a gondola. 2: It often includes rolled oats, wheat germ, honey, fruit and nuts. granola. 3: This early phonograph began cranking out music in 1906. a Victrola. 4: Italy's Lombardy region is famous for producing this soft (and smelly) blue cheese. Gorgonzola. 5: Haiti occupies a third of this island; the Dominican Republic covers the rest. Hispaniola. Round 3. Category: Classic Country 1: 1 of 3 original members of the Country Music Hall of Fame. (1 of) Hank Williams, Sr., Jimmie Rodgers and Fred Rose. 2: To make it as "A big star in the movies", Buck Owens said he had to "act" this way. naturally. 3: Lefty Frizzell told his honey, "If you've got the money, I've got" this. the time. 4: Migrants leaving this state's "Dust Bowl" helped bring country music to the West. Oklahoma. 5: In 1958, the first country music Grammy Award went to this Kingston Trio song. "Tom Dooley". Round 4. Category: The Last Word Said In Classic Films 1: "The Wizard of Oz". home. 2: "Gone with the Wind". day. 3: "Casablanca". friendship. 4: "King Kong", from 1933. beast. 5: "Apocalypse Now". Horror. Round 5. Category: Ute Tell Me. With Ute in quotation marks 1: To water down. dilute. 2: Drive in from the burbs. commute. 3: Hairy. hirsute. 4: In a proper one of these, the forefinger touches the hat just to the right of the right eye. salute. 5: Jekyll calls Hyde this type of rough fellow "that slept within me". brute. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

FROM THE VAULT: In November 2010, 13 year old Yara Gambirasio disappeared after gymnastics in Lombardy, Italy. What followed was one of the most intensive police investigations ever seen in Italy, and eventually, her killer was captured. 

Full Text of ReadingsFriday in the Octave of Easter Lectionary: 265The Saint of the day is Saint Vincent FerrerSaint Vincent Ferrer's Story The polarization in the Church today is a mild breeze compared with the tornado that ripped the Church apart during the lifetime of this saint. If any saint is a patron of reconciliation, Vincent Ferrer is. Despite parental opposition, he entered the Dominican Order in his native Spain at 19. After brilliant studies, he was ordained a priest by Cardinal Peter de Luna—who would figure tragically in his life. Of a very ardent nature, Vincent practiced the austerities of his Order with great energy. He was chosen prior of the Dominican house in Valencia shortly after his ordination. The Western schism divided Christianity first between two, then three, popes. Clement VII lived at Avignon in France, Urban VI in Rome. Vincent was convinced the election of Urban was invalid, though Catherine of Siena was just as devoted a supporter of the Roman pope. In the service of Cardinal de Luna, Vincent worked to persuade Spaniards to follow Clement. When Clement died, Cardinal de Luna was elected at Avignon and became Benedict XIII. Vincent worked for him as apostolic penitentiary and Master of the Sacred Palace. But the new pope did not resign as all candidates in the conclave had sworn to do. He remained stubborn, despite being deserted by the French king and nearly all of the cardinals. Vincent became disillusioned and very ill, but finally took up the work of simply “going through the world preaching Christ,” though he felt that any renewal in the Church depended on healing the schism. An eloquent and fiery preacher, he spent the last 20 years of his life spreading the Good News in Spain, France, Switzerland, the Low Countries and Lombardy, stressing the need of repentance and the fear of coming judgment. He became known as the “Angel of the Judgment.” Vincent tried unsuccessfully, in 1408 and 1415, to persuade his former friend to resign. He finally concluded that Benedict was not the true pope. Though very ill, he mounted the pulpit before an assembly over which Benedict himself was presiding, and thundered his denunciation of the man who had ordained him a priest. Benedict fled for his life, abandoned by those who had formerly supported him. Strangely, Vincent had no part in the Council of Constance, which ended the schism. Reflection The split in the Church at the time of Vincent Ferrer should have been fatal—36 long years of having two “heads.” We cannot imagine what condition the Church today would be in if, for that length of time, half the world had followed a succession of popes in Rome, and half an equally “official” number of popes in say, Rio de Janeiro. It is an ongoing miracle that the Church has not long since been shipwrecked on the rocks of pride and ignorance, greed and ambition. Contrary to Lowell's words, “Truth forever on the scaffold, wrong forever on the throne,” we believe that “truth is mighty, and it shall prevail”—but it sometimes takes a long time. Saint Vincent Ferrer is the Patron Saint of: BuildersBusinessmenReconciliation Saint of the Day, Copyright Franciscan Media

In this week's episode, I discuss why I decided to return to the character of Caina after twenty-nine novels. This week's coupon is for the audiobook of GHOST IN THE INFERNO as excellently narrated by Hollis McCarthy. You can get the audiobook of GHOST IN THE INFERNO for 75% off at my Payhip store with this coupon code: WINTERINFERNO The coupon code is valid through March 14th, 2024. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 189 of the Pulp Writer Show. My name is Jonathan Moeller. Today is February the 23rd, 2024 and today we are talking about the return of Caina Kardamnos. Before we get to our main topics, we will have Coupon of the Week and then an update on my current writing projects. First up, let's do Coupon of the Week. This week's coupon is for the audiobook of Ghost in the Inferno, as excellently narrated by Hollis McCarthy. You can get the audiobook of Ghost in the Inferno for 75% off at my Payhip store with this coupon code: WINTERINFERNO and that is WINTERINFERNO. The coupon code is valid through March the 14th, 2024. So if you find yourself needing an audiobook to break up the winter doldrums and weather, we've got one ready for you. So now for a progress update on my current writing projects. I'm pleased to report that Sevenfold Sword Online: Leveling is out at Amazon and Kindle Unlimited, since I have found that LitRPG books tend to do the best while they're in Kindle Unlimited. It is going a little better than expected, which is nice, and if you want to check out the book, you can read it at Amazon. My main writing project now is Ghost in the Veils, hence The Return of Caina Kardamnos title for this episode and I am 25,000 words into it, which puts me on Chapter 6 of 21. I am also 31,000 words into Wizard Thief, the second book in the Half-Elven Thief series and that should come out after Ghost in the Veils. I'm also 3,000 words into Cloak of Titans, the next Nadia book. So the order these will all come out in is Ghost in the Veils needs to come out first because it has recording slot scheduled for the middle of April. So it needs to be done and out by then. I will finish Wizard Thief after that and then Cloak of Titans. In an audiobook news, the recording and proofing for Shield of Storms' audiobook is done, and it's currently working its way through quality assurance on the various platforms, so hopefully it should be available on your audio platform of choice before much longer. 00:02:07 Reader Comments and Questions Now, before we get to our main topic, let's have a few questions and comments from listeners and readers. Reader NK asks: Hi, I would like to know what LitRPG is. Haven't come across it before and also do we need to complete reading the Sevenfold Sword series before Sevenfold Sword Online to better enjoy this story? In answer your question NK, LitRPG is generally defined as a story that uses the conventions and structures of online role-playing games like MMORPGs. They can be either fantasy or science fiction or blend a bit of both. Typically in these stories, either the protagonist is magically zapped into a game world or is playing the game while trying to balance some sort of crisis in both the game and real life, which is the approach I took for Sevenfold Sword Online. In answer to the second half of your question, Sevenfold Sword Online isn't actually connected to Sevenfold Sword. The premise is that it's 700 years in the future and that an evil corporation has built a hit virtual reality MMORPG using the books of a long dead author (i.e. me) as source material for the setting. In hindsight, I wish I had made the setting completely unconnected to anything else I had written, because it seems to confuse some readers, but too late now I suppose so, hopefully that will answer your question. Now we have a question from reader Justin. For context for that question, I recently had to get a new desktop computer after my old one died and this is in fact the first podcast episode I am recording using the new computer. So if it sounds really weird, I blame the computer, or more accurately, I probably should blame Windows 11. But anyway, with that in mind, here is our question from Justin: Good luck to you with your new computer. I switched to laptops for my computing needs. The lower power draw and portability are handy when you're going off grid. I'm used to you working on three series at once. You put that up a notch. Is this to reduce burnout and possibly writer's block? In answer to that question, the reason I got a desktop was because I do a lot of cover design and graphic design, which is not always the greatest on laptops because that needs a lot of processing power, a lot of RAM, and perhaps most importantly, a lot of storage. In answer to the writing question, the only thing that's changed is I'm not doing a Ridmark and Andomhaim book every other month. I am going to keep writing Ridmark and books set in Andomhaim but I've been writing a Ridmark/Andomhaim book every other month pretty much since summer 2013, so I'd like to change it up a little bit and do more of other things. So while I am going to continue the Shield Wars series and I am going to write Shield of Darkness soon, I'm not going to start writing it until after Cloak of Titans is done, if you remember my order of projects from earlier in the show. I don't feel at risk of burnout or getting exasperated with writing. I just have been writing Ridmark and Andomhaim setting for so long that while I would like to continue writing that I would like to write more of other things as I go along. 00:05:08 Main Topic: The Return of Caina Kardamnos Now to our main topic: the return of Caina Kardamnos. As I mentioned earlier on the show, I'm now 25,000 words into Ghost in the Veils, which puts me also at chapter six in the second book of the Ghost Armor Series, the immediate sequel to Ghost in the Serpent from late 2023. I have to admit that when I finished Ghost in the Sun in the Ghost Night series in 2021 (I believe that was), I thought I was done with Caina. The reason for that was I just didn't have any idea of what to where to go or what to do with the character after Ghost Night. Part of that, I admit, was that Caina had become powerful and influential and I am cynically suspicious of people like that and wasn't sure I could write someone like that as a protagonist. Though that was less a concern as I went on since writing Ridmark and Tyrcamber, and Dragontiarna and then Dragonskull and the Shield War gave me a good bit of practice. So I finally had a good enough idea to return to Caina as a protagonist, and I think it was a confluence of four different ideas. The first idea was perhaps the most obvious one: what if Caina found out she had stepchildren? There are lots of potential story dynamics with stepchildren, but I thought the most interesting setup would be if Kylon had children he didn't know about and the mother Kalliope Agramemnos had kept them secret from him, except Kylon loves Caina and Kalliope is in awe of Caina. So Caina, out of necessity, becomes the linchpin holding this family together, since neither Kylon nor Kalliope can stand each other. There are a lot of potential character arcs and conflicts that can be generated in the inherent tension of that situation. The second core idea came from medieval nobles. If you've read any histories of medieval Europe, one of the main themes of the Middle Ages is that men primarily wielded the political and military power. But some women, by sheer force of will, charisma, tenacity, and cunning came to wield great power themselves. There are in fact quite a few examples. Probably the most famous one nowadays would be Queen Eleanor of Aquitaine, who was married to two different kings and the mother to two more or three (depending on how you count and if you include Henry II's eldest son, Young Henry, as the actual king or not). She kept her son Richard on the throne of England during his captivity after the Third Crusade and she was one of the chief architects of his release. Had Eleanor lived longer, and her son John listened to more of her advice, probably King John's reign would have been more successful and he would not be remembered primarily in the United States as the cowardly Prince John from that one animated Disney movie with the anthropomorphic animals. Perhaps the most successful example is Margaret Beaufort, who basically engineered her son Henry VII's ascension to the English throne at the end of the Wars of the Roses, and then served as one of his primary advisors for the entirety of his reign. In fact, she even outlived Henry VII by a year and then lived long enough to advise her grandson Henry VIII for the first year after he became king. A less successful example and contemporary with Margaret Beaufort, would be Margaret of Anjou, wife of King Henry VI and mother of his heir. Margaret of Anjou was one of the driving forces behind the Wars of the Roses but lost everything when her husband and son were killed and she died in poverty in France while her enemy Edward IV ruled in England. Blanche of Castile was her son Louis IX's regent when he went on crusade. Countess Matilda of Tuscany helped force the settlement in the Investiture Controversy and the Holy Roman Emperor, the southern dukes of the Holy Roman Empire, and the Pope all wanted Matilda as their ally. Perhaps the most striking example would be Sichelgaita of Lombardy, wife of the rapacious Norman adventurer Robert Guiscard. Guiscard started out as a penniless, landless knight and ended up conquering Sicily and a lot of Italy. He was known as greedy, cunning, and ruthless. His eventual tomb had the epitaph “Here lies Guiscard, the terror of the world.” It seems that Sichelgaita was in every way suited to be the wife of a freebooting warlord like her husband. Guiscard fought a lot of wars and Sichelgaita usually donned armor to battle alongside him. At the Battle of Durham in 1081 Guiscard's troops started to break and run while fighting the soldiers of the Byzantine Empire. Sichelgaita rode after the fleeing troops, berating them for their cowardice, and evidently the prospect of her displeasure was so fearsome that Guiscard's troops turned around and won the battle. It should also be known at this point in her life, Sichelgaita was in her forties and had borne Giscard eight children, so clearly a very resilient lady. So now that Caina is powerful and influential maybe historical events like these can provide inspirations for plot lines. Caina would still occasionally put on a shadow cloak and go out and break into places because this is, after all, a fantasy novel. The third idea was that someone must be in charge. I mentioned earlier that I had misgivings about writing protagonists with power and influence, but I've come to realize that is an incomplete view. The thing about power and influence is that someone is going to be in charge. It's just human nature. No matter how something is organized, someone must be in charge and bear the burden of leadership, and hopefully it will be someone with an eye on the greater good. I've thought about this concept a lot in 2023. I know several people in 2023 who, after much agonizing, left some of the traditional helping professions like medicine and education not because of dislike of the admittedly stressful work, but because the leadership was so stupid and so malicious as to create an unsustainable work environment. Like a leader can be stupid and well-intentioned, and a leader can be malicious and clever and an organization can still function, but stupidity and malice together are unsustainable. Alas, the contemporary United States and United Kingdom have no shortage of malicious and stupid leadership, but that's beyond the scope of the podcast about writing. So in the end, someone is going to be in charge, someone is going to have to wield power and influence. Hopefully it is someone who will act in the name of the greater good (I already did some of that with Caina in Ghost in the Council towards the second half of the Ghost Night series). That can make, in my opinion, for in a compelling protagonist. Fourth and finally, fantasy creatures. Way back in the 2000s when I was originally trying to sell the first Caina novels, all the agents and publishers fulminated on how they didn't want to see any novels with traditional fantasy creatures like elves and orcs and dwarves and serpent men and so forth. So when I wrote the kind of books I wrote them without any of that, which continued when I moved into self-publishing, though I was always a little sore about that, even years later. Now I think I have a firm enough grasp on the setting that I can introduce some traditional fantasy creatures into the Caina books, hopefully in a way that makes sense within the context of Caina 's very well-established world. So those four ideas came together for Ghost in the Serpent, and we shall hopefully see more of them in Ghost in the Veils. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. Our reminder that you can listen to all the back episodes on https://thepulpwritershow.com and many of them now have transcripts (note: Episodes 144-189 currently have transcripts). If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this episode, Clare is joined by Jo Wiehler who moved from Pennsylvania to the Lombardy region of Italy. Jo explains how chasing her dream and pushing through her worries about things not working out has resulted in her enjoying a peaceful and fulfilling life that is far beyond what she thought was possible. Clare provides a great insight into what life in Italy is like and the benefits of the country's far more laid-back lifestyle.  KEY TAKEAWAYS Don´t be afraid of following your dream.  Don´t let irrational fears hold you back. Ask yourself what is the worst that could happen, and could I deal with or overcome that? Answering that question puts everything in context and helps you to pursue your dream. The far more relaxing pace of life in Italy provides time to experience new things. When living abroad you naturally live in the present.  As a tourist you don´t see all of the beauty a place has to offer. Jo moved with just 2 suitcases. It was hard but provided her with a truly fresh start. You will have low days, e.g. not being able to attend a family wedding. When that happens, remember what your purpose is, and why you moved. Be yourself. Adopt and enjoy the different customs that you enjoy and be accepting and respectful of the differences you don´t like so much. BEST MOMENTS ‘If you don't go, you will always wonder and you will never know. ´ ‘You might fail, it might not work, but you have that experience.' ‘The day before I left to come to Italy… I was terrified… nervous… excited… all of my dreams ahead of me.'   ABOUT THE GUEST AND BUSINESS www.labelle-sabbioneta.com  https://labelle-sabbioneta.com/shop/  www.jowiehler.com  (for coaching) VALUABLE RESOURCES www.kayproofreading.com  www.linkedin.com/in/clarekay   https://www.facebook.com/KayProofreading   ABOUT THE HOST – CLARE KAY Clare has moved countries many times throughout her life, from China to Taiwan, Nigeria, Zambia, and the USA. She has also travelled the world for various businesses and now wishes to impart her advice to others to save them time, money, and energy.  Clare follows three principles central to her endeavours. First, she looks outward internationally, working with people overseas or of different nationalities. Second, she is obsessed with communication, having learned French, German and Mandarin Chinese. She also teaches English and works as an editor for others' work. Clare is passionate about making a difference through her coaching in the world of personal development.  Podcast Description When you move for a new job, to live with someone after a long-distance relationship or to explore the benefits of a new lifestyle, moving countries occurs as an opportunity, but it still might be a bumpy ride. Moving Countries 101 presents a paradox of moving to a new destination, but it being all about the journey: the ongoing experience of having moved countries.  Clare and her guests share the human stories of an ancient undertaking in modern times. Moving countries prompts change, and change provokes being unsettled emotionally, physically, mentally, and spiritually. On all these fronts, moving countries promotes observation, opportunity, and discovery.

Join Sam and Beth for this first offering for the month of February. Director Luca Guadagnino presents Andre' Caiman's novel set in 1983 amidst the backdrop of the lovely cities and landscapes of Lombardy, Italy. It is a film about infatuation, self-acceptance, self-truth, and risking one's heart. Accompanied by music tracks from Sufjan Stevens, this film is a memorable and moving experience. Check out these episodes links: “Where was Call Me By Your Name Filmed” https://giggster.com/guide/movie-location/where-was-call-me-by-your-name-filmed Sufjan Stevens Music https://www.them.us/story/sufjan-stevens-gay-god-queer-faith-javelin

The boys are back as football keeps whittling down to the big game. Sean mourns the loss of his Buffalo Bills, BUT IS FOCUSING ON HIS FIRST ANY TIME TOUCHDOWN BET OF THE YEAR WINNING! Aaron and Holden are hoping on the Lions bandwagon as Holden expects the Lions OC to be the Commanders next head coach. End of the day everyone hopes its anyone but the Chiefs hoisting the Lombardy

Dan Berger and Barry Herbst. Barry Herbst has brought Bottle Barn sparkling wines to California Wine Country with Steve Jaxon and Dan Berger today. Barry was on CWC on this episode last July 5, with Rosé wines available at Bottle Barn. He was also on last January 12 for this episode about low-alcohol wines at Bottle Barn. Dan Berger declares that Bottle Barn has a bigger selection at better prices than any store in the country and maybe the world. Champagne Champagne, as we know, is a protected name for French sparkling wine produced in that region. But great sparkling wines come from lots of other places and we will taste several today. Champagne is getting expensive compared to the others and there are great values from Spain, Italy and California. The first tasting is a Cava from Catalunya, the region around Barcelona, Spain. It is a very cool region that helps the wine maintain acidity. About 50% of the blend is a rare grape called Xarello. The brand name is Mercat and it is at Bottle Barn for $13.99. Dan says that he has tasted over 30 years of sparkling wines production from this region and they have consistently improved. Click the logo to visit our sponsor Bottle Barn online for the coolest bargains on wine, beer and spirits. Next, we go to Sharffenberger, located in Mendocino County, California. This is a sparkling Rosé that is a blend of different vintages. Dan says that kind of blending explains why a lot of champagne is not vintage dated. A lot of sparkling wines and Champagnes that are not vintage dated will be blends of more than one vintage. The word Cuvée just means a blend. The single-vintage sparkling wines are a lot more expensive. For example, Dom Perignon sells for $259 at Bottle Barn. Franciacorta Then they taste a wine from Franciacorta, in the province of Brescia, east of Milan in Lombardy. The ground it white and reflects light, so they grow the grapes up high where the reflections of light are not so strong. Franciacorta makes great sparkling wines, especially for the price. See our sponsor Victory House at Poppy Bank Epicenter online, and check out their family-friendly New Year's Eve party! After that, they taste a French Champagne, La Salle. It is from a small family producer that is as good as the more expensive brands. Dan says that this one could benefit from 6 to 12 months in the bottle. In England they like to age their sparkling wines, where American people tend to drink theirs right away. $33.99 at Bottle Barn, and $50 at least anywhere else. The Schramsberg Blanc de Noirs is the next tasting. It is a 2020, but since you harvest grapes for sparkling wine in August, that was before the fires that year. That is how this wine avoided fire damage. Dan Berger says it has Dom Perignon quality at a price you can afford.

#Italy: Giorgia Meloni looks to restore the Nativity to schools at Christmas. Lorenzo Fiori, Ansaldo Foundation https://www.theguardian.com/world/2023/dec/21/italys-ruling-party-drafts-law-to-safeguard-school-nativity-scenes 1908 Lombardy

Why does the discourse on love begin with the words of a minor character, Marco of Lombardy, rather than Virgil? Are Virgil's discourses on love and free will more Augustinian or Aristotelian? Is love the only thing in the cosmos that does not diminish as it is shared? Light? What does it mean to say God is Love? Is God love? Is Virgil's schematic approach to these questions an example of the limits of human reason? Is faith what is missing? Is Dante the poet critiquing Virgil, or are we critiquing Dante? Even if you claim to hate God, must you still love God in order to live at all, since whatever you love was created by God, and your love for it is ultimately directed toward God, by your free will (or “free will”) via the object of your love? Because God loves every thing that God created, and free will is the spark of the Divine in you? So – evil?

Dr. Kim Lombardy shares a story of a chronic back pain patient who was prescribed and became addicted to opioids.  Dr. Lombardy describes this patient's condition and how he successfully treated his back pain with Cox Technic eliminating his dependence on opioids. Dr. Kim Lombardy is a native of Sandusky, Ohio. After suffering from chronic pain and illness, stemming from a childhood accident, and being under medical care for 20 years, he was referred to a local Sandusky chiropractor, Dr. Vince Darr. After a series of spinal adjustments, Dr. Lombardy's pain began to recede, and his health was restored. He was so impressed that he changed his major from Pre-Veterinary Medicine to Pre-Chiropractic. After completing his undergraduate studies at Bowling Green State University, he enrolled in Sherman College of Chiropractic in Spartanburg, SC, where he graduated in 1980. Dr. Lombardy moved to Augusta, GA, and opened Woodland Chiropractic Life Center which later became Lombardy Chiropractic Clinic. He practiced for 29 years before being appointed Assistant Clinical Professor in the Orthopedic Department of the Medical College of Georgia, the first chiropractor to obtain that position in the history of MCG.   After two years he returned to private practice. Dr. Lombardy served as Vice-President of the Georgia Chiropractic Association for three years. He has the highest level of training in Activator Methods (painless instrument adjusting) and Cox Technic for disc problems. He has also studied Advanced Clinical Nutrition to help the body heal from the inside as well. Dr. Lombardy brings over 40 years of clinical experience to better help patients regain their health naturally. He is married to Edna Lombardy, and they have four children and nine grandchildren. They are members of St. Mary on the Hill Catholic Church.   Resources:   To schedule an appointment with Dr. Lombardy   Find a Back Doctor   Opioid Use Reduction in Failed Back Surgery Syndrome Patients at Three Months Utilizing Manual Spinal Decompression Manipulation   The Cox 8 Table by Haven Medical  

Nikki & Brie fulfilled a lifelong dream to spend time in Italy and really take in the culture, the food, the beauty, the win, and especially the Aperol Spritz, and they're bringing you along to relive it all. Things start off with a quick recap of recent episodes of The Nikki & Brie show, some discussions about autumnal decorations, being matchmakers, and the release of the Twin Love trailer (premiering November 17th on Prime Video). It's their first real vacation in years just getting to be themselves without cameras around! Nikki & Brie kicked off the trip with a few days in the countryside, learning about the delicate nature of flowers, learning to make flower crowns, developing business ideas, and recalibrating their entrepreneurial spirit, and it ignited their inner Eat, Pray, Love. Pro Tip from Nikki & Brie: If you plan a City/Country vacation, go to the country first and then spoil yourself in the city. Then it was to Lake Como and a hotel that specialized in Aperol Spritz, lounge chairs, and beautiful views. Nikki & Brie had a chance to slow down, decompress, and be in the present moment without feeling rushed to go from tourist trap to tourist trap. To say that it was all a dream come true is an understatement. Brie literally had these moments on her vision board, and they came to life in Italy. Now they're back in the groove and back in their own beds and ready to close out 39 with a bang and keep that momentum going for 40! Twin Love premieres Friday, November 17th, on Prime Video!Catch Nikki on season 2 of Barmageddon, premiering Monday, November 13th on USA Network!Vote for Artem and Charity Lawson on DWTS, and text Charity to 21523 on show nights!

Foodie Tour Guide and blogger Jackie DeGiorgio is back talking about Milan's great pastry like a brioche with caramel lime filling, the city's coffee culture, and Lombardy wine. [Ep 252] Show Notes: Full Show Notes at https://radiomisfits.com/ded252/ A Signorina in Milan Jackie's first appearance on Destination Eat Drink Pavé Torrefazione Moka Hodeidah Manna I Dolci Namura Marchesi 1824 Martesana Milano Loste Cafe Vinoir Necchi Campiglio Villa San Bernardino alle Ossa

Good morning, RVA! It's 59 °F, and today we've got more of the same—which is not so bad. Expect highs right around 70 °F and more of those cloudy skies. Temperatures will start to creep up tomorrow, and the sun has tentative plans to return this weekend. As of right now, next week looks stunning. Water cooler Yesterday, I got my mail-in ballot for this coming November's election, which is, of course, very exciting. I really enjoy voting by mail: Filling out the piece of paper, carefully following all the instructions—you don't get to join your fellow citizens in the corporate moment of Election Day, but, to me, it still feels like an important ceremony. It's nice, and if you'd like to join me in voting by mail (separately, from our own homes), you have until October 27th to request your ballot from the Virginia Department of Elections. But voting is just one part of participating in democracy! We need good, progressive candidates to vote for, too (preferably ones that constantly think about zoning and rezoning and love nothing more than a good public work survey). That candidate could be you! Yes, literally you! Every great candidate was, at some point, a person standing in their kitchen shouting about some issue and wondering aloud, “Fine, maybe I should just run!” A couple weeks ago I got this really lovely email from Traci Fanssen, candidate for the Chesterfield School Board, Matoaca District: “Heads up that Chesterfield has School Board elections THIS year—and I answered your question ‘should I run for school board' with a YES, because there is a Moms For Liberty candidate in my district that I did NOT want to let run unopposed. I tried to talk a few other people into it, but they had other obligations, and so, here I am! Long-time public education advocate putting my name on the line to defend the freedoms to learn, teach, and parent—without letting only the loudest voices in the room dictate what all children have access to in their public schools. School board candidates don't get the ad-spending headlines, but we are on the front lines of standing against the censorship of vulnerable communities. And if anyone is considering running next year in Richmond, I have some tips for them to get started.” How awesome is this?? Follow Traci's example! If you, a regular person, can't stop shouting to your friends and family about an issue—transportation, parks, education, child care, whatever—maybe it's time to get serious about it. Considering running for something in Richmond's 2024 elections, and take Traci up on her offer—but probably wait until after the election so she has a minute to breathe. A new north-south bus rapid transit survey just dropped, and this one asks you some questions about the specific route a north-south BRT should run. I'm fascinated that they've included Lombardy Street in a couple of the options. Lombardy is pretty narrow, and I'm not sure where they'd cram some of the infrastructure needed to support true bus rapid transit. Like...would it just run in mixed traffic the length of Lombardy? That does not seem very BRT-like. I'd like to learn more! City Council's Governmental Operations committee meets today and has two interesting items on their agenda. First, RES. 2023-R011, which would take some steps toward the City acquiring Evergreen and East End cemeteries from the now defunct EnRichmond Foundation. Second, they'll hear a presentation recapping the recommended changes to the City's charter. If you zoned out during that entire process, this helpful summary document will do a good job of catching you up. The Richmond Times-Dispatch's Em Holter reports on yesterday's Casino 2.0 job hubbub: “The developers of the Richmond Grand Resort and Casino have added another promise to its growing list: the prospect of hundreds of union construction jobs.” Union jobs are good, casinos are bad. Both can be true! This morning's longread The End of Privacy is a Taylor Swift Fan TikTok Account Armed with Facial Recognition Tech Ten-years-ago me would have absolutely zero hope of understanding the collection of words that make up this article's title. Today-me sort of understands that this seems really bad and kind of wants to just stay inside forever. The 90,000 follower-strong account typically picks targets who appeared in other viral videos, or people suggested to the account in the comments. Many of the account's videos show the process: screenshotting the video of the target, cropping images of the face, running those photos through facial recognition software, and then revealing the person's full name, social media profile, and sometimes employer to millions of people who have liked the videos. There's an entire branch of content on TikTok in which creators show off their OSINT doxing skills—OSINT being open source intelligence, or information that is openly available online. But the vast majority of them do it with the explicit consent of the target. This account is doing the same, without the consent of the people they choose to dox. As a bizarre aside, the account appears to be run by a Taylor Swift fan, with many of the doxing videos including Swift's music, and including videos of people at the Eras Tour. If you'd like to suggest a longread to show up here, go chip in a couple bucks on the ol' Patreon. Picture of the Day I saw this amazing machine on the road the other day, and then learned about the “Smash My Trash” business model of compacting trash in other companies' haul-away dumpsters. Fascinating! Also, how much do I want to operate a trash smasher??

With its peak at 2410 metres in altitude, the North Grigna is an imposing quasi-mythical character in the local culture of the Lombardy region. Those who get to its top can take in a 360-degree view over the Alps, Lake Como and the plains around Milan. Celebrated by Leonardo Da Vinci in his Codex Atlanticus for its rocky ridges, the mountain is also the protagonist in an Italian Alpine folk song entitled The Legend of the Grigna. The lyrics speak of a beautiful female warrior who is turned into a dangerous mountain, divine punishment for her having asked a sentry to fire an arrow at her suitor. This song - sung in Italian by a local choir - frames our ascent on foot to the top of the North Grigna. As the singers recount the story of the warrior, warning us of the dangers of the hike, we pass through woodlands of beech and larch trees, and encounter small pastures where sheep and donkeys graze. There are rain showers, steep slopes, scree and snowy paths to battle and rare encounters with other intrepid Alpinists. The target is the Rifugio Brioschi, a wooden hut at the peak of the mountain where fellow hikers raise a glass and share tales from the climb before turning in for the night. With special thanks to the Coro Grigna for allowing us to attend their weekly rehearsal and record La Leggenda della Grigna, and to fellow hikers Hannah Mackaness, Monica Malberti and Valentina Rossini. Produced by Silvia Malnati A Reduced Listening production for BBC Radio 3

Size and talent is nothing without a winning spirit --- Send in a voice message: https://podcasters.spotify.com/pod/show/rocky-seale7/message

On this episode of The Black Wine Guy Experience, my guests are Brian Larky and Scott Ades of Dalla Terra Winery Direct. Dalla Terra, which means “of the earth” in Italian, is a national agent and direct importer of a small and select group of leading, family-owned wineries and spirits producers in Italy. Dalla Terra was founded in 1990 by Brian Larky. Brian Larky is a wine enthusiast fascinated by Italy's vast selection of over 600 varietals. He fell in love with working in the Italian wine industry after receiving an invitation to work at Ca' del Bosco in Lombardy's Franciacorta region in 1985. Brian's love for diversity in wine led him to create Dalla Terra, which allows him to explore the diverse regions of Italy, from volcanoes to beaches, deserts to mountains, and everything in between. Brian hopes to introduce people to new wines they've never heard of while sharing some familiar favorites.Scott Ades joined Dalla Terra in November 2016. Prior to joining Dalla Terra, Scott was the COO of The Winebow Group, overseeing distribution sales, operations, and supply chain. Scott began his career as an investment banker, working for Salomon Brothers and Lehman Brothers.We discuss Brian's “Bear Grylls” alter-ego from sailing to leading exotic expeditions around the globe before getting into Scott's move from finance to fine wine. This episode is chock full of great stories and insights.A Massive Thank You to Brain Larky and Scott Ades!To learn more about Dalla Terra Winery Direct, click the link!Follow Dalla Terra Winery Direct on IG____________________________________________________________Until next time, cheers to the mavericks, philosophers, deep thinkers, and wine drinkers! Subscribe and give The Black Wine Guy Experience a five-star review on whichever platform you listen to.For insider info from MJ and exclusive content from the show sign up at Blackwineguy.comFollow MJ @blackwineguy Hosted on Acast. See acast.com/privacy for more information.

For the launch of our new series, Fashion Fridays, we wanted to start off with something everyone can relate to: a great pair of shoes that are finely crafted to perfection. moon d'elle is a line inspired by the rich background of two sisters, Chandra and Tabitha, as they grew up with a global awareness of what fashion truly meant. From concept to execution, every step of the moon d'elle production process takes place in the Lombardy region of Italy—best known for the art of luxury shoemaking. All materials are sourced locally and each shoe is handcrafted by skilled artisans alongside the world's most prestigious luxury footwear brands. With an eye for style and a desire to only provide quality options for women worldwide, moon d'Elle's collections are both chic and fashion forward. --- Send in a voice message: https://anchor.fm/skincareanarchy/message Support this podcast: https://anchor.fm/skincareanarchy/support

Photo: No known restrictions on publication. Lombardy 1894 @Batchelor 1/4:  Italian Lessons: Fifty Things We Know About Life Now by  Beppe Severgnini  (Author) https://www.amazon.com/Italian-Lessons-Fifty-Things-About/dp/0593315634/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1652479747&sr=1-2 Is there an Italian way to deal with life? Can we all learn something from the Italians?  Italy often arouses in Americans a unique mix of attraction and bafflement, moderate disapproval and incredible allure. From the Italians' love of poetry to an innate desire to socialize to the regional differences between the north and the south, BeppeSevergnini, who has dedicated his career to the meticulous observation of his compatriots, embarks on an enthralling quest to identify a core Italian identity and explore how that identity has evolved since the global pandemic.